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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/60759-0.txt b/60759-0.txt new file mode 100644 index 0000000..835e33b --- /dev/null +++ b/60759-0.txt @@ -0,0 +1,10125 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 60759 *** + + THE + + ENGLISHMAN’S HOUSE. + + [Illustration: HOUSES MADE PICTURESQUE.] + + + + + THE + + ENGLISHMAN’S HOUSE. + + _A PRACTICAL GUIDE FOR SELECTING OR + BUILDING A HOUSE._ + + [Illustration] + + BY + + C. J. RICHARDSON, + AUTHOR OF “OLD ENGLISH MANSIONS,” ETC. + + THIRD EDITION, WITH NEARLY 600 ILLUSTRATIONS. + + London: + CHATTO AND WINDUS, PICCADILLY. + + LONDON: + SAVILL, EDWARDS AND CO., PRINTERS, CHANDOS STREET, + COVENT GARDEN. + + + + +PREFACE. + + +Several years ago the author of this volume published a small work on +the Warming and Ventilation of Buildings which was very favourably +received by the Public, but is now out of print. He afterwards wrote +various other works illustrating the Architecture of England during the +reigns of Queen Elizabeth and James I., with one volume on Ornamental +Designs. These had an extensive sale, and are now, like the first small +volume, out of print. His last publication was a small pamphlet, +entitled, “The Smoke Nuisance and its Remedy, with remarks on Liquid +Fuel,” the subject of which, at least so far as regards an improved +construction for the domestic chimney flue, is continued in the present +volume. + +The present volume consists of numerous plans, &c., for Cottages, +Villas, and small and large Mansions, most of which have been carried +into execution. They are carefully selected from a large collection of +similar subjects, the result of many years’ professional practice, and +it is hoped that they may be favourably received. + + + + +CONTENTS. + + + PAGE + +INTRODUCTION 3 + +DESIGN NO. 1. A GARDENER’S COTTAGE 50 + + “ 2. A SMALL COTTAGE OR LODGE 56 + + “ 3. A PICTURESQUE COTTAGE 62 + + “ 4. A DOUBLE COTTAGE 66 + + “ 5. A DOUBLE COTTAGE AND VILLAGE + SUNDAY SCHOOL 70 + + “ 6. A HUNTSMAN’S LODGE OR COTTAGE 78 + + CONCRETE CONSTRUCTION FOR BUILDING + COTTAGES 82 + + “ 7. A GARDEN GATE 95 + + “ 8. A PARK LODGE 99 + + “ 9. A PARK LODGE 102 + + “ 10. AN ENTRANCE LODGE TO A PARK 104 + + “ 11. AN ENTRANCE LODGE AND GATEWAY + TO A PARK 112 + + “ 12. A STOVE FOR AN ENTRANCE HALL 120 + + “ 13. QUEEN’S GATE LODGE, HYDE PARK 124 + + ON THE FOUNDATION AND BASEMENT + WALLS OF BUILDINGS, DAMP PREVENTION, + AND FIRE-PROOF CONSTRUCTION 151 + + “ 14. A SMALL COUNTRY RECTORY 162 + + “ 15. A SMALL COUNTRY HOUSE 174 + + “ 16. A COUNTRY VILLA 182 + + “ 17. A DOUBLE SUBURBAN VILLA 192 + + “ 18. VILLAGE SCHOOLS AND READING ROOM 208 + + “ 19. A ROMAN CATHOLIC CHAPEL AND + SCHOOLS 210 + + “ 20. A BATH HOUSE AND SUMMER ROOM 214 + + “ 21. A SMALL COUNTRY VILLA 222 + + “ 22. A VILLA IN THE OLD ENGLISH WOODEN + STYLE 232 + + “ 23. A GARDEN SUMMER HOUSE 262 + + “ 24. A SMALL COUNTRY RETREAT, OR + FRENCH MAISONETTE 268 + + “ 25. AN ELIZABETHAN VILLA 280 + + “ 26. A SUMMER OR GARDEN VILLA 302 + + “ 27. A DECORATED WINDOW 336 + + “ 28. A SCULPTOR’S VILLA 338 + + “ 29. A GARDEN SEAT 361 + + “ 30. A GARDEN SEAT 368 + + “ 31. AN ICE HOUSE 370 + + “ 32. A SUBURBAN VILLA 373 + + “ 33. A SUBURBAN VILLA 382 + + “ 34. RIDING-HOUSE AND STABLING 389 + + “ 35. A BACHELOR’S HOUSE 401 + + THE FIREPLACE 404 + + “ 36. A LECTURE HALL, OR LITERARY + INSTITUTION 456 + + “ 37. ENCAUSTIC TILES 460 + + “ 38. RESTORATION OF CASTLE GUNNARSTROP, + SWEDEN 464 + + “ 39. SUMMER VILLA FOR THE COUNT KINSKI + AT TEPLITZ 470 + + “ 40. HARRINGTON HOUSE, QUEEN’S PALACE + GARDENS 476 + +[Illustration] + + + + +INTRODUCTORY CHAPTER + +ON THE PICTURESQUE IN RELATION TO ARCHITECTURE. + +[Illustration: Grecian Temple.] + + +It has been said that a definition of the picturesque in respect to +architecture, or indeed any branch of the fine arts, is scarcely +possible. The most able writers on the subject have failed to convey an +adequate and popular idea. In fact the term has so great and extensive +an application as to forbid exact definition. The architect usually +considers that if his building look well when seen by moonlight, or +through the medium of a foggy or dull atmosphere, it is picturesque, and +he is satisfied. Blenheim Castle and Castle Howard have always been +pointed out as eminent examples of the picturesque in buildings. But +this quality varies with every change of situation and circumstance +under which it can be conceived. + +The entrance to the Acropolis of Athens, with its noble equestrian +statues in the foreground, the steps between them, and the beautiful +temples rising at different heights behind, giving a varied outline, the +whole probably delicately coloured, must have been picturesque in the +highest degree. The Temple of the Winds and the Monument of Lysicrates +were equally examples of the picturesque. Yet although great efforts +were made on the publication of Athenian Stuart’s volumes to introduce +pure Grecian architecture here, it has obtained no hold with us. St. +Pancras Church, and St. Stephen’s, Camden Town, are probably the last +specimens in our metropolis. The delicate mouldings of the one are +destroyed by the roughness of the climate, and the beautiful figures of +the Caryatidæ in the other are covered with soot. + +There is no doubt that the Roman temples were as picturesque and as +varied in outline as the Grecian buildings of which they were studies, +but none remain + +[Illustration: Roman Temple in Ruins.] + +sufficiently perfect to illustrate them. In their original, entire +state, with the surfaces and colour smooth and even, either in painting +or reality, they were beautiful; in ruins, there is no denying they are +highly picturesque. Observe the process by which time, the great author +of such changes works, first by means of weather stains, partial +incrustations, mosses, &c., which simultaneously take off the uniformity +of surface and of colour, giving a degree of roughness, and variety of +tint. Then the various accidents of weather loosen the stones +themselves: they tumble in irregular masses upon what was perhaps smooth +turf or pavement, or nicely trimmed walks and shrubberies, now mixed and +overgrown with wild plants and creepers that crawl over and shoot among +the falling ruins. Sedums, wall-flowers, and other plants that bear +drought, find nourishment in the decayed cement from which the stones +have been detached; birds convey their food into the chinks, and yew, +elder, and other berried plants project from the sides; while the ivy +mantles over other parts, and crowns the top. The even, regular lines of +the doors and windows are broken, and through their ivy-fringed openings +is displayed in a highly broken and picturesque manner that striking +image described by Virgil: + + “Apparet domus intus, et atria longa patescunt + Apparent Priami et veterum penetralia regum.” + +The first view given in this volume attempts to show the picturesque +effect of the Grecian Temple in its complete state, the attendants +having just retired from some display or ceremony; the second, the front +of a Roman Temple in its noble remains. + +To the Greeks we owe all the general principles and forms of classic +art, but they have been modified to modern ideas and tastes, and, it may +be added, to suit also the various climates of the countries where they +have been adopted. + +However much the occupations of our countrymen may partake of the +commercial character, the mental qualities requisite to such pursuits +have not been so displayed as to exclude a taste for art. Where, for +example, can be found superior specimens of art-choice than exist in +their mansions, villas, or cottage-ornées, their picture and sculpture +galleries, or the museums and other collections of those whose business +pursuits have been the cause of their prosperity. + +An essential element of success in every branch of progress is involved +in tasteful selection. Without considering those classes who by +successful efforts of their ancestry have been placed beyond the pale of +want (either artificial or real), a large proportion of our population +may be ranked as having advanced morally, socially, and commercially by +that intuition which characterizes our national progress. It takes as +its basis nature and nature’s products. It eliminates from these not +only pecuniary benefits that in a commercial point of view may occur, +but associating the useful with the beautiful (the sense of the latter +having been gained during intervals of quiet thought as a relief from +the incessant requirements of business engagements), a tendency to +embody the picturesque, especially in regard to architecture, arises. We +have no hesitation in assigning to this cause the production of some of +the most picturesque architectural erections which grace our +country,--that render English homes an example, and prove that, while +the main element of our national prosperity is making money, we are not +insensible to the beneficent influences resulting from the cultivation +of refined taste. + +It would be interesting as an object of careful inquiry, if there +existed sufficient data for the purpose, to trace each of the many steps +that have occurred between the birth of architecture and its present +condition. The early history of mankind had as its locality climates +which favoured the construction and use of the _crudest_ contrivances, +intended only to meet the few wants of shelter and occasional domestic +privacy. The first condition of man’s existence, either in this +primitive or modern state, is that of roving or wandering tribes. +Instances of this are found in the early inhabitants of Asia Minor, and +adjacent countries, and at the present day the same habit is maintained +in Central Asia, Arabia, and many parts of America. As soon as the +sustenance afforded for their cattle is consumed in one district a +migration is made to another. Gradually, however, centres of trade +sprung up where commodities could be bartered for live stock. Men thus +became massed together in villages and towns. Quitting a semi-savage +condition, they built permanent residences in place of the tent. At +first these, like the log-hut of the modern Canadian, were only +sufficient for the most common necessities of life. In course of time, +however, the spirit of emulation, the growth of riches, and the +germination of man’s natural taste for the beautiful, led to artificial +wants, which were soon converted into necessities of life. This called +out the study of art on the part of the few for the benefit of the many. +Systems of art in all its branches gradually developed themselves. By +the study of the beauties of nature such systems gradually progressed in +purity of style, and produced designs that eventually were appreciated +by the common people, in a greater or less degree, according to the +capabilities of each individual. Architecture and the other fine arts +thus, by slow but sure degrees, began to gain a hold on popular taste, +and step by step they arrived at the state of perfection of which we now +boast. + +It will be evident that whilst the primary objects of architecture were +simply those of meeting the immediate necessities of life, its ultimate +purpose was only attained when it became an art, cultivated by refined +taste, an educated eye, and encouraged by the growth of civilization and +commerce. It thus advanced from a state of barbarism into one in which +it was connected with all the highest developments of the moral and +mental qualities of mankind, but especially with the æsthetic +aspirations of our nature. + +Incidentally but necessarily connected with the general progress of +architecture is the great variety of styles that has been invented. The +whole of these are modifications of some one or more primaries. No two +individuals acquire the same mental impression by viewing one object; +each of their impressions is tinted by the mental characteristics of the +individual. It is, therefore, from this cause that so many varieties of +style have originated from one first model. An illustration of this is +afforded in the Gothic, which in different hands has been greatly +divided and modified in its details. This style, which at first was of +exclusive application only, has subsequently become most extensively in +use for purposes that at first sight it would have been judged as quite +unfit for. + +The style of architecture just referred to is remarkable for its +picturesque character, and may fitly be adduced as an ensample of that +quality in the absence of an exact definition of the term. + +An able writer criticising Gothic buildings, remarks that the outline of +the summit presents a great variety of forms of turrets and pinnacles, +some open, some fretted and variously enriched. But even where there is +an exact correspondence of parts, it is often disguised by an appearance +of splendid confusion and irregularity. + +In the doors and windows of Gothic Churches, the pointed arch has as +much variety as any regular figure can well have; the eye, too, is less +strongly conducted than by the parallel lines in the Grecian style, from +the top of one aperture to that of another; and every person must be +struck with the extreme richness and intricacy of some of the principal +windows of our cathedrals and ruined abbeys. In these last is displayed +the triumph of the picturesque, and their charms to a painter’s eye are +often so great as to rival those which arise from the chaste ornaments +and the noble and elegant simplicity of Grecian architecture. + +These remarks will explain to a certain degree the nature of the +picturesque in regard to architecture, so far at least as the general +principles are involved. But in the more minute points, other questions +and relations arise, to which the attention of the reader will be fully +drawn in the descriptive text and illustrations of this work. + +The comparative value of Grecian and Gothic architecture, as practically +adopted in the erection of ornamental dwellings, is well discussed by an +eminent architect in the following remarks, slightly modified from the +original. He observes that the two are better distinguished by an +attention to their general effects, than to the minute parts peculiar to +each. It is in architecture as in painting--beauty depends on light and +shade, and they are caused by the openings or projections in the +surface. If these tend to produce horizontal lines, the building must be +deemed Grecian, however whimsically the doors and windows may be +constructed. If, on the contrary, the shadows give a preference to +perpendicular lines, the general character of the building will be +Gothic. This is evident from the large houses built in Queen Elizabeth’s +reign, where Grecian columns were introduced. Yet they are always +considered as Gothic buildings. + +In our modern Grecian architecture large cornices are repeated, with +windows ranged perfectly in the same line, and these lines often more +strongly marked by a horizontal fascia. There are few breaks of any +great depth; and if there be a portico, the shadow made by the columns +is very trifling compared with that broad horizontal shadow proceeding +from the soffit (that is, the under side of the heads of apertures, +architraves, and the corona of cornices). The only ornament its roof +will admit, is either a flat pediment departing very little from the +horizontal, or a dome still rising from a horizontal base. + +But in these remarks attention is chiefly drawn to the general +architectural effects of style, independent of concomitant +circumstances. Yet it is hardly necessary to do more than call on the +experience of any man of taste to show that position, adjacent scenery, +and other “accidental” or “incidental” matters will modify the special +effect of any style in regard to the picturesque, and also those of a +general character. A Gothic erection in a confined situation will lose +most of its beauties, while one of a Grecian character may be especially +suitable. In choosing, therefore, any design for the erection of a new +building, or alterations in one already in existence, respect should be +had to the natural character of the surrounding country, the aspects in +regard to the sun and prevalent winds, the extent of the estate or +grounds on which the building is to be erected, the views from the +various apartments, the character of wood, plain, or other adjacent +tree-scenery, and last, but of equal or greater importance, questions in +reference to domestic comfort and convenience, drainage and dry soil, +supply of water, and a variety of details, most of which will at once +suggest themselves. In many cases the choice of site is necessarily +fixed by previous purchase or inheritance of the land, yet in such cases +chances are left for a judicious selection in regard to some of the +conditions above mentioned. But when the purchase has to be effected, +_all_ the conditions should be kept in mind, and, if possible, +completely satisfied. Such details should form the subject of minute +inquiry, and they are here only named for the purpose of showing how the +choice of the best style, in regard either to general beauty or +picturesque effect, should be decided on with mature attention to all +the circumstances of the case. + +Most of the old mansions, &c., of this country and many parts of +Continental Europe, have been erected in situations that were then +immediately, and at little cost, available for the purpose. At one time +the choice of such situation depended on careful attention to the +special circumstances of those who erected the building. Thus it is +found, generally, that the banks of the rivers, as affording ready and +cheap means of carriage by the stream, were mostly chosen. Hence our +abbeys, monasteries, &c., are frequently found in such localities. +Baronial castles were usually erected on hills, the height of which +tended to the security of the owners against sudden incursions of their +foes. From the varied character of English topography has arisen that +great variety of picturesque beauty that distinguishes the ruins which +abound in almost every county throughout the length and breadth of the +land; such ruins, architecturally considered in relation to the +surrounding circumstances of wood, vale, hill and dale, have become +subjects of study and suggestion to modern architects, and models, +constantly adopted at the present time, in certain details, for +producing new designs. In the selection of these, or of any other style, +however, Burke has laid down, in his essay on “The Sublime and +Beautiful,” an excellent rule: “A true artist should put a generous +deceit on the spectators, and effect the noblest designs by easy +methods. Designs that are vast only by their dimensions, are always the +sign of a common and low imagination. The work of art can be great but +as it deceives; to be otherwise is the prerogative of nature only.” + +It will thus be seen, that to obtain the highest effect of the +picturesque in architecture requires an educated eye, a refined taste, +great experience, but especially a keen perception of all the +conditions, on the fulfilment of which the most successful result can be +obtained. In all there is a natural love of unity and effect. +Montesquieu, in his dissertation on _Taste_, observes: “Wherever +symmetry is useful to the soul, and may assist her functions, it is +agreeable to her; but wherever it is useless, it becomes distasteful, +because it takes away variety. Therefore things that are seen in +succession ought to have variety, for our soul has no difficulty in +seeing them; those on the contrary, that we see at one glance, ought to +have symmetry. Thus at one glance we see the front of a building, a +parterre, a temple. In such things there is always a symmetry which +pleases the soul by the facility it gives her of taking in the whole +object at once.” + +The numerous dissertations, essays, &c., that have been produced on the +subjects that have here been treated on in a discursive manner only, are +a sufficient proof of the difficulty which exists in acquiring, +applying, and affording an accurate and ample description of all the +conditions necessary to picturesque architecture; they also in some +measure explain the reason of the grotesque, and even offensive results +that obtrude on refined taste in the productions of builders who are +utterly deficient of artistic taste and knowledge in carrying out their +objects. A general, and in part a historic view of architecture may +serve to show how success has been attained in many cases, and the evils +that should be avoided as leading to failure in effect of the general +and special features of an erection. + +In the cursory view of the history of architecture already given, it has +been shown that the earliest efforts of the art were simply directed to +satisfy the simple wants of man, without any regard being had to taste. +It was not until riches began to accumulate in a few hands that taste in +architecture was developed, and by the few examples thus produced the +taste of society at large was educed, refined, and extended. + +Omitting then any inquiry into the architecture of our earth’s +aborigines, which was evidently of the rudest character, reference may +first be made to early architectural attempts in Asia. It has been +ingeniously observed by M. Pair, that the Chinese imitated a tent as the +model of their system, a result that undoubtedly arose from the fact +that the first Tartar tribes were nomadic or wandering in their nature. +It has also been remarked that a bird’s-eye view of a Chinese city at +once suggests the idea of a fixed camp. In southern and south-western +Asia may be found, on the other hand, the remains of extensive +architectural productions in caves, such as that of the Pagoda +Elephanta, from which many have argued that subterraneous dwellings were +amongst the earliest; but it is evident that such could only be made in +places where stone existed in masses, as a basis of the country. In a +plain and sandy district, and in alluvial soil generally, such could not +possibly have been produced. There is not the least doubt that the +conditions of climate have in all cases determined the early character +of each national system. In both hot and cold countries caves would +naturally have been sought as affording shelter from the two extremes +of heat and cold. Recent geological discoveries have brought to light +the fact that the remains of human and quadruped bones have been found +together in such situations, the human inhabitants having most probably +been the predecessors of the beasts of prey, as also of the fowls of the +air. It has been suggested too that the forest tree having formerly +served for shelter, might have suggested the floral character of +columns, and the use of floral decoration generally at their summit. + +In respect to these “natural” and consequently primitive “systems” of +architecture, Billington has made the following judicious +remarks:--“Those people or nations who lived by the chase (and in the +same class the Ichthyophagi, or fish-eaters, are included) could not for +a great length of time have built themselves shelters. The long courses +the hunters made prevented them from watching their property, which must +have comprised [but] few articles; and they found it more convenient to +make hollows in the rocks for their dwellings, or to profit by those +which nature offered them in its caverns. It was the same with those who +lived by fishing; passing a sedentary life on the sea shores, the sides +of rivers, or the borders of the lakes, they always made themselves such +abodes, or took advantage of those already formed by nature. The little +industry which this mode of life required, and the natural idleness +which followed it, was sufficient to induce them to prefer the dwellings +presented by nature, to those of art. This fact is proved by experience +at the present day, as these descriptions of persons continue to adopt +the same plan of life in countries where the arts of civilization have +not extended their beneficial influence. The pastors or shepherds, as +they were inhabitants of plains during a great portion of the year, +could not make use of the retreats hollowed and prepared in the +mountains and rocks by the hand of nature; being obliged to seek change +of pasture, and thus lead an ambulatory life, it was requisite to have +dwellings or shelters that could be carried with them wherever they +went, and hence originated the use of tents. But the active operations +of agriculture requiring a definite situation, necessity suggested the +propriety of building solid and fixed abodes. The agriculturist then, +living on his own grounds, and in the enjoyment of his property, had to +store his provisions; it was therefore necessary to have a habitation at +once commodious, safe, healthful, and extensive; and the wood hut with +its roof was soon erected.” + +The same author considers that there is not the least certainty of this +primitive wooden construction, with its inclined roof, having been the +universal model of all nations, but especially in regard to Egypt and +China. The peculiarities of the early Chinese style of architecture have +been already named, and with the persistent continuity in one course yet +prevalent, that style is still preserved. But the Grecian style was +evidently founded on the rude model, and the ingenuity of that nation +eventually led to the transference of material from wood to stone. + +At the present day the Orders of Grecian architecture are fundamental to +the principles of modern art in numerous varieties of detail; they have +survived the prejudices, fancies, and dicta of various schools of art, +although, as already shown, the Gothic and other systems have become +formidable competitors, and in many cases, especially in regard to the +picturesque, efficient, elegant, and ornamental substitutes. The taste +for the latter characteristic has led to an increased adoption, for +example, of the Italian style, which in many respects resembles the +Grecian, but differs from it especially in lightness of detail, with +greater variety. The author just quoted traces the origin of the Doric +Order of the Greeks to a primary adaptation of the trunks of trees as +external supports of the wooden dwelling, seeing in them the +foreshadowing of the column designative of that order. “As trees are of +greater circumference at their lower extremities, and diminish in +rising, the diminution of the column was suggested by them.... These +timbers (as supports) consisting of trunks of trees planted in the +ground, offered not as yet the idea of bases and pedestals, as is seen +in the Doric Order, which is without base. But in the course of time the +inconvenience of this method was perceived, as it exposed the wood to +rot, and to remedy this inconvenience pieces of wood were placed under +each support to give it a better foundation, and to protect it from +humidity. This practice may be traced in some of the ancient edifices in +which the columns have no other base than a block of stone. But +afterwards, the number of pieces of wood employed for the base was +increased, in order to give greater elevation to the supports, or to +effect better security against the effects of humidity. From this +multiplication of blocks as footings, sprung the _torus_ and other +mouldings of the base, an origin far more probable than that of +ligaments of iron, as imagined by Scamozzi and others. It is also more +conformable to the nature of capitals, in which it is known that the +same proceeding was employed. After beginning with a simple abacus, +several others were afterwards added, which were enlarged, as they rose, +one above another, in such a manner that as the base was to the column a +kind of footing on which it rested more solidly, so the capital made a +head more capable of receiving and supporting the weight and form of the +architrave, a large beam placed horizontally on perpendicular supports, +and destined to receive the covering of the whole edifice.” + +The author goes on, in a similarly ingenious manner, to prove the +derivation, from nature, of the Orders of Grecian architecture. He +ascribes the form of the roof as having necessarily suggested that of +the pediment. On this point he quotes the remark of Cicero: “It is not +to pleasure that we are indebted for the pediment of the Capitol and +those of our temples: necessity suggested the form for the better +draining off the water; nevertheless, its beauty is so very great, and +it is become so necessary for edifices, that if a Capitol were to be +built in Olympus, where it was never known to rain, it would, +notwithstanding, be necessary to give it a pediment.” + +The preceding remarks and ingenious theory amply justify the opinion +already suggested, that nature must be the foundation of every true +principle of art. Assuming, as we are compelled to do, that the Grecian +style as a whole was original, the only perfect model that could have +been selected was that afforded by natural objects, in all of which are +found the most perfect results, derived from few means but answering an +infinity of ends. It will be remembered that the construction of the +Eddystone lighthouse was based in regard to durability, and resistance +to the force of the waves, on those properties which are possessed by +any kind of tree exposed to the full force of the tempest. “Nature +ought to be the basis of all imitation.” + +Proceeding from the teachings of nature, the Greeks learned gradually to +introduce new types, consistent in the main with the original mode, but +of great variety in detail. By further refinement of this, but close +adherence to the facts or the analogies of nature, the Grecian art +became developed in the invention of other Orders, the names of which +are sufficiently known to all interested in architecture. Limited space +prevents our entering into a class of analyses of the characteristics of +each. Little doubt exists of the Doric Order having been the first +produced, and following it were the Ionic, Corinthian, Composite, and +Tuscan, which constitute the five Orders in general of architecture. + +Perhaps the best epoch of ancient architecture was that during which, +subsequent to the battle of Marathon, the Greeks commenced to rebuild +the remains of Persian buildings, and to re-construct Athens. The ruins +of this period yet with us, attest the advance which Grecian +architectural art had attained. The ingenuity and refinement of Greek +art gradually spread to Rome, the Romans adopting the Doric Order under +the modification known as the Tuscan. The art having been introduced +into Etruria by the Pelasgi, under the celebrated Augustus, Rome +attained that magnificence which has ever since rendered its name +famous as a seat of the arts. Amongst the great erections of this period +was the Pantheon, one of the grandest efforts of genius that the world +has yet known. Under subsequent emperors architecture also progressed, +and the name of Trajan is identified with the erection of triumphal +arches, &c., the ruins of which still receive the admiration of every +qualified judge in art. + +The removal of the seat of Roman government to Byzantium led to the +decadence of art at Rome, which was completed by the incursions of the +Visigoths. Eventually the Gothic style arose, phœnix-like, from the +ruins of Grecian and Roman art, and obtained a place that has rendered +it ever since one of the most favourite styles of architecture. + +Just as under the heathens, the art had been chiefly promoted by +erections for religious purposes, so when the Christians began to obtain +the ascendancy, the erection of churches led to a similar result. From +the fourth to the seventh century some magnificent buildings of this +kind were erected. At the commencement of the eleventh century the +church of St. Mark at Venice attested the wonderful progress which +architecture had made, and it continued to progress during the next two +or three centuries, being confined chiefly, however, to Italy. But the +Gothic style, suited to a northern clime, never obtained full hold +there; Italy cannot boast of a single pure Gothic edifice. Gradually the +new style spread over Europe. The Cathedral at Strasbourg, the Louvre at +Paris, suggested improvements in our own country at Windsor Castle, +Oxford, &c., all indicated the rapid extension of the Gothic style or +its modifications. But in numerous instances the taste that was +exhibited showed a decadence from the simplicity and grandeur of the +Grecian and Latin styles. In respect to the latter, indeed, the +materials of the new erections were obtained from the ruins of the +ancient edifices, the columns, &c. there found, being pressed into the +service, in any manner, of the new school of architects. + +Towards the middle of the fifteenth century a revival in architectural +art took place, especially under Brunelleschi. The patronage of the +Medici added a stimulus to the progress thus initiated. Improvements +were introduced in the erection of private residences in most parts of +Western Europe, the art having in its best form been chiefly till then +directed to building edifices for religious purposes alone. In the +sixteenth century architecture in Rome attained a perfection nearly +equal to that it had formerly enjoyed under the Cæsars, especially +during the Augustan age. Private and public buildings were erected of +great magnificence, yet of simplicity of form combined with grandeur. +Under Vignola architecture attained great excellence. Michael Angelo +was appointed architect of St. Peter’s at Rome about the middle of the +sixteenth century, and the mention of his name alone is sufficient to +call to mind the extent and value of his labours in the art. In the +seventeenth century, about the year 1620, Inigo Jones was engaged in +repairing St. Paul’s Cathedral in London, and subsequently produced +designs for the Royal Palace at Whitehall in the reign of Charles I. +Greenwich and Chelsea Hospitals, and other noted buildings, were +designed about this period. In France and other continental countries +architecture attained great perfection at this period, both in respect +to public and private buildings. Among the most eminent architects of a +period somewhat nearer to our own time, was Sir Christopher Wren, whose +St. Paul’s Cathedral serves as a monument to the great genius of that +eminent man. This era may, comparatively speaking, be considered as the +commencement of the modern style of English church architecture, +inasmuch as several productions of Wren are still used for the purposes +to which they were first applied, having undergone little or no change +since their completion. + +Such is a brief, and necessarily very imperfect resumé of the progress +of architecture. The styles of Eastern Europe, ancient Mexico, and many +others, have not been described, because unnecessary, in this +Introduction, which has only for its object to call general attention +to the causes which have led to the present state of the art. Like all +others it has been the subject of alternating prosperity and adversity. +At one time fostered by men eminent in their profession, and by those +whose means permitted them to lavish riches on magnificent piles, +fountains, villas, &c.; and at others, degraded by its students, and +neglected by those who should have been its patrons. + +In all branches of architecture direct reference should be had to the +objects for which the building is intended. An eminent architect, +already quoted, has well set forth this essential point in the following +remarks:--“The art of characterizing, that is to say, of rendering +evident by material forms the intellectual qualities and moral ideas +required to express in edifices, or to make known by the harmony and +suitableness of all the constituent parts that enter into their +composition the use for which they are intended, is perhaps of all the +secrets of architecture the most difficult to develope or to attain. +This happy talent of conceiving and of communicating the conception in +the physiognomy suitable to each edifice; this sure and delicate +discernment, which exhibits the distinguishing parts of such edifices, +that at first appear susceptible of no characteristic distinctions; this +judicious employment of the different styles which are as the tones of +architecture; this skilful application of the signs which the art +employs to affect the sight and understanding; this exquisite feeling, +which errs neither in the just disposition of the masses and employment +of the details, nor in the just dispensation of richness and simplicity, +and which is able to combine true expression of character with the +harmonious accord of all the qualities susceptible of being represented +by architecture--all this requisite talent, which study perfects, but +does not produce, is a gift possessed by few. This suitable expression +presents itself under two relations, the one appertaining to +architecture in general, and the other to edifices in particular. The +first consists in the expression of the qualities or intellectual ideas +which are the results of the art metaphysically considered; the second, +in the true indication of the uses for which edifices are designed, that +is, in considering architecture as a certain mode of expressing or +painting. This expression, according to the nature of the buildings and +edifices, may be produced by the gradation of richness and greatness +proportionate to the nature and the object for which they are erected; +by the indication of the moral qualities attached to each edifice, the +manner of expressing which is beyond the reach of rules; by the general +and particular form of architecture; by the species of the construction +and the quality of the materials that may be employed in the execution; +and lastly, by the resources of decoration.” In these remarks will be +found a highly valuable _précis_ of the excellence to which the art of +the architect should be directed, and the means that must be adopted to +obtain pleasing and successful results. + +The erection of country mansions, villas, and other residences, has of +late years been greatly stimulated in our country. The enormous annually +accumulated savings of the commercial portion of the community have +induced a large amount of capital to be invested in such objects. In +regard to questions of taste and decoration, it should be borne in mind +that but very little extra cost is incurred in building a residence in a +pleasing and picturesque style than in one having not the least +pretension to architectural beauty. In our earlier remarks on the nature +of the picturesque the _general principles_ of obtaining that effect +have been pointed out. In the following pages the special details are +amply descanted on, and illustrated by designs, drawings, &c. It is the +object of every department of constructive skill at the present day, to +endeavour to obtain the best possible result by the least possible +expenditure of material, and thus taste actually causes economy rather +than increased expense. Tons of heavy and unsightly materials are now +replaced by hundredweights of decorative, and yet substantial, masonry +and iron work. A number of modern elegant erections, affording +accommodation equal in extent, but vastly superior in quality, are now +made at an expenditure of stone or brick less by one-third in quantity +than was employed in many old houses; those in High Street, Edinburgh, +by way of example. The result has been arrived at by the joint aid of +science and art, the former giving data as to the strength of the +material, and the latter directing its disposal. The peculiar character +of English scenery is exactly adapted for giving a picturesque character +to villa residences, provided the latter are designed and erected in +accordance with the principles of sound taste. Surely he who would spend +money in building a house, in which all or most of the remainder of his +days are to be spent, will not grudge making that dwelling the subject +of decoration or ornamental art, by which its aspect shall at all times +be suggestive of pleasure rather than of aversion or disgust. It has +been said that most individuals, by long association together, acquire a +mutuality of tastes and even physical resemblance. It cannot be denied +that even inanimate objects, such as our dwellings, furniture, +landscapes, gardens, and other such surroundings, have a parallel effect +on us. Hence the wisdom of using all the means which architectural art +places at our disposal. Errors in this respect often proceed from +thoughtlessness, if not from want of refined taste. An instance may +suffice to show how much such matters should be attended to in the +choice of a site and other conditions. A retired manufacturer erected a +mansion at a cost exceeding fifty thousand pounds, and had never paid +any heed to the fact that the most prominent object seen from his +dining-room window was the cemetery of the adjacent town! Soon this +became unbearable, and the house has been comparatively deserted by the +family, caused by an oversight that the least consideration would have +remedied. + +The designs given in the following pages have for their object to +suggest the most approved, tasteful, and effective plans for the +mansion, the villa, or cottage, and great care has been devoted to their +production. Whilst a residence must necessarily be kept within a cost +suitable to the means of the proprietor, by judicious care of the +professional man, possessed of a competent knowledge, a little money may +go a long way in the decorative art. Many of the drawings are devoted to +the minor but not less effective portions of the house. Congruity in +detail inside the dwelling is equally required with symmetry, beauty, or +picturesque character of the exterior. Want of judgment in this point +may speedily convert the most elegant building into little better than a +repository for gewgaws selected without taste and arranged without +skill. It is impossible for _every_ man to become his own architect; but +it is possible, in most cases, for all who have the means, to select +such a design as shall best comport with their taste, leaving the +working out of details to the architect. But a remote possibility exists +of an unprofessional being able even to state what he requires, and +should he ask an architect for a design or plan, it is more than likely +that the latter would fail to please. When, however, a variety of +designs is placed before the eye of any intelligent person the act of +selection becomes easy. Although no single plan may succeed, a +combination may suggest itself, and the architect can then readily work +on something like a sound foundation, and with the hope of success. This +work is intended to supply such requirements. + +Again, in building a house, or in effecting alterations in an old one, +points apparently of minor, but really of great importance, require +attention. A badly constructed chimney will make the whole house +miserable, independent of the injury done to furniture, decorations, +&c., and the destruction of paint and paperhangings. A defective +drainage may render that which was intended to be an abode of peace, +plenty, and happiness, a living charnel-house, or the door to the grave! +A question of vital importance is that of ventilation. These apparently +minor questions can therefore scarcely be exaggerated in their value, +for neglect of them will render nugatory the best external efforts of +the architect. Hence they have hereafter full attention, in their +practical details, directed to them. + +On the general principles of ventilation the following remarks may be of +value to all who propose to erect new dwellings, or alter those already +inhabited. In all houses, and in fact every building divided into +stories, a ready means of ventilation may be insured, or rather always +exists. This is presented in the opening formed by the staircase. Into +this general opening communications can be made into, and from, each +apartment by apertures placed in some convenient position in each room. +The grand law on which ventilation depends is, that hot air, being +lighter than cool air, has a universal tendency to rise, whilst cold air +takes the lowest part of a house or apartment. It hence follows, that if +a supply of cold air be admitted by an opening at the lower part of a +house, and it becomes heated within the house, it will have a tendency +to rise to the roof; and if a sufficient opening be there provided, it +will escape into the open air. Consequently a constant current may thus +be obtained in any dwelling, sufficient to give a supply of pure air and +to remove that which has been vitiated by breathing, the combustion of +fires, and other causes. The heavy atmosphere of this country requires +assistance to make this grand law operative; to cause the air of a room +to move as readily as it is required, forced ventilation becomes +necessary. The English fireplace provides this; and to that it owes, +with us, its extreme popularity. A constant current of air from the room +is heated and passed up the chimney flue, and this draws in a +corresponding supply of cold air, and proper and convenient apertures +should be left to permit this to enter. The fireplace forces attention +to the necessity; if sufficient fresh air be not provided for it the +smoke enters the room and drives the occupants out. Notwithstanding the +attention that has been paid to the stove and its flue, we are still +sadly behindhand in a proper construction of them. The flues could be so +arranged that a building might be enabled, using a figurative +expression, to breathe, whenever its principal flue, that of the kitchen +fireplace, was in action; a construction to effect this will be +illustrated in the text. In conclusion on this point, it may be added +that nothing is more essential to the health and comfort of a house than +that it should be thoroughly and constantly ventilated, and if any +portion is to be particularized, it should be the sleeping apartments. + +Another question which, to a certain extent, should influence the +arrangement of a house of any pretensions in respect to size, is that of +the method of warming it. The preference, or rather prejudice, in favour +of fireplaces is so great, that a revolution of the nation in political +matters could be more easily brought about than the abolition of the +fire-grate; but it is well known that at least three-fourths of the coal +consumed is wasted in the attempt to heat the room to an equable and +pleasant temperature. But by such means the result cannot be arrived at. +In front of, and close to the fire, the temperature is excessive, while +the backs of the sitters facing in are suffering from cold. An equalized +temperature in rooms is obtained abroad. In Russia, a plan is adopted of +heating the rooms by means of the walls, the latter being double, and so +arranged that they act as flues to a furnace situated at the lower part +of the building. By this method every part of the room acquires, +simultaneously, an equable temperature. There need be no draught, simply +because the air is not drawn in one direction more than in another. From +every side a gentle current of warm air arises. This method cannot be +adopted here; it would not suit for English houses where coal is used as +fuel: the interstices of the double wall would soon be filled with soot. +The same effect is produced in a far more elegant way, by means of +warm-water pipes passed round the room; by this simple process the +staircase and passages and the sides of a room distant from the +fireplace are made of equal temperature--one, or at most two furnaces, +burning coke and making no smoke, if placed in a cellar outside an +extensive building, can render the whole interior, from attic to +ground-floor of equal temperature, and not prevent the action of the +fireplace, or its agreeable presence in our homes. In the British +Museum, where warming apparatus is used, the temperature of the whole is +kept uniformly the same, that is, 65° Fah., even throughout the most +severe weather, independent of the common fireplace. No greater change +is required in any part of our buildings than in the latter; not that it +requires to be removed, but a change to prevent its waste of heat and +its contaminating the outside air with the soot and blacks from its coal +fuel; the lower fireplaces in a building should warm or air the upper +rooms, and no soot or blacks should be allowed to leave the flues. A +construction for this purpose will be shown in the ensuing pages, as +well as one for warming an entire building and a conservatory. + +An opposite effect to that of warming is frequently desirable in our +houses; and to ensure this the position of the site of the house must be +considered. It is evident that a room having a south-western aspect must +of all others be the warmest, whether in winter or summer, simply +because that aspect is most exposed to the influence of the sun’s rays. +On the other hand, rooms having a north-easterly aspect must necessarily +be the coolest, because, except during the earliest part of midsummer +mornings, say from 2 to 4 A.M., the sun’s rays cannot reach them. It +is, therefore, in the power of those who have the requisite resources, +to construct a house in such a manner that warm rooms can be provided +for winter use, and cool for alleviating the heat of summer. It is by no +means an uncommon occurrence to find a large dinner-party assembled in +the heat of summer in a room that has been exposed to the sun’s rays +during the afternoon. Frequently in such cases, owing to the number of +persons present, the heat of the viands, lights, &c., the temperature +rises above 80°, a circumstance prejudicial to health, enjoyment, and +the vivacity of social intercourse, that might have been entirely +avoided had the dining-room been placed in a northern aspect. These are +points well worthy of attention in constructing a newly-designed +dwelling. It unfortunately happens, in many cases, that the supposed +exigencies of architectural arrangement must have priority of all other +considerations. Yet the architect who wilfully opposes such +modifications of his plan for the purpose of conducing to general +comfort is shortsighted. His object ought to be to build a house _to be +lived in_, and not _to be looked at_ alone. + +A few remarks on some of the general principles that should lead to a +choice of site, situation, and other matters, may not be without +advantage. Whatever inducement a plot of ground for building purposes +may possess, the great question which has first to be solved is that of +_health_. A clayey soil, bog, marsh, or stagnant water; a low level; an +undrained or badly drained surface; a moist atmosphere, or exposure to +the chill north and east winds, are all objections that a question of +price should never be pitted against. Popular knowledge on sanitary +subjects is now so extensively diffused that healthy localities are +always of ready sale, while those of an opposite character are +frequently unsold in the market, and consequently may be had at a low +price, but are really never cheap. Nothing can counterbalance the value +of a healthy locality, for in the end one of an opposite character +becomes far more costly. The timbers of the building fall rapidly into +decay, and require renewal; the decorative portion, internally and +externally, becomes faded; doors and windows cease to fit and work +accurately; the iron work becomes rusted and requires frequent renewal +of paint or other protecting coat; and the same may be remarked in +regard to the fences of the estate. + +The position of the residence in regard to the sun at different periods +of the year is also an important matter. If it stands with each front +north and south, the north front will have comparatively little sun, +except during summer time; and if the position be north-east and +south-west respectively, the cold bitter winds of winter will be +severely felt, whilst from the fact that the greater portion of the year +the rainy quarter of the wind is south-west, that front or back of the +house will be continually exposed to its influence. Consequently, +frontages to the south-east and north-west are to be preferred in all +cases, when possible, as such position ensures to both sides the +greatest average of sun, heat, and light, and protection from the +north-east wind of winter or the south-west of the rainy season. +Comparatively little attention has been paid to the influence of light +on health and its effects on the mind, in the construction of modern +dwelling-houses. An excess is easily avoided by blinds and other +contrivances; but if the architectural features of the building be such +as to exclude the light, an opposite remedy is impossible. Abundant +access of light tends to set off all the internal decorations of the +house, and spreads a cheerfulness of appearance that is always highly +prized. It gives brilliancy of outline and detail to coloured +decorations, and, to use a common phrase, is the best possible “set-off” +that the architect or decorator can desire. As already pointed out, the +effect of light and shade, in regard to architecture, is a condition of +success in respect to the picturesque. + +It is always desirable that a house should be placed on an eminence; it +becomes thus a prominent object, and its qualities are the more readily +perceived. A gradual ascent to the house by the walks or drive adds +much to the general effect. The walks are thus constantly drained, and +preserve longer a neat appearance, a matter which is of much importance +in setting off the advantages of situation, site, &c. In respect to +questions of health also, this is of great advantage, as the waste +matter of the household more readily falls away by its own gravity, and +is thus quickly removed; which if left stagnant would be productive of +harm to the inmates. + +Abundant access of fresh air is of great importance to health in a +residence; unnecessary exposure to wind being at the same time to be +avoided. Hence to place a residence in the centre of a close array of +trees is not desirable; not only is the access of air, light, and heat +prevented, but there is always a tendency induced to dampness in the +house. In an open, airy, and well drained situation, the effects of even +long-continued wet are soon dispelled, but when all sides of a house are +surrounded closely by trees, an opposite result is induced, and, in +comparatively dry situations, many evils of a damp one ultimately ensue. + +One of our earliest English writers on building, Thomas Fuller (1633), +speaking of the choice of situation for a new structure, says: “_Chiefly +choose a wholesome air_, for air is a dish one feeds on every minute, +and therefore it need be good. Wherefore, great men (who may build +where they please, as poor men where they can) if herein they prefer +their profit above their health, I refer them to their physicians to +make them pay for it accordingly.” And as to light, he continues: +“_Light (God’s eldest daughter!) is a principal beauty in a building_, +yet it shines not alike from all parts of heaven. An east window +welcomes the infant beams of the sun before they are of strength to do +any harm, and is offensive to none but a sluggard. A south window, in +summer, is a chimney with a fire in it, and needs the screen of a +curtain. In a west window, in summer time, towards night, the sun grows +low and ever familiar, with more light than delight. A north window is +best for butteries and cellars, where the beer will not be sour for the +sun’s smiling on it. Thorough lights are best for rooms of +entertainment, and windows on one side for dormitories.” And he tells +us, “_a pleasant prospect is to be respected_. A medley view, such as of +water and land at Greenwich, best entertains the eyes, refreshing the +wearied beholder with exchange of objects. Yet,” he adds, “I know a more +profitable prospect--where the owner can only see his own land round +about.” + +Having thus disposed of some of the most important points that should be +kept in mind when choosing the site of a house, and of such other +conditions as affect its picturesque and sanitary character, a small +space may be devoted to the consideration of its internal decorations. + +On this point there is no disputing about tastes, but to this may be +added that the absence of taste is by no means uncommon. Having fixed on +the style of house, the next question for decision, in respect to its +general effect, should be that of its internal decoration. Congruity of +design should exist between the two, for if an opposite course be +adopted, a vulgarity will be introduced that will be highly displeasing +to good taste. On the other hand, a slavish adherence to uniformity of +internal with external character might produce so severe an adherence to +system as to exclude the benefits that arise from judiciously chosen +contrast. What has before been remarked in regard to the exterior, +applies equally to the interior of a house--each should have in its +general effect an agreement in appearance to its objects. In an antique +apartment the light character of modern furniture would be evidently out +of place, and _vice versâ_. + +It is evidently impossible to direct attention to more than a few +elements of success that may be arrived at in internal decoration. +Independently of this, each person has his own views on the matter, that +would be sure in the end to overrule any exact principles, or at least +greatly modify them. The following observations however, are offered +suggestively. + +The facility with which the most beautiful designs in painting, &c., are +transferred to paper for paper hangings, has brought these into very +extensive use for decorative purposes. Formerly the best patterns were +produced in France alone, but of late years the British manufactures +have rivalled the Continental. The pattern in respect to size, colour, +design, &c., should be so chosen as to be in accordance with the amount +of light, the size, and other conditions of the room. A large pattern in +a small room is equally out of place with the reverse condition. A light +pattern again in a dark room, although advantageous in alleviating +sombreness, is also incongruous. The general effect of a room on a +spectator is thus largely influenced by these points, and consequently +they should be carefully attended to. Frequently paint is preferred for +covering walls of apartments, and where many pictures are introduced +this may be advantageously employed, because the paintings alleviate the +monotonous effect that would otherwise ensue. Painted walls are liable +to injury by peeling off in places, especially where likely to meet with +blows from furniture, &c. In damp weather, from the absorption of heat +they generally become not only wet, but frequently stream with water. If +the apartment is “smoky,” lines of sooty hue soon follow, and the room +acquires a dirty appearance. This is avoided by the use of paper, which +prevents the abstraction of heat and the consequent deposition of water; +Beautiful effects may be produced by graining and other devices which +are too well known to require enumeration. When flock paper on walls +becomes dirty and requires renewing, if painted it looks extremely well, +a diaper ornamental surface being produced by such means. + +The mantel-piece of a room adds to or detracts from its general effect. +In a well lighted apartment, with light furniture, white marble is +decidedly preferable. Whereas serpentine, black, or coloured marbles, +grey and even red granite, may all agree in rooms but moderately +lighted. + +The cornice and ceiling decorations equally require adaptation to the +character of the apartment. For these purposes beautiful designs have +been suggested and employed. The material of which they are usually made +is so plastic as to be capable of receiving and retaining the most +intricate forms conducive to elegance and beauty. In some rooms such add +greatly to the general effect, while in others, especially with painted +walls, plain mouldings seem most appropriate. + +A profusion of gold or gilding displays want of taste. A glaring example +of this might be pointed out--a white marble mantel-piece supported by +gilt angels five feet high which “graces” the drawing-room of a mansion +in one part of this country. The outer room is a gorgeous display of +gold, silver, and vulgarity. It serves, however, index-like, to point +out at once the riches and “taste” of the owner. On the other hand, +paintings and engravings in gilt frames have an excellent effect in +setting off a room, provided that their size is in accordance with that +of the apartment. + +Stained deals, varnished, afford a good material for panelling, and for +covering the walls of rooms. We have in our eye a dining-room thus +fitted which has an effect approaching to some of the oaken fittings of +olden times. The material is cheap and durable, whilst the surface can +always be renewed in its freshness by a new coat of varnish. It has been +largely adopted in churches for pews and other fittings, with the best +possible results. + +The minor objects of decoration, such as handles, finger-plates, +bell-pulls, &c. &c., can only be here named. In many instances designs +are given in the following pages, suggesting the most suitable either +for indoor or outdoor use, according to the character of the room or +entrance for which they are intended. + +So much for the picturesque exterior and tasteful interior of a house; a +few words however may be said in respect to its immediate surroundings, +such as the lawns, gardens, pleasure grounds, &c. + +The most picturesque villa would be a nonentity in a wrong situation. +It would be opposed to what is usually called the “fitness of things;” a +phrase that expresses much meaning without an exact definition. Hence +“landscape gardening” has become an almost necessary adjunct to the art +of architecture. An unframed picture has possibly every merit that the +painter’s art can bestow on it, yet it lacks that finish which the +exterior confers on it. So the well laid-out garden, the vista at its +extremity, the carefully arranged parterre, the judicious management of +floral culture, especially with regard to colour; neatly arranged walks, +and many other exterior matters of detail, add to, enhance, and +occasionally become indispensable adjuncts to the picturesque. + +We give two examples of picturesque accessories to garden architecture; +the first rather belongs to the secluded wood, to some sequestered spot +of sylvan shade, whence rises a spring which tradition may designate as +that of some beautiful nymph; where the limpid crystal flows in gentle, +yet ceaseless streams, conveying “health to the sick and solace to the +swain.” The last, a vignette at the end of this chapter, is the +representation of a ruined fountain, designed in 1820 by one of the best +teachers of drawing England ever possessed, the late C. J. M. Whichelo. +The architect may suggest the addition of a garden, but it is no part of +his business to supply the details; these rather belong to the +horticulturist. Yet these should not be forgotten; a complete whole is +always made up of minute parts, and by these littles an entirety of +effect is produced, just as their individual importance is not lost +sight of. + +[Illustration: The Nymph’s Fountain.] + +In conclusion, it has been attempted in this introductory essay to +enable the unprofessional reader to become acquainted with the general +principles, and some practical details that should guide him in the +selection of a site, and the erection of an elegant, convenient, and +pleasant house, both externally and internally. So far as architecture +and decorative art can aid such objects, the special details involved +have to be perused in the text of this work. Fundamental ideas of such +subjects have alone been here treated. A hope may be expressed that any +suggestion or advice hitherto offered may not, in all cases, be without +value. It is not given to all men to know all things. By the experience +of others we gain fresh views of old ideas, invest them with new +clothing, and in fact make out of that which is past, the material for +something new. We rest on the apparently obsolete for suggestive ideas +of improvement. Although the fashion of this world passeth away, yet as +a dissolving view it reproduces itself in other forms, which, by the +contrast of apparent novelty, and real or supposed merits, gain, either +temporarily or permanently, the applause of mankind. + +[Illustration: Old English Garden Plots.] + +[Illustration: Garden Fountain in Ruins.] + + + + +_DESIGN No. 1._ + +A GARDENER’S COTTAGE. + +[Illustration: Front elevation.] + +[Illustration: Back elevation.] + + +Some examples of designs for small cottages will be first given in this +volume. There are few domestic + +[Illustration: Ground-floor plan.] + +[Illustration: Plan of upper floor.] + +[Illustration] + +structures that have received within the last fifty years a greater +share of attention than the English Cottage, especially that designed +for the occupation of the labourer. Each detail has received much care; +thus, whether its walls should be solid or formed in two thicknesses, as +most conducive to warmth and comfort; whether they should be of thin +brick or of solid thick concrete; the best kind of roof covering, and +indeed all such questions, have been fully discussed. + +[Illustration: Section through length of building.] + +Besides this, the calculation of cost has been of importance; they are +required to return a rent that will pay 5 per cent. on the outlay, and +to gain their picturesque appearance has generally been sacrificed. + +The cottage examples in this volume have been erected on estates where +the only aim was to render them substantial and lasting structures, +expense being a matter of minor importance. Their picturesque appearance +being in every case insisted on. + +Before entering into any description of the designs, it must be pointed +out that the plans, with the exception only of a few at the end of the +volume, are all drawn to the same scale, that of 20 feet to the inch, +and that the elevations and sections are to a scale of 15 feet to the +inch. + +[Illustration: Cross section.] + +The details and the vignettes, one of which is mostly given between each +example, are of various scales suited to each separate subject. + +[Illustration: Plan of wood casement.] + +[Illustration: Section.] + +The cottage design shown in the plate, and which forms the first example +in this series, was erected on a nobleman’s estate in the country, for +the use of a favourite gardener, a married man without children, and the +accommodation afforded was all that he required. It consisted of a lower +room fifteen feet by twelve, fitted with a small cottage oven; a +scullery ten feet by ten feet, and a larder; the upper floor contained +one room of the same size as the lower, and one fourteen feet by ten +feet. The building was constructed in a very superior way. It was +erected in red brick with compo dressings round the door and windows. +The illustrations represent the front and back elevations; and sections +through the length and breadth of the cottage, with details of the wood +casements, and a plan and section of the cottage oven. + +[Illustration: Cottage oven.] + +A view of a cottage slightly different in design but having rooms of the +same size with similar accommodation, is given. This was intended for +the same estate. + + * * * * * + +The vignette is an elevation of two lead pipes designed for an +Elizabethan building in the country. + +[Illustration] + + + + +_DESIGN No. 2._ + +A SMALL COTTAGE OR LODGE. + +[Illustration: Perspective view.] + +[Illustration: Ground-floor plan.] + +[Illustration: Upper plan.] + + +This small building forms the outer lodge to a country park. It is +finished in all its parts so as + +[Illustration: Elevation of front.] + +to correspond in style and details with the old family mansion, and +being a prominent object, standing in a cheerful position, each side was +made pleasing. It is + +[Illustration: Side elevation.] + +so placed that the sun during its daily course shines on all the +exterior walls. Cottages should have no + +[Illustration: Section through length.] + +dark corners, the sun should find entrance at all the windows whenever +it is bright; the interior is then warm and cheerful. If the plan of a +building is either + +[Illustration: Cross section.] + +a square or a parallelogram, and it is placed on the ground so that one +of its diagonal lines runs due north and south, the advantage of +sunlight at all the openings is obtained, and this has been pointed out +by several writers on the subject. The ground plan shows the general +arrangement of the interior. The parlour and kitchen are both of the +same size (14 feet by 11 feet); it has a small scullery, an open outside +porch, and a place for coals; the larder with its window + +[Illustration: Section through front and back porches.] + +[Illustration: Dry vault.] + +is under the staircase. The latter is a cottage staircase, occupying +only half the usual space. The plan of the upper floor shows two rooms +of the same size as those on the lower floor, with the compact reduced +form of the staircase. The plate gives the front and side elevations of +the building; sections through its length and breadth, and through the +two porches back and front, and the dry vault of closet, are given. + +The water from the scullery sink is discharged into the dry vault. The +staircase, of which a section is given, occupies exactly half the space +of a staircase on the ordinary plan. The width is three feet, each step +rising in two heights of 6 inches. It is necessary that such a +contrivance should have plenty of light. These staircases were first +used in France. Loudon, in his “Encyclopædia of Cottage, Farm, and Villa +Architecture,” gives a representation of one, and remarks that the +celebrated American, Jefferson, when + +[Illustration: Section of staircase.] + +[Illustration: A staircase.] + +making a tour in that country, was so struck with the contrivance, that +he noted it in his journal, which was published with his +correspondence. A perspective view of one of these staircases is +annexed. + +A staircase of this description, if made four feet in width, might take +up only one-third the usual space: it would be very applicable to +offices and warehouses where room cannot be spared, and where staircases +little better than ladders are used, but in such cases a baluster and +hand-rail should be placed between each second step, to prevent persons +falling. + +The “Builder” of November, 1843, gave two views of an ingenious double +spiral staircase then exhibiting at a manufactory in Berners Street, +Commercial Road. It was described as extremely simple, the object being +to provide for ascent and descent without chance of meeting or +collision. It consisted of a deal or other board of suitable thickness 6 +feet long and 12 inches wide, forming a double _tread_, and the _riser_ +crossed, as it were from corner to corner, except as arranged to form a +_newel_ in the centre, of about five inches in diameter. The staircase +had twenty-two risers, and took one complete turn round. + +[Illustration: Plaster ornament for a ceiling.] + + + + +_DESIGN No. 3._ + +A PICTURESQUE COTTAGE. + +[Illustration: Perspective view.] + +[Illustration: Ground-floor plan.] + +[Illustration: Upper floor.] + + +This design for a peasant’s cottage possesses no architectural feature +beyond what could be given + +[Illustration: Elevation of front.] + +to it by any common country village carpenter. It was made from the +recollection of one at Blaise Hamlet, + +[Illustration: Side front.] + +near Blaise Castle, in Gloucestershire, the seat of John I. Harford, +Esq., to whom the hamlet belonged. This was celebrated for having about +a dozen of these small picturesque structures, apparently put up by the +owner of the estate. Nearly the whole of them were provided with rustic +seats under a projecting roof, as well as with a pigeon-house at the +gable. This was called Vine Cottage; there were besides Sweet Briar +Cottage, Rose Cottage, Diamond Cottage, Dial Cottage, Jessamine Cottage, +Circular Cottage, and Oak Cottage. Views of all of them were first +published at Bristol by Mr. Western. + +[Illustration: Section.] + +There are numerous similar hamlets and villages in England, some having +the cottages, schoolhouses, literary meeting room, and even the village +pump, all in picturesque form, and generally architectural in character. +The plan given here is probably not like that of the cottage at the +hamlet. It illustrates one room, size 13 ft. by 12 ft., a scullery 12 +ft. by 9 ft., and larder under the stairs. The latter are shown with +the double-rise step. The upper plan shows one room of the same size as +that below, and a closet. The scullery on the ground floor is large +enough to form a sleeping room for boys, or to make a small living room. +The height of the lower room is 9 feet 6 inches. The section shows the +general form and fittings of the rooms. The plate below the plans gives +an elevation of the front, showing the rustic seat and the side of the +entrance porch, the gable of the cottage formed into a pigeon-house, +together with the side front of the cottage and its entrance porch. The +small window at the side is intended to light the first steps of the +stairs; a small shed for wood or coals is placed at the back. Such a +cottage could be built and finished complete at a cost of about one +hundred and ten pounds. + +[Illustration: Plaster frieze for drawing-room.] + + + + +_DESIGN No. 4._ + +A DOUBLE COTTAGE. + +[Illustration: Perspective view.] + +[Illustration: Ground plan.] + +[Illustration: Upper plan.] + + +These cottages were intended to be attached to some ornamental grounds +which were very carefully attended to; and as the building formed a + +[Illustration: Elevation of front.] + +prominent object, it was rendered architectural and pleasing in +character. In plan the cottages are large + +[Illustration: Section.] + +and roomy, and they are of the cheapest kind. If constructed in plain +brickwork, without the ornamental gable on the porch, the pair could not +have cost more than 250_l._, and at that sum they have been estimated +for by a London builder. Each cottage has one living-room on the ground +floor, _f f_, of the size of 14 feet by 10 feet, with a scullery, _g g_, +attached, size 10 feet by 6 feet 6 inches, and a small larder and +staircase. + +[Illustration] + +The latter, with ten risers, leads to the upper floor, in which are one +large and one small room. The plate gives the ground plan, and the plan +of the upper floor. The closets are in the yard attached to the +cottages, but not shown in the plan. + +The plate gives an elevation of one of the fronts, and a section, taken +through the living-room and scullery: a portion of the ornamental gable +is illustrated in the previous page. + + * * * * * + +The vignette represents an ornamental escutcheon and handle, in brass, +for an inner entrance-hall door. The drawing is one-third of the full +size. + +[Illustration] + + + + +_DESIGN No. 5._ + +A DOUBLE COTTAGE AND VILLAGE SUNDAY SCHOOL. + +[Illustration: Perspective view.] + +[Illustration: Ground-floor plan.] + + +This building was intended to be placed in a village of one of the +midland counties, nearly all the buildings in the village being of +picturesque character. It was the property of a gentleman who was +erecting a large Elizabethan mansion in the neighbourhood; the design is +for a double cottage and Sunday school; the latter being under the +direction of the clergyman of the parish. + +[Illustration: One-pair plan.] + +The porch was decorated to give it importance, and form a shelter for +the clergyman in passing from one school to the other. One part was +intended for boys and the other for girls. The chimneys of the building +were grouped together in the centre so as to form a prominent object; +they were copied from a very fine ancient example, then existing at a +farm-house near Ashford, in Kent. + +The illustration gives a view of the front, and the plans. Each of the +two principal rooms was 16 feet 6 inches by 13 feet 6 inches, with a +scullery on the side 10 feet square, and having a good oven; the larder +was under the stairs. The rooms above were + +[Illustration: Section through length of building.] + +of the same size as those below. One of the cottages had the centre room +below as well as that above arranged so that one had four rooms and the +other two; but this could be changed at any time, to provide each +cottage with three living rooms each. A section through the length of +the building and the chimney stack is given in the previous page, and an +elevation of the front is given above. + +[Illustration: Elevation of entrance front.] + +The building was to be constructed with sound stock bricks, and red +brick rusticated facing round the upper windows; the finishing of the +gables with their small pediments was of cut red bricks. Small compo +finials crowned the whole. + +[Illustration: Finial.] + +[Illustration: Finial.] + +[Illustration: Elevation of chimney stack.] + +The porch had trunks of trees for columns, the entablature and pediment +were formed of cut bricks and compo facing; the pilasters on each side +of the lower windows were of cut squared flint, peculiar to the county, +the whole resting on a plinth of rough country stone. A wooden +balustrade of simple pattern surmounted the porch, extending on each +side of the columns. These latter resting on a stone slab. The chimney +stack is shown, and its plan, on the previous page. + +[Illustration: Plan.] + +[Illustration: Elevation of a chimney stack at a farm-house, Ashford, +Kent.] + +The old stack from Ashford, with the plan at its base, and capping, is +also illustrated. + +These representations of the two chimney stacks, ancient and modern, are +drawn to the same scale, so that the difference between the present and +old mode of treatment may be seen. The large flues of the old example +permitted the then mode of sweeping, by discharging a culverin up the +flue. The occupants of the dwelling could not then have cared much for +return smoke in their rooms; which in these large flues, with coal as +fuel, must have been considerable, and could only be obviated or +prevented by the numerous cold draughts of air permitted to pass through +the interior of the building. + +[Illustration: Plan of capping.] + +[Illustration: Plan of base.] + +The plan of this building was adapted from a very favourite one of the +late Sir John Soane. He erected it at Wimpole, in Cambridgeshire, for +the Earl of Hardwicke, in 1794. It had a very plain exterior, and the +roof was covered with thatch, a very common mode with architects at that +time, but now objected to from the serious evil of its harbouring +numerous insects--indeed at times they render the building almost +untenantable. The walls of the cottages at Wimpole were built in Pisé, +or with clay and fine gravel, properly prepared and beaten down in a +mould. Each wall was three feet in thickness, the fireplaces and +chimneys were of brick. Every opening was covered with strong wood +lintels, the whole width of the walls, and two feet longer than their +respective openings. + +The walls stood on brick foundations two feet above the ground. The cost +of the construction was about 450_l._ Design No. 5 could not now be +constructed for less than 630_l._ + +It may be here remarked that nothing certain can be advanced about the +cost of a building until the situation and local circumstances are fully +known and considered. In the absence of these no estimates can be given +with that accuracy which every gentleman wishes for, and ought to be +possessed of, before he begins building. + + + + +_DESIGN No. 6._ + +A HUNTSMAN’S LODGE OR COTTAGE. + +[Illustration: Perspective view.] + +[Illustration: Ground plan.] + +[Illustration: Upper plan.] + + +This edifice was erected in the neighbourhood of some thick plantations +in a sporting district. It was constructed of brick, with a wooden +porch; the facing bricks of the walls being of a light-yellow colour, +with red bricks round the windows; and the whole of the cornices and the +four chimneys were of cut red brick. The building seen from among the +trees looks + +[Illustration: Front elevation. Section.] + +very pleasing. The ground plan shows a front room 13 feet square, with a +small scullery behind; the larder is under the stairs, which have the +double riser, and a window is placed both at the bottom as well as at +the upper part of the staircase, to give plenty of light. The upper plan +shows three bed-rooms, each about 10 feet by 6, and a small bed closet +for children, the closet having a ventilator in the chimney at the +angle. These chimneys, instead of being grouped together in the centre +of the structure, occupy the four corners--an expensive form of +erection, but one that gives more room in the interior. The elevation of +the front is given in the plate, and the section by its side; the small +figure below shows the different courses of cut bricks forming the +pediment and cornice. + +[Illustration] + +These were carefully executed, and had a good effect. The first figure +likewise illustrates the oak finial on the top of the roof. A +chimney-piece in one of the upper rooms had a quaint carving in the +centre of a fox’s head, a subject appropriate to the pursuits of the +occupant of the cottage. + +[Illustration] + +The chimney-piece, and the fox’s head on a larger scale, are here +represented. The gateway seen at the side of the building in the view +was formed by the workmen out of various old fragments; it leads to a +yard in which are various sheds and out-buildings. + +[Illustration] + + * * * * * + +This vignette affords a specimen of ornamental iron railing intended for +exterior work, and suitable for any situation in which such may be +required, in consequence of the neatness of its pattern. + +[Illustration] + + + + +[Illustration: Rose Hill Villa.] + + + +THE CONCRETE CONSTRUCTION FOR BUILDING COTTAGES. + + +Considerable pains have been taken for the last fifty years to discover +the best and cheapest method of building cottages; bricks, stones, wood, +mud, plaster, and lately straw and bitumen, have all been selected. +Sound bricks and good building stones, well incorporated with mortar of +a good and binding quality, will last for centuries; while those of mud, +clay, plaster or concrete are continually becoming out of repair, and +therefore ought never to be introduced where sound construction is +desired, and better materials can be procured. In our moist climate, +unless great pains are taken in compounding such materials as clay or +concrete, in constructing walls, and in protecting these against the +effects of the weather, they will soon decay. Mud walls, however, made +perfectly in the common manner, of clay well tempered and mixed with +sharp sand, will last very many years. + +The preceding view represents Rose Hill Villa, near Stockbridge, +Hampshire. It is probably the largest and most important specimen of +such a construction in England, and comprises dining and drawing-rooms, +each 20 feet by 18 feet, morning-room, housekeeper’s-room, kitchen, back +kitchen, pantry, excellent cellars and all requisite offices; five very +superior bedrooms, two dressing rooms, a water-closet on the landing and +ground floor, and five servants’ bedrooms. It has a double coach-house, +harness-room, and stabling for four or six horses, and in the outhouses +a four-roomed cottage for the coachman. + +This villa was formerly in the occupation of Fothergill Cooke, Esq.,[A] +the inventor of the Electric Telegraph, and is now the residence of Sir +Augustus Webster, Bart. + +The building is constructed of chalk concrete, and has stood the test of +forty years’ exposure without any signs of decay. Mr. James Flitcroft +sent in 1843 a view of the villa to the “Builder,” and thus described +the construction of such houses in the locality:--The walls are carried +above the ground two and sometimes three feet to prevent the damp from +rising to the mud, which if wetted would scale off by the action of +frost. The kind of earth used is fine chalk, dug from the surface; if +timely notice of any building will permit, it is best dug in winter, +that the frost may act upon it. Buildings formed of this material can be +erected only in dry warm weather. The workmen in preparing this chalk +for use put about a cartload of it together, throw water over it, and +tread it with their feet, turn it over, again tread and turn it, until +it begins to bind something like loamy clay; then let it soak a little +while, when it is ready for use. The waller is able to put on a layer of +about fifteen inches; he begins at one corner and goes round the +building, putting one layer on another, taking care that the lower one +is sufficiently dry to bear the upper. In buildings of two stories high, +the walls are generally eighteen inches thick. When the walls are got up +five or six feet, and pretty dry, the quoins are plumbed, and the walls +dressed down a little, in order that the waller may see what he is +about. A small short spade is the best tool for this purpose, with short +handle and rather bent. The work is then proceeded with as before, until +it is raised up to the square of the building, when the + +[Illustration: Elevation and section of a wall (see p. 86).] + +walls get their general dressing, ready to receive their coating. + +Mr. Flitcroft describes Rose Hill Villa as coated with stone, +lime-coloured and drawn. The columns of the villa are of brick. He +states that there are several other buildings of this kind at +Stockbridge, Winchester, and other places in the neighbourhood. He +describes a better method of constructing such walls by the use of a +moveable trough or box about 12 feet in length by 18 inches in depth. +This trough rests on bearers put across the wall, with a mortice at each +end wide enough apart to receive the sides, and the thickness of the +wall; in these are inserted uprights to prevent the sides giving way, +with others to go across the top. This mode of construction is however +very ancient, and when done on a large scale the primitive method is +still pursued. + +This method is shown in the preceding engraving, which gives an +elevation and section of a wall in process of construction, with the +posts, _b b_, the moveable planking, _c c_, and cross pieces, _d_. It +will be seen that three courses of bricks are put about every five feet +in height. The figures here given are copied from a very old French work +on Architecture and Building; they also show the manner in which roof +construction was attempted with slabs of the same material, as shown in +figs. 1 and 2: the building is supposed to be square, as shown by the +dotted lines _a_, _b_, _c_, _d_. + +[Illustration: Fig. 1.] + +[Illustration: Fig. 2.] + +[Illustration: Elevation.] + +[Illustration: Section.] + +The plan, elevation, and section given below represent a small tomb +wholly formed of concrete slabs, the door alone being excepted. This +little building forms really a solid concrete monolithic edifice. + +[Illustration: The entrance door.] + +[Illustration: Plan.] + +A very common method of forming partitions, and even roofs in some of +the agricultural districts in Hampshire, is first to put them up with +strong wattle hurdles. They are double the size of the common hurdle, +and made of a thicker material. When in their place, they are plastered +over with concrete, and made about four inches in thickness; they very +often require repair. It is said that concrete walls are subject to +contraction and expansion, and speedily show vertical cracks at +intervals, which in our damp climate would soon permit the wet to enter. +There can be no question as to its strength as a building material, as +some experiments conducted by the Institute of British Architects gave +the following results--viz., “Concrete composed of two parts of lime, +thirty-six parts of sand, and five parts of cement, can resist a +crushing weight of four tons to the square inch, being twice the +strength of Portland stone, eight times the strength of Bath stone, and +sixteen times the strength of brickwork.” + +In constructing cottages with concrete everything depends upon the +goodness of the cement and the care with which it is used. The occupiers +of these cottages are frequently their own operators; the work is +generally too speedily performed, and the consequence is that the fruits +of their labour are in most instances of but short duration. + +For obvious reasons it is necessary that the greatest economy should be +observed in the construction of peasants’ cottages, and for these +reasons the apartments should always be on the ground floor, which will +render it unnecessary to build them more than eight or nine feet high. +Where mud walls are introduced, the lower they are made the better, in +which case they should be made to batir on the outside so as to resist +the pressure of the roof, the covering of which should project as much +as possible, to throw off the wet and protect the walls. The chimney +flues in these clay and concrete walls are formed of drain-pipes, which +answer admirably. These humble dwellings should be paved with +brick-on-edge paving laid on sand, which is much warmer, and more +conducive to health than any sort of rough flagging, plaster, mud, or +concrete floor. The latter, although much cheaper, can never be made to +look clean. Foundations of clay or concrete walls should be of brick a +few courses above the surface, and the walls when dry should be covered +with a thick coat of plaster consisting of lime and sand, or what is +still better, a coating of good Portland cement. This ought constantly +to be kept perfect, as everything depends upon the goodness of the work. +Concrete improperly mixed is not so strong as brickwork, but is mere +rubbish; but when perfectly done it hardens with age, becoming like +stone, impervious both to wet and frost. + +Materials can be found in every locality. One of the principal +constructors using such, Mr. Tall, who works with an excellently +contrived apparatus, thus describes them:--“Clay, which may be burnt +into ballast easily and cheaply, and is a most superior material for +concrete; gravel, stone, crushed slag from furnaces, smith’s clinkers, +oyster-shells, broken glass, crockery, or any hard and durable +substance. Where sandstone or any flat stone is to be found, walls can +be built even cheaper than of gravel concrete, as a labourer can break +the stone.” He gives the proportions of materials used in houses then +being constructed at Gravesend, as follows: + + £ _s._ _d._ +7 yards of burrs from brickfield, at 5s. 1 15 0 +7 yards of gravel stone, at 3s. 1 1 0 +1 yard of Portland cement, 16 bushels to the + cubic yard, at 2s. 1 12 0 +Labour, at 2s. per cube yard 1 10 0 + --------- +Total £5 18 0 + --------- + +Three cubic yards of concrete will build 60 yards of 9-inch work, at a +fraction under 1_s._ 11_d._ per yard. + +Concrete cottages have been built at Setting, in Kent, under Mr. Adkins, +architect, that cost only 105_l._ per pair; the ground floor contained +two rooms; with the usual larder and closets, and the upper floor three +rooms and a cupboard; these cottages had gabled fronts and were +picturesque in character. It would be an extra expense over the common +method to construct floors and roofing of concrete; the advantage to be +gained would be their fire-proof character. + +In superior buildings the high tenacious power of good cement is +repeatedly, it may be said commonly taken advantage of in the +construction of roofs. These are formed by cementing plain tiles, and +they have considerable strength. Roofs of 12 feet span, constructed in +segmental form, rising three feet, and only of three plain tiles in +thickness, successfully resist great pressure, and are durable in a very +superior degree; but they require to be well tied in, and formed +between iron girders connected together with iron tie rods, otherwise +they sink and force out the walls. Roofs of cemented tiles have been +constructed from 30 to 40 feet span, and have been found to answer well; +hoop-iron bond, laid at intervals between the tiles, is a great +advantage. The tenacious power of good cement was proved in a very high +degree a few years ago by Mr. Brunel, in the construction of two +semi-arches built of brick, springing from a pier or abutment 14 feet in +height. One extended 50 feet in length, the other 38; the rise of the +arches was 10 feet, the width only 4 feet 6 inches; a weight of about 40 +tons was suspended to the extremity of the shorter arch without breaking +it. + +The result of this test proved that arches of 200 feet or 300 feet span, +and probably more, might be constructed in the same manner at very +moderate expense, without centering. Iron-hoop bond is said to nearly +double the strength or holding power of the cement. Flat experimental +beams have been constructed of brick and cement, with hoop-iron bond +laid horizontally between the joints or courses of the brickwork, which +have given equally extraordinary results. + +Concrete for walling was extensively used in England at the beginning of +the present century; it got into bad repute through failure of a river +wall at Woolwich, where it was either badly done, some mistake was made, +or it was unsuited to the position. The wall was constructed of blocks +of concrete cast in moulds, and submitted to pressure while setting; a +coating of fine stuff being applied for the sake of appearance, ample +time having been allowed for the blocks to set and harden before use. +The blocks were 1 foot 6 inches high, the binders and stretchers in the +course being each 2 feet 6 inches long, the bed of the former being 2 +feet, and of the latter 1 foot; the wall was built upon piles, its +height above the piles being 24 feet; the thickness at bottom was 9 +feet, at top 5 feet with a batir in front of 3 feet in 22. + +The face of the wall was composed of blocks, as described, and rough +concrete thrown in to complete its thickness, and that of the +counterforts. After a frost it was found that this wall was seriously +damaged, hardly a single block having escaped, and in many cases their +whole face had peeled off to the depth of half an inch. The discharge of +a drain from a height of 6 or 8 feet had worn away the lower courses to +the depth of some inches. On a like wall at Chatham, similar but much +more severe effects were produced. + +The failure of this wall costing about 80,000_l._, was a serious matter, +and for several years after architects looked upon concrete as being so +much uneatable hasty pudding, considering that it was only beneficial +when confined in a trench for foundations. Sir Robert Smirke used it in +the foundations of the Penitentiary, Millbank, and Sir John Soane in +1830 used it in the foundations of the New State Paper Office (now +pulled down) in St. James’s Park. Here the ground had to be excavated to +a depth of 22 feet before arriving at a gravelly stratum; at each high +tide the Thames filled the trenches with water, which remained in +considerable quantity; as this was pumped out, the adjoining party walls +of the buildings in Duke-street cracked so completely that they had to +be taken down. The trenches were first filled to the height of two feet +with broken stones and bricks from the old buildings, and then dry lime +and clean river sand, with a large quantity of small broken granite +stones, were thrown in from the height above. A body of concrete 8 feet +in width by a thickness of 3 feet was thus formed; the water ceased to +enter the trenches and the building was commenced. + +Mr. G. Godwin, the editor of the “Builder,” in an essay on concrete +which gained the first prize given by the Royal Institution of British +Architects, appears to have been the first to suggest its use in walls +above ground; and for these Portland cement concrete, when properly +prepared, is without question an admirable material. + + + + +_DESIGN No. 7._ + +[Illustration: A garden gate--plan and elevation.] + + +In France it is used to a very great extent, in numerous bridges, and +several miles of large sewers. A church (that at Vésinet, near Paris, of +mediæval architecture), constructed entirely with iron and this +concrete, is completely fireproof. In England a considerable length of +sewer has been constructed of concrete at Sidmouth, under the direction +of Mr. Phillips; and near London, between the Kensington and Gloucester +Road stations of the Metropolitan Railway, a very large handsome bridge, +rusticated, and in design similar to, and in every respect in appearance +a stone bridge. From some alteration required in the railway, it has +been removed. + +This mode of construction is now being practically tested in the north +of England, at Church Bank, Alnmouth, in its complete form, in a cottage +built entirely of concrete, having three rooms, scullery, and other +conveniences. The material used in the building, as we are told by the +“Builder,” is Portland cement and gravel from the sea-shore. The +foundation is in sand 6 inches thick and 18 inches wide; in this there +is a base course, and above, the walls are 9 inches in thickness. Part +of the erection is two stories in height. The roofs are all flat, and +are constructed entirely of concrete and old wire rope. The ceilings are +divided into panels by ribs at right angles, and require no plastering. +A wall on the upper floor is supported by a concrete beam with a +13-feet span; and a large cistern is formed under the roof of the pantry +for rain water. The sides of the cistern forming the walls of the +bedroom will test severely the impermeability of the material. No wood +is used except for doors, and no iron except five shillings’ worth of +old wire rope. This is said to be an experiment made by the Duke of +Northumberland. + +Another experimental cottage has been constructed under Mr. Edwin +Chadwick’s superintendence at East Sheen near Mortlake. In this the +walls are formed of light iron framework filled with compressed straw, +bitumen, and concrete. The thickness of each wall complete is only about +three and a half inches. The floors are of bitumen and concrete, covered +with ordinary deal boards; the roof has the same construction as the +walls. These, inside, may be either left rough or finely smoothed, +without additional cost. In the former case it is said they resemble the +ordinary “dashes” of stuccoed cottages; in the latter they appear as if +coated with Roman cement, after the fashion of villas and town houses. + +If a construction of this kind can be made durable it possesses superior +advantages to every other. In England both stone and brick are great +absorbents of moisture, causing the occupants of the houses to be +afflicted by rheumatism and other undesirable ailments. Any building +material that is non-absorbent of moisture is a great desideratum yet +unsatisfied. + +An elevation of a design for a garden gate and balustrade to be formed +of concrete blocks is given in Design No. 7. It was originally intended +for the entrance to an old house in Berkshire. + + * * * * * + +The vignette beneath is a Swiss pattern of open woodwork used by the +author as balustrading. The construction is too simple to require +explanation. + +[Illustration] + + + + +_DESIGN No. 8._ + +A PARK LODGE. + +[Illustration: Front elevation.] + + +The entrance lodge to a country park may be considered as a superior +kind of cottage; it is + +[Illustration: Ground plan.] + +often occupied by some favourite domestic or other attaché of the +family. It is usually placed in a prominent position, dressed with +surrounding trees, and with the accompanying gates, posts, and rails. +Considerable attention is always paid to the lodge. + +[Illustration: Back front.] + +An ugly one is an exception, and is very seldom seen. In most cases the +lodge is similar in character to the mansion to which it permits +approach: a Gothic house, hence has a Gothic lodge, and an Elizabethan + +[Illustration: Section.] + +house a lodge of the same character; frequently it is in the Rustic +style that would suit either. Of this the present design and the +following are examples. + +This design was made for one story only, and it is placed so as to +command, or have a view of two roads by which it can be approached; the +plan shows a living room, 13 ft. by 13 ft., a scullery, _g_, 12 ft. by 9 +ft, a larder, _h_, and two sleeping rooms. It has a porch, formed with +trunks of trees, enclosing a seat or bench. The back front is made of a +pleasing character, having a covered way to the closet and coal cellar, +_l_. + +The section shows the height of the rooms, 11 × 6 from floor to collar +beam. The construction was to have been in the common fashion in brick, +with red brick facing, and compo dressings round the windows and top of +chimney stack, the latter in cut red brick. An erection of this kind +could not be completed under a cost of about 370_l._ + +[Illustration: Plaster cornice for a drawing-room.] + + + + +_DESIGN No. 9._ + +A PARK LODGE. + +[Illustration: Front elevation.] + +[Illustration: Ground plan.] + + +This design was a second study for the same small building illustrated +in the previous design. It was intended for a different site, and so +placed as to command only one road of approach. It could have been seen +for nearly two miles previous to reaching it, and was placed about +twenty feet behind the entrance gates; the front had a rustic porch +intended to contain rustic seats. The plan shows a living room 18 feet +by 14, a small scullery, _g_, larder, _h_, and two sleeping rooms each +13 feet by 10 feet. The section is taken through the centre of the +building, showing the front and back porch. It could be constructed for +about 375_l._ + +[Illustration: Section.] + +Either of these lodges could be constructed in concrete, the walls twice +the thickness, the chimney stock in brick and cement, and their cost +would be reduced. + + + + +_DESIGN No. 10._ + +AN ENTRANCE LODGE TO A PARK + + +This lodge stands within an ancient park in Kent. It occupies a +triangular piece of ground and commands three roads of approach. The +building is + +[Illustration: Perspective view.] + +strictly in accordance with the style of the old family mansion within +the park itself, which is a celebrated structure of the times of +Elizabeth and James I. The + +[Illustration: Ground plan.] + +perspective view represents the lodge as seen from the avenue of trees +within the park, the road coming + +[Illustration: The front elevation.] + +between. In the ground plan, p. 105, _a_ is the porch, _b_ the living +room, _c_ the scullery, and _d_ the larder; _g_ are the steps leading to +a vault under the stairs, used for coals, and _f_ is the stone cover +over the dry well. Considerable care and attention were + +[Illustration: Perspective view of back and side fronts, from a +photograph.] + +bestowed in working out the details of this building, which was wholly +erected by the workmen of the estate, with bricks and stone also from +the estate. The lower part or plinth of the structure is of ashlar +ragstone in random courses, the top course header faced, the joints +worked fair, and a sunk splay in the top tooled fair, the course rising +nine inches on the + +[Illustration: Plan of upper floor.] + +face, with an average depth in the bed of eleven inches. The string over +the lower windows is in moulded brick, + +[Illustration: Plan of roof timbers.] + +faced with compo,--the gables and the chimneys are constructed and +finished with cut red bricks. The + +[Illustration: Side elevation.] + +[Illustration: Details of entrance porch.] + +finials, of which there are three, are copied from those of the old +mansion, and cost each 3_l._ The front and side elevations are here +given, together with the details of the entrance porch. The columns were +formed of trunks of trees, with an entablature and pediment of brick +tiles and compo, with iron ties securing the whole. + +[Illustration: Finial.] + +[Illustration: Finial.] + +The brick walls were splashed externally in four colours, black, white, +red, and yellow, which gave a very pleasing tone of colour to the whole. +The plan + +[Illustration: Section.] + +of the upper floor shows the rooms like the lower, each of the average +length of 21 and a width of 10 feet. The staircase leads conveniently to +the two upper rooms; _a_ is a trap-door to permit furniture and large +baggage to be lifted up from below. The sections show the construction +of the roof, the timbers of which were firmly secured by iron straps, _b +b_. The chimney forms a prominent feature in the centre of the building, +the construction of which is shown in the annexed cut; _c_ are corbel +bricks, _b_ the iron strap. + +[Illustration: Section.] + +The last two illustrations are sections through the coal-cellar and the +dry well. The photographic view shows the small circular gable over the +staircase. There are only six of these gables, as a seventh could not be +obtained, or it might have been called the “house with the seven +gables.” The structure cost 526_l._, the cottage design No. 2, on the +same estate, 311_l._, both in full. + +[Illustration: Plan and section of chimney stack.] + + + + +_DESIGN No. 11._ + +AN ENTRANCE LODGE AND GATEWAY TO A PARK. + +[Illustration: Perspective view.] + + +The first erection of an entrance lodge and gateway to a country park, +is often considered of sufficient importance to meet with very full and +careful + +[Illustration: Ground plan.] + +consideration. If the park is an ancient one, the old castellated style +for the entrance lodge will mark its character, and it is generally +chosen, although the + +[Illustration: Plan of upper floor.] + +building or mansion within the park itself may be of more recent style. +The family architect, in such cases, will have to make various sketches +before one is selected that gives general satisfaction. The castellated +Tudor design shown in the perspective view, was the first one made under +such circumstances, and several designs were submitted before it was put +aside, and one selected similar in style and character to the mansion +within the park, and which was soon carried out. + +[Illustration: Front elevation of lodge.] + +The ground plan, p. 113, shows the lodge to have very little +accommodation, one small room 15 feet by 11 feet, with a scullery +attached; indeed, one of the principal reasons for giving up the design +was that the steep character of the ground did not admit a larger +erection. The staircase of the lodge led to one upper room over the +gateway; this was 13 feet by 13 feet. The elevation of the lodge is +shown at p. 114. + +[Illustration: Elevation of half gate.] + +[Illustration: A] + +[Illustration: B] + +[Illustration: C] + +[Illustration: D] + +The details are plain and bold; a shield of arms with quatrefoils is +placed over the side entrance; these and the ornaments on the bay-window +are the chief enrichments. + +The lodge was to have been erected with ragstone ashlar for the quoins +and red-brick facing for walls,--the bay-window and all the strings and +battlements were to be in Caen stone. The iron gates were to be of +wrought iron in the olden style. An elevation of one of the gates is +given, showing a thin ornamental pattern within a strong iron frame. + +[Illustration: Elevation of second design.] + +The parts, ¼ full size, are shown; _a_ is the top rail, _b_ the circular +bar, _c_ a section and elevation of the hanging rail, and _d_ the +meeting bar. + +The accommodation required by the gate-keeper who was to occupy the +lodge was greater than could be well provided on the site the building +was to stand on. What he did ask for was given in a second + +[Illustration: Ground plan.] + +design, which, as it shows a different treatment of the elevation, is +here illustrated. In this the rooms are + +[Illustration: Plan of upper floor.] + +larger, as may be seen by the ground plan; _c_, the back room, is +intended to be used as a boy’s sleeping room; _h_ is the larder under +the stairs, and _l_ is a place for coals. The upper plan shows the room +over the gateway; a second room was to be added by taking up the walls +of the lodge. + +[Illustration: Details of bay-window, second design.] + +The elevation of this design was considered more quaint and +characteristic of the olden style than the first; its window is copied +from one at the old gatehouse to the abbey at Montacute in +Somersetshire, both as to dimensions and detail. It is rather late in +style, and not a very good example, but it is here given with a few +sections and details to a larger scale. + + * * * * * + +The vignette affords a plan of an old English garden with its labyrinth, +fountains, fishponds, and flower beds. + +[Illustration] + + + + +_DESIGN No. 12._ + +A STOVE FOR AN ENTRANCE HALL + +[Illustration: Elevation of stove.] + + +This stove is intended to fill a recess in the hall of a Baronial +Mansion, placed on a marble pavement with groups of ancient armour, +pikes and + +[Illustration: Plan of stove.] + +helmets, and the other like warlike implements of ancient times, +surrounding it. The plan shows its interior to be filled with fire-clay. +It is only a + +[Illustration: The front of stove, the shield or door open.] + +[Illustration: Side of stove.] + +[Illustration: Section of stove.] + +common iron stove, but with a more artistic outline or figure than is +generally seen; the section shows the construction. A moveable box is +placed within the pedestal to receive the ashes; the smoke flue leaves +at the back; the helmet opens to receive a cup of water; the section +shows the construction. When the shield is open the fire is seen; this +could be made partly open, so as to allow the fire to be wholly closed +in. + + * * * * * + +The vignette is a portion of a French design for an iron balconet. In +France these balconets are regarded as necessary protections at the +window openings. In England they are used chiefly for holding flowers. + +[Illustration] + + + + +_DESIGN No. 13._ + +QUEEN’S GATE LODGE, HYDE PARK. + + +The formation of that new and important suburb of London, known as +Queen’s Gate, South Kensington, resulted, as is well known, from the +exertions of His Royal Highness the Prince Consort. It + +[Illustration: First design, Gate Entrance to Hyde Park.] + +promises soon to become the most fashionable and attractive portion of +the Metropolis, as the land is engaged for the purpose of applying it to +national objects connected with the Arts and Sciences, by the + +[Illustration: Perspective view of Lodge, Queen’s Gate.] + +[Illustration: Ground plan.] + +[Illustration: Basement plan.] + +Government. Consequently, with the beauty of the situation, this has led +to the erection of a large number of first-class mansions of the value +of from 20,000_l._ each to 3000_l._ (leaseholds.) The author of this +work, at the time of the purchase by the Government, was surveyor to the +principal estate in that locality--that of the late Charles, Earl of +Harrington; + +[Illustration: Perspective view of Lodge opposite the Exhibition Road, +Hyde Park.] + +and an opening to Hyde Park, for the chief new road, being granted by +Government, he had to submit designs for the new entrance lodge and +gates to the Commissioner of Public Works. The first design he had made +had previously been submitted to the Prince. It was on a large scale, an +archway being placed in the centre, with gates and lodges on each side. +But as the new entrance had to be made at the expense of the builders of +the Harrington Estate, designs of a more modest character were chosen. + +[Illustration] + +Lord Llanover, then Sir Benjamin Hall, was the Chief Commissioner of +Public Works, and took great interest in the designs, repeatedly +visiting the spot, and having various studies made; indeed the works +were carried out under his supervision and direction. + +The opening into Hyde Park was 140 feet in length; this was filled up by +the gates and railings, a lodge being placed within the park. + +[Illustration: Front elevation.] + +[Illustration: Side elevation.] + +The view shows the lodge as it was erected by Mr. Aldin, one of the +building lessees of the Harrington estate; it cost him about 800_l._ The +iron gates and railing were put up by Mr. W. Jackson, the chief building +lessee on the same estate, at a cost which amounted to upwards of +2000_l._ + +[Illustration: Section through length of building.] + +The lodge contains two rooms on the ground floor the front room being 17 +feet by 12 feet, the back room 13 feet by 11 feet. The basement has two +rooms of the same size; with a small yard, a place for coals, and a dry +area surrounding the whole. The plans are shown under the perspective +view; the front and side elevations on page 128; the small portico has +the centre columns without rusticated blocks, so that no square edges +or projecting parts obstruct the entrance of persons into the lodge. + +[Illustration: Cross section.] + +The section through the length of the building shows the two upper and +the two lower rooms, with the sunk yard; it does not show clearly the +section of the ground outside the building; the level of this is 18 +inches below the floor of the upper rooms. The basement is completely +buried, but as the small structure stood upon a mound and was protected +by a dry area, this was of little consequence. The cross section next +given shows the level of the outside ground correctly, with the two dry +areas. Over this cross section are given two small details of the +construction of the roof. + +The building was of stone and brick, the ashlar front of the walls Bath +stone, and the cornice of Portland--this was made so as to form the +gutter. + +The lodge has lately been taken down, and reconstructed on the opposite +side of the entrance gate. So completely was this done that only one +small block of stone was required to complete it, and this was only a +replacement of one broken. The structure itself has been reproduced by +the Government as a lodge opposite to the Exhibition Road. In the cut at +page 127, is given a section through the portico and a section through +the end wall. + +The first design, made by the author, was intended to embody the views +of His Royal Highness Prince Albert, in regard to the arrangement of the +buildings for the purpose of Science and Art then proposed to be erected +on the newly purchased estate. They comprised one for the collection of +Pictures, at that time occupying only half the building at Trafalgar +Square; this, the New National Gallery, was to be surrounded with other +structures, affording ample accommodation for the chief learned and +Artistic Societies of London. A large central Hall of Arts and Sciences +was to be placed in their midst; the whole to form a metropolitan +institution for the promotion of scientific and artistic knowledge as +connected with industrial pursuits. It is well known that the surplus +funds of the Exhibition of 1851, amounting to the sum of 150,000_l._, +were offered by the Royal Exhibition Commissioners at the instance of +the Prince, for the purpose of carrying out this grand conception. The +report of the House of Commons’ Committee on the National Gallery +strongly recommended the offer to be accepted, and Parliament at first +assenting, voted another sum of like amount for carrying out the entire +project. The sum of 300,000_l._ was found, however, insufficient for +purchasing the whole of the ground required, and a further grant of from +25,000_l._ to 27,000_l._ was voted by Parliament, and a sum of +15,000_l._ was given by the Royal Commissioners. Mr. Cubitt was engaged +to obtain the ground, and the roads through the Harrington estate were +planned by him in conjunction with the author, who aided him to the +utmost of his power in obtaining the land requisite to complete the site +required for the various buildings proposed to occupy it. The site was +2100 feet in length, by an average breadth of 1200 feet, and consisted +of about 56 acres; the level of the ground on the north of Kensington +being about 36 feet higher than the portion at Brompton. Another block +of land, upon which the Department of Science and Art is at present +placed, made a space with an average width of 700 feet--in the whole 86 +acres. + +In sketching the design for the general building, of which a bird’s-eye +view is here given, the author only took the 56 acres--the view shows +only that portion of the building facing the Prince Albert’s Road, now +called Queen’s Gate. It is placed in the centre of the land, so as to +have large open grounds surrounding it. These at any time could have +been covered up for the purpose of national exhibitions similar to those +of 1851 and 1862. By putting the level of the ground floor of the new +building about ten feet above that of the Kensington Road, a +sub-basement would have been obtained, over 30 feet in height, affording +ample space for arranging and storing works of art, as well as for +receiving articles to be exhibited, or a great portion of them, from the +upper parts of the building should the latter be wanted for any special +purpose, and affording room likewise for all minor business departments. +The Hall of Arts and Sciences was to be placed in the centre of the mass +of building: a portion of the dome is seen in the view at the upper +left-hand corner. This room was to be made 300 feet in length, by 180 in +width. Two galleries for paintings, each 1000 feet in length and 80 feet +in breadth, were to be placed on each side of the Central Hall. The +sculptures from the British Museum were to be deposited in the central +smaller halls of approach. The various Societies were to occupy the +side-wings, + +[Illustration: View of Queen’s Gate, Hyde Park, with the National +Gallery and other buildings, as suggested by His Royal Highness the late +Prince Consort.] + +each having its meeting and lecture room, and all necessary offices and +apartments. The public were to enter at the porticoes seen in the view, +and the carriages of the professors at the gateways in front. Two roads +were proposed traversing the ground from north to south, and giving easy +access for vehicles to every part of the building. + +In the small block plan attached to the view, placed on the upper +right-hand corner, _b_ is the Prince Albert’s Road, _a_ the Exhibition +Road, and _c_ and _d_ the roads north and south. + +The design was placed before the Prince at one of the Architects’ +meetings at the Earl de Grey’s, and it was exhibited at the Royal +Academy in the same year. The House of Commons, however, after granting +such a large sum of money for the purchase of the land, expressed its +disapproval of removing the National Gallery from the present position, +said to be the finest site in Europe, and the Fellows of the Royal +Academy were informed that the portion of the building they then +occupied would be added to that of the gallery. A view of the gates and +lodge as at present executed is here given. + +[Illustration] + +It cannot be supposed that a sum of 340,000_l._ would have been expended +by the nation for the purpose of giving the Horticultural Society a +perpetual lease of the best portion of the estate purchased. It is +already evident that the gardens are not well situated there. The smoke +of the district will not permit the growth of delicate plants, and their +exhibitions are supplied from the gardens at Chiswick. In much less than +fifty years their grounds will probably be the centre of London, and +consequently the noble conception of His Royal Highness has still a good +chance of being carried into effect. The Society will be smoked out when +the city bounds are extended. The present National Gallery building will +be wanted either for a Bank of England or a Royal Exchange, and my Lord +Mayor may follow the example of the India Directors, and leave the +Mansion House, to move to Whitehall. A tunnel under the Exhibition Road +takes visitors into the grounds direct from the railway, that now makes +them as easy of access from the heart of the City as Charing Cross +itself. + +A few remarks may be made here on the great rise which takes place in +the value of land in any fashionable neighbourhood of London required +for the erection of buildings. + +The Harrington estate at Kensington Gore, containing in the whole 93a. +3r. 27p., was the joint property of the Earl of Harrington and of the +Baron de Villars, through the right of his wife, the Baroness de +Graffenried Villars. Previous to 1848 it had been some time in Chancery. +In that year Mr. John Gaunt Lye was appointed auditor and agent to the +fifth Earl of Harrington for the whole of the property. The rental of +the Kensington Gore estate amounted at this time to 2779_l._ 9_s._ per +annum. Through Mr. Lye’s exertions, he having received a power of +attorney for the purpose, the estate was taken out of Chancery, and a +division took place on the 7th May, 1850, at Mr. Lye’s office in +Lancaster Place. For the purpose of division, one portion--that charged +with maintaining the Cromwell Almshouses--was valued at 41,996_l._, and +the other at 40,552_l._ Cards representing each portion were placed in a +hat, and the one representing the 41,996_l._, was taken out by the +Baron. + +In 1851 the Earl’s portion was let to Mr. W. Jackson on a building +agreement for 99 years, at 100_l._ per acre, or 4600_l._ per annum. In +1852 the Baron de Villars sold his moiety to the Royal Commissioners for +the Exhibition of 1851 for the sum of 153,793_l._ The Commissioners only +wanted a small portion of the Earl’s property. The first offer made by +Mr. Cubitt to the surveyor of the estate was 40,800_l._ for 17 acres, +or at the rate of 2400_l._ per acre. This was declined, and after a +little negotiation the sum of 54,716_l._ was obtained. The matter was +settled on the 7th of March, 1853; Mr. Jackson the builder received +7964_l._ as compensation for the loss of so much of his building land. + +More land was purchased by the Royal Commissioners to make up the site +they required; in the very middle of the latter was a field which had +only been used as a place for beating carpets. It belonged to the Smith +Charity estate, and fetched a rent of about 40_l._ per annum; this field +was obtained by giving in exchange an outlaying one on the Villars +estate, the building value of which was estimated at 800_l._ per annum. + +The Royal Commissioners, after squaring the site they required, and +putting aside the portion now occupied by the Department of Science and +Art, parcelled out the remaining outlying portion into three blocks, and +let them on building leases. The first and most important of these was +secured by the author for an employer, at a rental of 1500_l._ per +annum, on condition that the fee of each house plot could be purchased +within 6 years after the lease was granted; it contained about 2 acres. +And these are now the only freeholds that can be obtained. This plot is +now covered with buildings of the selling value, as leaseholds, of +250,000_l._, and it produces an improved ground rental. For the purchase +of the whole fee, the sum to be paid was 46,500_l._, so that for a +portion of this land which the author of this work, as surveyor of the +property, sold in 1852 for little more than 3200_l._ per acre, the value +had risen, in 1860, to no less than 23,250_l._ per acre. + +It is only since Hyde Park has become almost the centre of the +metropolis, instead of being in one of its rural districts, that +attention has been paid to supply it with ornamental lodges and gates. +The country was so long occupied with the importance of the war with +France, which terminated so gloriously to the honour of our country, +that the Royal Parks were left in a very neglected state; and the gates +and lodges, particularly the entrance into London by Knightsbridge, were +mean in character, and totally unworthy of the purpose. + +Londoners of the present day have no notion of the wretched state of +Hyde Park as it existed fifty years ago. The side next Park Lane, now a +beautiful walk, adorned by the gardener’s utmost skill with several +varieties of flowers and shrubs, was then a narrow sunken road, which +for the most part continued, by the side of the boundary wall, all the +way from Oxford Street to Piccadilly. This, when improvement commenced, +was filled up, and laid down in grass; and a wide Mall, with two +foot-paths, was formed on the higher ground, and enclosed by handsome +iron posts and rails. Some extensive gravel pits existed in the middle +of the park; these were filled up, one only being permitted to remain. +The surface of the park was generally levelled and manured, by which the +herbage has been greatly improved. Numerous seats were placed about the +park, for the convenience of the public; clumps and avenues of trees +were planted. The Serpentine was cleansed for the first time; it is just +now recleansed. A new drive, nearly a mile in extent was made through +the most distant and beautiful part of the park, to lead to Kensington +Gardens; and generally, all the roads were macadamized, and enclosed +with posts and rails. To connect the roads north and south of the +Serpentine, a handsome bridge was erected, from the designs and under +the superintendence of Messrs. Rennie. This has much conduced to the +accommodation of pedestrians and horsemen. + +About twenty years after these great improvements were effected, Queen +Anne’s garden, at the extreme termination of Kensington Gardens, was +thrown open to the public; the kitchen garden belonging to Kensington +Palace was let out on building leases, and a road formed through it +connecting the town of Kensington with Bayswater. This road, called the +Queen’s Palace Gardens Road, is now covered from end to end with +first-class mansions. The improvements continued, and are being still +carried on. + +The lodges and gates, at the chief entrances into the park, were put up +at the expense of the nation. When any building operator required an +entrance into the park, for some new outlying district, he bore the +expense of the construction, working under the direction of Her +Majesty’s Chief Commissioner of Works. The Government lodges at +Cumberland Place cost 2151_l._ One of these has been lately removed to +widen Park Lane. + +The two first lodges, with gates opposite Stanhope Street, cost 5062_l._ +The single lodge at the end of Grosvenor Street, with the iron gates, +cost 2929_l._, and the fountain 340_l._ + +The grandest of all these erections, that at Hyde Park corner, adjoining +the Duke of Wellington’s mansion, cost 17,069_l._ + +The first lodge and entrance gates put up by a private building +contractor was the Albert Gate, erected by the late Thomas Cubitt; the +lodge is sunk, its flat roof being on a level only eight feet above the +ground, and containing two small rooms, with a little yard and scullery. +The iron railing forming the carriage gates and entrances to the +foot-paths is of the same height as the lodge, and extends about 60 +feet; the stone piers have on them the old stags which formerly +decorated the stone piers at the entrance of the Ranger’s Lodge in +Piccadilly. This gate gave an entrance by Hyde Park to Belgravia, and +very much raised the value of that district. + +The next lodge and gate were put up by Mr. Kelk, opposite the fine +mansions at Prince’s Gate. This is known as the Prince of Wales’s Gate. + +There are two lodges in size and plan exactly similar to the lodge at +the Queen’s Gate. The gates and railings are very plain; they are 12 +feet in height, and extend to a length of 77 feet. + +The Queen’s Gate lodge and gates are certainly the chief of all the +erections put up by building contractors; their cost was 2800_l._, as +previously mentioned. Both in ornamentation and character they vie with +the best erections put up by the Government. The length of the iron-work +between the stone pedestals is 140 feet; the height of the common rails, +11 feet above ground; the height of the standard and lamp, 18 feet; +there are two carriage gates, each of 15 feet opening, and two entrances +for foot-passengers, each of 10 feet opening. The stone pedestals at +each end are 6 feet in width by 15 feet in height. The iron-work is +designed to represent a group of spears; the author wished to surmount +the pedestals with groups of military arms similar to those of the +trophies of + +[Illustration: Design No. 13. Elevation of centre of iron-work, Queen’s +Gate.] + +Marius on the balustrading in front of the Senatorial Palace, Rome. +These could have been constructed in + +[Illustration: Elevation of one of the Iron Standards.] + +stone, at little expense. Sir Benjamin Hall wished for marble statues, +and on Prince Albert’s suggestion models were made of two reclining +figures, by Mr. + +[Illustration: Section showing construction of Standard.] + +Theed, representing “Morning” and “Evening.” These would have caused +great additional expense to the builders, who wished, as the entrance +was a great improvement in the value of the Earl of Harrington’s +property at Kensington, to place, on the piers, two + +[Illustration: Plans of Standard at various heights, showing +construction.] + +fine antique statues of Hercules then on the gates at Elvaston in +Derbyshire, a country seat of the Earl’s. But as the statues belonged to +the estate, and were entailed property, they could not be removed, and +the Earl objected to their being taken down for the purpose of casting. +The effect of the whole is much injured by the pedestals remaining +unoccupied. The plate on page 143 represents the centre of the ironwork, +surmounted by the Royal Arms. + +[Illustration: Iron block and ball latch.] + +The gates and railing are of very superior construction; they are the +work of Mr. Turner, of Hinde Street, Manchester Square. They have been +pronounced by the Government officials as requiring little attention, +and that the gates open and shut better than any other gates in the +park. Page 144 gives an elevation of one of the iron standards. Each is +two feet in width; there are ten of them; four, those belonging to the +carriage entrances, being surmounted by lamps. The small size of this +volume will not allow a full illustration of the ornamentation to be +given, but it admits that important part, the construction, to be +clearly shown. Page 145 gives a section of one of the standards, _d_ is +a layer of concrete, 1 foot 6 inches in height and four feet in width, +which goes all through; _a_ is the York landing, 6 inches thick and 5 +feet square; _b_ is the brickwork, this goes all through; _c c_ +represent the blocks of Portland stone; and _e_ is the granite curb 8 +inches by 10 inches in section, within the entrances. + +[Illustration: Wheel block.] + +Page 146 gives the plans of the standards at different heights, showing +the several plates given in the section; and on page 149 is a section of +the wrought-iron coupling-bar with its brass bush. + +The gates move on a hardened steel socket of circular form, working +within a steel box, as shown in the section. + +[Illustration: Fall-down latch.] + +[Illustration: Coupling-bar.] + +Iron block and ball latches are provided for each of the gates. On pages +148 and 149 are cuts of the wheel block, with the plan, elevation, and +section of the stopping-piece or fall-down latch. The stopping-piece is +keyed into the granite curb in the centre of each gateway; _a a_ is the +lower rail of gates, and by its side is a small portion of the ornament +between the rails. That the effect of the whole structure was, very +much injured by the unfinished state of the pedestals was the opinion of +Lord Llanover, who sent the following letter to the architect, +expressing his dissatisfaction: + + Great Stanhope Street, + _July 11, 1859_. + + SIR, + + The works at the Queen’s Gate, Hyde, Park, are very well executed, + and the entrance, as completed, produces a good effect; but that + effect would be materially improved if the gates and the railings, + and the ornamental works were relieved by colour, and some of the + parts gilt as I intended they should be. The two pedestals are also + without the groups which were to form the superstructure of the + square blocks. The work so far as it is executed is very well + executed, and I am quite satisfied with it so far; but I shall not + consider it completed until the groups are placed on the pedestals, + and the best effect will not be produced so long as the iron-work + remains wholly black. + + I am, Sir, + + Yours faithfully, + + LLANOVER. + +C. J. Richardson, Esq. + + + + +ON THE FOUNDATION AND BASEMENT WALLS OF BUILDINGS, DAMP PREVENTION, AND +FIRE PROOF CONSTRUCTION. + + +The foundations of buildings require careful consideration. When a house +approaches completion and shows cracks in the upper walls, they arise +either from insufficient attention having been given to the solid +character of the earth forming the site, or from bad construction at the +basement. The building in fact settles down unequally. As a settlement +of every building is certain to take place upon its completion, the +greatest precaution should be taken to make it as equable as possible. +No portion should settle deeper than another, and this can only be +secured by care at the foundations. + +It often happens that portions of a selected site are of unequal +quality. In such cases it is necessary to excavate the worst portions +deeper to reach a good stratum, and to take the brickwork lower, no +filling up beyond the usual thickness of concrete being allowed. + +There is another very serious evil, in building, to be guarded against. +Owing to the moisture of the earth rising through the foundations and +saturating the walls above, the health of the occupants of such houses +may be seriously affected by its presence in the walls. About twenty +years ago it was the universal practice in good buildings to place wide +stone landings--three times the thickness of the wall above--under the +foundations, for the purpose of preventing the damp from rising as well +as to spread the width of the wall. + +[Illustration: Section of a proper foundation for a wall.] + +A bed of concrete is now used as a substitute for this plan; the +engraving below shows the best method of constructing foundation walls. +A trench, three times the width of the wall is dug, at least 2 feet 6 +inches in depth. Into this is thrown a quantity of concrete, which soon +dries and becomes solid. In the superior class of buildings a layer of +concrete, six inches in thickness, is placed entirely over the ground, +inside the foundation. Upon this concrete the walls are built, the +lowest footing being twice the width of the wall above. On a few courses +above the top footing a course called a “damp course” is put; this is +shown at _a_, page 152. + +Two courses of slate are laid in cement; but other materials are often +used, as a thin sheet of lead, for the whole width of the wall. Zinc +might answer, but it has not yet been tried. A thin coat of asphalte, or +asphalted cloth, tar, pitch, or a plain coat of cement are also often +employed, but the two courses of slate in cement are considered +sufficient. The first course of bricks above the ground is often formed +entirely of air bricks, originated by Mr. Aldin, the builder, of +Kensington. Each brick has eight or ten perforations, ½ inch in +diameter, through its whole length; a small piece of perforated zinc is +placed upright between the bricks to prevent insects from entering. This +is shown at _b_. The timbers and stone flooring of the basement do not +enter the walls, but rest upon dwarf walls, the joists having oak +sleepers to rest on. The brick fenders of the foundations are entirely +filled with dry rubbish or ironfounder’s ashes, and the stone hearths +bedded solid either in mortar or concrete. This is the construction +shown in all the designs of this volume. To illustrate still further the +attention given in constructing foundations, the engraving below is +given, showing a section of a foundation executed several years ago at +Westminster, where the ground was uncertain. Its scale is only half that +of the previous figure, the upper wall being 3 feet in thickness + +[Illustration: Section of foundation to a wall.] + +instead of 1 foot 6 inches. Above the bed of concrete, which is 9 feet +in breadth, by 3 feet in thickness, are York landings, _a_, 4 inches +thick and exceeding 6 feet in width. Upon these are laid two lines of +wood sleepers, _b_, bedded in brick and cement, the size of each sleeper +being 12 by 6 inches, and in long lengths. Above this is a course of +planking, _c_, placed diagonally across the wall; each plank being 12 +inches by 6 inches, and about 9 feet in length. Above this are the +footings, each two courses in height: in the return walls the landings, +sleepers, and planking are placed a course higher, so that they might be +tied together. The brickwork goes down twelve feet, and invert arches +are turned at every opening. + +[Illustration] + +In order to keep the walls as solid as possible in the lower part of a +building, the ground floor joisting should rest on projecting corbel +bricks as here shown,--the joists going between the cross walls rest +upon projecting bricks, the upper one being of peculiar strength; tall +piles are put between each joist against the wall, for the skirting in +cement to be formed upon it. Air bricks in open iron-work, two to each +front, are placed so as to admit air within the joisting. + +This mode of construction is carried throughout the ground floor. + +The stone landing of the passage by the side of the servants’ stairs, is +supported on the part next the wall by corbel bricks, and on the other +side by an iron bar let into the wall at each end; as shown above. In +the upper floor, the joisting should be reversed and go front to back, +notched on wall plates let into the wall, thus tying both walls +together. + +[Illustration: Section of stone landing of passage.] + +[Illustration: Section of kitchen roofing.] + +The introduction of rolled iron girders into buildings renders fireproof +construction very easy. They are made of all sizes, and can be placed +over any opening, so as to carry the weight above them. Kitchens in many +London houses are constructed in the back yards, with an area between +them and the house. This confines all the smell of the cooking to the +precincts of the kitchen. As it is very important that no roofing should +interrupt the light from the back ground-windows of the house, the roof +of the kitchen is so constructed that the yard is only moved upwards; it +belongs to the ground floor and not to the basement. For this purpose, +cast iron girders, standing on brick piers, bear up rolled iron six-inch +girders, between which half-brick arches are turned. Above all these is +concrete, cement, or asphalte. The courses of tiles and cement are laid +at such a slope as will be sufficient to take the water off quickly. It +is easy to put skylights, or any kind of opening, in this construction, +and to make the whole water-tight. + +This figure shows a way of supporting walls over openings, instead of +the old method of arching in brick; the iron girders or plates have +often no timber between them; they rest upon iron shoes or stone slabs, +their depth being proportioned to the opening and the weight above. +Strong large hollow bricks or tiles are placed over them, and above all +is the brickwork. + +[Illustration: Support over opening.] + +The upper floors of buildings are made fire-proof in a similar manner, +and for this purpose there are several excellent patented methods. The +iron girders are closed up by brick arches, or filled between with +concrete. The only objection to this mode of construction for upper +floors is the great weight, and the walls require to be made of extra +strength. Several years ago a hollow brick was used to form such arches +and roofing, _e.g._, the dome of the Rotunda, at the Bank of England, is +formed with them. The brick is somewhat similar to a flowerpot, but flat +and closed at each end. There were several varieties of these cone +bricks, as they were called; a few are preserved in the Soane Museum. +One sort was 7½ inches in height, 4⅛ by 2⅜ inches at the top, and 3-2/8 +by 2 inches at the bottom. They were curved inwards with a small +opening, 1 by 2/8 inch in the centre. The edges of the brick were +slightly splayed, and the sides scored; these were as strong as the +common bricks, and very much lighter. When the East India House was +pulled down a large quantity of these bricks was obtained; they were +brought to Kensington, and the builders did not know what they were +intended for; their purpose being pointed out, they were used up in the +construction of fire-proof flooring. + +_Fire-proofing._--A method of rendering buildings nearly fire-proof was +introduced about 1770 by Mr. David Hartley, M.P. for Hull. It consisted +in placing thin metal plates between the flooring boards and the joists, +so as to prevent any upward currents of air. For domestic buildings the +system was one of great value. After several successful trials it +obtained considerable notoriety, and being thought capable of an +impossibility, that of rendering a Theatre fireproof, it was applied to +the Pantheon Theatre in Oxford Street. On that structure being burnt to +the ground the plates lost their character, and went out of use. It was +clearly a mistake to apply them to such a building. Thin iron plates +hung at a short distance below the ceiling were successfully adopted by +Mr. Walter Crum, to prevent the spread of fire from one room to another +in his calico printing works, near Glasgow. + +_Damp._--The damp rising from foundations is more easily guarded against +than damp coming against a building laterally. Houses in exposed +situations and subject to driving winds, are often very wet inside the +walls, the rain being driven through them. Sometimes the best +construction will not keep out wet. As a rule, a well-built wall wherein +proper material has been used, should not be damp. + +A rectory, not far from Salisbury, where the author was engaged a few +years ago, was in such an exposed situation that on three of its sides +no tree or any other object in a direct line could be seen for three +miles. Clothes, if placed against the external wall of the +dressing-room, were often quite wet. The Rector had tried several +preventives himself; one was a mixture, used to water-proof cloth--a +wash of soap and alum. + +The ingredients were mixed in the following proportions: ¾ lb. of +mottled soap to 1 gallon of water. This mixture, when in a boiling +state, was laid over the surface of the brickwork steadily and carefully +with a large flat brush, so as not to form a froth or lather on the +surface, and was permitted to remain twenty-four hours to become dry and +hard. Another mixture was then made in these proportions: ½ lb. of alum +to 4 gallons of water, which, after standing twelve hours, in order that +the alum should be completely dissolved, was applied in like manner with +a flat brush over the coating of soap. The coating had to be very often +renewed. The wall most exposed was made free from wet by being covered +with a coating of cement. + +Walls exposed to damp should be coated with a thin layer of Portland +cement, mixed with a little plaster of Paris, and after this is +thoroughly dry, it may be hardened and rendered impervious to water by +painting it with boiled linseed oil and red lead, mixed together. + +In very exposed situations all external walls should be battened, lath +and plastered within, or built with a hollow cavity in the middle, with +proper bond and a proportionate increase of thickness,--the hollow +could be filled with concrete, or the back of the bricks covered with +pitch. There are several other methods for keeping walls free from damp. +One is to saturate the walls with some kind of mastic, or a wash +composed of two or three parts of resin and one part of drying oil, to +the extent of as many washes as the wall will absorb. This must be quite +dry at the time, or be dried by means of a small portable furnace. The +plan is effectual, but it is a difficult operation to perform. A cement +composed of lime, boiled linseed oil, white lead, and sand, has been +recommended. + +Besides these various compositions, there are several excellent +well-known paint and metallic cements, which have stood very severe +tests, and are largely made use of; but walls properly constructed +should not require their application. + +[Illustration: Plaster ornament for a ceiling.] + + + + +_DESIGN No. 14._ + +A SMALL COUNTRY RECTORY. + +[Illustration: Perspective view.] + + +This design was made for a country clergyman residing near Montacute, in +Somersetshire. It was arranged according to his express directions in +every particular, both as to style, and in regard to the number and size +of the rooms on each floor. Living in the immediate neighbourhood of +some of the finest + +[Illustration: Ground plan.] + +old English mansions, he was anxious to have a residence in the old +decorated style of wooden architecture, certainly the most picturesque +of all the styles our forefathers have left us. The timber dwelling is +found in almost every county throughout England, with their projecting +windows and highly ornamented bargeboards; several large houses in +Cheshire and Shropshire remain to satisfy us that such construction, +when properly carried out, is very lasting. The timber used requires to +be felled at the right time, and to be properly seasoned before being +placed up; which must be done on a brick or stone foundation. Dwellings +constructed in this way were anciently + +[Illustration: Plan of upper floor.] + +called post-and-pan houses. They have been known to rock and bend before +severe storms, and to stand intact while adjoining buildings have been +blown down. Large palaces were formerly constructed in England of wood; +the chimney flues and fireplaces alone being of brick. The sketch-book +of John Thorpe, an Elizabethan architect, a copy of which is in the +fine library of the Art Museum of South Kensington, illustrates several +of these dwellings. + +With the present design it was the intention of the rector to carry out +the work himself, the necessary drawings being provided him. The +building is small and compact. When much adornment is intended, it is +necessary to confine the expense within + +[Illustration: Ornament in ceiling of study.] + +bounds; if a cheap large house with plenty of accommodation be required, +then four walls and an overhanging roof alone need be given. The view +shows the principal front of the building; on page 163 is the ground +plan; _a_ is a small hall having a window looking into the conservatory +on the right; the door leading to the servants’ department is on the +left; _c_ is a small study, 16 ft. by 14 ft., with a decorated ceiling, +containing the shield of arms of the owner. The drawing-room, _d_, size +28 ft. by 15 ft, has the + +[Illustration: The ceiling of drawing-room.] + +ornamental ceiling of bold Elizabethan character; this covers the whole +ceiling, and the effect of such ornamentation + +[Illustration: Cornice of drawing-room.] + +is very good. Often, in the olden times, a portion of the rib moulding +was gilt, the ground of the ceiling being of a light blue; ceilings of +this kind exist which represent foliage and flowers, giving the effect +of a garden bower. The preceding illustration shows the present ceiling. +The simple rib moulding is in plaster, with small flowers and pendants. +The section of the rib moulding to a large scale is shown in the cut; +which also gives the cornice and frieze of the room; _e_, in the ground +plan, is the dining-room, 16 ft. by 12 ft., this opens on to a terrace +paved with + +[Illustration: Plan of attic. Basement plan.] + +marble in black and white squares--the present ornamental tiles were not +in common use at the time the design was made; _f_ is the kitchen, _g_ +the scullery, and _h_ the larder. A small enclosed servants’ yard, with +place for coals, wood, and other conveniences, is in front of the +kitchen. The yard has a separate entrance from the front. This is the +whole of the accommodation given on the ground floor. The one-pair plan +shows the five bedrooms. These are without dressing-rooms, there being +no space for them. A small turret staircase leads to the attic floor. +This gives two large bedrooms and a small one for the + +[Illustration: Section through building.] + +servants. The large bow-windowed room might serve as a nursery. The +tower was carried up and contained a bell. The basement plan contains a +large and small wine cellar, and one also for beer; there are four +cellars, besides an inner cellar under the stairs. + +[Illustration: Front elevation.] + +The principal staircase is very light and cheerful, having on one side +three large windows, with a ledge or stand for flowers. It was proposed +to panel it entirely with oak, and have an ornamental ceiling similar to +that in the drawing-room, with a pendant in the centre. The section is +taken through the drawing-room, staircase, and kitchen, and shows the +form and height of the rooms above; also the stone stairs to the +cellars. + +[Illustration: Details of gable ornaments.] + +It will be seen that the walls rest upon a concrete foundation; the +scale is too small to show the damp course or the ventilating bricks, as +previously described (see page 159). The chimneys are shown carried up +nine inches square, excepting the kitchen chimney, that being 14 inches +by 9. The staircase was to have a plain Elizabethan iron railing, and +the whole of the wood-work to be coloured and grained oak; the roof was +to be covered with slate, these requiring a less solid base; ornamental +ironwork crowned the summit of the principal roof over the staircase. An +illustration of the front of the building is given on page 169. + +[Illustration: Section and elevation of chimney.] + +The figures on page 170 illustrate various kinds of treatment for the +carving of the finials and pendants, and the ornaments of the small +gables; it being usual in these structures not to have any two parts of +ornamental detail exactly alike. It has all to be carved by hand, and +requires only slight extra trouble on the part of the architect to make +separate patterns for the workmen. A section and elevation of one of the +chimneys are shown also; they are fitted with the small cap introduced +and used so extensively by the late Mr. Thomas Cubitt, at Belgravia and +Pimlico; this will + +[Illustration: Knocker. Key escutcheons.] + +[Illustration: Oak corbel.] + +be found fully illustrated in the chapter on chimney and flue +construction. At the time this design was made, this plan was not +known. The chimney is shown with an iron funnel 2 feet in height, a +chimney-pot, in fact, let into the stone work at top, having no +projection within for soot to lodge. Two of the stone balustrades are +illustrated. Every separate balustrade in such buildings should be of a +different pattern. + +[Illustration: Stone balustrades.] + +The knocker on the entrance door, the key, escutcheons for the doors, +and a corbel in oak from the entrance front, are illustrated on page +172. + +[Illustration: An external frieze.] + + + + +_DESIGN No. 15._ + +A SMALL COUNTRY HOUSE. + +[Illustration: The front elevation.] + + +This building was intended to be only a comfortable country house for +the residence of an eminent provincial solicitor. It was directed to be +made of superior character, as the owner, being a person well known in +the county, considered that the + +[Illustration: The ground plan.] + +eyes of the whole neighbourhood would be upon it. The situation was on +one of the roads leading out of Maidstone, and as the land in which it +was to stand was taken on lease for 99 years, nothing beyond a superior +gentlemanly character could be given to it, as it is only in freehold +houses that any superior or expensive architectural adornment should be +indulged in. The Roman or Italian style, as being the most appropriate +and the one best understood by builders, was adopted. + +[Illustration: The plan of the upper floor.] + +The front of the house had no prospect, the side of the road opposite to +it showing only a high bank with boulders of ragstone, peculiar to the +county of Kent; and for this reason none of the principal windows looked +towards it. The back-front and side, however, turned towards the hills +between Maidstone and Rochester. Very precise directions were given as +to the arrangement, size, height, and number of the rooms. The study, +_c_, was to be on the left of the entrance-hall, and its size 16 feet +by 12 feet. It was made 16 feet square. The drawing-room, _d_, having +the chief prospect, was to be the principal room. This was made 20 feet +by 17 feet. The dining-room, _e_, was 20 feet by 16 feet; both rooms +looked into conservatories, _i_ _i_. The back front faced the north--a +very favourite aspect for the principal rooms with many of the noblemen +and gentlemen of Kent; the reason being that the flowers in the gardens +under the windows, turning towards the sun, present a cheerful and +agreeable appearance to the occupants of the rooms. + +[Illustration: Plan of second floor.] + +[Illustration: Plan of basement floor.] + +The dining-room had steps leading down to the garden; the kitchen _b_, +scullery _g_, and small larder _h_, were on the right of the entrance, +the kitchen and the study having small windows by the side of the +entrance, so that all visitors coming to the house might be seen. The +servants’ door was in the small yard by the side of kitchen, with a +place for coals; _o_ is a small chaise-house, and _p_ a stable for a +pony; _l_ is the dust-hole. + +[Illustration: Frieze of drawing-room.] + +[Illustration: Frieze of dining-room.] + +[Illustration: Section of cement skirtings.] + +The upper floor had to contain five best bedrooms; these can be seen in +the plan. Their sizes were 17 feet by 12 feet, and 16 feet by 10 feet. +There were three dressing-rooms, the largest 12 feet by 10, the two +smaller each 12 feet 6 inches by 6 feet. The second floor contained two +rooms for servants, one 16 feet by 10 feet, the other 12 feet by 10 +feet. The basement had a footman’s pantry, 12 feet by 9 feet 6 inches, +and a dairy of the same size. This had steps down to it in the area. +There was a wet larder with a window, a wine cellar, and a beer cellar. + +[Illustration: Section through entrance-hall and dining-room.] + +The interior was plainly finished, with nothing beyond the best modern +enrichments. The whole of the interior had Keen’s cement skirtings. The +staircase had a skirting flush with the wall, so as not to take away +space from the stairs; this is shown at page 178. There were ornamental +roses in the centre of the ceilings of the principal rooms. The section +of the interior is made through the principal entrance, across the +staircase and dining-room; and in the upper floor, through two of the +dressing-rooms. + +[Illustration: Elevation of portico.] + +The only architectural feature in the front of any importance was the +portico (see page 180). A bold and prominent effect was given to it. The +estimated expense of the building was 2151_l._, full price put down as +2250_l._ + + * * * * * + +The vignette is an elevation of an Elizabethan balustrade, in stone, +intended to crown a cornice, and to be placed in an elevated position +against the sky line. + +[Illustration] + + + + +_DESIGN No. 16._ + +A COUNTRY VILLA. + +[Illustration] + + +This villa, which has just been erected in Berkshire, in the +neighbourhood of Windsor, is intended as the country residence for a +lady of rank. The living rooms are large and noble, and the +accommodation + +[Illustration: Plan of ground floor.] + +for a small establishment ample. The plate (page 182) shows the garden +front, and above is the ground plan. The two principal rooms, the +drawing and dining-rooms, are respectively 25 feet by 18 feet and 21 +feet by 18 feet. They are to the left of the hall; this, of moderate +size, leads to the principal staircase, which is of very easy ascent, +each step rising less than + +[Illustration: Plan of upper story.] + +6 inches. The second landing opens to the servants’ staircase; _b_ (see +page 183) is the kitchen, size 15 feet + +[Illustration: Plan of wine cellar.] + +by 14 feet, with the larder _h_, leading directly out of it,--_g_ is the +scullery, with an oven, and a shoot into the dustpit _m_, _n_ is the +housekeeper’s room, and _j_ the butler’s pantry; _c_ is the lady’s room +or study. This was enlarged, by taking down the partition, marked on +the plan by the dotted lines, to allow of a splendid oak cabinet being +placed there. A door in the room opens direct into that of the +housekeeper; _k_ is the dairy, + +[Illustration: Section through drawing-room, staircase, and kitchen.] + +and _l_ a place for coals. The wine cellar was at first intended to be +placed under the principal flight of stairs, descending a few steps; but +a large one, _b_ (see page 184), was afterwards made. + +[Illustration: French cut pine woodwork, from the exterior.] + +The plan of the upper story shows it containing two large principal +bedchambers--each with a dressing-room, and a large room with two +fireplaces serving as a nursery, but which could at any time be made +into two rooms by putting up partitions. + +The servants’ sleeping apartments, the housemaid’s closet, and the +servants’ staircase, occupy the remaining portion of the plan. + +The cost of erecting the carcase of the building, including the wine +cellar, was 1108_l._ The cost of finishing, putting up the principal +staircase in Portland + +[Illustration: Plan and elevation of iron glazed casement to +entrance-door.] + +stone, and leaving all work required to be painted with two coats, but +exclusive of papering, stoves, ironwork, marble mantelpieces, +conservatory, verandah and exterior decorations to roof, was 1550_l._ +Mr. Hockley, of Kensington, was the builder. When the mansion was +finished so far, all ornamentations, &c., formed an agreeable occupation +for the lady to complete from favourite examples seen by her on the +Continent. The extra parquet flooring in the dining and drawing-rooms is +from Switzerland. This cost 148_l._ All the stone flooring of the hall, +staircase, passages, and conservatory, is covered with tiles from Italy; +these are about 8 inches square, but not so well made as the English +kind, although more artistic. Each has a small figure put in by hand, +which is different on every tile. The tiles are faced with a white +china ground and look extremely well. The common tiles cost 16_s._ per +100. The grotesque figured tiles, + +[Illustration: Plan and view of remains of old house.] + +of which the illustration on page 189 shows four, cost 2_l._ per 100. +They were supplied by M. Giustiniani, of Naples. The marble +chimney-pieces were to be supplied from Italy. The ironwork of the +staircases, and the panel to fill up the opening in staircase, shown +dotted in the upper plan, were supplied from Paris. It is different from +any ironwork that can be procured here, of elegant design, and covered +apparently with a thin coat of zinc. This gives it a silvery metallic +appearance, and it does not require + +[Illustration: Four of the Italian figured tiles.] + +painting; it is really a coating of glass, and is termed the _lavenant_ +process. It it said to be a great preservative of the iron, and can be +put on in different colours. Each of the windows of the principal rooms, +and the hall, is fitted within with Price’s steel revolving shutters. +These cost 75_l._ The upper windows on the outside have iron balconets, +likewise from France, and the roof, surrounding the principal parts, is +finished with the French cut pine patterns. They were supplied by M. +Jules Millet, of 12, Boulevard du Temple. The entrance door has the two +upper panels + +[Illustration: French iron staircase railing.] + +filled with French castings, executed in a fashion different from the +English mode; but one quite worthy to be followed. The iron panel is +placed on the outside, with a light iron glazed casement fitted behind +it. This in warm weather can be opened, so as to admit fresh air into +the hall. The plan and elevation of the casement shown from the inside, +on page 187; by the side of it is one quarter of the external iron +casting. + +It may be remarked that these French patterns, both in iron and wood, +are not finished off as clean as they would be in England. The castings +appear just as they came out of the sand, and the wood pattern exactly +as the machines or saw left them; but they are extremely elegant, and +the metallic appearance of the ironwork is very pleasing. + +The former house is pulled down, except a portion, permitted to remain, +which is formed into a decorative building for the garden; the plan +(page 188) shows _a_ the old kitchen, _b_ the wine cellar made into an +ice-house, _d_ a lock-up closet, _f_ a prospect tower, _c_ a closet in a +small enclosed garden, and _e_, a garden seat. + +On page 190 is a pattern sent from Paris for the staircase railing. + +[Illustration] + + + + +_DESIGN No. 17._ + +A DOUBLE SUBURBAN VILLA. + +[Illustration: Perspective view.] + + +This building was intended for erection on a leasehold estate at a +little distance out of London. It would have been of rather plainer +character, but the view (page 192) shows the design first made. The +frontage, or width of ground for each house, was + +[Illustration: Ground-floor plan.] + +60 feet, the depth 150 feet. The character of the building was of the +domestic style of the reign of Henry VII., and the accommodation it +afforded is given in the several plans. The ground plan shows two large +rooms _D_ and _E_, the drawing and dining rooms, which can easily be +opened into each other by sliding back the inner doors into the +partition; _C_ is the library, with a book-room leading out of it. _B_ +is the staircase, of a size rather larger than that generally allowed in +London houses. Very often, sufficient attention is not paid to this +highly important part of our dwellings by builders, nor full space +allowed for it. A + +[Illustration: One-pair plan.] + +good staircase should have, at every six or seven steps, a landing of at +least 2 feet 6 inches in depth. Where winding stairs are used they +should have a good sweep; the tread, in the centre, should be 1 foot in +width, the riser never more than 6 inches in height--less even would be +better. It is also of considerable importance in a staircase that the +height of the steps in the various flights should be the same. Some of +the most costly and important of the builders’ houses in London, erected +on highly rented land, have the staircases so confined that these, an +architect’s well-known rules, are wholly put aside. Staircases with +risers of 6 inches in height from the ground to the one-pair floor, +increased to near 7 inches to the two-pair, the latter flight containing +probably 30 steps in a straight line without a landing, render a house +almost uninhabitable. + +[Illustration: Attic plan.] + +A servants’ staircase is a most desirable addition to a large house. +The present building was not considered of sufficient importance to have +one. It was proposed to be placed between the tower and the dining-room, +but it was rightly considered that the two staircases should be put +together so that the + +[Illustration: Basement plan.] + +landings of each, on every half space, should be on the same level, +separated only by a door, and giving the servant immediate access to +every floor of the house. A position between the library and staircase +would have been most proper, but there was not sufficient width; it +would have interfered with the kitchen, and would have made too +intricate a plan, which, for houses to be erected on leasehold land, is +objected to by builders unless directed by the party purchasing. + +[Illustration: Section of roof to larder.] + +[Illustration: Section of steps to garden.] + +With a servants’ staircase follow a large housemaid’s closet, sink, &c., +which must always be provided where possible. The plan of the one-pair +shows three large bedrooms and one dressing-room, with the tower room, +which was intended either for a morning room, a + +[Illustration: The side elevation.] + +school room, or a boudoir. There is a large conservatory on the +principal landing of staircase, and a closet leading out of it. A +good-sized aquarium with a regular supply of water could be easily +arranged in the centre of the conservatory. The attic plan contains +three large rooms for servants, and the tower room was to be used as a +smoking room, or as a play room for the children. + +[Illustration] + +The basement contains a private breakfast or dining room, _T_, with a +large store closet, having an opening one foot in height filled with +perforated zinc opposite + +[Illustration: Half elevation of small library.] + +the window of the passage; _N_ is the housekeeper’s or servants’ hall; +_B_ the kitchen 23 feet by 18 feet, with _G_ the scullery behind, _H_, +_H_, the larders, _S_ position for a lift, and _L_ a place for coals. +The basement stairs should have been on the side adjoining kitchen. + +[Illustration] + +It is a difficult thing in this class of house to confine the smell of +the cooking to the kitchen. An endeavour was made here to effect it. The +kitchen had no direct entrance to the body of the house, the servants +going through the passage, by the side of the area, from which it was +well ventilated, to get to the common staircase. This had a window at +the top, not shown in the plan. The small section on page 197 shows + +[Illustration: Elevation of hall screen.] + +the mode of ventilating the larder; _a_ is a slab of slate let into the +wall, _b_ a pane of perforated zinc, _c_ iron bars glazed with thick +glass, so that whatever the weather, there would be full ventilation, +the fresh air always entering and the confined air leaving the room. +This is the usual mode, in large houses, of covering the external +passage leading from the kitchen to the house. + +[Illustration: Details of hall screen. (See page 206.)] + +The general view shows the front and side of the two houses. The +elevation of the side front is given on page 198. + +[Illustration: Plan and elevation of entrance garden-gate.] + +The three small illustrations on page 199 are various details of the +exterior. One is a part section of the roof of turret, showing the +timbers and the vane at top, an elevation of one half the upper gable +window, and half of one of the small front windows; these portions of +the exterior, together with the arcade at the entrance and balustrade +over it, were to be executed in stone. + +The Gothic window by the side of the arcade is an example from Berstead +Church, in Kent. The gentleman for whom the design was made caught a +sight of it in the “Architect Sketch Book,” and required it might be +introduced as a small window in his library. An elevation of one half of +it is given on page 200. + +The general section (page 201) is of one of the houses taken through the +drawing room, the staircase, and the library. The staircase is well +lighted, having a conservatory and closet on the first half-space +landing. The ceiling of the staircase is finished with groining and +pendant flowers; the stairs have a plain Gothic iron-railing, painted +and lightly gilt; the section shows the party-wall between the two +houses. + +[Illustration: Balustrading on garden wall.] + +The entrance is divided into an inner and outer hall, divided by a +Gothic screen in carved oak, the various openings of which, together +with the upper panels of the folding doors, are filled with embossed +glass. This keeps the house warm, and prevents cold draughts from +entering; a second glazed screen separates the inner hall from the +staircase; the effect of the screens when there is plenty of light +behind is extremely pleasing. It was for such a screen that the +door-handle illustrated at an earlier page, as a vignette, was made. + +[Illustration: Balustrading in front of house.] + +Of the first of these screens, that in the hall, only the larger lower +and upper panels were to have white embossed glass; the smaller openings +were to be filled with richly coloured embossed glass; a small elevation +of the hall screen, and portions of its details to a larger scale, are +given on pp. 202, 203. + +The chimney pieces were proposed to be of cast iron, and to be painted +and slightly gilt. + +The expense of construction of the pair of villas would be nearly about +7800_l._ + +[Illustration: Front.] + +Cut-wood canopy to a door at West Brompton, a short distance beyond the +Metropolitan District Railway. It has been constructed about twenty +years, and stands well. + +[Illustration: One of the side trusses or corbels.] + + + + +_DESIGN No. 18._ + +DESIGN FOR VILLAGE SCHOOLS, AND READING ROOM. + +[Illustration: Front elevation.] + +[Illustration: Plan.] + + +This building is about to be erected in the county of Norfolk. It will +contain a boys’ and girls’ school, with two rooms each, forming a +parlour and bedroom, for the master and mistress; _a_ is the entrance +porch, _d_ and _d_ are the two school rooms, and _e_ and _e_ the living +rooms. The centre of the building forms the reading, lecture, and +meeting-room for the village. The small room _c_, leading out of it, is +a book room for the secretary or attendant; _b_, _b_, are open yards; +each master and mistress have private entrances, and yards to +themselves. The construction is of the cheapest kind; on a brick +foundation, quarter framing is placed, filled in with brick, and +plastered inside and out. The columns in the centre are trunks of trees, +standing on stone slabs, and each has a flat stone capping. This +building complete should not cost more than 850_l._ It is much to be +desired that every village should have a room set apart, distinct from +any public-house or tavern, where newspapers and books can be provided, +lectures given, and various entertainments supplied the villagers. + +[Illustration] + + + + +_DESIGN No. 19._ + +A ROMAN CATHOLIC CHAPEL AND SCHOOLS. + +[Illustration: Elevation of front.] + + +This design was made for a building intended to occupy a site leading +from the High street in a + +[Illustration: Plan of chapel and schools.] + +very fashionable district, immediately out of London. The ground was +rather confined in area, and from its position, being behind the houses +in the street, it could only be approached by a narrow avenue between +two of the houses. + +[Illustration: Transverse section of chapel.] + +The plan was an endeavour to make the most of the space afforded; the +entrance to the church, a small tower with an open decorated spire, was +placed at the end of the avenue of approach; _a_ _a_, are the schools, +which have immediate access to the space before the altar; _b_ _b_, the +rooms for the teachers or priests, had staircases on each side leading +to rooms above. These buildings were kept low, so that as much light as +possible should enter from the window above the altar. An elevation of +the front of the chapel is given in our first illustration. The section +looks towards the chancel, showing the chancel arch and pulpit in front, +the altar, and the decorated window over it; the latter contains a large +cross formed of white embossed glass, on a richly coloured glass ground. +Above is the elevation of the porch, proposed to have been placed at the +entrance of the avenue of approach. + +[Illustration: Porch in the High street.] + +[Illustration] + + + + +_DESIGN No. 20._ + +DESIGN FOR A BATH HOUSE, AND SUMMER ROOM. + +[Illustration: Perspective view.] + + +This design was made for a building intended to occupy a prominent +position in a park in Kent; it would have commanded an extensive view +over the Weald and surrounding country. The lower ragstone foundation +already existed, being portions of an ancient building which had +formerly stood there, and this held a fine spring of pure cold water, +which runs down into a lake at a lower level in the park. Occupying a +position in which it could be well seen, it was desirable that the +building should form a picturesque object, and to effect this the Old +English style of wooden architecture was chosen. + +[Illustration: One-pair plan. Ground-floor plan.] + +The view shows the back and side of the building, with the entrances, +these being here less exposed to the weather than if they had been in +front facing the open country. The ground-floor plan shows the cold bath +with a small dressing-room; the bath was octangular in form, and +fifteen feet in diameter. A small iron circular staircase led to the +upper room; this was eighteen feet in diameter, with a domed ceiling, +the sides of the room having iron + +[Illustration: Side elevation.] + +casemented windows, and over them a bold ornamented plaster frieze; the +fire-place was adorned with oak carving. The fine prospect from the +windows of the Weald, and the lake and park scenery in front, would +have made this an extremely pleasant room. + +[Illustration: Section.] + +The lower story of the building above the ancient ragstone foundation +was of brick, nine inches in thickness, with quarters on the outside, +brick-nogged; carved oak inch plank was then to be screwed to this +quartering, and the inner spaces filled with cement; this it was +proposed to dust with small bits of coloured + +[Illustration: Entrance.] + +glass. The building was intended to be strongly constructed, as it was +to stand on an elevated site in the most exposed situation in the park. +The entrance, of which an elevation is given above, had two carved oak +columns, having iron rings fixed to them. A small shield of arms was +above the entrance; the whole of the oak was to be stained and +varnished. A portion of the exterior is given on a larger scale. The +upper story was in quartering, brick-nogged, faced externally with +carved oak planks and plaster, and plastered inside as below. The small +plan, _a_, in the illustration, shows this; _b_ is an elevation of one +of the carved oak trusses, and these were carried right round the +structure. + +[Illustration: Portion of exterior.] + +An elevation of one of the small gables is shown in the next cut with +its richly carved barge-board, and turned pendants and finials. + +The plan of the iron casements is given, p. 220; _a_ is the frame fixed +to the wood quartering, _b_ the loose frame fixed to receive the loose +frame, _c d_ is the glass, and _e_ the hinge and staple; a +representation of the small turn-buckle is shown, and lastly the plan +of the flooring over the bath; the joists, each 9 inches by 4 inches, +and 9 inches by 2½ inches, were strapped down + +[Illustration: Elevation of one of the small gables.] + +[Illustration: Plan of iron casement.] + +eight or nine inches into the wall, where necessary. + +[Illustration: Turn-buckle.] + +[Illustration] + + + + +_DESIGN No. 21._ + +DESIGN FOR A SMALL COUNTRY VILLA. + +[Illustration: Perspective view.] + + +This mansion was erected in Devonshire, for a gentleman having a +numerous family. It consisted of three floors:--a basement story, ground + +[Illustration: Ground plan.] + +floor, first floor, and attic. The picturesque style of the time of +Henry VII. was adopted, and the construction + +[Illustration: Plan of first floor.] + +was of brick with stone ashlar facings for the walls. The decorated +portions were of stone; but red + +[Illustration: The attic floor.] + +brick and stone, or red brick alone, would have been equally +appropriate. The red brick with compo-dressing + +[Illustration: Basement plan.] + +and enrichments would have been the cheapest. Considerable attention was +given to obtain a picturesque character for the building, and the +chimneys were so placed as to obtain one. The height to the top of gable +was 38 feet 6 inches. The ground floor, given on page 223, contained two +rooms, _A_ and _B_, each 28 feet by 16 feet, without the bay. The porch +was enclosed from the hall. + +[Illustration: View of entrance porch.] + +The upper floor had five rooms, intended merely as sleeping apartments. +All had fireplaces except the centre front one, and that is shown +supplied with a flue pedestal, a contrivance by which an upper room + +[Illustration: The front elevation.] + +can be warmed by one of the fireplaces in a lower room, which prevents +waste of heat. The attic floor had two good-sized rooms without +fireplaces, for the servants. + +[Illustration: The side elevation.] + +The basement floor had good accommodation. One large room, that marked +_n_, was for the housekeeper, with space for a bed. It could be used as +a private breakfast or dining-room; _b_ is the kitchen, 20 feet by 15 +feet 6 inches, with a large space in the bay. The scullery _g_ adjoined +the kitchen; _h_ is the larder, _q_ the wine cellar, _i_ the beer, and +_l_ the coal cellars. + +[Illustration: Transverse section.] + +Another design for the porch is given on page 225; this is of a more +decorative character than that seen in the view. It had on it the shield +of arms of the proprietor. It was to be constructed entirely of stone, +the portion above the archway being richly carved. The front and side +elevations of the exterior of the building, of which representations are +given, show the extreme simplicity of the design. + +The transverse section (page 228) shows the interior; this is taken +through the kitchen and scullery in the basement, looking towards the +fireplace and through the living rooms and attic above. + +[Illustration: Plan of additional offices.] + +This design has, with various alterations, been adopted in several +places for different parties, stripped entirely of its ornamental +character, and merely having four walls and an overhanging roof, in +plain cottage style. It forms the cheapest model that can be given for a +villa. One was erected a few years back that cost considerably less than +eight hundred pounds. It had the basement floor but no attic, the upper +rooms being heightened by having an open collar-beam roof. One addition +made to it when it had no basement was in extensive external offices, as + +[Illustration: Elevation and section of external balustrade and angle +buttress.] + +seen in plan on page 229: _f_, the kitchen, is 18 feet square, with its +scullery _g_, 18 feet by 10 feet; _h_ is the larder, 9 feet 9 inches +square, and _k_ the dairy, of the same size, with a northern aspect. The +two small rooms by the side, one marked _n_, were intended for a study +or school-room, and a footman’s or butler’s pantry, with a separate +entrance and an outlet from the house into the garden; the servants’ +closet, and boot and knife cleaning place, were at a little distance +away, together with the place for coals and wood. Some details of the +exterior on a larger scale are given above. + + * * * * * + +The vignette shows the best proportion that can be given to stairs +intended for a public building; the rise of each step being 6 inches, +the tread 13 inches. In private dwellings the tread is made smaller by +half an inch. When the rise can be made 5¾ inches only, much greater +ease can be obtained in the ascent. + +[Illustration] + + + + +_DESIGN No. 22._ + +A VILLA IN THE OLD ENGLISH WOODEN STYLE. + +[Illustration: Perspective view, garden side.] + + +This structure was intended to bear the resemblance, as near as +possible, of a first-class old English half-timbered house, the +post-and-pan dwelling of our forefathers, which seems to have been an +especial favourite throughout the country. It was easily constructed at +a time when timber, chiefly chestnut, was far more plentiful than at the +present day. Such were the most picturesque of all our domestic +buildings; the timber cottage, with its projecting windows, and highly +ornamented barge-boards, is found in every village. The large houses in +Cheshire and Shropshire, which still remain, prove that such +constructions are as lasting as brick and stone, provided the timber is +felled at the proper time, and thoroughly seasoned before it is made use +of. Houses of this kind have been seen to rock and bend in severe +storms, while adjoining buildings, comparatively strong erections, have +been blown down, this was known to have been the case with Park Hall, +near Oswestry in Shropshire. Such buildings were called by different +names, as will be shortly described in detail, according to the +materials of which they were composed. + +The design afforded on page 234 was taken from an elevation given in +“John Thorpe’s Sketch Book,” one of the richest illustrations of wooden +architecture. It was to have been erected in a Kentish village, with + +[Illustration: Front elevation.] + +its front towards the road, on high ground, the road looking down to a +wide extent of open country. The garden side of the house commanded a +fine prospect. Advantage was taken of the steep descent of the ground to +build the kitchen and scullery, with a day room for the children, apart +from the main building. + +The plan of the basement is given on p. 236; _a_ is the kitchen, 18 feet +square, the scullery _b_, was at the side, and the larder, _c_, at its +side; _d_ is the place for coals, a passage _e_, leads to the day room, +_f_, for the children; _g_ is either the cook’s room, or a sleeping room +for a man servant; _h_ is the passage up to the house, _i_ is the dry +larder, _j_ is the butler’s pantry, with a strong room for holding +plate; this was intended to be a sleeping room. _k_ is the wine cellar, +_l_ the back staircase which went from the lower floor to the attic, _m_ +is the principal staircase, and _n_ a place for stores. The roof of this +lower building was to be formed with flat-girders, and brick and tile in +cement, making a terrace-walk above; the chimneys were taken up from the +lower building to the higher one, as shown in the side elevation by the +dotted lines. The kitchen, and the whole of the basement, was to be +paved with the best Seyssel asphalte. It is laid on a solid foundation, +on a thickness of ground lime. The objection to the black and British +asphalte for the interior of rooms, is that a fine dust rises from it, +which in sweeping, affects the eyes of the occupants of the apartments. + +[Illustration: Basement plan.] + +The plan of the building was not intended to be in the old style, but to +be arranged, as far as possible, according to modern notions, without +any great hall, or stone screen within it. A noble stone porch was + +[Illustration: The ground plan.] + +placed in front, resembling slightly an ancient archway. The hall is 20 +feet in length by 12 feet in breadth. The breakfast and eating rooms, +_b_ and _c_, 20 feet square, are on each side; both have bay + +[Illustration: The first floor.] + +windows, with an exterior colonnade and terrace. The drawing-room, _d_, +and the library _e_, are each 18 feet square; both have bay windows, and +the angular window peculiar to the Elizabethan architecture. These +windows open on to the terrace. _f_ is the + +[Illustration: The attic floor.] + +gentleman’s dressing-room, _g_ is the principal staircase containing the +servants’ staircase, _h_, within it; _o_ is the lift. At the back of the +building is a colonnade commanding a view of the country, and beneath +is the terrace, with its balustrading and steps to the garden. + +The one pair floor contains only four large bed-rooms _a_, _a_, and two +dressing-rooms _b_, _b_. One dressing-room, that in front, could have +been converted into a pleasant morning room; each of the two principal +bedrooms in the front could easily have been formed into two; a small +dressing-room taken out of each. Terraces were in front of these two +rooms, the small circular bow-window opening on to them; the principal +staircase only led to this floor. The servants’ staircase led to the +attics. + +This floor contained three large servants’ rooms, with two small octagon +rooms. It was proposed to form the front rooms into one, with a circular +roof, covered with scroll work and flowers, in the form of a +garden-bower, similar to the gallery ceiling at Burton Agnes in +Yorkshire. In this ceiling there are about a dozen varieties of flowers +and bunches of leaves, which were placed in a scroll-stem in various +positions so as to vary the pattern. The flowers and leaves could have +been painted in their natural colours. These rooms, however, could not +be spared, so it was proposed to turn the two octagon rooms into what +may be termed garden-bower rooms, and to attempt growing dwarf +fruit-trees in them, as practised in Germany. The roofs of these rooms +were to be constructed in iron and glass, and covered internally with +wire trellis-work, the warming to be effected with flue pedestals, two +in each room, one taking the kitchen flue and the other house flues, the +corresponding pedestal in the other room to have the remaining flues in +that side of the building. The illustration on page 242 shows a plan and +section of one of these rooms. + +The tower in the centre of the back front contained a cistern for the +supply of the house; the closets beneath could have Moule’s earth system +applied to them, the earth to be brought up by the lift _o_, dried in +the bower rooms, and deposited in an enclosure in the tower room from +which it could descend to the closets. + +It may be here remarked that the closets throughout the whole of these +designs are in such a position that the dry-earth system could be easily +applied to each. In cottages that have the flues in an external wall, +and where this system is introduced, the earth deposit should be placed +against the flue, and the closet adjoining. + +The lift _o_, shown in the plans, connects every floor with the +basement; it permits coals and other heavy articles to be lifted up, +receives the speaking tubes leading to the basement and children’s +day-room, and any bell wires that may be required. + +[Illustration: Plan and section of garden bower-rooms.] + +[Illustration: Side front.] + +[Illustration: Section through lower part of building.] + +The first elevation given shows the front of the building, having a +length of 87 feet. Although the structure was to be an imitation wooden +house, the timber was merely intended to be an appendage to the +brickwork. The exterior walls were to have been two bricks and a half +thick on the ground-floor, two bricks above. The wooden posts and pans +were let into the external half brick, and well built in, the ornamental +woodwork in inch oak screwed to the wood-quartering, the space between +them filled with plaster, with an ornamental pattern-stamp on it, and +the columns and entablature were of oak. + +The next elevation given is that of the side front, with its gable, in +the centre of which is a small circular window, opening on to a terrace +over the colonnade; the scroll at the side is a construction to permit +the flues from the lower portion of the basement to ascend the tower +walls; flue sweeping doors could be placed there. A section of the lower +part of the building is given, taken through the centre of the house, +showing the principal staircase and the external steps to garden. The +perspective view shows the garden front. + +Wooden houses were once the chief kind of construction in England. The +great fire of London would not have been so serious in its results if +such constructions had not been almost universal. + +In many parts of England these houses have other designations. There is +a mode of building peculiar to each, and adapted to the kind of material +that the districts offer. In Cambridgeshire, for instance, many of the +houses are formed entirely of “Clunch,” a kind of indurated chalk marl, +of which there are extensive quarries at Roach, near Burwell. Others are +of gault, a local term for the blue clay which lies below the gravel of +Cambridgeshire, and forms the immediate substratum in the low ground +about it. This is beaten up with chopped straw, then formed into blocks +of large size, and dried by the sun. A writer in the “Cambridge +Portfolio,” in his remarks on what he terms the inferior style of +domestic architecture, says: “Many of these houses have the lower floor +formed of stone or clunch, in which a framework of wood is raised, +consisting of studs and wall-plates with strong posts at intervals and +some cross pieces as a tie. The joists of the upper floor are laid in +the wall-plates, and project about a foot or eighteen inches beyond the +wall beneath. The smaller timbers have tenons which are fitted into +mortices in the larger, and secured by wooden pins. The interstices are +filled either with durable boarding, double lath and plaster, clunch or +bricks, laid level or obliquely. The better houses of this description +have gables, with ornamented barge-boards with hip-kobs and corbels or +brackets, more or less carved, under the ends of the principal timbers +of the upper floors.” + +The barge-board is sometimes called berge-board, verge-board, +parge-board. It was a board fixed to the ends of the gables of timber +houses, to hide those of the projecting timbers of the roof, and throw +off the wet. They were generally richly carved and very ornamental. +Occasionally some of these of the date of the 14th century are met with; +those of the 15th and 16th, many of the Elizabethan character, are very +common. We have few of the better class of these half-timbered houses, +in which the decorative labour of our ancestors was most conspicuous, +remaining in our towns and cities; but in Edinburgh, York, Chester, and +Newcastle there are still a sufficient number of specimens to prove the +truth of these remarks. In the towns of Normandy and the Netherlands +numerous buildings, and indeed whole streets, may be seen which still +exhibit the perfect counterpart of our old Cheapside, as it appeared +before the great fire. Troyes, the capital of Champagne, still retains +its ancient buildings, and the chestnut-timber houses of Caen, which +were raised, or restored, during the period in the 15th century when it +was in the hands of the English, show us what our cities once were, and, +of course, the extent of our improvements. London formerly possessed the +richest examples. At the corner of Chancery Lane, in Fleet Street, +there once stood a five-storied house in timber, each story projecting; +the whole of the timber and the gables being richly carved. In this +house once lived the celebrated Isaac Walton. + +The other most common application of this kind of house is +“half-timbered.” In some counties the woodwork is not in patterns. It +appears that when a greater degree of elegance was required the uprights +and beams were carved, or the houses were pargetted, that is, coated +thickly with plaster, in which embossed or indented ornaments were used. +This kind is very common in nearly all the English counties. The origin +of the word _parget_ appears to be doubtful. We find _parget_, +substantive, and _pargetting_, _pergetting_, and _pergining_, verb, in +old writings, of various kinds of plaster work, used inside and outside +of houses, particularly about the time of Elizabeth; the word _parget_ +was used as far back as 1450. + +The half-timbered houses generally had the woodwork (studs and posts) +painted black or tarred, with the intermediate spaces of brickwork +whitewashed. Many of these houses have been plastered over in modern +days. In London several of them have been refronted, and we lose sight +of the woodwork, and imagine we see fresh-built houses. + +In some parts of the country we see numbers of cottages built of mud +mixed with chopped “haum.” This is commonly barley stubble. The word +appears of foreign derivation; in High and Low German, Dutch, Danish, +Swedish, halm; Ang.-Sax., healm; Icelandic, halmr, stubble. + +The haum is used to give the mud strength. These houses, previously +described in connexion with concrete erections, were built about a yard +in height at a time; each part was allowed to dry before further +addition was made. The openings for windows and doors were cut when the +wall became firmer; the walls were then smoothed off a little, and +whitewashed. These houses are said to be very strong, and to last for +many years. In the Midland Counties they seldom exceed one story in +height, but in Devon, Somersetshire, and Hampshire, this composition is +a common material for gentlemen’s houses two and three stories in +height. It is there called _cob_, the derivation of which word remains +in obscurity, unless it is a short term for _cobble_, or a coarse clumsy +performance. A cob-wall was one composed of straw and clay beaten up +together. + +In Kent, the half-timbered houses are called wood-noggin houses, because +the pieces of timber were called wood-nogs. Nog is properly a wooden +brick, which is inserted into walls to hold the joiners’ work; nogging +is the term for the brick-filling partitions between the quartering. + +Sometimes, but very rarely, there is no projection of the upper story +over the lower one. These openings in the windows are common, and all +have richly carved barge-boards. + +In some of the Kentish villages there are several noggin houses +plastered over, with a ground in which flowers and patterns are worked +in another colour. Some have a red ground and white flowers, others a +black ground and white flowers. The wooden frame is always built on a +substructure of brick or stone, called the “under-pinning.” Numbers of +the houses in Kent are covered at the sides with weather tiles; here the +brickwork is carried up to the first floor, in which the wooden +framework is placed, and laths nailed across, in which the tiles are +hung; the shape of the tile varies. Some are diamond-shape, and others +finish with circular ends. + +In Warwickshire, Oxfordshire, and Gloucestershire, we meet with +half-timbered houses, which are there called brick pane houses, but very +few of them are worked in patterns. + +In Northamptonshire the half-timbered houses are commonly called studded +or framed houses, because the framework is put up before the spaces are +filled up. The studs are upright between the posts, which are larger +than the studs. There are also “wattle,” and “dab-houses,” and sheds, +which are constructed of studs, sills, and wall-plates. Between or into +the studs are laid, horizontally, plaited or wattled strong hazel twigs, +or other underwood, and on both of these a thick coat of plaster or mud +is laid or dabbed. A wattle is a hurdle made of four or five upright +stakes, and hazel branches woven closely and horizontally into the +stakes--Anglo-Saxon, _watel_, a hurdle or covering of twigs; in some +counties they are called “flakes,” merely from their being thin and +flat. In Sussex and Devonshire, and in the South of England, wattled +hurdles are called “Raddles.” In a little Dictionary for children of the +date of 1608, we find “a hartheled wall or ratheled with hasile rods or +wands.” The word _hartheled_ is the same as hardilled, and the +Dictionary spells hurdill _hardill_, Ang.-Sax., _hyrdel_, Low Germ., +_hoidt_, Dutch, _horde_. Germ., _hurde_. _Ratheled_ is from the same +derivation as _raddled_. What in one county is “wattle and dab,” is in +another “raddle and dab.” _Dab_ is here used as a substantive, but it is +properly a verb--to dab on, to sprinkle, or bespatter. In French, +_dawber_, or _dober_, to smear, hence “to daub.” These mud cottages are +very common even in the richest counties of England. In South +Northamptonshire are red sandstone houses frequently possessing stone +mullions in the windows, and dripstones. + +Further northwards, as in Shropshire, Cheshire, and Lancashire, we find +a better description of the half-timbered houses in many of the manor +houses built there. Lord Liverpool’s seat at Pitchford, near Shrewsbury, +illustrated by Habershon, is a fine and a very large example, although +the pattern is not so elegant as many of them. Joseph Nash and other +artists have made the best of these familiar to us by their +publications. Cheshire is the county most abounding in them. In the +southern part of the county of Lancashire they are called “post-and-pan +houses.” Post is an upright piece of timber, used in various ways, such +as gate-post, door-post, a jamb-lining. The word “post” is found in many +languages, commonly meaning an upright. In Ang.-Sax., _post_, a post, +Frisic, _post_, a beam, German, _pfost_, French, _poste_, Latin, +_postis_, a post. + +“Pan,” in Lancashire, certainly means a beam, and is the common name for +it (beam not being used), although we do not find the word _pan_, a +beam, noticed in most of the glossaries as it deserves. In the Craven +Glossary, “_post_ and _pan_” a building of wood and plaster alternately. +_Pan_, totally to fit: “Weal and woman cannot pan, but woe and woman +can,” is the complete old English proverb, in which the word pan is +used. In the glossary of Tim Bobbin, “Pan” means to join or agree. In +Hunter’s Hallamshire Glossary “pan,” properly in building, is the +wall-plate--the piece of timber that lies on the tops of the posts, and +on which the balks rest, and the sparfoot also. _To pan_, to apply to +closely. In Brockett’s North Country work, _pan_ means to match, agree. +The idea of a pan for a beam would seem to be a shortened word for span, +but it comes, it is said, from the old word _pan_, denoting to close or +join together, to match, fit, apply, agree. From this, or the origin of +which, came pane, or panel of wood, or wainscot, pane of glass. +Ang.-Sax., _pan_, a piece, hem, plait; pan hose, patched hose, because +pieces are fitted into them. + +In Warwickshire and Oxfordshire they call a post-and-pan house a +brick-_pane_ house, because the wood-work divides the building into +rectangular spaces, filled with _panes_ of brickwork. + +In Forby’s Suffolk Vocabulary _pane_ is a division of work in husbandry, +also strips of cloth. The slits in Elizabethan dresses are called +_panes_. Du Cange, in his _Glossarium Mediæ et Infimæ Latinitatis_, has +_panna_, a carpenter’s word, signifying a square piece of wood of 6 or 7 +fingers on a side, which being placed on the rafters of the roof, and +retained by wooden supports, carries the asseres. The “Glossary of +Architecture” construes a pan as a lathe; but of this there seems some +doubt. + +There is a remarkable example of the word _Panna_ in the Close Rolls of +the 9th of Henry 3rd, membrane 5, page 65, though the word in the +printed copy is erroneously spelt _pauna_. + +[Sidenote: De postibus et pannis datis.] + +Mandatum est Hugoni de Neville quod habere faciat Baldivinium de Veer +duos postes et duos _pannas_ in bosco nostro in Deresle, de dono nostro +ad se habergandum apud Thrapston. Teste rege apud Westmonasterium XV die +Octobris, anno nono.--That is: The King orders Hugh de Neville to give +Baldwin de Veer two _posts_ and two _pans_ out of the Royal forest of +Deresley to build a house at Thrapstone.--“Habergandum” is from +_habergo_, to build a house, which seems to be derived from the old +German _habe_, goods and possessions, and _bergen_; in Ang.-Sax., +_boergan_, to defend, keep, and protect. _Habe_, goods, is from the +German _haben_, Ang.-Sax., _habban_, to have and possess. In Du Cange we +find “Habergagium vel habergamentum, domicilium domus,” that is, a place +to keep goods in. This account is given us by the writer in the +“Cambridge Portfolio,” who adds, “That it is probable the house alluded +to in Thrapstone was merely a shed.” He gives a great many derivations +from the word _pan_ in French. He says that _pan_ or _post_ is a _post_ +and _pan_ wall, perhaps with boarding in the panes instead of brick or +stone. A post-and-pan house therefore signifies one formed of uprights +and cross-pieces, and this appears to be the most rational name for +them. The patterns of the woodwork are sometimes extremely elegant; at +Park Hall in Shropshire, one represents balustrading intermingled with +quatre-foiling, while the plaster ceilings inside the building are of +excessively rich character. In many of the old post-and-pan houses, the +windows are between every post, running the whole length of the house in +each story, rendering a remark of Lord Bacon’s true, that in such houses +you did not know where to become to get out of the sun or the cold. They +are now sometimes called “bird-cage houses,” from the effect at a +distance. Some of these old mansions had the hall extending to the roof, +and this was carried down to a very late period. At Kirby in +Northamptonshire, a seat of the Lord Chancellor Hatton, built by the +architect, John Thorpe, Inigo Jones altered the timbers of the hall roof +and gave them an Italianized character. He was, previous to his visit to +Italy, one of the chief and most celebrated masters of the then +fashionable Elizabethan style, which was carried down to a later period +than is generally supposed. + +The superior class of wooden houses were for the gentry, the wattle and +dab houses for the hind. This cottage, then, must have been little +better than a miserable shed. Cottages still exist in the north of +England, amid the northern counties, that are bad at the very best. The +tenants have to bring everything with them, partitions, window-frames, +fixtures of all kinds, grates, and a substitute for a ceiling. Certainly +the improved concrete cottage, if it could be erected at a small +expense, would be a great advantage to them. Its partitions, and even +its roof, the latter covered with slate, might be securely formed of +strong hurdles, and a cistern for water easily placed just below it. The +walls, if covered with a good Portland cement face, will last for many +years, and, if the roof be so formed as to protect them, for warmth, +comfort, and cleanliness such cottages are unsurpassed. + +It is to be regretted that the combination of workmen forming the +various Trades’ Unions, has so raised the price of labour that it has +reacted against themselves, and the workmen’s houses, roomy, and formed +of sound, lasting materials can no longer be constructed at a cost that +would allow a fair percentage on outlay. + +Lord Bacon paid particular attention to building, and he had several +fine mansions. He received his Sovereign at one, _Gorhambury_, who on +her remarking its great size, said, “It was not that the house was too +big, but that her Grace had made him too big to inhabit it.” His essay +on building gives such a complete picture of what the nobleman’s house +was in those days, that it is here quoted. + +“First, therefore, I say you cannot have a perfect palace, except you +have two several sides: a side for the banquet, as is spoken of in the +book of Esther, and a side for the household; the one for feasts and +triumphs, and the other for dwelling. + +“I understand both these sides to be not only returns, but parts of the +front; and to be uniform without, though severally partitioned within; +and to be on both sides of a great and stately tower in the midst of the +front, that, as it were, joineth them together on either hand. I would +have, on the side of the banquet in front, one only goodly room, above +stairs, of some forty feet high: and under it a room for a dressing or +preparing place, at times of triumphs. On the other side, which is the +household side, I wish it divided, at the first, into a hall and chapel +(with a partition between), both of good state and bigness; and those +not to go all the length, but to have at the farther end a winter and +summer parlour, both fair; and under these rooms a fair and large cellar +sunk under ground, and likewise some privy kitchens, with butteries and +pantries, and the like. As for the tower I would have it two stories, of +eighteen foot high apiece above the two wings; and goodly leads upon the +top, railed with statues interposed; and the same tower to be divided +into rooms, as shall be thought fit. The stairs likewise to the upper +rooms, let them be upon a fair open newel, and finely railed in with +images of wood cast into a brass colour; and a very fair landing-place +at the top. But this to be, if you do not point any of the lower rooms +for a dining-place of servants; for otherwise, you shall have the +servants’ dinner after your own; for the steam of it will come up as in +a tunnel; and so much for the front; only I understand the height of the +first stairs to be sixteen foot, which is the height of the lower room. + +“Beyond the front is there to be a fair court, but three sides of it of +a far lower building than the front; and in all the four corners of that +court fair staircases, cast into turrets on the outside, and not within +the row of buildings themselves; but those towers are not to be of the +height of the front, but rather proportionable to the lower buildings. +Let the court not be paved, for that striketh up a great heat in summer +and much cold in winter; but only some side alleys with a cross, and the +quarters to graze, being kept shorn, but not too near shorn. The row of +return on the banquet side, let it be all stately galleries: in which +galleries let there be three or five fine cupolas in the length of it, +placed at equal distance; and fine coloured windows of several works: on +the household side, chambers of presence and ordinary entertainments, +with some bedchambers; and let all three sides be a double house, +without thorough lights in the sides, that you may have rooms from the +sun both for forenoon and afternoon:--cast it also that you may have +rooms both for summer and winter; shade for summer, and warm for winter. +You shall have sometimes fair houses so full of glass that one cannot +tell where to become to be out of the sun or cold. For embowed windows, +I hold them of good use (in cities indeed, upright do better, in respect +of the uniformity towards the street); for they be pretty retiring +places for conference, and besides they keep both the wind and sun off; +for that which would strike almost through the room doth scarce pass the +window; but let them be but few, four in the court, on the sides only. + +“Beyond this court, let there be an inward court of the same square and +height, which is to be environed with the garden on all sides; and in +the inside, cloistered on all sides upon decent and beautiful arches as +high as the first story; on the under story, towards the garden, let it +be turned to a grotto, or place of shade, or estivation; and only have +opening and windows toward the garden, and be level upon the floor, no +whit sunk under ground, to avoid all dampishness: let there be a +fountain or some fair work of statues in the midst of this court, and to +be paved as the other court was. These buildings to be for privy +lodgings on both sides, and the end for privy galleries; whereof you +must foresee that one of them be for an infirmary, if the prince or any +special person should be sick, with chambers, bedchamber, ante-camera, +and recamera, joining to it; this upon the second story. + +“Upon the ground story, a fair gallery, open, upon pillars, and upon the +third story likewise, an open gallery upon pillars, to take the prospect +and freshness of the garden. + +“At both corners of the farther side, by way of return, let there be two +delicate or rich cabinets, daintily paved, richly hanged, glazed with +crystalline glass, and a rich cupola in the midst; and all other +elegancy that may be thought upon. In the upper gallery too, I wish that +there may be, if the place will yield it, some fountains running in +divers places from the wall, with some fine avoidances. And thus much +for the model of the palace; save that you must have, before you come to +the front, three courts, a green court plain, with a wall about it; a +second court of the same, but more garnished with little turrets, or +rather embellishments upon the wall; and a third court, to make a square +with the front, but not to be built nor yet enclosed with a naked wall, +but enclosed with terraces leaded aloft, and fairly garnished on the +three sides; and cloistered on the inside with pillars, and not with +arches below. As for offices, let them stand at distance, with some low +galleries to pass from them to the palace itself.” + + * * * * * + +The vignette is an elevation, with enlarged details, of a design for a +weathercock or wind vane. In buildings where there are many on the roof, +they are sometimes seen pointing different ways, and it is of importance +they should be properly constructed. The construction necessary to +prevent these differences is shown in the two sections on each side the +elevation; _a_ is a gun-metal rod, in which is fixed the small steel rod +_b_; this moves in a piece of agate fixed in a small block of copper +_c_; the agate is marked black in the left-hand section. + +[Illustration] + + + + +_DESIGN No. 23._ + +A GARDEN SUMMER-HOUSE. + +[Illustration: Perspective view and plan.] + + +This small circular erection was designed from the express directions, +as to style, size, form, and plan, of the gentleman for whom it was +made, and who had it constructed. It was of wood, standing on a brick +foundation, with a quaint room in the centre, completely lined with +match-boarding, stained oak and varnished, the ceiling having hanging +pendants. The lead lights of the sashes were glazed with various +specimens of old coloured glass. + +[Illustration: Elevation.] + +The view and plan are illustrated at page 262; the plan shows the +general arrangements; the porch had seats on each side, and the back +portion of the + +[Illustration: Section.] + +[Illustration: Detail showing construction.] + +summer-house was enclosed for a single seat. The elevation given on page +263 shows, as well as the view, flower-pots on supports in the roof. +These were + +[Illustration: Gate to a flower-garden.] + +omitted in execution. The section shows the building as constructed; it +is taken through the porch. The interior room and the enclosed seat +behind the illustration gives the detail of a portion of the +construction. + +[Illustration: Elevation.] + +[Illustration: Section.] + +[Illustration: Plan.] + +The building had no fireplace, being merely intended for summer use; it +was placed on an elevated site, and commanded a fine view. + +No small structure can be made too expensive in construction if it is to +be placed in a beautiful flower-garden. However pretty its ornaments may +be, they are sure to pale by the side of the natural objects surrounding +it. The small gateway shown in view on page 265 was constructed entirely +in oak with a slab-slated roof. It stood at some distance from the +dwelling, to which it formed a conspicuous object, and it was the +entrance to an enclosed flower-garden. An elevation, section, and plan +of it are given on page 266. + + * * * * * + +The vignette represents an open ironwork console or holder for a +meat-jack for the kitchen fireplace: it is of French design. + +[Illustration] + + + + +_DESIGN No. 24._ + +A SMALL COUNTRY RETREAT, OR FRENCH MAISONETTE. + +[Illustration: The front elevation.] + + +This is a study for a small villa in the modern French style, one which +has lately been introduced into several buildings of domestic character +in England, the woodwork being sent from France. The + +[Illustration: Ground plan.] + +chief feature of the style is the machine-cut ornamental wood; it is of +common deal, about an inch or a little more in thickness. When placed +up, and coloured a light fawn colour or plain yellow, it is extremely +pleasing, and has the merit of being very cheap. + +The design has an ornamental iron verandah completely round two sides +of the building, with small upright standards taken through its roof, +which are + +[Illustration: Section through length of building.] + +connected together with zinc wire-work; the intention being to permit +flowering plants to grow over it, so that the front should be crowned +with flowers. The villa is only intended for summer use, being confined +in its accommodation. The ground plan, given on page 269, shows _d_ and +_e_, the drawing and dining + +[Illustration: Transverse section.] + +rooms, divided one from the other by curtains hanging on a glazed +screen; the length of the two rooms is 42 feet, their breadth 15 feet. +They are decorated gaily in French style; the room _c_ can be used as a +study, but it is intended for a sleeping room; the kitchen _f_ has a +large larder _h_, but it would be desirable if the kitchen was formed a +short distance away from the building, and connected with it by a +passage; the rooms _f_ and _g_ could then be made into a bed and +dressing-room. The wine cellar is at g, and a conservatory _i_, is +placed at the end of the building. + +[Illustration: Plan of one-pair.] + +The elevation of the front of the building and the two sections show the +general construction of the upper part of the house. This was in timber, +the flues alone being of brick. + +The plan of the upper floor shows four rooms; each of the flues is +supplied with its pedestal, so that should the house be occupied in +winter, these upper apartments could be kept well aired by the fires in +the lower apartments, without any attention from the servants. The +framing of the upper portion is correctly shown in the section copied +from the working drawing. + +[Illustration: Portion of verandah.] + +All elevation of a small portion of the verandah, showing its iron work, +is given; and an illustration to a large scale shows its ornamental zinc +guttering, and the carved wood French ornament, a section showing how +they are fastened on; and the zinc gutter placed in front is likewise +given. + +[Illustration: Elevation of zinc gutter, and cut woodwork.] + +[Illustration: Section of the same.] + +The following is a design in purely French taste for the circular top +over the entrance porch on the upper floor. + +[Illustration: Cut woodwork.] + +The roofs of buildings in this style should be covered with zinc. The +French are as much before us in their use of this metal as they are +with their cut woodwork. + +Roofs covered with zinc could be made flatter, and have a covering or +floor of boards, each board ½ an inch apart. An illustration is given of +such a construction; it has a light iron railing with a scroll + +[Illustration: Design for roofing.] + +against the brick parapet; and supports a stand for flowers. With the +absence of offensive smoke, and with the use of the flue pedestal to +supply warmth, the upper parts of our houses could easily be formed into +conservatories. + +The interior of the building was intended to be as profusely decorated +with the cut woodwork as the exterior. The staircase balusters were of a +rich pattern, the whole being stained after some ornamental wood, and +varnished. + +[Illustration: Staircase balusters.] + +The expense of constructing such a building would be 2450_l._ + +In this style cut-wood decoration the French certainly excel us. Some +English examples, very common in our railway stations, are shown below. +The most ornamental is a pattern used by the author some few years ago; +a rose is introduced to cover the fastening of the cut pattern to the +fascia behind. + +[Illustration] + +We have in England a carving-machine, known as Irving’s patent, that was +a few years since much worked at a manufactory in Pimlico by Mr. Pratt +of Bond Street. At one time it bid fair to exert a most important +influence upon the production of this kind of cut-wood decoration. It +could make such carvings with the greatest ease and rapidity, whether in +stone or wood. The machine was a simple drill in a moveable arm, worked +either by steam or a hand-wheel, on a moveable table; the combined +motion rendered it capable of carving any form, however intricate, from +the largest Gothic window-head, to the smallest screen. At Pimlico it +was under the architectural superintendence of R. W. Billings. It is +still used, together with Jordan’s patent for carving, at Lambeth. + + * * * * * + +The vignette gives a pattern for cut-wood balustrading. + +[Illustration] + + + + +_DESIGN No. 25._ + +AN ELIZABETHAN VILLA. + +[Illustration: Perspective view.] + + +This design was made a few years ago for a gentleman who was a great +admirer of our old English architecture, and who desired to have a + +[Illustration: Ground-floor plan.] + +dwelling with its chief characteristics, both internally as well as +externally, but with all modern arrangements. He intended to purchase a +piece of land in the neighbourhood of London for the purpose of +erecting the structure upon it. Producing the design was a labour of +love to us both, and many a pleasant evening we + +[Illustration: Balustrading of staircase.] + +spent together in studying the details as to what we should like to have +in each room, without troubling ourselves about what the expense would +be; unhappily he did not live to carry out his intention, and the +drawings were laid aside. + +[Illustration: Section of hall.] + +The exterior is a study from the celebrated building, Rushton Hall in +Northamptonshire, erected in the + +[Illustration] + +reign of Elizabeth, by Sir Thomas Tresham. On the estate in the forest, +about a mile from the house, is that curious and unique building, the +Triangular Lodge,[B] which served as a secret place of meeting for the +conspirators of the Gunpowder Plot. + +The ground plan shows only a small and single staircase _b_; +considerable discussion took place upon this; the great staircase was +first planned in the hall _a_, but a billiard-table was imperative, and +the hall alone + +[Illustration: Elevation of hall fireplace.] + +could receive it. The smaller staircase was made ornamental, with carved +oak balustrades having a + +[Illustration: Details of hall fireplace.] + +small brass ornament between, for the children to lay hold of in getting +upstairs. + +The hall was to be wainscoted all round; the illustration on page 283 +shows one side, with the entrance into the dining-room; a section of the +moulding of the panels is given on page 283 of full size. A gilt +decoration was to have been put in each panel, as shown. An ornamental +plaster frieze, containing shields of arms + +[Illustration: Hall stove.] + +which were to be emblazoned, came over the panelling. An elevation of +the fireplace, to have been made in Caen stone, with its details on a +large scale, is given in cuts on pp. 284, 285. + +[Illustration: Portion of hall ceiling.] + +The fireplace is shown with fire-dogs to burn wood, with its iron +fire-back; but this was objected to, and + +[Illustration: Section.] + +the stove was selected; my friend having great interest in coal, +preferred it to wood. + +[Illustration: Dining-room ceiling.] + +The illustration on page 286 is a portion of the hall ceiling, copied +from a celebrated example of the time of Henry VIII. To illustrate every +room or give only one-third of the drawings made for this design would +far exceed the limits the present volume allows. Each of the three rooms +on the ground floor had + +[Illustration: Pendant.] + +decorated chimney-pieces, and carved architraves and panels to the +doors. The section shows the height of the rooms. The dining-room _e_ +(see ground-plan) was + +[Illustration: Pendant and centre ornaments.] + +22 ft. by 20 ft.; the library _c_, 17 ft. by 15 ft., and the +drawing-room _d_, 24 ft. by 17 ft., with a large bay window opening on +to a terrace--their height 12 ft. 9 in.; _f_ is the lift and _g_ the +closet. Each of these rooms was to have ornamental flat plaster ceilings +with + +[Illustration: Drawing-room ceiling.] + +pendant ornaments. These are shown in illustrations on page 289. + +The staircase led to a gallery in the middle of the building on the +first floor, dimly lighted at each end by the staircase and passage +windows. The first floor (page 292) contained a morning room, _a_, in +the centre, 15 ft. by 12 ft., with a bow window; and three bedrooms _b_, +_b_, _b_, with two dressing-rooms _c_, _c_, one with a bath and a +closet. + +[Illustration: Library ceiling.] + +The attic plan (page 292) contained three large rooms for the servants, +_b_, _b_, _b_; a housemaid’s closet _e_, and in the recessed space by +the side a large slate cistern for water. The basement (page 293) +contained considerable accommodation: _d_ was intended for a private +room for the family, _a_ the kitchen, _c_ larder, _b_ the scullery, _i_ +beer-cellar, _g_ butler’s sleeping-room, _e_ butler’s pantry, _h_ +wine-cellar, _l_ place for cleaning + +[Illustration: Plan (page 291).] + +[Illustration: Attic plan (see page 291).] + +knives. The housekeeper’s room _f_, and servants’ hall are in the front, +and _j_ is the lift for dishes to ground floor, _k_ the coal-cellar. An +open area was made on two sides of the building. + +[Illustration: Basement plan (see page 291).] + +It was intended to construct the basement fireproof, and to have the +flooring chiefly of asphalte, laid on brick and concrete, solid with the +earth; having a width of stone at the fireplaces. Small openings into +the areas were to be made for water to run off, so that the floors could +be at any time flooded from a + +[Illustration: Front elevation.] + +[Illustration: Back elevation.] + +[Illustration: Elevation of side.] + +hose. The skirtings for eighteen inches above the floor were to be in +asphalte, so that no beetles or other vermin should find their way in. +It was a + +[Illustration: Ironwork on terrace.] + +subject of discussion whether all the other floors and skirting should +not be of a similar description. The three elevations of the building +are given: they were + +[Illustration: Ironwork on bay-window.] + +to have been in red brick with compo dressings, and the balustrades in +artificial stone. One peculiar portion of the exterior decoration was +the ironwork in lieu of stone balustrading. The bay window and the +terrace were surmounted with this ironwork; that on the terrace was to +be formed so as to sustain heavy + +[Illustration: Small finial.] + +[Illustration: Portion of front.] + +earthenware pots of flowering shrubs:--an elevation of the two examples +is given on page 297. + +The mouldings on the exterior of the building were small and simple; +this is shown in illustrations on page 298. Various designs were made +for the + +[Illustration: Balustrades for first floor.] + +balustrading; three of these, with the ornament containing a shield of +arms in the centre of the side gables, are likewise given. + +The expense of constructing this design with all the ornamentation +shown, would have been great. A + +[Illustration: Lower balustrade.] + +considerable portion of it, when it came to be estimated and the +specification and working drawings were made + +[Illustration: Ornament in side gable.] + +for the builder, would have been left out, and the whole made more +simple. The design would not have materially suffered for such +deductions; all the general forms or the simple outline of the exterior +would have been preserved. The chief deduction would have been made in +the ornaments of the interior, or these might have been only partly +done. Such a design, with a moderate amount of decoration only, would +cost about 4700_l._ + + * * * * * + +The vignette shows French and English cut-wood patterns for blind +ornaments. + +[Illustration] + + + + +_DESIGN No. 26._ + +A SUMMER OR GARDEN VILLA. + +[Illustration: Perspective view.] + + +One of our most eminent writers on gardens, Repton, remarked that +“gardening and architecture, like all the fine arts, have much in +common; and the department of architecture which belongs more +exclusively to gardens has especially a great affinity to gardening in +its broadest principles.” In fact, there is much more relation between +the two than is usually admitted--a matter already alluded to in the +Introductory Essay. Architectural forms and decorations, temples and +rustic bowers, seats, &c., are not, as many have observed, unfit for our +climate. In western counties they certainly can be indulged in to a +large extent; and the fine evergreens and the beautiful grass of this +country will, in association with ornamental terraces and sculpture, +impart sufficient warmth of tone to render them agreeable. The garden of +_Mon-plaisir_ at Elvaston, in Derbyshire, and the Alhambra Gardens +there; those at Castle Coombe, Trentham, Alton Towers, and Bowood, +sufficiently prove how attractive gardens can be architecturally made. +In former years gardens were almost universal through every part of +England, as is proved by the bird’s-eye view, engraved by Kipp, from +drawings by Knyff in the book, “Britannia Illustrata,” and those of the +gardens given in Loggan’s “Oxonia Restituta,” and the similar work on +Cambridge. But gardens, like all other mundane matters, have their +periods of change or retrogression; the natural style having almost +obliterated the architectural garden of William and Mary. This might +have been too precise, as + +[Illustration: Ground plan of villa.] + +copied from the Dutch model: they were satirized by Pope, thus-- + + “Grove nods at grove, each alley has a brother, + And half the platform just reflects the other.” + +They were called King William’s style of fortifications, surrounded +with yew hedges, cut in variety of forms; those which have been suffered +to outlive their original shape are really beautiful. Queen Anne’s +Garden, now part of Kensington Gardens, is an example. But these gardens +were very inferior to those of Italy and France, or even those in +England of the Elizabethan age. It is to Italy, the garden of Europe, +that we must look for the finest specimens of garden architecture. The +Villa Pamphilia or de Belrespiro, situated half a mile out of Rome +beyond the Gate of San Pancrazio, is celebrated for its gardens; from +them could be observed the whole city of Rome, and surrounding suburbs. +The gardens are nearly five miles in circumference, and occupy the site +of those of the Emperor Galba. Their arrangement is varied and +agreeable; being picturesque without disorder, symmetrical without +monotony; and we here observe the art with which the arrangement of a +regular garden is made to agree with the rural nature of which it forms +a part, and the noble structure it surrounds. It is doubtless the work +of the architect of the villa L’Algardi, about the year 1646. They have +been ascribed to the French artist, Le Notre, but there is very little +of the French style about them; they are wholly Italian, following the +lines of the villa, and in the same style or spirit. These are, or were +admirable; while the fountains, + +[Illustration: Ground plan of garden and villa.] + +the cascades, grottos, basins, statues, and the antique fragments which +adorn them are arranged with the + +[Illustration: Small group in centre of side left-hand basin.] + +skill and intelligence of genius. Illustrations are preserved to us only +in a fine Italian work, by Jacobi de Rubeis, published at Rome, about +the middle of + +[Illustration: Small group in centre of right-hand basin.] + +the seventeenth century. The villa was destroyed by the French when they +crushed the liberty of the Roman people at their onslaught on Rome +against Garibaldi. + +In designs of this description the house and garden should unite, and be +lost in each other. Those parts of the garden most contiguous to the +house should follow its outline, its walks and terraces, and be so + +[Illustration: Fountain ornaments.] + +placed that the windows and doors of the mansion could command a perfect +view of them. The province of garden architecture is, primarily, to +supply fitting appendages and accompaniments to the house, so that the +latter may not appear alone and unsupported. If judiciously adopted it +will be effective in helping to produce a good outline, carry down the +lines of the + +[Illustration: Elevation of front.] + +[Illustration: Section through centre of building.] + +house, and connect it with other buildings, which may be conservatories, +ferneries, aquaria, rustic seats, temples, and arbours; and it will +provide a + +[Illustration: Portion of saloon.] + +proper basement to the house. Such arrangements afford shelter or +privacy to a flower garden, extend the façade or frontage of the house, +shut out back yards, stabling or offices, enrich, vary, and enliven the +garden, supply conveniences, receptacles for birds, plants, sculpture, +or works of art, specimens of natural history, and support for climbing +plants. These points indicate refinement, wealth, and love of art, and +otherwise blend the various constituents of a garden with the house, and +harmonize the two by communicating an artistic tone to the garden. So +says Repton, and most of the principal writers on gardening. + +[Illustration: Cap in saloon.] + +Some of the ancient gardens of Asia and Italy were considered among the +wonders of the world. They were termed paradises, and were filled with +such plants, both beautiful and useful, that the soil could produce; +they were enriched with many kinds of works of art, banqueting-houses, +aviaries, wells, and streams of running water, indispensable in those +warm climates. + +[Illustration: Section of part of saloon ceiling.] + +An architectural garden, as illustrated in the design at page 302, +should have a picturesque outline, a + +[Illustration: Plan of the same.] + +marked boldness and prominence of parts, rather than a mere ornamental +detail; a picturesque effect by changes of level in the ground, by +diversity of height + +[Illustration: Portion of centre panel.] + +of the different terraces, and by an arrangement in plan that would +produce depth of shade. Every object admitted should fit into its proper +place. This + +[Illustration: Panel of ceiling.] + +villa was designed to cover a fine spring of cold water, and thus insure +a deep cold plunging bath. It was to be merely a place for temporary +occupation and retirement, to renovate the health of the owner. The +gardens and fountains externally were only ornamental accessories; the +plan at page 306 illustrates these. The villa was approached by two +roads _d_ _d_; there was a circle of open lawn between the house and the +terraced gardens in front. The latter were approached + +[Illustration: Section and plan of one of centre pendants.] + +by descending flights of steps. A basin of water and a large fountain, +rising from a group of sculpture in the centre, are there shown. By the +side are two smaller basins with smaller groups of sculpture, +representing sea-horses, cupids, and dolphins. This terrace is paved +with ornamental encaustic tiles. At the head of the two side gardens +_b_ _b_, are grottos _g_ _g_, with seats on a raised terrace on each +side of their entrances. The steps descend to a lower level, and have +sea-horses and cupids on their pedestals, with five falls of water from +griffins’ heads, filling a basin below. A + +[Illustration: Bedroom ceiling.] + +wide walk, and a running stream by its side, were thus gained. + +The author at the time he made the design was effecting some additions +to a country house, which admitted such a garden to be formed in front +of it: he published his design for it at the time (1850) in the +_Builder_. + +[Illustration: Drawing-room ceiling.] + +This villa may be considered a casine, or a retired dwelling on a rather +larger scale, similar to the picturesque house at Wothorp, in +Northamptonshire, which was erected by one of the Earls of Burleigh, as +a place to retire to, while his “great house at Burghley was sweeping.” +Wothorp was a large building: it was fully illustrated in one of the + +[Illustration: Sections of moulding of ceiling.] + +author’s works, from original drawings lent him by the late Marquis of +Exeter. The casine, only one size larger than a cottage, was the fashion +of the preceding age. Whenever the proprietor of an estate wished to +turn hermit, he retired to the casine, a small temple erected in a +portion of his grounds, where the finest views could be obtained, and +the most perfect repose secured. In earlier times such buildings + +[Illustration: Drawing-room chimney-piece.] + +afforded secret meeting-places wherein to hatch political plots; such a +one was the triangular lodge in a secluded part of the wood at Rushton +in Northamptonshire, + +[Illustration] + +the seat of Sir Thomas Tresham, where the gunpowder conspirators +assembled. The casine of more modern times was not so small, but it +contained all the requirements of good living. One example, is the +casine of Marino, near Dublin, built by Sir William Chambers for the +Earl of Charlemont. + +[Illustration] + +It was square in plan, surrounded by twelve columns, two projecting flat +porticoes in front and back, and pedimented porticoes at the sides. The +entrance was approached by a noble flight of steps, the pedestals of +which were decorated with carvings, and supported crouching lions. +Statues and vases adorned the roof. A print of it, from a drawing of +Wheatly, was published in 1783. The building contained a small hall or +vestibule, a saloon or living-room, 20 feet in length by 15 feet in +width. Leading out of this were + +[Illustration: Plan of mezzanine floor.] + +two small rooms; one a study, the other a bedroom and closet. The +basement contained a large and well-fitted kitchen, a scullery and +larder, a butler’s pantry, and servants’ hall, and cellars for ale and +wine. Retired buildings of this kind, of larger character and of more +importance, were often erected in private grounds of noblemen and +gentry. One, very similar to the present design, was constructed by the +late Robert Adam, for a salt-water bath, at Mistley, the seat of the +Right Hon. Richard Rigby. Mr. Adam and Sir William Chambers erected a +large number of such ornamental structures. One of the most elegant + +[Illustration: Plan of upper story.] + +examples, by Mr. Robert Adam, was the rout-house or pavilion erected for +a _fête champêtre_ in the gardens of the Earl of Derby, at the Oaks, in +Surrey, in 1774. The building was internally of the most ornamental +character; there was an octangular vestibule, a hall 30 feet in +diameter; this opened into a grand ball-room, 72 feet by 35 feet within +the columns, and 86 feet by 56 feet within the walls. The supper-room, +surrounding the ball-room, measured 200 feet from one end to the other, +and 20 feet in width. It was exposed in its full splendour on the +curtains being drawn; and at the end of the ball-room there were + +[Illustration: Basement plan.] + +two tea-rooms, each 20 feet square, on each side of the entrance saloon. +The author gives these details in order that he may not be considered +too venturesome in submitting to public notice, in these economical +times, such an ornamental design as the + +[Illustration: Elevation of back front.] + +present. Similar structures of a more expensive character were once very +common; but the small + +[Illustration: Elevation of top of pedestal.] + +[Illustration: Plan.] + +retired casine has now gone out of fashion. The ladies consider such +secluded buildings as only fit for laundries, and not preferring +themselves lives of perfect retirement and quiet, have brought in the +small + +[Illustration: Ornament terminating pedestal on attic.] + +villa where a whole family can dwell, and no selfish thoughts or gloomy +contemplations find place. + +In referring to the plan of the villa at page 304, of which the plate +page 302 shows the elevation, _e_ is the + +[Illustration: Section.] + +[Illustration: Plan.] + +small hall 8 feet square, _g_ the gun room or waiting room is on the +right, the serving room with a lift from the basement on the left. The +saloon is a highly decorated apartment, 20 feet in diameter. This is +seen in the section through the centre of the building given at page +310; _h_ is the sleeping room, 13 feet square, with an ornamental +ceiling. The saloon serves as a dining-room and place for meals. The +drawing-room, _d_, or music room, 22 feet by 14 feet, is on + +[Illustration: Termination of attic pedestal.] + +the left, _b_ is the principal staircase leading to the upper rooms; +this serves also for servants. The small iron staircase _j_, is for +passage to the cold bath below, _i_ is a room for a warm bath. The cold +bath, as shown in the section, is ventilated through a domed ceiling, +but the scale is too small to show this perfectly. + +A portion of the saloon is shown at page 311, with a few of its details +in the six cuts following it. + +[Illustration: Chimney-pot elevation and section.] + +The bedroom ceiling (page 316) supposes the covering of a tent, upheld +by spears and ropes. The colour of the drapery is of a light fawn, the +ground a deep ultramarine blue. In the centre of the ceiling is a small +Cupid on a red or gilt ground, a light blue circle surrounding it. The +spears, roses, ropes, and tassels are gilt and coloured. + +[Illustration: Iron balconet to window.] + +The drawing-room ceiling is decorated plaster work in white and gold. +Its plan is shown at page 317, and three of its details on page 318. +Among other decorations of these rooms may be considered the +chimney-pieces. The cuts (page 319) give an elevation of the +drawing-room chimney-piece, the plan of its shelf above, and a portion +of its details to a larger scale beneath. This chimney-piece in the +finest statuary marble would cost 80_l._ to execute. Several have been +done for the author at that price. They look very well in execution. Two +fire-places of less pretensions are shown in the illustrations at pp. +320 and 321; the first was in rouge royal, costing 25_l._; the last are +of marble with slate panels covered with imitation of Brocatelli +marbles, these costing 19_l._ 10_s._ each. The illustration of the whole +of the details of internal decoration of such a structure would fill a +much larger volume than the present; but it is the sole object of the +author to give such illustrations of the several designs, that a portion +of each part of the building only shall be shown; _k_, in the ground +plan (page 304), is an open portico with steps to the garden or park in +front of it. + +The next plan (page 322) is that of the mezzanine. This shows two of the +female servants’ sleeping rooms, _a_, _a_, with a closet; the decorated +ceilings of the saloon, drawing-room, and bed-room, are also shown; the +bath-room should have some slight decoration, but this has been omitted. +The female servants’ sleeping rooms are each 17 feet in length by 8 in +width. + +The plan of the upper story (page 323) gives a smoking room _a_, with an +open terrace _c c_, front and back, a closet _d_, and a cistern room +_b_. + +[Illustration: Section of window sill and iron balconet.] + +The basement plan (page 324) shows the cold bath in the centre, with its +staircase; the kitchen _b_, the scullery _g_, _h_ _h_ the larders, _c_ +is the lift, and _d_ _d_ are men’s sleeping rooms; the servants’ hall +_t_, and housekeeper’s room _j_, are on the left, _q_ is the wine +cellar, and _s_ the beer cellar. + +The elevation of the back front is at page 325; it has a circular +portico and steps down to the garden. An attempt has been made to +introduce an original termination for the pedestals on the attics, +instead of using the almost universal Soanic bulbous ornament so +repeatedly seen in nearly every public building in + +[Illustration] + +London and the country, and of which the author’s late master, Sir John +Soane, was so fond. These attempts are given in the figures pp. 326-328; +and an attempt is made to give an ornamental chimney-pot on page 330. +It will be seen in the figure that the ornamental cement pot or vase +contains an iron, or it might be a zinc, lining; this would be kept +warm, and a security for the smoke passing out. + +The exterior of the building is ornamented with statues and vases, and +the windows have iron balconets. + +The last remaining illustration to be given is the arcade on each side +of the villa, dividing the front and back gardens. The chief portion of +this in stone, with statues between the columns and vases over them; at +the back of the columns is another front of ornamental trellis work in +wood, with scroll stands for flowers--this is supported or upheld by the +stone screen; an elevation of each, with a section, is given at page +334. + + * * * * * + +The vignette gives French and English patterns for cover to external +sunblinds. + +[Illustration] + + + + +_DESIGN No. 27._ + +A DECORATED WINDOW. + +[Illustration] + + +This design was sketched with the intention of making Italian forms +rival the tracery of the Decorated Gothic window, and to obtain a rich +and variegated mass of painted and coloured glass, without any stiff +mannerism or formality. The window was 11 ft. in height with a width of +7 ft.; it served as a screen in one of the principal staircases in a +house at Queen’s Gate, Kensington; immediately behind it is the +servants’ staircase, having a large window and skylight. The lower +portion of this window is divided into three lights by two pilasters +acting as mullions. The circle above the transome is filled with a +richly painted subject, representing a basket of flowers and scrollwork +on a ruby ground. The basket is formed of emerald glass, the ground of +the surrounding portions is richly embossed glass, the chief portions +white, the small portions ruby, yellow and blue, the latter with white +ornaments upon it. The three lights between the pilasters are filled +with embossed glass, and the whole is surrounded by borders of +scrollwork richly embossed, stained and painted; the ruby ground is +shown in the drawing by vertical lines, the yellow by oblique lines, and +the blue by horizontal lines. The expense, including the zinc-work for +fixing the glass to the upper portion or fan-light, was 22_l._ 6_s._; +the lower portion cost 8_l._ 10_s._ It was the work of Messrs. Baillie +and Co. of Wardour Street. + + + + +_DESIGN No. 28._ + +A SCULPTOR’S VILLA. + +[Illustration] + + +During the year 1850 the author, in conjunction with the late Mr. John +Britton, F.S.A., was engaged in making some topographical sketches in +one of the western counties of England. He became for a short time the +guest of one of its principal residents--a gentleman who had succeeded +to the possession of more than a million of money, the result of a +relative’s gains as a merchant in the City. He had filled the small +house he was then inhabiting with a very fine collection of antique +bronzes: also with ancient and modern statuary. The house was occupied +in every corner with these valuable and beautiful works of art. He was +then having another house of larger dimensions erected to receive them. +Considerable discussion took place at his table between himself and his +visitors, among whom were two or three distinguished men of taste, as to +the best method of introducing sculpture into a dwelling of moderate +capacity. It was the general opinion that to properly exhibit classic +sculpture, a villa the size of those of the ancients, such as are +described by Pliny in the account of his villas at Laurentinum and +Tusculum, would be required, and that no other would suffice. On his +return home, the author, as a matter of amusement, without any thought +that his ideas would ever be carried out, made the present design; it +was a subject that pleased him, as he had only a few years previously + +[Illustration: Plan of ground floor.] + +superintended the construction of a small sculpture gallery for the late +Sir Francis Chantrey at Pimlico. + +The ground plan of this design shows a gallery of sculpture in the +centre of the building, a small + +[Illustration: Section of staircase.] + +“Museo Chiaramonti.” The principal group at the end, representing the +capture of the Queen of the Amazons, is so placed that the staircase +winding round it forms its base; the group can be seen from the +staircase, and from the galleries at the side, in every point of view. +This being a large building, the scale upon which the plans, elevation, +and sections are drawn is smaller than the scale previously used in this +volume. The gallery, including that portion which forms the ante-room to +the conservatory, is 80 ft. in length by 20 ft. in width, which is a +poor + +[Illustration: Plan of principal staircase.] + +imitation of the gallery at the Vatican--the Museo Chiaramonti. This is +280 ft. in length, with a breadth of 20 ft. + +But the possession of only a million of money gives a moderate income +compared with that of the sovereign popes at the time the Vatican was +erected. The + +[Illustration: Section through gallery and conservatory.] + +sculpture is arranged on each side of the gallery, the bas-reliefs +inserted in the walls, the bronzes on small pedestals, a reclining group +is placed in a niche in front of the staircase. A marble group is placed +in the fountain in the ante-room to the conservatory, and another in the +conservatory itself. A gallery of this description permits the admission +of a large quantity of sculpture, allowing it to be seen with advantage. +The entrance of the building, partly taken from the front of one of the +Italian palaces,[C] permits a large quantity of sculpture to be placed +in advantageous positions. The plan, page 340, shows an entrance loggia +_a_, the hall _b_, 17 ft. by 16 ft., with the waiting-room _c_, to the +right, the breakfast parlour _d_, and the butler’s pantry _g_, to the +left; _f_ is the library, 28 ft. by 16 ft., entered either from the +gallery or the waiting-room. It has a large window looking into the +ante-room to the conservatory, and permits a good view of the group of +sculpture and the fountain in the centre; _e_ is the gallery, with the +principal staircase, _i_ is the dining-room opening into the picture +gallery and drawing-room _h_, _k_. + +The section, page 343, shows the general arrangement, and an idea can be +formed of its grand scenic effect in summer, when the doors were +opened. The walk round the conservatory and through the whole of the +gallery would have a length of 170 ft., and round the galleries 150 ft. +more, giving ample space to place a very large collection of sculpture. +Underneath the gallery were supposed to be large cellars for wine. These +had a private entrance through the pedestal of the Amazonian group, as +shown in the plan and section to a larger scale at page 342; the +collection below was supposed to be as valuable as the one above, and +calculated to yield as much enjoyment, and one certainly that would be +more highly appreciated by a greater number of persons. The villa, +however, is on a small scale compared with some of the noble residences +in the county, and the accommodation throughout very scanty. The +servants’ offices are shown annexed to the plan; _l_ is the kitchen, 24 +ft. by 22 ft., _m_ the scullery, _n_ the housekeeper’s room, _o_ a small +servants’ hall, _p_ is a serving room, and _q_ the external entrance to +the cellarage. + +By the side of the principal staircase is a descent into the cellars and +basement, for the servants, _b_, plan page 342. The conservatory has a +diameter of 40 ft. and a height of 44 ft.; it is of light construction, +in decorated ironwork. + +The one-pair plan shows the sleeping department, the principal +bed-rooms, _b_ _b_, each with a dressing-room, + +[Illustration: Plan of one-pair.] + +_d_ _d_. These are entered direct from the gallery; in the front of the +building are five smaller sleeping + +[Illustration: Cross section.] + +rooms. At the conservatory end the gallery opens on to the roof of the +ante-room beneath, and from this there is an entrance to a circular +gallery inside the conservatory. On the servants’ side are seen two +large sleeping rooms, and a housemaid’s closet; as this portion of the +building is kept lower than the other, it could have two or three rooms +constructed over the kitchen, or it could be carried up another story. +The plan of the principal bedchambers is taken up another floor; the +small staircase for this purpose is seen at the end of the gallery. + +The cross section (page 347) shows the height of the building, and its +general construction. The whole of the principal living rooms in the +three floors are of the same height, 16 ft. 6 in. each; 37 steps were +required in the principal staircase to ascend to the first floor on one +side, and 31 on the other; the roof of the saloon was to be constructed +similar to the roof of the Riding-house shown in plate, page 389. Large +roofs can be constructed on this principle at a very cheap rate, and it +is a very strong and efficient one; the roof of the Pantheon in +Oxford-street, constructed by Mr. Sydney Smirke, is of a similar kind; +the roofs of the annexes to the Exhibition building of 1862 by Captain +Fowkes were on the same principle, but as these were only intended to +stand for a year, were very slight. The cross section shows the +ventilating flue, proposed and illustrated in a following chapter; the +small stack in the low building shows the incline necessary to meet the +back eddy of wind from the high building. It would have been better, +could it have been effected, to have placed the stack in a position +parallel to the high building, and not at right angles to it. The stack +on the latter shows two ventilating flues, each with an upward shaft; +the whole of the smoke from the fireplaces would be delivered from these +two shafts. + +It only remains to illustrate the system of warming proposed to have +been introduced. This was by a combination of two entirely different +systems of warm water circulation through iron pipes. + +The various apparatus of warming buildings by the circulation of hot +water, may be roughly stated to be of two kinds, each acting on the +opposite principle to the other. The first, or more modern one, is the +_closed system_. This has always been preferred by the author, it being +more conveniently introduced into a building, less expensive, and giving +less trouble than any other, and more certain in its action. In it the +water circulates with great rapidity, completely under pressure, the +pipes being closed, and the whole of the air expelled from them. The +older system is that in which the tubes are not closed, but are +connected with a cistern, into which the water is allowed to flow and +re-flow; the two may very properly be called the high and low +temperature systems, and by these terms they are here designated. With +the first, the tubes can be made to reach a higher degree of heat if +necessary, by placing a larger proportion of them than is usual in the +furnace; but with the second, a temperature of 180 degrees can alone be +reached. With the latter, its greater or less efficiency depends upon +the position of its open cistern, which regulates the amount of pressure +in the tubes, according as its situation is high or low. It was +introduced into this country about 1818; the open cistern was placed in +the upper part of the house, the boiler being below in the kitchen, thus +allowing a considerable pressure in the tubes, and securing a quick +circulation of the water. The high temperature system was introduced by +A. M. Perkins, Esq., about the year 1832; in its simplest form it +consisted of a continuous or endless tube of wrought iron of one inch +external diameter, filled with water, and closed in all parts; a portion +of the tubing was formed into a coil and placed in a furnace of wrought +iron, the fire being enclosed in fire-brick. When it was first +introduced a larger amount of tubing was placed in the furnace than is +now usually done; with the proper amount, one-tenth or one-eleventh only +of the full quantity is necessary, and then it must be obvious that no +overheating of the tubes can take place. In practice it is more usual to +find objections made to the apparatus not giving sufficient heat, than +to its giving too much. The quantity of feet in pipes necessary to raise +rooms of a certain size to a given temperature, must be proportioned to +their cubical contents, and this depends equally on the situation and +aspect of the building, the number of doors, and windows or skylights; +no rule can consequently be given which would be applicable to all +places with any degree of certainty. + +The pipes being only five-eighths of an inch internal diameter, a very +small quantity of water is required to fill the apparatus. A tube called +the expansion tube is placed above the highest level of the circulating +pipes, and is generally of larger diameter. The object of this tube is +to allow for the expansion of the water as it becomes heated; a tube is +also placed at the highest level, in order to fill the apparatus, so as +to leave the expansion tube empty. + +The tubes are provided with screw plugs, so as to be conveniently opened +when it is required to fill the pipes with water, and closed again after +being filled. This can be done with facility by a servant. The +circulation of the water is produced by the application of heat to the +coil in the furnace; and as the small size of the pipes admits of +presenting the largest possible amount of surface to the action of the +fire, it is clear that a greater economy of fuel is effected by it than +by the ordinary system of boilers. As the water becomes heated it rises +immediately to the highest level of the circulating pipes, and thus +forms a column of heated water, specifically lighter than the colder +water, which descends to the lower part of the coil. Thus a circulation +is effected throughout the whole course of the pipes,[D] which +eventually become heated, and the whole may be regulated exactly to that +degree of temperature which is most conducive to a beneficial effect. + +To regulate the degree of heat to be given to the tubes, without +requiring the necessity of an attendant, advantage has been taken of the +expansive property of the iron pipe when heated. There are three +multiplying levers fixed in a box, and so placed that the short arm of +one of the levers rests upon a regulating screw attached to the flow +pipe. On the other end of the series of levers a rod so rests that upon +the slightest movement of the levers, the damper in the flue, which is +attached to the rod, is opened or closed, as the case may be. The box of +levers is suspended from the hot pipe, so as to leave about two feet in +length between the point of suspension and the point of contact with the +short arm of the lever. + +The operation of this arrangement is obvious, for the instant the pipe +becomes heated, it expands and presses the short arm of the lever; and +as the fulcrum within the box cannot move, by reason of the rod which +suspends it being cold, it follows that the lever must be depressed, by +which action a sufficient motion is given to the damper, to close it at +any given temperature at which it may be originally fixed. + +The great advantage in the use of this apparatus is the saving of time +in obtaining the requisite degree of heat. It often happens that the +time occupied in heating the water of an ordinary hot-water apparatus +completely defeats the object of getting warmth in any reasonable time, +particularly in greenhouses, where it is frequently desirable to get up +the heat quickly, to prevent the effect of frost. It has been said that +this property of generating the heat rapidly has the disadvantage of not +being able to retain it: this, however, is not the case, for, on the +contrary, an equal temperature may be maintained for any length of time +that may be desired. It is only necessary to make the fireplace +sufficiently large to contain fuel enough to last the time the heat is +required to be continued, and the damper will regulate the combustion of +the fuel and the heat of the pipes, so that there will be no variation +for twelve hours together. + +There being no boiler to the apparatus, it is free from the ordinary +danger of explosion; if a pipe by possibility should burst, no harm +ensues, for the water escapes from so small an aperture that it becomes +absolutely cool by its expansion and mixture with atmospheric air. + +So little fear of fire exists with the apparatus, that the directors of +the principal fire offices readily accept, at the lowest rate of +premium, all proposals for the insurance of buildings in which the +system is adopted, not requiring even the customary inspection. + +The author made drawings of one of these apparatus put up in an +ornamental greenhouse in Kew Gardens in 1844; and fourteen years after, +the director of the garden, Sir W. J. Hooker, publicly allowed it to be +stated in print that no hot-water apparatus in any of their houses had +given so much satisfaction; that the heat was given out after lighting +the fires more rapidly than in any other of their houses, and steadily +maintained at any degree of temperature required. The two systems of the +high and low temperature can readily be combined, and the temperature of +both large and small tubes nearly equalized. This may be done by using +one furnace. A diagram given by Dr. Arnott in a lecture delivered by him +at the Royal Institution in March, 1836, with his explanation, will show +the principle upon which the combination is effected. Suppose A, fig. +1, is a cistern full of cold water, and B a cistern full of hot water: +if the two cocks _c_ _c_ are unturned, it is a fact that the water at +_d_ will be one degree of warmth only above the water at + +[Illustration: Fig. 1.] + +A, and the water at e will be of one degree less temperature than the +water in B. If, therefore, on this principle, some of the pipes of the +high-temperature system are passed through the large tubing of the low +temperature one, the desired effect is obtained: the large pipes or +tablets of one apparatus remain at their full heat, while an additional +quantity of inch pipe of sufficiently warm temperature is obtained, that +can be carried into rooms and placed in situations into which the +warming surfaces of the low-temperature system could not be made to +approach. + +As regards the low temperature apparatus, if the large pipes belonging +to it are laid in sufficient quantity, they doubtless have the effect of +producing a moderate degree of heat. + +The best way of introducing them into a dwelling-house is to sink them +in channels in the floor, with perforated ironwork over them: they are +more usually introduced into hothouses, factories, and workshops, where +their appearance is not objectionable. A feeling exists in favour of +their use in conservatories; in order to show how they can be retained +for that purpose, the combined systems are introduced in the plan of the +villa here described. + +The ground plan shows the entrance hall, the gallery or sculpture saloon +in the centre, the principal staircase, the picture room and the +servants’ staircase, all warmed by the inch pipes; the larger pipes are +introduced into the conservatory. In the picture room--that between the +drawing-room and the dining-room--and in the hall, the pipes are sunk in +trenches in the floor. They are close to the walls, and lined with brick +with an inside covering of zinc. These trenches have over them +perforated ornamental ironwork; _a´_ _a´_ are pedestals containing coils +of pipe; _b´_ _b´_ are pipes behind the skirting, likewise perforated. +Where these pipes pass the doorways they are sunk in the floor. In the +conservatory _d´_ _d´_ are the large pipes; _f_ is an open cistern, +through which the circulation of water in the pipes flows; at _g_ are +placed the expansion and filling tubes. + +Fig. 2 is an isometrical view of the pipes, furnace, and cisterns +complete to a small scale; _e_ is the furnace placed in the basement; +_f_ is a cistern of cold water through which the flow and return pipes +from the furnace pass: the water becoming heated in the cistern flows +out, and returns in the direction shown by the arrows. The flow pipe, +leaving this cistern, passes up to the expansion tube _g_, whence the +tubes run through the building in the manner shown, returning to the +furnace. The pipes _d_, are two other flow and return pipes, furnished +with a stop-cock, by means of which the circulation can be confined +either to the house or to the conservatory. The furnace + +[Illustration: Fig. 2.] + +should in reality contain two coils of pipe, having two flows and two +returns, the whole of which should go through the cistern _f_, but the +small scale of the plate allows one circulation only to be shown. + +Dr. Arnott’s principle of nearly equalizing temperatures was applied by +him for room ventilation. Its mode of application is explained in the +following extract from his report on “Warming and Ventilating +Infirmaries, Workhouses, Factories, and Domestic Apartments,” given in +the appendix to the Second Annual Report of the Poor Law +Commissioners:--“In rooms where the mechanical mode of ventilation +already described (by means of fanners) and now common in factories, has +been adopted, an addition might be made to the apparatus for extracting +the impure air, which would drive fresh air in, and which, by causing +the two currents to pass each other in contact for a certain distance in +very thin metallic tubes, would cause the fresh air entering to absorb +nearly the whole heat from the impure air going out, and would thus +render it at once both pure and warm, and would consequently save, after +the room was once warmed, any further expense of fuel for the day, and +would avoid, how rapid soever the ventilation, all the danger from +draught and unequal heating.” + +The above idea is extremely ingenious, but as to its practical +efficiency, some doubt might be expressed. The temperature of a warm +room, even if it was 65°, would be much too low to produce the action +described. + +A very ingenious application of the small-tube system of warming has +been introduced into his dwelling by Mr. Babbage. He placed the furnace +in the basement, and divided the whole length of piping by means of a +multiple cock into four circulations, any one of which he could turn off +or on at pleasure; one circulation warmed the bath, which, when the +cistern that supplied it was once up to 160 degrees (and this it took an +hour to obtain), remained sufficiently warm for a bath during 24 hours. +The whole quantity of pipe in the building was 891 feet, and the +quantity in the furnace 135. The thermometer in the smoke-flue was +seldom higher than 212 degrees, when that in the flow-pipe was 240 +degrees. Any two or three, or all four of the circulations could be +worked together, by simply turning an index provided for the purpose. + +The tool-room was always kept at a temperature of from 50° to 54°. In +winter the hat-room received a portion of piping, so that coats and +gloves, even in the dampest weather, were always kept dry. One +circulation was sent through the dining-room a short time before it was +used; it was after a certain time turned off and sent through the +bedrooms and dressing-rooms. The various rooms in the winter were kept +at different temperatures, the dressing-rooms were a few degrees warmer +than were the bed-rooms: an inducement for early rising. The linen was +aired, and warm water provided in the dressing-rooms and for the use of +the servants. The apparatus saved labour in cleaning and lighting of +fires, and it was economical, the consumption of fuel during the six +winter months being about a bushel of coke in 24 hours. The supply of +air, and the consequent combustion and quantity of fuel, was regulated +by the fire itself. This was never suffered to go out after it had been +once lighted, except when necessary to remove the clinkers, and this +occurred about once a fortnight. In the morning, about seven o’clock, +the fire was well shaken by means of a lever attached to the bars of the +grate. Coal or coke was supplied, and the air valve opened. The +stop-cock was then turned on to supply the coils for the library and +stairs. At about eight o’clock in the evening the stop-cock was turned +to heat the coil of the bath, and at eleven o’clock, fuel having been +supplied, the air valve was completely closed, and the damper also if +necessary. By these means the fire burned very slowly during the whole +of the night, and the bath cistern received the warmth thus generated. + +These conveniences and luxuries might be more generally applied than +they are at present in the dwellings of this country. + +[Illustration] + + + + +_DESIGN No. 29._ + +GARDEN SEAT. + + +This small ornamental structure was designed for a garden in Wiltshire, +on an estate near Chippenham. The garden, which is very extensive, +rises + +[Illustration: Perspective view.] + +[Illustration: Plan.] + +in steep terraces up the combe or hill by the side of the mansion, which +lies down in the valley. The structure was to be on the highest part of +the garden, + +[Illustration: Elevation of front.] + +commanding an extensive view of the valley, the village, and adjacent +country. As the house is in the neighbourhood of several fine old +Elizabethan mansions, the design partook of that character. The view +represents + +[Illustration: Section.] + +[Illustration: Side elevation.] + +[Illustration: Balustrade.] + +the structure in its complete state, with the terrace overlooking the +valley. The turret on the tower of the village church is seen in the +distance. The latter + +[Illustration: Portion of exterior front.] + +[Illustration: Portion of the entrance front.] + +[Illustration: Balustrade (2nd example).] + +is an agreeable object in the view, being an extremely fine specimen of +Decorated English Gothic, and in good preservation. + +The plan is beneath the view, and the elevation of the building is +likewise given. The whole of it was to have been constructed in stone; +the vases were intended to receive flower-pots, so that a constant +change of flowers could be placed in them by the pots being changed as +often as was desired. A section through the centre and a side elevation +are given; the balustrade is from an ancient example, it is five inches +in thickness. The mouldings of the exterior are of plain Roman +character, without any admixture of Gothic forms. The best examples of +our Elizabethan architecture are pure Italian, but possessing a bolder +and more picturesque outline, suited to our northern climate, than that +shown by the elegant Italian model. + +The second balustrade, p. 365, was an after-suggestion, it being +considered more appropriate to the design than the first one. Another +elevation was made for the same structure; this is shown as Design No. +30; it was to occupy the same site, and to have been constructed wholly +in stone. + + * * * * * + +Opposite is a drawing of an ancient chimney-piece at Enfield, bearing +the inscription-- + + Sola salus servire Deo, + Sunt cætera fravdes. + +[Illustration: Ancient chimney-piece in the Palace School, Enfield. + +(Formerly in the occupation of Queen Elizabeth.)] + + + + +_DESIGN No. 30._ + +A GARDEN SEAT. + +[Illustration] + + +The turret of the village church is seen through the centre opening; +this was proposed to be filled with plain and coloured glass; the detail +of the ornament above the cornice is copied from that on + +[Illustration: Plan (2nd design).] + +the gables of Charlton House, Wiltshire, from which the author had just +returned, having visited it for the purpose of making drawings and fully +illustrating it in one of his publications. + + + + +_DESIGN No. 31._ + +AN ICE-HOUSE. + +[Illustration: Perspective view.] + +[Illustration: Section.] + + +This design represents an old-fashioned ice-house, such as were +constructed in the country several years ago, and still are so, where +large quantities of ice are required to be stored. This small structure, +embosomed amidst trees, impervious to the sun, was formed with the stone +of the district, and arched and domed over with bricks. The well _a_, +sunk in the earth, is 10 feet in diameter, _b_ is a cesspool to receive +the water that drops from the ice, and _c_ is the drain + +[Illustration: Plan.] + +to convey it to the well _d_; the ice is thrown in from the top, the +earth _e_, and the two stone slabs and the straw between them, being +removed. + +As an additional precaution against warmth, the structure was buried in +a mound of earth. This, as it quite destroyed any picturesque effect it +would otherwise have had amidst the trees, is not shown in the view. + +These ice-wells have not often so long a passage of approach; one only +from 6 to 10 feet in length is sufficient, but double doors and a free +current of air across the entrance passage are desirable. It has not +often a domed roof to cover that of the well, a common wooden roof +covered with thatch placed a few feet above the roof of the well being +sufficient; neither is it often considered necessary to have a well to +receive the water dropping from the ice. The ice-well walls may be +splayed down to the ground, with proper footings, and an uncovered piece +of ground left at the bottom. Over this is placed an open wood frame, +which supports the ice, and permits all water to drain off. When the +walls are splayed down in this form, buttresses must be added to support +them, and the weight of the ice. Every country house in America is +provided with an excellent ice-house of the simplest and most practical +kind. It consists of a deep excavation in the earth, roofed over with a +pointed thatch. These ice-houses are always well filled in the winter, +and rarely if ever quite emptied during the summer. An accurate section +of such an ice-well, with full directions for its construction, has been +lately published.[E] + + + + +_DESIGN No. 32._ + +A SUBURBAN VILLA. + + +One of the chief peculiarities in small suburban villas that have been +erected near London within the last thirty years, is that of making the + +[Illustration: Elevation of principal front.] + +chief room on the basement the ordinary apartment for the family. The +confined areas formerly adopted in front and back of the building are +omitted, and the earth is sloped up in form of a bank, being adorned +with flowers and shrubs so as to look pleasing from within the +apartments. There is usually a side room in the basement, with +descending steps to the entrance, which serves as an office to the +occupier of the house. If his business be chiefly in the locality, + +[Illustration: Ground plan.] + +this is very convenient; the chief room in the basement is used as a +dining and supper room, and indeed for all common purposes by the +family. It renders it unnecessary to have more than one, or at most, two +servants’ rooms. The drawing-room, the library, and the superior +dining-room are on the floor above. + +This suburban dwelling very much resembles the same class of structure +in America, where economy of space is carried out more completely than +with us, and the residents are less dependent on servants. In the +American house, the pantry is nearly always placed between the kitchen +and the dining-room, and its chief approach is from the latter, even +when the dining-room is on the ground floor. The American + +[Illustration: One-pair plan.] + +house has the office, or place of business of the occupier, on the lower +floor, with its separate entrance. The Americans exhibit a compactness +of arrangement and an attention to detail that prove they are in no way +behind us in a knowledge of what is requisite for household comfort. One +peculiarity in the American building is the verandah, which is +considered to be indispensable. It is large and roomy, and often placed +on three sides of the building; the climate, warmer and drier than our +own, renders such an addition a + +[Illustration: Section through front and back.] + +great luxury. Our atmosphere in the winter months has often been +pronounced of leaden gravity, and it does not permit of any erection +that stops the circulation of the air, which would render it stagnant. +Another peculiarity in the houses of our American cousins, is that they +are often cased in wood. If the house be only two or three storeys in +height, an 8-in. brick wall is considered sufficient: this is “furred +off outside, and covered with clap boards,” in the ordinary + +[Illustration: Basement plan.] + +way followed in a wooden building. Its advantage is, that it is sure to +secure a perfectly dry wall. This mode of construction in England would +necessitate the painting of the whole of the exterior once at least in +every three or four years. One more suitable with us for a wall in a +damp situation would be the plan the author pursued in the house on +Salisbury Plain, putting quartering against the wall, and covering it +with diamond slating. The surface could be varied with coloured +encaustic tiles so as to present a pleasant + +[Illustration: Front windows.] + +appearance, proper ventilation being given behind the slating. + +The small suburban villa represented in the plate is supposed to stand +on a plot of ground with a frontage of 50 ft.; the construction is in +brick and stucco, the small columns of the portico are of Bath stone. +The plan shows a small hall _a_, the library _c_, 15 ft. by 14 ft., and +on the right with a strong closet. The dining-room _e_, is 18 ft. by 15 +ft., and on the left; the drawing-room _d_, is 23 ft. by 18 ft. There is +a large commodious staircase _b_, and leading from it a small +dressing-room _i_, and closet. This dressing-room might easily be made +to contain a bath; the water for the bath in any one of the floors +should always be heated by means of a close boiler attached to an +ordinary kitchen-range. It is the most simple, economical, and efficient +arrangement for that purpose, as no more fire than that used for cooking +is required. The cold water is supplied from a cistern at the top of the +house, and a continual circulation of the water between that and the +boiler goes on, the hot water ascending, the cold descending. Pipes may +be branched off from the ascending pipe, which leaves the top of the +boiler, and taken to any part of the house, ensuring a supply of hot +water to dressing-rooms, nurseries, &c. Instead of a boiler, a coil of +iron or copper pipe is often used, rendering the circulation quicker and +more effective. The one-pair plan of the suburban villa contains three +large bedrooms, two dressing-rooms, and one invalid’s room entered from +the staircase; to this room the closet could be attached. The staircase +leads up to two large attics for the servants. + +The section, p. 376, shows a portion of the front and back of the +building, with the construction of the roof, the back wall not being +carried so high as the front. This is done to give the building an +imposing appearance from the road, a mode of construction very often +carried out in suburban houses. The basement plan affords good +accommodation; _f_ is the kitchen, 18 ft. by 15 ft., _g_ the scullery, +_h_ the larder, _k_ the living room, _l_ the business office, with its +separate entrance. The closet for the servants is external; the +footman’s pantry and the wine cellar lead out of the staircase _b_; the +coal cellar is under the portico. The house thus contains seventeen +rooms; the cost of its erection would be 3260_l._ completely finished. A +detail of the windows is given on a large scale at page 378. + +The following is an elevation of the vane, the constructive detail of +which is given in a former vignette. The character is Elizabethan, and +designed from an example at Oxnead Hall, Norfolk. + +[Illustration] + + + + +_DESIGN No. 33._ + +A SUBURBAN VILLA. + +[Illustration: Elevation of principal front.] + + +This design is also one for a suburban villa, or a small country house, +on a rather larger scale than the preceding. This villa, dressed with a +plain Italian elevation, and of smaller dimensions as to plan, has been +erected on several sites near London. The front of the present design +was partly taken from a plate in “Nash’s Mansions,” at the request of a + +[Illustration: Ground plan.] + +gentleman who very much admired it, and who was anxious to have a +semi-detached villa of the same character. The villa was therefore +designed so that another could be placed by the side of it. The two +gables form the centre, the chimney stack is between them on the roof; +the front was to have a sunk area, topped by a Gothic balustrade, and +as there were no principal rooms on the basement floor in the front of +the house, this was easily given; the rooms at the back looked into the +garden, and these had the ground in front of them sloped up. + +The ground plan shows an entrance hall _a_, 14 ft. by 10 ft., with a +commodious staircase _b_, 18 ft. by 12 ft., to the left. There was a +closet to the right; + +[Illustration: The one-pair plan.] + +a lift from the basement could easily be obtained here. The study _c_, +was about 16 ft. square, and was entered from the hall; the dining-room +_e_, had a bay window, and was in the centre of the building; it +measured 20 ft. square. The drawing-room _d_, was very large, being 31 +ft. in length by 16 ft. in breadth, with a large window at each end; +this was often considered objectionable, as the occupants of the room +can always be seen from the opposite houses, but as this was intended +for a semi-detached villa, windows could not be obtained at the side. + +The one-pair plan contains one large and three small bedrooms, with a +closet. Over the porch was placed a conservatory, and by its side the +tower staircase led up to the attic. This contained four good-sized + +[Illustration: Attic plan.] + +bedrooms, each with a fireplace; there was a housemaid’s closet, and a +place for the slate cistern to supply the lower part of the house with +water; a small cistern on a higher level was placed on the roof of the +tower. Another room could easily have been obtained on this floor, by +continuing the passage at the housemaid’s closet through the centre +room, and this was proposed, but it was objected to, as it could not be +rendered light and airy. A second staircase, + +[Illustration: Section through portion of building.] + +from the attic to the basement, could have been formed in the tower, the +two closets being placed in a similar position to the one on the first +floor. The staircase in the tower led on to the roof. The section shows +the height of the various rooms, there being no variation throughout the +floors. It was intended to carry out + +[Illustration: The basement plan.] + +the style of the exterior in the interior--a medley between the Gothic +and Elizabethan; the proprietor having a very large collection of +old-fashioned carvings of various styles and dates, picked up at sales, +or purchased in Wardour Street (at that time more celebrated for such +antiquities than at present). The walls were to be covered with gilt +leather and rich tapestries, and with this the architect did not intend +to meddle, leaving it all to the taste and skill of the owner, although +he has finished several interiors with such materials. + +The basement plan shows the kitchen _f_, the scullery _g_, and larder +_h_; _q_ is the wine cellar, and _j_ the butler’s pantry. Then there +were two large rooms looking towards the garden, and these were +unappropriated. The butler’s small pantry had a window looking into the +side area; the servants’ door was on the staircase; the coal cellar was +placed under the steps leading to the porch. + +The building was to be constructed in brick and cement, with the porch +and external balustrade in stone. The expense would have amounted to +4600_l._, or the double villa to 9000_l._ + + + + +_DESIGN No. 34._ + +RIDING-HOUSE AND STABLING. + + +This collection of designs could hardly be complete without a group of +stable buildings. To make such a group picturesque is extremely +difficult, + +[Illustration: Perspective view of riding-house.] + +and it is very seldom attempted. Such buildings mostly form a portion of +the offices which are placed out of view, concealed by plantations or +shrubbery, and generally at some distance from the mansion to which +they appertain. + +The present design, carried out in 1846 and 1848, was for some +additional stabling to a baronial park, and it formed a conspicuous +object. It stands on the + +[Illustration: Plan of riding-house and stabling.] + +eastern side of a quadrangle, the larger stabling being on the west, the +offices of the mansion on the north (see above), and on the south there +was a terrace-walk overlooking the park. The block of buildings as +represented in the plan, comprised a riding-house _a_, 62 ft. in length +by 32 ft. in width, a four-stall stable _e_, 30 ft. in length, a loose +box _b_, 13 ft. square, and the boiler room _d_. The dung pit _g_, into +which the liquid manure from the stable was sent, was on a very low +level, and had a cart road at its side. The coach-house between the +riding-house and stable was 40 ft. in length by 20 ft. in breadth; it +had a covered area in front 44 ft. in length, with a width of 13 ft., +and a well and pump. The prospect tower _h_, as well as the tower _i_, +had iron staircases, which led to the stud-groom’s sleeping room, two +harness rooms, and the gallery of the riding-house. + +The latter was erected first. It is in brick, with a circular-ribbed +wooden roof, on the plan introduced by Phil. de l’Orme, whose well-known +book was published in Paris in 1567. He introduced a construction for +roofing that is both cheap and efficient, and one that while plenty of +light and ventilation can be obtained, gives the largest space in the +interior of the room. + +The walls of the riding-house were two bricks thick, laid English bond. +As the foundation rested on the stone no concrete was used, but the +rock, which was on a steep incline, was levelled in step-like fashion, +to receive the walls. Buttresses were placed where the circular ribs of +the roof were situate; two lines of iron-hoop bond, 1 in. by 1/16 in., +tarred and sanded were laid in all the walls, piers, and buttresses; +there were 13 courses 2 lines in side walls, 16 courses 2 lines in gable +walls, and 7 courses 2 lines in buttresses. The walls were covered with +brick copings formed of two courses of moulded bricks cut to lengths and +mitred, and set and jointed in cement to gable ends: the flaunches of +the angle buttress were formed with stocks, the upper courses set and +pointed in cement, and the angles of parapets cut and mitred to the +same. + +Ragstone moulded corbels were placed over the piers inside the building, +from these the circular ribs sprung and into which they were stubbed. +The roof was thus described in the specification:--The roof will be +formed of circular ribs placed two and two, each 7½ inches apart, +screwed and bolted together, each single rib to be in three thicknesses, +the inner one of oak and to consist of twenty-six pieces of 1¼ inch deal +and ten of 1¼ oak, each separate piece 1 foot in width, and to be as +long as the scantling of the timber will allow, the ribs to be wrought +and glued together, and at each joint to have two hard nails or ¾ inch +screws having a good thread; the top and bottom edges of rib cut fair +for linings, the side finished for paint. Cross pieces, 7½ by 2½ inches, +twelve to each pair of ribs, the whole to be bolted together. To prevent +the ribs from being at an unequal distance, the two outer ribs to be +sunk half-an-inch at the places where the purlins notch in them. + +The purlins, eight in number, to run the whole length of roof, notching +in the rib arches. The purlins to be placed in pairs and to have small +cross struts either notched into them or securely nailed to prevent them +from buckling or twisting. + +All the horizontal timbers of roof, such as the purlins, poll plate, +sill, and heads of skylight, to run 9 inches in end walls, and to be +cogged on template. Each purlin, if not in one piece, to be properly +scarfed. An oak wall-plate, 9 in. by 6 in., was laid the whole length +and width of the building, running 6 in. in the wall at angles, where it +was pinned and lapped. The plate in the arch over the entrance formed +the upper part of the railing in the gallery. + +This plate served as the abutment for twenty-four oak braces or struts, +each 7 in. by 4 in., placed in the lower portions of the roof on each +side, each strut to be sub-tenoned either into purlin or cross piece +between rib, and the whole to be securely fixed. + +The framing to support curb or sill of skylights to be in one piece, to +run over the wood arches, and to be securely fixed to purlin. + +Each pair of circular ribs moneyed out 22_l._ 4_s._ 6_d._ The more +modern French style of forming this kind of roof would have been by bent +ribs composed of three ten-inch planks, 12 inches by 3, cut true at the +saw-mill, jointed with glue, planed all round, chamfered to edges, with +20 half-inch bolts. These would have cost only 13_l._ 16_s._ 8_d._ each, +but they would have caused considerable lateral pressure against the +side walls. + +The roof of the riding-house is correctly shown in the small view, p. +389, which serves also to show the section. Fig. 1 of the accompanying +cut shows one + +[Illustration: _Fig 1._] + +[Illustration: _Fig. 2._] + +[Illustration: _Fig. 3._] + +of the circular ribs, fig. 2 the section of the pair joined together, +and fig. 3 the section of the more modern French method of bent ribs. A +roof in this latter construction was put up by Mr. Charles Fowler, +architect, at the sale-room, St. Paul’s Churchyard. The circular ribs of +the roof were formed in three thicknesses of 1¼ deal, footed into iron +sockets or corbels let into stone templates. As a precaution until the +perfect set and settlement of the work, three of the roof-frames had +iron tie-rods, which were removed when all fear of lateral thrust was +over. A print of the room was given in the _Builder_. + +The first construction described could be much improved, strengthened, +and lightened by introducing an iron bar in lieu of the oak rib; and +this has been done in several instances, resulting in the roofs standing +well. + +The chief portion of the bricks used in the construction of the +riding-house were provided from the estate, and were carted on the +ground for the use of the builder. His account came to 920_l._ + +The elevation of the stable shows the entrance to the coachhouse in the +centre, between coupled columns. These were in iron, of slightly +Elizabethan character as to style. Two gabled windows are on each side, +one forming the entrance to the riding-house, the whole flanked by two +towers; that on the left contained the staircase leading to the gallery +of the riding-house seen in the view, the other is the prospect tower, +overlooking the park. These buildings were commenced and finished in +1848. The builder had to take down the old coachhouse and stabling which +stood upon the site, and was permitted to use the old materials as far +as they would go; one roof was re-used. The cost of the new building was +1107_l._ The whole length was 95 ft. One of its principal features was +the prospect tower, a view of which and + +[Illustration: Elevation of stable.] + +a representation of the back front is on p. 398; this was 60 ft. in +height above the foundations. + +An iron staircase led up to the small tower, which had a staircase +leading to the roof or lead flat, upon which was a seat and flagstaff. +The battlements of + +[Illustration: Cap of iron column.] + +this small tower and its doorway were constructed of ragstone. This +turret was corbelled out from the building as seen in the view; its plan +and that of the corbelling is given on p. 399. The corbels were two +bricks in height, each course; the arch is covered with + +[Illustration: Perspective view of prospect tower.] + +a stone landing upon which the small turret stands. It has a lightning +conductor. This, the three iron staircases, and the columns, cost +200_l._, which, however, + +[Illustration] + +was included in the previously stated amount of 1107_l._ + +It was proposed to give the terrace-walk an ornamental stone. The +balustrading and one of the bays of this balustrading are illustrated +below. + +[Illustration: Elevation of the balustrade.] + + + + +_DESIGN No. 35._ + +A BACHELOR’S HOUSE. + + +This building was intended to have been erected on an estate in the +neighbourhood of London, for the solicitor acting for the lessee, a +builder who was erecting numerous first-class houses upon the property, +and who required his solicitor to be often with him. The gentleman was a +bachelor, and this was, for a time, to have been his private town +dwelling. It was only to consist of a basement and ground floor, but the +walls were to be made sufficiently thick to enable the structure to be +carried upwards when the estate was fully covered, and the house would +be required for a family. + +The plan was arranged after the legal gentleman’s own directions: _a_ is +the small entrance hall, leading to the inner hall, from which the +living room _b_, and the picture gallery _f_, are gained; the gallery +contained a choice collection of cabinet pictures, hunting subjects by a +celebrated painter; _c_ is a small bedroom, which could be enclosed or +shut off from the living room by a lifting-screen, worked somewhat +similar to a lifting shutter. The screen was to be covered on the side +next the living room with paintings; _d_ is the bath + +[Illustration: Plan.] + +room, _e_ the closet, _h_ is the dining-room with its lift, _i_, from +the pantry in the basement; _j_ was a small iron staircase leading down +to the stable, where some valuable hunters were to be kept. Under the +dining-room was the coachhouse; no rooms were over the stabling. The +servants’ entrance was in the area. The exterior of the building had a +plain Gothic Tudor front. + + * * * * * + +The vignette shows a corbel in the French cut-wood style. + +[Illustration] + + + + +THE FIREPLACE. + +FLUE CONSTRUCTION AND SMOKE PREVENTION. + + +An especial love for home comfort has always been an English +characteristic. It has formed a species of national taste and pride even +among our working classes. The constant changes of our climate are +injurious to every class; the chief point of attraction in the English +dwellings, during winter’s wet, cold, and fog, is centred in the +fireplace. This has long been deemed the favoured spot where + + “Social mirth + Exults and glows before the blazing hearth.” + +The fireplace suits our climate; it is cheerful and attractive, but it +gives its heat only by radiation. We are warmed on one side and chilled +on the other, but neither the warmth nor the chill is too great to bear, +and the occupant of the room can move into any temperature that suits +him. In more northern climates the use of the fireplace would not be +tolerated; there the cold is so excessive that an equal warmth must be +diffused throughout the apartments, and flues in hollow walls, and +closed stoves either in iron or brick are in the ascendant, as already +mentioned in an earlier part of this work. But such means, by which the +air is heated, and not merely warmed--and there is a great difference +between warmed air and heated--would not be tolerated here. A puff of +air from a closed stove caused by a back draught is not pleasant, and is +very different from the honest puff of smoke from an English fireplace, +that gives as a natural product of combustion, carbonic acid gas. But +not one of these stoves, nor those that are called “smoke-consuming +stoves,” make a good companionable fire--and this is not liked. + +The common open fireplace has held its own, and will continue to hold +its own, against the best-contrived stove that can be introduced in lieu +of it. But it still remains to find such a construction as will remedy +its serious defects. These are chiefly such as pertain to the flue; it +is not to the stove that these belong, for that, thanks to our excellent +makers, is quite perfect. + +In our sluggish winter atmosphere the smoke leaves the open flue with +tolerable certainty unless the flue is foul with soot; but when high +winds prevail and the atmosphere is anything but sluggish, it teaches us +the faults of the open flue, and volumes of smoke descend into our +apartments. There are few occurrences in domestic life more vexatious +and annoying than this; the numerous unsightly appendages in the form +of cowls, turncaps, and windguards which appear alike on our houses, +churches, and palaces, whilst they exhibit the ingenuity of our builders +and workmen in remedying the trouble of smoky chimneys, demonstrate also +the frequency of the misfortune. + +When flues are carefully constructed, with the best modern improvements, +and a due supply of air is admitted into the stove, a smoky chimney is +an exception; still the flue forms only a simple open funnel for the +passage of the smoke, and failures will inevitably often happen. A +construction on a good principle should render these defects as trifling +as possible. In our best houses--those constructed within the last +twenty or thirty years--two kinds of the common brick flue are mostly in +use. One is of the old-fashioned kind, having a section of 14 by 9 in., +which was made originally of that size for the accommodation of the poor +sweeping-boys. This is now retained only for the kitchen fire, which +makes a large quantity of smoke, and for the rest of the fireplaces the +flue known as “Cubitt’s” flue is employed, which has a diameter each way +of 9 in. The author prefers the small flue, and always uses it in the +buildings he has constructed. There are many persons who still maintain +that the old-fashioned flue is the correct one, and it is still very +generally used. There is an old saying about the proof of the pudding. +In Belgrave Square, all the houses first designed and erected have the +old-fashioned flue, and there are scarcely a dozen of the old +chimney-pots left; all have been changed for tall-boys and other similar +contrivances; one house has about 24 in one stack. No. 49, built by +Cubitt about 35 years ago, and having the descending or sweeping flue, +has the stacks exactly as at first constructed, with the exception only +of a little doctoring to the kitchen flue. In the house opposite, No. +48, one of the first, the external stack alone, next the street, has no +less than 17 tall-boys, two of which appear to be broken off. On the +opposite side of the Square, in Chesham Place, is No. 38, built by +Cubitt about 30 years; it has all the original stacks untouched. + +The Cubitt flue can be recognised by the small peculiar cap on the +chimney-pot, and several of these stacks remain in their original state. +In Eaton Place and Eccleston Square, where this flue is used, the roofs +tell the same story. In the first buildings erected by the author he +used the large flue, and he now finds several specimens of +chimney-doctoring on the roofs. In some large houses he lately erected +at Queen’s Gate, in which the sweeping flue is used, there are several +houses together without any disfigurement at all on the roof. He +considers that the appearance of a tall-boy on one of them would be +rather a proof that there was something wrong about the servants’ +management of the fires, than an error in the construction of his flues. + +A representation of this flue, and the manner of introducing it into a +building, is here given. Fig. 1 + +[Illustration: Flue construction.] + +represents a portion of the chimney-flue construction of a first-rate +house; the lower chimney opening is in the basement, and above it are +two others, one on the ground floor, and one on the first floor. It will +be seen that there are three flues descending or taken down to the +basement. The third flue belongs to the room on the second floor. The +wall is two bricks thick, the flue 9 in. in diameter, and contained +within the wall with no chimney-breast projecting. Fig. 2 is a plan of +the flues on the ground floor, and fig. 3 of those on the first floor. +Fig. 4 is a section of the fireplace opening; this is 3 ft. in height +from the floor-line, the brickwork at top is splayed, and supported by +an iron bar; these openings are always filled up with 4½ straight joint +work, to be taken out when the mantelpiece is fixed. Fig. 5 is the +chimney-pot and its cap, the latter opening at top 7 in. by 9 in. only; +fig. 6 shows one of the sweeping doors, in which there are two to each +descending flue. The latter three figures are twice the scale of the +former. A plan and section of the chimney complete, with its marble +mantel and stove, is given in figs. 7 and 8. The flue passes completely +down at the back of the stove, the front is closed by an iron plate to a +height of 2 ft. On this is fixed the moveable door or register, shut +fully or partly over the flue when the stove is in use, and closed over +the stove when the flue has to be swept. The arrows show the mode of +admission of air to the front of the fire; it is brought through the + +[Illustration: Fig. 7.--Plan of stove.] + +floor and two openings in the back hearth from the outside of the house. +This is generally kept concealed, + +[Illustration: Fig. 8.--Section.] + +and in order to ensure a supply of air to the stove the room should be +kept completely closed. + +To cause as full and perfect a combustion of the fuel as possible, a +draught or current of the external air should be always admitted to the +stove, and it could easily be placed under open management, so as to +admit either a large or small supply of air, as required. Numerous +patent processes to effect this are in use, but the most effective way +of doing it is that shown in figs. 7 and 8: it is too simple for a +patent. + +[Illustration: Fig. 9.] + +Fig. 9 shows a method of admitting air above the architrave of the +entrance door of the room. The opening is made about 2 ft. in length; +this, after a little time, becomes marked by the blacklets coming in +from the passage. The sweeping flue when the fire is lighted becomes +very hot; the smoke ascends speedily and soon leaves it. The flue +requires the stove to be formed expressly for it. Mr. Cubitt made the +stoves only for his own houses, and the author had some difficulty at +Queen’s Gate, in procuring stoves of the right pattern, for +manufacturers prefer their own shop patterns, and some of these would +have covered up half the descending flue. Those he used were supplied by +Messrs. Feetham of Clifford Street, who are well acquainted with the use +of the flue and stove. The flue is considered an excellent one; it is a +builder’s flue, constructed solely of brick, and is certainly the best +of the brick flues. The same attention was paid to it as was given to +every part of Mr. Cubitt’s buildings. It may be asked, “Are there no +other kinds of flues constructed of superior materials?” Yes, certainly +there are; particular attention has often been paid to the flue. There +is Hiort’s circular flue, formed in each course of four wedge-formed +bricks. Mr. Hiort held a very important position; he was Treasurer of +the office of Works at Whitehall, and his flue was extensively used in +some of the Government buildings and the houses in Carlton Gardens. It +did not bond well with the brickwork, so we have Mr. Moon’s improvement +upon it. This was considered not sufficient, and another patent was +taken out in 1844 by Messrs. Clark and Reed for its further improvement. +The flue was an excellent one, but on Mr. Hiort’s retirement from the +Government Board, it went out of use. + +There is Seth Smith’s metallic chimney lining, which makes an excellent +flue; the lining is a pipe of from 5 to 10 in. in diameter, built in the +brickwork. About 150 of these flues are at the Pantechnicon. Mr. Smith +announced his determination of never building any house above the value +of 30_l._ per annum, without using them. They could be introduced, to +form perfect linings to chimneys in buildings already erected, and allow +the stack to be reduced in height, without having the unsightly +appearance of contractions made above them. The drawback to the use of +these tubes by builders was the price. Without any royalty, the 9 in. +tube cost 3_s._ 4_d._ per ft. run, the curved tubes 4_s._ 3_d._, the +starting tube 3_s._ 8_d._ The tubes were of the exact form of drain +pipes, and they were cheaper, and as effectual. + +If Mr. Smith’s metal tubes had been introduced into a large brick flue, +they would have rendered the latter an efficient shaft for ventilating +every room in its upward course, openings being made for the purpose at +the upper part of the rooms. This mode of ventilation was applied to +hospitals on a large scale by the late Mr. Jacob Perkins several years +ago, with perfect success. + +Denley’s flue, introduced in 1843, is believed to have been the +precursor of that used by the late Mr. Thos. Cubitt at Belgravia and +Pimlico, and there is a great resemblance between the two; but Mr. +Denley’s flue has nothing like the simplicity nor ease of construction +of Mr. Cubitt’s. The downward flues were merged into one at the +basement, and all the soot and cinders were collected or thrown down +into a fire-proof box, which must have stood out in the lower rooms, +from which they had to be removed. The flues were swept from the roof, +the register doors of the stoves being closed, and there was no +provision for sweeping the flues between the basement and the stoves. +Joined to his system for sweeping, was one of air flues which brought a +current of air direct from the exterior of the house to each fireplace. + +We have several flue systems which have ventilating flues in connexion +with them. Boyd’s flue forms the wythes, or half-brick spaces between +the flues, of iron plates, and the open spaces thus gained make +ventilating passages. Mr. Doulton’s combined smoke and air flues are +manufactured in terra-cotta, in three sizes; the air flues follow the +line of the smoke flue, the passages being quite distinct, as in Mr. +Boyd’s. The heat from the smoke flue causes a current in the air-flue +which carries off the vitiated air admitted by openings near the +ceiling. The common drain pipes and the glazed fire-clay pipes make good +flues; the use of these pipe-flues has greatly increased during the last +few years; they improve the draught, and clean easily. Flues for +ventilation from rooms should, like Arnott’s ventilator, enter into the +smoke or a hot ventilating flue. Arnott’s ventilator requires careful +adjustment, to be balanced in such a way that it should stand closed on +a calm day. + +The superior patented flues, as they are of considerable cost, and take +extra time in construction, are only used in the better class of +buildings, or in those erected under the express direction of the +owner. In speculative buildings they are never used. The time required +for their construction beyond that of the common brick flue, being +regarded by the builder as so much money lost. + +The great desideratum in a flue is to make it pass off its smoke +quickly, and this the small size flue effects more certainly than the +larger one, as it warms sooner and keeps its heat longer. + +An enthusiastic admirer of the descending or sweeping flue once told the +author that with a good fire in the grate, if a kettle of water could be +placed on the top of the chimney-cap the water would soon boil, even if +the flue were fifty feet high. The flues constructed of metallic or +earthenware casings retain also the heat longer, and keep hotter. It may +be imagined that with these flues, and the large quantity of gas lamps +in the streets, why the temperature of London should be always some +degrees higher than that of the country. In winter snow may be seen in +the suburban fields, but none is found in town. + +Architects have often been blamed for not inventing a good system of +flue-construction, not only for the prevention of smoke in our +dwellings, but for the hindrance of its presence in the atmosphere. +Several, and most excellent attempts, have been made for the former, but +very few for the latter, which is one of far greater difficulty. Yet +this is one that admits of a cure, great as the evil is. The chimney +flue might be so improved as to effect a more certain and larger +ventilation of our houses, without any addition of ventilation flues. +The introduction of the French Mansard roof with us, one from a country +where coal fires are not in use, renders it almost imperative for the +chimneys belonging to such buildings to have a different construction, +for chimneys when placed against a building or roof that overtops them, +are sure, as they are at present made, to become smoky: the wind +returning owing to the high construction, and descending in the flues. +The following few designs are offered to cure these various evils. + +Accepting as a fact that tall-boys, and the other iron and zinc +constructions, are useful appendages, there can be no reason why they +should be so used as to disfigure our buildings. Some of the finest +specimens of architecture in the Metropolis serve only as pedestals to +an ugly collection of cowls. + +The author proposes to form the upper part of the flues in a building, +for a length of about 15 to 20 feet, entirely of iron or other tubing, +in square, round, or oblong sections, of a less diameter than the brick +flues to which they are attached. This tubing is gathered up in groups, +and carried out at an angle of 45° towards a centre stack: the tubes in +direct contact with each other, having no brick wyths, except one or +two to strengthen the stack. + +It is obvious that if only one of the flues be in use, it would +moderately warm those next to it; and if the whole of the flues of a +building were constructed on this plan, and two or three were in use, +such a power would be obtained as would effectually ventilate every +room; the action would be continuous and imperceptible, and a fire could +be lighted in any one without the risk of return smoke from a cold or +damp flue. + +Thus the heat now wasted in the atmosphere by the action of the common +flue, would be partly retained and turned to use, and the draught of the +flue very much improved. + +This tubing could be readily introduced into either old or new +buildings, as the introduction does not involve taking down more than +twelve feet of the brickwork, measuring from the top of the coping. The +tubes could never become sufficiently heated to be dangerous, and less +brickwork would be required. + +They might be made either of zinc or earthenware; cast-iron would be +objectionable on account of its weight. It will be seen that they admit +a better mode of sweeping than that now practised, and they could easily +have some kind of capping to prevent down-draughts. + +These “stack flues” should commence from the attic or upper storey of a +building, at about six feet from the floor; sweeping doors should be +placed beneath them, so as to give the sweep command of the flue beneath +as well as above. + +Each flue should be composed of three separate forms of tubing, by which +the various directions and turns necessary for the construction might be +obtained. + +Fig. 10 gives the representation of the three forms; 1, is the first; +this is placed directly over the brick + +[Illustration: Fig. 10.] + +flue, and gathers it up to a size having an internal dimension of 6 + +4½. It is 21 inches in height. 2, the second piece, is on a curve; the +top and bottom lines, if carried on, would form an angle of 45°; it is +about 18 inches in height, and internal size 6 + 4½. The third, 3, is a +straight piece, internal size 6 + 4½, the lengths various. Fig. 11 +gives a plan of four flues and an elevation of the commencement of two. +The sweeping doors are shown below. The flue without a door is the +ventilating flue for the basement. The ease with which this tubing can +be grouped is shown in fig. 12. The stack consists of five flues; the +tube, 2, connects them together below, and + +[Illustration: Fig. 11.] + +separates them above. The stack above the roof is 4 feet 9 inches in +length. + +Fig. 13 shows, in the upper plan, how the flue wall could be reduced in +thickness, made a brick and a half only, with a two-brick block at each +end; it contains coupled and tripled sets of tubes. + +The middle plan shows nine flues grouped together, the centre being that +belonging to the kitchen. The last plan shows a group of six in a +two-and-a-half-brick wall; by the side of this are two flues of the +common construction, 14 inches by 9, made of this + +[Illustration: Fig. 12.] + +size to enable a boy to get up to the top and place his head out of the +chimney-pot. + +The tube 1, fig. 12, can have its position reversed, as shown in fig. +14; six flues can thus be grouped together, as shown in the third plan, +fig. 13. The elevation of this stack is given in fig. 15. + +[Illustration: Fig. 13.] + +For a covering to these tubes figs. 16 to 20 show ornamental pots and +their sections. The only merit + +[Illustration: Fig. 14.] + +in these may be that they are of a more ornamental character than any +that have ever been introduced; they are formed of zinc, supported by a +stout dwarf iron railing. The intention is to permit the smoke to escape +in any direction, either upwards, sideways, or downwards, sheltering it +as far as possible from any action of the wind, and rendering of little +consequence whether the stack is high, low, unsheltered or + +[Illustration: Fig. 15.] + +otherwise. If any sudden gust of wind take place and the smoke be driven +back, the capping provides larger outlets for its escape than the small +aperture of the flue itself; in other words, it is easier for the smoke +to pass in any direction rather than return down the flue. + +The stack flues are only, in fact, tall-boys boxed up and not put out in +the cold, and it is presumed they would be sufficiently powerful, from +their warmth, to ensure a good passing off of the smoke, and secure +ventilation to the building. + +[Illustration: Fig. 16.] + +[Illustration: Fig. 17.] + +A forced ventilation to our dwellings, in ever so slight a degree, is a +matter of importance. By the proper construction of these proposed stack +flues it is presumed that any amount of ventilating power, self-acting +and continuous, could be obtained. Their introduction alone would be +beneficial; combined with the flue pedestal, to be described, the tubes +could be led into one general upward shaft; by either plan we should +have some command over the smoke, while the roofs of our buildings might +be made ornamental and picturesque. It would be a treatment of +bituminous coal alike artistic and novel, surprising to foreigners and +creditable to ourselves. + +[Illustration: Fig. 18.] + +It remains to show how the open character of the flue could be taken +away (this forms its chief evil), and how a chimney-stack may be formed +without chimney-pots. The late Lord Palmerston, when Home Secretary, +proposed the abolition of chimney-stacks, and the use of only one +chimney-stalk for each separate dwelling. In 1856, a commission was +appointed to inquire into the best modes of warming and ventilating the +apartments of dwelling-houses and barracks. Their report, given to the +General Board of Health, was published in 1857, and it afforded a +section illustrating “the principle on which it was proposed to +construct dwelling-houses.” There was only to be + +[Illustration: Fig. 19.] + +one flue, and this of metal 10 inches in diameter, enclosed in a large +brick flue, which was to serve for ventilation. In the metal flue were +to be inserted the flues of the several fireplaces; these were placed +back to back, and if the register doors of the stoves were open, a +person in one room might both see and converse with another in the +next; the music of a pianoforte in one room could be heard in them all; +this construction was taken up through four storeys, there being eight +fireplaces. For one fireplace alone it would have been perfect, but the +smoke from the two kitchen fires would have been sufficient to have +choked + +[Illustration: Fig. 20.] + +the flue and caused the smoke to enter into the whole of the eight +rooms. + +The chimney-stack might possibly be lowered, and it certainly could be +constructed without chimney-pots, but each separate flue must have its +own outlet. A design for this, one that should take away the open +character of the flue, and fit the stack, possibly for the Mansard roof, +is here given. + +In fig. 21, _a_ _a_ are the flues, delivering their smoke into a large +ventilating flue, _b_. The warm smoke would induce a current of air to +enter at _c_: any current will have a tendency to draw another with it, +so that the smoke leaving the flues _c_ _c_ would be taken out at _d_ by +the current of air at _c_. + +[Illustration: Fig. 21.--The ventilating flue.] + +This is the principle upon which all the best ventilating chimney-pots, +tall-boys, and cowls are made, and it is a very sure one. The jet of +steam in the funnel of the locomotive, drawing the smoke from the fire, +and creating a draught, is adopted on the same principle. + +In scientific language, the established law both of pneumatics and +hydraulics is that when two currents of fluid matter passing in the same +direction, but in separate channels, arrive at any point of confluence, +the stronger current draws the other along in its course, and with a +considerable portion of its own velocity. Thus the force of the wind, +which checks in other instances the action of a chimney-draught, is made +to produce a stronger draught, exactly in proportion to the violence +with which it blows. + +Returning to fig. 21, a current of air, instead of coming in at the +opening _c_, might come in at _d_. It would then have a tendency to blow +down the flues _a_ _a_: to prevent this, the opening _d_ could be +closed, and an upright stalk placed at _e_,--this should have a downward +shaft, a place for soot, and a sweeping door. + +There is still another mode of treatment; fig. 22 represents the flues +grouped, each with a separate ventilating flue, the smoke delivered +being at the side of each. + +The stack might be covered with zinc in the ornamental style with which +that metal is now treated. + +It is probable that if a stack on this principle was placed parallel to +the side of one of these Mansard roofs, it would be secure from the +ill-effects of any wind returning against it. The author will not vouch +for its success, but it is offered here to the attention of architects +and builders as an experiment worthy of trial. + +[Illustration: Section.] + +[Illustration: Elevation.] + +[Illustration: Fig. 22.--Plan.] + +It has been affirmed that the smoke of towns, however disagreeable it +may be to the inhabitants, neutralizes the poisonous effect of the gases +caused by sewers, &c. If it was possible wholly to remove carbon +evolved by smoke, our towns would almost be uninhabitable, and they +represent that any scheme for getting rid of smoke must be combined with +one for getting rid of the exhalations from sewers at the same time. If +the two evils were brought together, they would neutralize each other, +and both could then be got rid of at one operation. The best scheme for +this is a matter of important consideration, but few have been proposed. + +It may be asked, what has a work on Picturesque Architecture to do with +either smoke or sewer gases? The author in reply considers that +buildings never will look picturesque while they are covered with great +patches of soot. An eminent sculptor once affirmed that the statues of +London were improved by their soot covering, because it made them stand +boldly out against the sky. But those beautiful decorated smoke towers +which stand on the roof of the Houses of Parliament, and which are as +black as Erebus, look anything but pleasing, standing amidst the whiter +front of the rest of the building. Besides, tall-boys are beginning to +make their appearance on the roof under the Victoria tower, and these +certainly form no part of the architecture, but appear monstrously ugly; +consequently smoke and its abolition are clearly questions to be +considered in relation to Picturesque Architecture. + +A plan for removing smoke from the atmosphere of towns, and at the same +time ventilating buildings and sewers, was proposed in 1849 by Mr. +Flockton, surveyor to the town trustees of Sheffield,[F] a town as much +begrimed with sooty smoke, only in a smaller way, as the Metropolis. + +The proposal was, that under the footways along the side of every street +and lane, flues should be constructed of sufficient capacity to carry +off all the smoke and other atmospheric impurities, these flues all +converging, upon a general plan, to tall shafts or chimneys at some +distance from the town, and supplied with furnaces. These, when the +fires were once ignited, would give a fire produced by the combustion of +the inflammable gases accompanying the smoke, and which would burn +spontaneously in a similar manner to the combustion of foul air from old +shafts connected with coal mines. The combustion might be assisted by +jets of coal gas, in a fire of coke. + +In very large towns it would be necessary, Mr. Flockton added, to divide +the whole into districts, and to erect towers in the centre of each, to +which all the flues should converge. He published a plate, showing two +large dwelling-houses, with a street between, the common sewer in the +middle of the carriage way, and the smoke flues on each side under the +footpaths, also showing the connexion between the sewer and flue. The +alteration proposed to houses already erected consisted in converting +ascending into descending flues; turning the smoke from the chimney-top +into the latter, and from thence into the street flue. This operation +would have necessitated the pulling down and rebuilding of the flue +walls. The street smoke flues, in order to carry off the smoke from a +few thousand chimneys, would require to have been made of a size even +larger than the sewer itself. Provision must have been made for clearing +out the soot, for the smoke would have been cooled and the soot would +accumulate in large quantities in them. + +The same scheme, with similar constructions, was proposed by a foreign +gentleman, who took out a patent for it in 1850 (No. 13,061). His plan +was a very grand one; he did not propose alterations in existing +buildings, but pulled them down and gave designs for a new city. + +A more practical plan was proposed about 1851 by Mr. Devey, a surveyor +of Furnival’s Inn. A model of his invention was in the Great Exhibition +of 1851, and it is described and an engraving given of it in the +illustrated volumes published by the Royal Exhibition Commissioners at +the close of the Exhibition. The model is now in the Museum at South +Kensington. Mr. Devey’s plan was to make only one descending flue to +each building, to which the flues at the top could be either connected +or not, at pleasure; the descending flue was carried to the sewer in the +middle of the street, and the action of this was to be assisted by the +heat of the kitchen fire. He says, “The smoke would be drawn down by the +current produced by exhaustion in the sewer, the action being assisted +by the kitchen fire.” Mr. Devey did not propose to have furnace shafts, +but depended entirely upon the sewer acting as an exhaust. + +In this scheme the objections were, that one descending flue was not +sufficient to carry off the smoke from several chimneys, and the sewer +certainly would not act as an exhaust without its being connected with +upright furnaces. Our sewers generally have ventilating openings which +permit their odours to ascend into our streets. Soot would no doubt +neutralize these odours--this, a paper in a late _Quarterly Review_ +(April, 1866) admits. First, speaking of the sewer gases, the reviewer +says: “These offensive gases have often engendered formidable diseases, +and have, in several instances of late, been clearly shown to have +caused the outbreak both of typhoid fever and cholera.” Of this the +author has had proof during the outbreak of cholera in London in 1849. +He was superintending the construction of a mass of buildings in one of +the worst dwelling districts in London. This builder, who had just +finished the erection of Harrington House, a description of which is +given in this volume, died the first night of the outbreak in the +greatest agony; he was a strong robust man; from one to three deaths +took place in every house in the locality; a black flag was put up in +the streets, and the foul fiend reigned for a while supreme. A large +mass of the worst buildings have been cleared away, and model +lodging-houses erected, but a considerable portion of the rotten old +structures remain, the sewers are untouched, and the visitation of the +cholera forgotten. + +The _Quarterly Review_ says there is no reason why ordinary sewers +should not be made to serve the double purpose of carrying off smoke and +sewage at the same time, provided they were connected here and there +with high shafts rendered powerfully expansive by furnaces; and adds, +“sewage would be improved for agricultural purposes by admixture with +soot, which is an excellent manure, and the noxious qualities of the +sewer gases would be destroyed.” Whether soot would increase the value +of sewage or decrease it, is a question for chemists to decide; a +generally increasing opinion is, that our method of using sewage by +liquefaction and sending it away, is a mistake, and renders it quite +worthless, and that the system of dry earth-closets is more conformable +to Nature’s laws. + +The subject was taken up in 1857 by Mr. Peter Spence, of Manchester, a +large alum manufacturer.[G] This gentleman states that the “blacks,” the +horror of the Londoner, are guiltless of any deleterious effect to human +health, as carbon is one of the most anti-putrescent of bodies, and +while floating in the atmosphere over everything, arrest and destroy +noxious and miasmatic vapours. Perfect freedom from smoke would, if +accomplished, only increase the evil arising from the purely gaseous +results of combustion. He proposed a system of _atmospheric_ or _gaseous +sewage_, and the complete removal of all their gases to a safe distance +from our towns. He would combine this gaseous sewage in such a form with +town drainage as would bring all the liquid sewage into contact with the +gases from our furnaces and house fires, the liquid sewage being kept +from all surface drainage. The same liquid and fœtid mass of sewage he +would concentrate in an innoxious form, to be converted, in a convenient +place, where it might with perfect safety be manufactured into manure +more valuable than the richest guano. + +For effecting this all the gases from our coal combustion would have to +be conveyed along the same tunnel with the sewage to centralizing +conduits converging to a point, where an immense chimney, 600 ft. high, +should be erected, to discharge these gases into the atmosphere, the +ascensive power being obtained either from the retained heat of the +gases, which would probably be found quite sufficient, or if not, +artificial heat could then be applied to effect the object. The chimney +should be of the internal diameter of 100 ft. at the top, and 140 ft. +external diameter at the bottom. This would take the smoke from 500 +chimneys and every particle of foul emanation from the sewer, and every +leak or opening to the upward air from these sewers would not then emit +foul gases, but draw in fresh air with a pressure or suction of three +and a half pounds per foot, and with a velocity of 40 feet per second. +This gentleman says: “It is idle to talk of trapping, and thus confining +gases evolved under ground; exit they must and will have, and when you +imagine you have secured them in one place, you will find them pouring +out in another.” He makes this plain by an illustration. He took an +old-fashioned detached house; after entering into possession he found +frequently very disagreeable smells, especially after rain, a change of +wind, or a fall of the barometer; it may be remarked here that it was +not necessary to take an old-fashioned house to find out this; in more +modern built houses in London, after a fall in the barometer or rain, +such a thing is repeatedly occurring. Mr. Spence, to cure the evil in +his old mansion, exhausted all the remedies which the philosophy of +London schemes acknowledges; he trapped all the exits from the sewer +with the most approved patent girds; all slopstone pipes were cut and +water-luted. But this was of no use, the smell came through the very +walls and floors, and one bedroom on the first floor, which showed no +connexion with the sewer, was quite uninhabitable. He adopted a plan +which succeeded: a branch from the main sewer was brought right under +the kitchen grate, from that a pipe of cast iron, four inches in +diameter, was carried up through the brickwork, and the open top +projected into the chimney a yard and a half behind the kitchen fire, +above the fire. When this fire was again lighted, in a few hours the +house was perfectly sweet, and the distant bedroom, uninhabitable +before, has been slept in ever since. When this nuisance occurs in a +London house the only remedy is to open the doors and windows to get rid +of it, as we are not allowed to meddle with the sewers. Disagreeable +effluvia in dwellings often occur, and baffle every endeavour to trace +from where they proceed; in every case it is from choked-up drains or +the sewer, and the decomposition of animal and vegetable matter therein +retained. + +As for Mr. Spence’s scheme, its grandeur almost stops its execution. It +is well known that in all large manufactories, and in gas works, a tall +chimney serves to draw out the smoke from the numerous fires, and it +forms a smoke-outlet for them all. In most of these places the fuel is +used up so completely that it is only the gases of combustion that are +drawn away. Mr. Spence’s scheme has been successfully tried in its +application to private residences, and also on a large scale to the new +Assize Courts in Manchester. It was adopted by one of the architects in +the competitive designs for the New Law Courts in London. + +If these tall shafts and furnaces were applied in London, it may be +questioned whether the smoke in cooling would not deposit the soot in +the sewer, and this must be removed, if not run off by water. The flues +connecting the house fires with the sewer would be partly horizontal, +and these would certainly fill with soot, and no machines we have at +present in use could clean out these flues from above. The operation +must be performed from within the sewer, and then these flues being +unsupplied with drain-eyes at their entrance to the sewer, would form so +many open channels for the passage of the sewer gases into the houses. +This would be the case in a very great degree where there were no fires +in the stoves and their register doors were open. It would require an +immense consumption of fuel in the high stalks to cause a current to +prevent it, and the furnaces must be close together to lessen the +cooling effects of cold currents of air from flues not in use. + +As to the mere ventilation of the sewer itself, it could easily be +effected by single drain pipes 6 inches in diameter, placed at +intervals, from the sewer to the ash-pit of any neighbouring furnace. It +would be probably to the advantage of the furnace itself, as even the +tall stalks must sometimes make black smoke. A legislative enactment +should require their owners to let them perform this service. It might +require strong furnaces and plenty of them to effect it. A suggestion +for getting rid of that “monster nuisance, London smoke” was made known +in the _Builder_ about 1859, by Messrs. Bruce Neil. It is thus +described: “The plan consists in placing small tanks containing water +over the chimney (the chimney-pots being fixed inside the tanks, and +made of a spiral and bent form). The chill of the water gradually +condenses the smoke, which becomes decomposed and destroyed, being +precipitated at the bottom of the tank in the form of mineral tar. The +water is turned on and off daily. It will be here observed that in the +event of a fire in the chimney the flames cannot spread, as they are +immediately quenched by the water in the tank. According to Mr. Bruce +Neil’s calculation, the smoke of 80 tons of coal, if collected, will +yield upwards of 28 barrels of tar, of 2½ cwt. each. He proposes that +the Legislature, or the Society of Arts, should offer a premium to the +person who will undertake to rid us of this monster nuisance and convert +the smoke into tar, so as to make it applicable to commercial purposes. +In the adoption of the above plan a slight alteration in the mode of +ventilating our apartments is all that is required, he tells us. + +As to the possibility of converting smoke into tar by such means as are +above described, some doubts might be expressed if it could really be +done; the remedy would be worse even than the disease, every household +using yearly 20 tons of coal would have in that time to remove 7 barrels +or 17½ cwt. of tar from their roof. The _Builder_, in publishing this +suggestion, did not give any diagram or sketch showing how the process +was to be effected. Mr. Bruce Neil no doubt made one, as he speaks of +the alteration required in the ventilation of our apartments; a drawing +would at least have explained how the water was to collect the soot, and +how it was to have access to the flue in case of its being on fire. + +The suggestion of collecting soot at the chimney-top by means of water +was a valuable one, and there is no doubt it could be done to some +extent, but not by encircling the pots with cold water, which would +chill the smoke and prevent the soot from rising. A + +[Illustration: Fig. 23.--Water chimney-vase for collecting soot. + +Half elevation. Half section.] + +design is here given, fig. 23, to show how it could be effected. + +It will be seen that the chimney-pot or funnel has a zinc cover carried +by stout ironwork surrounding it; _a_ is the water, _b_ the pipe to +convey it away; it would be self-acting, and being washed by every +shower would not be likely to get out of order. The rain-water must be +looked for as to supply--to pay for high service for the roof of our +houses to the water companies would not do. + +Our climate is more damp than cold, and a considerable quantity of rain +falls on our roofs. The zinc cover is spread out, so as to retain as +large a portion as possible of the rain-fall. In winter, when there is +most smoke, there is most water, with little or no evaporation. A pool +of water could be thus collected, and the smoke projected over it would +lose some portion of its soot, which could be floated away by the pipe +into a receptacle provided for it in the back yard. The water might be +sent into the drain and the soot left; or it could be sent into the +drain as well. + +The arrows in the diagram show the direction of the smoke, and the cover +is so spread out and curved as to render it unlikely for any violent +wind to flow out both water and soot into the street beneath. + +Certainly coal smoke is a great nuisance; it is yearly pointed out as +such by our paper the _Times_, in one, probably two, very excellently +written leaders. Even the youngest member of the press, the _Echo_, in +one of the common London fogs occurring in April, 1868, thus remarks: +“The most sad and remarkable circumstance about the fog of yesterday was +that the newspapers and people in the streets spoke of it as a +‘visitation,’ as a ‘gigantic pall,’ as if, indeed, the black darkness +was something as strange and unaccountable as a fall of frogs or fishes +from the sky. Of course it was nothing but our own familiar coal smoke +which stopped the way of the sunlight. It is most lamentable that +Londoners are becoming so used to this filthy nuisance that nothing more +than a passing exclamation is uttered when it is forced down upon them +in such volumes as to produce almost the darkness of midnight at midday. +If ‘cleanliness is next to godliness,’ then the people of London must +have been yesterday the most ungodly people in the world, for nothing +would remain clean which was exposed to the fog of that morning. A +plague of locusts would not create more terror and sense of ruin in any +foreign capital, where every article of dress and furniture and house +decoration, both external and internal, would have been regarded as +spoiled by the loss of freshness. But London received its coat of dirt +yesterday, and to-day only wonders with the remark ‘how dark it was!’ +Will nothing move us to abate the nuisance? Is there no hope but that +distant one of the exhaustion of our coal-beds? Must we inhale +coal-blacks, and always contemplate dirty houses and grimy furniture? Is +it not possible by smoke sewers, or some contrivance or machinery, to +relieve us of this plague?” It is very possible it could be done with +the greatest ease, but at some first expense; and in some generation or +other it will be written that it found London foul and left it sweet, +and there will be a time when this will be appreciated; and the man who +gives the city the pure atmosphere of a small country town will receive +all due honour and acknowledgment, that is, when he is in his grave and +securely buried. + +The public have so long been accustomed to be choked with smoke, and +their health affected by deleterious gases, that they look upon the +proposal of any scheme to secure pure air as the hallucinations of +dreamy philosophers or inexperienced Utopians. + +None of our present flues can, in the very slightest degree, stop these +aqueous vapours from ascending into the atmosphere, neither can they +effect any purification of the smoke, or retain the blacks for any +useful purpose; and it is of no use disguising the fact that any +contrivance or appliance, to effect either of these most desirable +objects, must consist of an additional construction to the flue, which +will be attended with additional expense, and require extra attention. +Therefore any such appliance, if introduced, should be effectual, and +repay such additional cost to its owner, by a saving, or at least a more +economical use of fuel. + +The appliance to the flue the author has to recommend, he considers will +not only cause an economical use of the fuel by not permitting the +present waste of heat, but it will purify the smoke, and retain the +blacks for any useful object to which they can be applied. + +The principle of the best-constructed flue at present is to get rid of +all vapour, smoke, and soot as soon as possible, without the slightest +consideration for the people outside. That the smoke should not return +to annoy the occupants within the house is the aim of the constructors, +and to secure this, the waste of heat in the chimney, and the consequent +waste of fuel, is considered of no importance, for is it not the hot +smoke that carries up the soot and ventilates the apartment? + +This operation of the flue could be taken advantage of. In the +construction of chimney-flues in a wall they are often turned at an +angle to the right or left to pass an obstruction, such as a fireplace +or timber placed within or against the wall. A flue could easily be +taken out of the wall and returned, and if the part so taken out was +formed in cast iron with a small cistern of water at top, it would +become a warm-water pedestal, and could moderately warm or air an +apartment in which it was placed; the author calls this the flue +pedestal, and it is represented in the following cut. + +[Illustration: Fig. 24.--The flue pedestal.] + +It is about three feet six in height, not much higher than a small +cabinet. The door could open, and a small tap supplying warm water for +domestic use would be seen. Thus the upper rooms of a house could be +warmed or aired by the fires below in perfect safety, and the present +waste of heat in the flues prevented. This would be economical, as in +most cases no fires would be necessary in the upper rooms. + +The flue thus brought out in iron could contain a fine spray of water, +that would draw up the smoke, and take down its vapours and soot at the +same time into the sewer. + +Fig. 25 shows a section of the flue thus brought out. The wall is two +bricks thick, the flue _a_, is 9 inches in diameter, _d_ is the +cast-iron flue, and another, _e_, shaped like a funnel, is placed behind +it, to collect the soot and water, and pass it off through the pipe _h_. +The cistern is partly within the walls and partly covering the two +flues. It is not necessary that the water in the cistern should supply +the spray: that might be done by a separate pipe with a tap to turn off +and on as desirable; _b_ is the moveable pedestal covering the whole. + +The adaptation of this simple contrivance to any kind of domestic +chimney-flue is not a very difficult operation. It is only necessary to +take out the brickwork in front of a flue of a height of 4 to 5 feet, +and then introduce the iron flue, gathering up the brickwork beneath it; +the section, fig. 25, supposes the iron flues to be in an external wall; +should it be required in a party wall the soot goes off at _g_ _g_, to +be conveyed outside the building in the nearest way; doors are provided +for the purpose of sweeping; any down + +[Illustration: Fig. 25.--Section of the flue pedestal.] + +draught of air in the chimney might expend itself in the soot flue, and +the smoke having passed the spray could not return. The spray of water +should be equal to the whole width of the flue, and proportioned in +strength to the work it has to do; the smoke from a whole group of flues +might be conducted to one powerful spray, one upper flue or chimney +would then suffice for the roof, while the soot and flues in any number +might be formed into one before passing to the sewer. + +The pipe _h_, shown in fig. 25, would not form an open communication +with the sewer; it would be supplied with a flap-cover or drain-eye, +like the common house drain at its extremity. This would open only when +sufficient water and soot was behind it, and close when it was passed. +It would not require sweeping, the water keeping it clear. It should +have another kind of drain-eye to that at present in use, the lid, or +flap of which is hinged from the top, the soot floating on the surface +of the water, would require the flap to open from below. Fig. 26 shows +the kind of drain-eye that would be required. + +If it was not for the difficulty of the present form of drain-eye to our +houses, the soot flue might discharge its contents into the house drains +at once, below the trappings; there is probably no absolute necessity at +all for drain-eyes at the termination of house drains, their use is to +make precaution doubly sure, to prevent the rising of the gases from the +sewer, and to keep out the rats, to prevent them, by getting through the +traps, from entering the house. + +[Illustration: Fig. 26.--Drain-eye.] + +Experiments were made with a shower of water in Mr. Cubitt’s descending +flue. It will be seen by inspecting the figures 1 to 8 that these flues +could easily be formed into one, and taken into the drain; the +experiment did not succeed, as none will, that brings heavy smoke in +opposition to a water-fall. The smoke must go with the current or +water-shower, and not against it. + +The flue pedestal, with its water-spray, is the whole of the contrivance +by which the author believes the smoke of the domestic hearth could be +got rid of, or rendered inoffensive. What the action of the water would +be on the gases that escape from the fuel he cannot say, but he presumes +it could not be other than beneficial. + +He experimented on the subject a few years ago, and had a stove and flue +erected about ten feet in height; the lower part of the stove was of +brick, the upper part with the cistern of zinc. The coal fire was +lighted, and as soon as black smoke appeared at the chimney-top, the +water-valve was lifted and about 16 fine jets of water were sprayed +against a piece of loose perforated zinc, suspended in the flue; this +zinc is shown in fig. 25; in the second flue _e_ (it should have been +marked _f_, but by a mistake in the cutting it is made _d_), the smoke +had to pass through under this perforated zinc to get to the chimney +above. On the instant the water was applied, the smoke appeared at the +chimney-top of a light colour, and it came out of the soot receptacle, +placed a little height above the ground, nearly as much as it did at +top, and of a similar light vapourish character,[H] a sure sign that it +was drawn down by the current of water. Soot in large quantities was +soon seen in the receptacle; the author has not ascertained the quantity +of soot which would be obtained by this process from a ton of coals, but +he believes it would be very considerable, possibly two sacks or more. +As clean unmixed soot is worth in London 2_s._ 6_d._ per sack, if this +soot were retained it would pay for the extra expense of the water, and +the retaining of it, and to carry off the water would be an easy +operation. + +The “blacks” are good things at present in their wrong place; they could +in the way proposed be very easily got rid of, and if it were possible +to cut into all the chimneys of London and apply the remedy, the whole +of the soot, which at present escapes into the atmosphere, might be +caught and passed into the drains; it would there probably fully +deodorize them. It is certainly not possible, from the herculean nature +of the task, to disturb the whole of the chimneys of London, but the +worst only might be operated upon, such as the chief kitchen flues of +the great establishments, which are continually sending out black smoke. + +Among the chief offenders are our bakers, nearly twenty of them being +fined weekly for this by the magistrates, and for fires occurring in +their chimneys. It appears that the Smoke Nuisance Act bears hardly upon +them; the smoke-consuming apparatus forced upon them by the Act has +utterly failed in its purpose, and it is impossible for them to comply +with the requirements of the Act, and carry on their business in a +satisfactory manner either to themselves or the public. They have +applied to the Home Secretary for relief, and a bill to repeal so much +of the Act 16 and 17 Vict. that relates to bakehouses has been in +contemplation. + +There would be no difficulty in placing a flue pedestal in their flues +at any height above their oven fires; it would not only relieve their +neighbours from the annoyance of black smoke from their chimneys, but it +would secure the chimneys themselves from taking fire. The water need +only be turned on when required, when black smoke was being made, and if +they chose to collect the soot the expense of the operation would be +trifling, if anything, beyond the first expense of the flue pedestal, in +the end. + +In large country houses the flue pedestal would warm the upper rooms or +passages, and cause a more equal temperature in the building; this, +together with the practicability of collecting the soot for agricultural +purposes, might be an inducement to its introduction. Water could be +lifted to the roof of a country mansion by that ingenious contrivance +the hydraulic ram, and passed off to its original source when done with, +the soot being left behind. + +The beautiful self-acting machine, known as Gwynne and Co.’s improved +hydraulic ram, is peculiarly adapted for raising or lifting water to any +required elevation. It is necessary to have a fall of water to work it, +and the greater the height of the fall, the more effective will be the +machine. In favourable cases it will raise water thirty times higher +than the fall working it. The greater the height of the lift, of course +the less will be the quantity raised in a given time. This machine can +be made to deliver comparatively large quantities of water, either in +tanks on the roofs of houses, or in farmyards for filling ponds. It will +work day and night without any attendance or expense after it is once +fixed. Two or more rams may be used to force through the same pipe, or +rising main. Where a continuous stream of water to work the machine +cannot be obtained, a spring, or even rainfall, or drainage may be +stored up in a reservoir or dam, and made to work the ram. + +The expense of these machines is not excessive, as the following table +will show:-- + ++-----------+-----------+-----------------------+-------------------------+ +|Diameter of|Diameter of| Approximate Number of |Price of Ram, complete, | +|Feed Pipe. | Delivery |Gallons of Water raised|with all the accessories,| +| | Pipe. | in a day of 24 hours. | but exclusive of Pipes. | ++-----------+-----------+-----------------------+-------------------------+ +|Inches. |Inches. | | £ | +| 2 | 1 | 800 to 1150 | 12 | +| 3 | 2 | 3000 to 4000 | 24 | +| 4 | 2 | 4000 to 5000 | 34 | ++-----------+-----------+-----------------------+-------------------------+ + +A small room or enclosure must be erected to contain the machine. + +The question of how far the removal of smoke from the atmosphere would +affect the various gases of combustion floating therein is a question +for the chemist. The plan that has been here proposed is founded on the +supposition that Nature’s law, relative to the diffusion of gases, +permits only carbonic acid gas, the chief product of combustion, to +remain in the proportion of 1 in 2000. The introduction of so much water +in the sewer, where its presence already is considered an injury to the +sewage, is an objection, but the present system of drainage requires a +plentiful supply of water, to prevent stoppages or choking. Should the +dry earth system ever be generally introduced, the present sewers would +serve to remove liquid sewage and all products of combustion. The +operation of the sewer in any way in receiving this smoke and soot, +would permit the full and cheering light of the sun to shine alike in +country and town. + + + + +_DESIGN No. 36._ + +A LECTURE HALL, OR LITERARY INSTITUTION. + +[Illustration: Elevation.] + + +This design was made to refront an old chapel in the country which had +been purchased for the purpose of forming a Literary Institute. The +interior + +[Illustration: Tablet in front.] + +was one large room, the lecturer’s table at the back, a recess and +fireplace behind, a large gallery in front, under which were formed two +small rooms, with a + +[Illustration: Elevation of entrance-door.] + +passage from the grand entrance between. The entrance-door with a bust +of Socrates over it, under the arch, was made large, to give an +important character to the front. A section of the niche over the +doorway is given, some details of the angle rustication, together with +an elevation of the entrance-door. + +[Illustration] + + + + +_DESIGN No. 37._ + +ENCAUSTIC TILES. + + +A slight digression from the subject-matter of the preceding pages may +serve to break monotony, and introduce to the notice of the reader an +ornamental object--the encaustic tile. They are + +[Illustration: Design for a floor encaustic tile.] + +now of universal use, both for floor and wall decoration, and have +become general favourites for such purposes. A few suggestions, +therefore, for the purpose of making them more artistic and pleasing +will not be out of place. + +The present patterns are almost entirely of a conventional kind, or +according to strict geometric forms. The same pattern is repeated all +over the surface, without variation, and however excellent the pattern +may be, it is designed on the same principle as that of a printed wall +paper. + +The design just given puts all geometric forms aside, and introduces a +free-hand treatment, allowing the pattern to be varied on every surface +laid down. + +[Illustration: Design for wall encaustic tile.] + +The first tile shows eight points in which the stem of the pattern +(suppose that of a flower design) meets in them all. The second tile +shows the stem; the third and fourth the flower pattern varied. One tile +might have more flowers than leaves, another all leaves or buds, and as +all the tiles would fall in their right places, they depend only on the +care of the workmen who place them; the pattern might be varied +according to the number of tiles of different pattern. + +For wall linings a trellis work might be shown on the tile, having a +blue ground; some tiles might be without either leaves, stems, or +flowers, and the design would show a flowered trellis against the sky. +The figure given on page 461 shows this. + +These tiles are beginning to be used on columns. Some good examples are +to be seen in the South Kensington Museum Galleries. In columns with +trellis work a white marble ground with leaves and roses twined round it +naturally, would look a great deal better than formal lines of stiff +ornaments. + +Some of our latest Gothic architects who were at the same time artists, +did not trouble themselves to draw out according to rule the geometric +lines for the foliation of their Gothic windows. They knew the +principles thoroughly, but merely made the vertical lines correct, and +then sketched in the foliation with a free hand. This gave an outline +greatly superior to the usual stiff conventional forms. Some examples of +this may be seen in one of the author’s books, now in the Fine Art +Library of the South Kensington Museum, in which the free-hand designs +(rubbings) are placed by the side of the same patterns drawn out +geometrically. + +The vignette shows foreign cut-wood patterns for roof ornament; the +section the method of forming the zinc gutter. + +[Illustration] + + + + +_DESIGN No. 38._--RESTORATION OF CASTLE GUNNARSTROP, SWEDEN. + +[Illustration] + + +It has been remarked in the Introduction, that the localities in which a +residence can be placed greatly affect their picturesque appearance. The +north and west Highlands of Scotland, in our own country, and a similar +class of scenery in Sweden and Norway, greatly aid by their natural +beauties the best effects of the architect, and generally in northern +Europe, including Denmark with the above-named countries, those +accessories can be largely taken advantage of. An instance of this can +be found in the design now under consideration. In this castle the +gables are carried up to a greater height, and made more ornamental and +of greater importance than with us. In the year 1852 the author was +making a design for a villa for the Count de Bark, a Swedish nobleman. +It was to be erected on the heights bordering the Sound near Copenhagen, +and was seen from the sea in passing, peering above the trees. The upper +part of the villa was made as picturesque as possible, with a tower, +battlements, and turrets. The lower part of the building was very plain, +and the plan merely contained a few living rooms and servants’ +apartments; it was much unlike our style, and is therefore not given +here: only the view from the vignette is afforded in this description. +The Count’s uncle occupied the old castle, the Vrams Gunnarstrop in +Sweden, then very much out of repair and unfitted for the requirements +of modern domestic life. + +It was planned originally on a grand scale; the fronts had high +triangular gables in steps, and decorated with cut granite ornaments, +but the whole was + +[Illustration: The one-pair plan.] + +very plain. The north front was in two floors, and the angle towers of +the building had only two floors. The portions between one storey--that +of the ground floor--thus had to be raised. The ground floor was given +to the servants, and the southern portion of the building was to remain +for a time in its then existing state. The plan shows _a_, the grand +staircase, adorned with columns supporting the upper landing. It was 27 +ft. in length by 26 ft. in width, and led up to an ante-room _b_, in the +centre of the building, 26 ft. in length by 12 ft. in breadth. It opened +into the first and second drawing-rooms, _c_ and _d_: one 30 ft. in +length, the other 40 ft., and both of a width of 26 ft. + +[Illustration: Perspective view of the Count de Bark’s villa.] + +The dining-room _e_, entered from the chief drawing-room, was 40 ft. in +length, with a width of 22 ft.; _f_ shows the gallery or library filled +with book-cases, and leading to the day-room _h_; the chief bedroom is +shown at _i_ adjoining, _k_ is the lady’s dressing-room, _l_ the +gentleman’s dressing-room and bath; _m_ is the nursery, with a +servants’ staircase and closet adjoining; _g_ is the servants’ +serving-place at the entrance of dining-room. The light portions of the +plan show the additions made; the black, the old portions of the castle. +The two towers contained staircases to the attics which were formed in +the high roofs. + +The principal elevation faced the west. The perspective view of this +front is given. Its length is 130 ft., and the height of the principal +entrance from the ground to the top of the gable is 60 ft. + +The south and west sides were of an equally picturesque character, but +neither had any central gable. The south had triple dormer windows +joined in the centre with one dormer window at each side. The two towers +were seen rising above the roof, and a wide terrace with open stone +Elizabethan balustrading extending the entire front, with steps down to +the garden in the centre below. The terrace was 130 ft. in length. The +west side had the two gables, one at each end, with three tall dormer +windows in the roof; these were connected by wood balustrading, and a +window with three lights was placed below each. The granite-stone +ornaments in the old fronts were replaced in the new fronts. + +The vignette gives a view of a small garden fountain, designed from one +in the old garden at Blickling in Norfolk. The plinth is hexangular in +plan, with the scrolls projecting on the three sides. To the top of the +jet its height is about 9 feet. + +[Illustration] + + + + +_DESIGN No. 39._ + +SUMMER VILLA FOR THE COUNT KINSKI, AT TEPLITZ. + +[Illustration: Perspective view of Count Kinski’s summer villa.] + + +This villa was designed about the year 1852, for an Austrian nobleman, +who wished to have a villa in the English Elizabethan character. The +plan was arranged after his own figured sketches, and it is given here +as showing the requirements considered desirable for such a building in +a summer place of + +[Illustration: Ground plan.] + +retirement, or palace for a foreign nobleman’s occupation. The porch was +approached on four sides by flights of steps 12 ft. 6 in. in diameter; +it opened into a hall _b_, 20 ft. in length by 14 ft. in width. The +drawing-room _c_, of noble size, with two bay windows, was 36 ft. in +length by 22 in width. The dining-room _d_, in the opposite side of the +hall, was 28 ft. in length by 18 ft. in width. The butler’s pantry _k_, +and the servants’ offices and kitchen _g_, with a large store-closet +_h_, and scullery _i_, adjoined. A bread-room is shown at _j_, _l_ is +the servants’ hall, _m_ a china-closet, _n_ a store-room, and _o_ the +servants’ staircase, _q q_ are the servants’ entrances, and _r r_ the +closets. + +[Illustration: One-pair plan.] + +Returning to the principal portion of the building, the chief staircase, +_v_, opens from the entrance hall, _e e e_ are nurseries, and _f_ is the +library. On the first floor, _a_ is the balcony over the porch; this was +to be used for smoking, &c., _b_ is the best bed-chamber, and _c_ the +boudoir to the same, _d_ is the second best bedchamber, and _e_ its +boudoir, _f_ is the third best bedchamber, and _g_ its boudoir, _h_ is a +bedroom without any boudoir, _i_ is the housekeeper’s bedroom, _k k k_ +the men’s sleeping room, _i_ housemaid’s closet, _j j_ closets, _l l_ +linen-closets, _m_ a closet or bath-room, _n_ the principal staircase, +and _o_ the servants’ staircase. + +The attic plan was devoted to the sleeping rooms, _b b b_, of the female +servants. Here plans are made + +[Illustration: Attic plan.] + +(the building being so large) on a smaller scale than the other plans in +this volume. + +The perspective view merely exhibits the common forms of Elizabethan +character. The tower which formed the entrance was 70 ft. in height from +the foundation to the top of its roof, the height of the ground-floor +rooms was 14 ft. 3 in. They had rich plaster friezes, and the staircase +had carved oak Elizabethan balustrading. The second-floor rooms were 12 +ft. 3 in. in height, and were very plain in character. The upper floor +of the tower was open, but could be closed by sashes; this was intended +for a smoking retreat. A small detail of one of the gabled windows in +front is given below. Altogether, the design had a most picturesque +effect, and its style met with approval. It combined utility with +elegance, + +[Illustration: Gable window.] + +and completely answered the objects for which it was constructed. + +Another villa was designed for an Austrian nobleman, the Prince Clary: a +view of it is given in the first illustration of this volume, through +the window of the architect’s study. It was intended as a summer retreat +for the Prince and his friends when engaged in a fishing-excursion on +the noble river the Elbe, on the banks of which it was placed. It +contained a large centre dining-room, 48 ft. by 22, with a saloon or +drawing-room, 40 ft. by 20 ft., and extensive accommodation for the +kitchen and servants’ departments. The upper storey contained 14 best +bedrooms, each with an ante or dressing-room, besides bath-room and the +sleeping apartments for the domestics. + + + + +_DESIGN No. 40._ + +HARRINGTON HOUSE, QUEEN’S PALACE GARDENS. + +[Illustration: Perspective view of exterior.] + + +This building, with which the present collection of designs closes, is +probably the most unpicturesque example in the volume. Its exterior has +been frequently criticised; whatever its merits or demerits may be, it +certainly is wholly unlike, while at the same time it is not inferior, +to the strange style at present so popular with the younger branch of +architectural professors, which appears to be a + +[Illustration: Elevation of principal staircase.] + +mixture of the Byzantine and Romanesque styles, joined with the Roman +Gothic. Some call it the Missal style, others the Northern Italian. The +sole recommendation of it is that it comes more expensive to carry out +than any other. This house has at least the reputation of being a very +comfortable one, and as more than usually adapted to receive large +assemblies and fashionable parties. Indeed the noble Earl who erected +it was so pleased with it, that on entering, on its completion, he +addressed the following note to the author:-- + + H. H., Kensington Palace Gardens, + _31 May, 1854_. + + My dear Sir,-- + + I take this opportunity of expressing to you my thanks for having + constructed a house, in my humble judgment, _without a fault_. + + Believe me most sincerely yours, + + (Signed) HARRINGTON. + +To C. J. Richardson, Esq. + + + +And after having resided in it nine months, he again +wrote as follows:-- + + H. H., Palace Gardens, Kensington, + _2nd February, 1855_. + + My dear Sir,-- + + I pray you to accept my cordial thanks for your most able + architectural skill in the construction of my house. I have lived + in it one season, and have not discovered in it a single fault. + + Believe me most truly yours, + + (Signed) HARRINGTON. + +To C. J. Richardson, Esq. + + + +The site upon which the house stands was taken by the Earl from the +Commissioners of Her Majesty’s + +[Illustration: Ground plan.] + +Woods and Forests, and it certainly is, or was, one of the best sites +for building in the metropolis. It adjoins Kensington Gardens, looking +on the old winter garden of Queen Anne. Agreeable and admirable a + +[Illustration: One-pair plan of staircase.] + +site for building as this was, in 1853, it remained for some time +utterly neglected. The first speculator had been ruined, and only one or +two of his houses (one erected by Mr. Owen Jones, the architect) were + +[Illustration: Ground-floor plan.] + +standing in the road. Soon after the Earl of Harrington acquired the +land, and erected this building, the whole of the road, on each side, +was covered with first-class mansions. + +The terms of the agreement were, that the Earl should take plot No. 9 +and the northern portion of plot No. 10, having a frontage of 196 ft. to +the Queen’s Road, and a depth of about 260 ft., for a period of 91¼ +years, from the 5th July, 1851, at a peppercorn rent for the first year, +of 73_l._ 10_s._ for the second year, and of 147_l._ a year for the +remainder of the term, also a rent of 5_s._ a year in lieu of land-tax +for every year except the first. + +The Earl was to expend a sum of not less than 6000_l._ in erecting upon +the ground a dwelling-house of the first-class style of building. The +house was to be insured in the sum of 6000_l._, and the Earl was to pay +jointly, with the adjacent occupiers, the expense of lighting and +keeping up the road, which was a private one, and to pay the gatekeepers +at the lodge. The rest of the covenants of the agreement were such as +are usually found in such documents. + +The house was, until the present year, the only Gothic one in the +district, the Earl insisting upon having this, his favourite style, +admitted. It stands in the centre of the road at the highest level, and +is well up out of the ground. The principal floor is 7 ft. above the +outside road of approach, and 14 ft. above the level of the public road. +The whole of the walls stand on a basement of concrete, and the lower +flooring is 5 ft. above the level of the foundations. The basement +story is 14 ft. in height, and of entirely fireproof construction. The +best rooms on the ground-floor are 17 ft. 6 in. in height, the secondary +rooms are 15 ft. high. All the principal staircases are of stone; the +ground plan on page 479 shows the + +[Illustration: Section of principal staircase.] + +entrance hall, _a_, approached by 12 steps; it is 30 ft. in length, by +21 ft. in width; _b_ is the principal staircase, situated on one side of +the saloon in the centre of the building; the latter is 41 ft. long by +21 ft. wide. The dining-room _e_, and the library _c_, on each side of +the hall, are respectively 30 ft. by 22 ft. The great room, with the bay +window, entered from the saloon, is the picture gallery _f_. This room +is 41 ft. long by 30 ft. wide, without the bay. The drawing-rooms _d_, +_d_, on each side, are each 25 ft. by 20 ft.; _g_, the conservatory, +measures 40 ft. by 21 ft.; this, with the two drawing-rooms and the +picture gallery, can in less than half an hour be thrown into one by the +removal of the large folding-doors in the picture + +[Illustration: Ornament for stairs.] + +gallery, which can be taken away, frames complete, by simply removing a +few screws. A length of drawing-room is then gained of 125 ft. + +The principal staircase is shown in elevation on page 477; the plans are +here given to a larger scale. + +The lower plan shows a portion of the first flight and the servants’ +passage, _a_, under the first landing; _b_ is their staircase down to +the basement, this should have been shown on the left-hand side. It is +the footman’s staircase, adapted for him to ascend and + +[Illustration: Iron railing on staircase.] + +descend readily from or to the basement, and the passage _a_ permits +him to enter either side of the house without being seen. The upper plan +shows the two flights, right and left, rising from the principal +landing. Each of these has 22 steps. Three more in the centre lead up to +the gallery round the saloon; the section of the staircase, given on p. +482, clearly shows this arrangement. The staircase front is in Bath +stone. The only ornaments are the decorated corbels supporting the small +angular projections or buttresses necessary to receive the iron +standards of the railing above. One of the corbels and a panel of the +iron railing is given. This is carried up the stairs on both sides and +round the gallery, and is richly coloured and gilt. The only remaining +portions of the ground plan to be described are the secondary rooms. A +side entrance is at _j_, and the waiting room, _i_, is also at the side; +_h_ is the servants’ staircase, going from the basement to the attic. On +the other side of the building _o_ is the Earl’s dressing-room, with a +study or writing room by its side. This has a lift, _n_, from the +kitchen, enabling it to be used as a serving room. The picture gallery +has a flight of steps descending to a large ornamented garden at the +back of the house, _n n_ is the stable yard, and _k k k_ rooms over the +stable. + +The section through the complete building, given on page 486, shows the +general character of the interior. The rooms are wholly without +ornament; all have plain cornices formed of running Gothic mouldings. +The + +[Illustration] + +only decorated portion is the saloon (_inf._), the coved ceiling of +which has the shields of painted and gilt coats of arms of family +connexions, together with + +[Illustration] + +mottoes and monograms. The skylight is filled with richly coloured +embossed glass, every pane having a shield of arms, its ceiling being +panelled with painted enrichments on a blue ground. A view of the saloon +is given on p. 487; it contains in the centre a statue + +[Illustration: Half-section of roof of conservatory.] + +by Theed, of Lady Chandos Pole, the eldest daughter of the Earl. The +statues are shown in the plan by the letters _m m_. The ground floor is +supplied with warm-water pipes; these are shown by the dotted lines. +They are sunk in the brickwork forming the substructure of the +flooring, and covered with open ornamental ironwork. The hall has two +warm-water pedestals. The whole of the rooms and conservatory are so +warmed. + +The latter part of the interior resembles in some respects a small +chapel. A half-section of a portion + +[Illustration: Plan of one-pair.] + +of its roof is given on p. 488; it measures 22 ft. from the floor to the +collar-beam. The corbels, from which the roof springs, are decorated +with shields of arms, surrounded by a garland of strawberry leaves. + +In the plan of the one-pair floor _a_ is the boudoir or morning room; +_b b b_ are bedrooms; _c c c_ dressing-rooms, and _d_ is the bath-room. +The gallery is shown as completely going round the saloon; its ceiling +is of ground glass arranged in panels, each of which is + +[Illustration] + +moveable, with a skylight over the whole. There is plenty of light +therefore afforded for the paintings with which the walls are covered. + +The small attic plan shows these skylights on three sides only, +likewise the sleeping-rooms _b b_, and the housemaid’s closet _c_. Under +this plan is that of the upper room in the tower with its two slate +cisterns, each capable of containing 800 gallons of water. They are +supported by strong trussed girders fixed in the walls. This upper room +is approached by a + +[Illustration: Staircase to lower rooms.] + +cottage staircase, the plan of which, with its 22 risers, is shown in +cut on p. 490. It enables the room to be approached without any +structural appearance being seen from without. A half elevation of the +exterior, and another of its section is given above. It is well supplied +with light. + +[Illustration: Basement plan.] + +[Illustration: Elevation of bay window.] + +[Illustration: Section.] + +[Illustration: Plan.] + +The building contains upwards of forty rooms; the basement is very +large, and contains considerable accommodation. The mere enumeration of +these would require every letter in the alphabet to point them out in an +engraving, but as it is desirable to show how closely a large +establishment of servants can be packed together, the basement plan is +given. _a_ is the kitchen, _b_ the scullery, and _c_ the larder. The +kitchen is provided with a lift _f_, and a small service window; _d_ is +the pastry-room, and _e_ the still-room, with the lift; _g_ is the +dairy, _h_ the washhouse, _i_ the laundry, _j_ the butler’s pantry, _k_ +the steward’s room with its strong closet; _l_ is the housekeeper’s, +with the cook’s room between it and the still-room, _m_ is the servants’ +hall, _n_ the men’s sleeping room; _o o_ are wine-cellars, _p_ the +butler’s wine-cellar, _q_ the footman’s stairs under the principal +staircase, _r_ the warm-water furnace, by the steward’s room, placed at +the back of his strong closet; _s_ is the stable, containing eight +stalls, one loose box, and a harness-room; _t t t_ are cart-sheds, _u_ +is the cowhouse, _v_ the dung-pit, _w_ the coach-house, _x x_ two of the +three coal-cellars, _y_ the dust-pit, and _z z z_ are the closets. The +carriage-road to the side entrance is formed over the cart-sheds and +coal-cellars. These are arched over in brick and covered with a thick +layer of Brown’s metallic lava, and are provided with proper drainage. +The boot-cleaning place and that for lamps are between the coach-house +and the cart-sheds. + +The exterior of the building has been censured on account of the Gothic +outline being too flat, the roofs too low, and all the windows having +common sash + +[Illustration] + +frames. With regard to the latter, it may be considered very probable +that if the Gothic race of architects had continued with us to the +present day, they would have adopted plate glass for their windows, and +put aside their lead-lights and small panes of common glass. One of the +greatest improvements that could be made in our cathedrals, not +excepting even St. Paul’s, would be the reglazing the windows in the +modern style. + +[Illustration: Half-elevation and section of bell-turret.] + +As a specimen of the architectural style of the building, the centre +bay-window of the principal front is given, with its section and plan. +It is 9 ft. 6 in. across, and 21 ft. 4 in. high, and stands directly +over the chief entrance. The construction of a projecting bay-window +coming over an archway requires a short description. + +The three diagrams on page 495 show the manner in which such windows are +corbelled out. The upper + +[Illustration: Plan of turret.] + +one is a plan of the bottom stone course, immediately over the key-stone +of the arch; it shows also the centre stone of the second course upon +it. The middle diagram shows the two courses from the back. It will be +seen that the middle stone of the first course does not bear upon the +arch, but is supported by the two end stones let into the wall. The last +diagram is a plan of the upper course at top. Slate dowels were used, +and an iron bar, shown in plan under elevation _a_, 3 in. by ¾ in., was +placed across the course tailing into the walls on each side; and two +bars _p p_, each 2½ by ¾ in. and 12 ft. in length, tied it to the +flooring of the room. This is shown likewise in the plan, the dotted +lines dividing the length of flooring; _d_ is the upper course of +stones, and _c_ one of the principal beams of the floor. + +[Illustration: Balustrading on top of building.] + +The bell-turret stands 20 ft. above the roof. This is carved in oak; an +elevation, section, and plan is given. Only those parts of the building +are intended to be here illustrated which have some peculiarity of +design or construction. + +A building of this size would require about 150 working drawings to be +made for it, and a considerable number to be given to show its +construction. + +It was completed in about two years, at an expense of 14,814_l._; but +this did not include the price of the warming apparatus, nor that of the +lightning conductor fixed to the bell-turret. + +[Illustration: Front. Side. + +Pedestal to steps.] + +Whatever opinions may be expressed in regard to the architectural +details of this erection, the author at least can plead, as its owner +stated in the letters, copies of which have been given, that the +essentials of a house, convenience, comfort, and complete suitability +for all domestic purposes, were accomplished. These objects being +attained, any real or imaginary faults perceived by professional critics +may be palliated if not forgotten. + + + + +INDEX. + + + PAGE + +Introduction, 3-48 + + +“Albert Hall of Arts”, 131 + +Architectural history, 16 + +Architectural orders, 20 _et seq._ + +Architecture and gardening, 46, 312 + +Architecture, English, 25 + +Architecture, Grecian, &c., 11 + +Architecture, Mexican, &c., 26 + +Architecture, origin of, 8 + +Architecture, principles of, 27 + +Architecture, Roman, 23 + +Architecture, Suburban, 29 + +Architectural symmetry, &c., 31 + +Arnott’s, Dr., system of warming, 357 + +Arnott’s ventilator, 414 + +Aspect of a house, 36 + +Asphalte as a paving, 235 + +Atmosphere, the, and smoke, 431 + + +Bacon, Lord, on house construction, 256 + +Balconet, an iron, 331 + +Balconet, design for a, 123 + +Balusters for a staircase, 277 + +Balustrade, a garden, 363 _et seq._ + +Balustrade, Elizabethan, 181 + +Balustrade for a staircase, 282 + +Balustrades, stone, 247 + +Balustrading, cut wood, 279 + +Balustrading, designs for iron, &c., 299 + +Balustrading, house and garden, 204 _et seq._ + +Barge-board, 247 + +Bath-house, design for a, 214 + +Bower, garden, rooms, 242 + +Boyd’s flue, 414 + +Bricks, ventilating, 157, 170 + +Buildings, foundation of, 151 + + +Carving by machinery, 278 + +Casements, iron, 220 + +Castle, Gunnarstrop, Sweden, 464 + +Ceiling, a dining-room, 288 + +Ceiling and cornices, 44 + +Ceiling, drawing-room and library, 290, 291 + +Ceiling for a drawing-room, 166 + +Ceiling for a hall, 286 + +Ceiling, ornament for a, 61 + +Ceilings, ornamental, various, 313 _et seq._ + +Ceilings, plaster ornament for, 161 + +Chalk concrete, 83 + +Chapel, design for a Roman Catholic, 210 + +Cheshire wooden houses, 233 + +Chimney-piece, ancient, at Enfield, 228 + +Chimney-pieces, designs for, 80, 81, 319 + +Chimney-pot, ornamented, 329, 330, 423 + +Chimney stack, ancient, 74 + +Churches, concrete, 96 + +Clunch, 246 + +Concrete as a foundation, 152 + +Concrete, chalk, 83 + +Concrete churches, 96 + +Concrete construction, 82 + +Concrete cottages, 83 + +Concrete, nature, cost, &c., of, 91 + +Concrete, remarks on, 93 + +Concrete sewers, 96 + +Concrete walls, 92 + +Construction, fire-proof, 156 + +Construction, concrete, 82 + +Corbels, 172 + +Corbel, French cut-wood, 403 + +Corbels, ragstone, 392 + +Cornice and ceiling, 44 + +Cornice, design for a plaster drawing-room, 101 + +Cornice for a drawing-room, 166 + +Cottage, design for a picturesque, 62 + +Cottage, double, design for a, 66, 72 + +Cottage, gardener’s, 50 + +Cottages, Hampshire, Kentish, &c., 88 _et seq._ + +Cottage or lodge, design for a small, 58 + +Cottage or lodge, design for a huntsman’s, 78 + +Country house, design for a small, 174 + +Country villa, design for a, 182 + +Cubitt’s flues, 407 + + +Dab houses, 251 + +Damp walls, 152 + +Damp, wash to prevent, in walls, 159 + +Deals, stained, 45 + +Decoration external and internal, 42 + +Denley’s flue, 413 + +Door, entrance for a hall, 458 + +Door ornaments, 69 + +Doric order, 20 + +Drain-eye, 450 + + +Egyptian architecture, 19 + +Elizabethan balustrades, 181 + +Elizabethan villa, 280 + +Encaustic tiles, 460 + +English architecture, 25 + +Escutcheon, design of an, 69 + +Escutcheon, key, 172 + + +Finials, 109 + +Finials, roof, 80 + +Fireplace for a hall, 284 + +Fireplace, the, 404 + +Fire-proof construction, 156 + +Fire-proofing, 158 + +Flue construction, 405 _et seq._ + +Flue pedestal, the, 446 + +Flues, Cubitt’s, 407 + +Flues, various, 405 _et seq._ + +Fogs, London, and smoke, 443 + +Foundations, concrete, 152 + +Foundations of buildings, 151 + +Fountain, an ancient nymph’s, 47 + +Fountain, garden, 49 + +Fountain, garden, design for a, 469 + +Fountains, various designs for, 307 + +French villas, roofs, zinc work, &c., 273 + +Frieze, external, 173 + +Frieze for dining and drawing-room, 178 + +Frieze, plaster, for a drawing-room, 65 + + +Gable, ornamental, 170, 220, 300 + +Gardens, ancient, 312 + +Gardens and architecture, 45 + +Garden, architectural, 313 + +Garden bower rooms, 242 + +Gardener’s cottage, 50 + +Garden fountain, 49 + +Garden gate, a, 204 + +Garden gate, design for a, 95 + +Garden, gate to a flower, 265 + +Garden or summer villa, 302 + +Garden summer house, 262 + +Garden steps, 197 + +Garden seat, design for a, 361 + +Garden, vignette plan of an Old English, 119 + +Gate, a garden, 265 + +Gates, iron, in Hyde Park, 128 + +Gate lodge, Hyde Park, 125 + +Gates, Park, 149 + +Gates of London Parks, 139 + +Gothic, modern, 24 + +Gothic screen, 205 + +Gothic style, 10 + +Gothic window, 204 + +Grecian architecture, 11 + +Gunnarstrop castle, Sweden, 464 + + +Half-Timbered houses, 248 + +Hall ceiling, 286 + +Hall fireplace, 284 + +Hall, lecture, design for a, 456 + +“Hall of Arts and Sciences,” Kensington, 133 + +Hall stove, 285 + +Hall, stove for entrance of a, 120 + +Hampshire cottages, 88 + +Handle, design for a door, 69 + +Harrington estate, the, 136 + +Harrington House, Queen’s Palace Gardens, 476 + +Houses, foundations of, 151 + +Haum as a building material, 249 + +Hiort’s flue, 412 + +Hot-water apparatus, 349 + +House, a bachelor’s, 401 + +House, a garden summer, 262 + +Houses, aspect of, 36 + +Houses, dab and wattle, 251 + +House construction, Lord Bacon on, 256 + +House, design for a small country, 174 + +Houses, heating of, 34 + +Houses in Kent, 249 + +Houses, noggin, &c., 249 + +Houses, post-and-pan, 252 + +Houses, site, &c. of, 351 + +Houses, warming of, 351 + +Hyde Park, Queen’s Gate, entrance to, 139 + +Hyde Park Corner Gate, 140 + + +Ice-house, design for a, 370 + + +Kensington Gardens, 140 + +Kent ragstone, 176 + +Kentish cottages, 91 + +Kentish village houses, 249 + +Key escutcheons, 172 + +Knocker, 172 + + +Library, elevation of a small, 200 + +Literary Institution, design for a, 456 + +Lodge, a park, 102 + +Lodge and gateway, design for, 112 + +Lodges of London Parks, 142 + +Lodge or cottage, a huntsman’s, 78 + +Lodge or cottage, design for a small, 56 + +Lodge, park entrance, 104 + +Lodge, Queen’s Gate, Hyde Park, 125 + + +Machine-carving, 278 + +Mantel-pieces, 44 + +Maisonette, a French, 268 + +Meat-jack, design for a, 267 + +Moule’s earth system, 241 + +Moon’s flue, 412 + +Mud walls, 90 + + +Noggin houses, 249 + + +Orders of architecture, 20 _et seq._ + +Origin of architecture, 8 + + +Paper hangings, 42 + +Parge-boards, 247 + +Pargetting, &c., 248 + +Park, entrance lodge and gateway, 112 + +Park lodge, design for a, 99 + +Park lodge entrance, 104 + +Parks, history of the London, 139 + +Parks, the Royal, 139 + +Pedestals, ornamental, 326 + +Pedestal, the flue, 446 + +Pendants, &c., 289 + +Perkins’ hot-water apparatus, 350 + +Picturesque cottage, design for a, 62 + +Picturesque defined, 5 + +Pipes, elevation of Elizabethan lead-water, 55 + +Plaster frieze for a drawing-room, 65 + +Plaster ornament for a ceiling, 161 + +Porch, design for an entrance, 225 + +Portico, elevation of, 180 + +Post-and-pan houses, 252 + +Pots, ornamental chimney, 423 + +Prevention of damp, 151 + + +Queen Anne’s garden, 140 + +Queen’s Gate, iron-work of, 143 + +Queen’s Gate Lodge, 125, 142 + + +Ragstone, Kentish, 176 + +Railing, French, in iron, 190 + +Railing, park, 147 + +Railing, ornamental, 81 + +Riding-house and stabling, 389 + +Reading-room, design for a, 208 + +Rectory, design for a small country, 162 + +Retreat, a small country, 268 + +Roman Architecture, 23 + +Roman Temple, 5 + +Roof, French style of, 275 + +Roofs, iron, 348 + +Roof ornaments, design for wood, 463 + +Rose Hill Villa, 82 + +Rotunda at Bank of England, 158 + +Rushton Hall, 283 + + +Schools, design for, 208 + +School, design for a village Sunday, 70 + +School, village, 208 + +Screen, Gothic, 205 + +Screen, hall, 206 + +Sculptor’s villa, 338 + +Serpentine, the, 140 + +Sewers, a receptacle for soot, 438 + +Sewer gases in houses, 436 + +Sewers, concrete, 96 + +Situation of a house, 38 + +Smith’s, Seth, flue, 412 + +Smoke Nuisance Act, 452 + +Smoke Prevention, 405 + +Smoke purified, by a spray of water, from soot, 441 + +Smoky chimneys, 427 + +Soot and the sewers, 436 + +Soot, prevention of, 428 + +Soot, removal of, from smoke, 433 + +Soot, value of, 451 + +Spiral staircase, 61 + +Stabling and riding-houses, 389 + +Stack flues, 417 + +Stair, best proportions of a, 231 + +Staircase balustrade, 277, 282 + +Staircases, construction of, 194 + +Staircase railing, French, in iron, 190 + +Staircase, spiral, 61 + +Steps, garden, 197 + +Stone balustrades, 173 + +Stove, design for an entrance hall, 120 + +Stove for a hall, 285 + +Styles of architecture, 10 + +Style, Gothic, 10 + +Summer house, or garden, 262 + +Summer or garden villa, 302 + +Summer room, design for a, 214 + +Sunday school, village, design for a, 70 + + +Tall-boys, 416 + +Taste in architecture, 15 + +Terrace, ironwork, 297 + +Tiles, design for ornamental, 189 + +Tiles, encaustic, 460 + +Tiles, ornamental, 187 + +Turn-buckle, 221 + + +Ventilation, general principles of, 32 + +Ventilation, 411 + +Verandahs, 375 + +Verge-board, 247 + +Villa, a sculptor’s, 338 + +Villa, design for a country, 182 + +Villa, design for a small country, 222 + +Villa, double suburban, 192 + +Villa, Elizabethan, 280 + +Villa, French, 268 + +Villa, old English wooden, 232 + +Villa, suburban, design for a, 382 + +Villa, suburban, design for a, 373 + +Villa, summer or garden, 302 + +Villa, summer, for Count Kinski, 470 + +Village schools, 208 + + +Wainscoting, 285 + +Walls, concrete, 92 + +Walls, damp, 152 + +Walls, how to cure damp, 160 + +Warming houses, 34, 351 + +Water, for removing soot from smoke, 440 + +Wattle houses, 251 + +Weathercock, design for a, 261, 381 + +Window, design for a decorated, 336 + +Window, Gothic, 204 + +Window, ironwork for, 297 + +Wooden villa, old English, 232 + +Wood-noggin houses, 249 + +Woodwork, French, pine, 186 + +Woodwork, French, 275 + + +Zinc, French ornamental work in, 274 + + +THE END. + + * * * * * + +[_Post-Office Orders payable +at 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With 2,000 Woodcuts and Steel Engravings by CRUIKSHANK, + HINE, LANDELLS, &c. Crown 8vo, cloth gilt, two very thick volumes, + 15_s._; or, separately, 7_s._ 6_d._ per volume. + + ⁂ _The “Comic Almanacks” of George Cruikshank have long been + regarded by admirers of this inimitable artist as among his finest, + most characteristic productions. Extending over a period of + nineteen years, from 1835 to 1853, inclusive, they embrace the best + period of his artistic career, and show the varied excellences of + his marvellous power. The late Mr. Tilt, of Fleet Street, first + conceived the idea of the “Comic Almanack” and at various times + there were engaged upon it such writers as_ THACKERAY, ALBERT + SMITH, _the Brothers_ MAYHEW, _the late_ ROBERT BROUGH, GILBERT + A’BECKETT, _and, it has been asserted_, TOM HOOD _the elder_. + THACKERAY’S _stories of “Stubbs’ Calendar; or, The Fatal Boots” + which subsequently appeared as “Stubbs’ Diary;” and “Barber Cox; + or, The Cutting of his Comb,” formed the leading attractions in the + numbers for 1839 and 1846_. + + +THE BEST GUIDE TO HERALDRY. + +[Illustration] + +=Cussans’ Handbook of Heraldry=; with Instructions for Tracing Pedigrees +and Deciphering Ancient MSS.; also, Rules for the Appointment of +Liveries, &c., &c. By JOHN E. CUSSANS. Illustrated with 360 Plates and +Woodcuts. Crown 8vo, cloth extra, gilt and emblazoned, 7_s._ 6_d._ + + ⁂ _This volume, beautifully printed on toned paper, contains not + only the ordinary matter to be found in the best books on the + science of Armory, but several other subjects hitherto unnoticed. + Amongst these may be mentioned_:--1. DIRECTIONS FOR TRACING + PEDIGREES. 2. DECIPHERING ANCIENT MSS., ILLUSTRATED BY ALPHABETS + AND FACSIMILES. 3. THE APPOINTMENT OF LIVERIES. 4. CONTINENTAL AND + AMERICAN HERALDRY, &C. + + +NEW AND IMPORTANT WORK. + + =Cyclopædia of Costume=; or, A Dictionary of Dress, Regal, + Ecclesiastical, Civil, and Military, from the Earliest Period in + England to the reign of George the Third. Including Notices of + Contemporaneous Fashions on the Continent, and preceded by a + General History of the Costume of the Principal Countries of + Europe. By J. R. PLANCHÉ, F.S.A., Somerset Herald. + +[Illustration] + + _This work will be published in Twenty-four Monthly Parts, quarto, + at Five Shillings, profusely illustrated by Plates and Wood + Engravings; with each Part will also be issued a splendid Coloured + Plate, from an original Painting or Illumination, of Royal and + Noble Personages, and National Costume, both foreign and domestic. + The First Part is just ready._ + + In collecting materials for a History of Costume of more importance + than the little handbook which has met with so much favour as an + elementary work, I was not only made aware of my own deficiencies, + but surprised to find how much more vague are the explanations, and + contradictory the statements, of our best authorities, than they + appeared to me, when, in the plenitude of my ignorance, I rushed + upon almost untrodden ground, and felt bewildered by the mass of + unsifted evidence and unhesitating assertion which met my eyes at + every turn. + + During the forty years which have elapsed since the publication of + the first edition of my “History of British Costume” in the + “Library of Entertaining Knowledge,” archæological investigation + has received such an impetus by the establishment of metropolitan + and provincial peripatetic antiquarian societies, that a flood of + light has been poured upon us, by which we are enabled to + re-examine our opinions and discover reasons to doubt, if we cannot + find facts to authenticate. + + That the former greatly preponderate is a grievous acknowledgment + to make after assiduously devoting the leisure of half my life to + the pursuit of information on this, to me, most fascinating + subject. It is some consolation, however, to feel that where I + cannot instruct, I shall certainly not mislead, and that the reader + will find, under each head, all that is known to, or suggested by, + the most competent writers I am acquainted with, either here or on + the Continent. + + That this work appears in a glossarial form arises from the desire + of many artists, who have expressed to me the difficulty they + constantly meet with in their endeavours to ascertain the complete + form of a garment, or the exact mode of fastening a piece of + armour, or buckling of a belt, from their study of a sepulchral + effigy or a figure in an illumination; the attitude of the + personages represented, or the disposition of other portions of + their attire, effectually preventing the requisite examination. + + The books supplying any such information are very few, and the best + confined to armour or ecclesiastical costume. The only English + publication of the kind required, that I am aware of, is the late + Mr. Fairholt’s “Costume in England” (8vo, London, 1846), the last + two hundred pages of which contain a glossary, the most valuable + portion whereof are the quotations from old plays, mediæval + romances, and satirical ballads, containing allusions to various + articles of attire in fashion at the time of their composition. + Twenty-eight years have expired since that book appeared, and it + has been thought that a more comprehensive work on the subject than + has yet issued from the English press, combining the pith of the + information of many costly foreign publications, and, in its + illustrations, keeping in view the special requirement of the + artist, to which I have alluded, would be, in these days of + educational progress and critical inquiry, a welcome addition to + the library of an English gentleman + + J. R. PLANCHÉ. + + + + + =Cussans’ History of Hertfordshire.= A County History, got up in a + very superior manner, and ranging with the finest works of its + class. By JOHN E. CUSSANS. Illustrated with full-page Plates on + Copper and Stone, and a profusion of small Woodcuts. Parts I. to + VIII. are now ready, price 21_s._ each. + + ⁂ _An entirely new History of this important County, great + attention being given to all matters pertaining to Family History._ + + + =Dickens’ Life and Speeches.= By THEODORE TAYLOR. In One Volume, + 16mo, cloth extra, 2_s._ 6_d._ + + +“DON QUIXOTE” IN THE ORIGINAL SPANISH. + + =El Ingenioso Hidalgo Don Quijote de la Mancha.= Nueva Edicion, + corregida y revisada. Por MIGUEL DE CERVANTES SAAVEDRA. Complete in + one volume, post 8vo, nearly 700 pages, cloth extra, price 4_s._ + 6_d._ + + +GIL BLAS IN SPANISH. + + =Historia de Gil Blas de Santillana.= Por LE SAGE. Traducida al + Castellano por el PADRE ISLA. Nueva Edicion, corregida y revisada. + Complete in One Volume. Post 8vo, cloth extra, nearly 600 pages, + price 4_s._ 6_d._ + + + =Earthward Pilgrimage=, from the Next World to that which now is. By + MONCURE D. CONWAY. Crown 8vo, beautifully printed and bound, 7_s._ + 6_d._ + + + =Ellis’s (Mrs.) Mothers of Great Men.= A New Edition, with + Illustrations by VALENTINE W. BROMLEY. Crown 8vo, cloth gilt, over + 500 pages, 6_s._ + + “Mrs. Ellis believes, as most of us do, that the character of the + mother goes a long way; and, in illustration of this doctrine, she + has given us several lives written in her charming, yet earnest, + style. We especially commend the life of Byron’s and Napoleon’s + mothers.... The volume has some solid merits.”--_Echo._ + + “This is a book which ought to be in the libraries of all who + interest themselves in the education of women.”--_Victoria + Magazine._ + + “An extremely agreeable and readable book, ... and its value is not + a little enhanced by Mr. Bromley’s illustrations.”--_Illustrated + Dramatic News._ + + + =Emanuel on Diamonds and Precious Stones=; Their History, Value, and + Properties; with Simple Tests for ascertaining their Reality. By + HARRY EMANUEL, F.R.G.S. With numerous Illustrations, Tinted and + Plain. A New Edition, Crown 8vo, cloth extra, gilt, 6_s._ + + + =Edgar Allan Poe’s Prose and Poetical Works=; including Additional + Tales and his fine Critical Essays. With a Translation of CHARLES + BAUDELAIRE’S “Essay.” 750 pages, crown 8vo, fine Portrait and + Illustrations, cloth extra, 7_s._ 6_d._ + +[Illustration: POE’S COTTAGE AT FORDHAM.] + + + =English Surnames=: Their Sources and Significations. By CHARLES + WAREING BARDSLEY, M.A. SECOND EDITION, revised throughout, + considerably enlarged, and partially re-written. Crown 8vo, cloth + extra, 9_s._ + + “Mr. Bardsley has faithfully consulted the original mediæval + documents and works from which the origin and development of + surnames can alone be satisfactorily traced. He has furnished a + valuable contribution to the literature of surnames, and we hope to + hear more of him in this field.”--_Times._ + + “Mr. Bardsley’s volume is a very good specimen of the work which + the nineteenth century can turn out. He has evidently bestowed a + great deal of attention, not only upon surnames, but upon philology + in general. The book is a mine of information.”--_Westminster + Review._ + + “We welcome this book as an important addition to our knowledge of + an important and interesting subject.”--_Athenæum._ + + + =Englishman’s House= (The): A Practical Guide to all interested in + Selecting or Building a House. By C. J. RICHARDSON, Architect, + Author of “Old English Mansions,” &c. Third Edition. With nearly + 600 Illustrations. Crown 8vo, cloth extra, 7_s._ 6_d._ + +[Illustration] + + ⁂ _This Work might not inappropriately termed “A Book of Houses.” + It gives every variety of house, from a workman’s cottage to a + nobleman’s palace. The book is intended to supply a want long felt, + viz., a plain, non-technical account of every style of house, with + the cost and manner of building._ + + + =Faraday’s Chemical History of a Candle.= Lectures delivered to a + Juvenile Audience. A New Edition, edited by W. CROOKES, Esq., + F.C.S., &c. Crown 8vo, cloth extra, with all the Original + Illustrations, 4_s._ 6_d._ + + + =Faraday’s Various Forces of Nature.= A New Edition, edited by W. + CROOKES, Esq., F.C.S., &c. Crown 8vo, cloth extra, with all the + Original Illustrations, 4_s._ 6_d._ + + +FATHER PROUT’S REMAINS. + + =Final Reliques of Father Prout.= Collected and Edited, from MSS. + supplied by the Family of the Rev. FRANCIS MAHONEY, by BLANCHARD + JERROLD. + +[_In preparation._ + + + =Finish to Life in and out of London=; or, The Final Adventures of + Tom, Jerry, and Logic. By PIERCE EGAN. Royal 8vo, cloth extra, with + Spirited Coloured Illustrations by CRUIKSHANK, 21_s._ + + + =Flagellation and the Flagellants.=--A History of the Rod in all + Countries, from the Earliest Period to the Present Time. By the + Rev. W. COOPER, B.A. Third Edition, revised and corrected, with + numerous Illustrations. Thick crown 8vo, cloth extra, gilt, 12_s._ + 6_d._ + + + =Fools’ Paradise=; with the Many Wonderful Adventures there, as seen + in the strange, surprising Peep-Show of Professor Wolley Cobble. + Crown 4to, with nearly 350 very funny Coloured Pictures, cloth + extra, gilt, 7_s._ 6_d._ + +[Illustration: THE PROFESSOR’S LEETLE MUSIC LESSON.] + + +RUSKIN AND CRUIKSHANK. + + =German Popular Stories.= Collected by the Brothers GRIMM, and + Translated by EDGAR TAYLOR. Edited, with an Introduction, by JOHN + RUSKIN. With 22 Illustrations after the inimitable designs of + GEORGE CRUIKSHANK. Both Series complete. Square crown 8vo, 6_s._ + 6_d._; gilt leaves, 7_s._ 6_d._ + + “The illustrations of this volume ... are of quite sterling and + admirable art, in a class precisely parallel in elevation to the + character of the tales which they illustrate; and the original + etchings, as I have before said in the Appendix to my ‘Elements of + Drawing,’ were unrivalled in masterfulness of touch since Rembrandt + (in some qualities of delineation, unrivalled even by him).... To + make somewhat enlarged copies of them, looking at them through a + magnifying glass, and never putting two lines where Cruikshank has + put only one, would be an exercise in decision and severe drawing + which would leave afterwards little to be learnt in + schools.”--_Extract from Introduction by_ JOHN RUSKIN. + + + =Golden Treasury of Thought.= The Best Encyclopædia of Quotations and + Elegant Extracts, from Writers of all Times and all Countries, ever + formed. Selected and Edited by THEODORE TAYLOR. Crown 8vo, very + handsomely bound, cloth gilt, and gilt edges, 7_s._ 6_d._ + + + =Genial Showman=; or, Show Life in the New World. Adventures with + Artemus Ward, and the Story of his Life. By E. P. HINGSTON. Third + Edition. Crown 8vo, Illustrated by BRUNTON, cloth extra, 7_s._ + 6_d._ + + +THE GOLDEN LIBRARY. + +Square 16mo (Tauchnitz size), cloth, extra gilt, price 2_s._ per vol. + + =Clerical Anecdotes=: The Humours and Eccentricities of “the Cloth.” + + =Holmes’s Autocrat of the Breakfast Table.= With an Introduction by + GEORGE AUGUSTUS SALA. + + =Holmes’s Professor at the Breakfast Table.= With the STORY OF IRIS. + + =Hood’s Whims and Oddities.= Both Series complete in One Volume, with + all the original Illustrations. + + =Lamb’s Essays of Elia.= Both Series complete in One Volume. + + =Leigh Hunt’s Essays=: A Tale for a Chimney Corner, and other Pieces. + With Portrait, and Introduction by EDMUND OLLIER. + + =Shelley’s Early Poems=: Queen Mab, &c. Reprinted from the Author’s + Original Editions. With Essay by LEIGH HUNT. (First Series of his + Works.) + + =Shelley’s Later Poems=: Laon and Cythna, the Cenci, and other + Pieces. Reprinted from the Author’s Original Editions. With an + Introductory Essay. (Second Series of his Works.) + + =Shelley’s Miscellaneous Poems and Prose Works.= The Third and Fourth + Series. These Two Volumes will include the Posthumous Poems, + published by Mrs. SHELLEY in 1824; the Shelley Papers, published in + 1833; the Six Weeks’ Tour (1816); the Notes to “Queen Mab,” &c.; + the Marlow and Dublin Pamphlets; “The Wandering Jew,” a Poem; and + the two Novels, “Zastrozzi” and “St. Irvyne.” The three last now + first included in any edition of Shelley. + + + =Great Condé (The), and the Period of the Fronde=: An Historical + Sketch. By WALTER FITZPATRICK. Second Edition, in 2 vols. 8vo, + cloth extra, 15_s._ + + + =Greenwood’s (James) Wilds of London=: Being Descriptive Sketches, + from the Personal Observations and Experiences of the Writer, of + Remarkable Scenes, People, and Places in London. By JAMES + GREENWOOD, the “Lambeth Casual.” With Twelve full-page + Illustrations by ALFRED CONCANEN. Crown 8vo, cloth extra, gilt, + 7_s._ 6_d._ + + + =Hall’s (Mrs. S. C.) Sketches of Irish Character.= “WOOING AND + WEDDING,” “JACK THE SHRIMP,” “PETER THE PROPHET,” “GOOD AND BAD + SPIRITS,” “MABEL O’NEIL’S CURSE,” &c., &c. With numerous + Illustrations on Steel and Wood, by DANIEL MACLISE, R.A., Sir JOHN + GILBERT, W. HARVEY, and G. CRUIKSHANK. 8vo, pp. 450, cloth extra, + 7_s._ 6_d._ + +[Illustration] + + “The Irish sketches of this lady resemble Miss Mitford’s beautiful + English Sketches in ‘Our Village,’ but they are far more vigorous + and picturesque and bright.”--_Blackwood’s Magazine._] + + +THE MOST COMPLETE HOGARTH EVER PUBLISHED. + + =Hogarth’s Works=: with Life and Anecdotal Descriptions of the + Pictures, by JOHN IRELAND and JOHN NICHOLS. The Work includes 160 + Engravings, reduced in exact facsimile of the Original Plates, + specimens of which have now become very scarce. The whole in Three + Series, 8vo, cloth, gilt, 22_s._ 6_d._; or, separately, 7_s._ 6_d._ + per volume. Each Series is Complete in itself. + +[Illustration: THE TALKING HAND.] + + “Will be a great boon to authors and artists as well as + amateurs.... Very cheap and very complete.”--_Standard._ + + “For all practical purposes the three handsome volumes comprising + this edition are equal to a collection of Hogarthian prints. We are + quite sure that any one who adds this work to his library will be + amply repaid by the inexhaustible charms of its facsimile + prints.”--_Birmingham Daily Mail._ + + “The plates are reduced in size, but yet truthfully reproduced. The + best and cheapest edition of Hogarth’s complete works yet brought + forward.”--_Building News._ + + “Three very interesting volumes, important and valuable additions + to the library. The edition is thoroughly well brought out, and + carefully printed on fine paper.”--_Art Journal._ + + + =Hogarth’s Five Days’ Frolic=; or, Peregrinations by Land and Water. + Illustrated with Tinted Drawings, made by HOGARTH and SCOTT during + the Journey. 4to, beautifully printed, cloth, extra gilt, 10_s._ + 6_d._ + + ⁂ _A graphic and most extraordinary picture of the hearty English + times in which these merry artists lived._ + + + =Hogg’s Jacobite Relics of Scotland=: Being the Songs, Airs, and + Legends of the Adherents to the House of Stuart. Collected and + Illustrated by JAMES HOGG. In 2 vols. Vol. I., a Facsimile of the + original Edition; Vol. II., the _original_ Edition. 8vo, cloth, + 28_s._ + + + =Haunted=; or, Tales of the Weird and Wonderful. A new and entirely + original series of GHOST STORIES, by FRANCIS E. STAINFORTH. Post + 8vo, illust. bds., 2_s._ + +[_Nearly ready._ + + + =Hawthorne’s English and American Note Books.= Edited, with an + Introduction, by MONCURE D. CONWAY. Royal 16mo, paper cover, 1_s._; + in cloth, 1_s._ 6_d._ + + + =Hone’s Scrap-Books=: The Miscellaneous Writings of WILLIAM HONE, + Author of “The Table-Book,” “Every-Day Book,” and the “Year Book:” + being a Supplementary Volume to those works. Now first collected. + With Notes, Portraits, and numerous Illustrations of curious and + eccentric objects. Crown 8vo, cloth extra. + +[_Preparing._ + + + + +MR. HORNE’S EPIC. + + =Orion=: An Epic Poem, in Three Books. By RICHARD HENGIST HORNE. With + Photographic Portrait-Frontispiece. TENTH EDITION. Crown 8vo, cloth + extra, 7_s._ + + “Orion will be admitted, by every man of genius, to be one of the + noblest, if not the very noblest poetical work of the age. Its + defects are trivial and conventional, its beauties intrinsic and + supreme.--EDGAR ALLAN POE. + + + =Hunt’s (Robert) Drolls of Old Cornwall=; or, POPULAR ROMANCES OF THE + WEST OF ENGLAND. With Illustrations by GEORGE CRUIKSHANK. Crown + 8vo, cloth extra, gilt, 7_s._ 6_d._ + +[Illustration] + + ⁂ “Mr. Hunt’s charming book of the Drolls and Stories of the West + of England.”--_Saturday Review._ + + + =Irish Guide.--How to Spend a Month in Ireland.= Being a complete + Guide to the Country, with an Appendix containing information as to + the Fares between the Principal Towns in England and Ireland, and + as to Tourist Arrangements for the Season. With a Map and 80 + Illustrations. By Sir CUSACK P. RONEY. A New Edition, Edited by + Mrs. J. H. RIDDELL. Crown 8vo, cloth extra, price 1_s._ 6_d._ + + + =Jennings’ (Hargrave) One of the Thirty.= With curious Illustrations. + Crown 8vo, cloth extra, 10_s._ 6_d._ + +[Illustration] + + + =Jennings’ (Hargrave) The Rosicrucians: Their Rites and Mysteries.= + With Chapters on the Ancient Fire and Serpent Worshippers and + Explanations of Mystic Symbols in Monuments and Talismans of + Primeval Philosophers. Crown 8vo, 300 Illustrations, 10_s._ 6_d._ + + + =Jerrold’s (Blanchard) Cent. per Cent.= A Story Written on a Bill + Stamp. A New Edition. Fcap. 8vo, illustrated boards, 2_s._ + + +NEW WORK BY DOUGLAS JERROLD. + + =Jerrold’s (Douglas) The Barber’s Chair=, and =The Hedgehog Letters=. + Now first collected. Edited, with an Introduction, by his Son, + BLANCHARD JERROLD. Crown 8vo, with Steel Plate Portrait from his + Bust, engraved by W. H. MOTE, cloth extra, 7_s._ 6_d._ + + “No library is complete without Douglas Jerrold’s Works; _ergo_, no + library is complete without the Barber’s Chair.’ A delightful + volume; the papers are most amusing; they abound with sly touches + of sarcasm; they are full of playful wit and fancy.”--_Pictorial + World._ + + “An amusing volume, full of Douglas Jerrold’s well-known sharpness + and repartee.”--_Daily News._ + + “Better fitted than any other of his productions to give an idea of + Douglas Jerrold’s amazing wit; the ‘Barber’s Chair’ may be presumed + to give as near an approach as is possible in print to the wit of + Jerrold’s conversation.”--_Examiner._ + + + =Jerrold’s (Douglas) Brownrigg Papers=: The Actress at the Duke’s; + Baron von Boots; Christopher Snubb; The Tutor Fiend and his Three + Pupils; Papers of a Gentleman at Arms, &c. By DOUGLAS JERROLD. + Edited by his Son, BLANCHARD JERROLD. Post 8vo, illustrated boards, + 2_s._ + + + =Kalendars of Gwynedd.= Compiled by EDWARD BREESE, F.S.A. With Notes + by WILLIAM WATKIN EDWARD WYNNE, Esq., F.S.A. Demy 4to, cloth extra, + 28_s._ + + + =Lamb’s (Charles) Complete Works=, in Prose and Verse, including the + two Series of Elia, with the cancelled passages restored, as first + printed in the “London Magazine,” together with “Satan in Search of + a Wife,” and other Poems and Humorous Pieces, now first collected. + Illustrated with Two Portraits. Crown 8vo, cloth extra, price 7_s._ + 6_d._ + + + =Lamb (Mary & Charles)=: Their Poems, Letters, and Remains. Now first + collected, with Reminiscences and Notes, by W. CAREW HAZLITT. With + HANCOCK’S Portrait of the Essayist, Facsimiles of the Title-pages + of the rare First Editions of Lamb’s and Coleridge’s Works, + Facsimile of a Page of the Original MS. of the “Essay on Roast + Pig,” and numerous Illustrations of Lamb’s Favourite Haunts. Crown + 8vo, cloth extra, 10_s._ 6_d._; LARGE-PAPER COPIES 21_s._ + +[Illustration: ROSAMUND GRAY’S COTTAGE.] + + “Mr. W. C. Hazlitt has published a very pretty and interesting + little volume. It has many pictorial illustrations, which were + supplied by Mr. Camden Hotten; and, above all, it contains a + facsimile of the first page of Elia on ‘Roast Pig.’ It is well got + up, and has a good portrait of Elia. There are also some letters + and poems of Mary Lamb which are not easily accessible + elsewhere.”--_Westminster Review._ + + “Must be consulted by all future biographers of the Lambs.”--_Daily + News._ + + “Tells us a good deal that is interesting and something that is + fairly new.”--_Graphic._ + + “Very many passages will delight those fond of literary trifles; + hardly any portion will fail to have its interest for lovers of + Charles Lamb and his sister.”--_Standard._ + + “Mr. Hazlitt’s work is very important and valuable, and all lovers + of Elia will thank him for what he has done.”--_Sunday Times._ + + “Will be joyfully received by all Lambites.”--_Globe._ + + + =Lee (General Edward)=: His Life and Campaigns. By his Nephew, EDWARD + LEE CHILDE. With Portrait and Plans. 1 vol. Crown 8vo. + +[_In preparation._ + + + + + =Life in London=; or, The Day and Night Scenes of Jerry Hawthorn and + Corinthian Tom. WITH THE WHOLE OF CRUIKSHANK’S VERY DROLL + ILLUSTRATIONS, in Colours, after the Originals. Crown 8vo, cloth + extra, 7_s._ 6_d._ + + + =Literary Scraps.= A Folio Scrap-Book of 340 columns, with guards, + for the reception of Cuttings from Newspapers, Extracts, + Miscellanea, &c. In folio, half-roan, 7_s._ 6_d._ + + + =Little London Directory of 1677.= The Oldest Printed List of the + Merchants and Bankers of London. Reprinted from the Rare Original, + with an Introduction by JOHN CAMDEN HOTTEN. 16mo, binding after the + original, 6_s._ 6_d._ + + + =Longfellow’s Prose Works=, complete, including “Outre-Mer,” + “Hyperion,” “Kavanagh,” “Drift-wood,” “On the Poets and Poetry of + Europe.” With Portrait and Illustrations by BROMLEY. 800 pages, + crown 8vo, cloth gilt, 7_s._ 6_d._ + +[Illustration] + + ⁂ _The reader will find the present edition of Longfellow’s Prose + Writings by far the most complete ever issued in this country. + “Outre-Mer” contains two additional chapters, restored front the + first edition; while “The Poets and Poetry of Europe” and the + little collection of Sketches entitled “Driftwood” are now first + introduced to the English public._ + + + =Linton’s (Mrs. E. Lynn) True History of Joshua Davidson, Christian + and Communist.= SIXTH EDITION, with a New Preface. Small crown 8vo, + cloth extra, 4_s._ 6_d._ + + “In a short and vigorous preface, Mrs. Linton defends, in certain + points, her notion of the logical outcome of Christianity as + embodied in this attempt to conceive how Christ would have acted, + with whom He would have fraternised, and who would have declined to + receive Him, had He appeared in the present + generation.”--_Examiner._ + + +MRS. LYNN LINTON’S NEW NOVEL. + + =Patricia Kemball=: A Novel. By E. LYNN LINTON, Author of “Lizzie + Lorton of Greyrigg,” &c. In Three Vols., crown 8vo, price 31_s._ + 6_d._ + +[_On Nov. 15._ + + + + + =Lost Beauties of the English Language.= An Appeal to Authors, Poets, + Clergymen, and Public Speakers. By CHARLES MACKAY, LL.D. Crown 8vo, + cloth extra, 6_s._ 6_d._ + + + =Madre Natura _versus_ The Moloch of Fashion.= A Social Essay. By + LUKE LIMNER. With 32 Illustrations by the Author. FOURTH EDITION, + revised, corrected, and enlarged. Crown 8vo, cloth extra gilt, red + edges, price 2_s._ 6_d._ + +[Illustration] + + “Bravo, Luke Limner! In this treatise, aptly and ably illustrated, + the well-known artist scathingly exposes the evils of the present + fashions--more especially of tight-lacing. Girls should be made to + learn it by heart, and act on its precepts.”--_Fun._ + + “Agreeably written and amusingly illustrated. Common sense and + erudition are brought to bear on the subjects discussed in + it.”--_Lancet._ + + “A fanciful little volume. A thing to read, and in parts very + amusing.”--_Judy._ + + “Luke Limner’s amusing and instructive book is calculated to do not + a little good.”--_Echo._ + + + =Magna Charta.= An exact Facsimile of the Original Document, + preserved in the British Museum, very carefully drawn, and printed + on fine plate paper, nearly 3 feet long by 2 feet wide, with the + Arms and Seals of the Barons elaborately emblazoned in Gold and + Colours. A.D. 1215. Price 5_s._; or, handsomely framed and glazed, + in carved oak, of an antique pattern, 22_s._ 6_d._ + + A full Translation, with Notes, printed on a large sheet, price + 6_d._ + + +AUTHOR’S CORRECTED EDITION. + + =Mark Twain’s Choice Works.= Revised and Corrected throughout by the + Author. With Life, Portrait, and numerous Illustrations. 700 pages, + cloth extra gilt, 7_s._ 6_d._ + + =Mark Twain’s Pleasure Trip on the Continent of Europe=, With + Frontispiece. 500 pages, illustrated boards, 2_s._; or cloth extra, + 2_s._ 6_d._ + + =Marston’s (Dr. Westland) Poetical and Dramatic Works.= A New and + Collected Edition is now in preparation. + + +MR. PHILIP MARSTON’S POEMS. + + =Song Tide=, and other Poems. By PHILIP BOURKE MARSTON. SECOND + EDITION. Crown 8vo, cloth extra, 8_s._ + + “This is a first work of extraordinary performance and of still + more extraordinary promise. The youngest school of English poetry + has received an important accession to its ranks in Philip Bourke + Marston.”--_Examiner._ + + “Mr. Marston has fairly established his claim to be heard as a + poet.... His present volume is well worthy of careful perusal, as + the utterance of a poetic, cultivated mind.”--_Standard._ + + “We have spoken plainly of some defects in the poetry before us, + but we have read much of it with interest, and even + admiration.”--_Pall Mall Gazette._ + + =All in All=: Poems and Sonnets. By PHILIP BOURKE MARSTON. Crown 8vo, + cloth extra, 8_s._ + + + =Mayhew’s London Characters=: Illustrations of the Humour, Pathos, + and Peculiarities of London Life. By HENRY MAYHEW, Author of + “London Labour and the London Poor,” and other Writers. With nearly + 100 graphic Illustrations by W. S. GILBERT, and others. Crown 8vo, + cloth extra, 6_s._ + + “Well fulfils the promise of its title.... The book is an eminently + interesting one, and will probably attract many readers.”--_Court + Circular._ + + + =Memorials of Manchester Streets.= By RICHARD WRIGHT PROCTER. With an + Appendix, containing “The Chetham Library,” by JAMES CROSSLEY, + F.S.A.; and “Old Manchester and its Worthies,” by JAMES CROSTON, + F.S.A. Demy 8vo, cloth extra, with Photographic Frontispiece and + numerous Illustrations, 15_s._ + + + =Monumental Inscriptions of the West Indies=, from the Earliest Date, + with Genealogical and Historical Annotations, &c., from Original, + Local, and other Sources. Illustrative of the Histories and + Genealogies of the Seventeenth Century, the Calendars of State + Papers, Peerages, and Baronetages. With Engravings of the Arms of + the principal Families. Chiefly collected on the spot by the + Author, Capt. J. H. LAWRENCE-ARCHER. Demy 4to, cloth extra, 42_s._ + +[_Nearly ready._ + + + =Muses of Mayfair=: Vers de Société of the Nineteenth Century. The + best Society Verses of the most important Writers of the last 80 + years, including TENNYSON, BROWNING, SWINBURNE, ROSSETTI, JEAN + INGELOW, LOCKER, INGOLDSBY, HOOD, LYTTON, C. S. C., LANDOR, HENRY + S. LEIGH, and very many others. Edited by H. CHOLMONDELEY-PENNELL, + Author of “Puck on Pegasus.” Beautifully printed, cloth extra gilt, + gilt edges, uniform with “The Golden Treasury of Thought,” 7_s._ + 6_d._ + + +MR. O’SHAUGHNESSY’S POEMS. + + =Music and Moonlight=: Poems and Songs. By ARTHUR O’SHAUGHNESSY, + Author of “An Epic of Women.” Fcap. 8vo, cloth extra, 7_s._ 6_d._ + + “It is difficult to say which is more exquisite, the technical + perfection of structure and melody, or the delicate pathos of + thought. Mr. O’Shaughnessy will enrich our literature with some of + the very best songs written in our generation.”--_Academy._ + + =An Epic of Women=, and other Poems. SECOND EDITION. Fcap. 8vo, cloth + extra, 6_s._ + + “Of the formal art of poetry he is in many senses quite a master; + his metres are not only good,--they are his own, and often of an + invention most felicitous as well as careful.”--_Academy._ + + =Lays of France.= (Founded on the “Lays of Marie.”) SECOND EDITION. + Crown 8vo, cloth extra, 10_s._ 6_d._ + + “As we have before remarked in noticing an earlier volume of his, + this modern votary of Marie has, in imaginative power, keen + intuition, and ear, a genuine claim to be writing poetry, as things + go now.... And Mr. O’S. is also an accomplished master in those + peculiar turns of rhythm which are designed to reproduce the manner + of the mediæval originals.”--_Saturday Review._ + + =Mystery of the Good Old Cause=: Sarcastic Notices of those Members + of the Long Parliament that held Places, both Civil and Military, + contrary to the Self-denying Ordinance of April 3, 1645; with the + Sums of Money and Lands they divided among themselves. Small 4to, + half-morocco, 7_s._ 6_d._ + + =Napoleon III., the Man of His Time=; from Caricatures. PART I. THE + STORY OF THE LIFE OF NAPOLEON III., as told by J. M. HASWELL. PART + II. THE SAME STORY, as told by the POPULAR CARICATURES of the past + Thirty-five Years. Crown 8vo, with Coloured Frontispiece and over + 100 Caricatures, 7_s._ 6_d._ + + =Original Lists of Persons of Quality=; Emigrants; Religious Exiles; + Political Rebels; Serving Men Sold for a Term of Years; + Apprentices; Children Stolen; Maidens Pressed; and others who went + from Great Britain to the American Plantations, 1600-1700. With + their Ages, the Localities where they formerly Lived in the Mother + Country, Names of the Ships in which they embarked, and other + interesting particulars. From MSS. preserved in the State Paper + Department of Her Majesty’s Public Record Office, England. Edited + by JOHN CAMDEN HOTTEN. A very handsome volume, crown 4to, cloth + gilt, 700 pages, 38_s._ A few Large Paper copies have been printed, + price 60_s._ + + +THE OLD DRAMATISTS. + + =Ben Jonson’s Works.= With Notes, Critical and Explanatory, and a + Biographical Memoir by WILLIAM GIFFORD. Edited by Lieut.-Col. + FRANCIS CUNNINGHAM. Complete in 3 vols., crown 8vo, cloth extra + gilt, with Portrait, price 6_s._ each. + + =George Chapman’s Plays=, Complete, from the Original Quartos, + including those Plays in which he was only partly concerned. Edited + by RICHARD HERNE SHEPHERD. Crown 8vo, cloth extra gilt, with + Portrait Frontispiece, price 6_s._ + + =George Chapman’s Poems and Minor Translations.= Complete, including + some Pieces now first printed. With an Essay on the Dramatic and + Poetical Works of GEORGE CHAPMAN, by ALGERNON CHARLES SWINBURNE. + Crown 8vo, with Frontispiece, cloth extra, 6_s._ + + =George Chapman’s Translations of Homer’s Iliad and Odyssey.= Edited + by RICHARD HERNE SHEPHERD. In one volume, crown 8vo, cloth extra, + 6_s._ + + =Christopher Marlowe’s Works=; Including his Translations. Edited, + with Notes and Introduction, by Lieut.-Col. F. CUNNINGHAM. Crown + 8vo, cloth extra gilt, with Portrait, price 6_s._ + + =Philip Massinger’s Plays.= From the Text of WM. GIFFORD. With the + addition of the Tragedy of “Believe as You List.” Edited by + Lieut.-Col. FRANCIS CUNNINGHAM. Crown 8vo, cloth extra gilt, with + Portrait, price 6_s._ + + +OLD BOOKS--FACSIMILE REPRINTS. + + =Rump (The)=; or, An Exact Collection of the choicest POEMS AND SONGS + relating to the late Times, and continued by the most eminent Wits; + from Anno 1639 to 1661. A Facsimile Reprint of the rare Original + Edition (London, 1662), with Frontispiece and Engraved Title-page. + In 2 vols., large fcap. 8vo, printed on antique laid paper, and + bound in antique boards, 17_s._ 6_d._ + + =D’Urfey’s (“Tom”) Wit and Mirth=; or, PILLS TO PURGE MELANCHOLY: + Being a Collection of the best Merry Ballads and Songs, Old and + New. Fitted to all Humours, having each their proper Tune for + either Voice or Instrument: most of the Songs being new set. + London: Printed by W. Pearson, for J. Tonson, at Shakespeare’s + Head, over-against Catherine Street in the Strand, 1719. An exact + reprint. In 6 vols., large fcap. 8vo, antique boards, edges uncut, + beautifully printed on laid paper, made expressly for the work, £3 + 3_s._ + + =Musarum Deliciæ=; or, The Muses’ Recreation, 1656; Wit Restor’d, + 1658; and Wit’s Recreations, 1640. The whole compared with the + originals; with all the Wood Engravings, Plates, Memoirs, and + Notes. A New Edition, in 2 vols., post 8vo, beautifully printed on + antique laid paper, and bound in antique boards, 21_s._ + + =English Rogue (The)=, described in the Life of MERITON LATROON, and + other Extravagants, comprehending the most Eminent Cheats of both + Sexes. By RICHARD HEAD and FRANCIS KIRKMAN. A Facsimile Reprint of + the rare Original Edition (1665-1672), with Frontispiece, + Facsimiles of the 12 copper plates, and Portraits of the Authors. + In 4 volumes, large foolscap 8vo, beautifully printed on antique + laid paper, made expressly, and bound in antique boards, 36_s._ + + =Ireland Forgeries.--Confessions of= WILLIAM-HENRY IRELAND. + Containing the Particulars of his Fabrication of the Shakspeare + Manuscripts; together with Anecdotes and Opinions (hitherto + unpublished) of many Distinguished Persons in the Literary, + Political, and Theatrical World. A Facsimile Reprint from the + Original Edition, with several additional Facsimiles. Fcap. 8vo, + printed on antique laid paper, and bound in antique boards, 10_s._ + 6_d._; a few Large Paper copies, at 21_s._ + + =Grose’s Dictionary of the Vulgar Tongue.= 1785. An unmutilated + Reprint of the First Edition. Quarto, bound in half-Roxburghe, gilt + top, price 8_s._ + + =Joe Miller’s Jests=; the politest Repartees, most elegant Bon-Mots, + and most pleasing short Stories in the English Language. London: + printed by T. Read, 1739. A Facsimile of the Original Edition. 8vo, + half-morocco, 9_s._ 6_d._ + + =Old Prose Stories= whence TENNYSON’S “Idylls of the King” were + taken. By B. M. RANKING. Royal 16mo, paper cover, 1_s._; cloth + extra, 1_s._ 6_d._ + + +OLD SHEKARRY’S WORKS. + +=Forest and Field=: Life and Adventure in Wild Africa. By the OLD +SHEKARRY. With Eight Illustrations, Crown 8vo, cloth extra, gilt, 6_s._ + +=Wrinkles=; or, Hints to Sportsmen and Travellers upon Dress, Equipment, +Armament, and Camp Life. By the OLD SHEKARRY. A New Edition, with +Illustrations. Small crown 8vo, cloth extra, gilt, 6_s._ + + +OUIDA’S NOVELS. + +Uniform Edition, each Complete in One Volume, crown 8vo, red cloth +extra, price 5_s._ each. + +=Folle Farine.= +=Idalia=: A Romance. +=Chandos=: A Novel. +=Under Two Flags.= +=Cecil Castlemaine’s Gage.= +=Tricotrin=: The Story of a Waif and Stray. +=Pascarèl=: Only a Story. +=Held In Bondage=; or, Granville de Vigne. +=Puck=: His Vicissitudes, Adventures, &c. +=A Dog of Flanders=, and other Stories. +=Strathmore=; or, Wrought by his Own Hand. +=Two Little Wooden Shoes.= + + + =Parochial History of the County of Cornwall.= Compiled from the best + Authorities, and corrected and improved from actual Survey. 4 vols. + 4to, cloth extra, £3 3_s._ the set; or, separately, the first three + volumes, 16_s._ each; the fourth volume, 18_s._ + + =Plain English.= By JOHN HOLLINGSHEAD, of the Gaiety Theatre. Crown + 8vo, illust. cover, 1_s._ + +[_Preparing._ + + + =Private Book of Useful Alloys and Memoranda for Goldsmiths and + Jewellers.= By JAMES E. COLLINS, C.E. Royal 16mo, 3_s._ 6_d._ + + +SEVENTH EDITION OF + + =Puck on Pegasus.= By H. CHOLMONDELEY-PENNELL. Profusely illustrated + by the late JOHN LEECH, H. K. BROWNE, Sir NOEL PATON, JOHN MILLAIS, + JOHN TENNIEL, RICHARD DOYLE, Miss ELLEN EDWARDS, and other artists. + A New Edition (the SEVENTH), crown 8vo, cloth extra, gilt, price + 5_s._; or gilt edges, 6_s._ + + “The book is clever and amusing”, vigorous and healthy.”--_Saturday + Review._ + + “The epigrammatic drollery of Mr. Cholmondeley-Pennell’s ‘Puck on + Pegasus’ is well known to many of our readers.... The present (_the + sixth_) is a superb and handsomely printed and illustrated edition + of the book.”--_Times._ + + “Specially fit for reading in the family circle.”--_Observer._ + + +“AN AWFULLY JOLLY BOOK FOR PARTIES.” + + =Puniana=: Thoughts Wise and Otherwise. By the Hon. HUGH ROWLEY. Best + Book of Riddles and Puns ever formed. With nearly 100 exquisitely + Fanciful Drawings. Contains nearly 3000 of the best Riddles, and + 10,000 most outrageous Puns, and is one of the most Popular Books + ever issued. New Edition, small quarto, green and gold, gilt edges, + price 6_s._ + +[Illustration] + + “Enormous burlesque--unapproachable and pre-eminent. We think this + very queer volume will be a favourite. We should suggest that, to a + dull person desirous to get credit with the young holiday people, + it would be good policy to invest in the book, and dole it out by + instalments.”--_Saturday Review._ + +Also, + + =More Puniana.= By the Hon. HUGH ROWLEY. Containing nearly 100 + beautifully executed Drawings, and a splendid Collection of Riddles + and Puns, rivalling those in the First Volume. Small 4to, green and + gold, gilt edges, uniform with the First Series, price 6_s._ + + +COMPANION TO “CUSSANS’ HERALDRY.” + + =Pursuivant of Arms (The)=; or, Heraldry founded upon Facts. A + Popular Guide to the Science of Heraldry. By J. R. PLANCHÉ, Esq., + F.S.A., Somerset Herald. To which are added, Essays on the BADGES + OF THE HOUSES OF LANCASTER AND YORK. A New Edition, enlarged and + revised by the Author, illustrated with Coloured Frontispiece, five + full-page Plates, and about 200 Illustrations. Crown 8vo, + beautifully bound in cloth, with Emblematic Design, extra gilt, + 7_s._ 6_d._ + +[Illustration] + + +IMPORTANT TO ALL INTERESTED IN MINES. + + =Practical Assayer=: A Guide to Miners and Explorers. By OLIVER + NORTH. With Tables and Illustrative Woodcuts. Crown 8vo, 7_s._ + 6_d._ + + ⁂ _This book gives directions, in the simplest form, for assaying + bullion and the baser metals by the cheapest, quickest, and best + methods. Those interested in mining property will be enabled, by + following its instructions, to form a tolerably correct idea of the + value of ores, without previous knowledge of assaying; while to the + young man seeking his fortune in mining countries it is + indispensable._ + + “Likely to prove extremely useful. The instructions are clear and + precise.”--_Chemist and Druggist._ + + “We cordially recommend this compact little volume to all engaged + in mining enterprize, and especially to explorers.”--_Monetary and + Mining Review._ + + “An admirable little volume.”--_Mining Journal._ + + +GUSTAVE DORÉ’S DESIGNS. + + =Rabelais’ Works.= Faithfully translated from the French, with + variorum Notes, and numerous characteristic Illustrations by + GUSTAVE DORÉ. Crown 8vo, cloth extra, 700 pages. Price 7_s._ 6_d._ + + +UNIFORM WITH “WONDERFUL CHARACTERS.” + + =Remarkable Trials and Notorious Characters.= From “Half-Hanged + Smith,” 1700, to Oxford, who shot at the Queen, 1840. By Captain L. + BENSON. With spirited full-page Engravings by PHIZ. 8vo, 550 pages, + 7_s._ 6_d._ + + + =Rochefoucauld’s Reflections and Moral Maxims.= With Introductory + Essay by SAINTE-BEUVE, and Explanatory Notes. Cloth extra, 1_s._ + 6_d._ + + + =Reminiscences of the late Thomas Assheton Smith, Esq.=; or, The + Pursuits of an English Country Gentleman. By Sir J. E. EARDLEY + WILMOT, Bart. A New and Revised Edition, with Steel-plate Portrait, + and plain and coloured Illustrations. Crown 8vo, cloth extra, 7_s._ + 6_d._ + + + =Roll of Battle Abbey=; or, A List of the Principal Warriors who came + over from Normandy with William the Conqueror, and Settled in this + Country, A.D. 1066-7. Carefully drawn, and printed on fine plate + paper, nearly three feet by two feet, with the Arms of the + principal Barons elaborately emblazoned in Gold and Colours. Price + 5_s._; or, handsomely framed in carved oak of an antique pattern, + 22_s._ 6_d._ + + + =Roll of Caerlaverock=, the Oldest Heraldic Roll; including the + Original Anglo-Norman Poem, and an English Translation of the MS. + in the British Museum. By THOMAS WRIGHT, M.A. The Arms emblazoned + in Gold and Colours. In 4to, very handsomely printed, extra gold + cloth, 12_s._ + + + =Roman Catholics in the County of York in 1604.= Transcribed from the + Original MS. in the Bodleian Library, and Edited, with Genealogical + Notes, by EDWARD PEACOCK, F.S.A., Editor of “Army Lists of the + Roundheads and Cavaliers, 1642.” Small 4to, handsomely printed and + bound, 15_s._ + + ⁂ _Genealogists and Antiquaries will find much new and curious + matter in this work. An elaborate Index refers to every name in the + volume, among which will be found many of the highest local + interest._ + + + =Ross’s (Chas. H.) Story of a Honeymoon.= A New Edition of this + charmingly humorous book, with numerous Illustrations by the + Author. Fcap. 8vo, illustrated boards, 2_s._ + + + =School Life at Winchester College=; or, The Reminiscences of a + Winchester Junior. By the Author of “The Log of the Water Lily;” + and “The Water Lily on the Danube.” Second Edition, Revised, + COLOURED PLATES, 7_s._ 6_d._ + + + =Schopenhauer’s The World Considered as Will and Imagination.= + Translated by Dr. FRANZ HÜFFER, Author of “Richard Wagner and the + Music of the Future.” + +[_In preparation._ + + +THE “SECRET OUT” SERIES. + +Crown 8vo, cloth extra, profusely Illustrated, price 4_s._ 6_d._ per +Vol. + + =Art of Amusing.= A Collection of Graceful Arts, Games, Tricks, + Puzzles, and Charades, intended to Amuse Everybody. By FRANK + BELLEW. With nearly 300 Illustrations. + + =Hanky-Panky.= A Wonderful Book of Very Easy Tricks, Very Difficult + Tricks, White Magic, Sleight of Hand; in fact, all those startling + Deceptions which the Great Wizards call “Hanky-Panky.” Edited by W. + H. CREMER. With nearly 200 Illustrations. + + =Magician’s Own Book.= Ample Instruction for Performances with Cups + and Balls, Eggs, Hats, Handkerchiefs, &c. All from Actual + Experience. Edited by W. H. CREMER. With 200 Illustrations. + + =Magic No Mystery.= A Splendid Collection of Tricks with Cards, Dice, + Balls, &c., with fully descriptive working Directions. With very + numerous Illustrations. + +[_Nearly ready._ + + =Merry Circle (The)=, and How the Visitors were entertained during + Twelve Pleasant Evenings. A Book of New Intellectual Games and + Amusements. Edited by Mrs. CLARA BELLEW. With numerous + Illustrations. + + =Secret Out=; or, One Thousand Tricks with Cards, and other + Recreations; with Entertaining Experiments in Drawing Room or + “White Magic.” Edited by W. H. CREMER. With 300 Engravings. + + + =Shelley’s Early Life.= From Original Sources. With Curious + Incidents, Letters, and Writings, now First Published or Collected. + By DENIS FLORENCE MAC-CARTHY. Crown 8vo, with Illustrations, 440 + pages, 7_s._ 6_d._ + + + =Sheridan’s Complete Works=, with Life and Anecdotes. Including his + Dramatic Writings, printed from the Original Editions, his Works in + Prose and Poetry, Translations, Speeches, Jokes, Puns, &c.; with a + Collection of Sheridaniana. Crown 8vo, cloth gilt, with 10 + beautifully executed Portraits and Scenes from his Plays, 7_s._ + 6_d._ + + + =Signboards=: Their History. With Anecdotes of Famous Taverns and + Remarkable Characters. By JACOB LARWOOD and JOHN CAMDEN HOTTEN. + SEVENTH EDITION. Crown 8vo, cloth extra, 7_s._ 6_d._ + +[Illustration: HELP ME THROUGH THIS WORLD!] + + “It is not fair on the part of a reviewer to pick out the plums of + an author’s book, thus filching away his cream, and leaving little + but skim-milk remaining; but, even if we were ever so maliciously + inclined, we could not in the present instance pick out all Messrs. + Larwood and Hotten’s plums, because the good things are so numerous + as to defy the most wholesale depredation,”--_The Times._ + + ⁂ _Nearly 100 most curious illustrations on ‘wood are given, + showing the signs which were formerly hung from taverns, &c._ + + +HANDBOOK OF COLLOQUIALISMS. + + =The Slang Dictionary=: Etymological, Historical, and Anecdotal. An + ENTIRELY NEW EDITION, revised throughout, and considerably + Enlarged, containing upwards of a thousand more words than the last + edition. Crown 8vo, with Curious Illustrations, cloth extra, 6_s._ + 6_d._ + +[Illustration: THE WEDGE AND THE WOODEN SPOON.] + + “Peculiarly a book which ‘no gentleman’s library should be + without,’ while to costermongers and thieves it is absolutely + indispensable.”--_Dispatch._ + + “Interesting and curious. Contains as many as it was possible to + collect of all the words and phrases of modern slang in use at the + present time.”--_Public Opinion._ + + “In every way a great improvement on the edition of 1864. Its uses + as a dictionary of the very vulgar tongue do not require to be + explained.”--_Notes and Queries._ + + “Compiled with most exacting care, and based on the best + authorities.”--_Standard._ + + “In ‘The Slang Dictionary’ we have not only a book that reflects + credit upon the philologist; it is also a volume that will repay, + at any time, a dip into its humorous pages.”--_Figaro._ + + +WEST-END LIFE AND DOINGS. + + =Story of the London Parks.= By JACOB LARWOOD. With numerous + Illustrations, Coloured and Plain. In One thick Volume, crown 8vo, + cloth extra, gilt, 7_s._ 6_d._ + + ⁂ _A most interesting work, giving a complete History of these + favourite out-of-door resorts, from the earliest period to the + present time._ + + +A KEEPSAKE FOR SMOKERS. + + =Smoker’s Text-Book.= By J. HAMER, F.R.S.L. Exquisitely printed from + “silver-faced” type, cloth, very neat, gilt edges, 2_s._ 6_d._, + post free. + + +CHARMING NEW TRAVEL-BOOK. + +[Illustration: “It may be we shall touch the happy isles.”] + + =Summer Cruising in the South Seas,= By CHARLES WARREN STODDARD. With + Twenty-five Engravings on Wood, drawn by WALLIS MACKAY. Crown 8vo, + cloth, extra gilt, 7_s._ 6_d._ + + “This is a very amusing book, and full of that quiet humour for + which the Americans are so famous. We have not space to enumerate + all the picturesque descriptions, the poetical thoughts, which have + so charmed us in this volume; but we recommend our readers to go to + the South Seas with Mr. Stoddard in his prettily illustrated and + amusingly written little book.”--_Vanity Fair._ + + “Mr. Stoddard’s book is delightful reading, and in Mr. Wallis + Mackay he has found a most congenial and poetical + illustrator.”--_Bookseller._ + + “A remarkable book, which has a certain wild + picturesqueness.”--_Standard._ + + “The author’s experiences are very amusingly related, and, in + parts, with much freshness and originality.”--_Judy._ + + “Mr. Stoddard is a humourist; ‘Summer Cruising’ has a good deal of + undeniable amusement.”--_Nation._ + + + =Syntax’s (Dr.) Three Tours.= With the whole of ROWLANDSON’S very + droll full-page Illustrations, in Colours, after the Original + Drawings. Comprising the well-known TOURS--1. IN SEARCH OF THE + PICTURESQUE. 2. IN SEARCH OF CONSOLATION. 3. IN SEARCH OF A WIFE. + The Three Series Complete, with a Life of the Author by JOHN CAMDEN + HOTTEN. Medium 8vo, cloth extra, gilt, price 7_s._ 6_d._ + + + =Theseus: A Greek Fairy Legend.= Illustrated, in a series of Designs + in Gold and Sepia, by JOHN MOYR SMITH. With descriptive text. + Oblong folio, price 7_S._ 6_d._ + + + =Theodore Hook’s Choice Humorous Works=, with his Ludicrous + Adventures, Bons-mots, Puns, and Hoaxes. With a new Life of the + Author, PORTRAITS, FACSIMILES, and ILLUSTRATIONS. Crown 8vo, 600 + pages, cloth extra, 7_s._ 6_d._ + +[Illustration: THEODORE HOOK’S HOUSE, NEAR PUTNEY] + + ⁂ “As a wit and humourist of the highest order his name will be + preserved. His political songs and _jeux d’esprit_, when the hour + comes for collecting them, _will form a volume of sterling and + lasting attraction_!”--J. G. LOCKHART. + + +MR. SWINBURNE’S WORKS. + +SECOND EDITION NOW READY OF + + =Bothwell=: A Tragedy. By ALGERNON CHARLES SWINBURNE. Crown 8vo, + cloth extra, pp. 540, 12_s._ 6_d._ + + “Mr. Swinburne’s most prejudiced critic cannot, we think, deny that + ‘Bothwell’ is a poem of a very high character. Every line bears + traces of power, individuality, and vivid imagination. The + versification, while characteristically supple and melodious, also + attains, in spite of some affectations, to a sustained strength and + dignity of a remarkable kind. Mr. Swinburne is not only a master of + the music of language, but he has that indescribable touch which + discloses the true poet--the touch that lifts from off the + ground.”--_Saturday Review._ + + “It is not too much to say that, should he never write anything + more, the poet has by this work firmly established his position, + and given us a poem upon which his fame may safely rest. He no + longer indulges in that frequent alliteration, or that oppressive + wealth of imagery and colour, which gave rhythm and splendour to + some of his works, but would have been out of place in a grand + historical poem; we have now a fair opportunity of judging what the + poet can do when deprived of such adventitious aid,--and the + verdict is, that he must henceforth rank amongst the first of + British authors.”--_Graphic._ + + “The whole drama flames and rings with high passions and great + deeds. The imagination is splendid; the style large and imperial; + the insight into character keen; the blank verse varied, sensitive, + flexible, alive. Mr. Swinburne has once more proved his right to + occupy a seat among the lofty singers of our land.”--_Daily News._ + + “A really grand, statuesque dramatic work.... 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Crown 8vo, cloth extra, 7_s._ + 6_d._ + +[Illustration] + + “A set of caricatures such as we have in Mr. Wright’s volume brings + the surface of the age before us with a vividness that no prose + writer, even of the highest power, could emulate. Macaulay’s most + brilliant sentence is weak by the side of the little woodcut from + Gillray, which gives us Burke and Fox.”--_Saturday Review._ + + “A more amusing work of its kind was never issued.”--_Art Journal._ + + “It is emphatically one of the liveliest of books, as also one of + the most interesting. It has the twofold merit of being at once + amusing and edifying.”--_Morning Post._ + + + =Yankee Drolleries.= Edited by G. A. SALA. Containing ARTEMUS WARD’S + BOOK; BIGLOW PAPERS; ORPHEUS C. KERR; JACK DOWNING; and NASBY + PAPERS. 700 pp., 3_s._ 6_d._ + + =More Yankee Drolleries.= Containing ARTEMUS WARD’S TRAVELS; HANS + BREITMANN; PROFESSOR AT BREAKFAST TABLE; BIGLOW PAPERS, Part II.; + and JOSH BILLINGS; with Introduction by G. A. SALA. 700 pp., cloth, + 3_s._ 6_d._ + + =A Third Supply of Yankee Drolleries.= Containing ARTEMUS WARD’S + FENIANS; AUTOCRAT OF BREAKFAST TABLE; BRET HARTE’S STORIES; + INNOCENTS ABROAD; and NEW PILGRIM’S PROGRESS; with an Introduction + by G. A. SALA. 700 pp., cloth, 3_s._ 6_d._ + + + _74 & 75, PICCADILLY, LONDON, W._ + + +FOOTNOTES: + +[A] Now Sir William Fothergill Cooke--October, 1869. + +[B] First illustrated by the author in his work, “Architectural Remains +of the Reigns of Elizabeth and James I.” + +[C] The garden entrance to the ancient palace of the Grand Duke of +Tuscany, alla Trinita de’ Monti. The architecture of Annibale Lippi. + +[D] This subject is fully treated and illustrated with plates in the +Author’s treatise on “The Warming and Ventilation Buildings,” published +in 1837 and 1856. + +[E] “Cheap Ice Well.” (Atchley & Co.) + +[F] “Plan for Purifying the Atmosphere of Towns.” (Hamilton, Adams, & +Co.) + +[G] “Coke, Smoke, and Sewage.” (Cave and Sever, Manchester.) + +[H] A print of the stove is given in the author’s pamphlet entitled +“The Smoke Nuisance, and its Remedy; with Remarks on Liquid Fuel.” +Price 1_s._ (Atchley & Co.) + + + + + + + + +End of the Project Gutenberg EBook of The Englishman's House, by +C.J. (Charles James) Richardson + +*** END OF THE PROJECT GUTENBERG EBOOK 60759 *** diff --git a/60759-h/60759-h.htm b/60759-h/60759-h.htm new file mode 100644 index 0000000..6b184e2 --- /dev/null +++ b/60759-h/60759-h.htm @@ -0,0 +1,10204 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" +"http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml" lang="en" xml:lang="en"> + <head> <link rel="coverpage" href="images/cover.jpg" /> +<meta http-equiv="Content-Type" content="text/html;charset=UTF-8" /> +<title> + The Project Gutenberg eBook of The Englishmans House, by C. J. 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padding-left: 3em; text-indent: -3em;} +.poem span.i8 {display: block; margin-left: 7em; padding-left: 3em; text-indent: -3em;} + +.pagenum {font-style:normal;position:absolute; +left:95%;font-size:55%;text-align:right;color:gray; +background-color:#ffffff;font-variant:normal;font-style:normal;font-weight:normal;text-decoration:none;text-indent:0em;} +@media print, handheld +{.pagenum + {display: none;} + } + +.sidenote {width:5em;padding-bottom:.5em; +padding-top:.5em;padding-left:.5em; +padding-right:.5em;margin-left:auto;float:left; +margin-top:1em;font-size:70%; +color:black;background:#eeeeee;border:dashed 1px;} +</style> + </head> +<body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 60759 ***</div> + +<hr class="full" /> + +<p class="figcenter"> +<a href="images/cover_lg.jpg"> +<img src="images/cover.jpg" alt="[Image of +the book's cover unavailable.]" /></a> +</p> + +<table border="0" cellpadding="0" cellspacing="0" summary="" +style="border: 2px black solid;margin:auto auto;max-width:50%; +padding:1%;"> +<tr><td> +<p class="c"><a href="#CONTENTS">Contents.</a><br /> +<a href="#INDEX">Index.</a><br /> +<span class="nonvis">(In certain versions of this etext [in certain browsers] +clicking on the image will bring up a larger version.)</span></p> + +<p class="c">(etext transcriber's note)</p></td></tr> +</table> + + +<p class="c">THE<br /><br /> +ENGLISHMAN’S HOUSE.</p> + +<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span> </p> + +<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a> </span> + +<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span> </p> + +<div class="figcenter"> +<a href="images/frontispiece_lg.jpg"> +<img src="images/frontispiece_sml.jpg" width="353" height="538" alt="[Image unavailable.]"/></a> +<br /> +<span class="caption">HOUSES MADE PICTURESQUE.</span> +</div> + +<h1> +THE<br /> +<br /> +ENGLISHMAN’S HOUSE.</h1> + +<p class="c"><i>A PRACTICAL GUIDE FOR SELECTING OR<br /> +BUILDING A HOUSE.</i><br /> +<br /><a href="images/colophon_lg.jpg"> +<img src="images/colophon.jpg" width="250" alt="" /></a> +<br /> +<br /> +BY<br /> +<br /> +C. J. RICHARDSON,<br /><small> +AUTHOR OF “OLD ENGLISH MANSIONS,” ETC.</small><br /> +<br /><span class="sans"> +THIRD EDITION, WITH NEARLY 600 ILLUSTRATIONS.</span><br /> +<br /> +<span class="eng">London</span>:<br /> +CHATTO AND WINDUS, PICCADILLY.<br /> +<span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span><br /><small><br /><br /> +LONDON:<br /> +SAVILL, EDWARDS AND CO., PRINTERS, CHANDOS STREET,<br /> +COVENT GARDEN.<br /></small> +<span class="pagenum"><a name="page_v" id="page_v">{v}</a></span> </p> + +<h2><a name="PREFACE" id="PREFACE"></a>PREFACE.</h2> + +<p class="nind"><span class="letra">S</span>EVERAL years ago the author of this volume published a small work on +the Warming and Ventilation of Buildings which was very favourably +received by the Public, but is now out of print. He afterwards wrote +various other works illustrating the Architecture of England during the +reigns of Queen Elizabeth and James I., with one volume on Ornamental +Designs. These had an extensive sale, and are now, like the first small +volume, out of print. His last publication was a small pamphlet, +entitled, “The Smoke Nuisance and its Remedy, with remarks on Liquid +Fuel,” the subject of which, at least so far as regards an improved +construction for the domestic chimney flue, is continued in the present +volume.</p> + +<p>The present volume consists of numerous plans, &c., for Cottages, +Villas, and small and large Mansions, most of which have been carried +into execution. They are carefully selected from a large collection of +similar subjects, the result of many years’ professional practice, and +it is hoped that they may be favourably received.<span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span><span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span></p> + +<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h2> + +<table border="0" cellpadding="2" cellspacing="0" summary=""> + +<tr><td colspan="3"> </td><td class="rt"><small>PAGE</small></td></tr> + +<tr><td valign="top" colspan="3">Introduction</td><td class="rt" valign="bottom"><a href="#page_3">3</a></td></tr> + +<tr><td valign="top">Design</td><td align="right" valign="top"><a href="#DESIGN_No_1">No. 1</a>.</td><td valign="top"> A Gardener’s Cottage</td><td class="rt" valign="bottom"><a href="#page_50">50</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_2">2</a>.</td><td valign="top"> A Small Cottage or Lodge</td><td class="rt" valign="bottom"><a href="#page_56">56</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_3">3</a>.</td><td valign="top"> A Picturesque Cottage</td><td class="rt" valign="bottom"><a href="#page_62">62</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_4">4</a>.</td><td valign="top"> A Double Cottage</td><td class="rt" valign="bottom"><a href="#page_66">66</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_5">5</a>.</td><td valign="top"> A Double Cottage and Village Sunday School</td><td class="rt" valign="bottom"><a href="#page_70">70</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_6">6</a>.</td><td valign="top"> A Huntsman’s Lodge or Cottage</td><td class="rt" valign="bottom"><a href="#page_78">78</a></td></tr> + +<tr><td colspan="2"> </td><td valign="top"> Concrete Construction for Building Cottages</td><td class="rt" valign="bottom"><a href="#page_82">82</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_7">7</a>.</td><td valign="top"> A Garden Gate</td><td class="rt" valign="bottom"><a href="#page_95">95</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_8">8</a>.</td><td valign="top"> A Park Lodge</td><td class="rt" valign="bottom"><a href="#page_99">99</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_9">9</a>.</td><td valign="top"> A Park Lodge</td><td class="rt" valign="bottom"><a href="#page_102">102</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_10">10</a>.</td><td valign="top"> An Entrance Lodge to a Park</td><td class="rt" valign="bottom"><a href="#page_104">104</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_11">11</a>.</td><td valign="top"> An Entrance Lodge and Gateway to a Park</td><td class="rt" valign="bottom"><a href="#page_112">112</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_12">12</a>.</td><td valign="top"> A Stove for an Entrance Hall</td><td class="rt" valign="bottom"><a href="#page_120">120</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_13">13</a>.</td><td valign="top"> Queen’s Gate Lodge, Hyde Park</td><td class="rt" valign="bottom"><a href="#page_124">124</a></td></tr> + +<tr><td colspan="2"> </td><td valign="top">On the Foundation and Basement Walls of Buildings, Damp Prevention, And Fire-proof Construction</td><td class="rt" valign="bottom"><a href="#page_151">151</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_14">14</a>.</td><td valign="top"> A Small Country Rectory</td><td class="rt" valign="bottom"><a href="#page_162">162</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_15">15</a>.</td><td valign="top"> A Small Country House</td><td class="rt" valign="bottom"><a href="#page_174">174</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_16">16</a>.</td><td valign="top"> A Country Villa</td><td class="rt" valign="bottom"><a href="#page_182">182</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_17">17</a>.</td><td valign="top"> A Double Suburban Villa</td><td class="rt" valign="bottom"><a href="#page_192">192</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_18">18</a>.</td><td valign="top"> Village Schools and Reading Room</td><td class="rt" valign="bottom"><a href="#page_208">208</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_19">19</a>.</td><td valign="top"> A Roman Catholic Chapel and Schools</td><td class="rt" valign="bottom"><a href="#page_210">210</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_20">20</a>.</td><td valign="top"> A Bath House and Summer Room</td><td class="rt" valign="bottom"><a href="#page_214">214</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_21">21</a>.</td><td valign="top"> A Small Country Villa</td><td class="rt" valign="bottom"><a href="#page_222">222</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_22">22</a>.</td><td valign="top"> A Villa in the Old English Wooden Style</td><td class="rt" valign="bottom"><a href="#page_232">232</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_23">23</a>.</td><td valign="top"> A Garden Summer House</td><td class="rt" valign="bottom"><a href="#page_262">262</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_24">24</a>.</td><td valign="top"> A Small Country Retreat, or French Maisonette</td><td class="rt" valign="bottom"><a href="#page_268">268</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_25">25</a>.</td><td valign="top"> An Elizabethan Villa</td><td class="rt" valign="bottom"><a href="#page_280">280</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_26">26</a>.</td><td valign="top"> A Summer or Garden Villa</td><td class="rt" valign="bottom"><a href="#page_302">302</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_27">27</a>.</td><td valign="top"> A Decorated Window</td><td class="rt" valign="bottom"><a href="#page_336">336</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_28">28</a>.</td><td valign="top"> A Sculptor’s Villa</td><td class="rt" valign="bottom"><a href="#page_338">338</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_29">29</a>.</td><td valign="top"> A Garden Seat</td><td class="rt" valign="bottom"><a href="#page_361">361</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_30">30</a>.</td><td valign="top"> A Garden Seat</td><td class="rt" valign="bottom"><a href="#page_368">368</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_31">31</a>.</td><td valign="top"> An Ice House</td><td class="rt" valign="bottom"><a href="#page_370">370</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_32">32</a>.</td><td valign="top"> A Suburban Villa</td><td class="rt" valign="bottom"><a href="#page_373">373</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_33">33</a>.</td><td valign="top"> A Suburban Villa</td><td class="rt" valign="bottom"><a href="#page_382">382</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_34">34</a>.</td><td valign="top"> Riding-house and Stabling</td><td class="rt" valign="bottom"><a href="#page_389">389</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_35">35</a>.</td><td valign="top"> A Bachelor’s House</td><td class="rt" valign="bottom"><a href="#page_401">401</a></td></tr> + +<tr><td colspan="2"> </td><td valign="top">The Fireplace</td><td class="rt" valign="bottom"><a href="#page_404">404</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_36">36</a>.</td><td valign="top"> A Lecture Hall, or Literary Institution</td><td class="rt" valign="bottom"><a href="#page_456">456</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_37">37</a>.</td><td valign="top"> Encaustic Tiles</td><td class="rt" valign="bottom"><a href="#page_460">460</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_38">38</a>.</td><td valign="top"> Restoration of Castle Gunnarstrop, Sweden</td><td class="rt" valign="bottom"><a href="#page_464">464</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_39">39</a>.</td><td valign="top"> Summer Villa for the Count Kinski at Teplitz</td><td class="rt" valign="bottom"><a href="#page_470">470</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_40">40</a>.</td><td valign="top"> Harrington House, Queen’s Palace Gardens</td><td class="rt" valign="bottom"><a href="#page_476">476</a></td></tr> + +</table> + +<p><span class="pagenum"><a name="page_2" id="page_2">{2}</a></span><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span></p> + +<div class="figcenter" style="width: 400px;"> +<a href="images/ill_pg_002_lg.jpg"> +<img src="images/ill_pg_002_sml.jpg" width="400" height="545" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_3" id="page_3">{3}</a></span></p> + +<h2><a name="INTRODUCTORY_CHAPTER" id="INTRODUCTORY_CHAPTER"></a>INTRODUCTORY CHAPTER<br /><br /> +ON THE PICTURESQUE IN RELATION TO ARCHITECTURE.</h2> + +<div class="figcenter" style="width: 360px;"> +<a href="images/ill_pg_003_lg.jpg"> +<img src="images/ill_pg_003_sml.jpg" width="360" height="261" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Grecian Temple.</p></div> +</div> + +<p class="nind"><span class="letra">I</span>T has been said that a definition of the picturesque in respect to +architecture, or indeed any branch of the fine arts, is scarcely +possible. The most able writers on the subject have failed to convey an +adequate and popular idea. In fact the term has so great and extensive +an application as to forbid exact defi<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span>nition. The architect usually +considers that if his building look well when seen by moonlight, or +through the medium of a foggy or dull atmosphere, it is picturesque, and +he is satisfied. Blenheim Castle and Castle Howard have always been +pointed out as eminent examples of the picturesque in buildings. But +this quality varies with every change of situation and circumstance +under which it can be conceived.</p> + +<p>The entrance to the Acropolis of Athens, with its noble equestrian +statues in the foreground, the steps between them, and the beautiful +temples rising at different heights behind, giving a varied outline, the +whole probably delicately coloured, must have been picturesque in the +highest degree. The Temple of the Winds and the Monument of Lysicrates +were equally examples of the picturesque. Yet although great efforts +were made on the publication of Athenian Stuart’s volumes to introduce +pure Grecian architecture here, it has obtained no hold with us. St. +Pancras Church, and St. Stephen’s, Camden Town, are probably the last +specimens in our metropolis. The delicate mouldings of the one are +destroyed by the roughness of the climate, and the beautiful figures of +the Caryatidæ in the other are covered with soot.</p> + +<p>There is no doubt that the Roman temples were as picturesque and as +varied in outline as the Grecian buildings of which they were studies, +but none remain<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span></p> + +<div class="figcenter" style="width: 269px;"> +<a href="images/ill_pg_005_lg.jpg"> +<img src="images/ill_pg_005_sml.jpg" width="269" height="436" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Roman Temple in Ruins.</p></div> +</div> + +<p><span class="pagenum"><a name="page_6" id="page_6">{6}</a></span></p> + +<p class="nind">sufficiently perfect to illustrate them. In their original, entire +state, with the surfaces and colour smooth and even, either in painting +or reality, they were beautiful; in ruins, there is no denying they are +highly picturesque. Observe the process by which time, the great author +of such changes works, first by means of weather stains, partial +incrustations, mosses, &c., which simultaneously take off the uniformity +of surface and of colour, giving a degree of roughness, and variety of +tint. Then the various accidents of weather loosen the stones +themselves: they tumble in irregular masses upon what was perhaps smooth +turf or pavement, or nicely trimmed walks and shrubberies, now mixed and +overgrown with wild plants and creepers that crawl over and shoot among +the falling ruins. Sedums, wall-flowers, and other plants that bear +drought, find nourishment in the decayed cement from which the stones +have been detached; birds convey their food into the chinks, and yew, +elder, and other berried plants project from the sides; while the ivy +mantles over other parts, and crowns the top. The even, regular lines of +the doors and windows are broken, and through their ivy-fringed openings +is displayed in a highly broken and picturesque manner that striking +image described by Virgil:</p> + +<div class="poetry"> +<div class="poem"><div class="stanza"> +<span class="i0">“Apparet domus intus, et atria longa patescunt<br /></span> +<span class="i1">Apparent Priami et veterum penetralia regum.”<br /></span> +<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span></div></div> +</div> + +<p>The first view given in this volume attempts to show the picturesque +effect of the Grecian Temple in its complete state, the attendants +having just retired from some display or ceremony; the second, the front +of a Roman Temple in its noble remains.</p> + +<p>To the Greeks we owe all the general principles and forms of classic +art, but they have been modified to modern ideas and tastes, and, it may +be added, to suit also the various climates of the countries where they +have been adopted.</p> + +<p>However much the occupations of our countrymen may partake of the +commercial character, the mental qualities requisite to such pursuits +have not been so displayed as to exclude a taste for art. Where, for +example, can be found superior specimens of art-choice than exist in +their mansions, villas, or cottage-ornées, their picture and sculpture +galleries, or the museums and other collections of those whose business +pursuits have been the cause of their prosperity.</p> + +<p>An essential element of success in every branch of progress is involved +in tasteful selection. Without considering those classes who by +successful efforts of their ancestry have been placed beyond the pale of +want (either artificial or real), a large proportion of our population +may be ranked as having advanced morally, socially, and commercially by +that intuition<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> which characterizes our national progress. It takes as +its basis nature and nature’s products. It eliminates from these not +only pecuniary benefits that in a commercial point of view may occur, +but associating the useful with the beautiful (the sense of the latter +having been gained during intervals of quiet thought as a relief from +the incessant requirements of business engagements), a tendency to +embody the picturesque, especially in regard to architecture, arises. We +have no hesitation in assigning to this cause the production of some of +the most picturesque architectural erections which grace our +country,—that render English homes an example, and prove that, while +the main element of our national prosperity is making money, we are not +insensible to the beneficent influences resulting from the cultivation +of refined taste.</p> + +<p>It would be interesting as an object of careful inquiry, if there +existed sufficient data for the purpose, to trace each of the many steps +that have occurred between the birth of architecture and its present +condition. The early history of mankind had as its locality climates +which favoured the construction and use of the <i>crudest</i> contrivances, +intended only to meet the few wants of shelter and occasional domestic +privacy. The first condition of man’s existence, either in this +primitive or modern state, is that of roving or wandering tribes. +Instances of this are found in the early inhabi<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span>tants of Asia Minor, and +adjacent countries, and at the present day the same habit is maintained +in Central Asia, Arabia, and many parts of America. As soon as the +sustenance afforded for their cattle is consumed in one district a +migration is made to another. Gradually, however, centres of trade +sprung up where commodities could be bartered for live stock. Men thus +became massed together in villages and towns. Quitting a semi-savage +condition, they built permanent residences in place of the tent. At +first these, like the log-hut of the modern Canadian, were only +sufficient for the most common necessities of life. In course of time, +however, the spirit of emulation, the growth of riches, and the +germination of man’s natural taste for the beautiful, led to artificial +wants, which were soon converted into necessities of life. This called +out the study of art on the part of the few for the benefit of the many. +Systems of art in all its branches gradually developed themselves. By +the study of the beauties of nature such systems gradually progressed in +purity of style, and produced designs that eventually were appreciated +by the common people, in a greater or less degree, according to the +capabilities of each individual. Architecture and the other fine arts +thus, by slow but sure degrees, began to gain a hold on popular taste, +and step by step they arrived at the state of perfection of which we now +boast.<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span></p> + +<p>It will be evident that whilst the primary objects of architecture were +simply those of meeting the immediate necessities of life, its ultimate +purpose was only attained when it became an art, cultivated by refined +taste, an educated eye, and encouraged by the growth of civilization and +commerce. It thus advanced from a state of barbarism into one in which +it was connected with all the highest developments of the moral and +mental qualities of mankind, but especially with the æsthetic +aspirations of our nature.</p> + +<p>Incidentally but necessarily connected with the general progress of +architecture is the great variety of styles that has been invented. The +whole of these are modifications of some one or more primaries. No two +individuals acquire the same mental impression by viewing one object; +each of their impressions is tinted by the mental characteristics of the +individual. It is, therefore, from this cause that so many varieties of +style have originated from one first model. An illustration of this is +afforded in the Gothic, which in different hands has been greatly +divided and modified in its details. This style, which at first was of +exclusive application only, has subsequently become most extensively in +use for purposes that at first sight it would have been judged as quite +unfit for.</p> + +<p>The style of architecture just referred to is remarkable for its +picturesque character, and may fitly be<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> adduced as an ensample of that +quality in the absence of an exact definition of the term.</p> + +<p>An able writer criticising Gothic buildings, remarks that the outline of +the summit presents a great variety of forms of turrets and pinnacles, +some open, some fretted and variously enriched. But even where there is +an exact correspondence of parts, it is often disguised by an appearance +of splendid confusion and irregularity.</p> + +<p>In the doors and windows of Gothic Churches, the pointed arch has as +much variety as any regular figure can well have; the eye, too, is less +strongly conducted than by the parallel lines in the Grecian style, from +the top of one aperture to that of another; and every person must be +struck with the extreme richness and intricacy of some of the principal +windows of our cathedrals and ruined abbeys. In these last is displayed +the triumph of the picturesque, and their charms to a painter’s eye are +often so great as to rival those which arise from the chaste ornaments +and the noble and elegant simplicity of Grecian architecture.</p> + +<p>These remarks will explain to a certain degree the nature of the +picturesque in regard to architecture, so far at least as the general +principles are involved. But in the more minute points, other questions +and relations arise, to which the attention of the reader<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> will be fully +drawn in the descriptive text and illustrations of this work.</p> + +<p>The comparative value of Grecian and Gothic architecture, as practically +adopted in the erection of ornamental dwellings, is well discussed by an +eminent architect in the following remarks, slightly modified from the +original. He observes that the two are better distinguished by an +attention to their general effects, than to the minute parts peculiar to +each. It is in architecture as in painting—beauty depends on light and +shade, and they are caused by the openings or projections in the +surface. If these tend to produce horizontal lines, the building must be +deemed Grecian, however whimsically the doors and windows may be +constructed. If, on the contrary, the shadows give a preference to +perpendicular lines, the general character of the building will be +Gothic. This is evident from the large houses built in Queen Elizabeth’s +reign, where Grecian columns were introduced. Yet they are always +considered as Gothic buildings.</p> + +<p>In our modern Grecian architecture large cornices are repeated, with +windows ranged perfectly in the same line, and these lines often more +strongly marked by a horizontal fascia. There are few breaks of any +great depth; and if there be a portico, the shadow made by the columns +is very trifling compared with that broad horizontal shadow proceeding +from the<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> soffit (that is, the under side of the heads of apertures, +architraves, and the corona of cornices). The only ornament its roof +will admit, is either a flat pediment departing very little from the +horizontal, or a dome still rising from a horizontal base.</p> + +<p>But in these remarks attention is chiefly drawn to the general +architectural effects of style, independent of concomitant +circumstances. Yet it is hardly necessary to do more than call on the +experience of any man of taste to show that position, adjacent scenery, +and other “accidental” or “incidental” matters will modify the special +effect of any style in regard to the picturesque, and also those of a +general character. A Gothic erection in a confined situation will lose +most of its beauties, while one of a Grecian character may be especially +suitable. In choosing, therefore, any design for the erection of a new +building, or alterations in one already in existence, respect should be +had to the natural character of the surrounding country, the aspects in +regard to the sun and prevalent winds, the extent of the estate or +grounds on which the building is to be erected, the views from the +various apartments, the character of wood, plain, or other adjacent +tree-scenery, and last, but of equal or greater importance, questions in +reference to domestic comfort and convenience, drainage and dry soil, +supply of water, and a variety of details, most of which will at<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span> once +suggest themselves. In many cases the choice of site is necessarily +fixed by previous purchase or inheritance of the land, yet in such cases +chances are left for a judicious selection in regard to some of the +conditions above mentioned. But when the purchase has to be effected, +<i>all</i> the conditions should be kept in mind, and, if possible, +completely satisfied. Such details should form the subject of minute +inquiry, and they are here only named for the purpose of showing how the +choice of the best style, in regard either to general beauty or +picturesque effect, should be decided on with mature attention to all +the circumstances of the case.</p> + +<p>Most of the old mansions, &c., of this country and many parts of +Continental Europe, have been erected in situations that were then +immediately, and at little cost, available for the purpose. At one time +the choice of such situation depended on careful attention to the +special circumstances of those who erected the building. Thus it is +found, generally, that the banks of the rivers, as affording ready and +cheap means of carriage by the stream, were mostly chosen. Hence our +abbeys, monasteries, &c., are frequently found in such localities. +Baronial castles were usually erected on hills, the height of which +tended to the security of the owners against sudden incursions of their +foes. From the varied character of English topography has<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span> arisen that +great variety of picturesque beauty that distinguishes the ruins which +abound in almost every county throughout the length and breadth of the +land; such ruins, architecturally considered in relation to the +surrounding circumstances of wood, vale, hill and dale, have become +subjects of study and suggestion to modern architects, and models, +constantly adopted at the present time, in certain details, for +producing new designs. In the selection of these, or of any other style, +however, Burke has laid down, in his essay on “The Sublime and +Beautiful,” an excellent rule: “A true artist should put a generous +deceit on the spectators, and effect the noblest designs by easy +methods. Designs that are vast only by their dimensions, are always the +sign of a common and low imagination. The work of art can be great but +as it deceives; to be otherwise is the prerogative of nature only.”</p> + +<p>It will thus be seen, that to obtain the highest effect of the +picturesque in architecture requires an educated eye, a refined taste, +great experience, but especially a keen perception of all the +conditions, on the fulfilment of which the most successful result can be +obtained. In all there is a natural love of unity and effect. +Montesquieu, in his dissertation on <i>Taste</i>, observes: “Wherever +symmetry is useful to the soul, and may assist her functions, it is +agreeable to her; but wherever it is useless, it becomes distasteful, +because it<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> takes away variety. Therefore things that are seen in +succession ought to have variety, for our soul has no difficulty in +seeing them; those on the contrary, that we see at one glance, ought to +have symmetry. Thus at one glance we see the front of a building, a +parterre, a temple. In such things there is always a symmetry which +pleases the soul by the facility it gives her of taking in the whole +object at once.”</p> + +<p>The numerous dissertations, essays, &c., that have been produced on the +subjects that have here been treated on in a discursive manner only, are +a sufficient proof of the difficulty which exists in acquiring, +applying, and affording an accurate and ample description of all the +conditions necessary to picturesque architecture; they also in some +measure explain the reason of the grotesque, and even offensive results +that obtrude on refined taste in the productions of builders who are +utterly deficient of artistic taste and knowledge in carrying out their +objects. A general, and in part a historic view of architecture may +serve to show how success has been attained in many cases, and the evils +that should be avoided as leading to failure in effect of the general +and special features of an erection.</p> + +<p>In the cursory view of the history of architecture already given, it has +been shown that the earliest efforts of the art were simply directed to +satisfy the simple wants of man, without any regard being had<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> to taste. +It was not until riches began to accumulate in a few hands that taste in +architecture was developed, and by the few examples thus produced the +taste of society at large was educed, refined, and extended.</p> + +<p>Omitting then any inquiry into the architecture of our earth’s +aborigines, which was evidently of the rudest character, reference may +first be made to early architectural attempts in Asia. It has been +ingeniously observed by M. Pair, that the Chinese imitated a tent as the +model of their system, a result that undoubtedly arose from the fact +that the first Tartar tribes were nomadic or wandering in their nature. +It has also been remarked that a bird’s-eye view of a Chinese city at +once suggests the idea of a fixed camp. In southern and south-western +Asia may be found, on the other hand, the remains of extensive +architectural productions in caves, such as that of the Pagoda +Elephanta, from which many have argued that subterraneous dwellings were +amongst the earliest; but it is evident that such could only be made in +places where stone existed in masses, as a basis of the country. In a +plain and sandy district, and in alluvial soil generally, such could not +possibly have been produced. There is not the least doubt that the +conditions of climate have in all cases determined the early character +of each national system. In both hot and cold countries caves would +naturally have been sought as affording shelter from<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> the two extremes +of heat and cold. Recent geological discoveries have brought to light +the fact that the remains of human and quadruped bones have been found +together in such situations, the human inhabitants having most probably +been the predecessors of the beasts of prey, as also of the fowls of the +air. It has been suggested too that the forest tree having formerly +served for shelter, might have suggested the floral character of +columns, and the use of floral decoration generally at their summit.</p> + +<p>In respect to these “natural” and consequently primitive “systems” of +architecture, Billington has made the following judicious +remarks:—“Those people or nations who lived by the chase (and in the +same class the Ichthyophagi, or fish-eaters, are included) could not for +a great length of time have built themselves shelters. The long courses +the hunters made prevented them from watching their property, which must +have comprised [but] few articles; and they found it more convenient to +make hollows in the rocks for their dwellings, or to profit by those +which nature offered them in its caverns. It was the same with those who +lived by fishing; passing a sedentary life on the sea shores, the sides +of rivers, or the borders of the lakes, they always made themselves such +abodes, or took advantage of those already formed by nature. The little +industry which this<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> mode of life required, and the natural idleness +which followed it, was sufficient to induce them to prefer the dwellings +presented by nature, to those of art. This fact is proved by experience +at the present day, as these descriptions of persons continue to adopt +the same plan of life in countries where the arts of civilization have +not extended their beneficial influence. The pastors or shepherds, as +they were inhabitants of plains during a great portion of the year, +could not make use of the retreats hollowed and prepared in the +mountains and rocks by the hand of nature; being obliged to seek change +of pasture, and thus lead an ambulatory life, it was requisite to have +dwellings or shelters that could be carried with them wherever they +went, and hence originated the use of tents. But the active operations +of agriculture requiring a definite situation, necessity suggested the +propriety of building solid and fixed abodes. The agriculturist then, +living on his own grounds, and in the enjoyment of his property, had to +store his provisions; it was therefore necessary to have a habitation at +once commodious, safe, healthful, and extensive; and the wood hut with +its roof was soon erected.”</p> + +<p>The same author considers that there is not the least certainty of this +primitive wooden construction, with its inclined roof, having been the +universal model of all nations, but especially in regard to Egypt and<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> +China. The peculiarities of the early Chinese style of architecture have +been already named, and with the persistent continuity in one course yet +prevalent, that style is still preserved. But the Grecian style was +evidently founded on the rude model, and the ingenuity of that nation +eventually led to the transference of material from wood to stone.</p> + +<p>At the present day the Orders of Grecian architecture are fundamental to +the principles of modern art in numerous varieties of detail; they have +survived the prejudices, fancies, and dicta of various schools of art, +although, as already shown, the Gothic and other systems have become +formidable competitors, and in many cases, especially in regard to the +picturesque, efficient, elegant, and ornamental substitutes. The taste +for the latter characteristic has led to an increased adoption, for +example, of the Italian style, which in many respects resembles the +Grecian, but differs from it especially in lightness of detail, with +greater variety. The author just quoted traces the origin of the Doric +Order of the Greeks to a primary adaptation of the trunks of trees as +external supports of the wooden dwelling, seeing in them the +foreshadowing of the column designative of that order. “As trees are of +greater circumference at their lower extremities, and diminish in +rising, the diminution of the column was suggested by them.... These +timbers<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> (as supports) consisting of trunks of trees planted in the +ground, offered not as yet the idea of bases and pedestals, as is seen +in the Doric Order, which is without base. But in the course of time the +inconvenience of this method was perceived, as it exposed the wood to +rot, and to remedy this inconvenience pieces of wood were placed under +each support to give it a better foundation, and to protect it from +humidity. This practice may be traced in some of the ancient edifices in +which the columns have no other base than a block of stone. But +afterwards, the number of pieces of wood employed for the base was +increased, in order to give greater elevation to the supports, or to +effect better security against the effects of humidity. From this +multiplication of blocks as footings, sprung the <i>torus</i> and other +mouldings of the base, an origin far more probable than that of +ligaments of iron, as imagined by Scamozzi and others. It is also more +conformable to the nature of capitals, in which it is known that the +same proceeding was employed. After beginning with a simple abacus, +several others were afterwards added, which were enlarged, as they rose, +one above another, in such a manner that as the base was to the column a +kind of footing on which it rested more solidly, so the capital made a +head more capable of receiving and supporting the weight and form of the +architrave, a large beam placed horizon<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span>tally on perpendicular supports, +and destined to receive the covering of the whole edifice.”</p> + +<p>The author goes on, in a similarly ingenious manner, to prove the +derivation, from nature, of the Orders of Grecian architecture. He +ascribes the form of the roof as having necessarily suggested that of +the pediment. On this point he quotes the remark of Cicero: “It is not +to pleasure that we are indebted for the pediment of the Capitol and +those of our temples: necessity suggested the form for the better +draining off the water; nevertheless, its beauty is so very great, and +it is become so necessary for edifices, that if a Capitol were to be +built in Olympus, where it was never known to rain, it would, +notwithstanding, be necessary to give it a pediment.”</p> + +<p>The preceding remarks and ingenious theory amply justify the opinion +already suggested, that nature must be the foundation of every true +principle of art. Assuming, as we are compelled to do, that the Grecian +style as a whole was original, the only perfect model that could have +been selected was that afforded by natural objects, in all of which are +found the most perfect results, derived from few means but answering an +infinity of ends. It will be remembered that the construction of the +Eddystone lighthouse was based in regard to durability, and resistance +to the force of the waves, on those properties which are possessed by +any<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span> kind of tree exposed to the full force of the tempest. “Nature +ought to be the basis of all imitation.”</p> + +<p>Proceeding from the teachings of nature, the Greeks learned gradually to +introduce new types, consistent in the main with the original mode, but +of great variety in detail. By further refinement of this, but close +adherence to the facts or the analogies of nature, the Grecian art +became developed in the invention of other Orders, the names of which +are sufficiently known to all interested in architecture. Limited space +prevents our entering into a class of analyses of the characteristics of +each. Little doubt exists of the Doric Order having been the first +produced, and following it were the Ionic, Corinthian, Composite, and +Tuscan, which constitute the five Orders in general of architecture.</p> + +<p>Perhaps the best epoch of ancient architecture was that during which, +subsequent to the battle of Marathon, the Greeks commenced to rebuild +the remains of Persian buildings, and to re-construct Athens. The ruins +of this period yet with us, attest the advance which Grecian +architectural art had attained. The ingenuity and refinement of Greek +art gradually spread to Rome, the Romans adopting the Doric Order under +the modification known as the Tuscan. The art having been introduced +into Etruria by the Pelasgi, under the celebrated Augustus, Rome +attained that magni<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span>ficence which has ever since rendered its name +famous as a seat of the arts. Amongst the great erections of this period +was the Pantheon, one of the grandest efforts of genius that the world +has yet known. Under subsequent emperors architecture also progressed, +and the name of Trajan is identified with the erection of triumphal +arches, &c., the ruins of which still receive the admiration of every +qualified judge in art.</p> + +<p>The removal of the seat of Roman government to Byzantium led to the +decadence of art at Rome, which was completed by the incursions of the +Visigoths. Eventually the Gothic style arose, phœnix-like, from the +ruins of Grecian and Roman art, and obtained a place that has rendered +it ever since one of the most favourite styles of architecture.</p> + +<p>Just as under the heathens, the art had been chiefly promoted by +erections for religious purposes, so when the Christians began to obtain +the ascendancy, the erection of churches led to a similar result. From +the fourth to the seventh century some magnificent buildings of this +kind were erected. At the commencement of the eleventh century the +church of St. Mark at Venice attested the wonderful progress which +architecture had made, and it continued to progress during the next two +or three centuries, being confined chiefly, however, to Italy. But the +Gothic style, suited to a northern clime, never obtained full hold<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> +there; Italy cannot boast of a single pure Gothic edifice. Gradually the +new style spread over Europe. The Cathedral at Strasbourg, the Louvre at +Paris, suggested improvements in our own country at Windsor Castle, +Oxford, &c., all indicated the rapid extension of the Gothic style or +its modifications. But in numerous instances the taste that was +exhibited showed a decadence from the simplicity and grandeur of the +Grecian and Latin styles. In respect to the latter, indeed, the +materials of the new erections were obtained from the ruins of the +ancient edifices, the columns, &c. there found, being pressed into the +service, in any manner, of the new school of architects.</p> + +<p>Towards the middle of the fifteenth century a revival in architectural +art took place, especially under Brunelleschi. The patronage of the +Medici added a stimulus to the progress thus initiated. Improvements +were introduced in the erection of private residences in most parts of +Western Europe, the art having in its best form been chiefly till then +directed to building edifices for religious purposes alone. In the +sixteenth century architecture in Rome attained a perfection nearly +equal to that it had formerly enjoyed under the Cæsars, especially +during the Augustan age. Private and public buildings were erected of +great magnificence, yet of simplicity of form combined with grandeur. +Under Vignola architecture attained great excellence.<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> Michael Angelo +was appointed architect of St. Peter’s at Rome about the middle of the +sixteenth century, and the mention of his name alone is sufficient to +call to mind the extent and value of his labours in the art. In the +seventeenth century, about the year 1620, Inigo Jones was engaged in +repairing St. Paul’s Cathedral in London, and subsequently produced +designs for the Royal Palace at Whitehall in the reign of Charles I. +Greenwich and Chelsea Hospitals, and other noted buildings, were +designed about this period. In France and other continental countries +architecture attained great perfection at this period, both in respect +to public and private buildings. Among the most eminent architects of a +period somewhat nearer to our own time, was Sir Christopher Wren, whose +St. Paul’s Cathedral serves as a monument to the great genius of that +eminent man. This era may, comparatively speaking, be considered as the +commencement of the modern style of English church architecture, +inasmuch as several productions of Wren are still used for the purposes +to which they were first applied, having undergone little or no change +since their completion.</p> + +<p>Such is a brief, and necessarily very imperfect resumé of the progress +of architecture. The styles of Eastern Europe, ancient Mexico, and many +others, have not been described, because unnecessary, in this +Introduction, which has only for its object to call<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span> general attention +to the causes which have led to the present state of the art. Like all +others it has been the subject of alternating prosperity and adversity. +At one time fostered by men eminent in their profession, and by those +whose means permitted them to lavish riches on magnificent piles, +fountains, villas, &c.; and at others, degraded by its students, and +neglected by those who should have been its patrons.</p> + +<p>In all branches of architecture direct reference should be had to the +objects for which the building is intended. An eminent architect, +already quoted, has well set forth this essential point in the following +remarks:—“The art of characterizing, that is to say, of rendering +evident by material forms the intellectual qualities and moral ideas +required to express in edifices, or to make known by the harmony and +suitableness of all the constituent parts that enter into their +composition the use for which they are intended, is perhaps of all the +secrets of architecture the most difficult to develope or to attain. +This happy talent of conceiving and of communicating the conception in +the physiognomy suitable to each edifice; this sure and delicate +discernment, which exhibits the distinguishing parts of such edifices, +that at first appear susceptible of no characteristic distinctions; this +judicious employment of the different styles which are as the tones of +architecture; this skilful application of the signs which the<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span> art +employs to affect the sight and understanding; this exquisite feeling, +which errs neither in the just disposition of the masses and employment +of the details, nor in the just dispensation of richness and simplicity, +and which is able to combine true expression of character with the +harmonious accord of all the qualities susceptible of being represented +by architecture—all this requisite talent, which study perfects, but +does not produce, is a gift possessed by few. This suitable expression +presents itself under two relations, the one appertaining to +architecture in general, and the other to edifices in particular. The +first consists in the expression of the qualities or intellectual ideas +which are the results of the art metaphysically considered; the second, +in the true indication of the uses for which edifices are designed, that +is, in considering architecture as a certain mode of expressing or +painting. This expression, according to the nature of the buildings and +edifices, may be produced by the gradation of richness and greatness +proportionate to the nature and the object for which they are erected; +by the indication of the moral qualities attached to each edifice, the +manner of expressing which is beyond the reach of rules; by the general +and particular form of architecture; by the species of the construction +and the quality of the materials that may be employed in the execution; +and lastly, by the resources of decoration.<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span>” In these remarks will be +found a highly valuable <i>précis</i> of the excellence to which the art of +the architect should be directed, and the means that must be adopted to +obtain pleasing and successful results.</p> + +<p>The erection of country mansions, villas, and other residences, has of +late years been greatly stimulated in our country. The enormous annually +accumulated savings of the commercial portion of the community have +induced a large amount of capital to be invested in such objects. In +regard to questions of taste and decoration, it should be borne in mind +that but very little extra cost is incurred in building a residence in a +pleasing and picturesque style than in one having not the least +pretension to architectural beauty. In our earlier remarks on the nature +of the picturesque the <i>general principles</i> of obtaining that effect +have been pointed out. In the following pages the special details are +amply descanted on, and illustrated by designs, drawings, &c. It is the +object of every department of constructive skill at the present day, to +endeavour to obtain the best possible result by the least possible +expenditure of material, and thus taste actually causes economy rather +than increased expense. Tons of heavy and unsightly materials are now +replaced by hundredweights of decorative, and yet substantial, masonry +and iron work. A number of modern elegant erections, affording +accommodation equal in extent,<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> but vastly superior in quality, are now +made at an expenditure of stone or brick less by one-third in quantity +than was employed in many old houses; those in High Street, Edinburgh, +by way of example. The result has been arrived at by the joint aid of +science and art, the former giving data as to the strength of the +material, and the latter directing its disposal. The peculiar character +of English scenery is exactly adapted for giving a picturesque character +to villa residences, provided the latter are designed and erected in +accordance with the principles of sound taste. Surely he who would spend +money in building a house, in which all or most of the remainder of his +days are to be spent, will not grudge making that dwelling the subject +of decoration or ornamental art, by which its aspect shall at all times +be suggestive of pleasure rather than of aversion or disgust. It has +been said that most individuals, by long association together, acquire a +mutuality of tastes and even physical resemblance. It cannot be denied +that even inanimate objects, such as our dwellings, furniture, +landscapes, gardens, and other such surroundings, have a parallel effect +on us. Hence the wisdom of using all the means which architectural art +places at our disposal. Errors in this respect often proceed from +thoughtlessness, if not from want of refined taste. An instance may +suffice to show how much<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> such matters should be attended to in the +choice of a site and other conditions. A retired manufacturer erected a +mansion at a cost exceeding fifty thousand pounds, and had never paid +any heed to the fact that the most prominent object seen from his +dining-room window was the cemetery of the adjacent town! Soon this +became unbearable, and the house has been comparatively deserted by the +family, caused by an oversight that the least consideration would have +remedied.</p> + +<p>The designs given in the following pages have for their object to +suggest the most approved, tasteful, and effective plans for the +mansion, the villa, or cottage, and great care has been devoted to their +production. Whilst a residence must necessarily be kept within a cost +suitable to the means of the proprietor, by judicious care of the +professional man, possessed of a competent knowledge, a little money may +go a long way in the decorative art. Many of the drawings are devoted to +the minor but not less effective portions of the house. Congruity in +detail inside the dwelling is equally required with symmetry, beauty, or +picturesque character of the exterior. Want of judgment in this point +may speedily convert the most elegant building into little better than a +repository for gewgaws selected without taste and arranged without +skill. It is impossible for <i>every</i> man to become his own architect; but +it is possible, in most cases, for all who have<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> the means, to select +such a design as shall best comport with their taste, leaving the +working out of details to the architect. But a remote possibility exists +of an unprofessional being able even to state what he requires, and +should he ask an architect for a design or plan, it is more than likely +that the latter would fail to please. When, however, a variety of +designs is placed before the eye of any intelligent person the act of +selection becomes easy. Although no single plan may succeed, a +combination may suggest itself, and the architect can then readily work +on something like a sound foundation, and with the hope of success. This +work is intended to supply such requirements.</p> + +<p>Again, in building a house, or in effecting alterations in an old one, +points apparently of minor, but really of great importance, require +attention. A badly constructed chimney will make the whole house +miserable, independent of the injury done to furniture, decorations, +&c., and the destruction of paint and paperhangings. A defective +drainage may render that which was intended to be an abode of peace, +plenty, and happiness, a living charnel-house, or the door to the grave! +A question of vital importance is that of ventilation. These apparently +minor questions can therefore scarcely be exaggerated in their value, +for neglect of them will render nugatory the best external efforts of +the architect. Hence they have hereafter<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span> full attention, in their +practical details, directed to them.</p> + +<p>On the general principles of ventilation the following remarks may be of +value to all who propose to erect new dwellings, or alter those already +inhabited. In all houses, and in fact every building divided into +stories, a ready means of ventilation may be insured, or rather always +exists. This is presented in the opening formed by the staircase. Into +this general opening communications can be made into, and from, each +apartment by apertures placed in some convenient position in each room. +The grand law on which ventilation depends is, that hot air, being +lighter than cool air, has a universal tendency to rise, whilst cold air +takes the lowest part of a house or apartment. It hence follows, that if +a supply of cold air be admitted by an opening at the lower part of a +house, and it becomes heated within the house, it will have a tendency +to rise to the roof; and if a sufficient opening be there provided, it +will escape into the open air. Consequently a constant current may thus +be obtained in any dwelling, sufficient to give a supply of pure air and +to remove that which has been vitiated by breathing, the combustion of +fires, and other causes. The heavy atmosphere of this country requires +assistance to make this grand law operative; to cause the air of a room +to move as readily as it is required, forced<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> ventilation becomes +necessary. The English fireplace provides this; and to that it owes, +with us, its extreme popularity. A constant current of air from the room +is heated and passed up the chimney flue, and this draws in a +corresponding supply of cold air, and proper and convenient apertures +should be left to permit this to enter. The fireplace forces attention +to the necessity; if sufficient fresh air be not provided for it the +smoke enters the room and drives the occupants out. Notwithstanding the +attention that has been paid to the stove and its flue, we are still +sadly behindhand in a proper construction of them. The flues could be so +arranged that a building might be enabled, using a figurative +expression, to breathe, whenever its principal flue, that of the kitchen +fireplace, was in action; a construction to effect this will be +illustrated in the text. In conclusion on this point, it may be added +that nothing is more essential to the health and comfort of a house than +that it should be thoroughly and constantly ventilated, and if any +portion is to be particularized, it should be the sleeping apartments.</p> + +<p>Another question which, to a certain extent, should influence the +arrangement of a house of any pretensions in respect to size, is that of +the method of warming it. The preference, or rather prejudice, in favour +of fireplaces is so great, that a revolution of the nation in political +matters could be more easily brought about<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span> than the abolition of the +fire-grate; but it is well known that at least three-fourths of the coal +consumed is wasted in the attempt to heat the room to an equable and +pleasant temperature. But by such means the result cannot be arrived at. +In front of, and close to the fire, the temperature is excessive, while +the backs of the sitters facing in are suffering from cold. An equalized +temperature in rooms is obtained abroad. In Russia, a plan is adopted of +heating the rooms by means of the walls, the latter being double, and so +arranged that they act as flues to a furnace situated at the lower part +of the building. By this method every part of the room acquires, +simultaneously, an equable temperature. There need be no draught, simply +because the air is not drawn in one direction more than in another. From +every side a gentle current of warm air arises. This method cannot be +adopted here; it would not suit for English houses where coal is used as +fuel: the interstices of the double wall would soon be filled with soot. +The same effect is produced in a far more elegant way, by means of +warm-water pipes passed round the room; by this simple process the +staircase and passages and the sides of a room distant from the +fireplace are made of equal temperature—one, or at most two furnaces, +burning coke and making no smoke, if placed in a cellar outside an +extensive building, can render the whole in<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span>terior, from attic to +ground-floor of equal temperature, and not prevent the action of the +fireplace, or its agreeable presence in our homes. In the British +Museum, where warming apparatus is used, the temperature of the whole is +kept uniformly the same, that is, 65° Fah., even throughout the most +severe weather, independent of the common fireplace. No greater change +is required in any part of our buildings than in the latter; not that it +requires to be removed, but a change to prevent its waste of heat and +its contaminating the outside air with the soot and blacks from its coal +fuel; the lower fireplaces in a building should warm or air the upper +rooms, and no soot or blacks should be allowed to leave the flues. A +construction for this purpose will be shown in the ensuing pages, as +well as one for warming an entire building and a conservatory.</p> + +<p>An opposite effect to that of warming is frequently desirable in our +houses; and to ensure this the position of the site of the house must be +considered. It is evident that a room having a south-western aspect must +of all others be the warmest, whether in winter or summer, simply +because that aspect is most exposed to the influence of the sun’s rays. +On the other hand, rooms having a north-easterly aspect must necessarily +be the coolest, because, except during the earliest part of midsummer +mornings, say from 2 to<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span> 4 <small>A.M.</small>, the sun’s rays cannot reach them. It +is, therefore, in the power of those who have the requisite resources, +to construct a house in such a manner that warm rooms can be provided +for winter use, and cool for alleviating the heat of summer. It is by no +means an uncommon occurrence to find a large dinner-party assembled in +the heat of summer in a room that has been exposed to the sun’s rays +during the afternoon. Frequently in such cases, owing to the number of +persons present, the heat of the viands, lights, &c., the temperature +rises above 80°, a circumstance prejudicial to health, enjoyment, and +the vivacity of social intercourse, that might have been entirely +avoided had the dining-room been placed in a northern aspect. These are +points well worthy of attention in constructing a newly-designed +dwelling. It unfortunately happens, in many cases, that the supposed +exigencies of architectural arrangement must have priority of all other +considerations. Yet the architect who wilfully opposes such +modifications of his plan for the purpose of conducing to general +comfort is shortsighted. His object ought to be to build a house <i>to be +lived in</i>, and not <i>to be looked at</i> alone.</p> + +<p>A few remarks on some of the general principles that should lead to a +choice of site, situation, and other matters, may not be without +advantage. Whatever inducement a plot of ground for building purposes<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span> +may possess, the great question which has first to be solved is that of +<i>health</i>. A clayey soil, bog, marsh, or stagnant water; a low level; an +undrained or badly drained surface; a moist atmosphere, or exposure to +the chill north and east winds, are all objections that a question of +price should never be pitted against. Popular knowledge on sanitary +subjects is now so extensively diffused that healthy localities are +always of ready sale, while those of an opposite character are +frequently unsold in the market, and consequently may be had at a low +price, but are really never cheap. Nothing can counterbalance the value +of a healthy locality, for in the end one of an opposite character +becomes far more costly. The timbers of the building fall rapidly into +decay, and require renewal; the decorative portion, internally and +externally, becomes faded; doors and windows cease to fit and work +accurately; the iron work becomes rusted and requires frequent renewal +of paint or other protecting coat; and the same may be remarked in +regard to the fences of the estate.</p> + +<p>The position of the residence in regard to the sun at different periods +of the year is also an important matter. If it stands with each front +north and south, the north front will have comparatively little sun, +except during summer time; and if the position be north-east and +south-west respectively, the cold bitter<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span> winds of winter will be +severely felt, whilst from the fact that the greater portion of the year +the rainy quarter of the wind is south-west, that front or back of the +house will be continually exposed to its influence. Consequently, +frontages to the south-east and north-west are to be preferred in all +cases, when possible, as such position ensures to both sides the +greatest average of sun, heat, and light, and protection from the +north-east wind of winter or the south-west of the rainy season. +Comparatively little attention has been paid to the influence of light +on health and its effects on the mind, in the construction of modern +dwelling-houses. An excess is easily avoided by blinds and other +contrivances; but if the architectural features of the building be such +as to exclude the light, an opposite remedy is impossible. Abundant +access of light tends to set off all the internal decorations of the +house, and spreads a cheerfulness of appearance that is always highly +prized. It gives brilliancy of outline and detail to coloured +decorations, and, to use a common phrase, is the best possible “set-off” +that the architect or decorator can desire. As already pointed out, the +effect of light and shade, in regard to architecture, is a condition of +success in respect to the picturesque.</p> + +<p>It is always desirable that a house should be placed on an eminence; it +becomes thus a prominent object, and its qualities are the more readily +perceived. A<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> gradual ascent to the house by the walks or drive adds +much to the general effect. The walks are thus constantly drained, and +preserve longer a neat appearance, a matter which is of much importance +in setting off the advantages of situation, site, &c. In respect to +questions of health also, this is of great advantage, as the waste +matter of the household more readily falls away by its own gravity, and +is thus quickly removed; which if left stagnant would be productive of +harm to the inmates.</p> + +<p>Abundant access of fresh air is of great importance to health in a +residence; unnecessary exposure to wind being at the same time to be +avoided. Hence to place a residence in the centre of a close array of +trees is not desirable; not only is the access of air, light, and heat +prevented, but there is always a tendency induced to dampness in the +house. In an open, airy, and well drained situation, the effects of even +long-continued wet are soon dispelled, but when all sides of a house are +surrounded closely by trees, an opposite result is induced, and, in +comparatively dry situations, many evils of a damp one ultimately ensue.</p> + +<p>One of our earliest English writers on building, Thomas Fuller (1633), +speaking of the choice of situation for a new structure, says: “<i>Chiefly +choose a wholesome air</i>, for air is a dish one feeds on every minute, +and therefore it need be good. Wherefore,<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span> great men (who may build +where they please, as poor men where they can) if herein they prefer +their profit above their health, I refer them to their physicians to +make them pay for it accordingly.” And as to light, he continues: +“<i>Light (God’s eldest daughter!) is a principal beauty in a building</i>, +yet it shines not alike from all parts of heaven. An east window +welcomes the infant beams of the sun before they are of strength to do +any harm, and is offensive to none but a sluggard. A south window, in +summer, is a chimney with a fire in it, and needs the screen of a +curtain. In a west window, in summer time, towards night, the sun grows +low and ever familiar, with more light than delight. A north window is +best for butteries and cellars, where the beer will not be sour for the +sun’s smiling on it. Thorough lights are best for rooms of +entertainment, and windows on one side for dormitories.” And he tells +us, “<i>a pleasant prospect is to be respected</i>. A medley view, such as of +water and land at Greenwich, best entertains the eyes, refreshing the +wearied beholder with exchange of objects. Yet,” he adds, “I know a more +profitable prospect—where the owner can only see his own land round +about.”</p> + +<p>Having thus disposed of some of the most important points that should be +kept in mind when choosing the site of a house, and of such other +conditions as affect its picturesque and sanitary character, a small +space may<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> be devoted to the consideration of its internal decorations.</p> + +<p>On this point there is no disputing about tastes, but to this may be +added that the absence of taste is by no means uncommon. Having fixed on +the style of house, the next question for decision, in respect to its +general effect, should be that of its internal decoration. Congruity of +design should exist between the two, for if an opposite course be +adopted, a vulgarity will be introduced that will be highly displeasing +to good taste. On the other hand, a slavish adherence to uniformity of +internal with external character might produce so severe an adherence to +system as to exclude the benefits that arise from judiciously chosen +contrast. What has before been remarked in regard to the exterior, +applies equally to the interior of a house—each should have in its +general effect an agreement in appearance to its objects. In an antique +apartment the light character of modern furniture would be evidently out +of place, and <i>vice versâ</i>.</p> + +<p>It is evidently impossible to direct attention to more than a few +elements of success that may be arrived at in internal decoration. +Independently of this, each person has his own views on the matter, that +would be sure in the end to overrule any exact principles, or at least +greatly modify them. The following observations however, are offered +suggestively.<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span></p> + +<p>The facility with which the most beautiful designs in painting, &c., are +transferred to paper for paper hangings, has brought these into very +extensive use for decorative purposes. Formerly the best patterns were +produced in France alone, but of late years the British manufactures +have rivalled the Continental. The pattern in respect to size, colour, +design, &c., should be so chosen as to be in accordance with the amount +of light, the size, and other conditions of the room. A large pattern in +a small room is equally out of place with the reverse condition. A light +pattern again in a dark room, although advantageous in alleviating +sombreness, is also incongruous. The general effect of a room on a +spectator is thus largely influenced by these points, and consequently +they should be carefully attended to. Frequently paint is preferred for +covering walls of apartments, and where many pictures are introduced +this may be advantageously employed, because the paintings alleviate the +monotonous effect that would otherwise ensue. Painted walls are liable +to injury by peeling off in places, especially where likely to meet with +blows from furniture, &c. In damp weather, from the absorption of heat +they generally become not only wet, but frequently stream with water. If +the apartment is “smoky,” lines of sooty hue soon follow, and the room +acquires a dirty appearance. This is avoided<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> by the use of paper, which +prevents the abstraction of heat and the consequent deposition of water; +Beautiful effects may be produced by graining and other devices which +are too well known to require enumeration. When flock paper on walls +becomes dirty and requires renewing, if painted it looks extremely well, +a diaper ornamental surface being produced by such means.</p> + +<p>The mantel-piece of a room adds to or detracts from its general effect. +In a well lighted apartment, with light furniture, white marble is +decidedly preferable. Whereas serpentine, black, or coloured marbles, +grey and even red granite, may all agree in rooms but moderately +lighted.</p> + +<p>The cornice and ceiling decorations equally require adaptation to the +character of the apartment. For these purposes beautiful designs have +been suggested and employed. The material of which they are usually made +is so plastic as to be capable of receiving and retaining the most +intricate forms conducive to elegance and beauty. In some rooms such add +greatly to the general effect, while in others, especially with painted +walls, plain mouldings seem most appropriate.</p> + +<p>A profusion of gold or gilding displays want of taste. A glaring example +of this might be pointed out—a white marble mantel-piece supported by +gilt angels five feet high which “graces” the <span class="pagenum"><a name="page_45" id="page_45">{45}</a></span>drawing-room of a mansion +in one part of this country. The outer room is a gorgeous display of +gold, silver, and vulgarity. It serves, however, index-like, to point +out at once the riches and “taste” of the owner. On the other hand, +paintings and engravings in gilt frames have an excellent effect in +setting off a room, provided that their size is in accordance with that +of the apartment.</p> + +<p>Stained deals, varnished, afford a good material for panelling, and for +covering the walls of rooms. We have in our eye a dining-room thus +fitted which has an effect approaching to some of the oaken fittings of +olden times. The material is cheap and durable, whilst the surface can +always be renewed in its freshness by a new coat of varnish. It has been +largely adopted in churches for pews and other fittings, with the best +possible results.</p> + +<p>The minor objects of decoration, such as handles, finger-plates, +bell-pulls, &c. &c., can only be here named. In many instances designs +are given in the following pages, suggesting the most suitable either +for indoor or outdoor use, according to the character of the room or +entrance for which they are intended.</p> + +<p>So much for the picturesque exterior and tasteful interior of a house; a +few words however may be said in respect to its immediate surroundings, +such as the lawns, gardens, pleasure grounds, &c.</p> + +<p>The most picturesque villa would be a nonentity in<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span> a wrong situation. +It would be opposed to what is usually called the “fitness of things;” a +phrase that expresses much meaning without an exact definition. Hence +“landscape gardening” has become an almost necessary adjunct to the art +of architecture. An unframed picture has possibly every merit that the +painter’s art can bestow on it, yet it lacks that finish which the +exterior confers on it. So the well laid-out garden, the vista at its +extremity, the carefully arranged parterre, the judicious management of +floral culture, especially with regard to colour; neatly arranged walks, +and many other exterior matters of detail, add to, enhance, and +occasionally become indispensable adjuncts to the picturesque.</p> + +<p>We give two examples of picturesque accessories to garden architecture; +the first rather belongs to the secluded wood, to some sequestered spot +of sylvan shade, whence rises a spring which tradition may designate as +that of some beautiful nymph; where the limpid crystal flows in gentle, +yet ceaseless streams, conveying “health to the sick and solace to the +swain.” The last, a vignette at the end of this chapter, is the +representation of a ruined fountain, designed in 1820 by one of the best +teachers of drawing England ever possessed, the late C. J. M. Whichelo. +The architect may suggest the addition of a garden, but it is no part of +his business to<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span> supply the details; these rather belong to the +horticulturist. Yet these should not be forgotten; a complete whole is +always made up of minute parts, and by these littles an entirety of +effect is produced, just as their individual importance is not lost +sight of.</p> + +<div class="figcenter" style="width: 292px;"> +<a href="images/ill_pg_047_lg.jpg"> +<img src="images/ill_pg_047_sml.jpg" width="292" height="275" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The Nymph’s Fountain.</p></div> +</div> + +<p>In conclusion, it has been attempted in this introductory essay to +enable the unprofessional reader to become acquainted with the general +principles, and some practical details that should guide him in the +selection of a site, and the erection of an elegant, con<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span>venient, and +pleasant house, both externally and internally. So far as architecture +and decorative art can aid such objects, the special details involved +have to be perused in the text of this work. Fundamental ideas of such +subjects have alone been here treated. A hope may be expressed that any +suggestion or advice hitherto offered may not, in all cases, be without +value. It is not given to all men to know all things. By the experience +of others we gain fresh views of old ideas, invest them with new +clothing, and in fact make out of that which is past, the material for +something new. We rest on the apparently obsolete for suggestive ideas +of improvement. Although the fashion of this world passeth away, yet as +a dissolving view it reproduces itself in other forms, which, by the +contrast of apparent novelty, and real or supposed merits, gain, either +temporarily or permanently, the applause of mankind.</p> + +<div class="figcenter" style="width: 209px;"> +<a href="images/ill_pg_048_lg.jpg"> +<img src="images/ill_pg_048_sml.jpg" width="209" height="80" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Old English Garden Plots.</p> +</div> +</div> + +<p><span class="pagenum"><a name="page_49" id="page_49">{49}</a></span></p> + +<div class="figcenter" style="width: 352px;"> +<a href="images/ill_pg_049_lg.jpg"> +<img src="images/ill_pg_049_sml.jpg" width="352" height="239" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Garden Fountain in Ruins.</p></div> +</div> + +<p><span class="pagenum"><a name="page_50" id="page_50">{50}</a></span></p> + +<h2><a name="DESIGN_No_1" id="DESIGN_No_1"></a><i>DESIGN No. 1.</i><br /><br /> +A GARDENER’S COTTAGE.</h2> + +<p><span class="pagenum"><a name="page_51" id="page_51">{51}</a></span></p> + +<div class="figcenter" style="width: 275px;"> +<a href="images/ill_pg_050-a_lg.jpg"> +<img src="images/ill_pg_050-a_sml.jpg" width="275" height="201" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation.</p></div> +</div> + +<div class="figcenter" style="width: 222px;"> +<a href="images/ill_pg_050-b_lg.jpg"> +<img src="images/ill_pg_050-b_sml.jpg" width="222" height="203" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Back elevation.</p></div> +</div> + +<p class="nind"><span class="letra">S</span>OME examples of designs for small cottages will be first given in this +volume. There are few domestic<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span></p> + +<div class="figcenter" style="width: 197px;"> +<a href="images/ill_pg_051-a_lg.jpg"> +<img src="images/ill_pg_051-a_sml.jpg" width="197" height="98" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground-floor plan.</p></div> +</div> + +<div class="figcenter" style="width: 142px;"> +<a href="images/ill_pg_051-b_lg.jpg"> +<img src="images/ill_pg_051-b_sml.jpg" width="142" height="84" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of upper floor.</p></div> +</div> + +<div class="figcenter" style="width: 292px;"> +<a href="images/ill_pg_051-c_lg.jpg"> +<img src="images/ill_pg_051-c_sml.jpg" width="292" height="209" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">structures that have received within the last fifty years a greater +share of attention than the English Cottage, especially that designed +for the occupation of the labourer. Each detail has received much care; +thus, whether its walls should be solid or formed in two thicknesses, as +most conducive to warmth and comfort; whether they should be of thin +brick or of solid thick concrete; the best kind of roof covering, and +indeed all such questions, have been fully discussed.</p> + +<div class="figcenter" style="width: 218px;"> +<a href="images/ill_pg_052_lg.jpg"> +<img src="images/ill_pg_052_sml.jpg" width="218" height="205" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through length of building.</p></div> +</div> + +<p>Besides this, the calculation of cost has been of importance; they are +required to return a rent that will pay 5 per cent. on the outlay, and +to gain their picturesque appearance has generally been sacrificed.<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span></p> + +<p>The cottage examples in this volume have been erected on estates where +the only aim was to render them substantial and lasting structures, +expense being a matter of minor importance. Their picturesque appearance +being in every case insisted on.</p> + +<p>Before entering into any description of the designs, it must be pointed +out that the plans, with the exception only of a few at the end of the +volume, are all drawn to the same scale, that of 20 feet to the inch, +and that the elevations and sections are to a scale of 15 feet to the +inch.</p> + +<div class="figcenter" style="width: 157px;"> +<a href="images/ill_pg_053_lg.jpg"> +<img src="images/ill_pg_053_sml.jpg" width="157" height="212" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cross section.</p></div> +</div> + +<p>The details and the vignettes, one of which is mostly given between each +example, are of various scales suited to each separate subject.<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span></p> + +<div class="figcenter" style="width: 185px;"> +<a href="images/ill_pg_054-a_lg.jpg"> +<img src="images/ill_pg_054-a_sml.jpg" width="185" height="113" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of wood casement.</p></div> +</div> + +<div class="figcenter" style="width: 103px;"> +<a href="images/ill_pg_054-b_lg.jpg"> +<img src="images/ill_pg_054-b_sml.jpg" width="103" height="89" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p>The cottage design shown in the plate, and which forms the first example +in this series, was erected on a nobleman’s estate in the country, for +the use of a favourite gardener, a married man without children, and the +accommodation afforded was all that he required. It consisted of a lower +room fifteen feet by twelve, fitted with a small cottage oven; a +scullery ten feet by ten feet, and a larder; the upper floor contained +one room of the same size as the lower, and one fourteen feet by ten +feet. The building was constructed in a very superior way. It was +erected in red brick with compo dressings round the door and windows. +The illustrations represent the front and<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span> back elevations; and sections +through the length and breadth of the cottage, with details of the wood +casements, and a plan and section of the cottage oven.</p> + +<div class="figright" style="width: 58px;"> +<a href="images/ill_pg_055-a_lg.jpg"> +<img src="images/ill_pg_055-a_sml.jpg" width="58" height="94" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cottage oven.</p></div> +</div> + +<p>A view of a cottage slightly different in design but having rooms of the +same size with similar accommodation, is given. This was intended for +the same estate.</p> + +<p class="spc1"> </p> + +<p>The vignette is an elevation of two lead pipes designed for an +Elizabethan building in the country.</p> + +<div class="figright" style="width: 293px;"> +<a href="images/ill_pg_055-b_lg.jpg"> +<img src="images/ill_pg_055-b_sml.jpg" width="293" height="226" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_56" id="page_56">{56}</a></span></p> + +<h2><a name="DESIGN_No_2" id="DESIGN_No_2"></a><i>DESIGN No. 2.</i><br /><br /> +A SMALL COTTAGE OR LODGE.</h2> + +<div class="figcenter" style="width: 286px;"> +<a href="images/ill_pg_056-a_lg.jpg"> +<img src="images/ill_pg_056-a_sml.jpg" width="286" height="221" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<div class="figcenter" style="width: 306px;"> +<a href="images/ill_pg_056-b_lg.jpg"> +<img src="images/ill_pg_056-b_sml.jpg" width="306" height="122" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground-floor plan. + +<span class="spc4"> </span> + +.</p></div> +</div> + +<p><span class="pagenum"><a name="page_57" id="page_57">{57}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS small building forms the outer lodge to a country park. It is +finished in all its parts so as</p> + +<div class="figcenter" style="width: 214px;"> +<a href="images/ill_pg_057-a_lg.jpg"> +<img src="images/ill_pg_057-a_sml.jpg" width="214" height="174" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of front.</p></div> +</div> + +<p class="nind">to correspond in style and details with the old family mansion, and +being a prominent object, standing in a cheerful position, each side was +made pleasing. It is<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span></p> + +<div class="figcenter" style="width: 164px;"> +<a href="images/ill_pg_057-b_lg.jpg"> +<img src="images/ill_pg_057-b_sml.jpg" width="164" height="169" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Side elevation.</p></div> +</div> + +<p class="nind">so placed that the sun during its daily course shines on all the +exterior walls. Cottages should have no</p> + +<div class="figcenter" style="width: 212px;"> +<a href="images/ill_pg_058-a_lg.jpg"> +<img src="images/ill_pg_058-a_sml.jpg" width="212" height="172" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through length.</p></div> +</div> + +<p class="nind">dark corners, the sun should find entrance at all the windows whenever +it is bright; the interior is then warm and cheerful. If the plan of a +building is either</p> + +<div class="figcenter" style="width: 164px;"> +<a href="images/ill_pg_058-b_lg.jpg"> +<img src="images/ill_pg_058-b_sml.jpg" width="164" height="156" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cross section.</p></div> +</div> + +<p><span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p> + +<p class="nind">a square or a parallelogram, and it is placed on the ground so that one +of its diagonal lines runs due north and south, the advantage of +sunlight at all the openings is obtained, and this has been pointed out +by several writers on the subject. The ground plan shows the general +arrangement of the interior. The parlour and kitchen are both of the +same size (14 feet by 11 feet); it has a small scullery, an open outside +porch, and a place for coals; the larder with its window</p> + +<div class="figcenter" style="width: 193px;"> +<a href="images/ill_pg_059_lg.jpg"> +<img src="images/ill_pg_059_sml.jpg" width="193" height="165" alt="[Image unavailable.]" /></a> +<div class="caption"> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td align="left"><p>Section through front and back porches.</p></td> + <td align="left"><p>Dry vault.</p></td></tr> +</table> + +</div> +</div> + +<p class="nind">is under the staircase. The latter is a cottage staircase, occupying +only half the usual space. The plan of the upper floor shows two rooms +of the same size as those on the lower floor, with the compact reduced +form of the staircase. The plate gives the front and side elevations of +the building; sections through its length and breadth, and through the +two<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> porches back and front, and the dry vault of closet, are given.</p> + +<p>The water from the scullery sink is discharged into the dry vault. The +staircase, of which a section is given, occupies exactly half the space +of a staircase on the ordinary plan. The width is three feet, each step +rising in two heights of 6 inches. It is necessary that such a +contrivance should have plenty of light. These staircases were first +used in France. Loudon, in his “Encyclopædia of Cottage, Farm, and Villa +Architecture,” gives a representation of one, and remarks that the +celebrated American, Jefferson, when</p> + +<div class="figcenter" style="width: 317px;"> +<a href="images/ill_pg_060_lg.jpg"> +<img src="images/ill_pg_060_sml.jpg" width="317" height="276" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Section of staircase. +</p></td><td> </td> +<td> +<p>A staircase. +</p></td></tr> +</table> +</div></div> + +<p class="nind">making a tour in that country, was so struck with the contrivance, that +he noted it in his journal, which was<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span> published with his +correspondence. A perspective view of one of these staircases is +annexed.</p> + +<p>A staircase of this description, if made four feet in width, might take +up only one-third the usual space: it would be very applicable to +offices and warehouses where room cannot be spared, and where staircases +little better than ladders are used, but in such cases a baluster and +hand-rail should be placed between each second step, to prevent persons +falling.</p> + +<p>The “Builder” of November, 1843, gave two views of an ingenious double +spiral staircase then exhibiting at a manufactory in Berners Street, +Commercial Road. It was described as extremely simple, the object being +to provide for ascent and descent without chance of meeting or +collision. It consisted of a deal or other board of suitable thickness 6 +feet long and 12 inches wide, forming a double <i>tread</i>, and the <i>riser</i> +crossed, as it were from corner to corner, except as arranged to form a +<i>newel</i> in the centre, of about five inches in diameter. The staircase +had twenty-two risers, and took one complete turn round.</p> + +<div class="figcenter" style="width: 183px;"> +<a href="images/ill_pg_061_lg.jpg"> +<img src="images/ill_pg_061_sml.jpg" width="183" height="66" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plaster ornament for a ceiling.</p></div> +</div> + +<p><span class="pagenum"><a name="page_62" id="page_62">{62}</a></span></p> + +<h2><a name="DESIGN_No_3" id="DESIGN_No_3"></a><i>DESIGN No. 3.</i><br /><br /> +A PICTURESQUE COTTAGE.</h2> + +<div class="figcenter" style="width: 247px;"> +<a href="images/ill_pg_062-a_lg.jpg"> +<img src="images/ill_pg_062-a_sml.jpg" width="247" height="238" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<div class="figcenter" style="width: 311px;"> +<a href="images/ill_pg_062-b_lg.jpg"> +<img src="images/ill_pg_062-b_sml.jpg" width="311" height="111" alt="[Image unavailable.]" /></a> +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Ground-floor plan. +</p></td> +<td> +<p> +Upper floor. +</p></td></tr> +</table> +</div></div> + +<p><span class="pagenum"><a name="page_63" id="page_63">{63}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design for a peasant’s cottage possesses no architectural feature +beyond what could be given</p> + +<div class="figcenter" style="width: 199px;"> +<a href="images/ill_pg_063-a_lg.jpg"> +<img src="images/ill_pg_063-a_sml.jpg" width="199" height="164" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of front.</p></div> +</div> + +<p class="nind">to it by any common country village carpenter. It was made from the +recollection of one at Blaise Hamlet,</p> + +<div class="figcenter" style="width: 184px;"> +<a href="images/ill_pg_063-b_lg.jpg"> +<img src="images/ill_pg_063-b_sml.jpg" width="184" height="158" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Side front.</p></div> +</div> + +<p class="nind">near Blaise Castle, in Gloucestershire, the seat of John I. Harford, +Esq., to whom the hamlet belonged. This<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span> was celebrated for having about +a dozen of these small picturesque structures, apparently put up by the +owner of the estate. Nearly the whole of them were provided with rustic +seats under a projecting roof, as well as with a pigeon-house at the +gable. This was called Vine Cottage; there were besides Sweet Briar +Cottage, Rose Cottage, Diamond Cottage, Dial Cottage, Jessamine Cottage, +Circular Cottage, and Oak Cottage. Views of all of them were first +published at Bristol by Mr. Western.</p> + +<div class="figcenter" style="width: 166px;"> +<a href="images/ill_pg_064_lg.jpg"> +<img src="images/ill_pg_064_sml.jpg" width="166" height="167" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p>There are numerous similar hamlets and villages in England, some having +the cottages, schoolhouses, literary meeting room, and even the village +pump, all in picturesque form, and generally architectural in character. +The plan given here is probably not like that of the cottage at the +hamlet. It illustrates one room, size 13 ft. by 12 ft., a scullery 12 +ft. by 9 ft.,<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span> and larder under the stairs. The latter are shown with +the double-rise step. The upper plan shows one room of the same size as +that below, and a closet. The scullery on the ground floor is large +enough to form a sleeping room for boys, or to make a small living room. +The height of the lower room is 9 feet 6 inches. The section shows the +general form and fittings of the rooms. The plate below the plans gives +an elevation of the front, showing the rustic seat and the side of the +entrance porch, the gable of the cottage formed into a pigeon-house, +together with the side front of the cottage and its entrance porch. The +small window at the side is intended to light the first steps of the +stairs; a small shed for wood or coals is placed at the back. Such a +cottage could be built and finished complete at a cost of about one +hundred and ten pounds.</p> + +<div class="figcenter" style="width: 236px;"> +<a href="images/ill_pg_065_lg.jpg"> +<img src="images/ill_pg_065_sml.jpg" width="236" height="139" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plaster frieze for drawing-room.</p></div> +</div> + +<p><span class="pagenum"><a name="page_66" id="page_66">{66}</a></span></p> + +<h2><a name="DESIGN_No_4" id="DESIGN_No_4"></a><i>DESIGN No. 4.</i><br /><br /> +A DOUBLE COTTAGE.</h2> + +<div class="figcenter" style="width: 217px;"> +<a href="images/ill_pg_066-a_lg.jpg"> +<img src="images/ill_pg_066-a_sml.jpg" width="217" height="180" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<div class="figcenter" style="width: 308px;"> +<a href="images/ill_pg_066-b_lg.jpg"> +<img src="images/ill_pg_066-b_sml.jpg" width="308" height="137" alt="[Image unavailable.]" /></a> +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Ground plan. +</p></td><td> </td> +<td> +<p> +. +</p></td></tr> +</table> +</div></div> + +<p><span class="pagenum"><a name="page_67" id="page_67">{67}</a></span></p> + +<p class="nind"><span class="letra">T</span>HESE cottages were intended to be attached to some ornamental grounds +which were very carefully attended to; and as the building formed a</p> + +<div class="figcenter" style="width: 175px;"> +<a href="images/ill_pg_067-a_lg.jpg"> +<img src="images/ill_pg_067-a_sml.jpg" width="175" height="177" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of front.</p></div> +</div> + +<p class="nind">prominent object, it was rendered architectural and pleasing in +character. In plan the cottages are large<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span></p> + +<div class="figcenter" style="width: 193px;"> +<a href="images/ill_pg_067-b_lg.jpg"> +<img src="images/ill_pg_067-b_sml.jpg" width="193" height="180" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p class="nind">and roomy, and they are of the cheapest kind. If constructed in plain +brickwork, without the ornamental gable on the porch, the pair could not +have cost more than 250<i>l.</i>, and at that sum they have been estimated +for by a London builder. Each cottage has one living-room on the ground +floor, <i>f f</i>, of the size of 14 feet by 10 feet, with a scullery, <i>g g</i>, +attached, size 10 feet by 6 feet 6 inches, and a small larder and +staircase.</p> + +<div class="figcenter" style="width: 248px;"> +<a href="images/ill_pg_068_lg.jpg"> +<img src="images/ill_pg_068_sml.jpg" width="248" height="272" alt="[Image unavailable.]" /></a> +</div> + +<p>The latter, with ten risers, leads to the upper floor, in which are one +large and one small room. The plate gives the ground plan, and the plan +of the<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span> upper floor. The closets are in the yard attached to the +cottages, but not shown in the plan.</p> + +<p>The plate gives an elevation of one of the fronts, and a section, taken +through the living-room and scullery: a portion of the ornamental gable +is illustrated in the previous page.</p> + +<p class="spc1"> </p> + +<p>The vignette represents an ornamental escutcheon and handle, in brass, +for an inner entrance-hall door. The drawing is one-third of the full +size.</p> + +<div class="figcenter" style="width: 180px;"> +<a href="images/ill_pg_069_lg.jpg"> +<img src="images/ill_pg_069_sml.jpg" width="180" height="308" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_70" id="page_70">{70}</a></span></p> + +<h2><a name="DESIGN_No_5" id="DESIGN_No_5"></a><i>DESIGN No. 5.</i><br /><br /> +A DOUBLE COTTAGE AND VILLAGE SUNDAY SCHOOL.</h2> + +<div class="figcenter" style="width: 357px;"> +<a href="images/ill_pg_070-a_lg.jpg"> +<img src="images/ill_pg_070-a_sml.jpg" width="357" height="303" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<div class="figcenter" style="width: 342px;"> +<a href="images/ill_pg_070-b_lg.jpg"> +<img src="images/ill_pg_070-b_sml.jpg" width="342" height="129" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground-floor plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_71" id="page_71">{71}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS building was intended to be placed in a village of one of the +midland counties, nearly all the buildings in the village being of +picturesque character. It was the property of a gentleman who was +erecting a large Elizabethan mansion in the neighbourhood; the design is +for a double cottage and Sunday school; the latter being under the +direction of the clergyman of the parish.</p> + +<div class="figcenter" style="width: 304px;"> +<a href="images/ill_pg_071_lg.jpg"> +<img src="images/ill_pg_071_sml.jpg" width="304" height="123" alt="[Image unavailable.]" /></a> +<div class="caption"><p>One-pair plan.</p></div> +</div> + +<p>The porch was decorated to give it importance, and form a shelter for +the clergyman in passing from one school to the other. One part was +intended for boys and the other for girls. The chimneys of the building +were grouped together in the centre so as to form a prominent object; +they were copied from a very fine ancient example, then existing at a +farm-house near Ashford, in Kent.</p> + +<p>The illustration gives a view of the front, and the plans. Each of the +two principal rooms was 16 feet 6 inches by 13 feet 6 inches, with a +scullery on the<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span> side 10 feet square, and having a good oven; the larder +was under the stairs. The rooms above were</p> + +<div class="figcenter" style="width: 395px;"> +<a href="images/ill_pg_072_lg.jpg"> +<img src="images/ill_pg_072_sml.jpg" width="395" height="191" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through length of building.</p></div> +</div> + +<p class="nind">of the same size as those below. One of the cottages had the centre room +below as well as that above arranged so that one had four rooms and the +other<span class="pagenum"><a name="page_73" id="page_73">{73}</a></span> two; but this could be changed at any time, to provide each +cottage with three living rooms each. A section through the length of +the building and the chimney stack is given in the previous page, and an +elevation of the front is given above.</p> + +<div class="figcenter" style="width: 400px;"> +<a href="images/ill_pg_073_lg.jpg"> +<img src="images/ill_pg_073_sml.jpg" width="400" height="194" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of entrance front.</p></div> +</div> + +<p><span class="pagenum"><a name="page_74" id="page_74">{74}</a></span></p> + +<p>The building was to be constructed with sound stock bricks, and red +brick rusticated facing round the upper windows; the finishing of the +gables with their small pediments was of cut red bricks. Small compo +finials crowned the whole.</p> + +<div class="figcenter" style="width: 309px;"> +<a href="images/ill_pg_074-a_lg.jpg"> +<img src="images/ill_pg_074-a_sml.jpg" width="309" height="109" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Finial.</p></div> +</div> + +<div class="figleft" style="width: 194px;"> +<a href="images/ill_pg_074-b_lg.jpg"> +<img src="images/ill_pg_074-b_sml.jpg" width="194" height="335" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of chimney stack.</p></div> +</div> + +<p>The porch had trunks of trees for columns, the entablature and pediment +were formed of cut bricks and compo facing; the pilasters on each side +of the lower windows were of cut squared flint, peculiar to the county, +the whole resting on a plinth of rough country stone. A wooden +balustrade of simple pattern surmounted the porch, extend<span class="pagenum"><a name="page_75" id="page_75">{75}</a></span>ing on each +side of the columns. These latter resting on a stone slab. The chimney +stack is shown, and its plan, on the previous page.</p> + +<div class="figright" style="width: 189px;"> +<a href="images/ill_pg_075-a_lg.jpg"> +<img src="images/ill_pg_075-a_sml.jpg" width="189" height="75" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<div class="figcenter" style="width: 226px;"> +<a href="images/ill_pg_075-b_lg.jpg"> +<img src="images/ill_pg_075-b_sml.jpg" width="226" height="265" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of a chimney stack at a farm-house, Ashford, +Kent.</p></div> +</div> + +<p>The old stack from Ashford, with the plan at its base, and capping, is +also illustrated.</p> + +<p>These representations of the two chimney stacks, ancient and modern, are +drawn to the same scale, so that the difference between the present and +old mode<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span> of treatment may be seen. The large flues of the old example +permitted the then mode of sweeping, by discharging a culverin up the +flue. The occupants of the dwelling could not then have cared much for +return smoke in their rooms; which in these large flues, with coal as +fuel, must have been considerable, and could only be obviated or +prevented by the numerous cold draughts of air permitted to pass through +the interior of the building.</p> + +<div class="figcenter" style="width: 216px;"> +<a href="images/ill_pg_076-a_lg.jpg"> +<img src="images/ill_pg_076-a_sml.jpg" width="216" height="131" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of capping.</p></div> +</div> + +<div class="figcenter" style="width: 203px;"> +<a href="images/ill_pg_076-b_lg.jpg"> +<img src="images/ill_pg_076-b_sml.jpg" width="203" height="112" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of base.</p></div> +</div> + +<p><span class="pagenum"><a name="page_77" id="page_77">{77}</a></span></p> + +<p>The plan of this building was adapted from a very favourite one of the +late Sir John Soane. He erected it at Wimpole, in Cambridgeshire, for +the Earl of Hardwicke, in 1794. It had a very plain exterior, and the +roof was covered with thatch, a very common mode with architects at that +time, but now objected to from the serious evil of its harbouring +numerous insects—indeed at times they render the building almost +untenantable. The walls of the cottages at Wimpole were built in Pisé, +or with clay and fine gravel, properly prepared and beaten down in a +mould. Each wall was three feet in thickness, the fireplaces and +chimneys were of brick. Every opening was covered with strong wood +lintels, the whole width of the walls, and two feet longer than their +respective openings.</p> + +<p>The walls stood on brick foundations two feet above the ground. The cost +of the construction was about 450<i>l.</i> Design No. 5 could not now be +constructed for less than 630<i>l.</i></p> + +<p>It may be here remarked that nothing certain can be advanced about the +cost of a building until the situation and local circumstances are fully +known and considered. In the absence of these no estimates can be given +with that accuracy which every gentleman wishes for, and ought to be +possessed of, before he begins building.<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span></p> + +<h2><a name="DESIGN_No_6" id="DESIGN_No_6"></a><i>DESIGN No. 6.</i><br /><br /> +A HUNTSMAN’S LODGE OR COTTAGE.</h2> + +<div class="figcenter" style="width: 238px;"> +<a href="images/ill_pg_078-a_lg.jpg"> +<img src="images/ill_pg_078-a_sml.jpg" width="238" height="276" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<div class="figcenter" style="width: 288px;"> +<a href="images/ill_pg_078-b_lg.jpg"> +<img src="images/ill_pg_078-b_sml.jpg" width="288" height="90" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Ground plan. +</p></td><td> </td> +<td> +<p> +. +</p></td></tr> +</table> +</div></div> + +<p><span class="pagenum"><a name="page_79" id="page_79">{79}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS edifice was erected in the neighbourhood of some thick plantations +in a sporting district. It was constructed of brick, with a wooden +porch; the facing bricks of the walls being of a light-yellow colour, +with red bricks round the windows; and the whole of the cornices and the +four chimneys were of cut red brick. The building seen from among the +trees looks</p> + +<div class="figcenter" style="width: 311px;"> +<a href="images/ill_pg_079_lg.jpg"> +<img src="images/ill_pg_079_sml.jpg" width="311" height="205" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Front elevation. +</p></td><td> </td> +<td> +<p> +Section. +</p></td></tr> +</table> +</div></div> + +<p class="nind">very pleasing. The ground plan shows a front room 13 feet square, with a +small scullery behind; the larder is under the stairs, which have the +double riser, and a window is placed both at the bottom as well as at +the upper part of the staircase, to give plenty of light. The upper plan +shows three bed-rooms, each about 10 feet by 6, and a small bed<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span> closet +for children, the closet having a ventilator in the chimney at the +angle. These chimneys, instead of being grouped together in the centre +of the structure, occupy the four corners—an expensive form of +erection, but one that gives more room in the interior. The elevation of +the front is given in the plate, and the section by its side; the small +figure below shows the different courses of cut bricks forming the +pediment and cornice.</p> + +<div class="figleft" style="width: 110px;"> +<a href="images/ill_pg_080-a_lg.jpg"> +<img src="images/ill_pg_080-a_sml.jpg" width="110" height="80" alt="[Image unavailable.]" /></a> +</div> + +<p>These were carefully executed, and had a good effect. The first figure +likewise illustrates the oak finial on the top of the roof. A +chimney-piece in one of the upper rooms had a quaint carving in the +centre of a fox’s head, a subject appropriate to the pursuits of the +occupant of the cottage.</p> + +<div class="figcenter" style="width: 206px;"> +<a href="images/ill_pg_080-b_lg.jpg"> +<img src="images/ill_pg_080-b_sml.jpg" width="206" height="158" alt="[Image unavailable.]" /></a> +</div> + +<p>The chimney-piece, and the fox’s head on a larger<span class="pagenum"><a name="page_81" id="page_81">{81}</a></span> scale, are here +represented. The gateway seen at the side of the building in the view +was formed by the workmen out of various old fragments; it leads to a +yard in which are various sheds and out-buildings.</p> + +<div class="figcenter" style="width: 230px;"> +<a href="images/ill_pg_081-a_lg.jpg"> +<img src="images/ill_pg_081-a_sml.jpg" width="230" height="87" alt="[Image unavailable.]" /></a> +</div> + +<p class="spc1"> </p> + +<p>This vignette affords a specimen of ornamental iron railing intended for +exterior work, and suitable for any situation in which such may be +required, in consequence of the neatness of its pattern.</p> + +<div class="figcenter" style="width: 322px;"> +<a href="images/ill_pg_081-b_lg.jpg"> +<img src="images/ill_pg_081-b_sml.jpg" width="322" height="138" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_82" id="page_82">{82}</a></span></p> + +<div class="figcenter"> +<a href="images/ill_pg_082_lg.jpg"> +<img src="images/ill_pg_082_sml.jpg" width="305" height="181" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Rose Hill Villa.</p></div> +</div> + +<h2>THE CONCRETE CONSTRUCTION FOR BUILDING COTTAGES.</h2> + +<p class="nind"><span class="letra">C</span>ONSIDERABLE pains have been taken for the last fifty years to discover +the best and cheapest method of building cottages; bricks, stones, wood, +mud, plaster, and lately straw and bitumen, have all been selected. +Sound bricks and good building stones, well incorporated with mortar of +a good and binding quality, will last for centuries; while those of mud, +clay, plaster or concrete are continually becoming out of repair, and +therefore ought never to be introduced where sound construction is +desired, and better materials can be procured. In our moist climate, +unless great pains are taken in compounding such materials as clay or +concrete, in constructing walls, and in pro<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span>tecting these against the +effects of the weather, they will soon decay. Mud walls, however, made +perfectly in the common manner, of clay well tempered and mixed with +sharp sand, will last very many years.</p> + +<p>The preceding view represents Rose Hill Villa, near Stockbridge, +Hampshire. It is probably the largest and most important specimen of +such a construction in England, and comprises dining and drawing-rooms, +each 20 feet by 18 feet, morning-room, housekeeper’s-room, kitchen, back +kitchen, pantry, excellent cellars and all requisite offices; five very +superior bedrooms, two dressing rooms, a water-closet on the landing and +ground floor, and five servants’ bedrooms. It has a double coach-house, +harness-room, and stabling for four or six horses, and in the outhouses +a four-roomed cottage for the coachman.</p> + +<p>This villa was formerly in the occupation of Fothergill Cooke, Esq.,<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> +the inventor of the Electric Telegraph, and is now the residence of Sir +Augustus Webster, Bart.</p> + +<p>The building is constructed of chalk concrete, and has stood the test of +forty years’ exposure without any signs of decay. Mr. James Flitcroft +sent in 1843 a view of the villa to the “Builder,” and thus<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span> described +the construction of such houses in the locality:—The walls are carried +above the ground two and sometimes three feet to prevent the damp from +rising to the mud, which if wetted would scale off by the action of +frost. The kind of earth used is fine chalk, dug from the surface; if +timely notice of any building will permit, it is best dug in winter, +that the frost may act upon it. Buildings formed of this material can be +erected only in dry warm weather. The workmen in preparing this chalk +for use put about a cartload of it together, throw water over it, and +tread it with their feet, turn it over, again tread and turn it, until +it begins to bind something like loamy clay; then let it soak a little +while, when it is ready for use. The waller is able to put on a layer of +about fifteen inches; he begins at one corner and goes round the +building, putting one layer on another, taking care that the lower one +is sufficiently dry to bear the upper. In buildings of two stories high, +the walls are generally eighteen inches thick. When the walls are got up +five or six feet, and pretty dry, the quoins are plumbed, and the walls +dressed down a little, in order that the waller may see what he is +about. A small short spade is the best tool for this purpose, with short +handle and rather bent. The work is then proceeded with as before, until +it is raised up to the square of the building, when the<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span></p> + +<div class="figcenter" style="width: 521px;"> +<a href="images/ill_pg_085_lg.jpg"> +<img src="images/ill_pg_085_sml.jpg" width="521" height="274" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation and section of a wall (see p. 86).</p></div> +</div> + +<p><span class="pagenum"><a name="page_86" id="page_86">{86}</a></span></p> + +<p class="nind">walls get their general dressing, ready to receive their coating.</p> + +<p>Mr. Flitcroft describes Rose Hill Villa as coated with stone, +lime-coloured and drawn. The columns of the villa are of brick. He +states that there are several other buildings of this kind at +Stockbridge, Winchester, and other places in the neighbourhood. He +describes a better method of constructing such walls by the use of a +moveable trough or box about 12 feet in length by 18 inches in depth. +This trough rests on bearers put across the wall, with a mortice at each +end wide enough apart to receive the sides, and the thickness of the +wall; in these are inserted uprights to prevent the sides giving way, +with others to go across the top. This mode of construction is however +very ancient, and when done on a large scale the primitive method is +still pursued.</p> + +<p>This method is shown in the preceding engraving, which gives an +elevation and section of a wall in process of construction, with the +posts, <i>b b</i>, the moveable planking, <i>c c</i>, and cross pieces, <i>d</i>. It +will be seen that three courses of bricks are put about every five feet +in height. The figures here given are copied from a very old French work +on Architecture and Building; they also show the manner in which roof +construction was attempted with slabs of the same material, as shown in +figs. 1 and 2: the building is<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span> supposed to be square, as shown by the +dotted lines <i>a</i>, <i>b</i>, <i>c</i>, <i>d</i>.</p> + +<div class="figcenter" style="width: 314px;"> +<a href="images/ill_pg_087-a_lg.jpg"> +<img src="images/ill_pg_087-a_sml.jpg" width="314" height="179" alt="[Image unavailable.]" /></a> +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Fig. 1. +</p></td><td> </td> +<td> +<p> +Fig. 2. +</p></td></tr> +</table> +</div></div> + +<div class="figcenter" style="width: 321px;"> +<a href="images/ill_pg_087-b_lg.jpg"> +<img src="images/ill_pg_087-b_sml.jpg" width="321" height="207" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Elevation +</p></td><td> </td> +<td> +<p>Section. +</p></td></tr> +</table> +</div></div> + +<p>The plan, elevation, and section given below represent a small tomb +wholly formed of concrete slabs, the door alone being excepted. This +little<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span> building forms really a solid concrete monolithic edifice.</p> + +<div class="figcenter" style="width: 281px;"> +<a href="images/ill_pg_088_lg.jpg"> +<img src="images/ill_pg_088_sml.jpg" width="281" height="150" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +The entrance door +</p></td><td> </td> +<td> +<p>Plan. +</p></td></tr> +</table> +</div></div> + +<p>A very common method of forming partitions, and even roofs in some of +the agricultural districts in Hampshire, is first to put them up with +strong wattle hurdles. They are double the size of the common hurdle, +and made of a thicker material. When in their place, they are plastered +over with concrete, and made about four inches in thickness; they very +often require repair. It is said that concrete walls are subject to +contraction and expansion, and speedily show vertical cracks at +intervals, which in our damp climate would soon permit the wet to enter. +There can be no question as to its strength as a building material, as +some experiments conducted by the Institute of British Architects gave +the following results—viz., “Concrete composed of two parts of<span class="pagenum"><a name="page_89" id="page_89">{89}</a></span> lime, +thirty-six parts of sand, and five parts of cement, can resist a +crushing weight of four tons to the square inch, being twice the +strength of Portland stone, eight times the strength of Bath stone, and +sixteen times the strength of brickwork.”</p> + +<p>In constructing cottages with concrete everything depends upon the +goodness of the cement and the care with which it is used. The occupiers +of these cottages are frequently their own operators; the work is +generally too speedily performed, and the consequence is that the fruits +of their labour are in most instances of but short duration.</p> + +<p>For obvious reasons it is necessary that the greatest economy should be +observed in the construction of peasants’ cottages, and for these +reasons the apartments should always be on the ground floor, which will +render it unnecessary to build them more than eight or nine feet high. +Where mud walls are introduced, the lower they are made the better, in +which case they should be made to batir on the outside so as to resist +the pressure of the roof, the covering of which should project as much +as possible, to throw off the wet and protect the walls. The chimney +flues in these clay and concrete walls are formed of drain-pipes, which +answer admirably. These humble dwellings should be paved with +brick-on-edge paving laid on sand, which is much warmer, and more +conducive<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span> to health than any sort of rough flagging, plaster, mud, or +concrete floor. The latter, although much cheaper, can never be made to +look clean. Foundations of clay or concrete walls should be of brick a +few courses above the surface, and the walls when dry should be covered +with a thick coat of plaster consisting of lime and sand, or what is +still better, a coating of good Portland cement. This ought constantly +to be kept perfect, as everything depends upon the goodness of the work. +Concrete improperly mixed is not so strong as brickwork, but is mere +rubbish; but when perfectly done it hardens with age, becoming like +stone, impervious both to wet and frost.</p> + +<p>Materials can be found in every locality. One of the principal +constructors using such, Mr. Tall, who works with an excellently +contrived apparatus, thus describes them:—“Clay, which may be burnt +into ballast easily and cheaply, and is a most superior material for +concrete; gravel, stone, crushed slag from furnaces, smith’s clinkers, +oyster-shells, broken glass, crockery, or any hard and durable +substance. Where sandstone or any flat stone is to be found, walls can +be built even cheaper than of gravel concrete, as a labourer can break +the stone.” He gives the proportions of materials used in houses then +being constructed at Gravesend, as follows:<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span></p> + +<table border="0" cellpadding="0" cellspacing="0" summary=""> +<tr><td> </td><td class="rt">£ </td> +<td class="rt"><i>s.</i></td> +<td class="rt"><i>d.</i></td></tr> +<tr><td>7 yards of burrs from brickfield, at 5s.</td><td class="rt">1</td><td class="rt">15</td><td class="rt">0</td></tr> +<tr><td>7 yards of gravel stone, at 3s.</td><td class="rt">1</td><td class="rt">1</td><td class="rt">0</td></tr> +<tr><td>1 yard of Portland cement, 16 bushels to the cubic yard, at 2s.</td><td class="rt">1</td><td class="rt">12</td><td class="rt">0</td></tr> +<tr><td>Labour, at 2s. per cube yard</td><td class="rt">1</td><td class="rt">10</td><td class="rt">0</td></tr> +<tr><td class="c">Total</td><td class="btbrt">£5</td> +<td class="btbrt"> 18 </td> +<td class="btbrt"> 0</td></tr> +</table> + +<p>Three cubic yards of concrete will build 60 yards of 9-inch work, at a +fraction under 1<i>s.</i> 11<i>d.</i> per yard.</p> + +<p>Concrete cottages have been built at Setting, in Kent, under Mr. Adkins, +architect, that cost only 105<i>l.</i> per pair; the ground floor contained +two rooms; with the usual larder and closets, and the upper floor three +rooms and a cupboard; these cottages had gabled fronts and were +picturesque in character. It would be an extra expense over the common +method to construct floors and roofing of concrete; the advantage to be +gained would be their fire-proof character.</p> + +<p>In superior buildings the high tenacious power of good cement is +repeatedly, it may be said commonly taken advantage of in the +construction of roofs. These are formed by cementing plain tiles, and +they have considerable strength. Roofs of 12 feet span, constructed in +segmental form, rising three feet, and only of three plain tiles in +thickness, successfully resist great pressure, and are durable in a very +superior<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span> degree; but they require to be well tied in, and formed +between iron girders connected together with iron tie rods, otherwise +they sink and force out the walls. Roofs of cemented tiles have been +constructed from 30 to 40 feet span, and have been found to answer well; +hoop-iron bond, laid at intervals between the tiles, is a great +advantage. The tenacious power of good cement was proved in a very high +degree a few years ago by Mr. Brunel, in the construction of two +semi-arches built of brick, springing from a pier or abutment 14 feet in +height. One extended 50 feet in length, the other 38; the rise of the +arches was 10 feet, the width only 4 feet 6 inches; a weight of about 40 +tons was suspended to the extremity of the shorter arch without breaking +it.</p> + +<p>The result of this test proved that arches of 200 feet or 300 feet span, +and probably more, might be constructed in the same manner at very +moderate expense, without centering. Iron-hoop bond is said to nearly +double the strength or holding power of the cement. Flat experimental +beams have been constructed of brick and cement, with hoop-iron bond +laid horizontally between the joints or courses of the brickwork, which +have given equally extraordinary results.</p> + +<p>Concrete for walling was extensively used in England at the beginning of +the present century; it<span class="pagenum"><a name="page_93" id="page_93">{93}</a></span> got into bad repute through failure of a river +wall at Woolwich, where it was either badly done, some mistake was made, +or it was unsuited to the position. The wall was constructed of blocks +of concrete cast in moulds, and submitted to pressure while setting; a +coating of fine stuff being applied for the sake of appearance, ample +time having been allowed for the blocks to set and harden before use. +The blocks were 1 foot 6 inches high, the binders and stretchers in the +course being each 2 feet 6 inches long, the bed of the former being 2 +feet, and of the latter 1 foot; the wall was built upon piles, its +height above the piles being 24 feet; the thickness at bottom was 9 +feet, at top 5 feet with a batir in front of 3 feet in 22.</p> + +<p>The face of the wall was composed of blocks, as described, and rough +concrete thrown in to complete its thickness, and that of the +counterforts. After a frost it was found that this wall was seriously +damaged, hardly a single block having escaped, and in many cases their +whole face had peeled off to the depth of half an inch. The discharge of +a drain from a height of 6 or 8 feet had worn away the lower courses to +the depth of some inches. On a like wall at Chatham, similar but much +more severe effects were produced.</p> + +<p>The failure of this wall costing about 80,000<i>l.</i>, was a serious matter, +and for several years after architects looked upon concrete as being so +much uneatable<span class="pagenum"><a name="page_94" id="page_94">{94}</a></span> hasty pudding, considering that it was only beneficial +when confined in a trench for foundations. Sir Robert Smirke used it in +the foundations of the Penitentiary, Millbank, and Sir John Soane in +1830 used it in the foundations of the New State Paper Office (now +pulled down) in St. James’s Park. Here the ground had to be excavated to +a depth of 22 feet before arriving at a gravelly stratum; at each high +tide the Thames filled the trenches with water, which remained in +considerable quantity; as this was pumped out, the adjoining party walls +of the buildings in Duke-street cracked so completely that they had to +be taken down. The trenches were first filled to the height of two feet +with broken stones and bricks from the old buildings, and then dry lime +and clean river sand, with a large quantity of small broken granite +stones, were thrown in from the height above. A body of concrete 8 feet +in width by a thickness of 3 feet was thus formed; the water ceased to +enter the trenches and the building was commenced.</p> + +<p>Mr. G. Godwin, the editor of the “Builder,” in an essay on concrete +which gained the first prize given by the Royal Institution of British +Architects, appears to have been the first to suggest its use in walls +above ground; and for these Portland cement concrete, when properly +prepared, is without question an admirable material.<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span></p> + +<h2><a name="DESIGN_No_7" id="DESIGN_No_7"></a><i>DESIGN No. 7.</i></h2> + +<div class="figcenter" style="width: 357px;"> +<a href="images/ill_pg_095_lg.jpg"> +<img src="images/ill_pg_095_sml.jpg" width="357" height="511" alt="[Image unavailable.]" /></a> +<div class="caption"><p>A garden gate—plan and elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_96" id="page_96">{96}</a></span></p> + +<p>In France it is used to a very great extent, in numerous bridges, and +several miles of large sewers. A church (that at Vésinet, near Paris, of +mediæval architecture), constructed entirely with iron and this +concrete, is completely fireproof. In England a considerable length of +sewer has been constructed of concrete at Sidmouth, under the direction +of Mr. Phillips; and near London, between the Kensington and Gloucester +Road stations of the Metropolitan Railway, a very large handsome bridge, +rusticated, and in design similar to, and in every respect in appearance +a stone bridge. From some alteration required in the railway, it has +been removed.</p> + +<p>This mode of construction is now being practically tested in the north +of England, at Church Bank, Alnmouth, in its complete form, in a cottage +built entirely of concrete, having three rooms, scullery, and other +conveniences. The material used in the building, as we are told by the +“Builder,” is Portland cement and gravel from the sea-shore. The +foundation is in sand 6 inches thick and 18 inches wide; in this there +is a base course, and above, the walls are 9 inches in thickness. Part +of the erection is two stories in height. The roofs are all flat, and +are constructed entirely of concrete and old wire rope. The ceilings are +divided into panels by ribs at right angles, and require no plastering. +A wall on the upper floor is<span class="pagenum"><a name="page_97" id="page_97">{97}</a></span> supported by a concrete beam with a +13-feet span; and a large cistern is formed under the roof of the pantry +for rain water. The sides of the cistern forming the walls of the +bedroom will test severely the impermeability of the material. No wood +is used except for doors, and no iron except five shillings’ worth of +old wire rope. This is said to be an experiment made by the Duke of +Northumberland.</p> + +<p>Another experimental cottage has been constructed under Mr. Edwin +Chadwick’s superintendence at East Sheen near Mortlake. In this the +walls are formed of light iron framework filled with compressed straw, +bitumen, and concrete. The thickness of each wall complete is only about +three and a half inches. The floors are of bitumen and concrete, covered +with ordinary deal boards; the roof has the same construction as the +walls. These, inside, may be either left rough or finely smoothed, +without additional cost. In the former case it is said they resemble the +ordinary “dashes” of stuccoed cottages; in the latter they appear as if +coated with Roman cement, after the fashion of villas and town houses.</p> + +<p>If a construction of this kind can be made durable it possesses superior +advantages to every other. In England both stone and brick are great +absorbents of moisture, causing the occupants of the houses to be +afflicted by rheumatism and other undesirable ail<span class="pagenum"><a name="page_98" id="page_98">{98}</a></span>ments. Any building +material that is non-absorbent of moisture is a great desideratum yet +unsatisfied.</p> + +<p>An elevation of a design for a garden gate and balustrade to be formed +of concrete blocks is given in Design No. 7. It was originally intended +for the entrance to an old house in Berkshire.</p> + +<p class="spc1"> </p> + +<p>The vignette beneath is a Swiss pattern of open woodwork used by the +author as balustrading. The construction is too simple to require +explanation.</p> + +<div class="figcenter" style="width: 249px;"> +<a href="images/ill_pg_098_lg.jpg"> +<img src="images/ill_pg_098_sml.jpg" width="249" height="238" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_99" id="page_99">{99}</a></span></p> + +<h2><a name="DESIGN_No_8" id="DESIGN_No_8"></a><i>DESIGN No. 8.</i><br /><br /> +A PARK LODGE.</h2> + +<div class="figcenter" style="width: 195px;"> +<a href="images/ill_pg_099-a_lg.jpg"> +<img src="images/ill_pg_099-a_sml.jpg" width="195" height="161" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation.</p></div> +</div> + +<p class="nind"><span class="letra">T</span>HE entrance lodge to a country park may be considered as a superior +kind of cottage; it is</p> + +<div class="figcenter" style="width: 144px;"> +<a href="images/ill_pg_099-b_lg.jpg"> +<img src="images/ill_pg_099-b_sml.jpg" width="144" height="156" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">often occupied by some favourite domestic or other attaché of the +family. It is usually placed in a<span class="pagenum"><a name="page_100" id="page_100">{100}</a></span> prominent position, dressed with +surrounding trees, and with the accompanying gates, posts, and rails. +Considerable attention is always paid to the lodge.</p> + +<div class="figcenter" style="width: 198px;"> +<a href="images/ill_pg_100-a_lg.jpg"> +<img src="images/ill_pg_100-a_sml.jpg" width="198" height="164" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Back front.</p></div> +</div> + +<p>An ugly one is an exception, and is very seldom seen. In most cases the +lodge is similar in character to the mansion to which it permits +approach: a Gothic house, hence has a Gothic lodge, and an Elizabethan</p> + +<div class="figcenter" style="width: 220px;"> +<a href="images/ill_pg_100-b_lg.jpg"> +<img src="images/ill_pg_100-b_sml.jpg" width="220" height="154" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p><span class="pagenum"><a name="page_101" id="page_101">{101}</a></span></p> + +<p class="nind">house a lodge of the same character; frequently it is in the Rustic +style that would suit either. Of this the present design and the +following are examples.</p> + +<p>This design was made for one story only, and it is placed so as to +command, or have a view of two roads by which it can be approached; the +plan shows a living room, 13 ft. by 13 ft., a scullery, <i>g</i>, 12 ft. by 9 +ft, a larder, <i>h</i>, and two sleeping rooms. It has a porch, formed with +trunks of trees, enclosing a seat or bench. The back front is made of a +pleasing character, having a covered way to the closet and coal cellar, +<i>l</i>.</p> + +<p>The section shows the height of the rooms, 11 × 6 from floor to collar +beam. The construction was to have been in the common fashion in brick, +with red brick facing, and compo dressings round the windows and top of +chimney stack, the latter in cut red brick. An erection of this kind +could not be completed under a cost of about 370<i>l.</i></p> + +<div class="figcenter" style="width: 204px;"> +<a href="images/ill_pg_101_lg.jpg"> +<img src="images/ill_pg_101_sml.jpg" width="204" height="115" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plaster cornice for a drawing-room.</p></div> +</div> + +<p><span class="pagenum"><a name="page_102" id="page_102">{102}</a></span></p> + +<h2><a name="DESIGN_No_9" id="DESIGN_No_9"></a><i>DESIGN No. 9.</i><br /><br /> +A PARK LODGE.</h2> + +<div class="figcenter" style="width: 255px;"> +<a href="images/ill_pg_102-a_lg.jpg"> +<img src="images/ill_pg_102-a_sml.jpg" width="255" height="156" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation.</p></div> +</div> + +<div class="figcenter" style="width: 174px;"> +<a href="images/ill_pg_102-b_lg.jpg"> +<img src="images/ill_pg_102-b_sml.jpg" width="174" height="151" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_103" id="page_103">{103}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design was a second study for the same small building illustrated +in the previous design. It was intended for a different site, and so +placed as to command only one road of approach. It could have been seen +for nearly two miles previous to reaching it, and was placed about +twenty feet behind the entrance gates; the front had a rustic porch +intended to contain rustic seats. The plan shows a living room 18 feet +by 14, a small scullery, <i>g</i>, larder, <i>h</i>, and two sleeping rooms each +13 feet by 10 feet. The section is taken through the centre of the +building, showing the front and back porch. It could be constructed for +about 375<i>l.</i></p> + +<div class="figcenter" style="width: 204px;"> +<a href="images/ill_pg_103_lg.jpg"> +<img src="images/ill_pg_103_sml.jpg" width="204" height="150" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p>Either of these lodges could be constructed in concrete, the walls twice +the thickness, the chimney stock in brick and cement, and their cost +would be reduced.<span class="pagenum"><a name="page_104" id="page_104">{104}</a></span></p> + +<h2><a name="DESIGN_No_10" id="DESIGN_No_10"></a><i>DESIGN No. 10.</i><br /><br /> +AN ENTRANCE LODGE TO A PARK</h2> + +<p>This lodge stands within an ancient park in Kent. It occupies a +triangular piece of ground and commands three roads of approach. The +building is</p> + +<div class="figcenter" style="width: 220px;"> +<a href="images/ill_pg_104_lg.jpg"> +<img src="images/ill_pg_104_sml.jpg" width="220" height="298" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<p class="nind">strictly in accordance with the style of the old family mansion within +the park itself, which is a celebrated structure of the times of +Elizabeth and James I. The<span class="pagenum"><a name="page_105" id="page_105">{105}</a></span></p> + +<div class="figcenter" style="width: 179px;"> +<a href="images/ill_pg_105-a_lg.jpg"> +<img src="images/ill_pg_105-a_sml.jpg" width="179" height="193" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">perspective view represents the lodge as seen from the avenue of trees +within the park, the road coming</p> + +<div class="figcenter" style="width: 207px;"> +<a href="images/ill_pg_105-b_lg.jpg"> +<img src="images/ill_pg_105-b_sml.jpg" width="207" height="226" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The front elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_106" id="page_106">{106}</a></span></p> + +<p class="nind">between. In the ground plan, p. 105, <i>a</i> is the porch, <i>b</i> the living +room, <i>c</i> the scullery, and <i>d</i> the larder; <i>g</i> are the steps leading to +a vault under the stairs, used for coals, and <i>f</i> is the stone cover +over the dry well. Considerable care and attention were</p> + +<div class="figcenter" style="width: 280px;"> +<a href="images/ill_pg_106_lg.jpg"> +<img src="images/ill_pg_106_sml.jpg" width="280" height="283" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view of back and side fronts, from a +photograph.</p></div> +</div> + +<p class="nind">bestowed in working out the details of this building, which was wholly +erected by the workmen of the estate, with bricks and stone also from +the estate. The lower part or plinth of the structure is of ashlar +ragstone in random courses, the top course header<span class="pagenum"><a name="page_107" id="page_107">{107}</a></span> faced, the joints +worked fair, and a sunk splay in the top tooled fair, the course rising +nine inches on the</p> + +<div class="figcenter" style="width: 168px;"> +<a href="images/ill_pg_107-a_lg.jpg"> +<img src="images/ill_pg_107-a_sml.jpg" width="168" height="163" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of upper floor.</p></div> +</div> + +<p class="nind">face, with an average depth in the bed of eleven inches. The string over +the lower windows is in moulded brick,</p> + +<div class="figcenter" style="width: 180px;"> +<a href="images/ill_pg_107-b_lg.jpg"> +<img src="images/ill_pg_107-b_sml.jpg" width="180" height="176" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of roof timbers.</p></div> +</div> + +<p class="nind">faced with compo,—the gables and the chimneys are constructed and +finished with cut red bricks. The<span class="pagenum"><a name="page_108" id="page_108">{108}</a></span></p> + +<div class="figcenter" style="width: 220px;"> +<a href="images/ill_pg_108-a_lg.jpg"> +<img src="images/ill_pg_108-a_sml.jpg" width="220" height="222" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Side elevation.</p></div> +</div> + +<div class="figcenter" style="width: 344px;"> +<a href="images/ill_pg_108-b_lg.jpg"> +<img src="images/ill_pg_108-b_sml.jpg" width="344" height="235" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Details of entrance porch.</p></div> +</div> + +<p><span class="pagenum"><a name="page_109" id="page_109">{109}</a></span></p> + +<p class="nind">finials, of which there are three, are copied from those of the old +mansion, and cost each 3<i>l.</i> The front and side elevations are here +given, together with the details of the entrance porch. The columns were +formed of trunks of trees, with an entablature and pediment of brick +tiles and compo, with iron ties securing the whole.</p> + +<div class="figcenter" style="width: 309px;"> +<a href="images/ill_pg_109-a_lg.jpg"> +<img src="images/ill_pg_109-a_sml.jpg" width="309" height="156" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Finial.</p></div> +</div> + +<p>The brick walls were splashed externally in four colours, black, white, +red, and yellow, which gave a very pleasing tone of colour to the whole. +The plan</p> + +<div class="figcenter" style="width: 215px;"> +<a href="images/ill_pg_109-b_lg.jpg"> +<img src="images/ill_pg_109-b_sml.jpg" width="215" height="234" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p><span class="pagenum"><a name="page_110" id="page_110">{110}</a></span></p> + +<p class="nind">of the upper floor shows the rooms like the lower, each of the average +length of 21 and a width of 10 feet. The staircase leads conveniently to +the two upper rooms; <i>a</i> is a trap-door to permit furniture and large +baggage to be lifted up from below. The sections show the construction +of the roof, the timbers of which were firmly secured by iron straps, <i>b +b</i>. The chimney forms a prominent feature in the centre of the building, +the construction of which is shown in the annexed cut; <i>c</i> are corbel +bricks, <i>b</i> the iron strap.</p> + +<div class="figcenter" style="width: 179px;"> +<a href="images/ill_pg_110_lg.jpg"> +<img src="images/ill_pg_110_sml.jpg" width="179" height="248" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p>The last two illustrations are sections through the<span class="pagenum"><a name="page_111" id="page_111">{111}</a></span> coal-cellar and the +dry well. The photographic view shows the small circular gable over the +staircase. There are only six of these gables, as a seventh could not be +obtained, or it might have been called the “house with the seven +gables.” The structure cost 526<i>l.</i>, the cottage design No. 2, on the +same estate, 311<i>l.</i>, both in full.</p> + +<div class="figcenter" style="width: 311px;"> +<a href="images/ill_pg_111_lg.jpg"> +<img src="images/ill_pg_111_sml.jpg" width="311" height="291" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan and section of chimney stack.</p></div> +</div> + +<p><span class="pagenum"><a name="page_112" id="page_112">{112}</a></span></p> + +<h2><a name="DESIGN_No_11" id="DESIGN_No_11"></a><i>DESIGN No. 11.</i><br /><br /> +AN ENTRANCE LODGE AND GATEWAY TO A PARK.</h2> + +<div class="figcenter" style="width: 330px;"> +<a href="images/ill_pg_112_lg.jpg"> +<img src="images/ill_pg_112_sml.jpg" width="330" height="337" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<p><span class="pagenum"><a name="page_113" id="page_113">{113}</a></span></p> + +<p class="nind"><span class="letra">T</span>HE first erection of an entrance lodge and gateway to a country park, +is often considered of sufficient importance to meet with very full and +careful</p> + +<div class="figcenter" style="width: 188px;"> +<a href="images/ill_pg_113-a_lg.jpg"> +<img src="images/ill_pg_113-a_sml.jpg" width="188" height="130" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">consideration. If the park is an ancient one, the old castellated style +for the entrance lodge will mark its character, and it is generally +chosen, although the</p> + +<div class="figcenter" style="width: 159px;"> +<a href="images/ill_pg_113-b_lg.jpg"> +<img src="images/ill_pg_113-b_sml.jpg" width="159" height="133" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of upper floor.</p></div> +</div> + +<p class="nind">building or mansion within the park itself may be of more recent style. +The family architect, in such cases, will have to make various sketches +before one is<span class="pagenum"><a name="page_114" id="page_114">{114}</a></span> selected that gives general satisfaction. The castellated +Tudor design shown in the perspective view, was the first one made under +such circumstances, and several designs were submitted before it was put +aside, and one selected similar in style and character to the mansion +within the park, and which was soon carried out.</p> + +<div class="figcenter" style="width: 281px;"> +<a href="images/ill_pg_114_lg.jpg"> +<img src="images/ill_pg_114_sml.jpg" width="281" height="242" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation of lodge.</p></div> +</div> + +<p>The ground plan, p. 113, shows the lodge to have very little +accommodation, one small room 15 feet by 11 feet, with a scullery +attached; indeed, one of the principal reasons for giving up the design +was that the steep character of the ground did not admit a larger +erection. The staircase of the lodge<span class="pagenum"><a name="page_115" id="page_115">{115}</a></span> led to one upper room over the +gateway; this was 13 feet by 13 feet. The elevation of the lodge is +shown at p. 114.</p> + +<div class="figcenter" style="width: 295px;"> +<a href="images/ill_pg_115_lg.jpg"> +<img src="images/ill_pg_115_sml.jpg" width="295" height="469" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of half gate.</p></div> +</div> + +<p>The details are plain and bold; a shield of arms with quatrefoils is +placed over the side entrance; these and the ornaments on the bay-window +are the chief enrichments.<span class="pagenum"><a name="page_116" id="page_116">{116}</a></span></p> + +<p>The lodge was to have been erected with ragstone ashlar for the quoins +and red-brick facing for walls,—the bay-window and all the strings and +battlements were to be in Caen stone. The iron gates were to be of +wrought iron in the olden style. An elevation of one of the gates is +given, showing a thin ornamental pattern within a strong iron frame.</p> + +<div class="figcenter" style="width: 231px;"> +<a href="images/ill_pg_116_lg.jpg"> +<img src="images/ill_pg_116_sml.jpg" width="231" height="223" alt="[Image unavailable.]" /></a> +<div class="caption"><p>A</p><p>Elevation of second design.</p></div> +</div> + +<p>The parts, ¼ full size, are shown; <i>a</i> is the top rail, <i>b</i> the circular +bar, <i>c</i> a section and elevation of the hanging rail, and <i>d</i> the +meeting bar.</p> + +<p>The accommodation required by the gate-keeper who was to occupy the +lodge was greater than could<span class="pagenum"><a name="page_117" id="page_117">{117}</a></span> be well provided on the site the building +was to stand on. What he did ask for was given in a second</p> + +<div class="figcenter" style="width: 188px;"> +<a href="images/ill_pg_117-a_lg.jpg"> +<img src="images/ill_pg_117-a_sml.jpg" width="188" height="206" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">design, which, as it shows a different treatment of the elevation, is +here illustrated. In this the rooms are</p> + +<div class="figcenter" style="width: 170px;"> +<a href="images/ill_pg_117-b_lg.jpg"> +<img src="images/ill_pg_117-b_sml.jpg" width="170" height="186" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of upper floor.</p></div> +</div> + +<p><span class="pagenum"><a name="page_118" id="page_118">{118}</a></span></p> + +<p class="nind">larger, as may be seen by the ground plan; <i>c</i>, the back room, is +intended to be used as a boy’s sleeping room; <i>h</i> is the larder under +the stairs, and <i>l</i> is a place for coals. The upper plan shows the room +over the gateway; a second room was to be added by taking up the walls +of the lodge.</p> + +<div class="figcenter" style="width: 283px;"> +<a href="images/ill_pg_118_lg.jpg"> +<img src="images/ill_pg_118_sml.jpg" width="283" height="367" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Details of bay-window, second design.</p></div> +</div> + +<p><span class="pagenum"><a name="page_119" id="page_119">{119}</a></span></p> + +<p>The elevation of this design was considered more quaint and +characteristic of the olden style than the first; its window is copied +from one at the old gatehouse to the abbey at Montacute in +Somersetshire, both as to dimensions and detail. It is rather late in +style, and not a very good example, but it is here given with a few +sections and details to a larger scale.</p> + +<p class="spc1"> </p> + +<p>The vignette affords a plan of an old English garden with its labyrinth, +fountains, fishponds, and flower beds.</p> + +<div class="figcenter" style="width: 201px;"> +<a href="images/ill_pg_119_lg.jpg"> +<img src="images/ill_pg_119_sml.jpg" width="201" height="139" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_120" id="page_120">{120}</a></span></p> + +<h2><a name="DESIGN_No_12" id="DESIGN_No_12"></a><i>DESIGN No. 12.</i><br /><br /> +A STOVE FOR AN ENTRANCE HALL</h2> + +<div class="figcenter" style="width: 222px;"> +<a href="images/ill_pg_120_lg.jpg"> +<img src="images/ill_pg_120_sml.jpg" width="222" height="508" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of stove.</p></div> +</div> + +<p><span class="pagenum"><a name="page_121" id="page_121">{121}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS stove is intended to fill a recess in the hall of a Baronial +Mansion, placed on a marble pavement with groups of ancient armour, +pikes and</p> + +<div class="figcenter" style="width: 213px;"> +<a href="images/ill_pg_121-a_lg.jpg"> +<img src="images/ill_pg_121-a_sml.jpg" width="213" height="134" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of stove.</p></div> +</div> + +<p class="nind">helmets, and the other like warlike implements of ancient times, +surrounding it. The plan shows its interior to be filled with fire-clay. +It is only a<span class="pagenum"><a name="page_122" id="page_122">{122}</a></span></p> + +<div class="figcenter" style="width: 127px;"> +<a href="images/ill_pg_121-b_lg.jpg"> +<img src="images/ill_pg_121-b_sml.jpg" width="127" height="197" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The front of stove, the shield or door open.</p></div> +</div> + +<div class="figcenter" style="width: 338px;"> +<a href="images/ill_pg_122_lg.jpg"> +<img src="images/ill_pg_122_sml.jpg" width="338" height="517" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Side of stove +</p></td><td> </td> +<td> +<p> +Section of stove. +</p></td></tr> +</table> +</div></div> + +<p><span class="pagenum"><a name="page_123" id="page_123">{123}</a></span></p> + +<p class="nind">common iron stove, but with a more artistic outline or figure than is +generally seen; the section shows the construction. A moveable box is +placed within the pedestal to receive the ashes; the smoke flue leaves +at the back; the helmet opens to receive a cup of water; the section +shows the construction. When the shield is open the fire is seen; this +could be made partly open, so as to allow the fire to be wholly closed +in.</p> + +<p class="spc1"> </p> + +<p>The vignette is a portion of a French design for an iron balconet. In +France these balconets are regarded as necessary protections at the +window openings. In England they are used chiefly for holding flowers.</p> + +<div class="figcenter" style="width: 314px;"> +<a href="images/ill_pg_123_lg.jpg"> +<img src="images/ill_pg_123_sml.jpg" width="314" height="109" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_124" id="page_124">{124}</a></span></p> + +<h2><a name="DESIGN_No_13" id="DESIGN_No_13"></a><i>DESIGN No. 13.</i><br /><br /> +QUEEN’S GATE LODGE, HYDE PARK.</h2> + +<p>The formation of that new and important suburb of London, known as +Queen’s Gate, South Kensington, resulted, as is well known, from the +exertions of His Royal Highness the Prince Consort. It</p> + +<div class="figcenter" style="width: 221px;"> +<a href="images/ill_pg_124_lg.jpg"> +<img src="images/ill_pg_124_sml.jpg" width="221" height="247" alt="[Image unavailable.]" /></a> +<div class="caption"><p>First design, Gate Entrance to Hyde Park.</p></div> +</div> + +<p class="nind">promises soon to become the most fashionable and attractive portion of +the Metropolis, as the land is engaged for the purpose of applying it to +national objects connected with the Arts and Sciences, by the<span class="pagenum"><a name="page_125" id="page_125">{125}</a></span></p> + +<div class="figcenter" style="width: 303px;"> +<a href="images/ill_pg_125-a_lg.jpg"> +<img src="images/ill_pg_125-a_sml.jpg" width="303" height="211" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view of Lodge, Queen’s Gate.</p></div> +</div> + +<div class="figcenter" style="width: 312px;"> +<a href="images/ill_pg_125-b_lg.jpg"> +<img src="images/ill_pg_125-b_sml.jpg" width="312" height="250" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Ground plan. +</p></td><td> </td> +<td> +<p> +Basement plan. +</p></td></tr> +</table> +</div></div> + +<p><span class="pagenum"><a name="page_126" id="page_126">{126}</a></span></p> + +<p class="nind">Government. Consequently, with the beauty of the situation, this has led +to the erection of a large number of first-class mansions of the value +of from 20,000<i>l.</i> each to 3000<i>l.</i> (leaseholds.) The author of this +work, at the time of the purchase by the Government, was surveyor to the +principal estate in that locality—that of the late Charles, Earl of +Harrington;</p> + +<div class="figcenter" style="width: 327px;"> +<a href="images/ill_pg_126_lg.jpg"> +<img src="images/ill_pg_126_sml.jpg" width="327" height="225" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view of Lodge opposite the Exhibition Road, +Hyde Park.</p></div> +</div> + +<p class="nind">and an opening to Hyde Park, for the chief new road, being granted by +Government, he had to submit designs for the new entrance lodge and +gates to the Commissioner of Public Works. The first design he had made +had previously been submitted to the Prince. It was on a large scale, an +archway being<span class="pagenum"><a name="page_127" id="page_127">{127}</a></span> placed in the centre, with gates and lodges on each side. +But as the new entrance had to be made at the expense of the builders of +the Harrington Estate, designs of a more modest character were chosen.</p> + +<div class="figcenter" style="width: 171px;"> +<a href="images/ill_pg_127_lg.jpg"> +<img src="images/ill_pg_127_sml.jpg" width="171" height="335" alt="[Image unavailable.]" /></a> +</div> + +<p>Lord Llanover, then Sir Benjamin Hall, was the Chief Commissioner of +Public Works, and took great interest in the designs, repeatedly +visiting the spot, and having various studies made; indeed the works +were carried out under his supervision and direction.<span class="pagenum"><a name="page_128" id="page_128">{128}</a></span></p> + +<p>The opening into Hyde Park was 140 feet in length; this was filled up by +the gates and railings, a lodge being placed within the park.</p> + +<div class="figcenter" style="width: 156px;"> +<a href="images/ill_pg_128-a_lg.jpg"> +<img src="images/ill_pg_128-a_sml.jpg" width="156" height="135" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation.</p></div> +</div> + +<p>The view shows the lodge as it was erected by Mr. Aldin, one of the +building lessees of the Harrington estate; it cost him about 800<i>l.</i> The +iron gates and</p> + +<div class="figcenter" style="width: 240px;"> +<a href="images/ill_pg_128-b_lg.jpg"> +<img src="images/ill_pg_128-b_sml.jpg" width="240" height="134" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Side elevation.</p></div> +</div> + +<p class="nind">railing were put up by Mr. W. Jackson, the chief building +lessee on the same estate, at a cost which amounted to upwards of +2000<i>l.</i><span class="pagenum"><a name="page_129" id="page_129">{129}</a></span></p> + +<div class="figcenter" style="width: 340px;"> +<a href="images/ill_pg_129_lg.jpg"> +<img src="images/ill_pg_129_sml.jpg" width="340" height="198" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through length of building.</p></div> +</div> + +<p>The lodge contains two rooms on the ground floor the front room being 17 +feet by 12 feet, the back room 13 feet by 11 feet. The basement has two +rooms of the same size; with a small yard, a place for coals, and a dry +area surrounding the whole. The plans are shown under the perspective +view; the front and side elevations on page 128; the small portico has +the centre columns without rusticated blocks, so that no<span class="pagenum"><a name="page_130" id="page_130">{130}</a></span> square edges +or projecting parts obstruct the entrance of persons into the lodge.</p> + +<div class="figcenter" style="width: 231px;"> +<a href="images/ill_pg_130_lg.jpg"> +<img src="images/ill_pg_130_sml.jpg" width="231" height="211" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cross section.</p></div> +</div> + +<p>The section through the length of the building shows the two upper and +the two lower rooms, with the sunk yard; it does not show clearly the +section of the ground outside the building; the level of this is 18 +inches below the floor of the upper rooms. The basement is completely +buried, but as the small structure stood upon a mound and was protected +by a dry area, this was of little consequence. The cross section next +given shows the level of the outside ground correctly, with the two dry +areas. Over this cross section are given two small details of the +construction of the roof.<span class="pagenum"><a name="page_131" id="page_131">{131}</a></span></p> + +<p>The building was of stone and brick, the ashlar front of the walls Bath +stone, and the cornice of Portland—this was made so as to form the +gutter.</p> + +<p>The lodge has lately been taken down, and reconstructed on the opposite +side of the entrance gate. So completely was this done that only one +small block of stone was required to complete it, and this was only a +replacement of one broken. The structure itself has been reproduced by +the Government as a lodge opposite to the Exhibition Road. In the cut at +page 127, is given a section through the portico and a section through +the end wall.</p> + +<p>The first design, made by the author, was intended to embody the views +of His Royal Highness Prince Albert, in regard to the arrangement of the +buildings for the purpose of Science and Art then proposed to be erected +on the newly purchased estate. They comprised one for the collection of +Pictures, at that time occupying only half the building at Trafalgar +Square; this, the New National Gallery, was to be surrounded with other +structures, affording ample accommodation for the chief learned and +Artistic Societies of London. A large central Hall of Arts and Sciences +was to be placed in their midst; the whole to form a metropolitan +institution for the promotion of scientific and artistic knowledge as +connected with industrial pursuits. It is well known that the surplus +funds of<span class="pagenum"><a name="page_132" id="page_132">{132}</a></span> the Exhibition of 1851, amounting to the sum of 150,000<i>l.</i>, +were offered by the Royal Exhibition Commissioners at the instance of +the Prince, for the purpose of carrying out this grand conception. The +report of the House of Commons’ Committee on the National Gallery +strongly recommended the offer to be accepted, and Parliament at first +assenting, voted another sum of like amount for carrying out the entire +project. The sum of 300,000<i>l.</i> was found, however, insufficient for +purchasing the whole of the ground required, and a further grant of from +25,000<i>l.</i> to 27,000<i>l.</i> was voted by Parliament, and a sum of +15,000<i>l.</i> was given by the Royal Commissioners. Mr. Cubitt was engaged +to obtain the ground, and the roads through the Harrington estate were +planned by him in conjunction with the author, who aided him to the +utmost of his power in obtaining the land requisite to complete the site +required for the various buildings proposed to occupy it. The site was +2100 feet in length, by an average breadth of 1200 feet, and consisted +of about 56 acres; the level of the ground on the north of Kensington +being about 36 feet higher than the portion at Brompton. Another block +of land, upon which the Department of Science and Art is at present +placed, made a space with an average width of 700 feet—in the whole 86 +acres.<span class="pagenum"><a name="page_133" id="page_133">{133}</a></span></p> + +<p>In sketching the design for the general building, of which a bird’s-eye +view is here given, the author only took the 56 acres—the view shows +only that portion of the building facing the Prince Albert’s Road, now +called Queen’s Gate. It is placed in the centre of the land, so as to +have large open grounds surrounding it. These at any time could have +been covered up for the purpose of national exhibitions similar to those +of 1851 and 1862. By putting the level of the ground floor of the new +building about ten feet above that of the Kensington Road, a +sub-basement would have been obtained, over 30 feet in height, affording +ample space for arranging and storing works of art, as well as for +receiving articles to be exhibited, or a great portion of them, from the +upper parts of the building should the latter be wanted for any special +purpose, and affording room likewise for all minor business departments. +The Hall of Arts and Sciences was to be placed in the centre of the mass +of building: a portion of the dome is seen in the view at the upper +left-hand corner. This room was to be made 300 feet in length, by 180 in +width. Two galleries for paintings, each 1000 feet in length and 80 feet +in breadth, were to be placed on each side of the Central Hall. The +sculptures from the British Museum were to be deposited in the central +smaller halls of approach. The various Societies were to occupy the +side-wings,<span class="pagenum"><a name="page_134" id="page_134">{134}</a></span></p> + +<div class="figcenter" style="width: 536px;"> +<a href="images/ill_pg_134_lg.jpg"> +<img src="images/ill_pg_134_sml.jpg" width="536" height="316" alt="[Image unavailable.]" /></a> +<div class="caption"><p>View of Queen’s Gate, Hyde Park, with the National +Gallery and other buildings, as suggested by His Royal Highness the late +Prince Consort.</p></div> +</div> + +<p><span class="pagenum"><a name="page_135" id="page_135">{135}</a></span></p> + +<p class="nind">each having its meeting and lecture room, and all necessary offices and +apartments. The public were to enter at the porticoes seen in the view, +and the carriages of the professors at the gateways in front. Two roads +were proposed traversing the ground from north to south, and giving easy +access for vehicles to every part of the building.</p> + +<p>In the small block plan attached to the view, placed on the upper +right-hand corner, <i>b</i> is the Prince Albert’s Road, <i>a</i> the Exhibition +Road, and <i>c</i> and <i>d</i> the roads north and south.</p> + +<p>The design was placed before the Prince at one of the Architects’ +meetings at the Earl de Grey’s, and it was exhibited at the Royal +Academy in the same year. The House of Commons, however, after granting +such a large sum of money for the purchase of the land, expressed its +disapproval of removing the National Gallery from the present position, +said to be the finest site in Europe, and the Fellows of the Royal +Academy were informed that the portion of the building they then +occupied would be added to that of the gallery. A view of the gates and +lodge as at present executed is here given.</p> + +<div class="figcenter" style="width: 351px;"> +<a href="images/ill_pg_135_lg.jpg"> +<img src="images/ill_pg_135_sml.jpg" width="351" height="57" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_136" id="page_136">{136}</a></span></p> + +<p>It cannot be supposed that a sum of 340,000<i>l.</i> would have been expended +by the nation for the purpose of giving the Horticultural Society a +perpetual lease of the best portion of the estate purchased. It is +already evident that the gardens are not well situated there. The smoke +of the district will not permit the growth of delicate plants, and their +exhibitions are supplied from the gardens at Chiswick. In much less than +fifty years their grounds will probably be the centre of London, and +consequently the noble conception of His Royal Highness has still a good +chance of being carried into effect. The Society will be smoked out when +the city bounds are extended. The present National Gallery building will +be wanted either for a Bank of England or a Royal Exchange, and my Lord +Mayor may follow the example of the India Directors, and leave the +Mansion House, to move to Whitehall. A tunnel under the Exhibition Road +takes visitors into the grounds direct from the railway, that now makes +them as easy of access from the heart of the City as Charing Cross +itself.</p> + +<p>A few remarks may be made here on the great rise which takes place in +the value of land in any fashionable neighbourhood of London required +for the erection of buildings.</p> + +<p>The Harrington estate at Kensington Gore, con<span class="pagenum"><a name="page_137" id="page_137">{137}</a></span>taining in the whole 93a. +3r. 27p., was the joint property of the Earl of Harrington and of the +Baron de Villars, through the right of his wife, the Baroness de +Graffenried Villars. Previous to 1848 it had been some time in Chancery. +In that year Mr. John Gaunt Lye was appointed auditor and agent to the +fifth Earl of Harrington for the whole of the property. The rental of +the Kensington Gore estate amounted at this time to 2779<i>l.</i> 9<i>s.</i> per +annum. Through Mr. Lye’s exertions, he having received a power of +attorney for the purpose, the estate was taken out of Chancery, and a +division took place on the 7th May, 1850, at Mr. Lye’s office in +Lancaster Place. For the purpose of division, one portion—that charged +with maintaining the Cromwell Almshouses—was valued at 41,996<i>l.</i>, and +the other at 40,552<i>l.</i> Cards representing each portion were placed in a +hat, and the one representing the 41,996<i>l.</i>, was taken out by the +Baron.</p> + +<p>In 1851 the Earl’s portion was let to Mr. W. Jackson on a building +agreement for 99 years, at 100<i>l.</i> per acre, or 4600<i>l.</i> per annum. In +1852 the Baron de Villars sold his moiety to the Royal Commissioners for +the Exhibition of 1851 for the sum of 153,793<i>l.</i> The Commissioners only +wanted a small portion of the Earl’s property. The first offer made by +Mr. Cubitt to the surveyor of the estate was 40,800<i>l.</i> for 17 acres,<span class="pagenum"><a name="page_138" id="page_138">{138}</a></span> +or at the rate of 2400<i>l.</i> per acre. This was declined, and after a +little negotiation the sum of 54,716<i>l.</i> was obtained. The matter was +settled on the 7th of March, 1853; Mr. Jackson the builder received +7964<i>l.</i> as compensation for the loss of so much of his building land.</p> + +<p>More land was purchased by the Royal Commissioners to make up the site +they required; in the very middle of the latter was a field which had +only been used as a place for beating carpets. It belonged to the Smith +Charity estate, and fetched a rent of about 40<i>l.</i> per annum; this field +was obtained by giving in exchange an outlaying one on the Villars +estate, the building value of which was estimated at 800<i>l.</i> per annum.</p> + +<p>The Royal Commissioners, after squaring the site they required, and +putting aside the portion now occupied by the Department of Science and +Art, parcelled out the remaining outlying portion into three blocks, and +let them on building leases. The first and most important of these was +secured by the author for an employer, at a rental of 1500<i>l.</i> per +annum, on condition that the fee of each house plot could be purchased +within 6 years after the lease was granted; it contained about 2 acres. +And these are now the only freeholds that can be obtained. This plot is +now covered with buildings of the selling<span class="pagenum"><a name="page_139" id="page_139">{139}</a></span> value, as leaseholds, of +250,000<i>l.</i>, and it produces an improved ground rental. For the purchase +of the whole fee, the sum to be paid was 46,500<i>l.</i>, so that for a +portion of this land which the author of this work, as surveyor of the +property, sold in 1852 for little more than 3200<i>l.</i> per acre, the value +had risen, in 1860, to no less than 23,250<i>l.</i> per acre.</p> + +<p>It is only since Hyde Park has become almost the centre of the +metropolis, instead of being in one of its rural districts, that +attention has been paid to supply it with ornamental lodges and gates. +The country was so long occupied with the importance of the war with +France, which terminated so gloriously to the honour of our country, +that the Royal Parks were left in a very neglected state; and the gates +and lodges, particularly the entrance into London by Knightsbridge, were +mean in character, and totally unworthy of the purpose.</p> + +<p>Londoners of the present day have no notion of the wretched state of +Hyde Park as it existed fifty years ago. The side next Park Lane, now a +beautiful walk, adorned by the gardener’s utmost skill with several +varieties of flowers and shrubs, was then a narrow sunken road, which +for the most part continued, by the side of the boundary wall, all the +way from Oxford Street to Piccadilly. This, when improvement commenced, +was filled up, and laid down in grass; and a<span class="pagenum"><a name="page_140" id="page_140">{140}</a></span> wide Mall, with two +foot-paths, was formed on the higher ground, and enclosed by handsome +iron posts and rails. Some extensive gravel pits existed in the middle +of the park; these were filled up, one only being permitted to remain. +The surface of the park was generally levelled and manured, by which the +herbage has been greatly improved. Numerous seats were placed about the +park, for the convenience of the public; clumps and avenues of trees +were planted. The Serpentine was cleansed for the first time; it is just +now recleansed. A new drive, nearly a mile in extent was made through +the most distant and beautiful part of the park, to lead to Kensington +Gardens; and generally, all the roads were macadamized, and enclosed +with posts and rails. To connect the roads north and south of the +Serpentine, a handsome bridge was erected, from the designs and under +the superintendence of Messrs. Rennie. This has much conduced to the +accommodation of pedestrians and horsemen.</p> + +<p>About twenty years after these great improvements were effected, Queen +Anne’s garden, at the extreme termination of Kensington Gardens, was +thrown open to the public; the kitchen garden belonging to Kensington +Palace was let out on building leases, and a road formed through it +connecting the town of Kensington with Bayswater. This road, called the +Quee<span class="pagenum"><a name="page_141" id="page_141">{141}</a></span>n’s Palace Gardens Road, is now covered from end to end with +first-class mansions. The improvements continued, and are being still +carried on.</p> + +<p>The lodges and gates, at the chief entrances into the park, were put up +at the expense of the nation. When any building operator required an +entrance into the park, for some new outlying district, he bore the +expense of the construction, working under the direction of Her +Majesty’s Chief Commissioner of Works. The Government lodges at +Cumberland Place cost 2151<i>l.</i> One of these has been lately removed to +widen Park Lane.</p> + +<p>The two first lodges, with gates opposite Stanhope Street, cost 5062<i>l.</i> +The single lodge at the end of Grosvenor Street, with the iron gates, +cost 2929<i>l.</i>, and the fountain 340<i>l.</i></p> + +<p>The grandest of all these erections, that at Hyde Park corner, adjoining +the Duke of Wellington’s mansion, cost 17,069<i>l.</i></p> + +<p>The first lodge and entrance gates put up by a private building +contractor was the Albert Gate, erected by the late Thomas Cubitt; the +lodge is sunk, its flat roof being on a level only eight feet above the +ground, and containing two small rooms, with a little yard and scullery. +The iron railing forming the carriage gates and entrances to the +foot-paths is of the same height as the lodge, and extends about 60 +feet;<span class="pagenum"><a name="page_142" id="page_142">{142}</a></span> the stone piers have on them the old stags which formerly +decorated the stone piers at the entrance of the Ranger’s Lodge in +Piccadilly. This gate gave an entrance by Hyde Park to Belgravia, and +very much raised the value of that district.</p> + +<p>The next lodge and gate were put up by Mr. Kelk, opposite the fine +mansions at Prince’s Gate. This is known as the Prince of Wales’s Gate.</p> + +<p>There are two lodges in size and plan exactly similar to the lodge at +the Queen’s Gate. The gates and railings are very plain; they are 12 +feet in height, and extend to a length of 77 feet.</p> + +<p>The Queen’s Gate lodge and gates are certainly the chief of all the +erections put up by building contractors; their cost was 2800<i>l.</i>, as +previously mentioned. Both in ornamentation and character they vie with +the best erections put up by the Government. The length of the iron-work +between the stone pedestals is 140 feet; the height of the common rails, +11 feet above ground; the height of the standard and lamp, 18 feet; +there are two carriage gates, each of 15 feet opening, and two entrances +for foot-passengers, each of 10 feet opening. The stone pedestals at +each end are 6 feet in width by 15 feet in height. The iron-work is +designed to represent a group of spears; the author wished to surmount +the pedestals with groups of military arms similar to those of the +trophies of<span class="pagenum"><a name="page_143" id="page_143">{143}</a></span></p> + +<div class="figcenter" style="width: 530px;"> +<a href="images/ill_pg_143_lg.jpg"> +<img src="images/ill_pg_143_sml.jpg" width="530" height="374" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Design No. 13. Elevation of centre of iron-work, Queen’s +Gate.</p></div> +</div> + +<p><span class="pagenum"><a name="page_144" id="page_144">{144}</a></span></p> + +<p>Marius on the balustrading in front of the Senatorial Palace, Rome. +These could have been constructed in</p> + +<div class="figcenter" style="width: 345px;"> +<a href="images/ill_pg_144_lg.jpg"> +<img src="images/ill_pg_144_sml.jpg" width="345" height="423" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of one of the Iron Standards.</p></div> +</div> + +<p class="nind">stone, at little expense. Sir Benjamin Hall wished for<span class="pagenum"><a name="page_145" id="page_145">{145}</a></span> marble statues, +and on Prince Albert’s suggestion models were made of two reclining +figures, by Mr.</p> + +<div class="figcenter" style="width: 433px;"> +<a href="images/ill_pg_145_lg.jpg"> +<img src="images/ill_pg_145_sml.jpg" width="433" height="307" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section showing construction of Standard.</p></div> +</div> + +<p>Theed, representing “Morning” and “Evening.” These would have caused +great additional expense to the<span class="pagenum"><a name="page_146" id="page_146">{146}</a></span> builders, who wished, as the entrance +was a great improvement in the value of the Earl of Harrington’s +property at Kensington, to place, on the piers, two</p> + +<div class="figcenter" style="width: 189px;"> +<a href="images/ill_pg_146_lg.jpg"> +<img src="images/ill_pg_146_sml.jpg" width="189" height="435" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plans of Standard at various heights, showing +construction.</p></div> +</div> + +<p><span class="pagenum"><a name="page_147" id="page_147">{147}</a></span></p> + +<p class="nind">fine antique statues of Hercules then on the gates at Elvaston in +Derbyshire, a country seat of the Earl’s. But as the statues belonged to +the estate, and were entailed property, they could not be removed, and +the Earl objected to their being taken down for the purpose of casting. +The effect of the whole is much injured by the pedestals remaining +unoccupied. The plate on page 143 represents the centre of the ironwork, +surmounted by the Royal Arms.</p> + +<div class="figcenter" style="width: 126px;"> +<a href="images/ill_pg_147_lg.jpg"> +<img src="images/ill_pg_147_sml.jpg" width="126" height="205" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Iron block and ball latch.</p></div> +</div> + +<p>The gates and railing are of very superior construction; they are the +work of Mr. Turner, of Hinde Street, Manchester Square. They have been +pronounced by the Government officials as requiring little attention, +and that the gates open and shut better than any other gates in the +park. Page 144 gives an<span class="pagenum"><a name="page_148" id="page_148">{148}</a></span> elevation of one of the iron standards. Each is +two feet in width; there are ten of them; four, those belonging to the +carriage entrances, being surmounted by lamps. The small size of this +volume will not allow a full illustration of the ornamentation to be +given, but it admits that important part, the construction, to be +clearly shown. Page 145 gives a section of one of the standards, <i>d</i> is +a layer of concrete, 1 foot 6 inches in height and four feet in width, +which goes all through; <i>a</i> is the York landing, 6 inches thick and 5 +feet square; <i>b</i> is the brickwork, this goes all through; <i>c c</i> +represent the blocks of Portland stone; and <i>e</i> is the granite curb 8 +inches by 10 inches in section, within the entrances.</p> + +<div class="figcenter" style="width: 107px;"> +<a href="images/ill_pg_148_lg.jpg"> +<img src="images/ill_pg_148_sml.jpg" width="107" height="149" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Wheel block.</p></div> +</div> + +<p>Page 146 gives the plans of the standards at different heights, showing +the several plates given in the section; and on page 149 is a section of +the wrought-iron coupling-bar with its brass bush.<span class="pagenum"><a name="page_149" id="page_149">{149}</a></span></p> + +<p>The gates move on a hardened steel socket of circular form, working +within a steel box, as shown in the section.</p> + +<div class="figcenter" style="width: 250px;"> +<a href="images/ill_pg_149-a_lg.jpg"> +<img src="images/ill_pg_149-a_sml.jpg" width="250" height="230" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fall-down latch.</p></div> +</div> + +<div class="figcenter" style="width: 140px;"> +<a href="images/ill_pg_149-b_lg.jpg"> +<img src="images/ill_pg_149-b_sml.jpg" width="140" height="43" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Coupling-bar.</p></div> +</div> + +<p>Iron block and ball latches are provided for each of the gates. On pages +148 and 149 are cuts of the wheel block, with the plan, elevation, and +section of the stopping-piece or fall-down latch. The stopping-piece is +keyed into the granite curb in the centre of each gateway; <i>a a</i> is the +lower rail of gates, and by its side is a small portion of the ornament +between<span class="pagenum"><a name="page_150" id="page_150">{150}</a></span> the rails. That the effect of the whole structure was, very +much injured by the unfinished state of the pedestals was the opinion of +Lord Llanover, who sent the following letter to the architect, +expressing his dissatisfaction:</p> + +<div class="blockquot"><p class="r"> +Great Stanhope Street,<br /> +<i>July 11, 1859</i>. <br /> +</p> + +<p class="nind"> +<span class="smcap">Sir</span>,<br /> +</p> + +<p>The works at the Queen’s Gate, Hyde, Park, are very well executed, +and the entrance, as completed, produces a good effect; but that +effect would be materially improved if the gates and the railings, +and the ornamental works were relieved by colour, and some of the +parts gilt as I intended they should be. The two pedestals are also +without the groups which were to form the superstructure of the +square blocks. The work so far as it is executed is very well +executed, and I am quite satisfied with it so far; but I shall not +consider it completed until the groups are placed on the pedestals, +and the best effect will not be produced so long as the iron-work +remains wholly black.</p> + +<p class="r"> +<span style="margin-right: 8em;">I am, Sir,</span><br /> + +<span style="margin-right: 3em;">Yours faithfully,</span><br /> + +<span class="smcap">Llanover</span>.<br /> +</p> + +<p class="nind"> +C. J. Richardson, Esq.<br /> +</p></div><p><span class="pagenum"><a name="page_151" id="page_151">{151}</a></span> + +<h2><a name="ON_THE_FOUNDATION_AND_BASEMENT_WALLS_OF_BUILDINGS_DAMP_PREVENTION_AND" id="ON_THE_FOUNDATION_AND_BASEMENT_WALLS_OF_BUILDINGS_DAMP_PREVENTION_AND"></a>ON THE FOUNDATION AND BASEMENT<br /> +WALLS OF BUILDINGS,<br /> + DAMP PREVENTION, AND<br /> +FIRE PROOF CONSTRUCTION.</h2> + +<p class="nind"><span class="letra">T</span>HE foundations of buildings require careful consideration. When a house +approaches completion and shows cracks in the upper walls, they arise +either from insufficient attention having been given to the solid +character of the earth forming the site, or from bad construction at the +basement. The building in fact settles down unequally. As a settlement +of every building is certain to take place upon its completion, the +greatest precaution should be taken to make it as equable as possible. +No portion should settle deeper than another, and this can only be +secured by care at the foundations.</p> + +<p>It often happens that portions of a selected site are of unequal +quality. In such cases it is necessary to excavate the worst portions +deeper to reach a good stratum, and to take the brickwork lower, no +filling up beyond the usual thickness of concrete being allowed.</p> + +<p>There is another very serious evil, in building, to<span class="pagenum"><a name="page_152" id="page_152">{152}</a></span> be guarded against. +Owing to the moisture of the earth rising through the foundations and +saturating the walls above, the health of the occupants of such houses +may be seriously affected by its presence in the walls. About twenty +years ago it was the universal practice in good buildings to place wide +stone landings—three times the thickness of the wall above—under the +foundations, for the purpose of preventing the damp from rising as well +as to spread the width of the wall.</p> + +<div class="figcenter" style="width: 230px;"> +<a href="images/ill_pg_152_lg.jpg"> +<img src="images/ill_pg_152_sml.jpg" width="230" height="219" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of a proper foundation for a wall.</p></div> +</div> + +<p>A bed of concrete is now used as a substitute for this plan; the +engraving below shows the best method of constructing foundation walls. +A trench, three times the width of the wall is dug, at least 2 feet<span class="pagenum"><a name="page_153" id="page_153">{153}</a></span> 6 +inches in depth. Into this is thrown a quantity of concrete, which soon +dries and becomes solid. In the superior class of buildings a layer of +concrete, six inches in thickness, is placed entirely over the ground, +inside the foundation. Upon this concrete the walls are built, the +lowest footing being twice the width of the wall above. On a few courses +above the top footing a course called a “damp course” is put; this is +shown at <i>a</i>, page 152.</p> + +<p>Two courses of slate are laid in cement; but other materials are often +used, as a thin sheet of lead, for the whole width of the wall. Zinc +might answer, but it has not yet been tried. A thin coat of asphalte, or +asphalted cloth, tar, pitch, or a plain coat of cement are also often +employed, but the two courses of slate in cement are considered +sufficient. The first course of bricks above the ground is often formed +entirely of air bricks, originated by Mr. Aldin, the builder, of +Kensington. Each brick has eight or ten perforations, ½ inch in +diameter, through its whole length; a small piece of perforated zinc is +placed upright between the bricks to prevent insects from entering. This +is shown at <i>b</i>. The timbers and stone flooring of the basement do not +enter the walls, but rest upon dwarf walls, the joists having oak +sleepers to rest on. The brick fenders of the foundations are entirely +filled with dry rubbish or ironfounder’s ashes, and the stone hearths<span class="pagenum"><a name="page_154" id="page_154">{154}</a></span> +bedded solid either in mortar or concrete. This is the construction +shown in all the designs of this volume. To illustrate still further the +attention given in constructing foundations, the engraving below is +given, showing a section of a foundation executed several years ago at +Westminster, where the ground was uncertain. Its scale is only half that +of the previous figure, the upper wall being 3 feet in thickness</p> + +<div class="figcenter" style="width: 229px;"> +<a href="images/ill_pg_154_lg.jpg"> +<img src="images/ill_pg_154_sml.jpg" width="229" height="165" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of foundation to a wall.</p></div> +</div> + +<p class="nind">instead of 1 foot 6 inches. Above the bed of concrete, which is 9 feet +in breadth, by 3 feet in thickness, are York landings, <i>a</i>, 4 inches +thick and exceeding 6 feet in width. Upon these are laid two lines of +wood sleepers, <i>b</i>, bedded in brick and cement, the size of each sleeper +being 12 by 6 inches, and in long lengths. Above this is a course of +planking, <i>c</i>, placed diagonally across the wall; each plank being 12 +inches by 6 inches, and about 9 feet in length.<span class="pagenum"><a name="page_155" id="page_155">{155}</a></span> Above this are the +footings, each two courses in height: in the return walls the landings, +sleepers, and planking are placed a course higher, so that they might be +tied together. The brickwork goes down twelve feet, and invert arches +are turned at every opening.</p> + +<div class="figcenter" style="width: 150px;"> +<a href="images/ill_pg_155_lg.jpg"> +<img src="images/ill_pg_155_sml.jpg" width="150" height="162" alt="[Image unavailable.]" /></a> +</div> + +<p>In order to keep the walls as solid as possible in the lower part of a +building, the ground floor joisting should rest on projecting corbel +bricks as here shown,—the joists going between the cross walls rest +upon projecting bricks, the upper one being of peculiar strength; tall +piles are put between each joist against the wall, for the skirting in +cement to be formed upon it. Air bricks in open iron-work, two to each +front, are placed so as to admit air within the joisting.</p> + +<p>This mode of construction is carried throughout the ground floor.<span class="pagenum"><a name="page_156" id="page_156">{156}</a></span></p> + +<p>The stone landing of the passage by the side of the servants’ stairs, is +supported on the part next the wall by corbel bricks, and on the other +side by an iron bar let into the wall at each end; as shown above. In +the upper floor, the joisting should be reversed and go front to back, +notched on wall plates let into the wall, thus tying both walls +together.</p> + +<div class="figcenter" style="width: 195px;"> +<a href="images/ill_pg_156-a_lg.jpg"> +<img src="images/ill_pg_156-a_sml.jpg" width="195" height="60" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of stone landing of passage.</p></div> +</div> + +<div class="figcenter" style="width: 271px;"> +<a href="images/ill_pg_156-b_lg.jpg"> +<img src="images/ill_pg_156-b_sml.jpg" width="271" height="131" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of kitchen roofing.</p></div> +</div> + +<p>The introduction of rolled iron girders into buildings renders fireproof +construction very easy. They are made of all sizes, and can be placed +over any opening, so as to carry the weight above them. Kitchens in many +London houses are constructed in the back yards, with an area between +them and the house. This confines all the smell of the cooking to<span class="pagenum"><a name="page_157" id="page_157">{157}</a></span> the +precincts of the kitchen. As it is very important that no roofing should +interrupt the light from the back ground-windows of the house, the roof +of the kitchen is so constructed that the yard is only moved upwards; it +belongs to the ground floor and not to the basement. For this purpose, +cast iron girders, standing on brick piers, bear up rolled iron six-inch +girders, between which half-brick arches are turned. Above all these is +concrete, cement, or asphalte. The courses of tiles and cement are laid +at such a slope as will be sufficient to take the water off quickly. It +is easy to put skylights, or any kind of opening, in this construction, +and to make the whole water-tight.</p> + +<p>This figure shows a way of supporting walls over openings, instead of +the old method of arching in brick; the iron girders or plates have +often no timber between them; they rest upon iron shoes or stone slabs, +their depth being proportioned to the opening and the weight above. +Strong large hollow bricks or tiles are placed over them, and above all +is the brickwork.</p> + +<div class="figright" style="width: 56px;"> +<a href="images/ill_pg_157_lg.jpg"> +<img src="images/ill_pg_157_sml.jpg" width="56" height="135" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Support over opening.</p></div> +</div> + +<p>The upper floors of buildings are made fire-proof in a similar manner, +and for this purpose there are several excellent patented methods. The +iron girders are closed up by brick arches, or filled between with<span class="pagenum"><a name="page_158" id="page_158">{158}</a></span> +concrete. The only objection to this mode of construction for upper +floors is the great weight, and the walls require to be made of extra +strength. Several years ago a hollow brick was used to form such arches +and roofing, <i>e.g.</i>, the dome of the Rotunda, at the Bank of England, is +formed with them. The brick is somewhat similar to a flowerpot, but flat +and closed at each end. There were several varieties of these cone +bricks, as they were called; a few are preserved in the Soane Museum. +One sort was 7½ inches in height, 4⅛ by 2⅜ inches at the top, and 3-2/8 +by 2 inches at the bottom. They were curved inwards with a small +opening, 1 by 2/8 inch in the centre. The edges of the brick were +slightly splayed, and the sides scored; these were as strong as the +common bricks, and very much lighter. When the East India House was +pulled down a large quantity of these bricks was obtained; they were +brought to Kensington, and the builders did not know what they were +intended for; their purpose being pointed out, they were used up in the +construction of fire-proof flooring.</p> + +<p><i>Fire-proofing.</i>—A method of rendering buildings nearly fire-proof was +introduced about 1770 by Mr. David Hartley, M.P. for Hull. It consisted +in placing thin metal plates between the flooring boards and the joists, +so as to prevent any upward currents of air. For domestic buildings the +system was one of<span class="pagenum"><a name="page_159" id="page_159">{159}</a></span> great value. After several successful trials it +obtained considerable notoriety, and being thought capable of an +impossibility, that of rendering a Theatre fireproof, it was applied to +the Pantheon Theatre in Oxford Street. On that structure being burnt to +the ground the plates lost their character, and went out of use. It was +clearly a mistake to apply them to such a building. Thin iron plates +hung at a short distance below the ceiling were successfully adopted by +Mr. Walter Crum, to prevent the spread of fire from one room to another +in his calico printing works, near Glasgow.</p> + +<p><i>Damp.</i>—The damp rising from foundations is more easily guarded against +than damp coming against a building laterally. Houses in exposed +situations and subject to driving winds, are often very wet inside the +walls, the rain being driven through them. Sometimes the best +construction will not keep out wet. As a rule, a well-built wall wherein +proper material has been used, should not be damp.</p> + +<p>A rectory, not far from Salisbury, where the author was engaged a few +years ago, was in such an exposed situation that on three of its sides +no tree or any other object in a direct line could be seen for three +miles. Clothes, if placed against the external wall of the +dressing-room, were often quite wet. The Rector had tried several +preventives himself; one<span class="pagenum"><a name="page_160" id="page_160">{160}</a></span> was a mixture, used to water-proof cloth—a +wash of soap and alum.</p> + +<p>The ingredients were mixed in the following proportions: ¾ lb. of +mottled soap to 1 gallon of water. This mixture, when in a boiling +state, was laid over the surface of the brickwork steadily and carefully +with a large flat brush, so as not to form a froth or lather on the +surface, and was permitted to remain twenty-four hours to become dry and +hard. Another mixture was then made in these proportions: ½ lb. of alum +to 4 gallons of water, which, after standing twelve hours, in order that +the alum should be completely dissolved, was applied in like manner with +a flat brush over the coating of soap. The coating had to be very often +renewed. The wall most exposed was made free from wet by being covered +with a coating of cement.</p> + +<p>Walls exposed to damp should be coated with a thin layer of Portland +cement, mixed with a little plaster of Paris, and after this is +thoroughly dry, it may be hardened and rendered impervious to water by +painting it with boiled linseed oil and red lead, mixed together.</p> + +<p>In very exposed situations all external walls should be battened, lath +and plastered within, or built with a hollow cavity in the middle, with +proper bond and a proportionate increase of thickness,—the hollow +could<span class="pagenum"><a name="page_161" id="page_161">{161}</a></span> be filled with concrete, or the back of the bricks covered with +pitch. There are several other methods for keeping walls free from damp. +One is to saturate the walls with some kind of mastic, or a wash +composed of two or three parts of resin and one part of drying oil, to +the extent of as many washes as the wall will absorb. This must be quite +dry at the time, or be dried by means of a small portable furnace. The +plan is effectual, but it is a difficult operation to perform. A cement +composed of lime, boiled linseed oil, white lead, and sand, has been +recommended.</p> + +<p>Besides these various compositions, there are several excellent +well-known paint and metallic cements, which have stood very severe +tests, and are largely made use of; but walls properly constructed +should not require their application.</p> + +<div class="figcenter" style="width: 163px;"> +<a href="images/ill_pg_161_lg.jpg"> +<img src="images/ill_pg_161_sml.jpg" width="163" height="106" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plaster ornament for a ceiling.</p></div> +</div> + +<p><span class="pagenum"><a name="page_162" id="page_162">{162}</a></span></p> + +<h2><a name="DESIGN_No_14" id="DESIGN_No_14"></a><i>DESIGN No. 14.</i><br /><br /> +A SMALL COUNTRY RECTORY.</h2> + +<div class="figcenter" style="width: 374px;"> +<a href="images/ill_pg_162_lg.jpg"> +<img src="images/ill_pg_162_sml.jpg" width="374" height="329" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<p><span class="pagenum"><a name="page_163" id="page_163">{163}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design was made for a country clergyman residing near Montacute, in +Somersetshire. It was arranged according to his express directions in +every particular, both as to style, and in regard to the number and size +of the rooms on each floor. Living in the immediate neighbourhood of +some of the finest</p> + +<div class="figcenter" style="width: 275px;"> +<a href="images/ill_pg_163_lg.jpg"> +<img src="images/ill_pg_163_sml.jpg" width="275" height="224" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">old English mansions, he was anxious to have a residence in the old +decorated style of wooden architecture, certainly the most picturesque +of all the styles our forefathers have left us. The timber dwelling is +found in almost every county throughout England, with their projecting +windows and highly ornamented bargeboards; several large houses in +Cheshire and<span class="pagenum"><a name="page_164" id="page_164">{164}</a></span> Shropshire remain to satisfy us that such construction, +when properly carried out, is very lasting. The timber used requires to +be felled at the right time, and to be properly seasoned before being +placed up; which must be done on a brick or stone foundation. Dwellings +constructed in this way were anciently</p> + +<div class="figcenter" style="width: 263px;"> +<a href="images/ill_pg_164_lg.jpg"> +<img src="images/ill_pg_164_sml.jpg" width="263" height="225" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of upper floor.</p></div> +</div> + +<p class="nind">called post-and-pan houses. They have been known to rock and bend before +severe storms, and to stand intact while adjoining buildings have been +blown down. Large palaces were formerly constructed in England of wood; +the chimney flues and fireplaces alone being of brick. The sketch-book +of John Thorpe, an Elizabethan architect, a copy of which is<span class="pagenum"><a name="page_165" id="page_165">{165}</a></span> in the +fine library of the Art Museum of South Kensington, illustrates several +of these dwellings.</p> + +<p>With the present design it was the intention of the rector to carry out +the work himself, the necessary drawings being provided him. The +building is small and compact. When much adornment is intended, it is +necessary to confine the expense within</p> + +<div class="figcenter" style="width: 125px;"> +<a href="images/ill_pg_165_lg.jpg"> +<img src="images/ill_pg_165_sml.jpg" width="125" height="209" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ornament in ceiling of study.</p></div> +</div> + +<p class="nind">bounds; if a cheap large house with plenty of accommodation be required, +then four walls and an overhanging roof alone need be given. The view +shows the principal front of the building; on page 163 is the ground +plan; <i>a</i> is a small hall having a window looking into the conservatory +on the right; the door leading to the servants’ department is on the +left;<span class="pagenum"><a name="page_166" id="page_166">{166}</a></span> <i>c</i> is a small study, 16 ft. by 14 ft., with a decorated ceiling, +containing the shield of arms of the owner. The drawing-room, <i>d</i>, size +28 ft. by 15 ft, has the</p> + +<div class="figcenter" style="width: 243px;"> +<a href="images/ill_pg_166-a_lg.jpg"> +<img src="images/ill_pg_166-a_sml.jpg" width="243" height="199" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The ceiling of drawing-room.</p></div> +</div> + +<p class="nind">ornamental ceiling of bold Elizabethan character; this covers the whole +ceiling, and the effect of such ornamentation</p> + +<div class="figcenter" style="width: 164px;"> +<a href="images/ill_pg_166-b_lg.jpg"> +<img src="images/ill_pg_166-b_sml.jpg" width="164" height="101" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cornice of drawing-room.</p></div> +</div> + +<p class="nind">is very good. Often, in the olden times, a portion of the rib moulding +was gilt, the ground of the ceiling being of a light blue; ceilings of +this kind<span class="pagenum"><a name="page_167" id="page_167">{167}</a></span> exist which represent foliage and flowers, giving the effect +of a garden bower. The preceding illustration shows the present ceiling. +The simple rib moulding is in plaster, with small flowers and pendants. +The section of the rib moulding to a large scale is shown in the cut; +which also gives the cornice and frieze of the room; <i>e</i>, in the ground +plan, is the dining-room, 16 ft. by 12 ft., this opens on to a terrace +paved with</p> + +<div class="figcenter" style="width: 307px;"> +<a href="images/ill_pg_167_lg.jpg"> +<img src="images/ill_pg_167_sml.jpg" width="307" height="152" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of attic. Basement plan.</p></div> +</div> + +<p class="nind">marble in black and white squares—the present ornamental tiles were not +in common use at the time the design was made; <i>f</i> is the kitchen, <i>g</i> +the scullery, and <i>h</i> the larder. A small enclosed servants’ yard, with +place for coals, wood, and other conveniences, is in front of the +kitchen. The yard has a separate entrance from the front. This is the +whole of the accommodation given on the ground floor. The one-pair plan +shows the five bedrooms. These are<span class="pagenum"><a name="page_168" id="page_168">{168}</a></span> without dressing-rooms, there being +no space for them. A small turret staircase leads to the attic floor. +This gives two large bedrooms and a small one for the</p> + +<div class="figcenter" style="width: 340px;"> +<a href="images/ill_pg_168_lg.jpg"> +<img src="images/ill_pg_168_sml.jpg" width="340" height="371" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through building.</p></div> +</div> + +<p class="nind">servants. The large bow-windowed room might serve as a nursery. The +tower was carried up and contained a bell. The basement plan contains a +large<span class="pagenum"><a name="page_169" id="page_169">{169}</a></span> and small wine cellar, and one also for beer; there are four +cellars, besides an inner cellar under the stairs.</p> + +<div class="figcenter" style="width: 355px;"> +<a href="images/ill_pg_169_lg.jpg"> +<img src="images/ill_pg_169_sml.jpg" width="355" height="328" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation.</p></div> +</div> + +<p>The principal staircase is very light and cheerful, having on one side +three large windows, with a ledge or stand for flowers. It was proposed +to panel it entirely with oak, and have an ornamental ceiling similar to +that in the drawing-room, with a pendant<span class="pagenum"><a name="page_170" id="page_170">{170}</a></span> in the centre. The section is +taken through the drawing-room, staircase, and kitchen, and shows the +form and height of the rooms above; also the stone stairs to the +cellars.</p> + +<div class="figcenter" style="width: 357px;"> +<a href="images/ill_pg_170_lg.jpg"> +<img src="images/ill_pg_170_sml.jpg" width="357" height="261" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Details of gable ornaments.</p></div> +</div> + +<p>It will be seen that the walls rest upon a concrete foundation; the +scale is too small to show the damp course or the ventilating bricks, as +previously described (see page 159). The chimneys are shown carried up +nine inches square, excepting the kitchen chimney, that being 14 inches +by 9. The staircase was to have a plain Elizabethan iron railing, and +the whole of the<span class="pagenum"><a name="page_171" id="page_171">{171}</a></span> wood-work to be coloured and grained oak; the roof was +to be covered with slate, these requiring a less solid base; ornamental +ironwork crowned the summit of the principal roof over the staircase. An +illustration of the front of the building is given on page 169.</p> + +<div class="figcenter" style="width: 173px;"> +<a href="images/ill_pg_171_lg.jpg"> +<img src="images/ill_pg_171_sml.jpg" width="173" height="207" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section and elevation of chimney.</p></div> +</div> + +<p>The figures on page 170 illustrate various kinds of treatment for the +carving of the finials and pendants, and the ornaments of the small +gables; it being usual in these structures not to have any two parts of +ornamental detail exactly alike. It has all to be carved by hand, and +requires only slight extra trouble on the part of the architect to make +separate patterns for the workmen. A section and elevation of one of the +chimneys<span class="pagenum"><a name="page_172" id="page_172">{172}</a></span> are shown also; they are fitted with the small cap introduced +and used so extensively by the late Mr. Thomas Cubitt, at Belgravia and +Pimlico; this will</p> + +<div class="figcenter" style="width: 213px;"> +<a href="images/ill_pg_172-a_lg.jpg"> +<img src="images/ill_pg_172-a_sml.jpg" width="213" height="118" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Knocker. +</p></td><td> </td> +<td> +<p> +Key escutcheons. +</p></td></tr> +</table> +</div></div> + +<div class="figcenter" style="width: 153px;"> +<a href="images/ill_pg_172-b_lg.jpg"> +<img src="images/ill_pg_172-b_sml.jpg" width="153" height="230" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Oak corbel.</p></div> +</div> + +<p class="nind">be found fully illustrated in the chapter on chimney and flue +construction. At the time this design was<span class="pagenum"><a name="page_173" id="page_173">{173}</a></span> made, this plan was not +known. The chimney is shown with an iron funnel 2 feet in height, a +chimney-pot, in fact, let into the stone work at top, having no +projection within for soot to lodge. Two of the stone balustrades are +illustrated. Every separate balustrade in such buildings should be of a +different pattern.</p> + +<div class="figcenter" style="width: 306px;"> +<a href="images/ill_pg_173-a_lg.jpg"> +<img src="images/ill_pg_173-a_sml.jpg" width="306" height="56" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Stone balustrades.</p></div> +</div> + +<p>The knocker on the entrance door, the key, escutcheons for the doors, +and a corbel in oak from the entrance front, are illustrated on page +172.</p> + +<div class="figcenter" style="width: 218px;"> +<a href="images/ill_pg_173-b_lg.jpg"> +<img src="images/ill_pg_173-b_sml.jpg" width="218" height="113" alt="[Image unavailable.]" /></a> +<div class="caption"><p>An external frieze.</p></div> +</div> + +<p><span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p> + +<h2><a name="DESIGN_No_15" id="DESIGN_No_15"></a><i>DESIGN No. 15.</i><br /><br /> +A SMALL COUNTRY HOUSE.</h2> + +<div class="figcenter" style="width: 332px;"> +<a href="images/ill_pg_174_lg.jpg"> +<img src="images/ill_pg_174_sml.jpg" width="332" height="241" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The front elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_175" id="page_175">{175}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS building was intended to be only a comfortable country house for +the residence of an eminent provincial solicitor. It was directed to be +made of superior character, as the owner, being a person well known in +the county, considered that the</p> + +<div class="figcenter" style="width: 329px;"> +<a href="images/ill_pg_175_lg.jpg"> +<img src="images/ill_pg_175_sml.jpg" width="329" height="252" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The ground plan.</p></div> +</div> + +<p class="nind">eyes of the whole neighbourhood would be upon it. The situation was on +one of the roads leading out of Maidstone, and as the land in which it +was to stand was taken on lease for 99 years, nothing beyond a superior +gentlemanly character could be given to it, as it is only in freehold +houses that any superior or ex<span class="pagenum"><a name="page_176" id="page_176">{176}</a></span>pensive architectural adornment should be +indulged in. The Roman or Italian style, as being the most appropriate +and the one best understood by builders, was adopted.</p> + +<div class="figcenter" style="width: 237px;"> +<a href="images/ill_pg_176_lg.jpg"> +<img src="images/ill_pg_176_sml.jpg" width="237" height="212" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The plan of the upper floor.</p></div> +</div> + +<p>The front of the house had no prospect, the side of the road opposite to +it showing only a high bank with boulders of ragstone, peculiar to the +county of Kent; and for this reason none of the principal windows looked +towards it. The back-front and side, however, turned towards the hills +between Maidstone and Rochester. Very precise directions were given as +to the arrangement, size, height, and number of the rooms. The study, +<i>c</i>, was to be on the left of the entrance-hall,<span class="pagenum"><a name="page_177" id="page_177">{177}</a></span> and its size 16 feet +by 12 feet. It was made 16 feet square. The drawing-room, <i>d</i>, having +the chief prospect, was to be the principal room. This was made 20 feet +by 17 feet. The dining-room, <i>e</i>, was 20 feet by 16 feet; both rooms +looked into conservatories, <i>i</i> <i>i</i>. The back front faced the north—a +very favourite aspect for the principal rooms with many of the noblemen +and gentlemen of Kent; the reason being that the flowers in the gardens +under the windows, turning towards the sun, present a cheerful and +agreeable appearance to the occupants of the rooms.</p> + +<div class="figcenter" style="width: 255px;"> +<a href="images/ill_pg_177_lg.jpg"> +<img src="images/ill_pg_177_sml.jpg" width="255" height="196" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Plan of second floor. +</p></td><td> </td> +<td> +<p>Plan of basement floor. +</p></td></tr> +</table> +</div></div> + +<p>The dining-room had steps leading down to the garden; the kitchen <i>b</i>, +scullery <i>g</i>, and small larder <i>h</i>, were on the right of the entrance, +the kitchen and the study having small windows by the side of the +entrance,<span class="pagenum"><a name="page_178" id="page_178">{178}</a></span> so that all visitors coming to the house might be seen. The +servants’ door was in the small yard by the side of kitchen, with a +place for coals; <i>o</i> is a small chaise-house, and <i>p</i> a stable for a +pony; <i>l</i> is the dust-hole.</p> + +<div class="figcenter" style="width: 193px;"> +<a href="images/ill_pg_178-a_lg.jpg"> +<img src="images/ill_pg_178-a_sml.jpg" width="193" height="90" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Frieze of drawing-room.</p></div> +</div> + +<div class="figcenter" style="width: 173px;"> +<a href="images/ill_pg_178-c_lg.jpg"> +<img src="images/ill_pg_178-c_sml.jpg" width="173" height="78" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Frieze of dining-room.</p></div> +</div> + +<div class="figleft"> +<a href="images/ill_pg_178-b_lg.jpg"> +<img src="images/ill_pg_178-b_sml.jpg" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of cement skirtings.</p></div> +</div> + +<p>The upper floor had to contain five best bedrooms; these can be seen in +the plan. Their sizes were 17 feet by 12 feet, and 16 feet by 10 feet. +There were three dressing-rooms, the largest 12 feet by 10, the two +smaller each 12 feet 6 inches by 6 feet. The second floor contained two +rooms for servants, one 16 feet by 10 feet, the other 12 feet by 10 +feet. The basement had a footman’s pantry,<span class="pagenum"><a name="page_179" id="page_179">{179}</a></span> 12 feet by 9 feet 6 inches, +and a dairy of the same size. This had steps down to it in the area. +There was a wet larder with a window, a wine cellar, and a beer cellar.</p> + +<div class="figcenter" style="width: 365px;"> +<a href="images/ill_pg_179_lg.jpg"> +<img src="images/ill_pg_179_sml.jpg" width="365" height="321" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through entrance-hall and dining-room.</p></div> +</div> + +<p>The interior was plainly finished, with nothing beyond the best modern +enrichments. The whole of the interior had Keen’s cement skirtings. The +staircase had a skirting flush with the wall, so as not to take away +space from the stairs; this is shown at<span class="pagenum"><a name="page_180" id="page_180">{180}</a></span> page 178. There were ornamental +roses in the centre of the ceilings of the principal rooms. The section +of the interior is made through the principal entrance, across the +staircase and dining-room; and in the upper floor, through two of the +dressing-rooms.</p> + +<div class="figcenter" style="width: 282px;"> +<a href="images/ill_pg_180_lg.jpg"> +<img src="images/ill_pg_180_sml.jpg" width="282" height="364" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of portico.</p></div> +</div> + +<p>The only architectural feature in the front of any<span class="pagenum"><a name="page_181" id="page_181">{181}</a></span> importance was the +portico (see page 180). A bold and prominent effect was given to it. The +estimated expense of the building was 2151<i>l.</i>, full price put down as +2250<i>l.</i></p> + +<p class="spc1"> </p> + +<p>The vignette is an elevation of an Elizabethan balustrade, in stone, +intended to crown a cornice, and to be placed in an elevated position +against the sky line.</p> + +<div class="figcenter" style="width: 348px;"> +<a href="images/ill_pg_181_lg.jpg"> +<img src="images/ill_pg_181_sml.jpg" width="348" height="224" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_182" id="page_182">{182}</a></span></p> + +<h2><a name="DESIGN_No_16" id="DESIGN_No_16"></a><i>DESIGN No. 16.</i><br /><br /> +A COUNTRY VILLA.</h2> + +<div class="figcenter" style="width: 361px;"> +<a href="images/ill_pg_182_lg.jpg"> +<img src="images/ill_pg_182_sml.jpg" width="361" height="237" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS villa, which has just been erected in Berkshire, in the +neighbourhood of Windsor, is intended as the country residence for a +lady of rank. The living rooms are large and noble, and the +accommodation</p> + +<div class="figcenter" style="width: 341px;"> +<a href="images/ill_pg_183_lg.jpg"> +<img src="images/ill_pg_183_sml.jpg" width="341" height="305" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of ground floor.</p></div> +</div> + +<p class="nind">for a small establishment ample. The plate (page 182) shows the garden +front, and above is the ground plan. The two principal rooms, the +drawing and dining-rooms, are respectively 25 feet by 18 feet and 21 +feet by 18 feet. They are to the left of the hall;<span class="pagenum"><a name="page_184" id="page_184">{184}</a></span> this, of moderate +size, leads to the principal staircase, which is of very easy ascent, +each step rising less than</p> + +<div class="figcenter" style="width: 260px;"> +<a href="images/ill_pg_184a_lg.jpg"> +<img src="images/ill_pg_184a_sml.jpg" width="260" height="259" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of upper story.</p></div> +</div> + +<p>6 inches. The second landing opens to the servants’ staircase; <i>b</i> (see +page 183) is the kitchen, size 15 feet</p> + +<div class="figleft" style="width: 58px;"> +<a href="images/ill_pg_184-b_lg.jpg"> +<img src="images/ill_pg_184-b_sml.jpg" width="58" height="65" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of wine cellar.</p></div> +</div> + +<p class="nind">by 14 feet, with the larder <i>h</i>, leading directly out of it,—<i>g</i> is the +scullery, with an oven, and a shoot into the dustpit <i>m</i>, <i>n</i> is the +housekeeper’s room, and <i>j</i> the butler’s pantry; <i>c</i> is the lady’s room +or study. This was enlarged, by taking down the partition, marked on<span class="pagenum"><a name="page_185" id="page_185">{185}</a></span> +the plan by the dotted lines, to allow of a splendid oak cabinet being +placed there. A door in the room opens direct into that of the +housekeeper; <i>k</i> is the dairy,</p> + +<div class="figcenter" style="width: 458px;"> +<a href="images/ill_pg_185_lg.jpg"> +<img src="images/ill_pg_185_sml.jpg" width="458" height="289" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through drawing-room, staircase, and kitchen.</p></div> +</div> + +<p><span class="pagenum"><a name="page_186" id="page_186">{186}</a></span></p> + +<p class="nind">and <i>l</i> a place for coals. The wine cellar was at first intended to be +placed under the principal flight of stairs, descending a few steps; but +a large one, <i>b</i> (see page 184), was afterwards made.</p> + +<div class="figcenter" style="width: 260px;"> +<a href="images/ill_pg_186_lg.jpg"> +<img src="images/ill_pg_186_sml.jpg" width="260" height="207" alt="[Image unavailable.]" /></a> +<div class="caption"><p>French cut pine woodwork, from the exterior.</p></div> +</div> + +<p>The plan of the upper story shows it containing two large principal +bedchambers—each with a dressing-room, and a large room with two +fireplaces serving as a nursery, but which could at any time be made +into two rooms by putting up partitions.</p> + +<p>The servants’ sleeping apartments, the housemaid’s closet, and the +servants’ staircase, occupy the remaining portion of the plan.</p> + +<p>The cost of erecting the carcase of the building, including the wine +cellar, was 1108<i>l.</i> The cost of finishing, putting up the principal +staircase in Portland<span class="pagenum"><a name="page_187" id="page_187">{187}</a></span></p> + +<div class="figright" style="width: 183px;"> +<a href="images/ill_pg_187_lg.jpg"> +<img src="images/ill_pg_187_sml.jpg" width="183" height="295" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan and elevation of iron glazed casement to +entrance-door.</p></div> +</div> + +<p class="nind">stone, and leaving all work required to be painted with two coats, but +exclusive of papering, stoves, ironwork, marble mantelpieces, +conservatory, verandah and exterior decorations to roof, was 1550<i>l.</i> +Mr. Hockley, of Kensington, was the builder. When the mansion was +finished so far, all ornamentations, &c., formed an agreeable occupation +for the lady to complete from favourite examples seen by her on the +Continent. The extra parquet flooring in the dining and drawing-rooms is +from Switzerland. This cost 148<i>l.</i> All the stone flooring of the hall, +staircase, passages, and conservatory, is covered with tiles from Italy; +these are about 8 inches square, but not so well made as the English +kind, although more artistic. Each has a small figure put in by hand, +which is different<span class="pagenum"><a name="page_188" id="page_188">{188}</a></span> on every tile. The tiles are faced with a white +china ground and look extremely well. The common tiles cost 16<i>s.</i> per +100. The grotesque figured tiles,</p> + +<div class="figcenter" style="width: 239px;"> +<a href="images/ill_pg_188_lg.jpg"> +<img src="images/ill_pg_188_sml.jpg" width="239" height="364" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan and view of remains of old house.</p></div> +</div> + +<p class="nind">of which the illustration on page 189 shows four, cost 2<i>l.</i> per 100. +They were supplied by M. Giustiniani, of Naples. The marble +chimney-pieces were<span class="pagenum"><a name="page_189" id="page_189">{189}</a></span> to be supplied from Italy. The ironwork of the +staircases, and the panel to fill up the opening in staircase, shown +dotted in the upper plan, were supplied from Paris. It is different from +any ironwork that can be procured here, of elegant design, and covered +apparently with a thin coat of zinc. This gives it a silvery metallic +appearance, and it does not require</p> + +<div class="figcenter" style="width: 191px;"> +<a href="images/ill_pg_189_lg.jpg"> +<img src="images/ill_pg_189_sml.jpg" width="191" height="189" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Four of the Italian figured tiles.</p></div> +</div> + +<p class="nind">painting; it is really a coating of glass, and is termed the <i>lavenant</i> +process. It it said to be a great preservative of the iron, and can be +put on in different colours. Each of the windows of the principal rooms, +and the hall, is fitted within with Price’s steel revolving shutters. +These cost 75<i>l.</i> The upper windows on the outside have iron balconets, +likewise from France, and the roof, surrounding the principal parts,<span class="pagenum"><a name="page_190" id="page_190">{190}</a></span> is +finished with the French cut pine patterns. They were supplied by M. +Jules Millet, of 12, Boulevard du Temple. The entrance door has the two +upper panels</p> + +<div class="figcenter" style="width: 235px;"> +<a href="images/ill_pg_190_lg.jpg"> +<img src="images/ill_pg_190_sml.jpg" width="235" height="376" alt="[Image unavailable.]" /></a> +<div class="caption"><p>French iron staircase railing.</p></div> +</div> + +<p class="nind">filled with French castings, executed in a fashion different from the +English mode; but one quite worthy to be followed. The iron panel is +placed on<span class="pagenum"><a name="page_191" id="page_191">{191}</a></span> the outside, with a light iron glazed casement fitted behind +it. This in warm weather can be opened, so as to admit fresh air into +the hall. The plan and elevation of the casement shown from the inside, +on page 187; by the side of it is one quarter of the external iron +casting.</p> + +<p>It may be remarked that these French patterns, both in iron and wood, +are not finished off as clean as they would be in England. The castings +appear just as they came out of the sand, and the wood pattern exactly +as the machines or saw left them; but they are extremely elegant, and +the metallic appearance of the ironwork is very pleasing.</p> + +<p>The former house is pulled down, except a portion, permitted to remain, +which is formed into a decorative building for the garden; the plan +(page 188) shows <i>a</i> the old kitchen, <i>b</i> the wine cellar made into an +ice-house, <i>d</i> a lock-up closet, <i>f</i> a prospect tower, <i>c</i> a closet in a +small enclosed garden, and <i>e</i>, a garden seat.</p> + +<p>On page 190 is a pattern sent from Paris for the staircase railing.</p> + +<div class="figcenter" style="width: 195px;"> +<a href="images/ill_pg_191_lg.jpg"> +<img src="images/ill_pg_191_sml.jpg" width="195" height="45" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_192" id="page_192">{192}</a></span></p> + +<h2><a name="DESIGN_No_17" id="DESIGN_No_17"></a><i>DESIGN No. 17.</i><br /><br /> +A DOUBLE SUBURBAN VILLA.</h2> + +<div class="figcenter" style="width: 477px;"> +<a href="images/ill_pg_192_lg.jpg"> +<img src="images/ill_pg_192_sml.jpg" width="477" height="377" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS building was intended for erection on a leasehold estate at a +little distance out of London. It would have been of rather plainer +character, but the view (page 192) shows the design first made. The +frontage, or width of ground for each house, was</p> + +<div class="figcenter" style="width: 291px;"> +<a href="images/ill_pg_193_lg.jpg"> +<img src="images/ill_pg_193_sml.jpg" width="291" height="282" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground-floor plan.</p></div> +</div> + +<p>60 feet, the depth 150 feet. The character of the building was of the +domestic style of the reign of Henry VII., and the accommodation it +afforded is given in the several plans. The ground plan shows two large +rooms <i>D</i> and <i>E</i>, the drawing and dining rooms, which can easily be +opened into each other by<span class="pagenum"><a name="page_194" id="page_194">{194}</a></span> sliding back the inner doors into the +partition; <i>C</i> is the library, with a book-room leading out of it. <i>B</i> +is the staircase, of a size rather larger than that generally allowed in +London houses. Very often, sufficient attention is not paid to this +highly important part of our dwellings by builders, nor full space +allowed for it. A</p> + +<div class="figcenter" style="width: 287px;"> +<a href="images/ill_pg_194_lg.jpg"> +<img src="images/ill_pg_194_sml.jpg" width="287" height="257" alt="[Image unavailable.]" /></a> +<div class="caption"><p>One-pair plan.</p></div> +</div> + +<p class="nind">good staircase should have, at every six or seven steps, a landing of at +least 2 feet 6 inches in depth. Where winding stairs are used they +should have a good sweep; the tread, in the centre, should be 1 foot in +width, the riser never more than 6 inches in height—less even would be +better. It is also of considerable importance<span class="pagenum"><a name="page_195" id="page_195">{195}</a></span> in a staircase that the +height of the steps in the various flights should be the same. Some of +the most costly and important of the builders’ houses in London, erected +on highly rented land, have the staircases so confined that these, an +architect’s well-known rules, are wholly put aside. Staircases with +risers of 6 inches in height from the ground to the one-pair floor, +increased to near 7 inches to the two-pair, the latter flight containing +probably 30 steps in a straight line without a landing, render a house +almost uninhabitable.</p> + +<div class="figcenter" style="width: 273px;"> +<a href="images/ill_pg_195_lg.jpg"> +<img src="images/ill_pg_195_sml.jpg" width="273" height="264" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Attic plan.</p></div> +</div> + +<p>A servants’ staircase is a most desirable addition to<span class="pagenum"><a name="page_196" id="page_196">{196}</a></span> a large house. +The present building was not considered of sufficient importance to have +one. It was proposed to be placed between the tower and the dining-room, +but it was rightly considered that the two staircases should be put +together so that the</p> + +<div class="figcenter" style="width: 284px;"> +<a href="images/ill_pg_196_lg.jpg"> +<img src="images/ill_pg_196_sml.jpg" width="284" height="280" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Basement plan.</p></div> +</div> + +<p class="nind">landings of each, on every half space, should be on the same level, +separated only by a door, and giving the servant immediate access to +every floor of the house. A position between the library and staircase +would have been most proper, but there was not sufficient width; it +would have interfered with the<span class="pagenum"><a name="page_197" id="page_197">{197}</a></span> kitchen, and would have made too +intricate a plan, which, for houses to be erected on leasehold land, is +objected to by builders unless directed by the party purchasing.</p> + +<div class="figcenter" style="width: 185px;"> +<a href="images/ill_pg_197-a_lg.jpg"> +<img src="images/ill_pg_197-a_sml.jpg" width="185" height="143" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of roof to larder.</p> +</div> +</div> + +<div class="figcenter" style="width: 190px;"> +<a href="images/ill_pg_197-b_lg.jpg"> +<img src="images/ill_pg_197-b_sml.jpg" width="190" height="207" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of steps to garden.</p></div> +</div> + +<p>With a servants’ staircase follow a large housemaid’s closet, sink, &c., +which must always be provided where<span class="pagenum"><a name="page_198" id="page_198">{198}</a></span> possible. The plan of the one-pair +shows three large bedrooms and one dressing-room, with the tower room, +which was intended either for a morning room, a</p> + +<div class="figcenter" style="width: 330px;"> +<a href="images/ill_pg_198_lg.jpg"> +<img src="images/ill_pg_198_sml.jpg" width="330" height="365" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The side elevation.</p></div> +</div> + +<p class="nind">school room, or a boudoir. There is a large conservatory on the +principal landing of staircase, and a closet leading out of it. A +good-sized aquarium with a<span class="pagenum"><a name="page_199" id="page_199">{199}</a></span> regular supply of water could be easily +arranged in the centre of the conservatory. The attic plan contains +three large rooms for servants, and the tower room was to be used as a +smoking room, or as a play room for the children.</p> + +<div class="figcenter" style="width: 271px;"> +<a href="images/ill_pg_199_lg.jpg"> +<img src="images/ill_pg_199_sml.jpg" width="271" height="381" alt="[Image unavailable.]" /></a> +</div> + +<p>The basement contains a private breakfast or dining<span class="pagenum"><a name="page_200" id="page_200">{200}</a></span> room, <i>T</i>, with a +large store closet, having an opening one foot in height filled with +perforated zinc opposite</p> + +<div class="figcenter" style="width: 189px;"> +<a href="images/ill_pg_200_lg.jpg"> +<img src="images/ill_pg_200_sml.jpg" width="189" height="372" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Half elevation of small library.</p></div> +</div> + +<p class="nind">the window of the passage; <i>N</i> is the housekeeper’s or servants’ hall; +<i>B</i> the kitchen 23 feet by 18 feet, with <i>G</i> the scullery behind, <i>H</i>, +<i>H</i>, the larders, <i>S</i> position<span class="pagenum"><a name="page_201" id="page_201">{201}</a></span> for a lift, and <i>L</i> a place for coals. +The basement stairs should have been on the side adjoining kitchen.</p> + +<div class="figcenter" style="width: 407px;"> +<a href="images/ill_pg_201_lg.jpg"> +<img src="images/ill_pg_201_sml.jpg" width="407" height="354" alt="[Image unavailable.]" /></a> +</div> + +<p>It is a difficult thing in this class of house to confine the smell of +the cooking to the kitchen. An endeavour was made here to effect it. The +kitchen<span class="pagenum"><a name="page_202" id="page_202">{202}</a></span> had no direct entrance to the body of the house, the servants +going through the passage, by the side of the area, from which it was +well ventilated, to get to the common staircase. This had a window at +the top, not shown in the plan. The small section on page 197 shows</p> + +<div class="figcenter" style="width: 197px;"> +<a href="images/ill_pg_202_lg.jpg"> +<img src="images/ill_pg_202_sml.jpg" width="197" height="276" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of hall screen.</p></div> +</div> + +<p class="nind">the mode of ventilating the larder; <i>a</i> is a slab of slate let into the +wall, <i>b</i> a pane of perforated zinc, <i>c</i> iron bars glazed with thick +glass, so that whatever the weather, there would be full ventilation, +the fresh air always entering and the confined air leaving the room. +This<span class="pagenum"><a name="page_203" id="page_203">{203}</a></span> is the usual mode, in large houses, of covering the external +passage leading from the kitchen to the house.</p> + +<div class="figcenter" style="width: 318px;"> +<a href="images/ill_pg_203_lg.jpg"> +<img src="images/ill_pg_203_sml.jpg" width="318" height="452" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Details of hall screen. (See page 206.)</p></div> +</div> + +<p><span class="pagenum"><a name="page_204" id="page_204">{204}</a></span></p> + +<p>The general view shows the front and side of the two houses. The +elevation of the side front is given on page 198.</p> + +<div class="figcenter" style="width: 194px;"> +<a href="images/ill_pg_204_lg.jpg"> +<img src="images/ill_pg_204_sml.jpg" width="194" height="180" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan and elevation of entrance garden-gate.</p></div> +</div> + +<p>The three small illustrations on page 199 are various details of the +exterior. One is a part section of the roof of turret, showing the +timbers and the vane at top, an elevation of one half the upper gable +window, and half of one of the small front windows; these portions of +the exterior, together with the arcade at the entrance and balustrade +over it, were to be executed in stone.</p> + +<p>The Gothic window by the side of the arcade is an example from Berstead +Church, in Kent. The gentleman for whom the design was made caught a +sight of it in the “Architect Sketch Book,” and required it<span class="pagenum"><a name="page_205" id="page_205">{205}</a></span> might be +introduced as a small window in his library. An elevation of one half of +it is given on page 200.</p> + +<p>The general section (page 201) is of one of the houses taken through the +drawing room, the staircase, and the library. The staircase is well +lighted, having a conservatory and closet on the first half-space +landing. The ceiling of the staircase is finished with groining and +pendant flowers; the stairs have a plain Gothic iron-railing, painted +and lightly gilt; the section shows the party-wall between the two +houses.</p> + +<div class="figcenter" style="width: 290px;"> +<a href="images/ill_pg_205_lg.jpg"> +<img src="images/ill_pg_205_sml.jpg" width="290" height="176" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Balustrading on garden wall.</p></div> +</div> + +<p>The entrance is divided into an inner and outer hall, divided by a +Gothic screen in carved oak, the various openings of which, together +with the upper panels of the folding doors, are filled with embossed +glass. This keeps the house warm, and prevents cold draughts from +entering; a second glazed screen<span class="pagenum"><a name="page_206" id="page_206">{206}</a></span> separates the inner hall from the +staircase; the effect of the screens when there is plenty of light +behind is extremely pleasing. It was for such a screen that the +door-handle illustrated at an earlier page, as a vignette, was made.</p> + +<div class="figcenter" style="width: 287px;"> +<a href="images/ill_pg_206_lg.jpg"> +<img src="images/ill_pg_206_sml.jpg" width="287" height="141" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Balustrading in front of house.</p></div> +</div> + +<p>Of the first of these screens, that in the hall, only the larger lower +and upper panels were to have white embossed glass; the smaller openings +were to be filled with richly coloured embossed glass; a small elevation +of the hall screen, and portions of its details to a larger scale, are +given on pp. 202, 203.</p> + +<p>The chimney pieces were proposed to be of cast iron, and to be painted +and slightly gilt.</p> + +<p>The expense of construction of the pair of villas would be nearly about +7800<i>l.</i><span class="pagenum"><a name="page_207" id="page_207">{207}</a></span></p> + +<div class="figcenter" style="width: 268px;"> +<a href="images/ill_pg_207-a_lg.jpg"> +<img src="images/ill_pg_207-a_sml.jpg" width="268" height="267" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front.</p></div> +</div> + +<p>Cut-wood canopy to a door at West Brompton, a short distance beyond the +Metropolitan District Railway. It has been constructed about twenty +years, and stands well.</p> + +<div class="figcenter" style="width: 175px;"> +<a href="images/ill_pg_207-b_lg.jpg"> +<img src="images/ill_pg_207-b_sml.jpg" width="175" height="226" alt="[Image unavailable.]" /></a> +<div class="caption"><p>One of the side trusses or corbels.</p></div> +</div> + +<p><span class="pagenum"><a name="page_208" id="page_208">{208}</a></span></p> + +<h2><a name="DESIGN_No_18" id="DESIGN_No_18"></a><i>DESIGN No. 18.</i><br /><br /> +DESIGN FOR VILLAGE SCHOOLS, AND READING ROOM.</h2> + +<div class="figcenter" style="width: 384px;"> +<a href="images/ill_pg_208-a_lg.jpg"> +<img src="images/ill_pg_208-a_sml.jpg" width="384" height="163" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation.</p></div> +</div> + +<div class="figcenter" style="width: 259px;"> +<a href="images/ill_pg_208-b_lg.jpg"> +<img src="images/ill_pg_208-b_sml.jpg" width="259" height="247" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_209" id="page_209">{209}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS building is about to be erected in the county of Norfolk. It will +contain a boys’ and girls’ school, with two rooms each, forming a +parlour and bedroom, for the master and mistress; <i>a</i> is the entrance +porch, <i>d</i> and <i>d</i> are the two school rooms, and <i>e</i> and <i>e</i> the living +rooms. The centre of the building forms the reading, lecture, and +meeting-room for the village. The small room <i>c</i>, leading out of it, is +a book room for the secretary or attendant; <i>b</i>, <i>b</i>, are open yards; +each master and mistress have private entrances, and yards to +themselves. The construction is of the cheapest kind; on a brick +foundation, quarter framing is placed, filled in with brick, and +plastered inside and out. The columns in the centre are trunks of trees, +standing on stone slabs, and each has a flat stone capping. This +building complete should not cost more than 850<i>l.</i> It is much to be +desired that every village should have a room set apart, distinct from +any public-house or tavern, where newspapers and books can be provided, +lectures given, and various entertainments supplied the villagers.</p> + +<div class="figcenter" style="width: 275px;"> +<a href="images/ill_pg_209_lg.jpg"> +<img src="images/ill_pg_209_sml.jpg" width="275" height="88" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_210" id="page_210">{210}</a></span></p> + +<h2><a name="DESIGN_No_19" id="DESIGN_No_19"></a><i>DESIGN No. 19.</i><br /><br /> +A ROMAN CATHOLIC CHAPEL AND SCHOOLS.</h2> + +<div class="figcenter" style="width: 287px;"> +<a href="images/ill_pg_210_lg.jpg"> +<img src="images/ill_pg_210_sml.jpg" width="287" height="361" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of front.</p></div> +</div> + +<p><span class="pagenum"><a name="page_211" id="page_211">{211}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design was made for a building intended to occupy a site leading +from the High street in a<span class="pagenum"><a name="page_212" id="page_212">{212}</a></span></p> + +<div class="figcenter" style="width: 244px;"> +<a href="images/ill_pg_211_lg.jpg"> +<img src="images/ill_pg_211_sml.jpg" width="244" height="456" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of chapel and schools.</p></div> +</div> + +<p class="nind">very fashionable district, immediately out of London. The ground was +rather confined in area, and from its position, being behind the houses +in the street, it could only be approached by a narrow avenue between +two of the houses.</p> + +<div class="figcenter" style="width: 261px;"> +<a href="images/ill_pg_212_lg.jpg"> +<img src="images/ill_pg_212_sml.jpg" width="261" height="224" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Transverse section of chapel.</p></div> +</div> + +<p>The plan was an endeavour to make the most of the space afforded; the +entrance to the church, a small tower with an open decorated spire, was +placed at the end of the avenue of approach; <i>a</i> <i>a</i>, are the schools, +which have immediate access to the space before the altar; <i>b</i> <i>b</i>, the +rooms for the teachers or priests, had staircases on each side leading +to rooms above. These buildings were kept low, so that as<span class="pagenum"><a name="page_213" id="page_213">{213}</a></span> much light as +possible should enter from the window above the altar. An elevation of +the front of the chapel is given in our first illustration. The section +looks towards the chancel, showing the chancel arch and pulpit in front, +the altar, and the decorated window over it; the latter contains a large +cross formed of white embossed glass, on a richly coloured glass ground. +Above is the elevation of the porch, proposed to have been placed at the +entrance of the avenue of approach.</p> + +<div class="figcenter" style="width: 133px;"> +<a href="images/ill_pg_213-a_lg.jpg"> +<img src="images/ill_pg_213-a_sml.jpg" width="133" height="163" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Porch in the High street.</p></div> +</div> + +<div class="figcenter" style="width: 66px;"> +<a href="images/ill_pg_213-b_lg.jpg"> +<img src="images/ill_pg_213-b_sml.jpg" width="66" height="67" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_214" id="page_214">{214}</a></span></p> + +<h2><a name="DESIGN_No_20" id="DESIGN_No_20"></a><i>DESIGN No. 20.</i><br /><br /> +DESIGN FOR A BATH HOUSE, AND SUMMER ROOM.</h2> + +<div class="figcenter" style="width: 318px;"> +<a href="images/ill_pg_214_lg.jpg"> +<img src="images/ill_pg_214_sml.jpg" width="318" height="455" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<p><span class="pagenum"><a name="page_215" id="page_215">{215}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design was made for a building intended to occupy a prominent +position in a park in Kent; it would have commanded an extensive view +over the Weald and surrounding country. The lower ragstone foundation +already existed, being portions of an ancient building which had +formerly stood there, and this held a fine spring of pure cold water, +which runs down into a lake at a lower level in the park. Occupying a +position in which it could be well seen, it was desirable that the +building should form a picturesque object, and to effect this the Old +English style of wooden architecture was chosen.</p> + +<div class="figcenter" style="width: 289px;"> +<a href="images/ill_pg_215_lg.jpg"> +<img src="images/ill_pg_215_sml.jpg" width="289" height="138" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>One-pair plan. +</p></td><td> </td> +<td> +<p>Ground-floor plan. +</p></td></tr> +</table> +</div></div> + +<p>The view shows the back and side of the building, with the entrances, +these being here less exposed to the weather than if they had been in +front facing the open country. The ground-floor plan shows the cold bath +with a small dressing-room; the bath<span class="pagenum"><a name="page_216" id="page_216">{216}</a></span> was octangular in form, and +fifteen feet in diameter. A small iron circular staircase led to the +upper room; this was eighteen feet in diameter, with a domed ceiling, +the sides of the room having iron</p> + +<div class="figcenter" style="width: 201px;"> +<a href="images/ill_pg_216_lg.jpg"> +<img src="images/ill_pg_216_sml.jpg" width="201" height="324" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Side elevation.</p></div> +</div> + +<p class="nind">casemented windows, and over them a bold ornamented plaster frieze; the +fire-place was adorned with oak carving. The fine prospect from the +windows of the Weald, and the lake and park scenery<span class="pagenum"><a name="page_217" id="page_217">{217}</a></span> in front, would +have made this an extremely pleasant room.</p> + +<div class="figcenter" style="width: 211px;"> +<a href="images/ill_pg_217_lg.jpg"> +<img src="images/ill_pg_217_sml.jpg" width="211" height="377" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p>The lower story of the building above the ancient ragstone foundation +was of brick, nine inches in thickness, with quarters on the outside, +brick-nogged;<span class="pagenum"><a name="page_218" id="page_218">{218}</a></span> carved oak inch plank was then to be screwed to this +quartering, and the inner spaces filled with cement; this it was +proposed to dust with small bits of coloured</p> + +<div class="figcenter" style="width: 209px;"> +<a href="images/ill_pg_218_lg.jpg"> +<img src="images/ill_pg_218_sml.jpg" width="209" height="345" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Entrance.</p></div> +</div> + +<p class="nind">glass. The building was intended to be strongly constructed, as it was +to stand on an elevated site in the most exposed situation in the park. +The entrance, of which an elevation is given above, had<span class="pagenum"><a name="page_219" id="page_219">{219}</a></span> two carved oak +columns, having iron rings fixed to them. A small shield of arms was +above the entrance; the whole of the oak was to be stained and +varnished. A portion of the exterior is given on a larger scale. The +upper story was in quartering, brick-nogged, faced externally with +carved oak planks and plaster, and plastered inside as below. The small +plan, <i>a</i>, in the illustration, shows this; <i>b</i> is an elevation of one +of the carved oak trusses, and these were carried right round the +structure.</p> + +<div class="figright" style="width: 161px;"> +<a href="images/ill_pg_219_lg.jpg"> +<img src="images/ill_pg_219_sml.jpg" width="161" height="336" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Portion of exterior.</p></div> +</div> + +<p>An elevation of one of the small gables is shown in the next cut with +its richly carved barge-board, and turned pendants and finials.</p> + +<p>The plan of the iron casements is given, p. 220; <i>a</i> is the frame fixed +to the wood quartering, <i>b</i> the loose frame fixed to receive the loose +frame, <i>c d</i> is the glass, and <i>e</i> the hinge and staple; a +representation of the small turn-buckle is<span class="pagenum"><a name="page_220" id="page_220">{220}</a></span> shown, and lastly the plan +of the flooring over the bath; the joists, each 9 inches by 4 inches, +and 9 inches by 2½ inches, were strapped down</p> + +<div class="figcenter" style="width: 223px;"> +<a href="images/ill_pg_220-a_lg.jpg"> +<img src="images/ill_pg_220-a_sml.jpg" width="223" height="275" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of one of the small gables.</p></div> +</div> + +<div class="figcenter" style="width: 346px;"> +<a href="images/ill_pg_220-b_lg.jpg"> +<img src="images/ill_pg_220-b_sml.jpg" width="346" height="106" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of iron casement.</p></div> +</div> + +<p><span class="pagenum"><a name="page_221" id="page_221">{221}</a></span></p> + +<p class="nind">eight or nine inches into the wall, where necessary.</p> + +<div class="figcenter" style="width: 276px;"> +<a href="images/ill_pg_221-a_lg.jpg"> +<img src="images/ill_pg_221-a_sml.jpg" width="276" height="87" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Turn-buckle.</p></div> +</div> + +<div class="figcenter" style="width: 245px;"> +<a href="images/ill_pg_221-b_lg.jpg"> +<img src="images/ill_pg_221-b_sml.jpg" width="245" height="335" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_222" id="page_222">{222}</a></span></p> + +<h2><a name="DESIGN_No_21" id="DESIGN_No_21"></a><i>DESIGN No. 21.</i><br /><br /> +DESIGN FOR A SMALL COUNTRY VILLA.</h2> + +<div class="figcenter" style="width: 373px;"> +<a href="images/ill_pg_222_lg.jpg"> +<img src="images/ill_pg_222_sml.jpg" width="373" height="296" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<p><span class="pagenum"><a name="page_223" id="page_223">{223}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS mansion was erected in Devonshire, for a gentleman having a +numerous family. It consisted of three floors:—a basement story, ground</p> + +<div class="figcenter" style="width: 224px;"> +<a href="images/ill_pg_223-a_lg.jpg"> +<img src="images/ill_pg_223-a_sml.jpg" width="224" height="192" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">floor, first floor, and attic. The picturesque style of the time of +Henry VII. was adopted, and the construc<span class="pagenum"><a name="page_224" id="page_224">{224}</a></span>tion</p> + +<div class="figcenter" style="width: 225px;"> +<a href="images/ill_pg_223-b_lg.jpg"> +<img src="images/ill_pg_223-b_sml.jpg" width="225" height="177" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of first floor.</p></div> +</div> + +<p class="nind">was of brick with stone ashlar facings for the walls. The decorated +portions were of stone; but red</p> + +<div class="figcenter" style="width: 165px;"> +<a href="images/ill_pg_224-a_lg.jpg"> +<img src="images/ill_pg_224-a_sml.jpg" width="165" height="117" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The attic floor.</p></div> +</div> + +<p class="nind">brick and stone, or red brick alone, would have been equally +appropriate. The red brick with compo-dressing</p> + +<div class="figcenter" style="width: 227px;"> +<a href="images/ill_pg_224-b_lg.jpg"> +<img src="images/ill_pg_224-b_sml.jpg" width="227" height="201" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Basement plan.</p></div> +</div> + +<p class="nind">and enrichments would have been the cheapest. Considerable attention was +given to obtain<span class="pagenum"><a name="page_225" id="page_225">{225}</a></span> a picturesque character for the building, and the +chimneys were so placed as to obtain one. The height to the top of gable +was 38 feet 6 inches. The ground floor, given on page 223, contained two +rooms, <i>A</i> and <i>B</i>, each 28 feet by 16 feet, without the bay. The porch +was enclosed from the hall.</p> + +<div class="figcenter" style="width: 220px;"> +<a href="images/ill_pg_225_lg.jpg"> +<img src="images/ill_pg_225_sml.jpg" width="220" height="285" alt="[Image unavailable.]" /></a> +<div class="caption"><p>View of entrance porch.</p></div> +</div> + +<p>The upper floor had five rooms, intended merely as sleeping apartments. +All had fireplaces except the centre front one, and that is shown +supplied with a flue pedestal, a contrivance by which an upper room<span class="pagenum"><a name="page_226" id="page_226">{226}</a></span></p> + +<div class="figcenter" style="width: 380px;"> +<a href="images/ill_pg_226_lg.jpg"> +<img src="images/ill_pg_226_sml.jpg" width="380" height="293" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The front elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_227" id="page_227">{227}</a></span></p> + +<p class="nind">can be warmed by one of the fireplaces in a lower room, which prevents +waste of heat. The attic floor had two good-sized rooms without +fireplaces, for the servants.</p> + +<div class="figcenter" style="width: 306px;"> +<a href="images/ill_pg_227_lg.jpg"> +<img src="images/ill_pg_227_sml.jpg" width="306" height="296" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The side elevation.</p></div> +</div> + +<p>The basement floor had good accommodation. One large room, that marked +<i>n</i>, was for the housekeeper, with space for a bed. It could be used as +a private breakfast or dining-room; <i>b</i> is the kitchen, 20 feet by 15 +feet 6 inches, with a large space in the bay. The<span class="pagenum"><a name="page_228" id="page_228">{228}</a></span> scullery <i>g</i> adjoined +the kitchen; <i>h</i> is the larder, <i>q</i> the wine cellar, <i>i</i> the beer, and +<i>l</i> the coal cellars.</p> + +<div class="figcenter" style="width: 239px;"> +<a href="images/ill_pg_228_lg.jpg"> +<img src="images/ill_pg_228_sml.jpg" width="239" height="377" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Transverse section.</p></div> +</div> + +<p>Another design for the porch is given on page 225; this is of a more +decorative character than that seen in the view. It had on it the shield +of arms of the pro<span class="pagenum"><a name="page_229" id="page_229">{229}</a></span>prietor. It was to be constructed entirely of stone, +the portion above the archway being richly carved. The front and side +elevations of the exterior of the building, of which representations are +given, show the extreme simplicity of the design.</p> + +<p>The transverse section (page 228) shows the interior; this is taken +through the kitchen and scullery in the basement, looking towards the +fireplace and through the living rooms and attic above.</p> + +<div class="figcenter" style="width: 225px;"> +<a href="images/ill_pg_229_lg.jpg"> +<img src="images/ill_pg_229_sml.jpg" width="225" height="171" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of additional offices.</p></div> +</div> + +<p>This design has, with various alterations, been adopted in several +places for different parties, stripped entirely of its ornamental +character, and merely having four walls and an overhanging roof, in +plain cottage style. It forms the cheapest model that can be given for a +villa. One was erected a few years back that cost considerably less than +eight hundred<span class="pagenum"><a name="page_230" id="page_230">{230}</a></span> pounds. It had the basement floor but no attic, the upper +rooms being heightened by having an open collar-beam roof. One addition +made to it when it had no basement was in extensive external offices, as</p> + +<div class="figcenter" style="width: 290px;"> +<a href="images/ill_pg_230_lg.jpg"> +<img src="images/ill_pg_230_sml.jpg" width="290" height="308" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation and section of external balustrade and angle +buttress.</p></div> +</div> + +<p class="nind">seen in plan on page 229: <i>f</i>, the kitchen, is 18 feet square, with its +scullery <i>g</i>, 18 feet by 10 feet; <i>h</i> is the larder, 9 feet 9 inches +square, and <i>k</i> the dairy, of the same size, with a northern aspect. The +two small rooms by the side, one marked <i>n</i>, were intended for a<span class="pagenum"><a name="page_231" id="page_231">{231}</a></span> study +or school-room, and a footman’s or butler’s pantry, with a separate +entrance and an outlet from the house into the garden; the servants’ +closet, and boot and knife cleaning place, were at a little distance +away, together with the place for coals and wood. Some details of the +exterior on a larger scale are given above.</p> + +<p class="spc1"> </p> + +<p>The vignette shows the best proportion that can be given to stairs +intended for a public building; the rise of each step being 6 inches, +the tread 13 inches. In private dwellings the tread is made smaller by +half an inch. When the rise can be made 5¾ inches only, much greater +ease can be obtained in the ascent.</p> + +<div class="figcenter" style="width: 228px;"> +<a href="images/ill_pg_231_lg.jpg"> +<img src="images/ill_pg_231_sml.jpg" width="228" height="189" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_232" id="page_232">{232}</a></span></p> + +<h2><a name="DESIGN_No_22" id="DESIGN_No_22"></a><i>DESIGN No. 22.</i><br /><br /> +A VILLA IN THE OLD ENGLISH WOODEN STYLE.</h2> + +<div class="figcenter" style="width: 388px;"> +<a href="images/ill_pg_232_lg.jpg"> +<img src="images/ill_pg_232_sml.jpg" width="388" height="397" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view, garden side.</p></div> +</div> + +<p><span class="pagenum"><a name="page_233" id="page_233">{233}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS structure was intended to bear the resemblance, as near as +possible, of a first-class old English half-timbered house, the +post-and-pan dwelling of our forefathers, which seems to have been an +especial favourite throughout the country. It was easily constructed at +a time when timber, chiefly chestnut, was far more plentiful than at the +present day. Such were the most picturesque of all our domestic +buildings; the timber cottage, with its projecting windows, and highly +ornamented barge-boards, is found in every village. The large houses in +Cheshire and Shropshire, which still remain, prove that such +constructions are as lasting as brick and stone, provided the timber is +felled at the proper time, and thoroughly seasoned before it is made use +of. Houses of this kind have been seen to rock and bend in severe +storms, while adjoining buildings, comparatively strong erections, have +been blown down, this was known to have been the case with Park Hall, +near Oswestry in Shropshire. Such buildings were called by different +names, as will be shortly described in detail, according to the +materials of which they were composed.</p> + +<p>The design afforded on page 234 was taken from an elevation given in +“John Thorpe’s Sketch Book,” one of the richest illustrations of wooden +architecture. It was to have been erected in a Kentish village, with<span class="pagenum"><a name="page_234" id="page_234">{234}</a></span></p> + +<div class="figcenter" style="width: 549px;"> +<a href="images/ill_pg_234_lg.jpg"> +<img src="images/ill_pg_234_sml.jpg" width="549" height="347" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_235" id="page_235">{235}</a></span></p> + +<p class="nind">its front towards the road, on high ground, the road looking down to a +wide extent of open country. The garden side of the house commanded a +fine prospect. Advantage was taken of the steep descent of the ground to +build the kitchen and scullery, with a day room for the children, apart +from the main building.</p> + +<p>The plan of the basement is given on p. 236; <i>a</i> is the kitchen, 18 feet +square, the scullery <i>b</i>, was at the side, and the larder, <i>c</i>, at its +side; <i>d</i> is the place for coals, a passage <i>e</i>, leads to the day room, +<i>f</i>, for the children; <i>g</i> is either the cook’s room, or a sleeping room +for a man servant; <i>h</i> is the passage up to the house, <i>i</i> is the dry +larder, <i>j</i> is the butler’s pantry, with a strong room for holding +plate; this was intended to be a sleeping room. <i>k</i> is the wine cellar, +<i>l</i> the back staircase which went from the lower floor to the attic, <i>m</i> +is the principal staircase, and <i>n</i> a place for stores. The roof of this +lower building was to be formed with flat-girders, and brick and tile in +cement, making a terrace-walk above; the chimneys were taken up from the +lower building to the higher one, as shown in the side elevation by the +dotted lines. The kitchen, and the whole of the basement, was to be +paved with the best Seyssel asphalte. It is laid on a solid foundation, +on a thickness of ground lime. The objection to the black and British +asphalte for the interior of rooms, is that a fine dust rises from it, +which in<span class="pagenum"><a name="page_236" id="page_236">{236}</a></span> sweeping, affects the eyes of the occupants of the apartments.</p> + +<div class="figcenter" style="width: 396px;"> +<a href="images/ill_pg_236_lg.jpg"> +<img src="images/ill_pg_236_sml.jpg" width="396" height="407" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Basement plan.</p></div> +</div> + +<p>The plan of the building was not intended to be in the old style, but to +be arranged, as far as possible,<span class="pagenum"><a name="page_237" id="page_237">{237}</a></span> according to modern notions, without +any great hall, or stone screen within it. A noble stone porch was</p> + +<div class="figcenter" style="width: 400px;"> +<a href="images/ill_pg_237_lg.jpg"> +<img src="images/ill_pg_237_sml.jpg" width="400" height="404" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The ground plan.</p></div> +</div> + +<p class="nind">placed in front, resembling slightly an ancient archway. The hall is 20 +feet in length by 12 feet in<span class="pagenum"><a name="page_238" id="page_238">{238}</a></span> breadth. The breakfast and eating rooms, +<i>b</i> and <i>c</i>, 20 feet square, are on each side; both have bay</p> + +<div class="figcenter" style="width: 402px;"> +<a href="images/ill_pg_238_lg.jpg"> +<img src="images/ill_pg_238_sml.jpg" width="402" height="275" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The first floor.</p></div> +</div> + +<p class="nind">windows, with an exterior colonnade and terrace. The drawing-room, <i>d</i>, +and the library <i>e</i>, are each 18 feet square; both have bay windows, and +the angular<span class="pagenum"><a name="page_239" id="page_239">{239}</a></span> window peculiar to the Elizabethan architecture. These +windows open on to the terrace. <i>f</i> is the</p> + +<div class="figcenter" style="width: 402px;"> +<a href="images/ill_pg_239_lg.jpg"> +<img src="images/ill_pg_239_sml.jpg" width="402" height="246" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The attic floor.</p></div> +</div> + +<p class="nind">gentleman’s dressing-room, <i>g</i> is the principal staircase containing the +servants’ staircase, <i>h</i>, within it; <i>o</i> is the lift. At the back of the +building is a colonnade<span class="pagenum"><a name="page_240" id="page_240">{240}</a></span> commanding a view of the country, and beneath +is the terrace, with its balustrading and steps to the garden.</p> + +<p>The one pair floor contains only four large bed-rooms <i>a</i>, <i>a</i>, and two +dressing-rooms <i>b</i>, <i>b</i>. One dressing-room, that in front, could have +been converted into a pleasant morning room; each of the two principal +bedrooms in the front could easily have been formed into two; a small +dressing-room taken out of each. Terraces were in front of these two +rooms, the small circular bow-window opening on to them; the principal +staircase only led to this floor. The servants’ staircase led to the +attics.</p> + +<p>This floor contained three large servants’ rooms, with two small octagon +rooms. It was proposed to form the front rooms into one, with a circular +roof, covered with scroll work and flowers, in the form of a +garden-bower, similar to the gallery ceiling at Burton Agnes in +Yorkshire. In this ceiling there are about a dozen varieties of flowers +and bunches of leaves, which were placed in a scroll-stem in various +positions so as to vary the pattern. The flowers and leaves could have +been painted in their natural colours. These rooms, however, could not +be spared, so it was proposed to turn the two octagon rooms into what +may be termed garden-bower rooms, and to attempt growing dwarf +fruit-trees in them, as practised in Germany.<span class="pagenum"><a name="page_241" id="page_241">{241}</a></span> The roofs of these rooms +were to be constructed in iron and glass, and covered internally with +wire trellis-work, the warming to be effected with flue pedestals, two +in each room, one taking the kitchen flue and the other house flues, the +corresponding pedestal in the other room to have the remaining flues in +that side of the building. The illustration on page 242 shows a plan and +section of one of these rooms.</p> + +<p>The tower in the centre of the back front contained a cistern for the +supply of the house; the closets beneath could have Moule’s earth system +applied to them, the earth to be brought up by the lift <i>o</i>, dried in +the bower rooms, and deposited in an enclosure in the tower room from +which it could descend to the closets.</p> + +<p>It may be here remarked that the closets throughout the whole of these +designs are in such a position that the dry-earth system could be easily +applied to each. In cottages that have the flues in an external wall, +and where this system is introduced, the earth deposit should be placed +against the flue, and the closet adjoining.</p> + +<p>The lift <i>o</i>, shown in the plans, connects every floor with the +basement; it permits coals and other heavy articles to be lifted up, +receives the speaking tubes leading to the basement and children’s +day-room, and any bell wires that may be required.<span class="pagenum"><a name="page_242" id="page_242">{242}</a></span></p> + +<div class="figcenter" style="width: 248px;"> +<a href="images/ill_pg_242_lg.jpg"> +<img src="images/ill_pg_242_sml.jpg" width="248" height="480" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan and section of garden bower-rooms.</p></div> +</div> + +<p><span class="pagenum"><a name="page_243" id="page_243">{243}</a></span></p> + +<div class="figcenter" style="width: 395px;"> +<a href="images/ill_pg_243_lg.jpg"> +<img src="images/ill_pg_243_sml.jpg" width="395" height="352" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Side front.</p></div> +</div> + +<p><span class="pagenum"><a name="page_244" id="page_244">{244}</a></span></p> + +<div class="figcenter" style="width: 592px;"> +<a href="images/ill_pg_244_lg.jpg"> +<img src="images/ill_pg_244_sml.jpg" width="592" height="362" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through lower part of building.</p></div> +</div> + +<p><span class="pagenum"><a name="page_245" id="page_245">{245}</a></span></p> + +<p>The first elevation given shows the front of the building, having a +length of 87 feet. Although the structure was to be an imitation wooden +house, the timber was merely intended to be an appendage to the +brickwork. The exterior walls were to have been two bricks and a half +thick on the ground-floor, two bricks above. The wooden posts and pans +were let into the external half brick, and well built in, the ornamental +woodwork in inch oak screwed to the wood-quartering, the space between +them filled with plaster, with an ornamental pattern-stamp on it, and +the columns and entablature were of oak.</p> + +<p>The next elevation given is that of the side front, with its gable, in +the centre of which is a small circular window, opening on to a terrace +over the colonnade; the scroll at the side is a construction to permit +the flues from the lower portion of the basement to ascend the tower +walls; flue sweeping doors could be placed there. A section of the lower +part of the building is given, taken through the centre of the house, +showing the principal staircase and the external steps to garden. The +perspective view shows the garden front.</p> + +<p>Wooden houses were once the chief kind of construction in England. The +great fire of London would not have been so serious in its results if +such constructions had not been almost universal.<span class="pagenum"><a name="page_246" id="page_246">{246}</a></span></p> + +<p>In many parts of England these houses have other designations. There is +a mode of building peculiar to each, and adapted to the kind of material +that the districts offer. In Cambridgeshire, for instance, many of the +houses are formed entirely of “Clunch,” a kind of indurated chalk marl, +of which there are extensive quarries at Roach, near Burwell. Others are +of gault, a local term for the blue clay which lies below the gravel of +Cambridgeshire, and forms the immediate substratum in the low ground +about it. This is beaten up with chopped straw, then formed into blocks +of large size, and dried by the sun. A writer in the “Cambridge +Portfolio,” in his remarks on what he terms the inferior style of +domestic architecture, says: “Many of these houses have the lower floor +formed of stone or clunch, in which a framework of wood is raised, +consisting of studs and wall-plates with strong posts at intervals and +some cross pieces as a tie. The joists of the upper floor are laid in +the wall-plates, and project about a foot or eighteen inches beyond the +wall beneath. The smaller timbers have tenons which are fitted into +mortices in the larger, and secured by wooden pins. The interstices are +filled either with durable boarding, double lath and plaster, clunch or +bricks, laid level or obliquely. The better houses of this description +have gables, with ornamented barge-boards with hip-kobs and corbels or +brackets,<span class="pagenum"><a name="page_247" id="page_247">{247}</a></span> more or less carved, under the ends of the principal timbers +of the upper floors.”</p> + +<p>The barge-board is sometimes called berge-board, verge-board, +parge-board. It was a board fixed to the ends of the gables of timber +houses, to hide those of the projecting timbers of the roof, and throw +off the wet. They were generally richly carved and very ornamental. +Occasionally some of these of the date of the 14th century are met with; +those of the 15th and 16th, many of the Elizabethan character, are very +common. We have few of the better class of these half-timbered houses, +in which the decorative labour of our ancestors was most conspicuous, +remaining in our towns and cities; but in Edinburgh, York, Chester, and +Newcastle there are still a sufficient number of specimens to prove the +truth of these remarks. In the towns of Normandy and the Netherlands +numerous buildings, and indeed whole streets, may be seen which still +exhibit the perfect counterpart of our old Cheapside, as it appeared +before the great fire. Troyes, the capital of Champagne, still retains +its ancient buildings, and the chestnut-timber houses of Caen, which +were raised, or restored, during the period in the 15th century when it +was in the hands of the English, show us what our cities once were, and, +of course, the extent of our improvements. London formerly possessed the +richest examples. At the<span class="pagenum"><a name="page_248" id="page_248">{248}</a></span> corner of Chancery Lane, in Fleet Street, +there once stood a five-storied house in timber, each story projecting; +the whole of the timber and the gables being richly carved. In this +house once lived the celebrated Isaac Walton.</p> + +<p>The other most common application of this kind of house is +“half-timbered.” In some counties the woodwork is not in patterns. It +appears that when a greater degree of elegance was required the uprights +and beams were carved, or the houses were pargetted, that is, coated +thickly with plaster, in which embossed or indented ornaments were used. +This kind is very common in nearly all the English counties. The origin +of the word <i>parget</i> appears to be doubtful. We find <i>parget</i>, +substantive, and <i>pargetting</i>, <i>pergetting</i>, and <i>pergining</i>, verb, in +old writings, of various kinds of plaster work, used inside and outside +of houses, particularly about the time of Elizabeth; the word <i>parget</i> +was used as far back as 1450.</p> + +<p>The half-timbered houses generally had the woodwork (studs and posts) +painted black or tarred, with the intermediate spaces of brickwork +whitewashed. Many of these houses have been plastered over in modern +days. In London several of them have been refronted, and we lose sight +of the woodwork, and imagine we see fresh-built houses.</p> + +<p>In some parts of the country we see numbers of<span class="pagenum"><a name="page_249" id="page_249">{249}</a></span> cottages built of mud +mixed with chopped “haum.” This is commonly barley stubble. The word +appears of foreign derivation; in High and Low German, Dutch, Danish, +Swedish, halm; Ang.-Sax., healm; Icelandic, halmr, stubble.</p> + +<p>The haum is used to give the mud strength. These houses, previously +described in connexion with concrete erections, were built about a yard +in height at a time; each part was allowed to dry before further +addition was made. The openings for windows and doors were cut when the +wall became firmer; the walls were then smoothed off a little, and +whitewashed. These houses are said to be very strong, and to last for +many years. In the Midland Counties they seldom exceed one story in +height, but in Devon, Somersetshire, and Hampshire, this composition is +a common material for gentlemen’s houses two and three stories in +height. It is there called <i>cob</i>, the derivation of which word remains +in obscurity, unless it is a short term for <i>cobble</i>, or a coarse clumsy +performance. A cob-wall was one composed of straw and clay beaten up +together.</p> + +<p>In Kent, the half-timbered houses are called wood-noggin houses, because +the pieces of timber were called wood-nogs. Nog is properly a wooden +brick, which is inserted into walls to hold the joiners’ work;<span class="pagenum"><a name="page_250" id="page_250">{250}</a></span> nogging +is the term for the brick-filling partitions between the quartering.</p> + +<p>Sometimes, but very rarely, there is no projection of the upper story +over the lower one. These openings in the windows are common, and all +have richly carved barge-boards.</p> + +<p>In some of the Kentish villages there are several noggin houses +plastered over, with a ground in which flowers and patterns are worked +in another colour. Some have a red ground and white flowers, others a +black ground and white flowers. The wooden frame is always built on a +substructure of brick or stone, called the “under-pinning.” Numbers of +the houses in Kent are covered at the sides with weather tiles; here the +brickwork is carried up to the first floor, in which the wooden +framework is placed, and laths nailed across, in which the tiles are +hung; the shape of the tile varies. Some are diamond-shape, and others +finish with circular ends.</p> + +<p>In Warwickshire, Oxfordshire, and Gloucestershire, we meet with +half-timbered houses, which are there called brick pane houses, but very +few of them are worked in patterns.</p> + +<p>In Northamptonshire the half-timbered houses are commonly called studded +or framed houses, because the framework is put up before the spaces are +filled up. The studs are upright between the posts, which<span class="pagenum"><a name="page_251" id="page_251">{251}</a></span> are larger +than the studs. There are also “wattle,” and “dab-houses,” and sheds, +which are constructed of studs, sills, and wall-plates. Between or into +the studs are laid, horizontally, plaited or wattled strong hazel twigs, +or other underwood, and on both of these a thick coat of plaster or mud +is laid or dabbed. A wattle is a hurdle made of four or five upright +stakes, and hazel branches woven closely and horizontally into the +stakes—Anglo-Saxon, <i>watel</i>, a hurdle or covering of twigs; in some +counties they are called “flakes,” merely from their being thin and +flat. In Sussex and Devonshire, and in the South of England, wattled +hurdles are called “Raddles.” In a little Dictionary for children of the +date of 1608, we find “a hartheled wall or ratheled with hasile rods or +wands.” The word <i>hartheled</i> is the same as hardilled, and the +Dictionary spells hurdill <i>hardill</i>, Ang.-Sax., <i>hyrdel</i>, Low Germ., +<i>hoidt</i>, Dutch, <i>horde</i>. Germ., <i>hurde</i>. <i>Ratheled</i> is from the same +derivation as <i>raddled</i>. What in one county is “wattle and dab,” is in +another “raddle and dab.” <i>Dab</i> is here used as a substantive, but it is +properly a verb—to dab on, to sprinkle, or bespatter. In French, +<i>dawber</i>, or <i>dober</i>, to smear, hence “to daub.” These mud cottages are +very common even in the richest counties of England. In South +Northamptonshire are red sandstone houses frequently possessing stone +mullions in the windows, and dripstones.<span class="pagenum"><a name="page_252" id="page_252">{252}</a></span></p> + +<p>Further northwards, as in Shropshire, Cheshire, and Lancashire, we find +a better description of the half-timbered houses in many of the manor +houses built there. Lord Liverpool’s seat at Pitchford, near Shrewsbury, +illustrated by Habershon, is a fine and a very large example, although +the pattern is not so elegant as many of them. Joseph Nash and other +artists have made the best of these familiar to us by their +publications. Cheshire is the county most abounding in them. In the +southern part of the county of Lancashire they are called “post-and-pan +houses.” Post is an upright piece of timber, used in various ways, such +as gate-post, door-post, a jamb-lining. The word “post” is found in many +languages, commonly meaning an upright. In Ang.-Sax., <i>post</i>, a post, +Frisic, <i>post</i>, a beam, German, <i>pfost</i>, French, <i>poste</i>, Latin, +<i>postis</i>, a post.</p> + +<p>“Pan,” in Lancashire, certainly means a beam, and is the common name for +it (beam not being used), although we do not find the word <i>pan</i>, a +beam, noticed in most of the glossaries as it deserves. In the Craven +Glossary, “<i>post</i> and <i>pan</i>” a building of wood and plaster alternately. +<i>Pan</i>, totally to fit: “Weal and woman cannot pan, but woe and woman +can,” is the complete old English proverb, in which the word pan is +used. In the glossary of Tim Bobbin, “Pan” means to join or agree. In +Hunter’s Hallamshire<span class="pagenum"><a name="page_253" id="page_253">{253}</a></span> Glossary “pan,” properly in building, is the +wall-plate—the piece of timber that lies on the tops of the posts, and +on which the balks rest, and the sparfoot also. <i>To pan</i>, to apply to +closely. In Brockett’s North Country work, <i>pan</i> means to match, agree. +The idea of a pan for a beam would seem to be a shortened word for span, +but it comes, it is said, from the old word <i>pan</i>, denoting to close or +join together, to match, fit, apply, agree. From this, or the origin of +which, came pane, or panel of wood, or wainscot, pane of glass. +Ang.-Sax., <i>pan</i>, a piece, hem, plait; pan hose, patched hose, because +pieces are fitted into them.</p> + +<p>In Warwickshire and Oxfordshire they call a post-and-pan house a +brick-<i>pane</i> house, because the wood-work divides the building into +rectangular spaces, filled with <i>panes</i> of brickwork.</p> + +<p>In Forby’s Suffolk Vocabulary <i>pane</i> is a division of work in husbandry, +also strips of cloth. The slits in Elizabethan dresses are called +<i>panes</i>. Du Cange, in his <i>Glossarium Mediæ et Infimæ Latinitatis</i>, has +<i>panna</i>, a carpenter’s word, signifying a square piece of wood of 6 or 7 +fingers on a side, which being placed on the rafters of the roof, and +retained by wooden supports, carries the asseres. The “Glossary of +Architecture” construes a pan as a lathe; but of this there seems some +doubt.<span class="pagenum"><a name="page_254" id="page_254">{254}</a></span></p> + +<p>There is a remarkable example of the word <i>Panna</i> in the Close Rolls of +the 9th of Henry 3rd, membrane 5, page 65, though the word in the +printed copy is erroneously spelt <i>pauna</i>.</p> + +<div class="sidenote">De postibus<br /> et pannis<br /> datis.</div> + +<p>Mandatum est Hugoni de Neville quod habere faciat Baldivinium de Veer +duos postes et duos <i>pannas</i> in bosco nostro in Deresle, de dono nostro +ad se habergandum apud Thrapston. Teste rege apud Westmonasterium XV die +Octobris, anno nono.—That is: The King orders Hugh de Neville to give +Baldwin de Veer two <i>posts</i> and two <i>pans</i> out of the Royal forest of +Deresley to build a house at Thrapstone.—“Habergandum” is from +<i>habergo</i>, to build a house, which seems to be derived from the old +German <i>habe</i>, goods and possessions, and <i>bergen</i>; in Ang.-Sax., +<i>boergan</i>, to defend, keep, and protect. <i>Habe</i>, goods, is from the +German <i>haben</i>, Ang.-Sax., <i>habban</i>, to have and possess. In Du Cange we +find “Habergagium vel habergamentum, domicilium domus,” that is, a place +to keep goods in. This account is given us by the writer in the +“Cambridge Portfolio,” who adds, “That it is probable the house alluded +to in Thrapstone was merely a shed.” He gives a great many derivations +from the word <i>pan</i> in French. He says that <i>pan</i> or <i>post</i> is a <i>post</i> +and <i>pan</i> wall, perhaps with boarding in the panes instead of brick or +stone. A post-and-pan house therefore signifies one formed of<span class="pagenum"><a name="page_255" id="page_255">{255}</a></span> uprights +and cross-pieces, and this appears to be the most rational name for +them. The patterns of the woodwork are sometimes extremely elegant; at +Park Hall in Shropshire, one represents balustrading intermingled with +quatre-foiling, while the plaster ceilings inside the building are of +excessively rich character. In many of the old post-and-pan houses, the +windows are between every post, running the whole length of the house in +each story, rendering a remark of Lord Bacon’s true, that in such houses +you did not know where to become to get out of the sun or the cold. They +are now sometimes called “bird-cage houses,” from the effect at a +distance. Some of these old mansions had the hall extending to the roof, +and this was carried down to a very late period. At Kirby in +Northamptonshire, a seat of the Lord Chancellor Hatton, built by the +architect, John Thorpe, Inigo Jones altered the timbers of the hall roof +and gave them an Italianized character. He was, previous to his visit to +Italy, one of the chief and most celebrated masters of the then +fashionable Elizabethan style, which was carried down to a later period +than is generally supposed.</p> + +<p>The superior class of wooden houses were for the gentry, the wattle and +dab houses for the hind. This cottage, then, must have been little +better than a miserable shed. Cottages still exist in the north of<span class="pagenum"><a name="page_256" id="page_256">{256}</a></span> +England, amid the northern counties, that are bad at the very best. The +tenants have to bring everything with them, partitions, window-frames, +fixtures of all kinds, grates, and a substitute for a ceiling. Certainly +the improved concrete cottage, if it could be erected at a small +expense, would be a great advantage to them. Its partitions, and even +its roof, the latter covered with slate, might be securely formed of +strong hurdles, and a cistern for water easily placed just below it. The +walls, if covered with a good Portland cement face, will last for many +years, and, if the roof be so formed as to protect them, for warmth, +comfort, and cleanliness such cottages are unsurpassed.</p> + +<p>It is to be regretted that the combination of workmen forming the +various Trades’ Unions, has so raised the price of labour that it has +reacted against themselves, and the workmen’s houses, roomy, and formed +of sound, lasting materials can no longer be constructed at a cost that +would allow a fair percentage on outlay.</p> + +<p>Lord Bacon paid particular attention to building, and he had several +fine mansions. He received his Sovereign at one, <i>Gorhambury</i>, who on +her remarking its great size, said, “It was not that the house was too +big, but that her Grace had made him too big to inhabit it.” His essay +on building gives such a complete picture of what the nobleman’s house +was in those days, that it is here quoted.<span class="pagenum"><a name="page_257" id="page_257">{257}</a></span></p> + +<p>“First, therefore, I say you cannot have a perfect palace, except you +have two several sides: a side for the banquet, as is spoken of in the +book of Esther, and a side for the household; the one for feasts and +triumphs, and the other for dwelling.</p> + +<p>“I understand both these sides to be not only returns, but parts of the +front; and to be uniform without, though severally partitioned within; +and to be on both sides of a great and stately tower in the midst of the +front, that, as it were, joineth them together on either hand. I would +have, on the side of the banquet in front, one only goodly room, above +stairs, of some forty feet high: and under it a room for a dressing or +preparing place, at times of triumphs. On the other side, which is the +household side, I wish it divided, at the first, into a hall and chapel +(with a partition between), both of good state and bigness; and those +not to go all the length, but to have at the farther end a winter and +summer parlour, both fair; and under these rooms a fair and large cellar +sunk under ground, and likewise some privy kitchens, with butteries and +pantries, and the like. As for the tower I would have it two stories, of +eighteen foot high apiece above the two wings; and goodly leads upon the +top, railed with statues interposed; and the same tower to be divided +into rooms, as shall be thought fit. The stairs likewise to the upper +rooms, let them be upon<span class="pagenum"><a name="page_258" id="page_258">{258}</a></span> a fair open newel, and finely railed in with +images of wood cast into a brass colour; and a very fair landing-place +at the top. But this to be, if you do not point any of the lower rooms +for a dining-place of servants; for otherwise, you shall have the +servants’ dinner after your own; for the steam of it will come up as in +a tunnel; and so much for the front; only I understand the height of the +first stairs to be sixteen foot, which is the height of the lower room.</p> + +<p>“Beyond the front is there to be a fair court, but three sides of it of +a far lower building than the front; and in all the four corners of that +court fair staircases, cast into turrets on the outside, and not within +the row of buildings themselves; but those towers are not to be of the +height of the front, but rather proportionable to the lower buildings. +Let the court not be paved, for that striketh up a great heat in summer +and much cold in winter; but only some side alleys with a cross, and the +quarters to graze, being kept shorn, but not too near shorn. The row of +return on the banquet side, let it be all stately galleries: in which +galleries let there be three or five fine cupolas in the length of it, +placed at equal distance; and fine coloured windows of several works: on +the household side, chambers of presence and ordinary entertainments, +with some bedchambers; and let all three sides be a double house, +without thorough lights in the<span class="pagenum"><a name="page_259" id="page_259">{259}</a></span> sides, that you may have rooms from the +sun both for forenoon and afternoon:—cast it also that you may have +rooms both for summer and winter; shade for summer, and warm for winter. +You shall have sometimes fair houses so full of glass that one cannot +tell where to become to be out of the sun or cold. For embowed windows, +I hold them of good use (in cities indeed, upright do better, in respect +of the uniformity towards the street); for they be pretty retiring +places for conference, and besides they keep both the wind and sun off; +for that which would strike almost through the room doth scarce pass the +window; but let them be but few, four in the court, on the sides only.</p> + +<p>“Beyond this court, let there be an inward court of the same square and +height, which is to be environed with the garden on all sides; and in +the inside, cloistered on all sides upon decent and beautiful arches as +high as the first story; on the under story, towards the garden, let it +be turned to a grotto, or place of shade, or estivation; and only have +opening and windows toward the garden, and be level upon the floor, no +whit sunk under ground, to avoid all dampishness: let there be a +fountain or some fair work of statues in the midst of this court, and to +be paved as the other court was. These buildings to be for privy +lodgings on both sides, and the end for privy<span class="pagenum"><a name="page_260" id="page_260">{260}</a></span> galleries; whereof you +must foresee that one of them be for an infirmary, if the prince or any +special person should be sick, with chambers, bedchamber, ante-camera, +and recamera, joining to it; this upon the second story.</p> + +<p>“Upon the ground story, a fair gallery, open, upon pillars, and upon the +third story likewise, an open gallery upon pillars, to take the prospect +and freshness of the garden.</p> + +<p>“At both corners of the farther side, by way of return, let there be two +delicate or rich cabinets, daintily paved, richly hanged, glazed with +crystalline glass, and a rich cupola in the midst; and all other +elegancy that may be thought upon. In the upper gallery too, I wish that +there may be, if the place will yield it, some fountains running in +divers places from the wall, with some fine avoidances. And thus much +for the model of the palace; save that you must have, before you come to +the front, three courts, a green court plain, with a wall about it; a +second court of the same, but more garnished with little turrets, or +rather embellishments upon the wall; and a third court, to make a square +with the front, but not to be built nor yet enclosed with a naked wall, +but enclosed with terraces leaded aloft, and fairly garnished on the +three sides; and cloistered on the inside with pillars, and not with +arches below. As for offices, let them<span class="pagenum"><a name="page_261" id="page_261">{261}</a></span> stand at distance, with some low +galleries to pass from them to the palace itself.”</p> + +<p class="spc2"> </p> + +<p>The vignette is an elevation, with enlarged details, of a design for a +weathercock or wind vane. In buildings where there are many on the roof, +they are sometimes seen pointing different ways, and it is of importance +they should be properly constructed. The construction necessary to +prevent these differences is shown in the two sections on each side the +elevation; <i>a</i> is a gun-metal rod, in which is fixed the small steel rod +<i>b</i>; this moves in a piece of agate fixed in a small block of copper +<i>c</i>; the agate is marked black in the left-hand section.</p> + +<div class="figcenter" style="width: 148px;"> +<a href="images/ill_pg_261_lg.jpg"> +<img src="images/ill_pg_261_sml.jpg" width="148" height="267" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_262" id="page_262">{262}</a></span></p> + +<h2><a name="DESIGN_No_23" id="DESIGN_No_23"></a><i>DESIGN No. 23.</i><br /><br /> +A GARDEN SUMMER-HOUSE.</h2> + +<div class="figcenter" style="width: 292px;"> +<a href="images/ill_pg_262_lg.jpg"> +<img src="images/ill_pg_262_sml.jpg" width="292" height="407" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view and plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_263" id="page_263">{263}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS small circular erection was designed from the express directions, +as to style, size, form, and plan, of the gentleman for whom it was +made, and who had it constructed. It was of wood, standing on a brick +foundation, with a quaint room in the centre, completely lined with +match-boarding, stained oak and varnished, the ceiling having hanging +pendants. The lead lights of the sashes were glazed with various +specimens of old coloured glass.</p> + +<div class="figcenter" style="width: 273px;"> +<a href="images/ill_pg_263_lg.jpg"> +<img src="images/ill_pg_263_sml.jpg" width="273" height="248" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation.</p></div> +</div> + +<p>The view and plan are illustrated at page 262; the plan shows the +general arrangements; the porch had seats on each side, and the back +portion of the<span class="pagenum"><a name="page_264" id="page_264">{264}</a></span></p> + +<div class="figcenter" style="width: 260px;"> +<a href="images/ill_pg_264-a_lg.jpg"> +<img src="images/ill_pg_264-a_sml.jpg" width="260" height="210" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<div class="figcenter" style="width: 136px;"> +<a href="images/ill_pg_264-b_lg.jpg"> +<img src="images/ill_pg_264-b_sml.jpg" width="136" height="280" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Detail showing construction.</p></div> +</div> + +<p><span class="pagenum"><a name="page_265" id="page_265">{265}</a></span></p> + +<p class="nind">summer-house was enclosed for a single seat. The elevation given on page +263 shows, as well as the view, flower-pots on supports in the roof. +These were</p> + +<div class="figcenter" style="width: 225px;"> +<a href="images/ill_pg_265_lg.jpg"> +<img src="images/ill_pg_265_sml.jpg" width="225" height="359" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Gate to a flower-garden.</p></div> +</div> + +<p class="nind">omitted in execution. The section shows the building as constructed; it +is taken through the porch. The interior room and the enclosed seat +behind the illus<span class="pagenum"><a name="page_266" id="page_266">{266}</a></span>tration gives the detail of a portion of the +construction.</p> + +<div class="figcenter" style="width: 320px;"> +<a href="images/ill_pg_266-a_lg.jpg"> +<img src="images/ill_pg_266-a_sml.jpg" width="320" height="291" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>Elevation. +</p></td><td> </td> +<td> +<p>Section. +</p></td></tr> +</table> +</div></div> + +<div class="figcenter" style="width: 155px;"> +<a href="images/ill_pg_266-b_lg.jpg"> +<img src="images/ill_pg_266-b_sml.jpg" width="155" height="120" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_267" id="page_267">{267}</a></span></p> + +<p>The building had no fireplace, being merely intended for summer use; it +was placed on an elevated site, and commanded a fine view.</p> + +<p>No small structure can be made too expensive in construction if it is to +be placed in a beautiful flower-garden. However pretty its ornaments may +be, they are sure to pale by the side of the natural objects surrounding +it. The small gateway shown in view on page 265 was constructed entirely +in oak with a slab-slated roof. It stood at some distance from the +dwelling, to which it formed a conspicuous object, and it was the +entrance to an enclosed flower-garden. An elevation, section, and plan +of it are given on page 266.</p> + +<p class="spc1"> </p> + +<p>The vignette represents an open ironwork console or holder for a +meat-jack for the kitchen fireplace: it is of French design.</p> + +<div class="figcenter" style="width: 161px;"> +<a href="images/ill_pg_267_lg.jpg"> +<img src="images/ill_pg_267_sml.jpg" width="161" height="104" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_268" id="page_268">{268}</a></span></p> + +<h2><a name="DESIGN_No_24" id="DESIGN_No_24"></a><i>DESIGN No. 24.</i><br /><br /> +A SMALL COUNTRY RETREAT, OR FRENCH MAISONETTE.</h2> + +<div class="figcenter" style="width: 354px;"> +<a href="images/ill_pg_268_lg.jpg"> +<img src="images/ill_pg_268_sml.jpg" width="354" height="210" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The front elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_269" id="page_269">{269}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS is a study for a small villa in the modern French style, one which +has lately been introduced into several buildings of domestic character +in England, the woodwork being sent from France. The</p> + +<div class="figcenter" style="width: 239px;"> +<a href="images/ill_pg_269_lg.jpg"> +<img src="images/ill_pg_269_sml.jpg" width="239" height="282" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">chief feature of the style is the machine-cut ornamental wood; it is of +common deal, about an inch or a little more in thickness. When placed +up, and coloured a light fawn colour or plain yellow, it is extremely +pleasing, and has the merit of being very cheap.</p> + +<p>The design has an ornamental iron verandah<span class="pagenum"><a name="page_270" id="page_270">{270}</a></span> completely round two sides +of the building, with small upright standards taken through its roof, +which are</p> + +<div class="figcenter" style="width: 400px;"> +<a href="images/ill_pg_270_lg.jpg"> +<img src="images/ill_pg_270_sml.jpg" width="400" height="168" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through length of building.</p></div> +</div> + +<p class="nind">connected together with zinc wire-work; the intention being to permit +flowering plants to grow over it, so<span class="pagenum"><a name="page_271" id="page_271">{271}</a></span> that the front should be crowned +with flowers. The villa is only intended for summer use, being confined +in its accommodation. The ground plan, given on page 269, shows <i>d</i> and +<i>e</i>, the drawing and dining</p> + +<div class="figcenter" style="width: 344px;"> +<a href="images/ill_pg_271_lg.jpg"> +<img src="images/ill_pg_271_sml.jpg" width="344" height="223" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Transverse section.</p></div> +</div> + +<p class="nind">rooms, divided one from the other by curtains hanging on a glazed +screen; the length of the two rooms is 42 feet, their breadth 15 feet. +They are decorated gaily in French style; the room <i>c</i> can be used as a<span class="pagenum"><a name="page_272" id="page_272">{272}</a></span> +study, but it is intended for a sleeping room; the kitchen <i>f</i> has a +large larder <i>h</i>, but it would be desirable if the kitchen was formed a +short distance away from the building, and connected with it by a +passage; the rooms <i>f</i> and <i>g</i> could then be made into a bed and +dressing-room. The wine cellar is at g, and a conservatory <i>i</i>, is +placed at the end of the building.</p> + +<div class="figcenter" style="width: 147px;"> +<a href="images/ill_pg_272_lg.jpg"> +<img src="images/ill_pg_272_sml.jpg" width="147" height="186" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of one-pair.</p></div> +</div> + +<p>The elevation of the front of the building and the two sections show the +general construction of the upper part of the house. This was in timber, +the flues alone being of brick.</p> + +<p>The plan of the upper floor shows four rooms; each of the flues is +supplied with its pedestal, so that should the house be occupied in +winter, these upper apart<span class="pagenum"><a name="page_273" id="page_273">{273}</a></span>ments could be kept well aired by the fires in +the lower apartments, without any attention from the servants. The +framing of the upper portion is correctly shown in the section copied +from the working drawing.</p> + +<div class="figcenter" style="width: 168px;"> +<a href="images/ill_pg_273_lg.jpg"> +<img src="images/ill_pg_273_sml.jpg" width="168" height="294" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Portion of verandah.</p></div> +</div> + +<p>All elevation of a small portion of the verandah, showing its iron work, +is given; and an illustration to a large scale shows its ornamental zinc +guttering, and the carved wood French ornament, a section showing<span class="pagenum"><a name="page_274" id="page_274">{274}</a></span> how +they are fastened on; and the zinc gutter placed in front is likewise +given.</p> + +<div class="figcenter" style="width: 280px;"> +<a href="images/ill_pg_274-a_lg.jpg"> +<img src="images/ill_pg_274-a_sml.jpg" width="280" height="203" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of zinc gutter, and cut woodwork.</p></div> +</div> + +<div class="figcenter" style="width: 164px;"> +<a href="images/ill_pg_274-b_lg.jpg"> +<img src="images/ill_pg_274-b_sml.jpg" width="164" height="236" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of the same.</p></div> +</div> + +<p><span class="pagenum"><a name="page_275" id="page_275">{275}</a></span></p> + +<p>The following is a design in purely French taste for the circular top +over the entrance porch on the upper floor.</p> + +<div class="figcenter" style="width: 395px;"> +<a href="images/ill_pg_275_lg.jpg"> +<img src="images/ill_pg_275_sml.jpg" width="395" height="211" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cut woodwork.</p></div> +</div> + +<p>The roofs of buildings in this style should be covered with zinc. The +French are as much before<span class="pagenum"><a name="page_276" id="page_276">{276}</a></span> us in their use of this metal as they are +with their cut woodwork.</p> + +<p>Roofs covered with zinc could be made flatter, and have a covering or +floor of boards, each board ½ an inch apart. An illustration is given of +such a construction; it has a light iron railing with a scroll</p> + +<div class="figcenter" style="width: 264px;"> +<a href="images/ill_pg_276_lg.jpg"> +<img src="images/ill_pg_276_sml.jpg" width="264" height="241" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Design for roofing.</p></div> +</div> + +<p class="nind">against the brick parapet; and supports a stand for flowers. With the +absence of offensive smoke, and with the use of the flue pedestal to +supply warmth, the upper parts of our houses could easily be formed into +conservatories.</p> + +<p>The interior of the building was intended to be as<span class="pagenum"><a name="page_277" id="page_277">{277}</a></span> profusely decorated +with the cut woodwork as the exterior. The staircase balusters were of a +rich pattern, the whole being stained after some ornamental wood, and +varnished.</p> + +<div class="figcenter" style="width: 266px;"> +<a href="images/ill_pg_277_lg.jpg"> +<img src="images/ill_pg_277_sml.jpg" width="266" height="337" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Staircase balusters.</p></div> +</div> + +<p>The expense of constructing such a building would be 2450<i>l.</i></p> + +<p>In this style cut-wood decoration the French certainly excel us. Some +English examples, very<span class="pagenum"><a name="page_278" id="page_278">{278}</a></span> common in our railway stations, are shown below. +The most ornamental is a pattern used by the author some few years ago; +a rose is introduced to cover the fastening of the cut pattern to the +fascia behind.</p> + +<div class="figcenter" style="width: 296px;"> +<a href="images/ill_pg_278_lg.jpg"> +<img src="images/ill_pg_278_sml.jpg" width="296" height="248" alt="[Image unavailable.]" /></a> +</div> + +<p>We have in England a carving-machine, known as Irving’s patent, that was +a few years since much worked at a manufactory in Pimlico by Mr. Pratt +of Bond Street. At one time it bid fair to exert a most important +influence upon the production of this kind of cut-wood decoration. It +could make such carvings with the greatest ease and rapidity, whether in +stone or wood. The machine was a simple drill in a move<span class="pagenum"><a name="page_279" id="page_279">{279}</a></span>able arm, worked +either by steam or a hand-wheel, on a moveable table; the combined +motion rendered it capable of carving any form, however intricate, from +the largest Gothic window-head, to the smallest screen. At Pimlico it +was under the architectural superintendence of R. W. Billings. It is +still used, together with Jordan’s patent for carving, at Lambeth.</p> + +<p class="spc1"> </p> + +<p>The vignette gives a pattern for cut-wood balustrading.</p> + +<div class="figcenter" style="width: 161px;"> +<a href="images/ill_pg_279_lg.jpg"> +<img src="images/ill_pg_279_sml.jpg" width="161" height="237" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_280" id="page_280">{280}</a></span></p> + +<h2><a name="DESIGN_No_25" id="DESIGN_No_25"></a><i>DESIGN No. 25.</i><br /><br /> +AN ELIZABETHAN VILLA.</h2> + +<div class="figcenter" style="width: 429px;"> +<a href="images/ill_pg_280_lg.jpg"> +<img src="images/ill_pg_280_sml.jpg" width="429" height="346" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<p><span class="pagenum"><a name="page_281" id="page_281">{281}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design was made a few years ago for a gentleman who was a great +admirer of our old English architecture, and who desired to have a</p> + +<div class="figcenter" style="width: 369px;"> +<a href="images/ill_pg_281_lg.jpg"> +<img src="images/ill_pg_281_sml.jpg" width="369" height="280" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground-floor plan.</p></div> +</div> + +<p class="nind">dwelling with its chief characteristics, both internally as well as +externally, but with all modern arrangements. He intended to purchase a +piece of land in the neigh<span class="pagenum"><a name="page_282" id="page_282">{282}</a></span>bourhood of London for the purpose of +erecting the structure upon it. Producing the design was a labour of +love to us both, and many a pleasant evening we</p> + +<div class="figcenter" style="width: 150px;"> +<a href="images/ill_pg_282_lg.jpg"> +<img src="images/ill_pg_282_sml.jpg" width="150" height="343" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Balustrading of staircase.</p></div> +</div> + +<p class="nind">spent together in studying the details as to what we should like to have +in each room, without troubling ourselves about what the expense would +be; unhappily<span class="pagenum"><a name="page_283" id="page_283">{283}</a></span> he did not live to carry out his intention, and the +drawings were laid aside.</p> + +<div class="figcenter" style="width: 299px;"> +<a href="images/ill_pg_283-a_lg.jpg"> +<img src="images/ill_pg_283-a_sml.jpg" width="299" height="167" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of hall.</p></div> +</div> + +<p>The exterior is a study from the celebrated building, Rushton Hall in +Northamptonshire, erected in the</p> + +<div class="figcenter" style="width: 320px;"> +<a href="images/ill_pg_283-b_lg.jpg"> +<img src="images/ill_pg_283-b_sml.jpg" width="320" height="196" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">reign of Elizabeth, by Sir Thomas Tresham. On the <span class="pagenum"><a name="page_284" id="page_284">{284}</a></span>estate in the forest, +about a mile from the house, is that curious and unique building, the +Triangular Lodge,<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a> which served as a secret place of meeting for the +conspirators of the Gunpowder Plot.</p> + +<p>The ground plan shows only a small and single staircase <i>b</i>; +considerable discussion took place upon this; the great staircase was +first planned in the hall <i>a</i>, but a billiard-table was imperative, and +the hall alone</p> + +<div class="figcenter" style="width: 289px;"> +<a href="images/ill_pg_284_lg.jpg"> +<img src="images/ill_pg_284_sml.jpg" width="289" height="237" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of hall fireplace.</p></div> +</div> + +<p class="nind">could receive it. The smaller staircase was made ornamental, with carved +oak balustrades having a<span class="pagenum"><a name="page_285" id="page_285">{285}</a></span></p> + +<div class="figright" style="width: 113px;"> +<a href="images/ill_pg_285-a_lg.jpg"> +<img src="images/ill_pg_285-a_sml.jpg" width="113" height="239" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Details of hall fireplace.</p></div> +</div> + +<p class="nind">small brass ornament between, for the children to lay hold of in getting +upstairs.</p> + +<p>The hall was to be wainscoted all round; the illustration on page 283 +shows one side, with the entrance into the dining-room; a section of the +moulding of the panels is given on page 283 of full size. A gilt +decoration was to have been put in each panel, as shown. An ornamental +plaster frieze, containing shields of arms</p> + +<div class="figcenter" style="width: 346px;"> +<a href="images/ill_pg_285-b_lg.jpg"> +<img src="images/ill_pg_285-b_sml.jpg" width="346" height="240" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Hall stove.</p></div> +</div> + +<p><span class="pagenum"><a name="page_286" id="page_286">{286}</a></span></p> + +<p class="nind">which were to be emblazoned, came over the panelling. An elevation of +the fireplace, to have been made in Caen stone, with its details on a +large scale, is given in cuts on pp. 284, 285.</p> + +<div class="figcenter" style="width: 275px;"> +<a href="images/ill_pg_286_lg.jpg"> +<img src="images/ill_pg_286_sml.jpg" width="275" height="368" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Portion of hall ceiling.</p></div> +</div> + +<p>The fireplace is shown with fire-dogs to burn wood, with its iron +fire-back; but this was objected to, and<span class="pagenum"><a name="page_287" id="page_287">{287}</a></span></p> + +<div class="figcenter" style="width: 384px;"> +<a href="images/ill_pg_287_lg.jpg"> +<img src="images/ill_pg_287_sml.jpg" width="384" height="433" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p><span class="pagenum"><a name="page_288" id="page_288">{288}</a></span></p> + +<p class="nind">the stove was selected; my friend having great interest in coal, +preferred it to wood.</p> + +<div class="figcenter" style="width: 359px;"> +<a href="images/ill_pg_288_lg.jpg"> +<img src="images/ill_pg_288_sml.jpg" width="359" height="322" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Dining-room ceiling.</p></div> +</div> + +<p>The illustration on page 286 is a portion of the hall ceiling, copied +from a celebrated example of the time of Henry VIII. To illustrate every +room or give only one-third of the drawings made for this design<span class="pagenum"><a name="page_289" id="page_289">{289}</a></span> would +far exceed the limits the present volume allows. Each of the three rooms +on the ground floor had</p> + +<div class="figcenter" style="width: 235px;"> +<a href="images/ill_pg_289-a_lg.jpg"> +<img src="images/ill_pg_289-a_sml.jpg" width="235" height="145" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Pendant.</p></div> +</div> + +<p class="nind">decorated chimney-pieces, and carved architraves and panels to the +doors. The section shows the height of the rooms. The dining-room <i>e</i> +(see ground-plan) was</p> + +<div class="figcenter" style="width: 304px;"> +<a href="images/ill_pg_289-b_lg.jpg"> +<img src="images/ill_pg_289-b_sml.jpg" width="304" height="207" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Pendant and centre ornaments.</p></div> +</div> + +<p><span class="pagenum"><a name="page_290" id="page_290">{290}</a></span></p> + +<p>22 ft. by 20 ft.; the library <i>c</i>, 17 ft. by 15 ft., and the +drawing-room <i>d</i>, 24 ft. by 17 ft., with a large bay window opening on +to a terrace—their height 12 ft. 9 in.; <i>f</i> is the lift and <i>g</i> the +closet. Each of these rooms was to have ornamental flat plaster ceilings +with</p> + +<div class="figcenter" style="width: 316px;"> +<a href="images/ill_pg_290_lg.jpg"> +<img src="images/ill_pg_290_sml.jpg" width="316" height="276" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Drawing-room ceiling.</p></div> +</div> + +<p class="nind">pendant ornaments. These are shown in illustrations on page 289.</p> + +<p>The staircase led to a gallery in the middle of the building on the +first floor, dimly lighted at each end by the staircase and passage +windows. The first floor<span class="pagenum"><a name="page_291" id="page_291">{291}</a></span> (page 292) contained a morning room, <i>a</i>, in +the centre, 15 ft. by 12 ft., with a bow window; and three bedrooms <i>b</i>, +<i>b</i>, <i>b</i>, with two dressing-rooms <i>c</i>, <i>c</i>, one with a bath and a +closet.</p> + +<div class="figcenter" style="width: 275px;"> +<a href="images/ill_pg_291_lg.jpg"> +<img src="images/ill_pg_291_sml.jpg" width="275" height="278" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Library ceiling.</p></div> +</div> + +<p>The attic plan (page 292) contained three large rooms for the servants, +<i>b</i>, <i>b</i>, <i>b</i>; a housemaid’s closet <i>e</i>, and in the recessed space by +the side a large slate cistern for water. The basement (page 293) +contained considerable accommodation: <i>d</i> was intended for a private +room for the family, <i>a</i> the kitchen, <i>c</i> larder,<span class="pagenum"><a name="page_292" id="page_292">{292}</a></span> <i>b</i> the scullery, <i>i</i> +beer-cellar, <i>g</i> butler’s sleeping-room, <i>e</i> butler’s pantry, <i>h</i> +wine-cellar, <i>l</i> place for cleaning</p> + +<div class="figcenter" style="width: 315px;"> +<a href="images/ill_pg_292-a_lg.jpg"> +<img src="images/ill_pg_292-a_sml.jpg" width="315" height="222" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan (page 291).</p></div> +</div> + +<div class="figcenter" style="width: 293px;"> +<a href="images/ill_pg_292-b_lg.jpg"> +<img src="images/ill_pg_292-b_sml.jpg" width="293" height="224" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Attic plan (see page 291).</p></div> +</div> + +<p><span class="pagenum"><a name="page_293" id="page_293">{293}</a></span></p> + +<p class="nind">knives. The housekeeper’s room <i>f</i>, and servants’ hall are in the front, +and <i>j</i> is the lift for dishes to ground floor, <i>k</i> the coal-cellar. An +open area was made on two sides of the building.</p> + +<div class="figcenter" style="width: 334px;"> +<a href="images/ill_pg_293_lg.jpg"> +<img src="images/ill_pg_293_sml.jpg" width="334" height="275" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Basement plan (see page 291).</p></div> +</div> + +<p>It was intended to construct the basement fireproof, and to have the +flooring chiefly of asphalte, laid on brick and concrete, solid with the +earth; having a width of stone at the fireplaces. Small openings into +the areas were to be made for water to run off, so that the floors could +be at any time flooded from a<span class="pagenum"><a name="page_294" id="page_294">{294}</a></span></p> + +<div class="figcenter" style="width: 495px;"> +<a href="images/ill_pg_294_lg.jpg"> +<img src="images/ill_pg_294_sml.jpg" width="495" height="359" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_295" id="page_295">{295}</a></span></p> + +<div class="figcenter" style="width: 533px;"> +<a href="images/ill_pg_295_lg.jpg"> +<img src="images/ill_pg_295_sml.jpg" width="533" height="342" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Back elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_296" id="page_296">{296}</a></span></p> + +<div class="figcenter" style="width: 388px;"> +<a href="images/ill_pg_296_lg.jpg"> +<img src="images/ill_pg_296_sml.jpg" width="388" height="347" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of side.</p></div> +</div> + +<p><span class="pagenum"><a name="page_297" id="page_297">{297}</a></span></p> + +<p class="nind">hose. The skirtings for eighteen inches above the floor were to be in +asphalte, so that no beetles or other vermin should find their way in. +It was a</p> + +<div class="figcenter" style="width: 218px;"> +<a href="images/ill_pg_297-a_lg.jpg"> +<img src="images/ill_pg_297-a_sml.jpg" width="218" height="126" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ironwork on terrace.</p></div> +</div> + +<p class="nind">subject of discussion whether all the other floors and skirting should +not be of a similar description. The three elevations of the building +are given: they were</p> + +<div class="figcenter" style="width: 282px;"> +<a href="images/ill_pg_297-b_lg.jpg"> +<img src="images/ill_pg_297-b_sml.jpg" width="282" height="138" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ironwork on bay-window.</p></div> +</div> + +<p class="nind">to have been in red brick with compo dressings, and the balustrades in +artificial stone. One peculiar portion of the exterior decoration was +the ironwork in<span class="pagenum"><a name="page_298" id="page_298">{298}</a></span> lieu of stone balustrading. The bay window and the +terrace were surmounted with this ironwork; that on the terrace was to +be formed so as to sustain heavy</p> + +<div class="figcenter" style="width: 224px;"> +<a href="images/ill_pg_298_lg.jpg"> +<img src="images/ill_pg_298_sml.jpg" width="224" height="373" alt="[Image unavailable.]" /></a> +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>Portion of front. +</p></td><td> </td> +<td> +<p>Small finial. +</p></td></tr> +</table> +</div></div> + +<p class="nind">earthenware pots of flowering shrubs:—an elevation of the two examples +is given on page 297.<span class="pagenum"><a name="page_299" id="page_299">{299}</a></span></p> + +<p>The mouldings on the exterior of the building were small and simple; +this is shown in illustrations on page 298. Various designs were made +for the</p> + +<div class="figcenter" style="width: 255px;"> +<a href="images/ill_pg_299-a_lg.jpg"> +<img src="images/ill_pg_299-a_sml.jpg" width="255" height="139" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Balustrades for first floor.</p></div> +</div> + +<div class="figcenter" style="width: 217px;"> +<a href="images/ill_pg_299-b_lg.jpg"> +<img src="images/ill_pg_299-b_sml.jpg" width="217" height="218" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">balustrading; three of these, with the ornament containing a shield of +arms in the centre of the side gables, are likewise given.<span class="pagenum"><a name="page_300" id="page_300">{300}</a></span></p> + +<p>The expense of constructing this design with all the ornamentation +shown, would have been great. A</p> + +<div class="figcenter"> +<a href="images/ill_pg_300-a_lg.jpg"> +<img src="images/ill_pg_300-a_sml.jpg" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Lower balustrade.</p></div> +</div> + +<p class="nind">considerable portion of it, when it came to be estimated and the +specification and working drawings were made</p> + +<div class="figcenter"> +<a href="images/ill_pg_300-b_lg.jpg"> +<img src="images/ill_pg_300-b_sml.jpg" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ornament in side gable.</p></div> +</div> + +<p class="nind">for the builder, would have been left out, and the whole made more +simple. The design would not have<span class="pagenum"><a name="page_301" id="page_301">{301}</a></span> materially suffered for such +deductions; all the general forms or the simple outline of the exterior +would have been preserved. The chief deduction would have been made in +the ornaments of the interior, or these might have been only partly +done. Such a design, with a moderate amount of decoration only, would +cost about 4700<i>l.</i></p> + +<p class="spc1"> </p> + +<p>The vignette shows French and English cut-wood patterns for blind +ornaments.</p> + +<div class="figcenter" style="width: 157px;"> +<a href="images/ill_pg_301_lg.jpg"> +<img src="images/ill_pg_301_sml.jpg" width="157" height="153" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_302" id="page_302">{302}</a></span></p> + +<h2><a name="DESIGN_No_26" id="DESIGN_No_26"></a><i>DESIGN No. 26.</i><br /><br /> +A SUMMER OR GARDEN VILLA.</h2> + +<div class="figcenter" style="width: 497px;"> +<a href="images/ill_pg_302_lg.jpg"> +<img src="images/ill_pg_302_sml.jpg" width="497" height="297" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<p><span class="pagenum"><a name="page_303" id="page_303">{303}</a></span></p> + +<p class="nind"><span class="letra">O</span>NE of our most eminent writers on gardens, Repton, remarked that +“gardening and architecture, like all the fine arts, have much in +common; and the department of architecture which belongs more +exclusively to gardens has especially a great affinity to gardening in +its broadest principles.” In fact, there is much more relation between +the two than is usually admitted—a matter already alluded to in the +Introductory Essay. Architectural forms and decorations, temples and +rustic bowers, seats, &c., are not, as many have observed, unfit for our +climate. In western counties they certainly can be indulged in to a +large extent; and the fine evergreens and the beautiful grass of this +country will, in association with ornamental terraces and sculpture, +impart sufficient warmth of tone to render them agreeable. The garden of +<i>Mon-plaisir</i> at Elvaston, in Derbyshire, and the Alhambra Gardens +there; those at Castle Coombe, Trentham, Alton Towers, and Bowood, +sufficiently prove how attractive gardens can be architecturally made. +In former years gardens were almost universal through every part of +England, as is proved by the bird’s-eye view, engraved by Kipp, from +drawings by Knyff in the book, “Britannia Illustrata,” and those of the +gardens given in Loggan’s “Oxonia Restituta,” and the similar work on +Cambridge. But gardens, like all other mundane matters, have their +periods of<span class="pagenum"><a name="page_304" id="page_304">{304}</a></span> change or retrogression; the natural style having almost +obliterated the architectural garden of William and Mary. This might +have been too precise, as</p> + +<div class="figcenter" style="width: 372px;"> +<a href="images/ill_pg_304_lg.jpg"> +<img src="images/ill_pg_304_sml.jpg" width="372" height="312" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan of villa.</p></div> +</div> + +<p class="nind">copied from the Dutch model: they were satirized by Pope, thus—</p> + +<div class="poetry"> +<div class="poem"><div class="stanza"> +<span class="i0">“Grove nods at grove, each alley has a brother,<br /></span> +<span class="i1">And half the platform just reflects the other.”<br /></span> +</div></div> +</div> + +<p class="nind">They were called King William’s style of fortifica<span class="pagenum"><a name="page_305" id="page_305">{305}</a></span>tions, surrounded +with yew hedges, cut in variety of forms; those which have been suffered +to outlive their original shape are really beautiful. Queen Anne’s +Garden, now part of Kensington Gardens, is an example. But these gardens +were very inferior to those of Italy and France, or even those in +England of the Elizabethan age. It is to Italy, the garden of Europe, +that we must look for the finest specimens of garden architecture. The +Villa Pamphilia or de Belrespiro, situated half a mile out of Rome +beyond the Gate of San Pancrazio, is celebrated for its gardens; from +them could be observed the whole city of Rome, and surrounding suburbs. +The gardens are nearly five miles in circumference, and occupy the site +of those of the Emperor Galba. Their arrangement is varied and +agreeable; being picturesque without disorder, symmetrical without +monotony; and we here observe the art with which the arrangement of a +regular garden is made to agree with the rural nature of which it forms +a part, and the noble structure it surrounds. It is doubtless the work +of the architect of the villa L’Algardi, about the year 1646. They have +been ascribed to the French artist, Le Notre, but there is very little +of the French style about them; they are wholly Italian, following the +lines of the villa, and in the same style or spirit. These are, or were +admirable; while the fountains,<span class="pagenum"><a name="page_306" id="page_306">{306}</a></span></p> + +<div class="figcenter" style="width: 372px;"> +<a href="images/ill_pg_306_lg.jpg"> +<img src="images/ill_pg_306_sml.jpg" width="372" height="573" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan of garden and villa.</p></div> +</div> + +<p><span class="pagenum"><a name="page_307" id="page_307">{307}</a></span></p> + +<p class="nind">the cascades, grottos, basins, statues, and the antique fragments which +adorn them are arranged with the</p> + +<div class="figcenter" style="width: 188px;"> +<a href="images/ill_pg_307-a_lg.jpg"> +<img src="images/ill_pg_307-a_sml.jpg" width="188" height="193" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Small group in centre of side left-hand basin.</p></div> +</div> + +<p class="nind">skill and intelligence of genius. Illustrations are preserved to us only +in a fine Italian work, by Jacobi de Rubeis, published at Rome, about +the middle of</p> + +<div class="figcenter" style="width: 162px;"> +<a href="images/ill_pg_307-b_lg.jpg"> +<img src="images/ill_pg_307-b_sml.jpg" width="162" height="168" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Small group in centre of right-hand basin.</p></div> +</div> + +<p><span class="pagenum"><a name="page_308" id="page_308">{308}</a></span></p> + +<p class="nind">the seventeenth century. The villa was destroyed by the French when they +crushed the liberty of the Roman people at their onslaught on Rome +against Garibaldi.</p> + +<p>In designs of this description the house and garden should unite, and be +lost in each other. Those parts of the garden most contiguous to the +house should follow its outline, its walks and terraces, and be so</p> + +<div class="figcenter" style="width: 338px;"> +<a href="images/ill_pg_308_lg.jpg"> +<img src="images/ill_pg_308_sml.jpg" width="338" height="237" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fountain ornaments.</p></div> +</div> + +<p class="nind">placed that the windows and doors of the mansion could command a perfect +view of them. The province of garden architecture is, primarily, to +supply fitting appendages and accompaniments to the house, so that the +latter may not appear alone and unsupported. If judiciously adopted it +will be effective in helping to produce a good outline, carry down the +lines of the<span class="pagenum"><a name="page_309" id="page_309">{309}</a></span></p> + +<div class="figcenter" style="width: 451px;"> +<a href="images/ill_pg_309_lg.jpg"> +<img src="images/ill_pg_309_sml.jpg" width="451" height="277" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of front.</p></div> +</div> + +<p><span class="pagenum"><a name="page_310" id="page_310">{310}</a></span></p> + +<div class="figcenter" style="width: 446px;"> +<a href="images/ill_pg_310_lg.jpg"> +<img src="images/ill_pg_310_sml.jpg" width="446" height="361" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through centre of building.</p></div> +</div> + +<p><span class="pagenum"><a name="page_311" id="page_311">{311}</a></span></p> + +<p class="nind">house, and connect it with other buildings, which may be conservatories, +ferneries, aquaria, rustic seats, temples, and arbours; and it will +provide a</p> + +<div class="figcenter" style="width: 383px;"> +<a href="images/ill_pg_311_lg.jpg"> +<img src="images/ill_pg_311_sml.jpg" width="383" height="286" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Portion of saloon.</p></div> +</div> + +<p class="nind">proper basement to the house. Such arrangements afford shelter or +privacy to a flower garden, extend the façade or frontage of the house, +shut out back<span class="pagenum"><a name="page_312" id="page_312">{312}</a></span> yards, stabling or offices, enrich, vary, and enliven the +garden, supply conveniences, receptacles for birds, plants, sculpture, +or works of art, specimens of natural history, and support for climbing +plants. These points indicate refinement, wealth, and love of art, and +otherwise blend the various constituents of a garden with the house, and +harmonize the two by communicating an artistic tone to the garden. So +says Repton, and most of the principal writers on gardening.</p> + +<div class="figcenter" style="width: 199px;"> +<a href="images/ill_pg_312_lg.jpg"> +<img src="images/ill_pg_312_sml.jpg" width="199" height="196" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cap in saloon.</p></div> +</div> + +<p>Some of the ancient gardens of Asia and Italy were considered among the +wonders of the world. They were termed paradises, and were filled with +such plants, both beautiful and useful, that the soil could produce; +they were enriched with many kinds of works of art, banqueting-houses, +aviaries, wells, and<span class="pagenum"><a name="page_313" id="page_313">{313}</a></span> streams of running water, indispensable in those +warm climates.</p> + +<div class="figcenter" style="width: 222px;"> +<a href="images/ill_pg_313-a_lg.jpg"> +<img src="images/ill_pg_313-a_sml.jpg" width="222" height="178" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of part of saloon ceiling.</p></div> +</div> + +<p>An architectural garden, as illustrated in the design at page 302, +should have a picturesque outline, a</p> + +<div class="figcenter" style="width: 219px;"> +<a href="images/ill_pg_313-b_lg.jpg"> +<img src="images/ill_pg_313-b_sml.jpg" width="219" height="217" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of the same.</p></div> +</div> + +<p><span class="pagenum"><a name="page_314" id="page_314">{314}</a></span></p> + +<p class="nind">marked boldness and prominence of parts, rather than a mere ornamental +detail; a picturesque effect by changes of level in the ground, by +diversity of height</p> + +<div class="figcenter" style="width: 212px;"> +<a href="images/ill_pg_314-a_lg.jpg"> +<img src="images/ill_pg_314-a_sml.jpg" width="212" height="147" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Portion of centre panel.</p></div> +</div> + +<p class="nind">of the different terraces, and by an arrangement in plan that would +produce depth of shade. Every object admitted should fit into its proper +place. This</p> + +<div class="figcenter" style="width: 123px;"> +<a href="images/ill_pg_314-b_lg.jpg"> +<img src="images/ill_pg_314-b_sml.jpg" width="123" height="142" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Panel of ceiling.</p></div> +</div> + +<p class="nind">villa was designed to cover a fine spring of cold water, and thus insure +a deep cold plunging bath. It was<span class="pagenum"><a name="page_315" id="page_315">{315}</a></span> to be merely a place for temporary +occupation and retirement, to renovate the health of the owner. The +gardens and fountains externally were only ornamental accessories; the +plan at page 306 illustrates these. The villa was approached by two +roads <i>d</i> <i>d</i>; there was a circle of open lawn between the house and the +terraced gardens in front. The latter were approached</p> + +<div class="figcenter" style="width: 137px;"> +<a href="images/ill_pg_315_lg.jpg"> +<img src="images/ill_pg_315_sml.jpg" width="137" height="228" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section and plan of one of centre pendants.</p></div> +</div> + +<p class="nind">by descending flights of steps. A basin of water and a large fountain, +rising from a group of sculpture in the centre, are there shown. By the +side are two smaller basins with smaller groups of sculpture, +representing sea-horses, cupids, and dolphins. This terrace is paved +with ornamental encaustic tiles. At the<span class="pagenum"><a name="page_316" id="page_316">{316}</a></span> head of the two side gardens +<i>b</i> <i>b</i>, are grottos <i>g</i> <i>g</i>, with seats on a raised terrace on each +side of their entrances. The steps descend to a lower level, and have +sea-horses and cupids on their pedestals, with five falls of water from +griffins’ heads, filling a basin below. A</p> + +<div class="figcenter" style="width: 296px;"> +<a href="images/ill_pg_316_lg.jpg"> +<img src="images/ill_pg_316_sml.jpg" width="296" height="292" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Bedroom ceiling.</p></div> +</div> + +<p class="nind">wide walk, and a running stream by its side, were thus gained.</p> + +<p>The author at the time he made the design was effecting some additions +to a country house, which admitted such a garden to be formed in front +of it:<span class="pagenum"><a name="page_317" id="page_317">{317}</a></span> he published his design for it at the time (1850) in the +<i>Builder</i>.</p> + +<div class="figcenter" style="width: 253px;"> +<a href="images/ill_pg_317_lg.jpg"> +<img src="images/ill_pg_317_sml.jpg" width="253" height="401" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Drawing-room ceiling.</p></div> +</div> + +<p>This villa may be considered a casine, or a retired dwelling on a rather +larger scale, similar to the pic<span class="pagenum"><a name="page_318" id="page_318">{318}</a></span>turesque house at Wothorp, in +Northamptonshire, which was erected by one of the Earls of Burleigh, as +a place to retire to, while his “great house at Burghley was sweeping.” +Wothorp was a large building: it was fully illustrated in one of the</p> + +<div class="figcenter" style="width: 306px;"> +<a href="images/ill_pg_318_lg.jpg"> +<img src="images/ill_pg_318_sml.jpg" width="306" height="279" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Sections of moulding of ceiling.</p></div> +</div> + +<p class="nind">author’s works, from original drawings lent him by the late Marquis of +Exeter. The casine, only one size larger than a cottage, was the fashion +of the preceding age. Whenever the proprietor of an estate wished to +turn hermit, he retired to the casine, a<span class="pagenum"><a name="page_319" id="page_319">{319}</a></span> small temple erected in a +portion of his grounds, where the finest views could be obtained, and +the most perfect repose secured. In earlier times such buildings</p> + +<div class="figcenter" style="width: 265px;"> +<a href="images/ill_pg_319-a_lg.jpg"> +<img src="images/ill_pg_319-a_sml.jpg" width="265" height="241" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Drawing-room chimney-piece.</p></div> +</div> + +<p><span class="pagenum"><a name="page_320" id="page_320">{320}</a></span></p> + +<p class="nind">afforded secret meeting-places wherein to hatch political plots; such a +one was the triangular lodge in a secluded part of the wood at Rushton +in Northamptonshire,</p> + +<div class="figcenter" style="width: 256px;"> +<a href="images/ill_pg_319-b_lg.jpg"> +<img src="images/ill_pg_319-b_sml.jpg" width="256" height="174" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">the seat of Sir Thomas Tresham, where the gunpowder conspirators +assembled. The casine of more modern times was not so small, but it +con<span class="pagenum"><a name="page_321" id="page_321">{321}</a></span>tained</p> + +<div class="figcenter" style="width: 272px;"> +<a href="images/ill_pg_320_lg.jpg"> +<img src="images/ill_pg_320_sml.jpg" width="272" height="386" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">all the requirements of good living. One example, is the +casine of Marino, near Dublin, built by Sir William Chambers for the +Earl of Charlemont.</p> + +<div class="figcenter"> +<a href="images/ill_pg_321_lg.jpg"> +<img src="images/ill_pg_321_sml.jpg" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">It was square in plan, surrounded by twelve columns, two projecting flat +porticoes in front and back, and pedimented porticoes at the sides. The +entrance was<span class="pagenum"><a name="page_322" id="page_322">{322}</a></span> approached by a noble flight of steps, the pedestals of +which were decorated with carvings, and supported crouching lions. +Statues and vases adorned the roof. A print of it, from a drawing of +Wheatly, was published in 1783. The building contained a small hall or +vestibule, a saloon or living-room, 20 feet in length by 15 feet in +width. Leading out of this were</p> + +<div class="figcenter" style="width: 319px;"> +<a href="images/ill_pg_322_lg.jpg"> +<img src="images/ill_pg_322_sml.jpg" width="319" height="225" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of mezzanine floor.</p></div> +</div> + +<p class="nind">two small rooms; one a study, the other a bedroom and closet. The +basement contained a large and well-fitted kitchen, a scullery and +larder, a butler’s pantry, and servants’ hall, and cellars for ale and +wine. Retired buildings of this kind, of larger character and of more +importance, were often erected in private<span class="pagenum"><a name="page_323" id="page_323">{323}</a></span> grounds of noblemen and +gentry. One, very similar to the present design, was constructed by the +late Robert Adam, for a salt-water bath, at Mistley, the seat of the +Right Hon. Richard Rigby. Mr. Adam and Sir William Chambers erected a +large number of such ornamental structures. One of the most elegant</p> + +<div class="figcenter" style="width: 325px;"> +<a href="images/ill_pg_323_lg.jpg"> +<img src="images/ill_pg_323_sml.jpg" width="325" height="231" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of upper story.</p></div> +</div> + +<p class="nind">examples, by Mr. Robert Adam, was the rout-house or pavilion erected for +a <i>fête champêtre</i> in the gardens of the Earl of Derby, at the Oaks, in +Surrey, in 1774. The building was internally of the most ornamental +character; there was an octangular vestibule, a hall 30 feet in +diameter; this opened into a grand ball<span class="pagenum"><a name="page_324" id="page_324">{324}</a></span>-room, 72 feet by 35 feet within +the columns, and 86 feet by 56 feet within the walls. The supper-room, +surrounding the ball-room, measured 200 feet from one end to the other, +and 20 feet in width. It was exposed in its full splendour on the +curtains being drawn; and at the end of the ball-room there were</p> + +<div class="figcenter" style="width: 327px;"> +<a href="images/ill_pg_324_lg.jpg"> +<img src="images/ill_pg_324_sml.jpg" width="327" height="266" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Basement plan.</p></div> +</div> + +<p class="nind">two tea-rooms, each 20 feet square, on each side of the entrance saloon. +The author gives these details in order that he may not be considered +too venturesome in submitting to public notice, in these economical +times, such an ornamental design as the<span class="pagenum"><a name="page_325" id="page_325">{325}</a></span></p> + +<div class="figcenter" style="width: 468px;"> +<a href="images/ill_pg_325_lg.jpg"> +<img src="images/ill_pg_325_sml.jpg" width="468" height="271" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of back front.</p></div> +</div> + +<p><span class="pagenum"><a name="page_326" id="page_326">{326}</a></span></p> + +<p class="nind">present. Similar structures of a more expensive character were once very +common; but the small</p> + +<div class="figcenter" style="width: 204px;"> +<a href="images/ill_pg_326-a_lg.jpg"> +<img src="images/ill_pg_326-a_sml.jpg" width="204" height="288" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of top of pedestal.</p></div> +</div> + +<div class="figcenter" style="width: 239px;"> +<a href="images/ill_pg_326-b_lg.jpg"> +<img src="images/ill_pg_326-b_sml.jpg" width="239" height="109" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<p class="nind">retired casine has now gone out of fashion. The ladies consider such +secluded buildings as only fit for<span class="pagenum"><a name="page_327" id="page_327">{327}</a></span> laundries, and not preferring +themselves lives of perfect retirement and quiet, have brought in the +small</p> + +<div class="figcenter" style="width: 243px;"> +<a href="images/ill_pg_327_lg.jpg"> +<img src="images/ill_pg_327_sml.jpg" width="243" height="403" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ornament terminating pedestal on attic.</p></div> +</div> + +<p class="nind">villa where a whole family can dwell, and no selfish thoughts or gloomy +contemplations find place.<span class="pagenum"><a name="page_328" id="page_328">{328}</a></span></p> + +<p>In referring to the plan of the villa at page 304, of which the plate +page 302 shows the elevation, <i>e</i> is the</p> + +<div class="figcenter" style="width: 105px;"> +<a href="images/ill_pg_328-a_lg.jpg"> +<img src="images/ill_pg_328-a_sml.jpg" width="105" height="257" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<div class="figcenter" style="width: 223px;"> +<a href="images/ill_pg_328-b_lg.jpg"> +<img src="images/ill_pg_328-b_sml.jpg" width="223" height="93" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<p class="nind">small hall 8 feet square, <i>g</i> the gun room or waiting room is on the +right, the serving room with a lift from the basement on the left. The +saloon is a highly<span class="pagenum"><a name="page_329" id="page_329">{329}</a></span> decorated apartment, 20 feet in diameter. This is +seen in the section through the centre of the building given at page +310; <i>h</i> is the sleeping room, 13 feet square, with an ornamental +ceiling. The saloon serves as a dining-room and place for meals. The +drawing-room, <i>d</i>, or music room, 22 feet by 14 feet, is on</p> + +<div class="figcenter" style="width: 200px;"> +<a href="images/ill_pg_329_lg.jpg"> +<img src="images/ill_pg_329_sml.jpg" width="200" height="252" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Termination of attic pedestal.</p></div> +</div> + +<p class="nind">the left, <i>b</i> is the principal staircase leading to the upper rooms; +this serves also for servants. The small iron staircase <i>j</i>, is for +passage to the cold bath below, <i>i</i> is a room for a warm bath. The cold +bath, as shown in the section, is ventilated through a<span class="pagenum"><a name="page_330" id="page_330">{330}</a></span> domed ceiling, +but the scale is too small to show this perfectly.</p> + +<p>A portion of the saloon is shown at page 311, with a few of its details +in the six cuts following it.</p> + +<div class="figcenter" style="width: 176px;"> +<a href="images/ill_pg_330_lg.jpg"> +<img src="images/ill_pg_330_sml.jpg" width="176" height="328" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Chimney-pot elevation and section.</p></div> +</div> + +<p>The bedroom ceiling (page 316) supposes the covering of a tent, upheld +by spears and ropes. The colour of the drapery is of a light fawn, the +ground a deep ultramarine blue. In the centre of the ceiling<span class="pagenum"><a name="page_331" id="page_331">{331}</a></span> is a small +Cupid on a red or gilt ground, a light blue circle surrounding it. The +spears, roses, ropes, and tassels are gilt and coloured.</p> + +<div class="figcenter" style="width: 454px;"> +<a href="images/ill_pg_331_lg.jpg"> +<img src="images/ill_pg_331_sml.jpg" width="454" height="214" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Iron balconet to window.</p></div> +</div> + +<p><span class="pagenum"><a name="page_332" id="page_332">{332}</a></span></p> + +<p>The drawing-room ceiling is decorated plaster work in white and gold. +Its plan is shown at page 317, and three of its details on page 318. +Among other decorations of these rooms may be considered the +chimney-pieces. The cuts (page 319) give an elevation of the +drawing-room chimney-piece, the plan of its shelf above, and a portion +of its details to a larger scale beneath. This chimney-piece in the +finest statuary marble would cost 80<i>l.</i> to execute. Several have been +done for the author at that price. They look very well in execution. Two +fire-places of less pretensions are shown in the illustrations at pp. +320 and 321; the first was in rouge royal, costing 25<i>l.</i>; the last are +of marble with slate panels covered with imitation of Brocatelli +marbles, these costing 19<i>l.</i> 10<i>s.</i> each. The illustration of the whole +of the details of internal decoration of such a structure would fill a +much larger volume than the present; but it is the sole object of the +author to give such illustrations of the several designs, that a portion +of each part of the building only shall be shown; <i>k</i>, in the ground +plan (page 304), is an open portico with steps to the garden or park in +front of it.</p> + +<p>The next plan (page 322) is that of the mezzanine. This shows two of the +female servants’ sleeping rooms, <i>a</i>, <i>a</i>, with a closet; the decorated +ceilings of the saloon, drawing-room, and bed-room, are also shown; the<span class="pagenum"><a name="page_333" id="page_333">{333}</a></span> +bath-room should have some slight decoration, but this has been omitted. +The female servants’ sleeping rooms are each 17 feet in length by 8 in +width.</p> + +<p>The plan of the upper story (page 323) gives a smoking room <i>a</i>, with an +open terrace <i>c c</i>, front and back, a closet <i>d</i>, and a cistern room +<i>b</i>.</p> + +<div class="figcenter" style="width: 130px;"> +<a href="images/ill_pg_333_lg.jpg"> +<img src="images/ill_pg_333_sml.jpg" width="130" height="185" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of window sill and iron balconet.</p></div> +</div> + +<p>The basement plan (page 324) shows the cold bath in the centre, with its +staircase; the kitchen <i>b</i>, the scullery <i>g</i>, <i>h</i> <i>h</i> the larders, <i>c</i> +is the lift, and <i>d</i> <i>d</i> are men’s sleeping rooms; the servants’ hall +<i>t</i>, and housekeeper’s room <i>j</i>, are on the left, <i>q</i> is the wine +cellar, and <i>s</i> the beer cellar.</p> + +<p>The elevation of the back front is at page 325; it has a circular +portico and steps down to the garden. An attempt has been made to +introduce an original<span class="pagenum"><a name="page_334" id="page_334">{334}</a></span> termination for the pedestals on the attics, +instead of using the almost universal Soanic bulbous ornament so +repeatedly seen in nearly every public building in</p> + +<div class="figcenter" style="width: 359px;"> +<a href="images/ill_pg_334_lg.jpg"> +<img src="images/ill_pg_334_sml.jpg" width="359" height="219" alt="[Image unavailable.]" /></a> +</div> + +<p>London and the country, and of which the author’s late master, Sir John +Soane, was so fond. These attempts are given in the figures pp. 326-328; +and an attempt is made to give an ornamental chimney<span class="pagenum"><a name="page_335" id="page_335">{335}</a></span>-pot on page 330. +It will be seen in the figure that the ornamental cement pot or vase +contains an iron, or it might be a zinc, lining; this would be kept +warm, and a security for the smoke passing out.</p> + +<p>The exterior of the building is ornamented with statues and vases, and +the windows have iron balconets.</p> + +<p>The last remaining illustration to be given is the arcade on each side +of the villa, dividing the front and back gardens. The chief portion of +this in stone, with statues between the columns and vases over them; at +the back of the columns is another front of ornamental trellis work in +wood, with scroll stands for flowers—this is supported or upheld by the +stone screen; an elevation of each, with a section, is given at page +334.</p> + +<p class="spc2"> </p> + +<p>The vignette gives French and English patterns for cover to external +sunblinds.</p> + +<div class="figcenter" style="width: 145px;"> +<a href="images/ill_pg_335_lg.jpg"> +<img src="images/ill_pg_335_sml.jpg" width="145" height="150" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_336" id="page_336">{336}</a></span></p> + +<h2><a name="DESIGN_No_27" id="DESIGN_No_27"></a><i>DESIGN No. 27.</i><br /><br /> +A DECORATED WINDOW.</h2> + +<div class="figcenter" style="width: 423px;"> +<a href="images/ill_pg_336_lg.jpg"> +<img src="images/ill_pg_336_sml.jpg" width="423" height="284" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_337" id="page_337">{337}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design was sketched with the intention of making Italian forms +rival the tracery of the Decorated Gothic window, and to obtain a rich +and variegated mass of painted and coloured glass, without any stiff +mannerism or formality. The window was 11 ft. in height with a width of +7 ft.; it served as a screen in one of the principal staircases in a +house at Queen’s Gate, Kensington; immediately behind it is the +servants’ staircase, having a large window and skylight. The lower +portion of this window is divided into three lights by two pilasters +acting as mullions. The circle above the transome is filled with a +richly painted subject, representing a basket of flowers and scrollwork +on a ruby ground. The basket is formed of emerald glass, the ground of +the surrounding portions is richly embossed glass, the chief portions +white, the small portions ruby, yellow and blue, the latter with white +ornaments upon it. The three lights between the pilasters are filled +with embossed glass, and the whole is surrounded by borders of +scrollwork richly embossed, stained and painted; the ruby ground is +shown in the drawing by vertical lines, the yellow by oblique lines, and +the blue by horizontal lines. The expense, including the zinc-work for +fixing the glass to the upper portion or fan-light, was 22<i>l.</i> 6<i>s.</i>; +the lower portion cost 8<i>l.</i> 10<i>s.</i> It was the work of Messrs. Baillie +and Co. of Wardour Street.<span class="pagenum"><a name="page_338" id="page_338">{338}</a></span></p> + +<h2><a name="DESIGN_No_28" id="DESIGN_No_28"></a><i>DESIGN No. 28.</i><br /><br /> +A SCULPTOR’S VILLA.</h2> + +<div class="figcenter" style="width: 591px;"> +<a href="images/ill_pg_338_lg.jpg"> +<img src="images/ill_pg_338_sml.jpg" width="591" height="297" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_339" id="page_339">{339}</a></span></p> + +<p class="nind"><span class="letra">D</span>URING the year 1850 the author, in conjunction with the late Mr. John +Britton, F.S.A., was engaged in making some topographical sketches in +one of the western counties of England. He became for a short time the +guest of one of its principal residents—a gentleman who had succeeded +to the possession of more than a million of money, the result of a +relative’s gains as a merchant in the City. He had filled the small +house he was then inhabiting with a very fine collection of antique +bronzes: also with ancient and modern statuary. The house was occupied +in every corner with these valuable and beautiful works of art. He was +then having another house of larger dimensions erected to receive them. +Considerable discussion took place at his table between himself and his +visitors, among whom were two or three distinguished men of taste, as to +the best method of introducing sculpture into a dwelling of moderate +capacity. It was the general opinion that to properly exhibit classic +sculpture, a villa the size of those of the ancients, such as are +described by Pliny in the account of his villas at Laurentinum and +Tusculum, would be required, and that no other would suffice. On his +return home, the author, as a matter of amusement, without any thought +that his ideas would ever be carried out, made the present design; it +was a subject that pleased him, as he had only a few years pre<span class="pagenum"><a name="page_340" id="page_340">{340}</a></span>viously</p> + +<div class="figcenter" style="width: 510px;"> +<a href="images/ill_pg_340_lg.jpg"> +<img src="images/ill_pg_340_sml.jpg" width="510" height="292" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of ground floor.</p></div> +</div> + +<p><span class="pagenum"><a name="page_341" id="page_341">{341}</a></span></p> + +<p class="nind">superintended the construction of a small sculpture gallery for the late +Sir Francis Chantrey at Pimlico.</p> + +<p>The ground plan of this design shows a gallery of sculpture in the +centre of the building, a small</p> + +<div class="figcenter" style="width: 275px;"> +<a href="images/ill_pg_341_lg.jpg"> +<img src="images/ill_pg_341_sml.jpg" width="275" height="307" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of staircase.</p></div> +</div> + +<p>“Museo Chiaramonti.” The principal group at the end, representing the +capture of the Queen of the Amazons, is so placed that the staircase +winding round it forms its base; the group can be seen from<span class="pagenum"><a name="page_342" id="page_342">{342}</a></span> the +staircase, and from the galleries at the side, in every point of view. +This being a large building, the scale upon which the plans, elevation, +and sections are drawn is smaller than the scale previously used in this +volume. The gallery, including that portion which forms the ante-room to +the conservatory, is 80 ft. in length by 20 ft. in width, which is a +poor</p> + +<div class="figcenter" style="width: 200px;"> +<a href="images/ill_pg_342_lg.jpg"> +<img src="images/ill_pg_342_sml.jpg" width="200" height="235" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of principal staircase.</p></div> +</div> + +<p class="nind">imitation of the gallery at the Vatican—the Museo Chiaramonti. This is +280 ft. in length, with a breadth of 20 ft.</p> + +<p>But the possession of only a million of money gives a moderate income +compared with that of the sovereign popes at the time the Vatican was +erected. The<span class="pagenum"><a name="page_343" id="page_343">{343}</a></span></p> + +<div class="figcenter" style="width: 589px;"> +<a href="images/ill_pg_343_lg.jpg"> +<img src="images/ill_pg_343_sml.jpg" width="589" height="199" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through gallery and conservatory.</p></div> +</div> + +<p><span class="pagenum"><a name="page_344" id="page_344">{344}</a></span></p> + +<p class="nind">sculpture is arranged on each side of the gallery, the bas-reliefs +inserted in the walls, the bronzes on small pedestals, a reclining group +is placed in a niche in front of the staircase. A marble group is placed +in the fountain in the ante-room to the conservatory, and another in the +conservatory itself. A gallery of this description permits the admission +of a large quantity of sculpture, allowing it to be seen with advantage. +The entrance of the building, partly taken from the front of one of the +Italian palaces,<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a> permits a large quantity of sculpture to be placed +in advantageous positions. The plan, page 340, shows an entrance loggia +<i>a</i>, the hall <i>b</i>, 17 ft. by 16 ft., with the waiting-room <i>c</i>, to the +right, the breakfast parlour <i>d</i>, and the butler’s pantry <i>g</i>, to the +left; <i>f</i> is the library, 28 ft. by 16 ft., entered either from the +gallery or the waiting-room. It has a large window looking into the +ante-room to the conservatory, and permits a good view of the group of +sculpture and the fountain in the centre; <i>e</i> is the gallery, with the +principal staircase, <i>i</i> is the dining-room opening into the picture +gallery and drawing-room <i>h</i>, <i>k</i>.</p> + +<p>The section, page 343, shows the general arrangement, and an idea can be +formed of its grand<span class="pagenum"><a name="page_345" id="page_345">{345}</a></span> scenic effect in summer, when the doors were +opened. The walk round the conservatory and through the whole of the +gallery would have a length of 170 ft., and round the galleries 150 ft. +more, giving ample space to place a very large collection of sculpture. +Underneath the gallery were supposed to be large cellars for wine. These +had a private entrance through the pedestal of the Amazonian group, as +shown in the plan and section to a larger scale at page 342; the +collection below was supposed to be as valuable as the one above, and +calculated to yield as much enjoyment, and one certainly that would be +more highly appreciated by a greater number of persons. The villa, +however, is on a small scale compared with some of the noble residences +in the county, and the accommodation throughout very scanty. The +servants’ offices are shown annexed to the plan; <i>l</i> is the kitchen, 24 +ft. by 22 ft., <i>m</i> the scullery, <i>n</i> the housekeeper’s room, <i>o</i> a small +servants’ hall, <i>p</i> is a serving room, and <i>q</i> the external entrance to +the cellarage.</p> + +<p>By the side of the principal staircase is a descent into the cellars and +basement, for the servants, <i>b</i>, plan page 342. The conservatory has a +diameter of 40 ft. and a height of 44 ft.; it is of light construction, +in decorated ironwork.</p> + +<p>The one-pair plan shows the sleeping department, the principal +bed-rooms, <i>b</i> <i>b</i>, each with a dressing-room,<span class="pagenum"><a name="page_346" id="page_346">{346}</a></span></p> + +<div class="figcenter" style="width: 490px;"> +<a href="images/ill_pg_346_lg.jpg"> +<img src="images/ill_pg_346_sml.jpg" width="490" height="227" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of one-pair.</p></div> +</div> + +<p><span class="pagenum"><a name="page_347" id="page_347">{347}</a></span></p> + +<p><i>d</i> <i>d</i>. These are entered direct from the gallery; in the front of the +building are five smaller sleeping</p> + +<div class="figcenter" style="width: 400px;"> +<a href="images/ill_pg_347_lg.jpg"> +<img src="images/ill_pg_347_sml.jpg" width="400" height="300" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cross section.</p></div> +</div> + +<p class="nind">rooms. At the conservatory end the gallery opens on to the roof of the +ante-room beneath, and from this<span class="pagenum"><a name="page_348" id="page_348">{348}</a></span> there is an entrance to a circular +gallery inside the conservatory. On the servants’ side are seen two +large sleeping rooms, and a housemaid’s closet; as this portion of the +building is kept lower than the other, it could have two or three rooms +constructed over the kitchen, or it could be carried up another story. +The plan of the principal bedchambers is taken up another floor; the +small staircase for this purpose is seen at the end of the gallery.</p> + +<p>The cross section (page 347) shows the height of the building, and its +general construction. The whole of the principal living rooms in the +three floors are of the same height, 16 ft. 6 in. each; 37 steps were +required in the principal staircase to ascend to the first floor on one +side, and 31 on the other; the roof of the saloon was to be constructed +similar to the roof of the Riding-house shown in plate, page 389. Large +roofs can be constructed on this principle at a very cheap rate, and it +is a very strong and efficient one; the roof of the Pantheon in +Oxford-street, constructed by Mr. Sydney Smirke, is of a similar kind; +the roofs of the annexes to the Exhibition building of 1862 by Captain +Fowkes were on the same principle, but as these were only intended to +stand for a year, were very slight. The cross section shows the +ventilating flue, proposed and illustrated in a following chapter; the +small stack in the low building shows the incline necessary to meet<span class="pagenum"><a name="page_349" id="page_349">{349}</a></span> the +back eddy of wind from the high building. It would have been better, +could it have been effected, to have placed the stack in a position +parallel to the high building, and not at right angles to it. The stack +on the latter shows two ventilating flues, each with an upward shaft; +the whole of the smoke from the fireplaces would be delivered from these +two shafts.</p> + +<p>It only remains to illustrate the system of warming proposed to have +been introduced. This was by a combination of two entirely different +systems of warm water circulation through iron pipes.</p> + +<p>The various apparatus of warming buildings by the circulation of hot +water, may be roughly stated to be of two kinds, each acting on the +opposite principle to the other. The first, or more modern one, is the +<i>closed system</i>. This has always been preferred by the author, it being +more conveniently introduced into a building, less expensive, and giving +less trouble than any other, and more certain in its action. In it the +water circulates with great rapidity, completely under pressure, the +pipes being closed, and the whole of the air expelled from them. The +older system is that in which the tubes are not closed, but are +connected with a cistern, into which the water is allowed to flow and +re-flow; the two may very properly be called the high and low +temperature systems, and by these terms they<span class="pagenum"><a name="page_350" id="page_350">{350}</a></span> are here designated. With +the first, the tubes can be made to reach a higher degree of heat if +necessary, by placing a larger proportion of them than is usual in the +furnace; but with the second, a temperature of 180 degrees can alone be +reached. With the latter, its greater or less efficiency depends upon +the position of its open cistern, which regulates the amount of pressure +in the tubes, according as its situation is high or low. It was +introduced into this country about 1818; the open cistern was placed in +the upper part of the house, the boiler being below in the kitchen, thus +allowing a considerable pressure in the tubes, and securing a quick +circulation of the water. The high temperature system was introduced by +A. M. Perkins, Esq., about the year 1832; in its simplest form it +consisted of a continuous or endless tube of wrought iron of one inch +external diameter, filled with water, and closed in all parts; a portion +of the tubing was formed into a coil and placed in a furnace of wrought +iron, the fire being enclosed in fire-brick. When it was first +introduced a larger amount of tubing was placed in the furnace than is +now usually done; with the proper amount, one-tenth or one-eleventh only +of the full quantity is necessary, and then it must be obvious that no +overheating of the tubes can take place. In practice it is more usual to +find objections made to the apparatus not giving sufficient heat, than<span class="pagenum"><a name="page_351" id="page_351">{351}</a></span> +to its giving too much. The quantity of feet in pipes necessary to raise +rooms of a certain size to a given temperature, must be proportioned to +their cubical contents, and this depends equally on the situation and +aspect of the building, the number of doors, and windows or skylights; +no rule can consequently be given which would be applicable to all +places with any degree of certainty.</p> + +<p>The pipes being only five-eighths of an inch internal diameter, a very +small quantity of water is required to fill the apparatus. A tube called +the expansion tube is placed above the highest level of the circulating +pipes, and is generally of larger diameter. The object of this tube is +to allow for the expansion of the water as it becomes heated; a tube is +also placed at the highest level, in order to fill the apparatus, so as +to leave the expansion tube empty.</p> + +<p>The tubes are provided with screw plugs, so as to be conveniently opened +when it is required to fill the pipes with water, and closed again after +being filled. This can be done with facility by a servant. The +circulation of the water is produced by the application of heat to the +coil in the furnace; and as the small size of the pipes admits of +presenting the largest possible amount of surface to the action of the +fire, it is clear that a greater economy of fuel is effected by it than +by the ordinary system of boilers. As the water<span class="pagenum"><a name="page_352" id="page_352">{352}</a></span> becomes heated it rises +immediately to the highest level of the circulating pipes, and thus +forms a column of heated water, specifically lighter than the colder +water, which descends to the lower part of the coil. Thus a circulation +is effected throughout the whole course of the pipes,<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a> which +eventually become heated, and the whole may be regulated exactly to that +degree of temperature which is most conducive to a beneficial effect.</p> + +<p>To regulate the degree of heat to be given to the tubes, without +requiring the necessity of an attendant, advantage has been taken of the +expansive property of the iron pipe when heated. There are three +multiplying levers fixed in a box, and so placed that the short arm of +one of the levers rests upon a regulating screw attached to the flow +pipe. On the other end of the series of levers a rod so rests that upon +the slightest movement of the levers, the damper in the flue, which is +attached to the rod, is opened or closed, as the case may be. The box of +levers is suspended from the hot pipe, so as to leave about two feet in +length between the point of suspension and the point of contact with the +short arm of the lever.<span class="pagenum"><a name="page_353" id="page_353">{353}</a></span></p> + +<p>The operation of this arrangement is obvious, for the instant the pipe +becomes heated, it expands and presses the short arm of the lever; and +as the fulcrum within the box cannot move, by reason of the rod which +suspends it being cold, it follows that the lever must be depressed, by +which action a sufficient motion is given to the damper, to close it at +any given temperature at which it may be originally fixed.</p> + +<p>The great advantage in the use of this apparatus is the saving of time +in obtaining the requisite degree of heat. It often happens that the +time occupied in heating the water of an ordinary hot-water apparatus +completely defeats the object of getting warmth in any reasonable time, +particularly in greenhouses, where it is frequently desirable to get up +the heat quickly, to prevent the effect of frost. It has been said that +this property of generating the heat rapidly has the disadvantage of not +being able to retain it: this, however, is not the case, for, on the +contrary, an equal temperature may be maintained for any length of time +that may be desired. It is only necessary to make the fireplace +sufficiently large to contain fuel enough to last the time the heat is +required to be continued, and the damper will regulate the combustion of +the fuel and the heat of the pipes, so that there will be no variation +for twelve hours together.<span class="pagenum"><a name="page_354" id="page_354">{354}</a></span></p> + +<p>There being no boiler to the apparatus, it is free from the ordinary +danger of explosion; if a pipe by possibility should burst, no harm +ensues, for the water escapes from so small an aperture that it becomes +absolutely cool by its expansion and mixture with atmospheric air.</p> + +<p>So little fear of fire exists with the apparatus, that the directors of +the principal fire offices readily accept, at the lowest rate of +premium, all proposals for the insurance of buildings in which the +system is adopted, not requiring even the customary inspection.</p> + +<p>The author made drawings of one of these apparatus put up in an +ornamental greenhouse in Kew Gardens in 1844; and fourteen years after, +the director of the garden, Sir W. J. Hooker, publicly allowed it to be +stated in print that no hot-water apparatus in any of their houses had +given so much satisfaction; that the heat was given out after lighting +the fires more rapidly than in any other of their houses, and steadily +maintained at any degree of temperature required. The two systems of the +high and low temperature can readily be combined, and the temperature of +both large and small tubes nearly equalized. This may be done by using +one furnace. A diagram given by Dr. Arnott in a lecture delivered by him +at the Royal Institution in March, 1836, with his explanation, will show +the principle upon which the combination is<span class="pagenum"><a name="page_355" id="page_355">{355}</a></span> effected. Suppose A, fig. +1, is a cistern full of cold water, and B a cistern full of hot water: +if the two cocks <i>c</i> <i>c</i> are unturned, it is a fact that the water at +<i>d</i> will be one degree of warmth only above the water at</p> + +<div class="figcenter" style="width: 266px;"> +<a href="images/ill_pg_355_lg.jpg"> +<img src="images/ill_pg_355_sml.jpg" width="266" height="89" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 1.</p></div> +</div> + +<p>A, and the water at e will be of one degree less temperature than the +water in B. If, therefore, on this principle, some of the pipes of the +high-temperature system are passed through the large tubing of the low +temperature one, the desired effect is obtained: the large pipes or +tablets of one apparatus remain at their full heat, while an additional +quantity of inch pipe of sufficiently warm temperature is obtained, that +can be carried into rooms and placed in situations into which the +warming surfaces of the low-temperature system could not be made to +approach.</p> + +<p>As regards the low temperature apparatus, if the large pipes belonging +to it are laid in sufficient quantity, they doubtless have the effect of +producing a moderate degree of heat.</p> + +<p>The best way of introducing them into a dwelling-house is to sink them +in channels in the floor, with<span class="pagenum"><a name="page_356" id="page_356">{356}</a></span> perforated ironwork over them: they are +more usually introduced into hothouses, factories, and workshops, where +their appearance is not objectionable. A feeling exists in favour of +their use in conservatories; in order to show how they can be retained +for that purpose, the combined systems are introduced in the plan of the +villa here described.</p> + +<p>The ground plan shows the entrance hall, the gallery or sculpture saloon +in the centre, the principal staircase, the picture room and the +servants’ staircase, all warmed by the inch pipes; the larger pipes are +introduced into the conservatory. In the picture room—that between the +drawing-room and the dining-room—and in the hall, the pipes are sunk in +trenches in the floor. They are close to the walls, and lined with brick +with an inside covering of zinc. These trenches have over them +perforated ornamental ironwork; <i>a´</i> <i>a´</i> are pedestals containing coils +of pipe; <i>b´</i> <i>b´</i> are pipes behind the skirting, likewise perforated. +Where these pipes pass the doorways they are sunk in the floor. In the +conservatory <i>d´</i> <i>d´</i> are the large pipes; <i>f</i> is an open cistern, +through which the circulation of water in the pipes flows; at <i>g</i> are +placed the expansion and filling tubes.</p> + +<p>Fig. 2 is an isometrical view of the pipes, furnace, and cisterns +complete to a small scale; <i>e</i> is the furnace placed in the basement; +<i>f</i> is a cistern of cold<span class="pagenum"><a name="page_357" id="page_357">{357}</a></span> water through which the flow and return pipes +from the furnace pass: the water becoming heated in the cistern flows +out, and returns in the direction shown by the arrows. The flow pipe, +leaving this cistern, passes up to the expansion tube <i>g</i>, whence the +tubes run through the building in the manner shown, returning to the +furnace. The pipes <i>d</i>, are two other flow and return pipes, furnished +with a stop-cock, by means of which the circulation can be confined +either to the house or to the conservatory. The furnace</p> + +<div class="figcenter" style="width: 364px;"> +<a href="images/ill_pg_357_lg.jpg"> +<img src="images/ill_pg_357_sml.jpg" width="364" height="113" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 2.</p></div> +</div> + +<p class="nind">should in reality contain two coils of pipe, having two flows and two +returns, the whole of which should go through the cistern <i>f</i>, but the +small scale of the plate allows one circulation only to be shown.</p> + +<p>Dr. Arnott’s principle of nearly equalizing temperatures was applied by +him for room ventilation. Its mode of application is explained in the +following extract from his report on “Warming and Ventilating +Infirmaries, Workhouses, Factories, and Domestic Apartments,” given in +the appendix to the Second<span class="pagenum"><a name="page_358" id="page_358">{358}</a></span> Annual Report of the Poor Law +Commissioners:—“In rooms where the mechanical mode of ventilation +already described (by means of fanners) and now common in factories, has +been adopted, an addition might be made to the apparatus for extracting +the impure air, which would drive fresh air in, and which, by causing +the two currents to pass each other in contact for a certain distance in +very thin metallic tubes, would cause the fresh air entering to absorb +nearly the whole heat from the impure air going out, and would thus +render it at once both pure and warm, and would consequently save, after +the room was once warmed, any further expense of fuel for the day, and +would avoid, how rapid soever the ventilation, all the danger from +draught and unequal heating.”</p> + +<p>The above idea is extremely ingenious, but as to its practical +efficiency, some doubt might be expressed. The temperature of a warm +room, even if it was 65°, would be much too low to produce the action +described.</p> + +<p>A very ingenious application of the small-tube system of warming has +been introduced into his dwelling by Mr. Babbage. He placed the furnace +in the basement, and divided the whole length of piping by means of a +multiple cock into four circulations, any one of which he could turn off +or on at pleasure; one circulation warmed the bath, which,<span class="pagenum"><a name="page_359" id="page_359">{359}</a></span> when the +cistern that supplied it was once up to 160 degrees (and this it took an +hour to obtain), remained sufficiently warm for a bath during 24 hours. +The whole quantity of pipe in the building was 891 feet, and the +quantity in the furnace 135. The thermometer in the smoke-flue was +seldom higher than 212 degrees, when that in the flow-pipe was 240 +degrees. Any two or three, or all four of the circulations could be +worked together, by simply turning an index provided for the purpose.</p> + +<p>The tool-room was always kept at a temperature of from 50° to 54°. In +winter the hat-room received a portion of piping, so that coats and +gloves, even in the dampest weather, were always kept dry. One +circulation was sent through the dining-room a short time before it was +used; it was after a certain time turned off and sent through the +bedrooms and dressing-rooms. The various rooms in the winter were kept +at different temperatures, the dressing-rooms were a few degrees warmer +than were the bed-rooms: an inducement for early rising. The linen was +aired, and warm water provided in the dressing-rooms and for the use of +the servants. The apparatus saved labour in cleaning and lighting of +fires, and it was economical, the consumption of fuel during the six +winter months being about a bushel of coke in 24 hours. The supply of +air, and the consequent<span class="pagenum"><a name="page_360" id="page_360">{360}</a></span> combustion and quantity of fuel, was regulated +by the fire itself. This was never suffered to go out after it had been +once lighted, except when necessary to remove the clinkers, and this +occurred about once a fortnight. In the morning, about seven o’clock, +the fire was well shaken by means of a lever attached to the bars of the +grate. Coal or coke was supplied, and the air valve opened. The +stop-cock was then turned on to supply the coils for the library and +stairs. At about eight o’clock in the evening the stop-cock was turned +to heat the coil of the bath, and at eleven o’clock, fuel having been +supplied, the air valve was completely closed, and the damper also if +necessary. By these means the fire burned very slowly during the whole +of the night, and the bath cistern received the warmth thus generated.</p> + +<p>These conveniences and luxuries might be more generally applied than +they are at present in the dwellings of this country.</p> + +<div class="figcenter" style="width: 313px;"> +<a href="images/ill_pg_360_lg.jpg"> +<img src="images/ill_pg_360_sml.jpg" width="313" height="72" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_361" id="page_361">{361}</a></span></p> + +<h2><a name="DESIGN_No_29" id="DESIGN_No_29"></a><i>DESIGN No. 29.</i><br /><br /> +GARDEN SEAT.</h2> + +<p>This small ornamental structure was designed for a garden in Wiltshire, +on an estate near Chippenham. The garden, which is very extensive, +rises<span class="pagenum"><a name="page_362" id="page_362">{362}</a></span></p> + +<div class="figcenter" style="width: 282px;"> +<a href="images/ill_pg_361-a_lg.jpg"> +<img src="images/ill_pg_361-a_sml.jpg" width="282" height="218" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<div class="figcenter" style="width: 239px;"> +<a href="images/ill_pg_361-b_lg.jpg"> +<img src="images/ill_pg_361-b_sml.jpg" width="239" height="89" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<p class="nind">in steep terraces up the combe or hill by the side of the mansion, which +lies down in the valley. The structure was to be on the highest part of +the garden,</p> + +<div class="figcenter" style="width: 367px;"> +<a href="images/ill_pg_362_lg.jpg"> +<img src="images/ill_pg_362_sml.jpg" width="367" height="272" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of front.</p></div> +</div> + +<p class="nind">commanding an extensive view of the valley, the village, and adjacent +country. As the house is in the neighbourhood of several fine old +Elizabethan mansions, the design partook of that character. The view +represents<span class="pagenum"><a name="page_363" id="page_363">{363}</a></span></p> + +<div class="figcenter" style="width: 319px;"> +<a href="images/ill_pg_363-a_lg.jpg"> +<img src="images/ill_pg_363-a_sml.jpg" width="319" height="268" alt="[Image unavailable.]" /></a> +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>Section. +</p></td><td> </td> +<td> +<p>Side elevation. +</p></td></tr> +</table> +</div></div> + +<div class="figcenter" style="width: 269px;"> +<a href="images/ill_pg_363-b_lg.jpg"> +<img src="images/ill_pg_363-b_sml.jpg" width="269" height="173" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Balustrade.</p></div> +</div> + +<p><span class="pagenum"><a name="page_364" id="page_364">{364}</a></span></p> + +<p class="nind">the structure in its complete state, with the terrace overlooking the +valley. The turret on the tower of the village church is seen in the +distance. The latter</p> + +<div class="figcenter" style="width: 228px;"> +<a href="images/ill_pg_364_lg.jpg"> +<img src="images/ill_pg_364_sml.jpg" width="228" height="435" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Portion of exterior front.</p></div> +</div> + +<p><span class="pagenum"><a name="page_365" id="page_365">{365}</a></span></p> + +<div class="figcenter" style="width: 333px;"> +<a href="images/ill_pg_365-a_lg.jpg"> +<img src="images/ill_pg_365-a_sml.jpg" width="333" height="244" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Portion of the entrance front.</p></div> +</div> + +<div class="figcenter" style="width: 282px;"> +<a href="images/ill_pg_365-b_lg.jpg"> +<img src="images/ill_pg_365-b_sml.jpg" width="282" height="222" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Balustrade (2nd example).</p></div> +</div> + +<p><span class="pagenum"><a name="page_366" id="page_366">{366}</a></span></p> + +<p class="nind">is an agreeable object in the view, being an extremely fine specimen of +Decorated English Gothic, and in good preservation.</p> + +<p>The plan is beneath the view, and the elevation of the building is +likewise given. The whole of it was to have been constructed in stone; +the vases were intended to receive flower-pots, so that a constant +change of flowers could be placed in them by the pots being changed as +often as was desired. A section through the centre and a side elevation +are given; the balustrade is from an ancient example, it is five inches +in thickness. The mouldings of the exterior are of plain Roman +character, without any admixture of Gothic forms. The best examples of +our Elizabethan architecture are pure Italian, but possessing a bolder +and more picturesque outline, suited to our northern climate, than that +shown by the elegant Italian model.</p> + +<p>The second balustrade, p. 365, was an after-suggestion, it being +considered more appropriate to the design than the first one. Another +elevation was made for the same structure; this is shown as Design No. +30; it was to occupy the same site, and to have been constructed wholly +in stone.</p> + +<p class="spc2"> </p> + +<p>Opposite is a drawing of an ancient chimney-piece at Enfield, bearing +the inscription—</p> + +<div class="poetry"> +<div class="poem"><div class="stanza"> +<span class="i0">Sola salus servire Deo,<br /></span> +<span class="i0">Sunt cætera fravdes.<br /></span> +<span class="pagenum"><a name="page_367" id="page_367">{367}</a></span></div></div> +</div> + +<div class="figcenter" style="width: 351px;"> +<a href="images/ill_pg_367_lg.jpg"> +<img src="images/ill_pg_367_sml.jpg" width="351" height="511" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ancient chimney-piece in the Palace School, Enfield.</p> + +<p>(Formerly in the occupation of Queen Elizabeth.)</p></div> +</div> + +<p><span class="pagenum"><a name="page_368" id="page_368">{368}</a></span></p> + +<h2><a name="DESIGN_No_30" id="DESIGN_No_30"></a><i>DESIGN No. 30.</i><br /><br /> +A GARDEN SEAT.</h2> + +<div class="figcenter" style="width: 397px;"> +<a href="images/ill_pg_368_lg.jpg"> +<img src="images/ill_pg_368_sml.jpg" width="397" height="336" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_369" id="page_369">{369}</a></span></p> + +<p class="nind"><span class="letra">T</span>HE turret of the village church is seen through the centre opening; +this was proposed to be filled with plain and coloured glass; the detail +of the ornament above the cornice is copied from that on</p> + +<div class="figcenter" style="width: 359px;"> +<a href="images/ill_pg_369_lg.jpg"> +<img src="images/ill_pg_369_sml.jpg" width="359" height="159" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan (2nd design).</p></div> +</div> + +<p class="nind">the gables of Charlton House, Wiltshire, from which the author had just +returned, having visited it for the purpose of making drawings and fully +illustrating it in one of his publications.<span class="pagenum"><a name="page_370" id="page_370">{370}</a></span></p> + +<h2><a name="DESIGN_No_31" id="DESIGN_No_31"></a><i>DESIGN No. 31.</i><br /><br /> +AN ICE-HOUSE.</h2> + +<div class="figcenter" style="width: 168px;"> +<a href="images/ill_pg_370-a_lg.jpg"> +<img src="images/ill_pg_370-a_sml.jpg" width="168" height="201" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<div class="figcenter" style="width: 389px;"> +<a href="images/ill_pg_370-b_lg.jpg"> +<img src="images/ill_pg_370-b_sml.jpg" width="389" height="219" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p><span class="pagenum"><a name="page_371" id="page_371">{371}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design represents an old-fashioned ice-house, such as were +constructed in the country several years ago, and still are so, where +large quantities of ice are required to be stored. This small structure, +embosomed amidst trees, impervious to the sun, was formed with the stone +of the district, and arched and domed over with bricks. The well <i>a</i>, +sunk in the earth, is 10 feet in diameter, <i>b</i> is a cesspool to receive +the water that drops from the ice, and <i>c</i> is the drain</p> + +<div class="figcenter" style="width: 357px;"> +<a href="images/ill_pg_371_lg.jpg"> +<img src="images/ill_pg_371_sml.jpg" width="357" height="155" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<p class="nind">to convey it to the well <i>d</i>; the ice is thrown in from the top, the +earth <i>e</i>, and the two stone slabs and the straw between them, being +removed.</p> + +<p>As an additional precaution against warmth, the structure was buried in +a mound of earth. This, as it quite destroyed any picturesque effect it +would otherwise have had amidst the trees, is not shown in the view.<span class="pagenum"><a name="page_372" id="page_372">{372}</a></span></p> + +<p>These ice-wells have not often so long a passage of approach; one only +from 6 to 10 feet in length is sufficient, but double doors and a free +current of air across the entrance passage are desirable. It has not +often a domed roof to cover that of the well, a common wooden roof +covered with thatch placed a few feet above the roof of the well being +sufficient; neither is it often considered necessary to have a well to +receive the water dropping from the ice. The ice-well walls may be +splayed down to the ground, with proper footings, and an uncovered piece +of ground left at the bottom. Over this is placed an open wood frame, +which supports the ice, and permits all water to drain off. When the +walls are splayed down in this form, buttresses must be added to support +them, and the weight of the ice. Every country house in America is +provided with an excellent ice-house of the simplest and most practical +kind. It consists of a deep excavation in the earth, roofed over with a +pointed thatch. These ice-houses are always well filled in the winter, +and rarely if ever quite emptied during the summer. An accurate section +of such an ice-well, with full directions for its construction, has been +lately published.<a name="FNanchor_E_5" id="FNanchor_E_5"></a><a href="#Footnote_E_5" class="fnanchor">[E]</a></p> + +<p><span class="pagenum"><a name="page_373" id="page_373">{373}</a></span></p> + +<h2><a name="DESIGN_No_32" id="DESIGN_No_32"></a><i>DESIGN No. 32.</i><br /><br /> +A SUBURBAN VILLA.</h2> + +<p>One of the chief peculiarities in small suburban villas that have been +erected near London within the last thirty years, is that of making the</p> + +<div class="figcenter" style="width: 329px;"> +<a href="images/ill_pg_373_lg.jpg"> +<img src="images/ill_pg_373_sml.jpg" width="329" height="306" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of principal front.</p></div> +</div> + +<p class="nind">chief room on the basement the ordinary apartment for the family. The +confined areas formerly adopted in front and back of the building are +omitted, and<span class="pagenum"><a name="page_374" id="page_374">{374}</a></span> the earth is sloped up in form of a bank, being adorned +with flowers and shrubs so as to look pleasing from within the +apartments. There is usually a side room in the basement, with +descending steps to the entrance, which serves as an office to the +occupier of the house. If his business be chiefly in the locality,</p> + +<div class="figcenter" style="width: 231px;"> +<a href="images/ill_pg_374_lg.jpg"> +<img src="images/ill_pg_374_sml.jpg" width="231" height="258" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">this is very convenient; the chief room in the basement is used as a +dining and supper room, and indeed for all common purposes by the +family. It renders it unnecessary to have more than one, or at most, two +servants’ rooms. The drawing-room, the library, and the superior +dining-room are on the floor above.<span class="pagenum"><a name="page_375" id="page_375">{375}</a></span></p> + +<p>This suburban dwelling very much resembles the same class of structure +in America, where economy of space is carried out more completely than +with us, and the residents are less dependent on servants. In the +American house, the pantry is nearly always placed between the kitchen +and the dining-room, and its chief approach is from the latter, even +when the dining-room is on the ground floor. The American</p> + +<div class="figcenter" style="width: 191px;"> +<a href="images/ill_pg_375_lg.jpg"> +<img src="images/ill_pg_375_sml.jpg" width="191" height="197" alt="[Image unavailable.]" /></a> +<div class="caption"><p>One-pair plan.</p></div> +</div> + +<p class="nind">house has the office, or place of business of the occupier, on the lower +floor, with its separate entrance. The Americans exhibit a compactness +of arrangement and an attention to detail that prove they are in no way +behind us in a knowledge of what is requisite for household comfort. One +peculiarity in the American building is the verandah, which is +considered to be in<span class="pagenum"><a name="page_376" id="page_376">{376}</a></span>dispensable. It is large and roomy, and often placed +on three sides of the building; the climate, warmer and drier than our +own, renders such an addition a</p> + +<div class="figcenter" style="width: 321px;"> +<a href="images/ill_pg_376_lg.jpg"> +<img src="images/ill_pg_376_sml.jpg" width="321" height="374" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through front and back.</p></div> +</div> + +<p class="nind">great luxury. Our atmosphere in the winter months has often been +pronounced of leaden gravity, and it does not permit of any erection +that stops the circula<span class="pagenum"><a name="page_377" id="page_377">{377}</a></span>tion of the air, which would render it stagnant. +Another peculiarity in the houses of our American cousins, is that they +are often cased in wood. If the house be only two or three storeys in +height, an 8-in. brick wall is considered sufficient: this is “furred +off outside, and covered with clap boards,” in the ordinary</p> + +<div class="figcenter" style="width: 227px;"> +<a href="images/ill_pg_377_lg.jpg"> +<img src="images/ill_pg_377_sml.jpg" width="227" height="259" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Basement plan.</p></div> +</div> + +<p class="nind">way followed in a wooden building. Its advantage is, that it is sure to +secure a perfectly dry wall. This mode of construction in England would +necessitate the painting of the whole of the exterior once at least in +every three or four years. One more suitable with us for a wall in a +damp situation would be the plan<span class="pagenum"><a name="page_378" id="page_378">{378}</a></span> the author pursued in the house on +Salisbury Plain, putting quartering against the wall, and covering it +with diamond slating. The surface could be varied with coloured +encaustic tiles so as to present a pleasant</p> + +<div class="figcenter" style="width: 120px;"> +<a href="images/ill_pg_378_lg.jpg"> +<img src="images/ill_pg_378_sml.jpg" width="120" height="350" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front windows.</p></div> +</div> + +<p class="nind">appearance, proper ventilation being given behind the slating.</p> + +<p>The small suburban villa represented in the plate<span class="pagenum"><a name="page_379" id="page_379">{379}</a></span> is supposed to stand +on a plot of ground with a frontage of 50 ft.; the construction is in +brick and stucco, the small columns of the portico are of Bath stone. +The plan shows a small hall <i>a</i>, the library <i>c</i>, 15 ft. by 14 ft., and +on the right with a strong closet. The dining-room <i>e</i>, is 18 ft. by 15 +ft., and on the left; the drawing-room <i>d</i>, is 23 ft. by 18 ft. There is +a large commodious staircase <i>b</i>, and leading from it a small +dressing-room <i>i</i>, and closet. This dressing-room might easily be made +to contain a bath; the water for the bath in any one of the floors +should always be heated by means of a close boiler attached to an +ordinary kitchen-range. It is the most simple, economical, and efficient +arrangement for that purpose, as no more fire than that used for cooking +is required. The cold water is supplied from a cistern at the top of the +house, and a continual circulation of the water between that and the +boiler goes on, the hot water ascending, the cold descending. Pipes may +be branched off from the ascending pipe, which leaves the top of the +boiler, and taken to any part of the house, ensuring a supply of hot +water to dressing-rooms, nurseries, &c. Instead of a boiler, a coil of +iron or copper pipe is often used, rendering the circulation quicker and +more effective. The one-pair plan of the suburban villa contains three +large bedrooms, two dressing-rooms, and one invalid’s room<span class="pagenum"><a name="page_380" id="page_380">{380}</a></span> entered from +the staircase; to this room the closet could be attached. The staircase +leads up to two large attics for the servants.</p> + +<p>The section, p. 376, shows a portion of the front and back of the +building, with the construction of the roof, the back wall not being +carried so high as the front. This is done to give the building an +imposing appearance from the road, a mode of construction very often +carried out in suburban houses. The basement plan affords good +accommodation; <i>f</i> is the kitchen, 18 ft. by 15 ft., <i>g</i> the scullery, +<i>h</i> the larder, <i>k</i> the living room, <i>l</i> the business office, with its +separate entrance. The closet for the servants is external; the +footman’s pantry and the wine cellar lead out of the staircase <i>b</i>; the +coal cellar is under the portico. The house thus contains seventeen +rooms; the cost of its erection would be 3260<i>l.</i> completely finished. A +detail of the windows is given on a large scale at page 378.<span class="pagenum"><a name="page_381" id="page_381">{381}</a></span></p> + +<p>The following is an elevation of the vane, the constructive detail of +which is given in a former vignette. The character is Elizabethan, and +designed from an example at Oxnead Hall, Norfolk.</p> + +<div class="figcenter" style="width: 212px;"> +<a href="images/ill_pg_381_lg.jpg"> +<img src="images/ill_pg_381_sml.jpg" width="212" height="391" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_382" id="page_382">{382}</a></span></p> + +<h2><a name="DESIGN_No_33" id="DESIGN_No_33"></a><i>DESIGN No. 33.</i><br /><br /> +A SUBURBAN VILLA.</h2> + +<div class="figcenter" style="width: 385px;"> +<a href="images/ill_pg_382_lg.jpg"> +<img src="images/ill_pg_382_sml.jpg" width="385" height="444" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of principal front.</p></div> +</div> + +<p><span class="pagenum"><a name="page_383" id="page_383">{383}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design is also one for a suburban villa, or a small country house, +on a rather larger scale than the preceding. This villa, dressed with a +plain Italian elevation, and of smaller dimensions as to plan, has been +erected on several sites near London. The front of the present design +was partly taken from a plate in “Nash’s Mansions,” at the request of a</p> + +<div class="figcenter" style="width: 305px;"> +<a href="images/ill_pg_383_lg.jpg"> +<img src="images/ill_pg_383_sml.jpg" width="305" height="246" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">gentleman who very much admired it, and who was anxious to have a +semi-detached villa of the same character. The villa was therefore +designed so that another could be placed by the side of it. The two +gables form the centre, the chimney stack is between them on the roof; +the front was to have a sunk area,<span class="pagenum"><a name="page_384" id="page_384">{384}</a></span> topped by a Gothic balustrade, and +as there were no principal rooms on the basement floor in the front of +the house, this was easily given; the rooms at the back looked into the +garden, and these had the ground in front of them sloped up.</p> + +<p>The ground plan shows an entrance hall <i>a</i>, 14 ft. by 10 ft., with a +commodious staircase <i>b</i>, 18 ft. by 12 ft., to the left. There was a +closet to the right;</p> + +<div class="figcenter" style="width: 289px;"> +<a href="images/ill_pg_384_lg.jpg"> +<img src="images/ill_pg_384_sml.jpg" width="289" height="190" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The one-pair plan.</p></div> +</div> + +<p class="nind">a lift from the basement could easily be obtained here. The study <i>c</i>, +was about 16 ft. square, and was entered from the hall; the dining-room +<i>e</i>, had a bay window, and was in the centre of the building; it +measured 20 ft. square. The drawing-room <i>d</i>, was very large, being 31 +ft. in length by 16 ft. in breadth, with a large window at each end; +this was often considered<span class="pagenum"><a name="page_385" id="page_385">{385}</a></span> objectionable, as the occupants of the room +can always be seen from the opposite houses, but as this was intended +for a semi-detached villa, windows could not be obtained at the side.</p> + +<p>The one-pair plan contains one large and three small bedrooms, with a +closet. Over the porch was placed a conservatory, and by its side the +tower staircase led up to the attic. This contained four good-sized</p> + +<div class="figcenter" style="width: 295px;"> +<a href="images/ill_pg_385_lg.jpg"> +<img src="images/ill_pg_385_sml.jpg" width="295" height="189" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Attic plan.</p></div> +</div> + +<p class="nind">bedrooms, each with a fireplace; there was a housemaid’s closet, and a +place for the slate cistern to supply the lower part of the house with +water; a small cistern on a higher level was placed on the roof of the +tower. Another room could easily have been obtained on this floor, by +continuing the passage at the housemaid’s closet through the centre +room, and<span class="pagenum"><a name="page_386" id="page_386">{386}</a></span> this was proposed, but it was objected to, as it could not be +rendered light and airy. A second staircase,</p> + +<div class="figcenter" style="width: 207px;"> +<a href="images/ill_pg_386_lg.jpg"> +<img src="images/ill_pg_386_sml.jpg" width="207" height="458" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through portion of building.</p></div> +</div> + +<p><span class="pagenum"><a name="page_387" id="page_387">{387}</a></span></p> + +<p class="nind">from the attic to the basement, could have been formed in the tower, the +two closets being placed in a similar position to the one on the first +floor. The staircase in the tower led on to the roof. The section shows +the height of the various rooms, there being no variation throughout the +floors. It was intended to carry out</p> + +<div class="figcenter" style="width: 292px;"> +<a href="images/ill_pg_387_lg.jpg"> +<img src="images/ill_pg_387_sml.jpg" width="292" height="251" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The basement plan.</p></div> +</div> + +<p class="nind">the style of the exterior in the interior—a medley between the Gothic +and Elizabethan; the proprietor having a very large collection of +old-fashioned carvings of various styles and dates, picked up at sales, +or purchased in Wardour Street (at that time more celebrated for such +antiquities than at present). The<span class="pagenum"><a name="page_388" id="page_388">{388}</a></span> walls were to be covered with gilt +leather and rich tapestries, and with this the architect did not intend +to meddle, leaving it all to the taste and skill of the owner, although +he has finished several interiors with such materials.</p> + +<p>The basement plan shows the kitchen <i>f</i>, the scullery <i>g</i>, and larder +<i>h</i>; <i>q</i> is the wine cellar, and <i>j</i> the butler’s pantry. Then there +were two large rooms looking towards the garden, and these were +unappropriated. The butler’s small pantry had a window looking into the +side area; the servants’ door was on the staircase; the coal cellar was +placed under the steps leading to the porch.</p> + +<p>The building was to be constructed in brick and cement, with the porch +and external balustrade in stone. The expense would have amounted to +4600<i>l.</i>, or the double villa to 9000<i>l.</i><span class="pagenum"><a name="page_389" id="page_389">{389}</a></span></p> + +<h2><a name="DESIGN_No_34" id="DESIGN_No_34"></a><i>DESIGN No. 34.</i><br /><br /> +RIDING-HOUSE AND STABLING.</h2> + +<p>This collection of designs could hardly be complete without a group of +stable buildings. To make such a group picturesque is extremely +difficult,</p> + +<div class="figcenter" style="width: 333px;"> +<a href="images/ill_pg_389_lg.jpg"> +<img src="images/ill_pg_389_sml.jpg" width="333" height="275" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view of riding-house.</p></div> +</div> + +<p class="nind">and it is very seldom attempted. Such buildings mostly form a portion of +the offices which are placed out of view, concealed by plantations or +shrubbery,<span class="pagenum"><a name="page_390" id="page_390">{390}</a></span> and generally at some distance from the mansion to which +they appertain.</p> + +<p>The present design, carried out in 1846 and 1848, was for some +additional stabling to a baronial park, and it formed a conspicuous +object. It stands on the</p> + +<div class="figcenter" style="width: 313px;"> +<a href="images/ill_pg_390_lg.jpg"> +<img src="images/ill_pg_390_sml.jpg" width="313" height="278" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of riding-house and stabling.</p></div> +</div> + +<p class="nind">eastern side of a quadrangle, the larger stabling being on the west, the +offices of the mansion on the north (see above), and on the south there +was a terrace-walk overlooking the park. The block of buildings as +represented in the plan, comprised a riding-house <i>a</i>,<span class="pagenum"><a name="page_391" id="page_391">{391}</a></span> 62 ft. in length +by 32 ft. in width, a four-stall stable <i>e</i>, 30 ft. in length, a loose +box <i>b</i>, 13 ft. square, and the boiler room <i>d</i>. The dung pit <i>g</i>, into +which the liquid manure from the stable was sent, was on a very low +level, and had a cart road at its side. The coach-house between the +riding-house and stable was 40 ft. in length by 20 ft. in breadth; it +had a covered area in front 44 ft. in length, with a width of 13 ft., +and a well and pump. The prospect tower <i>h</i>, as well as the tower <i>i</i>, +had iron staircases, which led to the stud-groom’s sleeping room, two +harness rooms, and the gallery of the riding-house.</p> + +<p>The latter was erected first. It is in brick, with a circular-ribbed +wooden roof, on the plan introduced by Phil. de l’Orme, whose well-known +book was published in Paris in 1567. He introduced a construction for +roofing that is both cheap and efficient, and one that while plenty of +light and ventilation can be obtained, gives the largest space in the +interior of the room.</p> + +<p>The walls of the riding-house were two bricks thick, laid English bond. +As the foundation rested on the stone no concrete was used, but the +rock, which was on a steep incline, was levelled in step-like fashion, +to receive the walls. Buttresses were placed where the circular ribs of +the roof were situate; two lines of iron-hoop bond, 1 in. by 1/16 in., +tarred and sanded<span class="pagenum"><a name="page_392" id="page_392">{392}</a></span> were laid in all the walls, piers, and buttresses; +there were 13 courses 2 lines in side walls, 16 courses 2 lines in gable +walls, and 7 courses 2 lines in buttresses. The walls were covered with +brick copings formed of two courses of moulded bricks cut to lengths and +mitred, and set and jointed in cement to gable ends: the flaunches of +the angle buttress were formed with stocks, the upper courses set and +pointed in cement, and the angles of parapets cut and mitred to the +same.</p> + +<p>Ragstone moulded corbels were placed over the piers inside the building, +from these the circular ribs sprung and into which they were stubbed. +The roof was thus described in the specification:—The roof will be +formed of circular ribs placed two and two, each 7½ inches apart, +screwed and bolted together, each single rib to be in three thicknesses, +the inner one of oak and to consist of twenty-six pieces of 1¼ inch deal +and ten of 1¼ oak, each separate piece 1 foot in width, and to be as +long as the scantling of the timber will allow, the ribs to be wrought +and glued together, and at each joint to have two hard nails or ¾ inch +screws having a good thread; the top and bottom edges of rib cut fair +for linings, the side finished for paint. Cross pieces, 7½ by 2½ inches, +twelve to each pair of ribs, the whole to be bolted together. To prevent +the ribs from being at an unequal distance,<span class="pagenum"><a name="page_393" id="page_393">{393}</a></span> the two outer ribs to be +sunk half-an-inch at the places where the purlins notch in them.</p> + +<p>The purlins, eight in number, to run the whole length of roof, notching +in the rib arches. The purlins to be placed in pairs and to have small +cross struts either notched into them or securely nailed to prevent them +from buckling or twisting.</p> + +<p>All the horizontal timbers of roof, such as the purlins, poll plate, +sill, and heads of skylight, to run 9 inches in end walls, and to be +cogged on template. Each purlin, if not in one piece, to be properly +scarfed. An oak wall-plate, 9 in. by 6 in., was laid the whole length +and width of the building, running 6 in. in the wall at angles, where it +was pinned and lapped. The plate in the arch over the entrance formed +the upper part of the railing in the gallery.</p> + +<p>This plate served as the abutment for twenty-four oak braces or struts, +each 7 in. by 4 in., placed in the lower portions of the roof on each +side, each strut to be sub-tenoned either into purlin or cross piece +between rib, and the whole to be securely fixed.</p> + +<p>The framing to support curb or sill of skylights to be in one piece, to +run over the wood arches, and to be securely fixed to purlin.</p> + +<p>Each pair of circular ribs moneyed out 22<i>l.</i> 4<i>s.</i> 6<i>d.</i> The more +modern French style of forming this kind of roof would have been by bent +ribs composed of<span class="pagenum"><a name="page_394" id="page_394">{394}</a></span> three ten-inch planks, 12 inches by 3, cut true at the +saw-mill, jointed with glue, planed all round, chamfered to edges, with +20 half-inch bolts. These would have cost only 13<i>l.</i> 16<i>s.</i> 8<i>d.</i> each, +but they would have caused considerable lateral pressure against the +side walls.</p> + +<p>The roof of the riding-house is correctly shown in the small view, p. +389, which serves also to show the section. Fig. 1 of the accompanying +cut shows one</p> + +<div class="figcenter" style="width: 287px;"> +<a href="images/ill_pg_394_lg.jpg"> +<img src="images/ill_pg_394_sml.jpg" width="287" height="121" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">of the circular ribs, fig. 2 the section of the pair joined together, +and fig. 3 the section of the more modern French method of bent ribs. A +roof in this latter construction was put up by Mr. Charles Fowler, +architect, at the sale-room, St. Paul’s Churchyard. The circular ribs of +the roof were formed in three thicknesses of 1¼ deal, footed into iron +sockets or corbels let into stone templates. As a precaution until the +perfect set and settlement of the work, three of the roof-frames had +iron tie-rods, which were re<span class="pagenum"><a name="page_395" id="page_395">{395}</a></span>moved when all fear of lateral thrust was +over. A print of the room was given in the <i>Builder</i>.</p> + +<p>The first construction described could be much improved, strengthened, +and lightened by introducing an iron bar in lieu of the oak rib; and +this has been done in several instances, resulting in the roofs standing +well.</p> + +<p>The chief portion of the bricks used in the construction of the +riding-house were provided from the estate, and were carted on the +ground for the use of the builder. His account came to 920<i>l.</i></p> + +<p>The elevation of the stable shows the entrance to the coachhouse in the +centre, between coupled columns. These were in iron, of slightly +Elizabethan character as to style. Two gabled windows are on each side, +one forming the entrance to the riding-house, the whole flanked by two +towers; that on the left contained the staircase leading to the gallery +of the riding-house seen in the view, the other is the prospect tower, +overlooking the park. These buildings were commenced and finished in +1848. The builder had to take down the old coachhouse and stabling which +stood upon the site, and was permitted to use the old materials as far +as they would go; one roof was re-used. The cost of the new building was +1107<i>l.</i> The whole length was 95 ft. One of its principal features was +the prospect tower, a view of which and<span class="pagenum"><a name="page_396" id="page_396">{396}</a></span></p> + +<div class="figcenter" style="width: 496px;"> +<a href="images/ill_pg_396_lg.jpg"> +<img src="images/ill_pg_396_sml.jpg" width="496" height="259" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of stable.</p></div> +</div> + +<p><span class="pagenum"><a name="page_397" id="page_397">{397}</a></span></p> + +<p class="nind">a representation of the back front is on p. 398; this was 60 ft. in +height above the foundations.</p> + +<p>An iron staircase led up to the small tower, which had a staircase +leading to the roof or lead flat, upon which was a seat and flagstaff. +The battlements of</p> + +<div class="figcenter" style="width: 152px;"> +<a href="images/ill_pg_397_lg.jpg"> +<img src="images/ill_pg_397_sml.jpg" width="152" height="278" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cap of iron column.</p></div> +</div> + +<p class="nind">this small tower and its doorway were constructed of ragstone. This +turret was corbelled out from the building as seen in the view; its plan +and that of the corbelling is given on p. 399. The corbels were two +bricks in height, each course; the arch is covered with<span class="pagenum"><a name="page_398" id="page_398">{398}</a></span></p> + +<div class="figcenter" style="width: 255px;"> +<a href="images/ill_pg_398_lg.jpg"> +<img src="images/ill_pg_398_sml.jpg" width="255" height="475" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view of prospect tower.</p></div> +</div> + +<p><span class="pagenum"><a name="page_399" id="page_399">{399}</a></span></p> + +<p class="nind">a stone landing upon which the small turret stands. It has a lightning +conductor. This, the three iron staircases, and the columns, cost +200<i>l.</i>, which, however,</p> + +<div class="figcenter" style="width: 228px;"> +<a href="images/ill_pg_399_lg.jpg"> +<img src="images/ill_pg_399_sml.jpg" width="228" height="409" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">was included in the previously stated amount of 1107<i>l.</i><span class="pagenum"><a name="page_400" id="page_400">{400}</a></span></p> + +<p>It was proposed to give the terrace-walk an ornamental stone. The +balustrading and one of the bays of this balustrading are illustrated +below.</p> + +<div class="figcenter" style="width: 436px;"> +<a href="images/ill_pg_400_lg.jpg"> +<img src="images/ill_pg_400_sml.jpg" width="436" height="293" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of the balustrade.</p></div> +</div> + +<p><span class="pagenum"><a name="page_401" id="page_401">{401}</a></span></p> + +<h2><a name="DESIGN_No_35" id="DESIGN_No_35"></a><i>DESIGN No. 35.</i><br /><br /> +A BACHELOR’S HOUSE.</h2> + +<p>This building was intended to have been erected on an estate in the +neighbourhood of London, for the solicitor acting for the lessee, a +builder who was erecting numerous first-class houses upon the property, +and who required his solicitor to be often with him. The gentleman was a +bachelor, and this was, for a time, to have been his private town +dwelling. It was only to consist of a basement and ground floor, but the +walls were to be made sufficiently thick to enable the structure to be +carried upwards when the estate was fully covered, and the house would +be required for a family.</p> + +<p>The plan was arranged after the legal gentleman’s own directions: <i>a</i> is +the small entrance hall, leading to the inner hall, from which the +living room <i>b</i>, and the picture gallery <i>f</i>, are gained; the gallery +contained a choice collection of cabinet pictures, hunting subjects by a +celebrated painter; <i>c</i> is a small bedroom, which could be enclosed or +shut off from the living room by a lifting-screen, worked somewhat +similar to a lifting shutter. The screen was to be covered on the side +next the living room with paintings; <i>d</i> is the bath<span class="pagenum"><a name="page_402" id="page_402">{402}</a></span></p> + +<div class="figcenter" style="width: 212px;"> +<a href="images/ill_pg_402_lg.jpg"> +<img src="images/ill_pg_402_sml.jpg" width="212" height="498" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_403" id="page_403">{403}</a></span></p> + +<p class="nind">room, <i>e</i> the closet, <i>h</i> is the dining-room with its lift, <i>i</i>, from +the pantry in the basement; <i>j</i> was a small iron staircase leading down +to the stable, where some valuable hunters were to be kept. Under the +dining-room was the coachhouse; no rooms were over the stabling. The +servants’ entrance was in the area. The exterior of the building had a +plain Gothic Tudor front.</p> + +<p class="spc1"> </p> + +<p>The vignette shows a corbel in the French cut-wood style.</p> + +<div class="figcenter" style="width: 161px;"> +<a href="images/ill_pg_403_lg.jpg"> +<img src="images/ill_pg_403_sml.jpg" width="161" height="179" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_404" id="page_404">{404}</a></span></p> + +<h2><a name="THE_FIREPLACE" id="THE_FIREPLACE"></a>THE FIREPLACE.<br /><br /> +FLUE CONSTRUCTION AND SMOKE PREVENTION.</h2> + +<p>An especial love for home comfort has always been an English +characteristic. It has formed a species of national taste and pride even +among our working classes. The constant changes of our climate are +injurious to every class; the chief point of attraction in the English +dwellings, during winter’s wet, cold, and fog, is centred in the +fireplace. This has long been deemed the favoured spot where</p> + +<div class="poetry"> +<div class="poem"><div class="stanza"> +<span class="i8">“Social mirth<br /></span> +<span class="i0">Exults and glows before the blazing hearth.”<br /></span> +</div></div> +</div> + +<p>The fireplace suits our climate; it is cheerful and attractive, but it +gives its heat only by radiation. We are warmed on one side and chilled +on the other, but neither the warmth nor the chill is too great to bear, +and the occupant of the room can move into any temperature that suits +him. In more northern climates the use of the fireplace would not be +tolerated; there the cold is so excessive that an equal warmth must be +diffused throughout the apartments, and flues in hollow walls, and +closed stoves either in iron or brick are in the ascendant, as already +mentioned in<span class="pagenum"><a name="page_405" id="page_405">{405}</a></span> an earlier part of this work. But such means, by which the +air is heated, and not merely warmed—and there is a great difference +between warmed air and heated—would not be tolerated here. A puff of +air from a closed stove caused by a back draught is not pleasant, and is +very different from the honest puff of smoke from an English fireplace, +that gives as a natural product of combustion, carbonic acid gas. But +not one of these stoves, nor those that are called “smoke-consuming +stoves,” make a good companionable fire—and this is not liked.</p> + +<p>The common open fireplace has held its own, and will continue to hold +its own, against the best-contrived stove that can be introduced in lieu +of it. But it still remains to find such a construction as will remedy +its serious defects. These are chiefly such as pertain to the flue; it +is not to the stove that these belong, for that, thanks to our excellent +makers, is quite perfect.</p> + +<p>In our sluggish winter atmosphere the smoke leaves the open flue with +tolerable certainty unless the flue is foul with soot; but when high +winds prevail and the atmosphere is anything but sluggish, it teaches us +the faults of the open flue, and volumes of smoke descend into our +apartments. There are few occurrences in domestic life more vexatious +and annoying than this; the numerous unsightly appendages in<span class="pagenum"><a name="page_406" id="page_406">{406}</a></span> the form +of cowls, turncaps, and windguards which appear alike on our houses, +churches, and palaces, whilst they exhibit the ingenuity of our builders +and workmen in remedying the trouble of smoky chimneys, demonstrate also +the frequency of the misfortune.</p> + +<p>When flues are carefully constructed, with the best modern improvements, +and a due supply of air is admitted into the stove, a smoky chimney is +an exception; still the flue forms only a simple open funnel for the +passage of the smoke, and failures will inevitably often happen. A +construction on a good principle should render these defects as trifling +as possible. In our best houses—those constructed within the last +twenty or thirty years—two kinds of the common brick flue are mostly in +use. One is of the old-fashioned kind, having a section of 14 by 9 in., +which was made originally of that size for the accommodation of the poor +sweeping-boys. This is now retained only for the kitchen fire, which +makes a large quantity of smoke, and for the rest of the fireplaces the +flue known as “Cubitt’s” flue is employed, which has a diameter each way +of 9 in. The author prefers the small flue, and always uses it in the +buildings he has constructed. There are many persons who still maintain +that the old-fashioned flue is the correct one, and it is still very +generally used. There is an old saying about the proof of the pudding. +In Belgrave<span class="pagenum"><a name="page_407" id="page_407">{407}</a></span> Square, all the houses first designed and erected have the +old-fashioned flue, and there are scarcely a dozen of the old +chimney-pots left; all have been changed for tall-boys and other similar +contrivances; one house has about 24 in one stack. No. 49, built by +Cubitt about 35 years ago, and having the descending or sweeping flue, +has the stacks exactly as at first constructed, with the exception only +of a little doctoring to the kitchen flue. In the house opposite, No. +48, one of the first, the external stack alone, next the street, has no +less than 17 tall-boys, two of which appear to be broken off. On the +opposite side of the Square, in Chesham Place, is No. 38, built by +Cubitt about 30 years; it has all the original stacks untouched.</p> + +<p>The Cubitt flue can be recognised by the small peculiar cap on the +chimney-pot, and several of these stacks remain in their original state. +In Eaton Place and Eccleston Square, where this flue is used, the roofs +tell the same story. In the first buildings erected by the author he +used the large flue, and he now finds several specimens of +chimney-doctoring on the roofs. In some large houses he lately erected +at Queen’s Gate, in which the sweeping flue is used, there are several +houses together without any disfigurement at all on the roof. He +considers that the appearance of a tall-boy on one of them would be<span class="pagenum"><a name="page_408" id="page_408">{408}</a></span> +rather a proof that there was something wrong about the servants’ +management of the fires, than an error in the construction of his flues.</p> + +<p>A representation of this flue, and the manner of introducing it into a +building, is here given. Fig. 1</p> + +<div class="figcenter" style="width: 244px;"> +<a href="images/ill_pg_408_lg.jpg"> +<img src="images/ill_pg_408_sml.jpg" width="244" height="405" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Flue construction.</p></div> +</div> + +<p><span class="pagenum"><a name="page_409" id="page_409">{409}</a></span></p> + +<p class="nind">represents a portion of the chimney-flue construction of a first-rate +house; the lower chimney opening is in the basement, and above it are +two others, one on the ground floor, and one on the first floor. It will +be seen that there are three flues descending or taken down to the +basement. The third flue belongs to the room on the second floor. The +wall is two bricks thick, the flue 9 in. in diameter, and contained +within the wall with no chimney-breast projecting. Fig. 2 is a plan of +the flues on the ground floor, and fig. 3 of those on the first floor. +Fig. 4 is a section of the fireplace opening; this is 3 ft. in height +from the floor-line, the brickwork at top is splayed, and supported by +an iron bar; these openings are always filled up with 4½ straight joint +work, to be taken out when the mantelpiece is fixed. Fig. 5 is the +chimney-pot and its cap, the latter opening at top 7 in. by 9 in. only; +fig. 6 shows one of the sweeping doors, in which there are two to each +descending flue. The latter three figures are twice the scale of the +former. A plan and section of the chimney complete, with its marble +mantel and stove, is given in figs. 7 and 8. The flue passes completely +down at the back of the stove, the front is closed by an iron plate to a +height of 2 ft. On this is fixed the moveable door or register, shut +fully or partly over the flue when the stove is in use, and closed over +the stove when the flue has to be<span class="pagenum"><a name="page_410" id="page_410">{410}</a></span> swept. The arrows show the mode of +admission of air to the front of the fire; it is brought through the</p> + +<div class="figcenter" style="width: 195px;"> +<a href="images/ill_pg_410-a_lg.jpg"> +<img src="images/ill_pg_410-a_sml.jpg" width="195" height="118" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 7.—Plan of stove.</p></div> +</div> + +<p class="nind">floor and two openings in the back hearth from the outside of the house. +This is generally kept concealed,</p> + +<div class="figcenter" style="width: 150px;"> +<a href="images/ill_pg_410-b_lg.jpg"> +<img src="images/ill_pg_410-b_sml.jpg" width="150" height="221" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 8.—Section.</p></div> +</div> + +<p class="nind">and in order to ensure a supply of air to the stove the room should be +kept completely closed.<span class="pagenum"><a name="page_411" id="page_411">{411}</a></span></p> + +<p>To cause as full and perfect a combustion of the fuel as possible, a +draught or current of the external air should be always admitted to the +stove, and it could easily be placed under open management, so as to +admit either a large or small supply of air, as required. Numerous +patent processes to effect this are in use, but the most effective way +of doing it is that shown in figs. 7 and 8: it is too simple for a +patent.</p> + +<div class="figright" style="width: 82px;"> +<a href="images/ill_pg_411_lg.jpg"> +<img src="images/ill_pg_411_sml.jpg" width="82" height="97" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 9.</p></div> +</div> + +<p>Fig. 9 shows a method of admitting air above the architrave of the +entrance door of the room. The opening is made about 2 ft. in length; +this, after a little time, becomes marked by the blacklets coming in +from the passage. The sweeping flue when the fire is lighted becomes +very hot; the smoke ascends speedily and soon leaves it. The flue +requires the stove to be formed expressly for it. Mr. Cubitt made the +stoves only for his own houses, and the author had some difficulty at +Queen’s Gate, in procuring stoves of the right pattern, for +manufacturers prefer their own shop patterns, and some of these would +have covered up half the descending flue. Those he used were supplied by +Messrs. Feetham of Clifford Street, who are well acquainted with the use +of the flue and stove. The flue is considered an excellent one; it is a +builder’s flue, constructed solely of brick, and is<span class="pagenum"><a name="page_412" id="page_412">{412}</a></span> certainly the best +of the brick flues. The same attention was paid to it as was given to +every part of Mr. Cubitt’s buildings. It may be asked, “Are there no +other kinds of flues constructed of superior materials?” Yes, certainly +there are; particular attention has often been paid to the flue. There +is Hiort’s circular flue, formed in each course of four wedge-formed +bricks. Mr. Hiort held a very important position; he was Treasurer of +the office of Works at Whitehall, and his flue was extensively used in +some of the Government buildings and the houses in Carlton Gardens. It +did not bond well with the brickwork, so we have Mr. Moon’s improvement +upon it. This was considered not sufficient, and another patent was +taken out in 1844 by Messrs. Clark and Reed for its further improvement. +The flue was an excellent one, but on Mr. Hiort’s retirement from the +Government Board, it went out of use.</p> + +<p>There is Seth Smith’s metallic chimney lining, which makes an excellent +flue; the lining is a pipe of from 5 to 10 in. in diameter, built in the +brickwork. About 150 of these flues are at the Pantechnicon. Mr. Smith +announced his determination of never building any house above the value +of 30<i>l.</i> per annum, without using them. They could be introduced, to +form perfect linings to chimneys in buildings already erected, and allow +the stack to be reduced in height,<span class="pagenum"><a name="page_413" id="page_413">{413}</a></span> without having the unsightly +appearance of contractions made above them. The drawback to the use of +these tubes by builders was the price. Without any royalty, the 9 in. +tube cost 3<i>s.</i> 4<i>d.</i> per ft. run, the curved tubes 4<i>s.</i> 3<i>d.</i>, the +starting tube 3<i>s.</i> 8<i>d.</i> The tubes were of the exact form of drain +pipes, and they were cheaper, and as effectual.</p> + +<p>If Mr. Smith’s metal tubes had been introduced into a large brick flue, +they would have rendered the latter an efficient shaft for ventilating +every room in its upward course, openings being made for the purpose at +the upper part of the rooms. This mode of ventilation was applied to +hospitals on a large scale by the late Mr. Jacob Perkins several years +ago, with perfect success.</p> + +<p>Denley’s flue, introduced in 1843, is believed to have been the +precursor of that used by the late Mr. Thos. Cubitt at Belgravia and +Pimlico, and there is a great resemblance between the two; but Mr. +Denley’s flue has nothing like the simplicity nor ease of construction +of Mr. Cubitt’s. The downward flues were merged into one at the +basement, and all the soot and cinders were collected or thrown down +into a fire-proof box, which must have stood out in the lower rooms, +from which they had to be removed. The flues were swept from the roof, +the register doors of the stoves being closed, and there was no +provision for sweeping<span class="pagenum"><a name="page_414" id="page_414">{414}</a></span> the flues between the basement and the stoves. +Joined to his system for sweeping, was one of air flues which brought a +current of air direct from the exterior of the house to each fireplace.</p> + +<p>We have several flue systems which have ventilating flues in connexion +with them. Boyd’s flue forms the wythes, or half-brick spaces between +the flues, of iron plates, and the open spaces thus gained make +ventilating passages. Mr. Doulton’s combined smoke and air flues are +manufactured in terra-cotta, in three sizes; the air flues follow the +line of the smoke flue, the passages being quite distinct, as in Mr. +Boyd’s. The heat from the smoke flue causes a current in the air-flue +which carries off the vitiated air admitted by openings near the +ceiling. The common drain pipes and the glazed fire-clay pipes make good +flues; the use of these pipe-flues has greatly increased during the last +few years; they improve the draught, and clean easily. Flues for +ventilation from rooms should, like Arnott’s ventilator, enter into the +smoke or a hot ventilating flue. Arnott’s ventilator requires careful +adjustment, to be balanced in such a way that it should stand closed on +a calm day.</p> + +<p>The superior patented flues, as they are of considerable cost, and take +extra time in construction, are only used in the better class of +buildings, or in those erected under the express direction of the +owner.<span class="pagenum"><a name="page_415" id="page_415">{415}</a></span> In speculative buildings they are never used. The time required +for their construction beyond that of the common brick flue, being +regarded by the builder as so much money lost.</p> + +<p>The great desideratum in a flue is to make it pass off its smoke +quickly, and this the small size flue effects more certainly than the +larger one, as it warms sooner and keeps its heat longer.</p> + +<p>An enthusiastic admirer of the descending or sweeping flue once told the +author that with a good fire in the grate, if a kettle of water could be +placed on the top of the chimney-cap the water would soon boil, even if +the flue were fifty feet high. The flues constructed of metallic or +earthenware casings retain also the heat longer, and keep hotter. It may +be imagined that with these flues, and the large quantity of gas lamps +in the streets, why the temperature of London should be always some +degrees higher than that of the country. In winter snow may be seen in +the suburban fields, but none is found in town.</p> + +<p>Architects have often been blamed for not inventing a good system of +flue-construction, not only for the prevention of smoke in our +dwellings, but for the hindrance of its presence in the atmosphere. +Several, and most excellent attempts, have been made for the former, but +very few for the latter, which is one of far greater difficulty. Yet +this is one that admits of<span class="pagenum"><a name="page_416" id="page_416">{416}</a></span> a cure, great as the evil is. The chimney +flue might be so improved as to effect a more certain and larger +ventilation of our houses, without any addition of ventilation flues. +The introduction of the French Mansard roof with us, one from a country +where coal fires are not in use, renders it almost imperative for the +chimneys belonging to such buildings to have a different construction, +for chimneys when placed against a building or roof that overtops them, +are sure, as they are at present made, to become smoky: the wind +returning owing to the high construction, and descending in the flues. +The following few designs are offered to cure these various evils.</p> + +<p>Accepting as a fact that tall-boys, and the other iron and zinc +constructions, are useful appendages, there can be no reason why they +should be so used as to disfigure our buildings. Some of the finest +specimens of architecture in the Metropolis serve only as pedestals to +an ugly collection of cowls.</p> + +<p>The author proposes to form the upper part of the flues in a building, +for a length of about 15 to 20 feet, entirely of iron or other tubing, +in square, round, or oblong sections, of a less diameter than the brick +flues to which they are attached. This tubing is gathered up in groups, +and carried out at an angle of 45° towards a centre stack: the tubes in +direct contact with each other, having<span class="pagenum"><a name="page_417" id="page_417">{417}</a></span> no brick wyths, except one or +two to strengthen the stack.</p> + +<p>It is obvious that if only one of the flues be in use, it would +moderately warm those next to it; and if the whole of the flues of a +building were constructed on this plan, and two or three were in use, +such a power would be obtained as would effectually ventilate every +room; the action would be continuous and imperceptible, and a fire could +be lighted in any one without the risk of return smoke from a cold or +damp flue.</p> + +<p>Thus the heat now wasted in the atmosphere by the action of the common +flue, would be partly retained and turned to use, and the draught of the +flue very much improved.</p> + +<p>This tubing could be readily introduced into either old or new +buildings, as the introduction does not involve taking down more than +twelve feet of the brickwork, measuring from the top of the coping. The +tubes could never become sufficiently heated to be dangerous, and less +brickwork would be required.</p> + +<p>They might be made either of zinc or earthenware; cast-iron would be +objectionable on account of its weight. It will be seen that they admit +a better mode of sweeping than that now practised, and they could easily +have some kind of capping to prevent down-draughts.<span class="pagenum"><a name="page_418" id="page_418">{418}</a></span></p> + +<p>These “stack flues” should commence from the attic or upper storey of a +building, at about six feet from the floor; sweeping doors should be +placed beneath them, so as to give the sweep command of the flue beneath +as well as above.</p> + +<p>Each flue should be composed of three separate forms of tubing, by which +the various directions and turns necessary for the construction might be +obtained.</p> + +<p>Fig. 10 gives the representation of the three forms; 1, is the first; +this is placed directly over the brick</p> + +<div class="figcenter" style="width: 187px;"> +<a href="images/ill_pg_418_lg.jpg"> +<img src="images/ill_pg_418_sml.jpg" width="187" height="151" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 10.</p></div> +</div> + +<p class="nind">flue, and gathers it up to a size having an internal dimension of 6 + +4½. It is 21 inches in height. 2, the second piece, is on a curve; the +top and bottom lines, if carried on, would form an angle of 45°; it is +about 18 inches in height, and internal size 6 + 4½. The third, 3, is a +straight piece, internal size 6 + 4½,<span class="pagenum"><a name="page_419" id="page_419">{419}</a></span> the lengths various. Fig. 11 +gives a plan of four flues and an elevation of the commencement of two. +The sweeping doors are shown below. The flue without a door is the +ventilating flue for the basement. The ease with which this tubing can +be grouped is shown in fig. 12. The stack consists of five flues; the +tube, 2, connects them together below, and</p> + +<div class="figcenter" style="width: 168px;"> +<a href="images/ill_pg_419_lg.jpg"> +<img src="images/ill_pg_419_sml.jpg" width="168" height="180" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 11.</p></div> +</div> + +<p class="nind">separates them above. The stack above the roof is 4 feet 9 inches in +length.</p> + +<p>Fig. 13 shows, in the upper plan, how the flue wall could be reduced in +thickness, made a brick and a half only, with a two-brick block at each +end; it contains coupled and tripled sets of tubes.</p> + +<p>The middle plan shows nine flues grouped together, the centre being that +belonging to the kitchen. The<span class="pagenum"><a name="page_420" id="page_420">{420}</a></span> last plan shows a group of six in a +two-and-a-half-brick wall; by the side of this are two flues of the +common construction, 14 inches by 9, made of this</p> + +<div class="figcenter" style="width: 313px;"> +<a href="images/ill_pg_420_lg.jpg"> +<img src="images/ill_pg_420_sml.jpg" width="313" height="353" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 12.</p></div> +</div> + +<p class="nind">size to enable a boy to get up to the top and place his head out of the +chimney-pot.</p> + +<p>The tube 1, fig. 12, can have its position reversed,<span class="pagenum"><a name="page_421" id="page_421">{421}</a></span> as shown in fig. +14; six flues can thus be grouped together, as shown in the third plan, +fig. 13. The elevation of this stack is given in fig. 15.</p> + +<div class="figcenter" style="width: 150px;"> +<a href="images/ill_pg_421-a_lg.jpg"> +<img src="images/ill_pg_421-a_sml.jpg" width="150" height="220" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 13.</p></div> +</div> + +<p>For a covering to these tubes figs. 16 to 20 show ornamental pots and +their sections. The only merit</p> + +<div class="figcenter" style="width: 245px;"> +<a href="images/ill_pg_421-b_lg.jpg"> +<img src="images/ill_pg_421-b_sml.jpg" width="245" height="78" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 14.</p></div> +</div> + +<p class="nind">in these may be that they are of a more ornamental character than any +that have ever been introduced;<span class="pagenum"><a name="page_422" id="page_422">{422}</a></span> they are formed of zinc, supported by a +stout dwarf iron railing. The intention is to permit the smoke to escape +in any direction, either upwards, sideways, or downwards, sheltering it +as far as possible from any action of the wind, and rendering of little +consequence whether the stack is high, low, unsheltered or</p> + +<div class="figcenter" style="width: 226px;"> +<a href="images/ill_pg_422_lg.jpg"> +<img src="images/ill_pg_422_sml.jpg" width="226" height="240" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 15.</p></div> +</div> + +<p class="nind">otherwise. If any sudden gust of wind take place and the smoke be driven +back, the capping provides larger outlets for its escape than the small +aperture of the flue itself; in other words, it is easier for the smoke +to pass in any direction rather than return down the flue.<span class="pagenum"><a name="page_423" id="page_423">{423}</a></span></p> + +<p>The stack flues are only, in fact, tall-boys boxed up and not put out in +the cold, and it is presumed they would be sufficiently powerful, from +their warmth, to ensure a good passing off of the smoke, and secure +ventilation to the building.</p> + +<div class="figcenter" style="width: 305px;"> +<a href="images/ill_pg_423_lg.jpg"> +<img src="images/ill_pg_423_sml.jpg" width="305" height="265" alt="[Image unavailable.]" /></a> +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>Fig. 16. +</p></td><td> </td> +<td> +<p>Fig. 17. +</p></td></tr> +</table> +</div></div> + +<p>A forced ventilation to our dwellings, in ever so slight a degree, is a +matter of importance. By the proper construction of these proposed stack +flues it is presumed that any amount of ventilating power, self-acting +and continuous, could be obtained. Their introduction alone would be +beneficial; combined with the flue pedestal, to be described, the tubes +could be<span class="pagenum"><a name="page_424" id="page_424">{424}</a></span> led into one general upward shaft; by either plan we should +have some command over the smoke, while the roofs of our buildings might +be made ornamental and picturesque. It would be a treatment of +bituminous coal alike artistic and novel, surprising to foreigners and +creditable to ourselves.</p> + +<div class="figcenter" style="width: 118px;"> +<a href="images/ill_pg_424_lg.jpg"> +<img src="images/ill_pg_424_sml.jpg" width="118" height="220" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 18.</p></div> +</div> + +<p>It remains to show how the open character of the flue could be taken +away (this forms its chief evil), and how a chimney-stack may be formed +without chimney-pots. The late Lord Palmerston, when Home Secretary, +proposed the abolition of chimney-stacks, and the use of only one +chimney-stalk for each separate dwelling. In 1856, a commission was +appointed to<span class="pagenum"><a name="page_425" id="page_425">{425}</a></span> inquire into the best modes of warming and ventilating the +apartments of dwelling-houses and barracks. Their report, given to the +General Board of Health, was published in 1857, and it afforded a +section illustrating “the principle on which it was proposed to +construct dwelling-houses.” There was only to be</p> + +<div class="figcenter" style="width: 205px;"> +<a href="images/ill_pg_425_lg.jpg"> +<img src="images/ill_pg_425_sml.jpg" width="205" height="244" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 19.</p></div> +</div> + +<p class="nind">one flue, and this of metal 10 inches in diameter, enclosed in a large +brick flue, which was to serve for ventilation. In the metal flue were +to be inserted the flues of the several fireplaces; these were placed +back to back, and if the register doors of the stoves were open, a +person in one room might both see and con<span class="pagenum"><a name="page_426" id="page_426">{426}</a></span>verse with another in the +next; the music of a pianoforte in one room could be heard in them all; +this construction was taken up through four storeys, there being eight +fireplaces. For one fireplace alone it would have been perfect, but the +smoke from the two kitchen fires would have been sufficient to have +choked</p> + +<div class="figcenter" style="width: 138px;"> +<a href="images/ill_pg_426_lg.jpg"> +<img src="images/ill_pg_426_sml.jpg" width="138" height="233" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 20.</p></div> +</div> + +<p class="nind">the flue and caused the smoke to enter into the whole of the eight +rooms.</p> + +<p>The chimney-stack might possibly be lowered, and it certainly could be +constructed without chimney-pots, but each separate flue must have its +own outlet. A design for this, one that should take away the open<span class="pagenum"><a name="page_427" id="page_427">{427}</a></span> +character of the flue, and fit the stack, possibly for the Mansard roof, +is here given.</p> + +<p>In fig. 21, <i>a</i> <i>a</i> are the flues, delivering their smoke into a large +ventilating flue, <i>b</i>. The warm smoke would induce a current of air to +enter at <i>c</i>: any current will have a tendency to draw another with it, +so that the smoke leaving the flues <i>c</i> <i>c</i> would be taken out at <i>d</i> by +the current of air at <i>c</i>.</p> + +<div class="figcenter" style="width: 217px;"> +<a href="images/ill_pg_427_lg.jpg"> +<img src="images/ill_pg_427_sml.jpg" width="217" height="205" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 21.—The ventilating flue.</p></div> +</div> + +<p>This is the principle upon which all the best ventilating chimney-pots, +tall-boys, and cowls are made, and it is a very sure one. The jet of +steam in the funnel of the locomotive, drawing the smoke from the fire, +and creating a draught, is adopted on the same principle.<span class="pagenum"><a name="page_428" id="page_428">{428}</a></span></p> + +<p>In scientific language, the established law both of pneumatics and +hydraulics is that when two currents of fluid matter passing in the same +direction, but in separate channels, arrive at any point of confluence, +the stronger current draws the other along in its course, and with a +considerable portion of its own velocity. Thus the force of the wind, +which checks in other instances the action of a chimney-draught, is made +to produce a stronger draught, exactly in proportion to the violence +with which it blows.</p> + +<p>Returning to fig. 21, a current of air, instead of coming in at the +opening <i>c</i>, might come in at <i>d</i>. It would then have a tendency to blow +down the flues <i>a</i> <i>a</i>: to prevent this, the opening <i>d</i> could be +closed, and an upright stalk placed at <i>e</i>,—this should have a downward +shaft, a place for soot, and a sweeping door.</p> + +<p>There is still another mode of treatment; fig. 22 represents the flues +grouped, each with a separate ventilating flue, the smoke delivered +being at the side of each.</p> + +<p>The stack might be covered with zinc in the ornamental style with which +that metal is now treated.</p> + +<p>It is probable that if a stack on this principle was placed parallel to +the side of one of these Mansard roofs, it would be secure from the +ill-effects of any<span class="pagenum"><a name="page_429" id="page_429">{429}</a></span> wind returning against it. The author will not vouch +for its success, but it is offered here to the attention of architects +and builders as an experiment worthy of trial.</p> + +<div class="figcenter" style="width: 275px;"> +<a href="images/ill_pg_429-a_lg.jpg"> +<img src="images/ill_pg_429-a_sml.jpg" width="275" height="217" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>Section. +</p></td><td> </td> +<td> +<p>Elevation. +</p></td></tr> +</table> +</div></div> + +<div class="figcenter" style="width: 104px;"> +<a href="images/ill_pg_429-b_lg.jpg"> +<img src="images/ill_pg_429-b_sml.jpg" width="104" height="55" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 22.—Plan.</p></div> +</div> + +<p>It has been affirmed that the smoke of towns, however disagreeable it +may be to the inhabitants, neutralizes the poisonous effect of the gases +caused by sewers, &c. If it was possible wholly to remove<span class="pagenum"><a name="page_430" id="page_430">{430}</a></span> carbon +evolved by smoke, our towns would almost be uninhabitable, and they +represent that any scheme for getting rid of smoke must be combined with +one for getting rid of the exhalations from sewers at the same time. If +the two evils were brought together, they would neutralize each other, +and both could then be got rid of at one operation. The best scheme for +this is a matter of important consideration, but few have been proposed.</p> + +<p>It may be asked, what has a work on Picturesque Architecture to do with +either smoke or sewer gases? The author in reply considers that +buildings never will look picturesque while they are covered with great +patches of soot. An eminent sculptor once affirmed that the statues of +London were improved by their soot covering, because it made them stand +boldly out against the sky. But those beautiful decorated smoke towers +which stand on the roof of the Houses of Parliament, and which are as +black as Erebus, look anything but pleasing, standing amidst the whiter +front of the rest of the building. Besides, tall-boys are beginning to +make their appearance on the roof under the Victoria tower, and these +certainly form no part of the architecture, but appear monstrously ugly; +consequently smoke and its abolition are clearly questions to be +considered in relation to Picturesque Architecture.<span class="pagenum"><a name="page_431" id="page_431">{431}</a></span></p> + +<p>A plan for removing smoke from the atmosphere of towns, and at the same +time ventilating buildings and sewers, was proposed in 1849 by Mr. +Flockton, surveyor to the town trustees of Sheffield,<a name="FNanchor_F_6" id="FNanchor_F_6"></a><a href="#Footnote_F_6" class="fnanchor">[F]</a> a town as much +begrimed with sooty smoke, only in a smaller way, as the Metropolis.</p> + +<p>The proposal was, that under the footways along the side of every street +and lane, flues should be constructed of sufficient capacity to carry +off all the smoke and other atmospheric impurities, these flues all +converging, upon a general plan, to tall shafts or chimneys at some +distance from the town, and supplied with furnaces. These, when the +fires were once ignited, would give a fire produced by the combustion of +the inflammable gases accompanying the smoke, and which would burn +spontaneously in a similar manner to the combustion of foul air from old +shafts connected with coal mines. The combustion might be assisted by +jets of coal gas, in a fire of coke.</p> + +<p>In very large towns it would be necessary, Mr. Flockton added, to divide +the whole into districts, and to erect towers in the centre of each, to +which all the flues should converge. He published a plate, showing<span class="pagenum"><a name="page_432" id="page_432">{432}</a></span> two +large dwelling-houses, with a street between, the common sewer in the +middle of the carriage way, and the smoke flues on each side under the +footpaths, also showing the connexion between the sewer and flue. The +alteration proposed to houses already erected consisted in converting +ascending into descending flues; turning the smoke from the chimney-top +into the latter, and from thence into the street flue. This operation +would have necessitated the pulling down and rebuilding of the flue +walls. The street smoke flues, in order to carry off the smoke from a +few thousand chimneys, would require to have been made of a size even +larger than the sewer itself. Provision must have been made for clearing +out the soot, for the smoke would have been cooled and the soot would +accumulate in large quantities in them.</p> + +<p>The same scheme, with similar constructions, was proposed by a foreign +gentleman, who took out a patent for it in 1850 (No. 13,061). His plan +was a very grand one; he did not propose alterations in existing +buildings, but pulled them down and gave designs for a new city.</p> + +<p>A more practical plan was proposed about 1851 by Mr. Devey, a surveyor +of Furnival’s Inn. A model of his invention was in the Great Exhibition +of 1851, and it is described and an engraving given of it in the +illustrated volumes published by the Royal Exhibi<span class="pagenum"><a name="page_433" id="page_433">{433}</a></span>tion Commissioners at +the close of the Exhibition. The model is now in the Museum at South +Kensington. Mr. Devey’s plan was to make only one descending flue to +each building, to which the flues at the top could be either connected +or not, at pleasure; the descending flue was carried to the sewer in the +middle of the street, and the action of this was to be assisted by the +heat of the kitchen fire. He says, “The smoke would be drawn down by the +current produced by exhaustion in the sewer, the action being assisted +by the kitchen fire.” Mr. Devey did not propose to have furnace shafts, +but depended entirely upon the sewer acting as an exhaust.</p> + +<p>In this scheme the objections were, that one descending flue was not +sufficient to carry off the smoke from several chimneys, and the sewer +certainly would not act as an exhaust without its being connected with +upright furnaces. Our sewers generally have ventilating openings which +permit their odours to ascend into our streets. Soot would no doubt +neutralize these odours—this, a paper in a late <i>Quarterly Review</i> +(April, 1866) admits. First, speaking of the sewer gases, the reviewer +says: “These offensive gases have often engendered formidable diseases, +and have, in several instances of late, been clearly shown to have +caused the outbreak both of typhoid fever and cholera.” Of this the +author has had proof during the<span class="pagenum"><a name="page_434" id="page_434">{434}</a></span> outbreak of cholera in London in 1849. +He was superintending the construction of a mass of buildings in one of +the worst dwelling districts in London. This builder, who had just +finished the erection of Harrington House, a description of which is +given in this volume, died the first night of the outbreak in the +greatest agony; he was a strong robust man; from one to three deaths +took place in every house in the locality; a black flag was put up in +the streets, and the foul fiend reigned for a while supreme. A large +mass of the worst buildings have been cleared away, and model +lodging-houses erected, but a considerable portion of the rotten old +structures remain, the sewers are untouched, and the visitation of the +cholera forgotten.</p> + +<p>The <i>Quarterly Review</i> says there is no reason why ordinary sewers +should not be made to serve the double purpose of carrying off smoke and +sewage at the same time, provided they were connected here and there +with high shafts rendered powerfully expansive by furnaces; and adds, +“sewage would be improved for agricultural purposes by admixture with +soot, which is an excellent manure, and the noxious qualities of the +sewer gases would be destroyed.” Whether soot would increase the value +of sewage or decrease it, is a question for chemists to decide; a +generally increasing opinion is, that our method of using sewage<span class="pagenum"><a name="page_435" id="page_435">{435}</a></span> by +liquefaction and sending it away, is a mistake, and renders it quite +worthless, and that the system of dry earth-closets is more conformable +to Nature’s laws.</p> + +<p>The subject was taken up in 1857 by Mr. Peter Spence, of Manchester, a +large alum manufacturer.<a name="FNanchor_G_7" id="FNanchor_G_7"></a><a href="#Footnote_G_7" class="fnanchor">[G]</a> This gentleman states that the “blacks,” the +horror of the Londoner, are guiltless of any deleterious effect to human +health, as carbon is one of the most anti-putrescent of bodies, and +while floating in the atmosphere over everything, arrest and destroy +noxious and miasmatic vapours. Perfect freedom from smoke would, if +accomplished, only increase the evil arising from the purely gaseous +results of combustion. He proposed a system of <i>atmospheric</i> or <i>gaseous +sewage</i>, and the complete removal of all their gases to a safe distance +from our towns. He would combine this gaseous sewage in such a form with +town drainage as would bring all the liquid sewage into contact with the +gases from our furnaces and house fires, the liquid sewage being kept +from all surface drainage. The same liquid and fœtid mass of sewage he +would concentrate in an innoxious form, to be converted, in a convenient +place, where it might with perfect safety be manufactured into manure +more valuable than the richest guano.<span class="pagenum"><a name="page_436" id="page_436">{436}</a></span></p> + +<p>For effecting this all the gases from our coal combustion would have to +be conveyed along the same tunnel with the sewage to centralizing +conduits converging to a point, where an immense chimney, 600 ft. high, +should be erected, to discharge these gases into the atmosphere, the +ascensive power being obtained either from the retained heat of the +gases, which would probably be found quite sufficient, or if not, +artificial heat could then be applied to effect the object. The chimney +should be of the internal diameter of 100 ft. at the top, and 140 ft. +external diameter at the bottom. This would take the smoke from 500 +chimneys and every particle of foul emanation from the sewer, and every +leak or opening to the upward air from these sewers would not then emit +foul gases, but draw in fresh air with a pressure or suction of three +and a half pounds per foot, and with a velocity of 40 feet per second. +This gentleman says: “It is idle to talk of trapping, and thus confining +gases evolved under ground; exit they must and will have, and when you +imagine you have secured them in one place, you will find them pouring +out in another.” He makes this plain by an illustration. He took an +old-fashioned detached house; after entering into possession he found +frequently very disagreeable smells, especially after rain, a change of +wind, or a fall of the barometer; it may be remarked here that<span class="pagenum"><a name="page_437" id="page_437">{437}</a></span> it was +not necessary to take an old-fashioned house to find out this; in more +modern built houses in London, after a fall in the barometer or rain, +such a thing is repeatedly occurring. Mr. Spence, to cure the evil in +his old mansion, exhausted all the remedies which the philosophy of +London schemes acknowledges; he trapped all the exits from the sewer +with the most approved patent girds; all slopstone pipes were cut and +water-luted. But this was of no use, the smell came through the very +walls and floors, and one bedroom on the first floor, which showed no +connexion with the sewer, was quite uninhabitable. He adopted a plan +which succeeded: a branch from the main sewer was brought right under +the kitchen grate, from that a pipe of cast iron, four inches in +diameter, was carried up through the brickwork, and the open top +projected into the chimney a yard and a half behind the kitchen fire, +above the fire. When this fire was again lighted, in a few hours the +house was perfectly sweet, and the distant bedroom, uninhabitable +before, has been slept in ever since. When this nuisance occurs in a +London house the only remedy is to open the doors and windows to get rid +of it, as we are not allowed to meddle with the sewers. Disagreeable +effluvia in dwellings often occur, and baffle every endeavour to trace +from where they proceed; in every case it is from choked-up drains or +the sewer,<span class="pagenum"><a name="page_438" id="page_438">{438}</a></span> and the decomposition of animal and vegetable matter therein +retained.</p> + +<p>As for Mr. Spence’s scheme, its grandeur almost stops its execution. It +is well known that in all large manufactories, and in gas works, a tall +chimney serves to draw out the smoke from the numerous fires, and it +forms a smoke-outlet for them all. In most of these places the fuel is +used up so completely that it is only the gases of combustion that are +drawn away. Mr. Spence’s scheme has been successfully tried in its +application to private residences, and also on a large scale to the new +Assize Courts in Manchester. It was adopted by one of the architects in +the competitive designs for the New Law Courts in London.</p> + +<p>If these tall shafts and furnaces were applied in London, it may be +questioned whether the smoke in cooling would not deposit the soot in +the sewer, and this must be removed, if not run off by water. The flues +connecting the house fires with the sewer would be partly horizontal, +and these would certainly fill with soot, and no machines we have at +present in use could clean out these flues from above. The operation +must be performed from within the sewer, and then these flues being +unsupplied with drain-eyes at their entrance to the sewer, would form so +many open channels for the passage of the sewer gases into the houses. +This would be the case in a very great degree<span class="pagenum"><a name="page_439" id="page_439">{439}</a></span> where there were no fires +in the stoves and their register doors were open. It would require an +immense consumption of fuel in the high stalks to cause a current to +prevent it, and the furnaces must be close together to lessen the +cooling effects of cold currents of air from flues not in use.</p> + +<p>As to the mere ventilation of the sewer itself, it could easily be +effected by single drain pipes 6 inches in diameter, placed at +intervals, from the sewer to the ash-pit of any neighbouring furnace. It +would be probably to the advantage of the furnace itself, as even the +tall stalks must sometimes make black smoke. A legislative enactment +should require their owners to let them perform this service. It might +require strong furnaces and plenty of them to effect it. A suggestion +for getting rid of that “monster nuisance, London smoke” was made known +in the <i>Builder</i> about 1859, by Messrs. Bruce Neil. It is thus +described: “The plan consists in placing small tanks containing water +over the chimney (the chimney-pots being fixed inside the tanks, and +made of a spiral and bent form). The chill of the water gradually +condenses the smoke, which becomes decomposed and destroyed, being +precipitated at the bottom of the tank in the form of mineral tar. The +water is turned on and off daily. It will be here observed that in the +event of a fire in the chimney the flames cannot spread, as they are<span class="pagenum"><a name="page_440" id="page_440">{440}</a></span> +immediately quenched by the water in the tank. According to Mr. Bruce +Neil’s calculation, the smoke of 80 tons of coal, if collected, will +yield upwards of 28 barrels of tar, of 2½ cwt. each. He proposes that +the Legislature, or the Society of Arts, should offer a premium to the +person who will undertake to rid us of this monster nuisance and convert +the smoke into tar, so as to make it applicable to commercial purposes. +In the adoption of the above plan a slight alteration in the mode of +ventilating our apartments is all that is required, he tells us.</p> + +<p>As to the possibility of converting smoke into tar by such means as are +above described, some doubts might be expressed if it could really be +done; the remedy would be worse even than the disease, every household +using yearly 20 tons of coal would have in that time to remove 7 barrels +or 17½ cwt. of tar from their roof. The <i>Builder</i>, in publishing this +suggestion, did not give any diagram or sketch showing how the process +was to be effected. Mr. Bruce Neil no doubt made one, as he speaks of +the alteration required in the ventilation of our apartments; a drawing +would at least have explained how the water was to collect the soot, and +how it was to have access to the flue in case of its being on fire.</p> + +<p>The suggestion of collecting soot at the chimney-top by means of water +was a valuable one, and there<span class="pagenum"><a name="page_441" id="page_441">{441}</a></span> is no doubt it could be done to some +extent, but not by encircling the pots with cold water, which would +chill the smoke and prevent the soot from rising. A</p> + +<div class="figcenter" style="width: 367px;"> +<a href="images/ill_pg_441_lg.jpg"> +<img src="images/ill_pg_441_sml.jpg" width="367" height="369" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 23.—Water chimney-vase for collecting soot.</p> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>Half elevation. +</p></td><td> </td> +<td> +<p>Half section. +</p></td></tr> +</table> +</div></div> + +<p class="nind">design is here given, fig. 23, to show how it could be effected.<span class="pagenum"><a name="page_442" id="page_442">{442}</a></span></p> + +<p>It will be seen that the chimney-pot or funnel has a zinc cover carried +by stout ironwork surrounding it; <i>a</i> is the water, <i>b</i> the pipe to +convey it away; it would be self-acting, and being washed by every +shower would not be likely to get out of order. The rain-water must be +looked for as to supply—to pay for high service for the roof of our +houses to the water companies would not do.</p> + +<p>Our climate is more damp than cold, and a considerable quantity of rain +falls on our roofs. The zinc cover is spread out, so as to retain as +large a portion as possible of the rain-fall. In winter, when there is +most smoke, there is most water, with little or no evaporation. A pool +of water could be thus collected, and the smoke projected over it would +lose some portion of its soot, which could be floated away by the pipe +into a receptacle provided for it in the back yard. The water might be +sent into the drain and the soot left; or it could be sent into the +drain as well.</p> + +<p>The arrows in the diagram show the direction of the smoke, and the cover +is so spread out and curved as to render it unlikely for any violent +wind to flow out both water and soot into the street beneath.</p> + +<p>Certainly coal smoke is a great nuisance; it is yearly pointed out as +such by our paper the <i>Times</i>, in one, probably two, very excellently +written leaders.<span class="pagenum"><a name="page_443" id="page_443">{443}</a></span> Even the youngest member of the press, the <i>Echo</i>, in +one of the common London fogs occurring in April, 1868, thus remarks: +“The most sad and remarkable circumstance about the fog of yesterday was +that the newspapers and people in the streets spoke of it as a +‘visitation,’ as a ‘gigantic pall,’ as if, indeed, the black darkness +was something as strange and unaccountable as a fall of frogs or fishes +from the sky. Of course it was nothing but our own familiar coal smoke +which stopped the way of the sunlight. It is most lamentable that +Londoners are becoming so used to this filthy nuisance that nothing more +than a passing exclamation is uttered when it is forced down upon them +in such volumes as to produce almost the darkness of midnight at midday. +If ‘cleanliness is next to godliness,’ then the people of London must +have been yesterday the most ungodly people in the world, for nothing +would remain clean which was exposed to the fog of that morning. A +plague of locusts would not create more terror and sense of ruin in any +foreign capital, where every article of dress and furniture and house +decoration, both external and internal, would have been regarded as +spoiled by the loss of freshness. But London received its coat of dirt +yesterday, and to-day only wonders with the remark ‘how dark it was!’ +Will nothing move us to abate the nuisance? Is there no hope but that +distant one<span class="pagenum"><a name="page_444" id="page_444">{444}</a></span> of the exhaustion of our coal-beds? Must we inhale +coal-blacks, and always contemplate dirty houses and grimy furniture? Is +it not possible by smoke sewers, or some contrivance or machinery, to +relieve us of this plague?” It is very possible it could be done with +the greatest ease, but at some first expense; and in some generation or +other it will be written that it found London foul and left it sweet, +and there will be a time when this will be appreciated; and the man who +gives the city the pure atmosphere of a small country town will receive +all due honour and acknowledgment, that is, when he is in his grave and +securely buried.</p> + +<p>The public have so long been accustomed to be choked with smoke, and +their health affected by deleterious gases, that they look upon the +proposal of any scheme to secure pure air as the hallucinations of +dreamy philosophers or inexperienced Utopians.</p> + +<p>None of our present flues can, in the very slightest degree, stop these +aqueous vapours from ascending into the atmosphere, neither can they +effect any purification of the smoke, or retain the blacks for any +useful purpose; and it is of no use disguising the fact that any +contrivance or appliance, to effect either of these most desirable +objects, must consist of an additional construction to the flue, which +will be attended with additional expense, and require extra<span class="pagenum"><a name="page_445" id="page_445">{445}</a></span> attention. +Therefore any such appliance, if introduced, should be effectual, and +repay such additional cost to its owner, by a saving, or at least a more +economical use of fuel.</p> + +<p>The appliance to the flue the author has to recommend, he considers will +not only cause an economical use of the fuel by not permitting the +present waste of heat, but it will purify the smoke, and retain the +blacks for any useful object to which they can be applied.</p> + +<p>The principle of the best-constructed flue at present is to get rid of +all vapour, smoke, and soot as soon as possible, without the slightest +consideration for the people outside. That the smoke should not return +to annoy the occupants within the house is the aim of the constructors, +and to secure this, the waste of heat in the chimney, and the consequent +waste of fuel, is considered of no importance, for is it not the hot +smoke that carries up the soot and ventilates the apartment?</p> + +<p>This operation of the flue could be taken advantage of. In the +construction of chimney-flues in a wall they are often turned at an +angle to the right or left to pass an obstruction, such as a fireplace +or timber placed within or against the wall. A flue could easily be +taken out of the wall and returned, and if the part so taken out was +formed in cast iron with a small<span class="pagenum"><a name="page_446" id="page_446">{446}</a></span> cistern of water at top, it would +become a warm-water pedestal, and could moderately warm or air an +apartment in which it was placed; the author calls this the flue +pedestal, and it is represented in the following cut.</p> + +<div class="figcenter" style="width: 159px;"> +<a href="images/ill_pg_446_lg.jpg"> +<img src="images/ill_pg_446_sml.jpg" width="159" height="317" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 24.—The flue pedestal.</p></div> +</div> + +<p>It is about three feet six in height, not much higher than a small +cabinet. The door could open, and a small tap supplying warm water for +domestic use would be seen. Thus the upper rooms of a house<span class="pagenum"><a name="page_447" id="page_447">{447}</a></span> could be +warmed or aired by the fires below in perfect safety, and the present +waste of heat in the flues prevented. This would be economical, as in +most cases no fires would be necessary in the upper rooms.</p> + +<p>The flue thus brought out in iron could contain a fine spray of water, +that would draw up the smoke, and take down its vapours and soot at the +same time into the sewer.</p> + +<p>Fig. 25 shows a section of the flue thus brought out. The wall is two +bricks thick, the flue <i>a</i>, is 9 inches in diameter, <i>d</i> is the +cast-iron flue, and another, <i>e</i>, shaped like a funnel, is placed behind +it, to collect the soot and water, and pass it off through the pipe <i>h</i>. +The cistern is partly within the walls and partly covering the two +flues. It is not necessary that the water in the cistern should supply +the spray: that might be done by a separate pipe with a tap to turn off +and on as desirable; <i>b</i> is the moveable pedestal covering the whole.</p> + +<p>The adaptation of this simple contrivance to any kind of domestic +chimney-flue is not a very difficult operation. It is only necessary to +take out the brickwork in front of a flue of a height of 4 to 5 feet, +and then introduce the iron flue, gathering up the brickwork beneath it; +the section, fig. 25, supposes the iron flues to be in an external wall; +should it be required in a party wall the soot goes off at <i>g</i> <i>g</i>, to +be conveyed<span class="pagenum"><a name="page_448" id="page_448">{448}</a></span> outside the building in the nearest way; doors are provided +for the purpose of sweeping; any down</p> + +<div class="figcenter" style="width: 320px;"> +<a href="images/ill_pg_448_lg.jpg"> +<img src="images/ill_pg_448_sml.jpg" width="320" height="465" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 25.—Section of the flue pedestal.</p></div> +</div> + +<p><span class="pagenum"><a name="page_449" id="page_449">{449}</a></span></p> + +<p class="nind">draught of air in the chimney might expend itself in the soot flue, and +the smoke having passed the spray could not return. The spray of water +should be equal to the whole width of the flue, and proportioned in +strength to the work it has to do; the smoke from a whole group of flues +might be conducted to one powerful spray, one upper flue or chimney +would then suffice for the roof, while the soot and flues in any number +might be formed into one before passing to the sewer.</p> + +<p>The pipe <i>h</i>, shown in fig. 25, would not form an open communication +with the sewer; it would be supplied with a flap-cover or drain-eye, +like the common house drain at its extremity. This would open only when +sufficient water and soot was behind it, and close when it was passed. +It would not require sweeping, the water keeping it clear. It should +have another kind of drain-eye to that at present in use, the lid, or +flap of which is hinged from the top, the soot floating on the surface +of the water, would require the flap to open from below. Fig. 26 shows +the kind of drain-eye that would be required.</p> + +<p>If it was not for the difficulty of the present form of drain-eye to our +houses, the soot flue might discharge its contents into the house drains +at once, below the trappings; there is probably no absolute necessity at +all for drain-eyes at the termination of<span class="pagenum"><a name="page_450" id="page_450">{450}</a></span> house drains, their use is to +make precaution doubly sure, to prevent the rising of the gases from the +sewer, and to keep out the rats, to prevent them, by getting through the +traps, from entering the house.</p> + +<div class="figcenter" style="width: 97px;"> +<a href="images/ill_pg_450_lg.jpg"> +<img src="images/ill_pg_450_sml.jpg" width="97" height="106" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 26.—Drain-eye.</p></div> +</div> + +<p>Experiments were made with a shower of water in Mr. Cubitt’s descending +flue. It will be seen by inspecting the figures 1 to 8 that these flues +could easily be formed into one, and taken into the drain; the +experiment did not succeed, as none will, that brings heavy smoke in +opposition to a water-fall. The smoke must go with the current or +water-shower, and not against it.</p> + +<p>The flue pedestal, with its water-spray, is the whole of the contrivance +by which the author believes the smoke of the domestic hearth could be +got rid of, or rendered inoffensive. What the action of the water would +be on the gases that escape from the fuel he cannot say, but he presumes +it could not be other than beneficial.<span class="pagenum"><a name="page_451" id="page_451">{451}</a></span></p> + +<p>He experimented on the subject a few years ago, and had a stove and flue +erected about ten feet in height; the lower part of the stove was of +brick, the upper part with the cistern of zinc. The coal fire was +lighted, and as soon as black smoke appeared at the chimney-top, the +water-valve was lifted and about 16 fine jets of water were sprayed +against a piece of loose perforated zinc, suspended in the flue; this +zinc is shown in fig. 25; in the second flue <i>e</i> (it should have been +marked <i>f</i>, but by a mistake in the cutting it is made <i>d</i>), the smoke +had to pass through under this perforated zinc to get to the chimney +above. On the instant the water was applied, the smoke appeared at the +chimney-top of a light colour, and it came out of the soot receptacle, +placed a little height above the ground, nearly as much as it did at +top, and of a similar light vapourish character,<a name="FNanchor_H_8" id="FNanchor_H_8"></a><a href="#Footnote_H_8" class="fnanchor">[H]</a> a sure sign that it +was drawn down by the current of water. Soot in large quantities was +soon seen in the receptacle; the author has not ascertained the quantity +of soot which would be obtained by this process from a ton of coals, but +he believes it would be very considerable, possibly two sacks or more. +As clean unmixed soot is worth<span class="pagenum"><a name="page_452" id="page_452">{452}</a></span> in London 2<i>s.</i> 6<i>d.</i> per sack, if this +soot were retained it would pay for the extra expense of the water, and +the retaining of it, and to carry off the water would be an easy +operation.</p> + +<p>The “blacks” are good things at present in their wrong place; they could +in the way proposed be very easily got rid of, and if it were possible +to cut into all the chimneys of London and apply the remedy, the whole +of the soot, which at present escapes into the atmosphere, might be +caught and passed into the drains; it would there probably fully +deodorize them. It is certainly not possible, from the herculean nature +of the task, to disturb the whole of the chimneys of London, but the +worst only might be operated upon, such as the chief kitchen flues of +the great establishments, which are continually sending out black smoke.</p> + +<p>Among the chief offenders are our bakers, nearly twenty of them being +fined weekly for this by the magistrates, and for fires occurring in +their chimneys. It appears that the Smoke Nuisance Act bears hardly upon +them; the smoke-consuming apparatus forced upon them by the Act has +utterly failed in its purpose, and it is impossible for them to comply +with the requirements of the Act, and carry on their business in a +satisfactory manner either to themselves or the public. They have +applied to the Home Secretary<span class="pagenum"><a name="page_453" id="page_453">{453}</a></span> for relief, and a bill to repeal so much +of the Act 16 and 17 Vict. that relates to bakehouses has been in +contemplation.</p> + +<p>There would be no difficulty in placing a flue pedestal in their flues +at any height above their oven fires; it would not only relieve their +neighbours from the annoyance of black smoke from their chimneys, but it +would secure the chimneys themselves from taking fire. The water need +only be turned on when required, when black smoke was being made, and if +they chose to collect the soot the expense of the operation would be +trifling, if anything, beyond the first expense of the flue pedestal, in +the end.</p> + +<p>In large country houses the flue pedestal would warm the upper rooms or +passages, and cause a more equal temperature in the building; this, +together with the practicability of collecting the soot for agricultural +purposes, might be an inducement to its introduction. Water could be +lifted to the roof of a country mansion by that ingenious contrivance +the hydraulic ram, and passed off to its original source when done with, +the soot being left behind.</p> + +<p>The beautiful self-acting machine, known as Gwynne and Co.’s improved +hydraulic ram, is peculiarly adapted for raising or lifting water to any +required elevation. It is necessary to have a fall of water to work it, +and the greater the height of the fall, the more<span class="pagenum"><a name="page_454" id="page_454">{454}</a></span> effective will be the +machine. In favourable cases it will raise water thirty times higher +than the fall working it. The greater the height of the lift, of course +the less will be the quantity raised in a given time. This machine can +be made to deliver comparatively large quantities of water, either in +tanks on the roofs of houses, or in farmyards for filling ponds. It will +work day and night without any attendance or expense after it is once +fixed. Two or more rams may be used to force through the same pipe, or +rising main. Where a continuous stream of water to work the machine +cannot be obtained, a spring, or even rainfall, or drainage may be +stored up in a reservoir or dam, and made to work the ram.</p> + +<p>The expense of these machines is not excessive, as the following table +will show:—</p> + +<table border="1" cellpadding="2" cellspacing="0" summary="" + style="font-size:75%;"> + +<tr class="c"><td> Diameter of<br /> + Feed Pipe. </td> + +<td>Diameter of<br /> + Delivery<br /> + Pipe. </td> + +<td> Approximate Number of<br /> + Gallons of Water raised<br /> + in a day of 24 hours.</td> + +<td>Price of Ram, complete,<br /> +with all the accessories,<br /> + but exclusive of Pipes.</td></tr> + +<tr><td class="c"> Inches.</td><td class="c"> Inches.</td><td class="c"> </td><td class="c"> £</td></tr> +<tr><td class="c"> 2</td><td class="c"> 1</td><td class="c"> 800 to 1150</td><td class="c"> 12</td></tr> +<tr><td class="c"> 3</td><td class="c"> 2</td><td class="c"> 3000 to 4000</td><td class="c"> 24</td></tr> +<tr><td class="c"> 4</td><td class="c"> 2</td><td class="c"> 4000 to 5000</td><td class="c"> 34</td></tr> +</table> + +<p>A small room or enclosure must be erected to contain the machine.</p> + +<p>The question of how far the removal of smoke from the atmosphere would +affect the various gases of combustion floating therein is a question +for the chemist.<span class="pagenum"><a name="page_455" id="page_455">{455}</a></span> The plan that has been here proposed is founded on the +supposition that Nature’s law, relative to the diffusion of gases, +permits only carbonic acid gas, the chief product of combustion, to +remain in the proportion of 1 in 2000. The introduction of so much water +in the sewer, where its presence already is considered an injury to the +sewage, is an objection, but the present system of drainage requires a +plentiful supply of water, to prevent stoppages or choking. Should the +dry earth system ever be generally introduced, the present sewers would +serve to remove liquid sewage and all products of combustion. The +operation of the sewer in any way in receiving this smoke and soot, +would permit the full and cheering light of the sun to shine alike in +country and town.<span class="pagenum"><a name="page_456" id="page_456">{456}</a></span></p> + +<h2><a name="DESIGN_No_36" id="DESIGN_No_36"></a><i>DESIGN No. 36.</i><br /><br /> +A LECTURE HALL, OR LITERARY INSTITUTION.</h2> + +<div class="figcenter" style="width: 341px;"> +<a href="images/ill_pg_456_lg.jpg"> +<img src="images/ill_pg_456_sml.jpg" width="341" height="302" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_457" id="page_457">{457}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design was made to refront an old chapel in the country which had +been purchased for the purpose of forming a Literary Institute. The +interior</p> + +<div class="figcenter" style="width: 271px;"> +<a href="images/ill_pg_457_lg.jpg"> +<img src="images/ill_pg_457_sml.jpg" width="271" height="428" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Tablet in front.</p></div> +</div> + +<p><span class="pagenum"><a name="page_458" id="page_458">{458}</a></span></p> + +<p class="nind">was one large room, the lecturer’s table at the back, a recess and +fireplace behind, a large gallery in front, under which were formed two +small rooms, with a</p> + +<div class="figcenter" style="width: 239px;"> +<a href="images/ill_pg_458_lg.jpg"> +<img src="images/ill_pg_458_sml.jpg" width="239" height="348" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of entrance-door.</p></div> +</div> + +<p class="nind">passage from the grand entrance between. The entrance-door with a bust +of Socrates over it, under the arch, was made large, to give an +important character<span class="pagenum"><a name="page_459" id="page_459">{459}</a></span> to the front. A section of the niche over the +doorway is given, some details of the angle rustication, together with +an elevation of the entrance-door.</p> + +<div class="figcenter" style="width: 137px;"> +<a href="images/ill_pg_459_lg.jpg"> +<img src="images/ill_pg_459_sml.jpg" width="137" height="174" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_460" id="page_460">{460}</a></span></p> + +<h2><a name="DESIGN_No_37" id="DESIGN_No_37"></a><i>DESIGN No. 37.</i><br /><br /> +ENCAUSTIC TILES.</h2> + +<p>A slight digression from the subject-matter of the preceding pages may +serve to break monotony, and introduce to the notice of the reader an +ornamental object—the encaustic tile. They are</p> + +<div class="figcenter" style="width: 193px;"> +<a href="images/ill_pg_460_lg.jpg"> +<img src="images/ill_pg_460_sml.jpg" width="193" height="194" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Design for a floor encaustic tile.</p></div> +</div> + +<p class="nind">now of universal use, both for floor and wall decoration, and have +become general favourites for such purposes. A few suggestions, +therefore, for the purpose of making them more artistic and pleasing +will not be out of place.</p> + +<p>The present patterns are almost entirely of a con<span class="pagenum"><a name="page_461" id="page_461">{461}</a></span>ventional kind, or +according to strict geometric forms. The same pattern is repeated all +over the surface, without variation, and however excellent the pattern +may be, it is designed on the same principle as that of a printed wall +paper.</p> + +<p>The design just given puts all geometric forms aside, and introduces a +free-hand treatment, allowing the pattern to be varied on every surface +laid down.</p> + +<div class="figcenter" style="width: 193px;"> +<a href="images/ill_pg_461_lg.jpg"> +<img src="images/ill_pg_461_sml.jpg" width="193" height="198" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Design for wall encaustic tile.</p></div> +</div> + +<p>The first tile shows eight points in which the stem of the pattern +(suppose that of a flower design) meets in them all. The second tile +shows the stem; the third and fourth the flower pattern varied. One tile +might have more flowers than leaves, another all leaves or buds, and as +all the tiles would fall in their right places, they depend only on the +care of<span class="pagenum"><a name="page_462" id="page_462">{462}</a></span> the workmen who place them; the pattern might be varied +according to the number of tiles of different pattern.</p> + +<p>For wall linings a trellis work might be shown on the tile, having a +blue ground; some tiles might be without either leaves, stems, or +flowers, and the design would show a flowered trellis against the sky. +The figure given on page 461 shows this.</p> + +<p>These tiles are beginning to be used on columns. Some good examples are +to be seen in the South Kensington Museum Galleries. In columns with +trellis work a white marble ground with leaves and roses twined round it +naturally, would look a great deal better than formal lines of stiff +ornaments.</p> + +<p>Some of our latest Gothic architects who were at the same time artists, +did not trouble themselves to draw out according to rule the geometric +lines for the foliation of their Gothic windows. They knew the +principles thoroughly, but merely made the vertical lines correct, and +then sketched in the foliation with a free hand. This gave an outline +greatly superior to the usual stiff conventional forms. Some examples of +this may be seen in one of the author’s books, now in the Fine Art +Library of the South Kensington Museum, in which the free-hand designs +(rubbings) are placed by the side of the same patterns drawn out +geometrically.<span class="pagenum"><a name="page_463" id="page_463">{463}</a></span></p> + +<p>The vignette shows foreign cut-wood patterns for roof ornament; the +section the method of forming the zinc gutter.</p> + +<div class="figcenter" style="width: 231px;"> +<a href="images/ill_pg_463_lg.jpg"> +<img src="images/ill_pg_463_sml.jpg" width="231" height="402" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_464" id="page_464">{464}</a></span></p> + +<h2><a name="DESIGN_No_38" id="DESIGN_No_38"></a><i>DESIGN No. 38.</i>—RESTORATION OF CASTLE GUNNARSTROP, SWEDEN.</h2> + +<div class="figcenter" style="width: 621px;"> +<a href="images/ill_pg_464_lg.jpg"> +<img src="images/ill_pg_464_sml.jpg" width="621" height="349" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_465" id="page_465">{465}</a></span></p> + +<p class="nind"><span class="letra">I</span>T has been remarked in the Introduction, that the localities in which a +residence can be placed greatly affect their picturesque appearance. The +north and west Highlands of Scotland, in our own country, and a similar +class of scenery in Sweden and Norway, greatly aid by their natural +beauties the best effects of the architect, and generally in northern +Europe, including Denmark with the above-named countries, those +accessories can be largely taken advantage of. An instance of this can +be found in the design now under consideration. In this castle the +gables are carried up to a greater height, and made more ornamental and +of greater importance than with us. In the year 1852 the author was +making a design for a villa for the Count de Bark, a Swedish nobleman. +It was to be erected on the heights bordering the Sound near Copenhagen, +and was seen from the sea in passing, peering above the trees. The upper +part of the villa was made as picturesque as possible, with a tower, +battlements, and turrets. The lower part of the building was very plain, +and the plan merely contained a few living rooms and servants’ +apartments; it was much unlike our style, and is therefore not given +here: only the view from the vignette is afforded in this description. +The Count’s uncle occupied the old castle, the Vrams Gunnarstrop in +Sweden, then very much out of repair and<span class="pagenum"><a name="page_466" id="page_466">{466}</a></span> unfitted for the requirements +of modern domestic life.</p> + +<p>It was planned originally on a grand scale; the fronts had high +triangular gables in steps, and decorated with cut granite ornaments, +but the whole was</p> + +<div class="figcenter" style="width: 252px;"> +<a href="images/ill_pg_466_lg.jpg"> +<img src="images/ill_pg_466_sml.jpg" width="252" height="274" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The one-pair plan.</p></div> +</div> + +<p class="nind">very plain. The north front was in two floors, and the angle towers of +the building had only two floors. The portions between one storey—that +of the ground floor—thus had to be raised. The ground floor was given +to the servants, and the southern portion of the<span class="pagenum"><a name="page_467" id="page_467">{467}</a></span> building was to remain +for a time in its then existing state. The plan shows <i>a</i>, the grand +staircase, adorned with columns supporting the upper landing. It was 27 +ft. in length by 26 ft. in width, and led up to an ante-room <i>b</i>, in the +centre of the building, 26 ft. in length by 12 ft. in breadth. It opened +into the first and second drawing-rooms, <i>c</i> and <i>d</i>: one 30 ft. in +length, the other 40 ft., and both of a width of 26 ft.</p> + +<div class="figcenter" style="width: 281px;"> +<a href="images/ill_pg_467_lg.jpg"> +<img src="images/ill_pg_467_sml.jpg" width="281" height="186" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view of the Count de Bark’s villa.</p></div> +</div> + +<p>The dining-room <i>e</i>, entered from the chief drawing-room, was 40 ft. in +length, with a width of 22 ft.; <i>f</i> shows the gallery or library filled +with book-cases, and leading to the day-room <i>h</i>; the chief bedroom is +shown at <i>i</i> adjoining, <i>k</i> is the lady’s dressing-room, <i>l</i> the +gentleman’s dressing-room and bath; <i>m</i> is the nursery,<span class="pagenum"><a name="page_468" id="page_468">{468}</a></span> with a +servants’ staircase and closet adjoining; <i>g</i> is the servants’ +serving-place at the entrance of dining-room. The light portions of the +plan show the additions made; the black, the old portions of the castle. +The two towers contained staircases to the attics which were formed in +the high roofs.</p> + +<p>The principal elevation faced the west. The perspective view of this +front is given. Its length is 130 ft., and the height of the principal +entrance from the ground to the top of the gable is 60 ft.</p> + +<p>The south and west sides were of an equally picturesque character, but +neither had any central gable. The south had triple dormer windows +joined in the centre with one dormer window at each side. The two towers +were seen rising above the roof, and a wide terrace with open stone +Elizabethan balustrading extending the entire front, with steps down to +the garden in the centre below. The terrace was 130 ft. in length. The +west side had the two gables, one at each end, with three tall dormer +windows in the roof; these were connected by wood balustrading, and a +window with three lights was placed below each. The granite-stone +ornaments in the old fronts were replaced in the new fronts.<span class="pagenum"><a name="page_469" id="page_469">{469}</a></span></p> + +<p>The vignette gives a view of a small garden fountain, designed from one +in the old garden at Blickling in Norfolk. The plinth is hexangular in +plan, with the scrolls projecting on the three sides. To the top of the +jet its height is about 9 feet.</p> + +<div class="figcenter" style="width: 215px;"> +<a href="images/ill_pg_469_lg.jpg"> +<img src="images/ill_pg_469_sml.jpg" width="215" height="311" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_470" id="page_470">{470}</a></span></p> + +<h2><a name="DESIGN_No_39" id="DESIGN_No_39"></a><i>DESIGN No. 39.</i><br /><br /> +SUMMER VILLA FOR THE COUNT KINSKI, AT TEPLITZ.</h2> + +<div class="figcenter" style="width: 505px;"> +<a href="images/ill_pg_470_lg.jpg"> +<img src="images/ill_pg_470_sml.jpg" width="505" height="337" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view of Count Kinski’s summer villa.</p></div> +</div> + +<p><span class="pagenum"><a name="page_471" id="page_471">{471}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS villa was designed about the year 1852, for an Austrian nobleman, +who wished to have a villa in the English Elizabethan character. The +plan was arranged after his own figured sketches, and it is given here +as showing the requirements considered desirable for such a building in +a summer place of</p> + +<div class="figcenter" style="width: 282px;"> +<a href="images/ill_pg_471_lg.jpg"> +<img src="images/ill_pg_471_sml.jpg" width="282" height="228" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">retirement, or palace for a foreign nobleman’s occupation. The porch was +approached on four sides by flights of steps 12 ft. 6 in. in diameter; +it opened into a hall <i>b</i>, 20 ft. in length by 14 ft. in width. The +drawing-room <i>c</i>, of noble size, with two bay windows, was 36 ft. in +length by 22 in width. The dining<span class="pagenum"><a name="page_472" id="page_472">{472}</a></span>-room <i>d</i>, in the opposite side of the +hall, was 28 ft. in length by 18 ft. in width. The butler’s pantry <i>k</i>, +and the servants’ offices and kitchen <i>g</i>, with a large store-closet +<i>h</i>, and scullery <i>i</i>, adjoined. A bread-room is shown at <i>j</i>, <i>l</i> is +the servants’ hall, <i>m</i> a china-closet, <i>n</i> a store-room, and <i>o</i> the +servants’ staircase, <i>q q</i> are the servants’ entrances, and <i>r r</i> the +closets.</p> + +<div class="figcenter" style="width: 268px;"> +<a href="images/ill_pg_472_lg.jpg"> +<img src="images/ill_pg_472_sml.jpg" width="268" height="227" alt="[Image unavailable.]" /></a> +<div class="caption"><p>One-pair plan.</p></div> +</div> + +<p>Returning to the principal portion of the building, the chief staircase, +<i>v</i>, opens from the entrance hall, <i>e e e</i> are nurseries, and <i>f</i> is the +library. On the first floor, <i>a</i> is the balcony over the porch; this was +to be used for smoking, &c., <i>b</i> is the best bed-chamber, and <i>c</i> the +boudoir to the same, <i>d</i> is the second best bed<span class="pagenum"><a name="page_473" id="page_473">{473}</a></span>chamber, and <i>e</i> its +boudoir, <i>f</i> is the third best bedchamber, and <i>g</i> its boudoir, <i>h</i> is a +bedroom without any boudoir, <i>i</i> is the housekeeper’s bedroom, <i>k k k</i> +the men’s sleeping room, <i>i</i> housemaid’s closet, <i>j j</i> closets, <i>l l</i> +linen-closets, <i>m</i> a closet or bath-room, <i>n</i> the principal staircase, +and <i>o</i> the servants’ staircase.</p> + +<p>The attic plan was devoted to the sleeping rooms, <i>b b b</i>, of the female +servants. Here plans are made</p> + +<div class="figcenter" style="width: 250px;"> +<a href="images/ill_pg_473_lg.jpg"> +<img src="images/ill_pg_473_sml.jpg" width="250" height="155" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Attic plan.</p></div> +</div> + +<p>(the building being so large) on a smaller scale than the other plans in +this volume.</p> + +<p>The perspective view merely exhibits the common forms of Elizabethan +character. The tower which formed the entrance was 70 ft. in height from +the foundation to the top of its roof, the height of the ground-floor +rooms was 14 ft. 3 in. They had rich plaster friezes, and the staircase +had carved oak Elizabethan balustrading. The second-floor rooms<span class="pagenum"><a name="page_474" id="page_474">{474}</a></span> were 12 +ft. 3 in. in height, and were very plain in character. The upper floor +of the tower was open, but could be closed by sashes; this was intended +for a smoking retreat. A small detail of one of the gabled windows in +front is given below. Altogether, the design had a most picturesque +effect, and its style met with approval. It combined utility with +elegance,</p> + +<div class="figcenter" style="width: 141px;"> +<a href="images/ill_pg_474_lg.jpg"> +<img src="images/ill_pg_474_sml.jpg" width="141" height="179" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Gable window.</p></div> +</div> + +<p class="nind">and completely answered the objects for which it was constructed.</p> + +<p>Another villa was designed for an Austrian nobleman, the Prince Clary: a +view of it is given in the first illustration of this volume, through +the window of the architect’s study. It was intended as a summer retreat +for the Prince and his friends when engaged in a fishing-excursion on +the noble river the Elbe, on<span class="pagenum"><a name="page_475" id="page_475">{475}</a></span> the banks of which it was placed. It +contained a large centre dining-room, 48 ft. by 22, with a saloon or +drawing-room, 40 ft. by 20 ft., and extensive accommodation for the +kitchen and servants’ departments. The upper storey contained 14 best +bedrooms, each with an ante or dressing-room, besides bath-room and the +sleeping apartments for the domestics.<span class="pagenum"><a name="page_476" id="page_476">{476}</a></span></p> + +<h2><a name="DESIGN_No_40" id="DESIGN_No_40"></a><i>DESIGN No. 40.</i><br /><br /> +HARRINGTON HOUSE, QUEEN’S PALACE GARDENS.</h2> + +<div class="figcenter" style="width: 335px;"> +<a href="images/ill_pg_476_lg.jpg"> +<img src="images/ill_pg_476_sml.jpg" width="335" height="329" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view of exterior.</p></div> +</div> + +<p><span class="pagenum"><a name="page_477" id="page_477">{477}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS building, with which the present collection of designs closes, is +probably the most unpicturesque example in the volume. Its exterior has +been frequently criticised; whatever its merits or demerits may be, it +certainly is wholly unlike, while at the same time it is not inferior, +to the strange style at present so popular with the younger branch of +architectural professors, which appears to be a</p> + +<div class="figcenter" style="width: 311px;"> +<a href="images/ill_pg_477_lg.jpg"> +<img src="images/ill_pg_477_sml.jpg" width="311" height="158" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of principal staircase.</p></div> +</div> + +<p class="nind">mixture of the Byzantine and Romanesque styles, joined with the Roman +Gothic. Some call it the Missal style, others the Northern Italian. The +sole recommendation of it is that it comes more expensive to carry out +than any other. This house has at least the reputation of being a very +comfortable one, and as more than usually adapted to receive large +assemblies and fashionable parties. Indeed the noble Earl who<span class="pagenum"><a name="page_478" id="page_478">{478}</a></span> erected +it was so pleased with it, that on entering, on its completion, he +addressed the following note to the author:—</p> + +<div class="blockquot"><p class="r"> +H. H., Kensington Palace Gardens,<br /> +<i>31 May, 1854</i>. <br /> +</p> + +<p class="nind"> +My dear Sir,—<br /> +</p> + +<p>I take this opportunity of expressing to you my thanks for having +constructed a house, in my humble judgment, <i>without a fault</i>.</p> + +<p class="c"> +Believe me most sincerely yours,<br /> +</p> + +<p class="c"> +(Signed) <span style="margin-left: 2em;"><span class="smcap">Harrington</span>.</span><br /> +</p> + +<p class="nind"> +To C. J. Richardson, Esq.<br /> +</p></div> + +<p class="nind"> +And after having resided in it nine months, he again<br /> +wrote as follows:—<br /> +</p> + +<div class="blockquot"><p class="r"> +H. H., Palace Gardens, Kensington,<br /> +<i>2nd February, 1855</i>. <br /> +</p> + +<p class="nind"> +My dear Sir,—<br /> +</p> + +<p>I pray you to accept my cordial thanks for your most able +architectural skill in the construction of my house. I have lived +in it one season, and have not discovered in it a single fault.</p> + +<p class="c"> +Believe me most truly yours,<br /> +</p> + +<p class="c"> +(Signed) <span style="margin-left: 2em;"><span class="smcap">Harrington</span>.</span><br /> +</p> + +<p class="nind"> +To C. J. Richardson, Esq.<br /> +</p></div> + +<p>The site upon which the house stands was taken by the Earl from the +Commissioners of Her Majest<span class="pagenum"><a name="page_479" id="page_479">{479}</a></span>y’s</p> + +<div class="figcenter" style="width: 545px;"> +<a href="images/ill_pg_479_lg.jpg"> +<img src="images/ill_pg_479_sml.jpg" width="545" height="358" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_480" id="page_480">{480}</a></span></p> + +<p>Woods and Forests, and it certainly is, or was, one of the best sites +for building in the metropolis. It adjoins Kensington Gardens, looking +on the old winter garden of Queen Anne. Agreeable and admirable a</p> + +<div class="figcenter" style="width: 186px;"> +<a href="images/ill_pg_480-a_lg.jpg"> +<img src="images/ill_pg_480-a_sml.jpg" width="186" height="84" alt="[Image unavailable.]" /></a> +<div class="caption"><p>One-pair plan of staircase.</p></div> +</div> + +<p class="nind">site for building as this was, in 1853, it remained for some time +utterly neglected. The first speculator had been ruined, and only one or +two of his houses (one erected by Mr. Owen Jones, the architect) were</p> + +<div class="figcenter" style="width: 168px;"> +<a href="images/ill_pg_480-b_lg.jpg"> +<img src="images/ill_pg_480-b_sml.jpg" width="168" height="91" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground-floor plan.</p></div> +</div> + +<p class="nind">standing in the road. Soon after the Earl of Harrington acquired the +land, and erected this building, the whole of the road, on each side, +was covered with first-class mansions.<span class="pagenum"><a name="page_481" id="page_481">{481}</a></span></p> + +<p>The terms of the agreement were, that the Earl should take plot No. 9 +and the northern portion of plot No. 10, having a frontage of 196 ft. to +the Queen’s Road, and a depth of about 260 ft., for a period of 91¼ +years, from the 5th July, 1851, at a peppercorn rent for the first year, +of 73<i>l.</i> 10<i>s.</i> for the second year, and of 147<i>l.</i> a year for the +remainder of the term, also a rent of 5<i>s.</i> a year in lieu of land-tax +for every year except the first.</p> + +<p>The Earl was to expend a sum of not less than 6000<i>l.</i> in erecting upon +the ground a dwelling-house of the first-class style of building. The +house was to be insured in the sum of 6000<i>l.</i>, and the Earl was to pay +jointly, with the adjacent occupiers, the expense of lighting and +keeping up the road, which was a private one, and to pay the gatekeepers +at the lodge. The rest of the covenants of the agreement were such as +are usually found in such documents.</p> + +<p>The house was, until the present year, the only Gothic one in the +district, the Earl insisting upon having this, his favourite style, +admitted. It stands in the centre of the road at the highest level, and +is well up out of the ground. The principal floor is 7 ft. above the +outside road of approach, and 14 ft. above the level of the public road. +The whole of the walls stand on a basement of concrete, and the lower +flooring is 5 ft. above the level of the foundations.<span class="pagenum"><a name="page_482" id="page_482">{482}</a></span> The basement +story is 14 ft. in height, and of entirely fireproof construction. The +best rooms on the ground-floor are 17 ft. 6 in. in height, the secondary +rooms are 15 ft. high. All the principal staircases are of stone; the +ground plan on page 479 shows the</p> + +<div class="figcenter" style="width: 152px;"> +<a href="images/ill_pg_482_lg.jpg"> +<img src="images/ill_pg_482_sml.jpg" width="152" height="291" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of principal staircase.</p></div> +</div> + +<p class="nind">entrance hall, <i>a</i>, approached by 12 steps; it is 30 ft. in length, by +21 ft. in width; <i>b</i> is the principal staircase, situated on one side of +the saloon in the centre of the building; the latter is 41 ft. long by +21 ft. wide. The dining-room <i>e</i>, and the library <i>c</i>, on each side of<span class="pagenum"><a name="page_483" id="page_483">{483}</a></span> +the hall, are respectively 30 ft. by 22 ft. The great room, with the bay +window, entered from the saloon, is the picture gallery <i>f</i>. This room +is 41 ft. long by 30 ft. wide, without the bay. The drawing-rooms <i>d</i>, +<i>d</i>, on each side, are each 25 ft. by 20 ft.; <i>g</i>, the conservatory, +measures 40 ft. by 21 ft.; this, with the two drawing-rooms and the +picture gallery, can in less than half an hour be thrown into one by the +removal of the large folding-doors in the picture</p> + +<div class="figcenter" style="width: 113px;"> +<a href="images/ill_pg_483_lg.jpg"> +<img src="images/ill_pg_483_sml.jpg" width="113" height="127" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ornament for stairs.</p></div> +</div> + +<p class="nind">gallery, which can be taken away, frames complete, by simply removing a +few screws. A length of drawing-room is then gained of 125 ft.</p> + +<p>The principal staircase is shown in elevation on page 477; the plans are +here given to a larger scale.</p> + +<p>The lower plan shows a portion of the first flight and the servants’ +passage, <i>a</i>, under the first landing; <i>b</i> is their staircase down to +the basement, this should<span class="pagenum"><a name="page_484" id="page_484">{484}</a></span> have been shown on the left-hand side. It is +the footman’s staircase, adapted for him to ascend and</p> + +<div class="figcenter" style="width: 287px;"> +<a href="images/ill_pg_484_lg.jpg"> +<img src="images/ill_pg_484_sml.jpg" width="287" height="399" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Iron railing on staircase.</p></div> +</div> + +<p class="nind">descend readily from or to the basement, and the <span class="pagenum"><a name="page_485" id="page_485">{485}</a></span>passage <i>a</i> permits +him to enter either side of the house without being seen. The upper plan +shows the two flights, right and left, rising from the principal +landing. Each of these has 22 steps. Three more in the centre lead up to +the gallery round the saloon; the section of the staircase, given on p. +482, clearly shows this arrangement. The staircase front is in Bath +stone. The only ornaments are the decorated corbels supporting the small +angular projections or buttresses necessary to receive the iron +standards of the railing above. One of the corbels and a panel of the +iron railing is given. This is carried up the stairs on both sides and +round the gallery, and is richly coloured and gilt. The only remaining +portions of the ground plan to be described are the secondary rooms. A +side entrance is at <i>j</i>, and the waiting room, <i>i</i>, is also at the side; +<i>h</i> is the servants’ staircase, going from the basement to the attic. On +the other side of the building <i>o</i> is the Earl’s dressing-room, with a +study or writing room by its side. This has a lift, <i>n</i>, from the +kitchen, enabling it to be used as a serving room. The picture gallery +has a flight of steps descending to a large ornamented garden at the +back of the house, <i>n n</i> is the stable yard, and <i>k k k</i> rooms over the +stable.</p> + +<p>The section through the complete building, given on page 486, shows the +general character of the interior. The rooms are wholly without +ornament; all have plain cornices formed of running Gothic mouldings. +The<span class="pagenum"><a name="page_486" id="page_486">{486}</a></span></p> + +<div class="figcenter" style="width: 564px;"> +<a href="images/ill_pg_486_lg.jpg"> +<img src="images/ill_pg_486_sml.jpg" width="564" height="411" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_487" id="page_487">{487}</a></span></p> + +<p class="nind">only decorated portion is the saloon (<i>inf.</i>), the coved ceiling of +which has the shields of painted and gilt coats of arms of family +connexions, together with</p> + +<div class="figcenter" style="width: 441px;"> +<a href="images/ill_pg_487_lg.jpg"> +<img src="images/ill_pg_487_sml.jpg" width="441" height="366" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_488" id="page_488">{488}</a></span></p> + +<p class="nind">mottoes and monograms. The skylight is filled with richly coloured +embossed glass, every pane having a shield of arms, its ceiling being +panelled with painted enrichments on a blue ground. A view of the saloon +is given on p. 487; it contains in the centre a statue</p> + +<div class="figcenter" style="width: 144px;"> +<a href="images/ill_pg_488_lg.jpg"> +<img src="images/ill_pg_488_sml.jpg" width="144" height="288" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Half-section of roof of conservatory.</p></div> +</div> + +<p class="nind">by Theed, of Lady Chandos Pole, the eldest daughter of the Earl. The +statues are shown in the plan by the letters <i>m m</i>. The ground floor is +supplied with warm-water pipes; these are shown by the dotted lines. +They are sunk in the brickwork forming the substructure of<span class="pagenum"><a name="page_489" id="page_489">{489}</a></span> the +flooring, and covered with open ornamental ironwork. The hall has two +warm-water pedestals. The whole of the rooms and conservatory are so +warmed.</p> + +<p>The latter part of the interior resembles in some respects a small +chapel. A half-section of a portion</p> + +<div class="figcenter" style="width: 253px;"> +<a href="images/ill_pg_489_lg.jpg"> +<img src="images/ill_pg_489_sml.jpg" width="253" height="286" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of one-pair.</p></div> +</div> + +<p class="nind">of its roof is given on p. 488; it measures 22 ft. from the floor to the +collar-beam. The corbels, from which the roof springs, are decorated +with shields of arms, surrounded by a garland of strawberry leaves.</p> + +<p>In the plan of the one-pair floor <i>a</i> is the boudoir<span class="pagenum"><a name="page_490" id="page_490">{490}</a></span> or morning room; +<i>b b b</i> are bedrooms; <i>c c c</i> dressing-rooms, and <i>d</i> is the bath-room. +The gallery is shown as completely going round the saloon; its ceiling +is of ground glass arranged in panels, each of which is</p> + +<div class="figcenter" style="width: 259px;"> +<a href="images/ill_pg_490_lg.jpg"> +<img src="images/ill_pg_490_sml.jpg" width="259" height="346" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">moveable, with a skylight over the whole. There is plenty of light +therefore afforded for the paintings with which the walls are covered.</p> + +<p>The small attic plan shows these skylights on three<span class="pagenum"><a name="page_491" id="page_491">{491}</a></span> sides only, +likewise the sleeping-rooms <i>b b</i>, and the housemaid’s closet <i>c</i>. Under +this plan is that of the upper room in the tower with its two slate +cisterns, each capable of containing 800 gallons of water. They are +supported by strong trussed girders fixed in the walls. This upper room +is approached by a</p> + +<div class="figcenter" style="width: 144px;"> +<a href="images/ill_pg_491_lg.jpg"> +<img src="images/ill_pg_491_sml.jpg" width="144" height="230" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Staircase to lower rooms.</p></div> +</div> + +<p class="nind">cottage staircase, the plan of which, with its 22 risers, is shown in +cut on p. 490. It enables the room to be approached without any +structural appearance being seen from without. A half elevation of the +exterior, and another of its section is given above. It is well supplied +with light.<span class="pagenum"><a name="page_492" id="page_492">{492}</a></span></p> + +<div class="figcenter" style="width: 411px;"> +<a href="images/ill_pg_492_lg.jpg"> +<img src="images/ill_pg_492_sml.jpg" width="411" height="285" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Basement plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_493" id="page_493">{493}</a></span></p> + +<div class="figcenter" style="width: 283px;"> +<a href="images/ill_pg_493-a_lg.jpg"> +<img src="images/ill_pg_493-a_sml.jpg" width="283" height="349" alt="[Image unavailable.]" /></a> +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>Elevation of bay window. +</p></td><td> </td> +<td> +<p>Section. +</p></td></tr> +</table> +</div></div> + +<div class="figcenter" style="width: 224px;"> +<a href="images/ill_pg_493-b_lg.jpg"> +<img src="images/ill_pg_493-b_sml.jpg" width="224" height="100" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_494" id="page_494">{494}</a></span></p> + +<p>The building contains upwards of forty rooms; the basement is very +large, and contains considerable accommodation. The mere enumeration of +these would require every letter in the alphabet to point them out in an +engraving, but as it is desirable to show how closely a large +establishment of servants can be packed together, the basement plan is +given. <i>a</i> is the kitchen, <i>b</i> the scullery, and <i>c</i> the larder. The +kitchen is provided with a lift <i>f</i>, and a small service window; <i>d</i> is +the pastry-room, and <i>e</i> the still-room, with the lift; <i>g</i> is the +dairy, <i>h</i> the washhouse, <i>i</i> the laundry, <i>j</i> the butler’s pantry, <i>k</i> +the steward’s room with its strong closet; <i>l</i> is the housekeeper’s, +with the cook’s room between it and the still-room, <i>m</i> is the servants’ +hall, <i>n</i> the men’s sleeping room; <i>o o</i> are wine-cellars, <i>p</i> the +butler’s wine-cellar, <i>q</i> the footman’s stairs under the principal +staircase, <i>r</i> the warm-water furnace, by the steward’s room, placed at +the back of his strong closet; <i>s</i> is the stable, containing eight +stalls, one loose box, and a harness-room; <i>t t t</i> are cart-sheds, <i>u</i> +is the cowhouse, <i>v</i> the dung-pit, <i>w</i> the coach-house, <i>x x</i> two of the +three coal-cellars, <i>y</i> the dust-pit, and <i>z z z</i> are the closets. The +carriage-road to the side entrance is formed over the cart-sheds and +coal-cellars. These are arched over in brick and covered with a thick +layer of Brown’s metallic lava, and are provided with proper drainage. +The boot-<span class="pagenum"><a name="page_495" id="page_495">{495}</a></span>cleaning place and that for lamps are between the coach-house +and the cart-sheds.</p> + +<p>The exterior of the building has been censured on account of the Gothic +outline being too flat, the roofs too low, and all the windows having +common sash</p> + +<div class="figcenter" style="width: 274px;"> +<a href="images/ill_pg_495_lg.jpg"> +<img src="images/ill_pg_495_sml.jpg" width="274" height="268" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">frames. With regard to the latter, it may be considered very probable +that if the Gothic race of architects had continued with us to the +present day, they would have adopted plate glass for their windows, and +put aside their lead-lights and small panes of common glass. One of the +greatest improvements that could be made in our cathedrals, not +excepting<span class="pagenum"><a name="page_496" id="page_496">{496}</a></span> even St. Paul’s, would be the reglazing the windows in the +modern style.</p> + +<div class="figcenter" style="width: 140px;"> +<a href="images/ill_pg_496_lg.jpg"> +<img src="images/ill_pg_496_sml.jpg" width="140" height="455" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Half-elevation and section of bell-turret.</p></div> +</div> + +<p><span class="pagenum"><a name="page_497" id="page_497">{497}</a></span></p> + +<p>As a specimen of the architectural style of the building, the centre +bay-window of the principal front is given, with its section and plan. +It is 9 ft. 6 in. across, and 21 ft. 4 in. high, and stands directly +over the chief entrance. The construction of a projecting bay-window +coming over an archway requires a short description.</p> + +<p>The three diagrams on page 495 show the manner in which such windows are +corbelled out. The upper</p> + +<div class="figcenter" style="width: 154px;"> +<a href="images/ill_pg_497_lg.jpg"> +<img src="images/ill_pg_497_sml.jpg" width="154" height="118" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of turret.</p></div> +</div> + +<p class="nind">one is a plan of the bottom stone course, immediately over the key-stone +of the arch; it shows also the centre stone of the second course upon +it. The middle diagram shows the two courses from the back. It will be +seen that the middle stone of the first course does not bear upon the +arch, but is supported by the two end stones let into the wall. The last +diagram is a plan of the upper course at top. Slate dowels were used, +and an iron bar, shown in plan<span class="pagenum"><a name="page_498" id="page_498">{498}</a></span> under elevation <i>a</i>, 3 in. by ¾ in., was +placed across the course tailing into the walls on each side; and two +bars <i>p p</i>, each 2½ by ¾ in. and 12 ft. in length, tied it to the +flooring of the room. This is shown likewise in the plan, the dotted +lines dividing the length of flooring; <i>d</i> is the upper course of +stones, and <i>c</i> one of the principal beams of the floor.</p> + +<div class="figcenter" style="width: 315px;"> +<a href="images/ill_pg_498_lg.jpg"> +<img src="images/ill_pg_498_sml.jpg" width="315" height="213" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Balustrading on top of building.</p></div> +</div> + +<p>The bell-turret stands 20 ft. above the roof. This is carved in oak; an +elevation, section, and plan is given. Only those parts of the building +are intended to be here illustrated which have some peculiarity of +design or construction.</p> + +<p>A building of this size would require about 150<span class="pagenum"><a name="page_499" id="page_499">{499}</a></span> working drawings to be +made for it, and a considerable number to be given to show its +construction.</p> + +<p>It was completed in about two years, at an expense of 14,814<i>l.</i>; but +this did not include the price of the warming apparatus, nor that of the +lightning conductor fixed to the bell-turret.</p> + +<div class="figcenter" style="width: 229px;"> +<a href="images/ill_pg_499_lg.jpg"> +<img src="images/ill_pg_499_sml.jpg" width="229" height="261" alt="[Image unavailable.]" /></a> +<div class="caption"> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>Front. +</p></td><td> </td> +<td> +<p>Side. +</p></td></tr> +</table> + +<p>Pedestal to steps.</p> + +</div> +</div> + +<p>Whatever opinions may be expressed in regard to the architectural +details of this erection, the author at least can plead, as its owner +stated in the letters, copies of which have been given, that the +essentials<span class="pagenum"><a name="page_500" id="page_500">{500}</a></span> of a house, convenience, comfort, and complete suitability +for all domestic purposes, were accomplished. These objects being +attained, any real or imaginary faults perceived by professional critics +may be palliated if not forgotten.<span class="pagenum"><a name="page_501" id="page_501">{501}</a></span></p> + +<h2><a name="INDEX" id="INDEX"></a>INDEX.</h2> + +<p class="c"><a href="#A">A</a>, +<a href="#B">B</a>, +<a href="#C">C</a>, +<a href="#D">D</a>, +<a href="#E">E</a>, +<a href="#F">F</a>, +<a href="#G">G</a>, +<a href="#H">H</a>, +<a href="#I">I</a>, +<a href="#K">K</a>, +<a href="#L">L</a>, +<a href="#M">M</a>, +<a href="#N">N</a>, +<a href="#O">O</a>, +<a href="#P">P</a>, +<a href="#Q">Q</a>, +<a href="#R">R</a>, +<a href="#S">S</a>, +<a href="#T">T</a>, +<a href="#V">V</a>, +<a href="#W">W</a>, +<a href="#Z">Z</a>.</p> + +<p class="nind"> +<br /> +Introduction, <a href="#page_3">3-48</a><br /> + +<br /> +“<a name="A" id="A"></a><span class="smcap">Albert</span> Hall of Arts”, <a href="#page_131">131</a><br /> + +Architectural history, <a href="#page_16">16</a><br /> + +Architectural orders, <a href="#page_20">20</a> <i>et seq.</i><br /> + +Architecture and gardening, <a href="#page_46">46</a>, <a href="#page_312">312</a><br /> + +Architecture, English, <a href="#page_25">25</a><br /> + +Architecture, Grecian, &c., <a href="#page_11">11</a><br /> + +Architecture, Mexican, &c., <a href="#page_26">26</a><br /> + +Architecture, origin of, <a href="#page_8">8</a><br /> + +Architecture, principles of, <a href="#page_27">27</a><br /> + +Architecture, Roman, <a href="#page_23">23</a><br /> + +Architecture, Suburban, <a href="#page_29">29</a><br /> + +Architectural symmetry, &c., <a href="#page_31">31</a><br /> + +Arnott’s, Dr., system of warming, <a href="#page_357">357</a><br /> + +Arnott’s ventilator, <a href="#page_414">414</a><br /> + +Aspect of a house, <a href="#page_36">36</a><br /> + +Asphalte as a paving, <a href="#page_235">235</a><br /> + +Atmosphere, the, and smoke, <a href="#page_431">431</a><br /> + +<br /> +<a name="B" id="B"></a><span class="smcap">Bacon</span>, Lord, on house construction, <a href="#page_256">256</a><br /> + +Balconet, an iron, <a href="#page_331">331</a><br /> + +Balconet, design for a, <a href="#page_123">123</a><br /> + +Balusters for a staircase, <a href="#page_277">277</a><br /> + +Balustrade, a garden, <a href="#page_363">363</a> <i>et seq.</i><br /> + +Balustrade, Elizabethan, <a href="#page_181">181</a><br /> + +Balustrade for a staircase, <a href="#page_282">282</a><br /> + +Balustrades, stone, <a href="#page_247">247</a><br /> + +Balustrading, cut wood, <a href="#page_279">279</a><br /> + +Balustrading, designs for iron, &c., <a href="#page_299">299</a><br /> + +Balustrading, house and garden, <a href="#page_204">204</a> <i>et seq.</i><br /> + +Barge-board, <a href="#page_247">247</a><br /> + +Bath-house, design for a, <a href="#page_214">214</a><br /> + +Bower, garden, rooms, <a href="#page_242">242</a><br /> + +Boyd’s flue, <a href="#page_414">414</a><br /> + +Bricks, ventilating, <a href="#page_157">157</a>, <a href="#page_170">170</a><br /> + +Buildings, foundation of, <a href="#page_151">151</a><br /> + +<br /> +<a name="C" id="C"></a><span class="smcap">Carving</span> by machinery, <a href="#page_278">278</a><br /> + +Casements, iron, <a href="#page_220">220</a><br /> + +Castle, Gunnarstrop, Sweden, <a href="#page_464">464</a><br /> + +Ceiling, a dining-room, <a href="#page_288">288</a><br /> + +Ceiling and cornices, <a href="#page_44">44</a><br /> + +Ceiling, drawing-room and library, <a href="#page_290">290</a>, <a href="#page_291">291</a><br /> + +Ceiling for a drawing-room, <a href="#page_166">166</a><br /> + +Ceiling for a hall, <a href="#page_286">286</a><br /> + +Ceiling, ornament for a, <a href="#page_61">61</a><br /> + +Ceilings, ornamental, various, <a href="#page_313">313</a> <i>et seq.</i><br /> + +Ceilings, plaster ornament for, <a href="#page_161">161</a><br /> + +Chalk concrete, <a href="#page_83">83</a><br /> + +Chapel, design for a Roman Catholic, <a href="#page_210">210</a><br /> + +Cheshire wooden houses, <a href="#page_233">233</a><br /> + +Chimney-piece, ancient, at Enfield, <a href="#page_228">228</a><br /> + +Chimney-pieces, designs for, <a href="#page_80">80</a>, <a href="#page_81">81</a>, <a href="#page_319">319</a><br /> + +Chimney-pot, ornamented, <a href="#page_329">329</a>, <a href="#page_330">330</a>, <a href="#page_423">423</a><br /> + +Chimney stack, ancient, <a href="#page_74">74</a><br /> + +Churches, concrete, <a href="#page_96">96</a><br /> + +Clunch, <a href="#page_246">246</a><br /> + +Concrete as a foundation, <a href="#page_152">152</a><br /> + +Concrete, chalk, <a href="#page_83">83</a><br /> + +Concrete churches, <a href="#page_96">96</a><br /> + +Concrete construction, <a href="#page_82">82</a><br /> + +Concrete cottages, <a href="#page_83">83</a><br /> + +Concrete, nature, cost, &c., of, <a href="#page_91">91</a><br /> + +Concrete, remarks on, <a href="#page_93">93</a><br /> + +Concrete sewers, <a href="#page_96">96</a><br /> + +Concrete walls, <a href="#page_92">92</a><br /> + +Construction, fire-proof, <a href="#page_156">156</a><br /> + +Construction, concrete, <a href="#page_82">82</a><br /> + +Corbels, <a href="#page_172">172</a><br /> + +Corbel, French cut-wood, <a href="#page_403">403</a><br /> + +Corbels, ragstone, <a href="#page_392">392</a><br /> + +Cornice and ceiling, <a href="#page_44">44</a><br /> + +Cornice, design for a plaster drawing-room, <a href="#page_101">101</a><br /> + +Cornice for a drawing-room, <a href="#page_166">166</a><br /> + +Cottage, design for a picturesque, <a href="#page_62">62</a><br /> + +Cottage, double, design for a, <a href="#page_66">66</a>, <a href="#page_72">72</a><br /> + +<span class="pagenum"><a name="page_502" id="page_502">{502}</a></span>Cottage, gardener’s, <a href="#page_50">50</a><br /> + +Cottages, Hampshire, Kentish, &c., <a href="#page_88">88</a> <i>et seq.</i><br /> + +Cottage or lodge, design for a small, <a href="#page_58">58</a><br /> + +Cottage or lodge, design for a huntsman’s, <a href="#page_78">78</a><br /> + +Country house, design for a small, <a href="#page_174">174</a><br /> + +Country villa, design for a, <a href="#page_182">182</a><br /> + +Cubitt’s flues, <a href="#page_407">407</a><br /> + +<br /> +<a name="D" id="D"></a><span class="smcap">Dab houses</span>, <a href="#page_251">251</a><br /> + +Damp walls, <a href="#page_152">152</a><br /> + +Damp, wash to prevent, in walls, <a href="#page_159">159</a><br /> + +Deals, stained, <a href="#page_45">45</a><br /> + +Decoration external and internal, <a href="#page_42">42</a><br /> + +Denley’s flue, <a href="#page_413">413</a><br /> + +Door, entrance for a hall, <a href="#page_458">458</a><br /> + +Door ornaments, <a href="#page_69">69</a><br /> + +Doric order, <a href="#page_20">20</a><br /> + +Drain-eye, <a href="#page_450">450</a><br /> + +<br /> +<a name="E" id="E"></a><span class="smcap">Egyptian</span> architecture, <a href="#page_19">19</a><br /> + +Elizabethan balustrades, <a href="#page_181">181</a><br /> + +Elizabethan villa, <a href="#page_280">280</a><br /> + +Encaustic tiles, <a href="#page_460">460</a><br /> + +English architecture, <a href="#page_25">25</a><br /> + +Escutcheon, design of an, <a href="#page_69">69</a><br /> + +Escutcheon, key, <a href="#page_172">172</a><br /> + +<br /> +<a name="F" id="F"></a><span class="smcap">Finials</span>, <a href="#page_109">109</a><br /> + +Finials, roof, <a href="#page_80">80</a><br /> + +Fireplace for a hall, <a href="#page_284">284</a><br /> + +Fireplace, the, <a href="#page_404">404</a><br /> + +Fire-proof construction, <a href="#page_156">156</a><br /> + +Fire-proofing, <a href="#page_158">158</a><br /> + +Flue construction, <a href="#page_405">405</a> <i>et seq.</i><br /> + +Flue pedestal, the, <a href="#page_446">446</a><br /> + +Flues, Cubitt’s, <a href="#page_407">407</a><br /> + +Flues, various, <a href="#page_405">405</a> <i>et seq.</i><br /> + +Fogs, London, and smoke, <a href="#page_443">443</a><br /> + +Foundations, concrete, <a href="#page_152">152</a><br /> + +Foundations of buildings, <a href="#page_151">151</a><br /> + +Fountain, an ancient nymph’s, <a href="#page_47">47</a><br /> + +Fountain, garden, <a href="#page_49">49</a><br /> + +Fountain, garden, design for a, <a href="#page_469">469</a><br /> + +Fountains, various designs for, <a href="#page_307">307</a><br /> + +French villas, roofs, zinc work, &c., <a href="#page_273">273</a><br /> + +Frieze, external, <a href="#page_173">173</a><br /> + +Frieze for dining and drawing-room, <a href="#page_178">178</a><br /> + +Frieze, plaster, for a drawing-room, <a href="#page_65">65</a><br /> + +<br /> +<a name="G" id="G"></a><span class="smcap">Gable</span>, ornamental, <a href="#page_170">170</a>, <a href="#page_220">220</a>, <a href="#page_300">300</a><br /> + +Gardens, ancient, <a href="#page_312">312</a><br /> + +Gardens and architecture, <a href="#page_45">45</a><br /> + +Garden, architectural, <a href="#page_313">313</a><br /> + +Garden bower rooms, <a href="#page_242">242</a><br /> + +Gardener’s cottage, <a href="#page_50">50</a><br /> + +Garden fountain, <a href="#page_49">49</a><br /> + +Garden gate, a, <a href="#page_204">204</a><br /> + +Garden gate, design for a, <a href="#page_95">95</a><br /> + +Garden, gate to a flower, <a href="#page_265">265</a><br /> + +Garden or summer villa, <a href="#page_302">302</a><br /> + +Garden summer house, <a href="#page_262">262</a><br /> + +Garden steps, <a href="#page_197">197</a><br /> + +Garden seat, design for a, <a href="#page_361">361</a><br /> + +Garden, vignette plan of an Old English, <a href="#page_119">119</a><br /> + +Gate, a garden, <a href="#page_265">265</a><br /> + +Gates, iron, in Hyde Park, <a href="#page_128">128</a><br /> + +Gate lodge, Hyde Park, <a href="#page_125">125</a><br /> + +Gates, Park, <a href="#page_149">149</a><br /> + +Gates of London Parks, <a href="#page_139">139</a><br /> + +Gothic, modern, <a href="#page_24">24</a><br /> + +Gothic screen, <a href="#page_205">205</a><br /> + +Gothic style, <a href="#page_10">10</a><br /> + +Gothic window, <a href="#page_204">204</a><br /> + +Grecian architecture, <a href="#page_11">11</a><br /> + +Gunnarstrop castle, Sweden, <a href="#page_464">464</a><br /> + +<br /> +<a name="H" id="H"></a><span class="smcap">Half-Timbered</span> houses, <a href="#page_248">248</a><br /> + +Hall ceiling, <a href="#page_286">286</a><br /> + +Hall fireplace, <a href="#page_284">284</a><br /> + +Hall, lecture, design for a, <a href="#page_456">456</a><br /> + +“Hall of Arts and Sciences,” Kensington, <a href="#page_133">133</a><br /> + +Hall stove, <a href="#page_285">285</a><br /> + +Hall, stove for entrance of a, <a href="#page_120">120</a><br /> + +Hampshire cottages, <a href="#page_88">88</a><br /> + +Handle, design for a door, <a href="#page_69">69</a><br /> + +Harrington estate, the, <a href="#page_136">136</a><br /> + +Harrington House, Queen’s Palace Gardens, <a href="#page_476">476</a><br /> + +Houses, foundations of, <a href="#page_151">151</a><br /> + +Haum as a building material, <a href="#page_249">249</a><br /> + +Hiort’s flue, <a href="#page_412">412</a><br /> + +Hot-water apparatus, <a href="#page_349">349</a><br /> + +House, a bachelor’s, <a href="#page_401">401</a><br /> + +House, a garden summer, <a href="#page_262">262</a><br /> + +<span class="pagenum"><a name="page_503" id="page_503">{503}</a></span>Houses, aspect of, <a href="#page_36">36</a><br /> + +Houses, dab and wattle, <a href="#page_251">251</a><br /> + +House construction, Lord Bacon on, <a href="#page_256">256</a><br /> + +House, design for a small country, <a href="#page_174">174</a><br /> + +Houses, heating of, <a href="#page_34">34</a><br /> + +Houses in Kent, <a href="#page_249">249</a><br /> + +Houses, noggin, &c., <a href="#page_249">249</a><br /> + +Houses, post-and-pan, <a href="#page_252">252</a><br /> + +Houses, site, &c. of, <a href="#page_351">351</a><br /> + +Houses, warming of, <a href="#page_351">351</a><br /> + +Hyde Park, Queen’s Gate, entrance to, <a href="#page_139">139</a><br /> + +Hyde Park Corner Gate, <a href="#page_140">140</a><br /> + +<br /> +<a name="I" id="I"></a><span class="smcap">Ice</span>-house, design for a, <a href="#page_370">370</a><br /> + +<br /> +<a name="K" id="K"></a><span class="smcap">Kensington</span> Gardens, <a href="#page_140">140</a><br /> + +Kent ragstone, <a href="#page_176">176</a><br /> + +Kentish cottages, <a href="#page_91">91</a><br /> + +Kentish village houses, <a href="#page_249">249</a><br /> + +Key escutcheons, <a href="#page_172">172</a><br /> + +Knocker, <a href="#page_172">172</a><br /> + +<br /> +<a name="L" id="L"></a><span class="smcap">Library</span>, elevation of a small, <a href="#page_200">200</a><br /> + +Literary Institution, design for a, <a href="#page_456">456</a><br /> + +Lodge, a park, <a href="#page_102">102</a><br /> + +Lodge and gateway, design for, <a href="#page_112">112</a><br /> + +Lodges of London Parks, <a href="#page_142">142</a><br /> + +Lodge or cottage, a huntsman’s, <a href="#page_78">78</a><br /> + +Lodge or cottage, design for a small, <a href="#page_56">56</a><br /> + +Lodge, park entrance, <a href="#page_104">104</a><br /> + +Lodge, Queen’s Gate, Hyde Park, <a href="#page_125">125</a><br /> + +<br /> +<a name="M" id="M"></a><span class="smcap">Machine</span>-carving, <a href="#page_278">278</a><br /> + +Mantel-pieces, <a href="#page_44">44</a><br /> + +Maisonette, a French, <a href="#page_268">268</a><br /> + +Meat-jack, design for a, <a href="#page_267">267</a><br /> + +Moule’s earth system, <a href="#page_241">241</a><br /> + +Moon’s flue, <a href="#page_412">412</a><br /> + +Mud walls, <a href="#page_90">90</a><br /> + +<br /> +<a name="N" id="N"></a><span class="smcap">Noggin</span> houses, <a href="#page_249">249</a><br /> + +<br /> +<a name="O" id="O"></a><span class="smcap">Orders</span> of architecture, <a href="#page_20">20</a> <i>et seq.</i><br /> + +Origin of architecture, <a href="#page_8">8</a><br /> + +<br /> +<a name="P" id="P"></a><span class="smcap">Paper</span> hangings, <a href="#page_42">42</a><br /> + +Parge-boards, <a href="#page_247">247</a><br /> + +Pargetting, &c., <a href="#page_248">248</a><br /> + +Park, entrance lodge and gateway, <a href="#page_112">112</a><br /> + +Park lodge, design for a, <a href="#page_99">99</a><br /> + +Park lodge entrance, <a href="#page_104">104</a><br /> + +Parks, history of the London, <a href="#page_139">139</a><br /> + +Parks, the Royal, <a href="#page_139">139</a><br /> + +Pedestals, ornamental, <a href="#page_326">326</a><br /> + +Pedestal, the flue, <a href="#page_446">446</a><br /> + +Pendants, &c., <a href="#page_289">289</a><br /> + +Perkins’ hot-water apparatus, <a href="#page_350">350</a><br /> + +Picturesque cottage, design for a, <a href="#page_62">62</a><br /> + +Picturesque defined, <a href="#page_5">5</a><br /> + +Pipes, elevation of Elizabethan lead-water, <a href="#page_55">55</a><br /> + +Plaster frieze for a drawing-room, <a href="#page_65">65</a><br /> + +Plaster ornament for a ceiling, <a href="#page_161">161</a><br /> + +Porch, design for an entrance, <a href="#page_225">225</a><br /> + +Portico, elevation of, <a href="#page_180">180</a><br /> + +Post-and-pan houses, <a href="#page_252">252</a><br /> + +Pots, ornamental chimney, <a href="#page_423">423</a><br /> + +Prevention of damp, <a href="#page_151">151</a><br /> + +<br /> +<a name="Q" id="Q"></a><span class="smcap">Queen Anne’s</span> garden, <a href="#page_140">140</a><br /> + +Queen’s Gate, iron-work of, <a href="#page_143">143</a><br /> + +Queen’s Gate Lodge, <a href="#page_125">125</a>, <a href="#page_142">142</a><br /> + +<br /> +<a name="R" id="R"></a><span class="smcap">Ragstone</span>, Kentish, <a href="#page_176">176</a><br /> + +Railing, French, in iron, <a href="#page_190">190</a><br /> + +Railing, park, <a href="#page_147">147</a><br /> + +Railing, ornamental, <a href="#page_81">81</a><br /> + +Riding-house and stabling, <a href="#page_389">389</a><br /> + +Reading-room, design for a, <a href="#page_208">208</a><br /> + +Rectory, design for a small country, <a href="#page_162">162</a><br /> + +Retreat, a small country, <a href="#page_268">268</a><br /> + +Roman Architecture, <a href="#page_23">23</a><br /> + +Roman Temple, <a href="#page_5">5</a><br /> + +Roof, French style of, <a href="#page_275">275</a><br /> + +Roofs, iron, <a href="#page_348">348</a><br /> + +Roof ornaments, design for wood, <a href="#page_463">463</a><br /> + +Rose Hill Villa, <a href="#page_82">82</a><br /> + +Rotunda at Bank of England, <a href="#page_158">158</a><br /> + +Rushton Hall, <a href="#page_283">283</a><br /> + +<br /> +<a name="S" id="S"></a><span class="smcap">Schools</span>, design for, <a href="#page_208">208</a><br /> + +School, design for a village Sunday, <a href="#page_70">70</a><br /> + +School, village, <a href="#page_208">208</a><br /> + +Screen, Gothic, <a href="#page_205">205</a><br /> + +Screen, hall, <a href="#page_206">206</a><br /> + +<span class="pagenum"><a name="page_504" id="page_504">{504}</a></span>Sculptor’s villa, <a href="#page_338">338</a><br /> + +Serpentine, the, <a href="#page_140">140</a><br /> + +Sewers, a receptacle for soot, <a href="#page_438">438</a><br /> + +Sewer gases in houses, <a href="#page_436">436</a><br /> + +Sewers, concrete, <a href="#page_96">96</a><br /> + +Situation of a house, <a href="#page_38">38</a><br /> + +Smith’s, Seth, flue, <a href="#page_412">412</a><br /> + +Smoke Nuisance Act, <a href="#page_452">452</a><br /> + +Smoke Prevention, <a href="#page_405">405</a><br /> + +Smoke purified, by a spray of water, from soot, <a href="#page_441">441</a><br /> + +Smoky chimneys, <a href="#page_427">427</a><br /> + +Soot and the sewers, <a href="#page_436">436</a><br /> + +Soot, prevention of, <a href="#page_428">428</a><br /> + +Soot, removal of, from smoke, <a href="#page_433">433</a><br /> + +Soot, value of, <a href="#page_451">451</a><br /> + +Spiral staircase, <a href="#page_61">61</a><br /> + +Stabling and riding-houses, <a href="#page_389">389</a><br /> + +Stack flues, <a href="#page_417">417</a><br /> + +Stair, best proportions of a, <a href="#page_231">231</a><br /> + +Staircase balustrade, <a href="#page_277">277</a>, <a href="#page_282">282</a><br /> + +Staircases, construction of, <a href="#page_194">194</a><br /> + +Staircase railing, French, in iron, <a href="#page_190">190</a><br /> + +Staircase, spiral, <a href="#page_61">61</a><br /> + +Steps, garden, <a href="#page_197">197</a><br /> + +Stone balustrades, <a href="#page_173">173</a><br /> + +Stove, design for an entrance hall, <a href="#page_120">120</a><br /> + +Stove for a hall, <a href="#page_285">285</a><br /> + +Styles of architecture, <a href="#page_10">10</a><br /> + +Style, Gothic, <a href="#page_10">10</a><br /> + +Summer house, or garden, <a href="#page_262">262</a><br /> + +Summer or garden villa, <a href="#page_302">302</a><br /> + +Summer room, design for a, <a href="#page_214">214</a><br /> + +Sunday school, village, design for a, <a href="#page_70">70</a><br /> + +<br /> +<a name="T" id="T"></a><span class="smcap">Tall-boys</span>, <a href="#page_416">416</a><br /> + +Taste in architecture, <a href="#page_15">15</a><br /> + +Terrace, ironwork, <a href="#page_297">297</a><br /> + +Tiles, design for ornamental, <a href="#page_189">189</a><br /> + +Tiles, encaustic, <a href="#page_460">460</a><br /> + +Tiles, ornamental, <a href="#page_187">187</a><br /> + +Turn-buckle, <a href="#page_221">221</a><br /> + +<br /> +<a name="V" id="V"></a><span class="smcap">Ventilation</span>, general principles of, <a href="#page_32">32</a><br /> + +Ventilation, <a href="#page_411">411</a><br /> + +Verandahs, <a href="#page_375">375</a><br /> + +Verge-board, <a href="#page_247">247</a><br /> + +Villa, a sculptor’s, <a href="#page_338">338</a><br /> + +Villa, design for a country, <a href="#page_182">182</a><br /> + +Villa, design for a small country, <a href="#page_222">222</a><br /> + +Villa, double suburban, <a href="#page_192">192</a><br /> + +Villa, Elizabethan, <a href="#page_280">280</a><br /> + +Villa, French, <a href="#page_268">268</a><br /> + +Villa, old English wooden, <a href="#page_232">232</a><br /> + +Villa, suburban, design for a, <a href="#page_382">382</a><br /> + +Villa, suburban, design for a, <a href="#page_373">373</a><br /> + +Villa, summer or garden, <a href="#page_302">302</a><br /> + +Villa, summer, for Count Kinski, <a href="#page_470">470</a><br /> + +Village schools, <a href="#page_208">208</a><br /> + +<br /> +<a name="W" id="W"></a><span class="smcap">Wainscoting</span>, <a href="#page_285">285</a><br /> + +Walls, concrete, <a href="#page_92">92</a><br /> + +Walls, damp, <a href="#page_152">152</a><br /> + +Walls, how to cure damp, <a href="#page_160">160</a><br /> + +Warming houses, <a href="#page_34">34</a>, <a href="#page_351">351</a><br /> + +Water, for removing soot from smoke, <a href="#page_440">440</a><br /> + +Wattle houses, <a href="#page_251">251</a><br /> + +Weathercock, design for a, <a href="#page_261">261</a>, <a href="#page_381">381</a><br /> + +Window, design for a decorated, <a href="#page_336">336</a><br /> + +Window, Gothic, <a href="#page_204">204</a><br /> + +Window, ironwork for, <a href="#page_297">297</a><br /> + +Wooden villa, old English, <a href="#page_232">232</a><br /> + +Wood-noggin houses, <a href="#page_249">249</a><br /> + +Woodwork, French, pine, <a href="#page_186">186</a><br /> + +Woodwork, French, <a href="#page_275">275</a><br /> + +<br /> +<a name="Z" id="Z"></a><span class="smcap">Zinc</span>, French ornamental work in, <a href="#page_274">274</a><br /> +</p> + +<p class="fint">THE END.</p> + +<div class="footnotes"><p class="cb">FOOTNOTES:</p> + +<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> Now Sir William Fothergill Cooke—October, 1869.</p></div> + +<div class="footnote"><p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a> First illustrated by the author in his work, “Architectural +Remains of the Reigns of Elizabeth and James I.”</p></div> + +<div class="footnote"><p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3"><span class="label">[C]</span></a> The garden entrance to the ancient palace of the Grand Duke +of Tuscany, alla Trinita de’ Monti. The architecture of Annibale Lippi.</p></div> + +<div class="footnote"><p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4"><span class="label">[D]</span></a> This subject is fully treated and illustrated with plates +in the Author’s treatise on “The Warming and Ventilation Buildings,” +published in 1837 and 1856.</p></div> + +<div class="footnote"><p><a name="Footnote_E_5" id="Footnote_E_5"></a><a href="#FNanchor_E_5"><span class="label">[E]</span></a> “Cheap Ice Well.” (Atchley & Co.)</p></div> + +<div class="footnote"><p><a name="Footnote_F_6" id="Footnote_F_6"></a><a href="#FNanchor_F_6"><span class="label">[F]</span></a> “Plan for Purifying the Atmosphere of Towns.” (Hamilton, +Adams, & Co.)</p></div> + +<div class="footnote"><p><a name="Footnote_G_7" id="Footnote_G_7"></a><a href="#FNanchor_G_7"><span class="label">[G]</span></a> “Coke, Smoke, and Sewage.” (Cave and Sever, Manchester.)</p></div> + +<div class="footnote"><p><a name="Footnote_H_8" id="Footnote_H_8"></a><a href="#FNanchor_H_8"><span class="label">[H]</span></a> A print of the stove is given in the author’s pamphlet +entitled “The Smoke Nuisance, and its Remedy; with Remarks on Liquid +Fuel.” Price 1<i>s.</i> (Atchley & Co.)</p></div> + +</div> + +<div class="figcenter"> +<img src="images/back.jpg" width="320" height="500" alt="" title="" /> +</div> + +<hr class="full" /> + +<div>*** END OF THE PROJECT GUTENBERG EBOOK 60759 ***</div> +</body> +</html> diff --git a/60759-h/images/back.jpg b/60759-h/images/back.jpg Binary files differnew file mode 100644 index 0000000..986a3af --- /dev/null +++ b/60759-h/images/back.jpg diff --git a/60759-h/images/colophon.jpg b/60759-h/images/colophon.jpg Binary files differnew file mode 100644 index 0000000..58d706c --- /dev/null +++ b/60759-h/images/colophon.jpg diff --git a/60759-h/images/colophon_lg.jpg b/60759-h/images/colophon_lg.jpg Binary files differnew file mode 100644 index 0000000..c1e6d63 --- /dev/null +++ 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Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..7c4d96f --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #60759 (https://www.gutenberg.org/ebooks/60759) diff --git a/old/60759-0.txt b/old/60759-0.txt new file mode 100644 index 0000000..d5edade --- /dev/null +++ b/old/60759-0.txt @@ -0,0 +1,10520 @@ +The Project Gutenberg EBook of The Englishman's House, by +C.J. (Charles James) Richardson + +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/license + + +Title: The Englishman's House + +Author: C.J. (Charles James) Richardson + +Release Date: November 22, 2019 [EBook #60759] + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE ENGLISHMAN'S HOUSE *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images available at The Internet Archive) + + + + + + + + + + THE + + ENGLISHMAN’S HOUSE. + + [Illustration: HOUSES MADE PICTURESQUE.] + + + + + THE + + ENGLISHMAN’S HOUSE. + + _A PRACTICAL GUIDE FOR SELECTING OR + BUILDING A HOUSE._ + + [Illustration] + + BY + + C. J. RICHARDSON, + AUTHOR OF “OLD ENGLISH MANSIONS,” ETC. + + THIRD EDITION, WITH NEARLY 600 ILLUSTRATIONS. + + London: + CHATTO AND WINDUS, PICCADILLY. + + LONDON: + SAVILL, EDWARDS AND CO., PRINTERS, CHANDOS STREET, + COVENT GARDEN. + + + + +PREFACE. + + +Several years ago the author of this volume published a small work on +the Warming and Ventilation of Buildings which was very favourably +received by the Public, but is now out of print. He afterwards wrote +various other works illustrating the Architecture of England during the +reigns of Queen Elizabeth and James I., with one volume on Ornamental +Designs. These had an extensive sale, and are now, like the first small +volume, out of print. His last publication was a small pamphlet, +entitled, “The Smoke Nuisance and its Remedy, with remarks on Liquid +Fuel,” the subject of which, at least so far as regards an improved +construction for the domestic chimney flue, is continued in the present +volume. + +The present volume consists of numerous plans, &c., for Cottages, +Villas, and small and large Mansions, most of which have been carried +into execution. They are carefully selected from a large collection of +similar subjects, the result of many years’ professional practice, and +it is hoped that they may be favourably received. + + + + +CONTENTS. + + + PAGE + +INTRODUCTION 3 + +DESIGN NO. 1. A GARDENER’S COTTAGE 50 + + “ 2. A SMALL COTTAGE OR LODGE 56 + + “ 3. A PICTURESQUE COTTAGE 62 + + “ 4. A DOUBLE COTTAGE 66 + + “ 5. A DOUBLE COTTAGE AND VILLAGE + SUNDAY SCHOOL 70 + + “ 6. A HUNTSMAN’S LODGE OR COTTAGE 78 + + CONCRETE CONSTRUCTION FOR BUILDING + COTTAGES 82 + + “ 7. A GARDEN GATE 95 + + “ 8. A PARK LODGE 99 + + “ 9. A PARK LODGE 102 + + “ 10. AN ENTRANCE LODGE TO A PARK 104 + + “ 11. AN ENTRANCE LODGE AND GATEWAY + TO A PARK 112 + + “ 12. A STOVE FOR AN ENTRANCE HALL 120 + + “ 13. QUEEN’S GATE LODGE, HYDE PARK 124 + + ON THE FOUNDATION AND BASEMENT + WALLS OF BUILDINGS, DAMP PREVENTION, + AND FIRE-PROOF CONSTRUCTION 151 + + “ 14. A SMALL COUNTRY RECTORY 162 + + “ 15. A SMALL COUNTRY HOUSE 174 + + “ 16. A COUNTRY VILLA 182 + + “ 17. A DOUBLE SUBURBAN VILLA 192 + + “ 18. VILLAGE SCHOOLS AND READING ROOM 208 + + “ 19. A ROMAN CATHOLIC CHAPEL AND + SCHOOLS 210 + + “ 20. A BATH HOUSE AND SUMMER ROOM 214 + + “ 21. A SMALL COUNTRY VILLA 222 + + “ 22. A VILLA IN THE OLD ENGLISH WOODEN + STYLE 232 + + “ 23. A GARDEN SUMMER HOUSE 262 + + “ 24. A SMALL COUNTRY RETREAT, OR + FRENCH MAISONETTE 268 + + “ 25. AN ELIZABETHAN VILLA 280 + + “ 26. A SUMMER OR GARDEN VILLA 302 + + “ 27. A DECORATED WINDOW 336 + + “ 28. A SCULPTOR’S VILLA 338 + + “ 29. A GARDEN SEAT 361 + + “ 30. A GARDEN SEAT 368 + + “ 31. AN ICE HOUSE 370 + + “ 32. A SUBURBAN VILLA 373 + + “ 33. A SUBURBAN VILLA 382 + + “ 34. RIDING-HOUSE AND STABLING 389 + + “ 35. A BACHELOR’S HOUSE 401 + + THE FIREPLACE 404 + + “ 36. A LECTURE HALL, OR LITERARY + INSTITUTION 456 + + “ 37. ENCAUSTIC TILES 460 + + “ 38. RESTORATION OF CASTLE GUNNARSTROP, + SWEDEN 464 + + “ 39. SUMMER VILLA FOR THE COUNT KINSKI + AT TEPLITZ 470 + + “ 40. HARRINGTON HOUSE, QUEEN’S PALACE + GARDENS 476 + +[Illustration] + + + + +INTRODUCTORY CHAPTER + +ON THE PICTURESQUE IN RELATION TO ARCHITECTURE. + +[Illustration: Grecian Temple.] + + +It has been said that a definition of the picturesque in respect to +architecture, or indeed any branch of the fine arts, is scarcely +possible. The most able writers on the subject have failed to convey an +adequate and popular idea. In fact the term has so great and extensive +an application as to forbid exact definition. The architect usually +considers that if his building look well when seen by moonlight, or +through the medium of a foggy or dull atmosphere, it is picturesque, and +he is satisfied. Blenheim Castle and Castle Howard have always been +pointed out as eminent examples of the picturesque in buildings. But +this quality varies with every change of situation and circumstance +under which it can be conceived. + +The entrance to the Acropolis of Athens, with its noble equestrian +statues in the foreground, the steps between them, and the beautiful +temples rising at different heights behind, giving a varied outline, the +whole probably delicately coloured, must have been picturesque in the +highest degree. The Temple of the Winds and the Monument of Lysicrates +were equally examples of the picturesque. Yet although great efforts +were made on the publication of Athenian Stuart’s volumes to introduce +pure Grecian architecture here, it has obtained no hold with us. St. +Pancras Church, and St. Stephen’s, Camden Town, are probably the last +specimens in our metropolis. The delicate mouldings of the one are +destroyed by the roughness of the climate, and the beautiful figures of +the Caryatidæ in the other are covered with soot. + +There is no doubt that the Roman temples were as picturesque and as +varied in outline as the Grecian buildings of which they were studies, +but none remain + +[Illustration: Roman Temple in Ruins.] + +sufficiently perfect to illustrate them. In their original, entire +state, with the surfaces and colour smooth and even, either in painting +or reality, they were beautiful; in ruins, there is no denying they are +highly picturesque. Observe the process by which time, the great author +of such changes works, first by means of weather stains, partial +incrustations, mosses, &c., which simultaneously take off the uniformity +of surface and of colour, giving a degree of roughness, and variety of +tint. Then the various accidents of weather loosen the stones +themselves: they tumble in irregular masses upon what was perhaps smooth +turf or pavement, or nicely trimmed walks and shrubberies, now mixed and +overgrown with wild plants and creepers that crawl over and shoot among +the falling ruins. Sedums, wall-flowers, and other plants that bear +drought, find nourishment in the decayed cement from which the stones +have been detached; birds convey their food into the chinks, and yew, +elder, and other berried plants project from the sides; while the ivy +mantles over other parts, and crowns the top. The even, regular lines of +the doors and windows are broken, and through their ivy-fringed openings +is displayed in a highly broken and picturesque manner that striking +image described by Virgil: + + “Apparet domus intus, et atria longa patescunt + Apparent Priami et veterum penetralia regum.” + +The first view given in this volume attempts to show the picturesque +effect of the Grecian Temple in its complete state, the attendants +having just retired from some display or ceremony; the second, the front +of a Roman Temple in its noble remains. + +To the Greeks we owe all the general principles and forms of classic +art, but they have been modified to modern ideas and tastes, and, it may +be added, to suit also the various climates of the countries where they +have been adopted. + +However much the occupations of our countrymen may partake of the +commercial character, the mental qualities requisite to such pursuits +have not been so displayed as to exclude a taste for art. Where, for +example, can be found superior specimens of art-choice than exist in +their mansions, villas, or cottage-ornées, their picture and sculpture +galleries, or the museums and other collections of those whose business +pursuits have been the cause of their prosperity. + +An essential element of success in every branch of progress is involved +in tasteful selection. Without considering those classes who by +successful efforts of their ancestry have been placed beyond the pale of +want (either artificial or real), a large proportion of our population +may be ranked as having advanced morally, socially, and commercially by +that intuition which characterizes our national progress. It takes as +its basis nature and nature’s products. It eliminates from these not +only pecuniary benefits that in a commercial point of view may occur, +but associating the useful with the beautiful (the sense of the latter +having been gained during intervals of quiet thought as a relief from +the incessant requirements of business engagements), a tendency to +embody the picturesque, especially in regard to architecture, arises. We +have no hesitation in assigning to this cause the production of some of +the most picturesque architectural erections which grace our +country,--that render English homes an example, and prove that, while +the main element of our national prosperity is making money, we are not +insensible to the beneficent influences resulting from the cultivation +of refined taste. + +It would be interesting as an object of careful inquiry, if there +existed sufficient data for the purpose, to trace each of the many steps +that have occurred between the birth of architecture and its present +condition. The early history of mankind had as its locality climates +which favoured the construction and use of the _crudest_ contrivances, +intended only to meet the few wants of shelter and occasional domestic +privacy. The first condition of man’s existence, either in this +primitive or modern state, is that of roving or wandering tribes. +Instances of this are found in the early inhabitants of Asia Minor, and +adjacent countries, and at the present day the same habit is maintained +in Central Asia, Arabia, and many parts of America. As soon as the +sustenance afforded for their cattle is consumed in one district a +migration is made to another. Gradually, however, centres of trade +sprung up where commodities could be bartered for live stock. Men thus +became massed together in villages and towns. Quitting a semi-savage +condition, they built permanent residences in place of the tent. At +first these, like the log-hut of the modern Canadian, were only +sufficient for the most common necessities of life. In course of time, +however, the spirit of emulation, the growth of riches, and the +germination of man’s natural taste for the beautiful, led to artificial +wants, which were soon converted into necessities of life. This called +out the study of art on the part of the few for the benefit of the many. +Systems of art in all its branches gradually developed themselves. By +the study of the beauties of nature such systems gradually progressed in +purity of style, and produced designs that eventually were appreciated +by the common people, in a greater or less degree, according to the +capabilities of each individual. Architecture and the other fine arts +thus, by slow but sure degrees, began to gain a hold on popular taste, +and step by step they arrived at the state of perfection of which we now +boast. + +It will be evident that whilst the primary objects of architecture were +simply those of meeting the immediate necessities of life, its ultimate +purpose was only attained when it became an art, cultivated by refined +taste, an educated eye, and encouraged by the growth of civilization and +commerce. It thus advanced from a state of barbarism into one in which +it was connected with all the highest developments of the moral and +mental qualities of mankind, but especially with the æsthetic +aspirations of our nature. + +Incidentally but necessarily connected with the general progress of +architecture is the great variety of styles that has been invented. The +whole of these are modifications of some one or more primaries. No two +individuals acquire the same mental impression by viewing one object; +each of their impressions is tinted by the mental characteristics of the +individual. It is, therefore, from this cause that so many varieties of +style have originated from one first model. An illustration of this is +afforded in the Gothic, which in different hands has been greatly +divided and modified in its details. This style, which at first was of +exclusive application only, has subsequently become most extensively in +use for purposes that at first sight it would have been judged as quite +unfit for. + +The style of architecture just referred to is remarkable for its +picturesque character, and may fitly be adduced as an ensample of that +quality in the absence of an exact definition of the term. + +An able writer criticising Gothic buildings, remarks that the outline of +the summit presents a great variety of forms of turrets and pinnacles, +some open, some fretted and variously enriched. But even where there is +an exact correspondence of parts, it is often disguised by an appearance +of splendid confusion and irregularity. + +In the doors and windows of Gothic Churches, the pointed arch has as +much variety as any regular figure can well have; the eye, too, is less +strongly conducted than by the parallel lines in the Grecian style, from +the top of one aperture to that of another; and every person must be +struck with the extreme richness and intricacy of some of the principal +windows of our cathedrals and ruined abbeys. In these last is displayed +the triumph of the picturesque, and their charms to a painter’s eye are +often so great as to rival those which arise from the chaste ornaments +and the noble and elegant simplicity of Grecian architecture. + +These remarks will explain to a certain degree the nature of the +picturesque in regard to architecture, so far at least as the general +principles are involved. But in the more minute points, other questions +and relations arise, to which the attention of the reader will be fully +drawn in the descriptive text and illustrations of this work. + +The comparative value of Grecian and Gothic architecture, as practically +adopted in the erection of ornamental dwellings, is well discussed by an +eminent architect in the following remarks, slightly modified from the +original. He observes that the two are better distinguished by an +attention to their general effects, than to the minute parts peculiar to +each. It is in architecture as in painting--beauty depends on light and +shade, and they are caused by the openings or projections in the +surface. If these tend to produce horizontal lines, the building must be +deemed Grecian, however whimsically the doors and windows may be +constructed. If, on the contrary, the shadows give a preference to +perpendicular lines, the general character of the building will be +Gothic. This is evident from the large houses built in Queen Elizabeth’s +reign, where Grecian columns were introduced. Yet they are always +considered as Gothic buildings. + +In our modern Grecian architecture large cornices are repeated, with +windows ranged perfectly in the same line, and these lines often more +strongly marked by a horizontal fascia. There are few breaks of any +great depth; and if there be a portico, the shadow made by the columns +is very trifling compared with that broad horizontal shadow proceeding +from the soffit (that is, the under side of the heads of apertures, +architraves, and the corona of cornices). The only ornament its roof +will admit, is either a flat pediment departing very little from the +horizontal, or a dome still rising from a horizontal base. + +But in these remarks attention is chiefly drawn to the general +architectural effects of style, independent of concomitant +circumstances. Yet it is hardly necessary to do more than call on the +experience of any man of taste to show that position, adjacent scenery, +and other “accidental” or “incidental” matters will modify the special +effect of any style in regard to the picturesque, and also those of a +general character. A Gothic erection in a confined situation will lose +most of its beauties, while one of a Grecian character may be especially +suitable. In choosing, therefore, any design for the erection of a new +building, or alterations in one already in existence, respect should be +had to the natural character of the surrounding country, the aspects in +regard to the sun and prevalent winds, the extent of the estate or +grounds on which the building is to be erected, the views from the +various apartments, the character of wood, plain, or other adjacent +tree-scenery, and last, but of equal or greater importance, questions in +reference to domestic comfort and convenience, drainage and dry soil, +supply of water, and a variety of details, most of which will at once +suggest themselves. In many cases the choice of site is necessarily +fixed by previous purchase or inheritance of the land, yet in such cases +chances are left for a judicious selection in regard to some of the +conditions above mentioned. But when the purchase has to be effected, +_all_ the conditions should be kept in mind, and, if possible, +completely satisfied. Such details should form the subject of minute +inquiry, and they are here only named for the purpose of showing how the +choice of the best style, in regard either to general beauty or +picturesque effect, should be decided on with mature attention to all +the circumstances of the case. + +Most of the old mansions, &c., of this country and many parts of +Continental Europe, have been erected in situations that were then +immediately, and at little cost, available for the purpose. At one time +the choice of such situation depended on careful attention to the +special circumstances of those who erected the building. Thus it is +found, generally, that the banks of the rivers, as affording ready and +cheap means of carriage by the stream, were mostly chosen. Hence our +abbeys, monasteries, &c., are frequently found in such localities. +Baronial castles were usually erected on hills, the height of which +tended to the security of the owners against sudden incursions of their +foes. From the varied character of English topography has arisen that +great variety of picturesque beauty that distinguishes the ruins which +abound in almost every county throughout the length and breadth of the +land; such ruins, architecturally considered in relation to the +surrounding circumstances of wood, vale, hill and dale, have become +subjects of study and suggestion to modern architects, and models, +constantly adopted at the present time, in certain details, for +producing new designs. In the selection of these, or of any other style, +however, Burke has laid down, in his essay on “The Sublime and +Beautiful,” an excellent rule: “A true artist should put a generous +deceit on the spectators, and effect the noblest designs by easy +methods. Designs that are vast only by their dimensions, are always the +sign of a common and low imagination. The work of art can be great but +as it deceives; to be otherwise is the prerogative of nature only.” + +It will thus be seen, that to obtain the highest effect of the +picturesque in architecture requires an educated eye, a refined taste, +great experience, but especially a keen perception of all the +conditions, on the fulfilment of which the most successful result can be +obtained. In all there is a natural love of unity and effect. +Montesquieu, in his dissertation on _Taste_, observes: “Wherever +symmetry is useful to the soul, and may assist her functions, it is +agreeable to her; but wherever it is useless, it becomes distasteful, +because it takes away variety. Therefore things that are seen in +succession ought to have variety, for our soul has no difficulty in +seeing them; those on the contrary, that we see at one glance, ought to +have symmetry. Thus at one glance we see the front of a building, a +parterre, a temple. In such things there is always a symmetry which +pleases the soul by the facility it gives her of taking in the whole +object at once.” + +The numerous dissertations, essays, &c., that have been produced on the +subjects that have here been treated on in a discursive manner only, are +a sufficient proof of the difficulty which exists in acquiring, +applying, and affording an accurate and ample description of all the +conditions necessary to picturesque architecture; they also in some +measure explain the reason of the grotesque, and even offensive results +that obtrude on refined taste in the productions of builders who are +utterly deficient of artistic taste and knowledge in carrying out their +objects. A general, and in part a historic view of architecture may +serve to show how success has been attained in many cases, and the evils +that should be avoided as leading to failure in effect of the general +and special features of an erection. + +In the cursory view of the history of architecture already given, it has +been shown that the earliest efforts of the art were simply directed to +satisfy the simple wants of man, without any regard being had to taste. +It was not until riches began to accumulate in a few hands that taste in +architecture was developed, and by the few examples thus produced the +taste of society at large was educed, refined, and extended. + +Omitting then any inquiry into the architecture of our earth’s +aborigines, which was evidently of the rudest character, reference may +first be made to early architectural attempts in Asia. It has been +ingeniously observed by M. Pair, that the Chinese imitated a tent as the +model of their system, a result that undoubtedly arose from the fact +that the first Tartar tribes were nomadic or wandering in their nature. +It has also been remarked that a bird’s-eye view of a Chinese city at +once suggests the idea of a fixed camp. In southern and south-western +Asia may be found, on the other hand, the remains of extensive +architectural productions in caves, such as that of the Pagoda +Elephanta, from which many have argued that subterraneous dwellings were +amongst the earliest; but it is evident that such could only be made in +places where stone existed in masses, as a basis of the country. In a +plain and sandy district, and in alluvial soil generally, such could not +possibly have been produced. There is not the least doubt that the +conditions of climate have in all cases determined the early character +of each national system. In both hot and cold countries caves would +naturally have been sought as affording shelter from the two extremes +of heat and cold. Recent geological discoveries have brought to light +the fact that the remains of human and quadruped bones have been found +together in such situations, the human inhabitants having most probably +been the predecessors of the beasts of prey, as also of the fowls of the +air. It has been suggested too that the forest tree having formerly +served for shelter, might have suggested the floral character of +columns, and the use of floral decoration generally at their summit. + +In respect to these “natural” and consequently primitive “systems” of +architecture, Billington has made the following judicious +remarks:--“Those people or nations who lived by the chase (and in the +same class the Ichthyophagi, or fish-eaters, are included) could not for +a great length of time have built themselves shelters. The long courses +the hunters made prevented them from watching their property, which must +have comprised [but] few articles; and they found it more convenient to +make hollows in the rocks for their dwellings, or to profit by those +which nature offered them in its caverns. It was the same with those who +lived by fishing; passing a sedentary life on the sea shores, the sides +of rivers, or the borders of the lakes, they always made themselves such +abodes, or took advantage of those already formed by nature. The little +industry which this mode of life required, and the natural idleness +which followed it, was sufficient to induce them to prefer the dwellings +presented by nature, to those of art. This fact is proved by experience +at the present day, as these descriptions of persons continue to adopt +the same plan of life in countries where the arts of civilization have +not extended their beneficial influence. The pastors or shepherds, as +they were inhabitants of plains during a great portion of the year, +could not make use of the retreats hollowed and prepared in the +mountains and rocks by the hand of nature; being obliged to seek change +of pasture, and thus lead an ambulatory life, it was requisite to have +dwellings or shelters that could be carried with them wherever they +went, and hence originated the use of tents. But the active operations +of agriculture requiring a definite situation, necessity suggested the +propriety of building solid and fixed abodes. The agriculturist then, +living on his own grounds, and in the enjoyment of his property, had to +store his provisions; it was therefore necessary to have a habitation at +once commodious, safe, healthful, and extensive; and the wood hut with +its roof was soon erected.” + +The same author considers that there is not the least certainty of this +primitive wooden construction, with its inclined roof, having been the +universal model of all nations, but especially in regard to Egypt and +China. The peculiarities of the early Chinese style of architecture have +been already named, and with the persistent continuity in one course yet +prevalent, that style is still preserved. But the Grecian style was +evidently founded on the rude model, and the ingenuity of that nation +eventually led to the transference of material from wood to stone. + +At the present day the Orders of Grecian architecture are fundamental to +the principles of modern art in numerous varieties of detail; they have +survived the prejudices, fancies, and dicta of various schools of art, +although, as already shown, the Gothic and other systems have become +formidable competitors, and in many cases, especially in regard to the +picturesque, efficient, elegant, and ornamental substitutes. The taste +for the latter characteristic has led to an increased adoption, for +example, of the Italian style, which in many respects resembles the +Grecian, but differs from it especially in lightness of detail, with +greater variety. The author just quoted traces the origin of the Doric +Order of the Greeks to a primary adaptation of the trunks of trees as +external supports of the wooden dwelling, seeing in them the +foreshadowing of the column designative of that order. “As trees are of +greater circumference at their lower extremities, and diminish in +rising, the diminution of the column was suggested by them.... These +timbers (as supports) consisting of trunks of trees planted in the +ground, offered not as yet the idea of bases and pedestals, as is seen +in the Doric Order, which is without base. But in the course of time the +inconvenience of this method was perceived, as it exposed the wood to +rot, and to remedy this inconvenience pieces of wood were placed under +each support to give it a better foundation, and to protect it from +humidity. This practice may be traced in some of the ancient edifices in +which the columns have no other base than a block of stone. But +afterwards, the number of pieces of wood employed for the base was +increased, in order to give greater elevation to the supports, or to +effect better security against the effects of humidity. From this +multiplication of blocks as footings, sprung the _torus_ and other +mouldings of the base, an origin far more probable than that of +ligaments of iron, as imagined by Scamozzi and others. It is also more +conformable to the nature of capitals, in which it is known that the +same proceeding was employed. After beginning with a simple abacus, +several others were afterwards added, which were enlarged, as they rose, +one above another, in such a manner that as the base was to the column a +kind of footing on which it rested more solidly, so the capital made a +head more capable of receiving and supporting the weight and form of the +architrave, a large beam placed horizontally on perpendicular supports, +and destined to receive the covering of the whole edifice.” + +The author goes on, in a similarly ingenious manner, to prove the +derivation, from nature, of the Orders of Grecian architecture. He +ascribes the form of the roof as having necessarily suggested that of +the pediment. On this point he quotes the remark of Cicero: “It is not +to pleasure that we are indebted for the pediment of the Capitol and +those of our temples: necessity suggested the form for the better +draining off the water; nevertheless, its beauty is so very great, and +it is become so necessary for edifices, that if a Capitol were to be +built in Olympus, where it was never known to rain, it would, +notwithstanding, be necessary to give it a pediment.” + +The preceding remarks and ingenious theory amply justify the opinion +already suggested, that nature must be the foundation of every true +principle of art. Assuming, as we are compelled to do, that the Grecian +style as a whole was original, the only perfect model that could have +been selected was that afforded by natural objects, in all of which are +found the most perfect results, derived from few means but answering an +infinity of ends. It will be remembered that the construction of the +Eddystone lighthouse was based in regard to durability, and resistance +to the force of the waves, on those properties which are possessed by +any kind of tree exposed to the full force of the tempest. “Nature +ought to be the basis of all imitation.” + +Proceeding from the teachings of nature, the Greeks learned gradually to +introduce new types, consistent in the main with the original mode, but +of great variety in detail. By further refinement of this, but close +adherence to the facts or the analogies of nature, the Grecian art +became developed in the invention of other Orders, the names of which +are sufficiently known to all interested in architecture. Limited space +prevents our entering into a class of analyses of the characteristics of +each. Little doubt exists of the Doric Order having been the first +produced, and following it were the Ionic, Corinthian, Composite, and +Tuscan, which constitute the five Orders in general of architecture. + +Perhaps the best epoch of ancient architecture was that during which, +subsequent to the battle of Marathon, the Greeks commenced to rebuild +the remains of Persian buildings, and to re-construct Athens. The ruins +of this period yet with us, attest the advance which Grecian +architectural art had attained. The ingenuity and refinement of Greek +art gradually spread to Rome, the Romans adopting the Doric Order under +the modification known as the Tuscan. The art having been introduced +into Etruria by the Pelasgi, under the celebrated Augustus, Rome +attained that magnificence which has ever since rendered its name +famous as a seat of the arts. Amongst the great erections of this period +was the Pantheon, one of the grandest efforts of genius that the world +has yet known. Under subsequent emperors architecture also progressed, +and the name of Trajan is identified with the erection of triumphal +arches, &c., the ruins of which still receive the admiration of every +qualified judge in art. + +The removal of the seat of Roman government to Byzantium led to the +decadence of art at Rome, which was completed by the incursions of the +Visigoths. Eventually the Gothic style arose, phœnix-like, from the +ruins of Grecian and Roman art, and obtained a place that has rendered +it ever since one of the most favourite styles of architecture. + +Just as under the heathens, the art had been chiefly promoted by +erections for religious purposes, so when the Christians began to obtain +the ascendancy, the erection of churches led to a similar result. From +the fourth to the seventh century some magnificent buildings of this +kind were erected. At the commencement of the eleventh century the +church of St. Mark at Venice attested the wonderful progress which +architecture had made, and it continued to progress during the next two +or three centuries, being confined chiefly, however, to Italy. But the +Gothic style, suited to a northern clime, never obtained full hold +there; Italy cannot boast of a single pure Gothic edifice. Gradually the +new style spread over Europe. The Cathedral at Strasbourg, the Louvre at +Paris, suggested improvements in our own country at Windsor Castle, +Oxford, &c., all indicated the rapid extension of the Gothic style or +its modifications. But in numerous instances the taste that was +exhibited showed a decadence from the simplicity and grandeur of the +Grecian and Latin styles. In respect to the latter, indeed, the +materials of the new erections were obtained from the ruins of the +ancient edifices, the columns, &c. there found, being pressed into the +service, in any manner, of the new school of architects. + +Towards the middle of the fifteenth century a revival in architectural +art took place, especially under Brunelleschi. The patronage of the +Medici added a stimulus to the progress thus initiated. Improvements +were introduced in the erection of private residences in most parts of +Western Europe, the art having in its best form been chiefly till then +directed to building edifices for religious purposes alone. In the +sixteenth century architecture in Rome attained a perfection nearly +equal to that it had formerly enjoyed under the Cæsars, especially +during the Augustan age. Private and public buildings were erected of +great magnificence, yet of simplicity of form combined with grandeur. +Under Vignola architecture attained great excellence. Michael Angelo +was appointed architect of St. Peter’s at Rome about the middle of the +sixteenth century, and the mention of his name alone is sufficient to +call to mind the extent and value of his labours in the art. In the +seventeenth century, about the year 1620, Inigo Jones was engaged in +repairing St. Paul’s Cathedral in London, and subsequently produced +designs for the Royal Palace at Whitehall in the reign of Charles I. +Greenwich and Chelsea Hospitals, and other noted buildings, were +designed about this period. In France and other continental countries +architecture attained great perfection at this period, both in respect +to public and private buildings. Among the most eminent architects of a +period somewhat nearer to our own time, was Sir Christopher Wren, whose +St. Paul’s Cathedral serves as a monument to the great genius of that +eminent man. This era may, comparatively speaking, be considered as the +commencement of the modern style of English church architecture, +inasmuch as several productions of Wren are still used for the purposes +to which they were first applied, having undergone little or no change +since their completion. + +Such is a brief, and necessarily very imperfect resumé of the progress +of architecture. The styles of Eastern Europe, ancient Mexico, and many +others, have not been described, because unnecessary, in this +Introduction, which has only for its object to call general attention +to the causes which have led to the present state of the art. Like all +others it has been the subject of alternating prosperity and adversity. +At one time fostered by men eminent in their profession, and by those +whose means permitted them to lavish riches on magnificent piles, +fountains, villas, &c.; and at others, degraded by its students, and +neglected by those who should have been its patrons. + +In all branches of architecture direct reference should be had to the +objects for which the building is intended. An eminent architect, +already quoted, has well set forth this essential point in the following +remarks:--“The art of characterizing, that is to say, of rendering +evident by material forms the intellectual qualities and moral ideas +required to express in edifices, or to make known by the harmony and +suitableness of all the constituent parts that enter into their +composition the use for which they are intended, is perhaps of all the +secrets of architecture the most difficult to develope or to attain. +This happy talent of conceiving and of communicating the conception in +the physiognomy suitable to each edifice; this sure and delicate +discernment, which exhibits the distinguishing parts of such edifices, +that at first appear susceptible of no characteristic distinctions; this +judicious employment of the different styles which are as the tones of +architecture; this skilful application of the signs which the art +employs to affect the sight and understanding; this exquisite feeling, +which errs neither in the just disposition of the masses and employment +of the details, nor in the just dispensation of richness and simplicity, +and which is able to combine true expression of character with the +harmonious accord of all the qualities susceptible of being represented +by architecture--all this requisite talent, which study perfects, but +does not produce, is a gift possessed by few. This suitable expression +presents itself under two relations, the one appertaining to +architecture in general, and the other to edifices in particular. The +first consists in the expression of the qualities or intellectual ideas +which are the results of the art metaphysically considered; the second, +in the true indication of the uses for which edifices are designed, that +is, in considering architecture as a certain mode of expressing or +painting. This expression, according to the nature of the buildings and +edifices, may be produced by the gradation of richness and greatness +proportionate to the nature and the object for which they are erected; +by the indication of the moral qualities attached to each edifice, the +manner of expressing which is beyond the reach of rules; by the general +and particular form of architecture; by the species of the construction +and the quality of the materials that may be employed in the execution; +and lastly, by the resources of decoration.” In these remarks will be +found a highly valuable _précis_ of the excellence to which the art of +the architect should be directed, and the means that must be adopted to +obtain pleasing and successful results. + +The erection of country mansions, villas, and other residences, has of +late years been greatly stimulated in our country. The enormous annually +accumulated savings of the commercial portion of the community have +induced a large amount of capital to be invested in such objects. In +regard to questions of taste and decoration, it should be borne in mind +that but very little extra cost is incurred in building a residence in a +pleasing and picturesque style than in one having not the least +pretension to architectural beauty. In our earlier remarks on the nature +of the picturesque the _general principles_ of obtaining that effect +have been pointed out. In the following pages the special details are +amply descanted on, and illustrated by designs, drawings, &c. It is the +object of every department of constructive skill at the present day, to +endeavour to obtain the best possible result by the least possible +expenditure of material, and thus taste actually causes economy rather +than increased expense. Tons of heavy and unsightly materials are now +replaced by hundredweights of decorative, and yet substantial, masonry +and iron work. A number of modern elegant erections, affording +accommodation equal in extent, but vastly superior in quality, are now +made at an expenditure of stone or brick less by one-third in quantity +than was employed in many old houses; those in High Street, Edinburgh, +by way of example. The result has been arrived at by the joint aid of +science and art, the former giving data as to the strength of the +material, and the latter directing its disposal. The peculiar character +of English scenery is exactly adapted for giving a picturesque character +to villa residences, provided the latter are designed and erected in +accordance with the principles of sound taste. Surely he who would spend +money in building a house, in which all or most of the remainder of his +days are to be spent, will not grudge making that dwelling the subject +of decoration or ornamental art, by which its aspect shall at all times +be suggestive of pleasure rather than of aversion or disgust. It has +been said that most individuals, by long association together, acquire a +mutuality of tastes and even physical resemblance. It cannot be denied +that even inanimate objects, such as our dwellings, furniture, +landscapes, gardens, and other such surroundings, have a parallel effect +on us. Hence the wisdom of using all the means which architectural art +places at our disposal. Errors in this respect often proceed from +thoughtlessness, if not from want of refined taste. An instance may +suffice to show how much such matters should be attended to in the +choice of a site and other conditions. A retired manufacturer erected a +mansion at a cost exceeding fifty thousand pounds, and had never paid +any heed to the fact that the most prominent object seen from his +dining-room window was the cemetery of the adjacent town! Soon this +became unbearable, and the house has been comparatively deserted by the +family, caused by an oversight that the least consideration would have +remedied. + +The designs given in the following pages have for their object to +suggest the most approved, tasteful, and effective plans for the +mansion, the villa, or cottage, and great care has been devoted to their +production. Whilst a residence must necessarily be kept within a cost +suitable to the means of the proprietor, by judicious care of the +professional man, possessed of a competent knowledge, a little money may +go a long way in the decorative art. Many of the drawings are devoted to +the minor but not less effective portions of the house. Congruity in +detail inside the dwelling is equally required with symmetry, beauty, or +picturesque character of the exterior. Want of judgment in this point +may speedily convert the most elegant building into little better than a +repository for gewgaws selected without taste and arranged without +skill. It is impossible for _every_ man to become his own architect; but +it is possible, in most cases, for all who have the means, to select +such a design as shall best comport with their taste, leaving the +working out of details to the architect. But a remote possibility exists +of an unprofessional being able even to state what he requires, and +should he ask an architect for a design or plan, it is more than likely +that the latter would fail to please. When, however, a variety of +designs is placed before the eye of any intelligent person the act of +selection becomes easy. Although no single plan may succeed, a +combination may suggest itself, and the architect can then readily work +on something like a sound foundation, and with the hope of success. This +work is intended to supply such requirements. + +Again, in building a house, or in effecting alterations in an old one, +points apparently of minor, but really of great importance, require +attention. A badly constructed chimney will make the whole house +miserable, independent of the injury done to furniture, decorations, +&c., and the destruction of paint and paperhangings. A defective +drainage may render that which was intended to be an abode of peace, +plenty, and happiness, a living charnel-house, or the door to the grave! +A question of vital importance is that of ventilation. These apparently +minor questions can therefore scarcely be exaggerated in their value, +for neglect of them will render nugatory the best external efforts of +the architect. Hence they have hereafter full attention, in their +practical details, directed to them. + +On the general principles of ventilation the following remarks may be of +value to all who propose to erect new dwellings, or alter those already +inhabited. In all houses, and in fact every building divided into +stories, a ready means of ventilation may be insured, or rather always +exists. This is presented in the opening formed by the staircase. Into +this general opening communications can be made into, and from, each +apartment by apertures placed in some convenient position in each room. +The grand law on which ventilation depends is, that hot air, being +lighter than cool air, has a universal tendency to rise, whilst cold air +takes the lowest part of a house or apartment. It hence follows, that if +a supply of cold air be admitted by an opening at the lower part of a +house, and it becomes heated within the house, it will have a tendency +to rise to the roof; and if a sufficient opening be there provided, it +will escape into the open air. Consequently a constant current may thus +be obtained in any dwelling, sufficient to give a supply of pure air and +to remove that which has been vitiated by breathing, the combustion of +fires, and other causes. The heavy atmosphere of this country requires +assistance to make this grand law operative; to cause the air of a room +to move as readily as it is required, forced ventilation becomes +necessary. The English fireplace provides this; and to that it owes, +with us, its extreme popularity. A constant current of air from the room +is heated and passed up the chimney flue, and this draws in a +corresponding supply of cold air, and proper and convenient apertures +should be left to permit this to enter. The fireplace forces attention +to the necessity; if sufficient fresh air be not provided for it the +smoke enters the room and drives the occupants out. Notwithstanding the +attention that has been paid to the stove and its flue, we are still +sadly behindhand in a proper construction of them. The flues could be so +arranged that a building might be enabled, using a figurative +expression, to breathe, whenever its principal flue, that of the kitchen +fireplace, was in action; a construction to effect this will be +illustrated in the text. In conclusion on this point, it may be added +that nothing is more essential to the health and comfort of a house than +that it should be thoroughly and constantly ventilated, and if any +portion is to be particularized, it should be the sleeping apartments. + +Another question which, to a certain extent, should influence the +arrangement of a house of any pretensions in respect to size, is that of +the method of warming it. The preference, or rather prejudice, in favour +of fireplaces is so great, that a revolution of the nation in political +matters could be more easily brought about than the abolition of the +fire-grate; but it is well known that at least three-fourths of the coal +consumed is wasted in the attempt to heat the room to an equable and +pleasant temperature. But by such means the result cannot be arrived at. +In front of, and close to the fire, the temperature is excessive, while +the backs of the sitters facing in are suffering from cold. An equalized +temperature in rooms is obtained abroad. In Russia, a plan is adopted of +heating the rooms by means of the walls, the latter being double, and so +arranged that they act as flues to a furnace situated at the lower part +of the building. By this method every part of the room acquires, +simultaneously, an equable temperature. There need be no draught, simply +because the air is not drawn in one direction more than in another. From +every side a gentle current of warm air arises. This method cannot be +adopted here; it would not suit for English houses where coal is used as +fuel: the interstices of the double wall would soon be filled with soot. +The same effect is produced in a far more elegant way, by means of +warm-water pipes passed round the room; by this simple process the +staircase and passages and the sides of a room distant from the +fireplace are made of equal temperature--one, or at most two furnaces, +burning coke and making no smoke, if placed in a cellar outside an +extensive building, can render the whole interior, from attic to +ground-floor of equal temperature, and not prevent the action of the +fireplace, or its agreeable presence in our homes. In the British +Museum, where warming apparatus is used, the temperature of the whole is +kept uniformly the same, that is, 65° Fah., even throughout the most +severe weather, independent of the common fireplace. No greater change +is required in any part of our buildings than in the latter; not that it +requires to be removed, but a change to prevent its waste of heat and +its contaminating the outside air with the soot and blacks from its coal +fuel; the lower fireplaces in a building should warm or air the upper +rooms, and no soot or blacks should be allowed to leave the flues. A +construction for this purpose will be shown in the ensuing pages, as +well as one for warming an entire building and a conservatory. + +An opposite effect to that of warming is frequently desirable in our +houses; and to ensure this the position of the site of the house must be +considered. It is evident that a room having a south-western aspect must +of all others be the warmest, whether in winter or summer, simply +because that aspect is most exposed to the influence of the sun’s rays. +On the other hand, rooms having a north-easterly aspect must necessarily +be the coolest, because, except during the earliest part of midsummer +mornings, say from 2 to 4 A.M., the sun’s rays cannot reach them. It +is, therefore, in the power of those who have the requisite resources, +to construct a house in such a manner that warm rooms can be provided +for winter use, and cool for alleviating the heat of summer. It is by no +means an uncommon occurrence to find a large dinner-party assembled in +the heat of summer in a room that has been exposed to the sun’s rays +during the afternoon. Frequently in such cases, owing to the number of +persons present, the heat of the viands, lights, &c., the temperature +rises above 80°, a circumstance prejudicial to health, enjoyment, and +the vivacity of social intercourse, that might have been entirely +avoided had the dining-room been placed in a northern aspect. These are +points well worthy of attention in constructing a newly-designed +dwelling. It unfortunately happens, in many cases, that the supposed +exigencies of architectural arrangement must have priority of all other +considerations. Yet the architect who wilfully opposes such +modifications of his plan for the purpose of conducing to general +comfort is shortsighted. His object ought to be to build a house _to be +lived in_, and not _to be looked at_ alone. + +A few remarks on some of the general principles that should lead to a +choice of site, situation, and other matters, may not be without +advantage. Whatever inducement a plot of ground for building purposes +may possess, the great question which has first to be solved is that of +_health_. A clayey soil, bog, marsh, or stagnant water; a low level; an +undrained or badly drained surface; a moist atmosphere, or exposure to +the chill north and east winds, are all objections that a question of +price should never be pitted against. Popular knowledge on sanitary +subjects is now so extensively diffused that healthy localities are +always of ready sale, while those of an opposite character are +frequently unsold in the market, and consequently may be had at a low +price, but are really never cheap. Nothing can counterbalance the value +of a healthy locality, for in the end one of an opposite character +becomes far more costly. The timbers of the building fall rapidly into +decay, and require renewal; the decorative portion, internally and +externally, becomes faded; doors and windows cease to fit and work +accurately; the iron work becomes rusted and requires frequent renewal +of paint or other protecting coat; and the same may be remarked in +regard to the fences of the estate. + +The position of the residence in regard to the sun at different periods +of the year is also an important matter. If it stands with each front +north and south, the north front will have comparatively little sun, +except during summer time; and if the position be north-east and +south-west respectively, the cold bitter winds of winter will be +severely felt, whilst from the fact that the greater portion of the year +the rainy quarter of the wind is south-west, that front or back of the +house will be continually exposed to its influence. Consequently, +frontages to the south-east and north-west are to be preferred in all +cases, when possible, as such position ensures to both sides the +greatest average of sun, heat, and light, and protection from the +north-east wind of winter or the south-west of the rainy season. +Comparatively little attention has been paid to the influence of light +on health and its effects on the mind, in the construction of modern +dwelling-houses. An excess is easily avoided by blinds and other +contrivances; but if the architectural features of the building be such +as to exclude the light, an opposite remedy is impossible. Abundant +access of light tends to set off all the internal decorations of the +house, and spreads a cheerfulness of appearance that is always highly +prized. It gives brilliancy of outline and detail to coloured +decorations, and, to use a common phrase, is the best possible “set-off” +that the architect or decorator can desire. As already pointed out, the +effect of light and shade, in regard to architecture, is a condition of +success in respect to the picturesque. + +It is always desirable that a house should be placed on an eminence; it +becomes thus a prominent object, and its qualities are the more readily +perceived. A gradual ascent to the house by the walks or drive adds +much to the general effect. The walks are thus constantly drained, and +preserve longer a neat appearance, a matter which is of much importance +in setting off the advantages of situation, site, &c. In respect to +questions of health also, this is of great advantage, as the waste +matter of the household more readily falls away by its own gravity, and +is thus quickly removed; which if left stagnant would be productive of +harm to the inmates. + +Abundant access of fresh air is of great importance to health in a +residence; unnecessary exposure to wind being at the same time to be +avoided. Hence to place a residence in the centre of a close array of +trees is not desirable; not only is the access of air, light, and heat +prevented, but there is always a tendency induced to dampness in the +house. In an open, airy, and well drained situation, the effects of even +long-continued wet are soon dispelled, but when all sides of a house are +surrounded closely by trees, an opposite result is induced, and, in +comparatively dry situations, many evils of a damp one ultimately ensue. + +One of our earliest English writers on building, Thomas Fuller (1633), +speaking of the choice of situation for a new structure, says: “_Chiefly +choose a wholesome air_, for air is a dish one feeds on every minute, +and therefore it need be good. Wherefore, great men (who may build +where they please, as poor men where they can) if herein they prefer +their profit above their health, I refer them to their physicians to +make them pay for it accordingly.” And as to light, he continues: +“_Light (God’s eldest daughter!) is a principal beauty in a building_, +yet it shines not alike from all parts of heaven. An east window +welcomes the infant beams of the sun before they are of strength to do +any harm, and is offensive to none but a sluggard. A south window, in +summer, is a chimney with a fire in it, and needs the screen of a +curtain. In a west window, in summer time, towards night, the sun grows +low and ever familiar, with more light than delight. A north window is +best for butteries and cellars, where the beer will not be sour for the +sun’s smiling on it. Thorough lights are best for rooms of +entertainment, and windows on one side for dormitories.” And he tells +us, “_a pleasant prospect is to be respected_. A medley view, such as of +water and land at Greenwich, best entertains the eyes, refreshing the +wearied beholder with exchange of objects. Yet,” he adds, “I know a more +profitable prospect--where the owner can only see his own land round +about.” + +Having thus disposed of some of the most important points that should be +kept in mind when choosing the site of a house, and of such other +conditions as affect its picturesque and sanitary character, a small +space may be devoted to the consideration of its internal decorations. + +On this point there is no disputing about tastes, but to this may be +added that the absence of taste is by no means uncommon. Having fixed on +the style of house, the next question for decision, in respect to its +general effect, should be that of its internal decoration. Congruity of +design should exist between the two, for if an opposite course be +adopted, a vulgarity will be introduced that will be highly displeasing +to good taste. On the other hand, a slavish adherence to uniformity of +internal with external character might produce so severe an adherence to +system as to exclude the benefits that arise from judiciously chosen +contrast. What has before been remarked in regard to the exterior, +applies equally to the interior of a house--each should have in its +general effect an agreement in appearance to its objects. In an antique +apartment the light character of modern furniture would be evidently out +of place, and _vice versâ_. + +It is evidently impossible to direct attention to more than a few +elements of success that may be arrived at in internal decoration. +Independently of this, each person has his own views on the matter, that +would be sure in the end to overrule any exact principles, or at least +greatly modify them. The following observations however, are offered +suggestively. + +The facility with which the most beautiful designs in painting, &c., are +transferred to paper for paper hangings, has brought these into very +extensive use for decorative purposes. Formerly the best patterns were +produced in France alone, but of late years the British manufactures +have rivalled the Continental. The pattern in respect to size, colour, +design, &c., should be so chosen as to be in accordance with the amount +of light, the size, and other conditions of the room. A large pattern in +a small room is equally out of place with the reverse condition. A light +pattern again in a dark room, although advantageous in alleviating +sombreness, is also incongruous. The general effect of a room on a +spectator is thus largely influenced by these points, and consequently +they should be carefully attended to. Frequently paint is preferred for +covering walls of apartments, and where many pictures are introduced +this may be advantageously employed, because the paintings alleviate the +monotonous effect that would otherwise ensue. Painted walls are liable +to injury by peeling off in places, especially where likely to meet with +blows from furniture, &c. In damp weather, from the absorption of heat +they generally become not only wet, but frequently stream with water. If +the apartment is “smoky,” lines of sooty hue soon follow, and the room +acquires a dirty appearance. This is avoided by the use of paper, which +prevents the abstraction of heat and the consequent deposition of water; +Beautiful effects may be produced by graining and other devices which +are too well known to require enumeration. When flock paper on walls +becomes dirty and requires renewing, if painted it looks extremely well, +a diaper ornamental surface being produced by such means. + +The mantel-piece of a room adds to or detracts from its general effect. +In a well lighted apartment, with light furniture, white marble is +decidedly preferable. Whereas serpentine, black, or coloured marbles, +grey and even red granite, may all agree in rooms but moderately +lighted. + +The cornice and ceiling decorations equally require adaptation to the +character of the apartment. For these purposes beautiful designs have +been suggested and employed. The material of which they are usually made +is so plastic as to be capable of receiving and retaining the most +intricate forms conducive to elegance and beauty. In some rooms such add +greatly to the general effect, while in others, especially with painted +walls, plain mouldings seem most appropriate. + +A profusion of gold or gilding displays want of taste. A glaring example +of this might be pointed out--a white marble mantel-piece supported by +gilt angels five feet high which “graces” the drawing-room of a mansion +in one part of this country. The outer room is a gorgeous display of +gold, silver, and vulgarity. It serves, however, index-like, to point +out at once the riches and “taste” of the owner. On the other hand, +paintings and engravings in gilt frames have an excellent effect in +setting off a room, provided that their size is in accordance with that +of the apartment. + +Stained deals, varnished, afford a good material for panelling, and for +covering the walls of rooms. We have in our eye a dining-room thus +fitted which has an effect approaching to some of the oaken fittings of +olden times. The material is cheap and durable, whilst the surface can +always be renewed in its freshness by a new coat of varnish. It has been +largely adopted in churches for pews and other fittings, with the best +possible results. + +The minor objects of decoration, such as handles, finger-plates, +bell-pulls, &c. &c., can only be here named. In many instances designs +are given in the following pages, suggesting the most suitable either +for indoor or outdoor use, according to the character of the room or +entrance for which they are intended. + +So much for the picturesque exterior and tasteful interior of a house; a +few words however may be said in respect to its immediate surroundings, +such as the lawns, gardens, pleasure grounds, &c. + +The most picturesque villa would be a nonentity in a wrong situation. +It would be opposed to what is usually called the “fitness of things;” a +phrase that expresses much meaning without an exact definition. Hence +“landscape gardening” has become an almost necessary adjunct to the art +of architecture. An unframed picture has possibly every merit that the +painter’s art can bestow on it, yet it lacks that finish which the +exterior confers on it. So the well laid-out garden, the vista at its +extremity, the carefully arranged parterre, the judicious management of +floral culture, especially with regard to colour; neatly arranged walks, +and many other exterior matters of detail, add to, enhance, and +occasionally become indispensable adjuncts to the picturesque. + +We give two examples of picturesque accessories to garden architecture; +the first rather belongs to the secluded wood, to some sequestered spot +of sylvan shade, whence rises a spring which tradition may designate as +that of some beautiful nymph; where the limpid crystal flows in gentle, +yet ceaseless streams, conveying “health to the sick and solace to the +swain.” The last, a vignette at the end of this chapter, is the +representation of a ruined fountain, designed in 1820 by one of the best +teachers of drawing England ever possessed, the late C. J. M. Whichelo. +The architect may suggest the addition of a garden, but it is no part of +his business to supply the details; these rather belong to the +horticulturist. Yet these should not be forgotten; a complete whole is +always made up of minute parts, and by these littles an entirety of +effect is produced, just as their individual importance is not lost +sight of. + +[Illustration: The Nymph’s Fountain.] + +In conclusion, it has been attempted in this introductory essay to +enable the unprofessional reader to become acquainted with the general +principles, and some practical details that should guide him in the +selection of a site, and the erection of an elegant, convenient, and +pleasant house, both externally and internally. So far as architecture +and decorative art can aid such objects, the special details involved +have to be perused in the text of this work. Fundamental ideas of such +subjects have alone been here treated. A hope may be expressed that any +suggestion or advice hitherto offered may not, in all cases, be without +value. It is not given to all men to know all things. By the experience +of others we gain fresh views of old ideas, invest them with new +clothing, and in fact make out of that which is past, the material for +something new. We rest on the apparently obsolete for suggestive ideas +of improvement. Although the fashion of this world passeth away, yet as +a dissolving view it reproduces itself in other forms, which, by the +contrast of apparent novelty, and real or supposed merits, gain, either +temporarily or permanently, the applause of mankind. + +[Illustration: Old English Garden Plots.] + +[Illustration: Garden Fountain in Ruins.] + + + + +_DESIGN No. 1._ + +A GARDENER’S COTTAGE. + +[Illustration: Front elevation.] + +[Illustration: Back elevation.] + + +Some examples of designs for small cottages will be first given in this +volume. There are few domestic + +[Illustration: Ground-floor plan.] + +[Illustration: Plan of upper floor.] + +[Illustration] + +structures that have received within the last fifty years a greater +share of attention than the English Cottage, especially that designed +for the occupation of the labourer. Each detail has received much care; +thus, whether its walls should be solid or formed in two thicknesses, as +most conducive to warmth and comfort; whether they should be of thin +brick or of solid thick concrete; the best kind of roof covering, and +indeed all such questions, have been fully discussed. + +[Illustration: Section through length of building.] + +Besides this, the calculation of cost has been of importance; they are +required to return a rent that will pay 5 per cent. on the outlay, and +to gain their picturesque appearance has generally been sacrificed. + +The cottage examples in this volume have been erected on estates where +the only aim was to render them substantial and lasting structures, +expense being a matter of minor importance. Their picturesque appearance +being in every case insisted on. + +Before entering into any description of the designs, it must be pointed +out that the plans, with the exception only of a few at the end of the +volume, are all drawn to the same scale, that of 20 feet to the inch, +and that the elevations and sections are to a scale of 15 feet to the +inch. + +[Illustration: Cross section.] + +The details and the vignettes, one of which is mostly given between each +example, are of various scales suited to each separate subject. + +[Illustration: Plan of wood casement.] + +[Illustration: Section.] + +The cottage design shown in the plate, and which forms the first example +in this series, was erected on a nobleman’s estate in the country, for +the use of a favourite gardener, a married man without children, and the +accommodation afforded was all that he required. It consisted of a lower +room fifteen feet by twelve, fitted with a small cottage oven; a +scullery ten feet by ten feet, and a larder; the upper floor contained +one room of the same size as the lower, and one fourteen feet by ten +feet. The building was constructed in a very superior way. It was +erected in red brick with compo dressings round the door and windows. +The illustrations represent the front and back elevations; and sections +through the length and breadth of the cottage, with details of the wood +casements, and a plan and section of the cottage oven. + +[Illustration: Cottage oven.] + +A view of a cottage slightly different in design but having rooms of the +same size with similar accommodation, is given. This was intended for +the same estate. + + * * * * * + +The vignette is an elevation of two lead pipes designed for an +Elizabethan building in the country. + +[Illustration] + + + + +_DESIGN No. 2._ + +A SMALL COTTAGE OR LODGE. + +[Illustration: Perspective view.] + +[Illustration: Ground-floor plan.] + +[Illustration: Upper plan.] + + +This small building forms the outer lodge to a country park. It is +finished in all its parts so as + +[Illustration: Elevation of front.] + +to correspond in style and details with the old family mansion, and +being a prominent object, standing in a cheerful position, each side was +made pleasing. It is + +[Illustration: Side elevation.] + +so placed that the sun during its daily course shines on all the +exterior walls. Cottages should have no + +[Illustration: Section through length.] + +dark corners, the sun should find entrance at all the windows whenever +it is bright; the interior is then warm and cheerful. If the plan of a +building is either + +[Illustration: Cross section.] + +a square or a parallelogram, and it is placed on the ground so that one +of its diagonal lines runs due north and south, the advantage of +sunlight at all the openings is obtained, and this has been pointed out +by several writers on the subject. The ground plan shows the general +arrangement of the interior. The parlour and kitchen are both of the +same size (14 feet by 11 feet); it has a small scullery, an open outside +porch, and a place for coals; the larder with its window + +[Illustration: Section through front and back porches.] + +[Illustration: Dry vault.] + +is under the staircase. The latter is a cottage staircase, occupying +only half the usual space. The plan of the upper floor shows two rooms +of the same size as those on the lower floor, with the compact reduced +form of the staircase. The plate gives the front and side elevations of +the building; sections through its length and breadth, and through the +two porches back and front, and the dry vault of closet, are given. + +The water from the scullery sink is discharged into the dry vault. The +staircase, of which a section is given, occupies exactly half the space +of a staircase on the ordinary plan. The width is three feet, each step +rising in two heights of 6 inches. It is necessary that such a +contrivance should have plenty of light. These staircases were first +used in France. Loudon, in his “Encyclopædia of Cottage, Farm, and Villa +Architecture,” gives a representation of one, and remarks that the +celebrated American, Jefferson, when + +[Illustration: Section of staircase.] + +[Illustration: A staircase.] + +making a tour in that country, was so struck with the contrivance, that +he noted it in his journal, which was published with his +correspondence. A perspective view of one of these staircases is +annexed. + +A staircase of this description, if made four feet in width, might take +up only one-third the usual space: it would be very applicable to +offices and warehouses where room cannot be spared, and where staircases +little better than ladders are used, but in such cases a baluster and +hand-rail should be placed between each second step, to prevent persons +falling. + +The “Builder” of November, 1843, gave two views of an ingenious double +spiral staircase then exhibiting at a manufactory in Berners Street, +Commercial Road. It was described as extremely simple, the object being +to provide for ascent and descent without chance of meeting or +collision. It consisted of a deal or other board of suitable thickness 6 +feet long and 12 inches wide, forming a double _tread_, and the _riser_ +crossed, as it were from corner to corner, except as arranged to form a +_newel_ in the centre, of about five inches in diameter. The staircase +had twenty-two risers, and took one complete turn round. + +[Illustration: Plaster ornament for a ceiling.] + + + + +_DESIGN No. 3._ + +A PICTURESQUE COTTAGE. + +[Illustration: Perspective view.] + +[Illustration: Ground-floor plan.] + +[Illustration: Upper floor.] + + +This design for a peasant’s cottage possesses no architectural feature +beyond what could be given + +[Illustration: Elevation of front.] + +to it by any common country village carpenter. It was made from the +recollection of one at Blaise Hamlet, + +[Illustration: Side front.] + +near Blaise Castle, in Gloucestershire, the seat of John I. Harford, +Esq., to whom the hamlet belonged. This was celebrated for having about +a dozen of these small picturesque structures, apparently put up by the +owner of the estate. Nearly the whole of them were provided with rustic +seats under a projecting roof, as well as with a pigeon-house at the +gable. This was called Vine Cottage; there were besides Sweet Briar +Cottage, Rose Cottage, Diamond Cottage, Dial Cottage, Jessamine Cottage, +Circular Cottage, and Oak Cottage. Views of all of them were first +published at Bristol by Mr. Western. + +[Illustration: Section.] + +There are numerous similar hamlets and villages in England, some having +the cottages, schoolhouses, literary meeting room, and even the village +pump, all in picturesque form, and generally architectural in character. +The plan given here is probably not like that of the cottage at the +hamlet. It illustrates one room, size 13 ft. by 12 ft., a scullery 12 +ft. by 9 ft., and larder under the stairs. The latter are shown with +the double-rise step. The upper plan shows one room of the same size as +that below, and a closet. The scullery on the ground floor is large +enough to form a sleeping room for boys, or to make a small living room. +The height of the lower room is 9 feet 6 inches. The section shows the +general form and fittings of the rooms. The plate below the plans gives +an elevation of the front, showing the rustic seat and the side of the +entrance porch, the gable of the cottage formed into a pigeon-house, +together with the side front of the cottage and its entrance porch. The +small window at the side is intended to light the first steps of the +stairs; a small shed for wood or coals is placed at the back. Such a +cottage could be built and finished complete at a cost of about one +hundred and ten pounds. + +[Illustration: Plaster frieze for drawing-room.] + + + + +_DESIGN No. 4._ + +A DOUBLE COTTAGE. + +[Illustration: Perspective view.] + +[Illustration: Ground plan.] + +[Illustration: Upper plan.] + + +These cottages were intended to be attached to some ornamental grounds +which were very carefully attended to; and as the building formed a + +[Illustration: Elevation of front.] + +prominent object, it was rendered architectural and pleasing in +character. In plan the cottages are large + +[Illustration: Section.] + +and roomy, and they are of the cheapest kind. If constructed in plain +brickwork, without the ornamental gable on the porch, the pair could not +have cost more than 250_l._, and at that sum they have been estimated +for by a London builder. Each cottage has one living-room on the ground +floor, _f f_, of the size of 14 feet by 10 feet, with a scullery, _g g_, +attached, size 10 feet by 6 feet 6 inches, and a small larder and +staircase. + +[Illustration] + +The latter, with ten risers, leads to the upper floor, in which are one +large and one small room. The plate gives the ground plan, and the plan +of the upper floor. The closets are in the yard attached to the +cottages, but not shown in the plan. + +The plate gives an elevation of one of the fronts, and a section, taken +through the living-room and scullery: a portion of the ornamental gable +is illustrated in the previous page. + + * * * * * + +The vignette represents an ornamental escutcheon and handle, in brass, +for an inner entrance-hall door. The drawing is one-third of the full +size. + +[Illustration] + + + + +_DESIGN No. 5._ + +A DOUBLE COTTAGE AND VILLAGE SUNDAY SCHOOL. + +[Illustration: Perspective view.] + +[Illustration: Ground-floor plan.] + + +This building was intended to be placed in a village of one of the +midland counties, nearly all the buildings in the village being of +picturesque character. It was the property of a gentleman who was +erecting a large Elizabethan mansion in the neighbourhood; the design is +for a double cottage and Sunday school; the latter being under the +direction of the clergyman of the parish. + +[Illustration: One-pair plan.] + +The porch was decorated to give it importance, and form a shelter for +the clergyman in passing from one school to the other. One part was +intended for boys and the other for girls. The chimneys of the building +were grouped together in the centre so as to form a prominent object; +they were copied from a very fine ancient example, then existing at a +farm-house near Ashford, in Kent. + +The illustration gives a view of the front, and the plans. Each of the +two principal rooms was 16 feet 6 inches by 13 feet 6 inches, with a +scullery on the side 10 feet square, and having a good oven; the larder +was under the stairs. The rooms above were + +[Illustration: Section through length of building.] + +of the same size as those below. One of the cottages had the centre room +below as well as that above arranged so that one had four rooms and the +other two; but this could be changed at any time, to provide each +cottage with three living rooms each. A section through the length of +the building and the chimney stack is given in the previous page, and an +elevation of the front is given above. + +[Illustration: Elevation of entrance front.] + +The building was to be constructed with sound stock bricks, and red +brick rusticated facing round the upper windows; the finishing of the +gables with their small pediments was of cut red bricks. Small compo +finials crowned the whole. + +[Illustration: Finial.] + +[Illustration: Finial.] + +[Illustration: Elevation of chimney stack.] + +The porch had trunks of trees for columns, the entablature and pediment +were formed of cut bricks and compo facing; the pilasters on each side +of the lower windows were of cut squared flint, peculiar to the county, +the whole resting on a plinth of rough country stone. A wooden +balustrade of simple pattern surmounted the porch, extending on each +side of the columns. These latter resting on a stone slab. The chimney +stack is shown, and its plan, on the previous page. + +[Illustration: Plan.] + +[Illustration: Elevation of a chimney stack at a farm-house, Ashford, +Kent.] + +The old stack from Ashford, with the plan at its base, and capping, is +also illustrated. + +These representations of the two chimney stacks, ancient and modern, are +drawn to the same scale, so that the difference between the present and +old mode of treatment may be seen. The large flues of the old example +permitted the then mode of sweeping, by discharging a culverin up the +flue. The occupants of the dwelling could not then have cared much for +return smoke in their rooms; which in these large flues, with coal as +fuel, must have been considerable, and could only be obviated or +prevented by the numerous cold draughts of air permitted to pass through +the interior of the building. + +[Illustration: Plan of capping.] + +[Illustration: Plan of base.] + +The plan of this building was adapted from a very favourite one of the +late Sir John Soane. He erected it at Wimpole, in Cambridgeshire, for +the Earl of Hardwicke, in 1794. It had a very plain exterior, and the +roof was covered with thatch, a very common mode with architects at that +time, but now objected to from the serious evil of its harbouring +numerous insects--indeed at times they render the building almost +untenantable. The walls of the cottages at Wimpole were built in Pisé, +or with clay and fine gravel, properly prepared and beaten down in a +mould. Each wall was three feet in thickness, the fireplaces and +chimneys were of brick. Every opening was covered with strong wood +lintels, the whole width of the walls, and two feet longer than their +respective openings. + +The walls stood on brick foundations two feet above the ground. The cost +of the construction was about 450_l._ Design No. 5 could not now be +constructed for less than 630_l._ + +It may be here remarked that nothing certain can be advanced about the +cost of a building until the situation and local circumstances are fully +known and considered. In the absence of these no estimates can be given +with that accuracy which every gentleman wishes for, and ought to be +possessed of, before he begins building. + + + + +_DESIGN No. 6._ + +A HUNTSMAN’S LODGE OR COTTAGE. + +[Illustration: Perspective view.] + +[Illustration: Ground plan.] + +[Illustration: Upper plan.] + + +This edifice was erected in the neighbourhood of some thick plantations +in a sporting district. It was constructed of brick, with a wooden +porch; the facing bricks of the walls being of a light-yellow colour, +with red bricks round the windows; and the whole of the cornices and the +four chimneys were of cut red brick. The building seen from among the +trees looks + +[Illustration: Front elevation. Section.] + +very pleasing. The ground plan shows a front room 13 feet square, with a +small scullery behind; the larder is under the stairs, which have the +double riser, and a window is placed both at the bottom as well as at +the upper part of the staircase, to give plenty of light. The upper plan +shows three bed-rooms, each about 10 feet by 6, and a small bed closet +for children, the closet having a ventilator in the chimney at the +angle. These chimneys, instead of being grouped together in the centre +of the structure, occupy the four corners--an expensive form of +erection, but one that gives more room in the interior. The elevation of +the front is given in the plate, and the section by its side; the small +figure below shows the different courses of cut bricks forming the +pediment and cornice. + +[Illustration] + +These were carefully executed, and had a good effect. The first figure +likewise illustrates the oak finial on the top of the roof. A +chimney-piece in one of the upper rooms had a quaint carving in the +centre of a fox’s head, a subject appropriate to the pursuits of the +occupant of the cottage. + +[Illustration] + +The chimney-piece, and the fox’s head on a larger scale, are here +represented. The gateway seen at the side of the building in the view +was formed by the workmen out of various old fragments; it leads to a +yard in which are various sheds and out-buildings. + +[Illustration] + + * * * * * + +This vignette affords a specimen of ornamental iron railing intended for +exterior work, and suitable for any situation in which such may be +required, in consequence of the neatness of its pattern. + +[Illustration] + + + + +[Illustration: Rose Hill Villa.] + + + +THE CONCRETE CONSTRUCTION FOR BUILDING COTTAGES. + + +Considerable pains have been taken for the last fifty years to discover +the best and cheapest method of building cottages; bricks, stones, wood, +mud, plaster, and lately straw and bitumen, have all been selected. +Sound bricks and good building stones, well incorporated with mortar of +a good and binding quality, will last for centuries; while those of mud, +clay, plaster or concrete are continually becoming out of repair, and +therefore ought never to be introduced where sound construction is +desired, and better materials can be procured. In our moist climate, +unless great pains are taken in compounding such materials as clay or +concrete, in constructing walls, and in protecting these against the +effects of the weather, they will soon decay. Mud walls, however, made +perfectly in the common manner, of clay well tempered and mixed with +sharp sand, will last very many years. + +The preceding view represents Rose Hill Villa, near Stockbridge, +Hampshire. It is probably the largest and most important specimen of +such a construction in England, and comprises dining and drawing-rooms, +each 20 feet by 18 feet, morning-room, housekeeper’s-room, kitchen, back +kitchen, pantry, excellent cellars and all requisite offices; five very +superior bedrooms, two dressing rooms, a water-closet on the landing and +ground floor, and five servants’ bedrooms. It has a double coach-house, +harness-room, and stabling for four or six horses, and in the outhouses +a four-roomed cottage for the coachman. + +This villa was formerly in the occupation of Fothergill Cooke, Esq.,[A] +the inventor of the Electric Telegraph, and is now the residence of Sir +Augustus Webster, Bart. + +The building is constructed of chalk concrete, and has stood the test of +forty years’ exposure without any signs of decay. Mr. James Flitcroft +sent in 1843 a view of the villa to the “Builder,” and thus described +the construction of such houses in the locality:--The walls are carried +above the ground two and sometimes three feet to prevent the damp from +rising to the mud, which if wetted would scale off by the action of +frost. The kind of earth used is fine chalk, dug from the surface; if +timely notice of any building will permit, it is best dug in winter, +that the frost may act upon it. Buildings formed of this material can be +erected only in dry warm weather. The workmen in preparing this chalk +for use put about a cartload of it together, throw water over it, and +tread it with their feet, turn it over, again tread and turn it, until +it begins to bind something like loamy clay; then let it soak a little +while, when it is ready for use. The waller is able to put on a layer of +about fifteen inches; he begins at one corner and goes round the +building, putting one layer on another, taking care that the lower one +is sufficiently dry to bear the upper. In buildings of two stories high, +the walls are generally eighteen inches thick. When the walls are got up +five or six feet, and pretty dry, the quoins are plumbed, and the walls +dressed down a little, in order that the waller may see what he is +about. A small short spade is the best tool for this purpose, with short +handle and rather bent. The work is then proceeded with as before, until +it is raised up to the square of the building, when the + +[Illustration: Elevation and section of a wall (see p. 86).] + +walls get their general dressing, ready to receive their coating. + +Mr. Flitcroft describes Rose Hill Villa as coated with stone, +lime-coloured and drawn. The columns of the villa are of brick. He +states that there are several other buildings of this kind at +Stockbridge, Winchester, and other places in the neighbourhood. He +describes a better method of constructing such walls by the use of a +moveable trough or box about 12 feet in length by 18 inches in depth. +This trough rests on bearers put across the wall, with a mortice at each +end wide enough apart to receive the sides, and the thickness of the +wall; in these are inserted uprights to prevent the sides giving way, +with others to go across the top. This mode of construction is however +very ancient, and when done on a large scale the primitive method is +still pursued. + +This method is shown in the preceding engraving, which gives an +elevation and section of a wall in process of construction, with the +posts, _b b_, the moveable planking, _c c_, and cross pieces, _d_. It +will be seen that three courses of bricks are put about every five feet +in height. The figures here given are copied from a very old French work +on Architecture and Building; they also show the manner in which roof +construction was attempted with slabs of the same material, as shown in +figs. 1 and 2: the building is supposed to be square, as shown by the +dotted lines _a_, _b_, _c_, _d_. + +[Illustration: Fig. 1.] + +[Illustration: Fig. 2.] + +[Illustration: Elevation.] + +[Illustration: Section.] + +The plan, elevation, and section given below represent a small tomb +wholly formed of concrete slabs, the door alone being excepted. This +little building forms really a solid concrete monolithic edifice. + +[Illustration: The entrance door.] + +[Illustration: Plan.] + +A very common method of forming partitions, and even roofs in some of +the agricultural districts in Hampshire, is first to put them up with +strong wattle hurdles. They are double the size of the common hurdle, +and made of a thicker material. When in their place, they are plastered +over with concrete, and made about four inches in thickness; they very +often require repair. It is said that concrete walls are subject to +contraction and expansion, and speedily show vertical cracks at +intervals, which in our damp climate would soon permit the wet to enter. +There can be no question as to its strength as a building material, as +some experiments conducted by the Institute of British Architects gave +the following results--viz., “Concrete composed of two parts of lime, +thirty-six parts of sand, and five parts of cement, can resist a +crushing weight of four tons to the square inch, being twice the +strength of Portland stone, eight times the strength of Bath stone, and +sixteen times the strength of brickwork.” + +In constructing cottages with concrete everything depends upon the +goodness of the cement and the care with which it is used. The occupiers +of these cottages are frequently their own operators; the work is +generally too speedily performed, and the consequence is that the fruits +of their labour are in most instances of but short duration. + +For obvious reasons it is necessary that the greatest economy should be +observed in the construction of peasants’ cottages, and for these +reasons the apartments should always be on the ground floor, which will +render it unnecessary to build them more than eight or nine feet high. +Where mud walls are introduced, the lower they are made the better, in +which case they should be made to batir on the outside so as to resist +the pressure of the roof, the covering of which should project as much +as possible, to throw off the wet and protect the walls. The chimney +flues in these clay and concrete walls are formed of drain-pipes, which +answer admirably. These humble dwellings should be paved with +brick-on-edge paving laid on sand, which is much warmer, and more +conducive to health than any sort of rough flagging, plaster, mud, or +concrete floor. The latter, although much cheaper, can never be made to +look clean. Foundations of clay or concrete walls should be of brick a +few courses above the surface, and the walls when dry should be covered +with a thick coat of plaster consisting of lime and sand, or what is +still better, a coating of good Portland cement. This ought constantly +to be kept perfect, as everything depends upon the goodness of the work. +Concrete improperly mixed is not so strong as brickwork, but is mere +rubbish; but when perfectly done it hardens with age, becoming like +stone, impervious both to wet and frost. + +Materials can be found in every locality. One of the principal +constructors using such, Mr. Tall, who works with an excellently +contrived apparatus, thus describes them:--“Clay, which may be burnt +into ballast easily and cheaply, and is a most superior material for +concrete; gravel, stone, crushed slag from furnaces, smith’s clinkers, +oyster-shells, broken glass, crockery, or any hard and durable +substance. Where sandstone or any flat stone is to be found, walls can +be built even cheaper than of gravel concrete, as a labourer can break +the stone.” He gives the proportions of materials used in houses then +being constructed at Gravesend, as follows: + + £ _s._ _d._ +7 yards of burrs from brickfield, at 5s. 1 15 0 +7 yards of gravel stone, at 3s. 1 1 0 +1 yard of Portland cement, 16 bushels to the + cubic yard, at 2s. 1 12 0 +Labour, at 2s. per cube yard 1 10 0 + --------- +Total £5 18 0 + --------- + +Three cubic yards of concrete will build 60 yards of 9-inch work, at a +fraction under 1_s._ 11_d._ per yard. + +Concrete cottages have been built at Setting, in Kent, under Mr. Adkins, +architect, that cost only 105_l._ per pair; the ground floor contained +two rooms; with the usual larder and closets, and the upper floor three +rooms and a cupboard; these cottages had gabled fronts and were +picturesque in character. It would be an extra expense over the common +method to construct floors and roofing of concrete; the advantage to be +gained would be their fire-proof character. + +In superior buildings the high tenacious power of good cement is +repeatedly, it may be said commonly taken advantage of in the +construction of roofs. These are formed by cementing plain tiles, and +they have considerable strength. Roofs of 12 feet span, constructed in +segmental form, rising three feet, and only of three plain tiles in +thickness, successfully resist great pressure, and are durable in a very +superior degree; but they require to be well tied in, and formed +between iron girders connected together with iron tie rods, otherwise +they sink and force out the walls. Roofs of cemented tiles have been +constructed from 30 to 40 feet span, and have been found to answer well; +hoop-iron bond, laid at intervals between the tiles, is a great +advantage. The tenacious power of good cement was proved in a very high +degree a few years ago by Mr. Brunel, in the construction of two +semi-arches built of brick, springing from a pier or abutment 14 feet in +height. One extended 50 feet in length, the other 38; the rise of the +arches was 10 feet, the width only 4 feet 6 inches; a weight of about 40 +tons was suspended to the extremity of the shorter arch without breaking +it. + +The result of this test proved that arches of 200 feet or 300 feet span, +and probably more, might be constructed in the same manner at very +moderate expense, without centering. Iron-hoop bond is said to nearly +double the strength or holding power of the cement. Flat experimental +beams have been constructed of brick and cement, with hoop-iron bond +laid horizontally between the joints or courses of the brickwork, which +have given equally extraordinary results. + +Concrete for walling was extensively used in England at the beginning of +the present century; it got into bad repute through failure of a river +wall at Woolwich, where it was either badly done, some mistake was made, +or it was unsuited to the position. The wall was constructed of blocks +of concrete cast in moulds, and submitted to pressure while setting; a +coating of fine stuff being applied for the sake of appearance, ample +time having been allowed for the blocks to set and harden before use. +The blocks were 1 foot 6 inches high, the binders and stretchers in the +course being each 2 feet 6 inches long, the bed of the former being 2 +feet, and of the latter 1 foot; the wall was built upon piles, its +height above the piles being 24 feet; the thickness at bottom was 9 +feet, at top 5 feet with a batir in front of 3 feet in 22. + +The face of the wall was composed of blocks, as described, and rough +concrete thrown in to complete its thickness, and that of the +counterforts. After a frost it was found that this wall was seriously +damaged, hardly a single block having escaped, and in many cases their +whole face had peeled off to the depth of half an inch. The discharge of +a drain from a height of 6 or 8 feet had worn away the lower courses to +the depth of some inches. On a like wall at Chatham, similar but much +more severe effects were produced. + +The failure of this wall costing about 80,000_l._, was a serious matter, +and for several years after architects looked upon concrete as being so +much uneatable hasty pudding, considering that it was only beneficial +when confined in a trench for foundations. Sir Robert Smirke used it in +the foundations of the Penitentiary, Millbank, and Sir John Soane in +1830 used it in the foundations of the New State Paper Office (now +pulled down) in St. James’s Park. Here the ground had to be excavated to +a depth of 22 feet before arriving at a gravelly stratum; at each high +tide the Thames filled the trenches with water, which remained in +considerable quantity; as this was pumped out, the adjoining party walls +of the buildings in Duke-street cracked so completely that they had to +be taken down. The trenches were first filled to the height of two feet +with broken stones and bricks from the old buildings, and then dry lime +and clean river sand, with a large quantity of small broken granite +stones, were thrown in from the height above. A body of concrete 8 feet +in width by a thickness of 3 feet was thus formed; the water ceased to +enter the trenches and the building was commenced. + +Mr. G. Godwin, the editor of the “Builder,” in an essay on concrete +which gained the first prize given by the Royal Institution of British +Architects, appears to have been the first to suggest its use in walls +above ground; and for these Portland cement concrete, when properly +prepared, is without question an admirable material. + + + + +_DESIGN No. 7._ + +[Illustration: A garden gate--plan and elevation.] + + +In France it is used to a very great extent, in numerous bridges, and +several miles of large sewers. A church (that at Vésinet, near Paris, of +mediæval architecture), constructed entirely with iron and this +concrete, is completely fireproof. In England a considerable length of +sewer has been constructed of concrete at Sidmouth, under the direction +of Mr. Phillips; and near London, between the Kensington and Gloucester +Road stations of the Metropolitan Railway, a very large handsome bridge, +rusticated, and in design similar to, and in every respect in appearance +a stone bridge. From some alteration required in the railway, it has +been removed. + +This mode of construction is now being practically tested in the north +of England, at Church Bank, Alnmouth, in its complete form, in a cottage +built entirely of concrete, having three rooms, scullery, and other +conveniences. The material used in the building, as we are told by the +“Builder,” is Portland cement and gravel from the sea-shore. The +foundation is in sand 6 inches thick and 18 inches wide; in this there +is a base course, and above, the walls are 9 inches in thickness. Part +of the erection is two stories in height. The roofs are all flat, and +are constructed entirely of concrete and old wire rope. The ceilings are +divided into panels by ribs at right angles, and require no plastering. +A wall on the upper floor is supported by a concrete beam with a +13-feet span; and a large cistern is formed under the roof of the pantry +for rain water. The sides of the cistern forming the walls of the +bedroom will test severely the impermeability of the material. No wood +is used except for doors, and no iron except five shillings’ worth of +old wire rope. This is said to be an experiment made by the Duke of +Northumberland. + +Another experimental cottage has been constructed under Mr. Edwin +Chadwick’s superintendence at East Sheen near Mortlake. In this the +walls are formed of light iron framework filled with compressed straw, +bitumen, and concrete. The thickness of each wall complete is only about +three and a half inches. The floors are of bitumen and concrete, covered +with ordinary deal boards; the roof has the same construction as the +walls. These, inside, may be either left rough or finely smoothed, +without additional cost. In the former case it is said they resemble the +ordinary “dashes” of stuccoed cottages; in the latter they appear as if +coated with Roman cement, after the fashion of villas and town houses. + +If a construction of this kind can be made durable it possesses superior +advantages to every other. In England both stone and brick are great +absorbents of moisture, causing the occupants of the houses to be +afflicted by rheumatism and other undesirable ailments. Any building +material that is non-absorbent of moisture is a great desideratum yet +unsatisfied. + +An elevation of a design for a garden gate and balustrade to be formed +of concrete blocks is given in Design No. 7. It was originally intended +for the entrance to an old house in Berkshire. + + * * * * * + +The vignette beneath is a Swiss pattern of open woodwork used by the +author as balustrading. The construction is too simple to require +explanation. + +[Illustration] + + + + +_DESIGN No. 8._ + +A PARK LODGE. + +[Illustration: Front elevation.] + + +The entrance lodge to a country park may be considered as a superior +kind of cottage; it is + +[Illustration: Ground plan.] + +often occupied by some favourite domestic or other attaché of the +family. It is usually placed in a prominent position, dressed with +surrounding trees, and with the accompanying gates, posts, and rails. +Considerable attention is always paid to the lodge. + +[Illustration: Back front.] + +An ugly one is an exception, and is very seldom seen. In most cases the +lodge is similar in character to the mansion to which it permits +approach: a Gothic house, hence has a Gothic lodge, and an Elizabethan + +[Illustration: Section.] + +house a lodge of the same character; frequently it is in the Rustic +style that would suit either. Of this the present design and the +following are examples. + +This design was made for one story only, and it is placed so as to +command, or have a view of two roads by which it can be approached; the +plan shows a living room, 13 ft. by 13 ft., a scullery, _g_, 12 ft. by 9 +ft, a larder, _h_, and two sleeping rooms. It has a porch, formed with +trunks of trees, enclosing a seat or bench. The back front is made of a +pleasing character, having a covered way to the closet and coal cellar, +_l_. + +The section shows the height of the rooms, 11 × 6 from floor to collar +beam. The construction was to have been in the common fashion in brick, +with red brick facing, and compo dressings round the windows and top of +chimney stack, the latter in cut red brick. An erection of this kind +could not be completed under a cost of about 370_l._ + +[Illustration: Plaster cornice for a drawing-room.] + + + + +_DESIGN No. 9._ + +A PARK LODGE. + +[Illustration: Front elevation.] + +[Illustration: Ground plan.] + + +This design was a second study for the same small building illustrated +in the previous design. It was intended for a different site, and so +placed as to command only one road of approach. It could have been seen +for nearly two miles previous to reaching it, and was placed about +twenty feet behind the entrance gates; the front had a rustic porch +intended to contain rustic seats. The plan shows a living room 18 feet +by 14, a small scullery, _g_, larder, _h_, and two sleeping rooms each +13 feet by 10 feet. The section is taken through the centre of the +building, showing the front and back porch. It could be constructed for +about 375_l._ + +[Illustration: Section.] + +Either of these lodges could be constructed in concrete, the walls twice +the thickness, the chimney stock in brick and cement, and their cost +would be reduced. + + + + +_DESIGN No. 10._ + +AN ENTRANCE LODGE TO A PARK + + +This lodge stands within an ancient park in Kent. It occupies a +triangular piece of ground and commands three roads of approach. The +building is + +[Illustration: Perspective view.] + +strictly in accordance with the style of the old family mansion within +the park itself, which is a celebrated structure of the times of +Elizabeth and James I. The + +[Illustration: Ground plan.] + +perspective view represents the lodge as seen from the avenue of trees +within the park, the road coming + +[Illustration: The front elevation.] + +between. In the ground plan, p. 105, _a_ is the porch, _b_ the living +room, _c_ the scullery, and _d_ the larder; _g_ are the steps leading to +a vault under the stairs, used for coals, and _f_ is the stone cover +over the dry well. Considerable care and attention were + +[Illustration: Perspective view of back and side fronts, from a +photograph.] + +bestowed in working out the details of this building, which was wholly +erected by the workmen of the estate, with bricks and stone also from +the estate. The lower part or plinth of the structure is of ashlar +ragstone in random courses, the top course header faced, the joints +worked fair, and a sunk splay in the top tooled fair, the course rising +nine inches on the + +[Illustration: Plan of upper floor.] + +face, with an average depth in the bed of eleven inches. The string over +the lower windows is in moulded brick, + +[Illustration: Plan of roof timbers.] + +faced with compo,--the gables and the chimneys are constructed and +finished with cut red bricks. The + +[Illustration: Side elevation.] + +[Illustration: Details of entrance porch.] + +finials, of which there are three, are copied from those of the old +mansion, and cost each 3_l._ The front and side elevations are here +given, together with the details of the entrance porch. The columns were +formed of trunks of trees, with an entablature and pediment of brick +tiles and compo, with iron ties securing the whole. + +[Illustration: Finial.] + +[Illustration: Finial.] + +The brick walls were splashed externally in four colours, black, white, +red, and yellow, which gave a very pleasing tone of colour to the whole. +The plan + +[Illustration: Section.] + +of the upper floor shows the rooms like the lower, each of the average +length of 21 and a width of 10 feet. The staircase leads conveniently to +the two upper rooms; _a_ is a trap-door to permit furniture and large +baggage to be lifted up from below. The sections show the construction +of the roof, the timbers of which were firmly secured by iron straps, _b +b_. The chimney forms a prominent feature in the centre of the building, +the construction of which is shown in the annexed cut; _c_ are corbel +bricks, _b_ the iron strap. + +[Illustration: Section.] + +The last two illustrations are sections through the coal-cellar and the +dry well. The photographic view shows the small circular gable over the +staircase. There are only six of these gables, as a seventh could not be +obtained, or it might have been called the “house with the seven +gables.” The structure cost 526_l._, the cottage design No. 2, on the +same estate, 311_l._, both in full. + +[Illustration: Plan and section of chimney stack.] + + + + +_DESIGN No. 11._ + +AN ENTRANCE LODGE AND GATEWAY TO A PARK. + +[Illustration: Perspective view.] + + +The first erection of an entrance lodge and gateway to a country park, +is often considered of sufficient importance to meet with very full and +careful + +[Illustration: Ground plan.] + +consideration. If the park is an ancient one, the old castellated style +for the entrance lodge will mark its character, and it is generally +chosen, although the + +[Illustration: Plan of upper floor.] + +building or mansion within the park itself may be of more recent style. +The family architect, in such cases, will have to make various sketches +before one is selected that gives general satisfaction. The castellated +Tudor design shown in the perspective view, was the first one made under +such circumstances, and several designs were submitted before it was put +aside, and one selected similar in style and character to the mansion +within the park, and which was soon carried out. + +[Illustration: Front elevation of lodge.] + +The ground plan, p. 113, shows the lodge to have very little +accommodation, one small room 15 feet by 11 feet, with a scullery +attached; indeed, one of the principal reasons for giving up the design +was that the steep character of the ground did not admit a larger +erection. The staircase of the lodge led to one upper room over the +gateway; this was 13 feet by 13 feet. The elevation of the lodge is +shown at p. 114. + +[Illustration: Elevation of half gate.] + +[Illustration: A] + +[Illustration: B] + +[Illustration: C] + +[Illustration: D] + +The details are plain and bold; a shield of arms with quatrefoils is +placed over the side entrance; these and the ornaments on the bay-window +are the chief enrichments. + +The lodge was to have been erected with ragstone ashlar for the quoins +and red-brick facing for walls,--the bay-window and all the strings and +battlements were to be in Caen stone. The iron gates were to be of +wrought iron in the olden style. An elevation of one of the gates is +given, showing a thin ornamental pattern within a strong iron frame. + +[Illustration: Elevation of second design.] + +The parts, ¼ full size, are shown; _a_ is the top rail, _b_ the circular +bar, _c_ a section and elevation of the hanging rail, and _d_ the +meeting bar. + +The accommodation required by the gate-keeper who was to occupy the +lodge was greater than could be well provided on the site the building +was to stand on. What he did ask for was given in a second + +[Illustration: Ground plan.] + +design, which, as it shows a different treatment of the elevation, is +here illustrated. In this the rooms are + +[Illustration: Plan of upper floor.] + +larger, as may be seen by the ground plan; _c_, the back room, is +intended to be used as a boy’s sleeping room; _h_ is the larder under +the stairs, and _l_ is a place for coals. The upper plan shows the room +over the gateway; a second room was to be added by taking up the walls +of the lodge. + +[Illustration: Details of bay-window, second design.] + +The elevation of this design was considered more quaint and +characteristic of the olden style than the first; its window is copied +from one at the old gatehouse to the abbey at Montacute in +Somersetshire, both as to dimensions and detail. It is rather late in +style, and not a very good example, but it is here given with a few +sections and details to a larger scale. + + * * * * * + +The vignette affords a plan of an old English garden with its labyrinth, +fountains, fishponds, and flower beds. + +[Illustration] + + + + +_DESIGN No. 12._ + +A STOVE FOR AN ENTRANCE HALL + +[Illustration: Elevation of stove.] + + +This stove is intended to fill a recess in the hall of a Baronial +Mansion, placed on a marble pavement with groups of ancient armour, +pikes and + +[Illustration: Plan of stove.] + +helmets, and the other like warlike implements of ancient times, +surrounding it. The plan shows its interior to be filled with fire-clay. +It is only a + +[Illustration: The front of stove, the shield or door open.] + +[Illustration: Side of stove.] + +[Illustration: Section of stove.] + +common iron stove, but with a more artistic outline or figure than is +generally seen; the section shows the construction. A moveable box is +placed within the pedestal to receive the ashes; the smoke flue leaves +at the back; the helmet opens to receive a cup of water; the section +shows the construction. When the shield is open the fire is seen; this +could be made partly open, so as to allow the fire to be wholly closed +in. + + * * * * * + +The vignette is a portion of a French design for an iron balconet. In +France these balconets are regarded as necessary protections at the +window openings. In England they are used chiefly for holding flowers. + +[Illustration] + + + + +_DESIGN No. 13._ + +QUEEN’S GATE LODGE, HYDE PARK. + + +The formation of that new and important suburb of London, known as +Queen’s Gate, South Kensington, resulted, as is well known, from the +exertions of His Royal Highness the Prince Consort. It + +[Illustration: First design, Gate Entrance to Hyde Park.] + +promises soon to become the most fashionable and attractive portion of +the Metropolis, as the land is engaged for the purpose of applying it to +national objects connected with the Arts and Sciences, by the + +[Illustration: Perspective view of Lodge, Queen’s Gate.] + +[Illustration: Ground plan.] + +[Illustration: Basement plan.] + +Government. Consequently, with the beauty of the situation, this has led +to the erection of a large number of first-class mansions of the value +of from 20,000_l._ each to 3000_l._ (leaseholds.) The author of this +work, at the time of the purchase by the Government, was surveyor to the +principal estate in that locality--that of the late Charles, Earl of +Harrington; + +[Illustration: Perspective view of Lodge opposite the Exhibition Road, +Hyde Park.] + +and an opening to Hyde Park, for the chief new road, being granted by +Government, he had to submit designs for the new entrance lodge and +gates to the Commissioner of Public Works. The first design he had made +had previously been submitted to the Prince. It was on a large scale, an +archway being placed in the centre, with gates and lodges on each side. +But as the new entrance had to be made at the expense of the builders of +the Harrington Estate, designs of a more modest character were chosen. + +[Illustration] + +Lord Llanover, then Sir Benjamin Hall, was the Chief Commissioner of +Public Works, and took great interest in the designs, repeatedly +visiting the spot, and having various studies made; indeed the works +were carried out under his supervision and direction. + +The opening into Hyde Park was 140 feet in length; this was filled up by +the gates and railings, a lodge being placed within the park. + +[Illustration: Front elevation.] + +[Illustration: Side elevation.] + +The view shows the lodge as it was erected by Mr. Aldin, one of the +building lessees of the Harrington estate; it cost him about 800_l._ The +iron gates and railing were put up by Mr. W. Jackson, the chief building +lessee on the same estate, at a cost which amounted to upwards of +2000_l._ + +[Illustration: Section through length of building.] + +The lodge contains two rooms on the ground floor the front room being 17 +feet by 12 feet, the back room 13 feet by 11 feet. The basement has two +rooms of the same size; with a small yard, a place for coals, and a dry +area surrounding the whole. The plans are shown under the perspective +view; the front and side elevations on page 128; the small portico has +the centre columns without rusticated blocks, so that no square edges +or projecting parts obstruct the entrance of persons into the lodge. + +[Illustration: Cross section.] + +The section through the length of the building shows the two upper and +the two lower rooms, with the sunk yard; it does not show clearly the +section of the ground outside the building; the level of this is 18 +inches below the floor of the upper rooms. The basement is completely +buried, but as the small structure stood upon a mound and was protected +by a dry area, this was of little consequence. The cross section next +given shows the level of the outside ground correctly, with the two dry +areas. Over this cross section are given two small details of the +construction of the roof. + +The building was of stone and brick, the ashlar front of the walls Bath +stone, and the cornice of Portland--this was made so as to form the +gutter. + +The lodge has lately been taken down, and reconstructed on the opposite +side of the entrance gate. So completely was this done that only one +small block of stone was required to complete it, and this was only a +replacement of one broken. The structure itself has been reproduced by +the Government as a lodge opposite to the Exhibition Road. In the cut at +page 127, is given a section through the portico and a section through +the end wall. + +The first design, made by the author, was intended to embody the views +of His Royal Highness Prince Albert, in regard to the arrangement of the +buildings for the purpose of Science and Art then proposed to be erected +on the newly purchased estate. They comprised one for the collection of +Pictures, at that time occupying only half the building at Trafalgar +Square; this, the New National Gallery, was to be surrounded with other +structures, affording ample accommodation for the chief learned and +Artistic Societies of London. A large central Hall of Arts and Sciences +was to be placed in their midst; the whole to form a metropolitan +institution for the promotion of scientific and artistic knowledge as +connected with industrial pursuits. It is well known that the surplus +funds of the Exhibition of 1851, amounting to the sum of 150,000_l._, +were offered by the Royal Exhibition Commissioners at the instance of +the Prince, for the purpose of carrying out this grand conception. The +report of the House of Commons’ Committee on the National Gallery +strongly recommended the offer to be accepted, and Parliament at first +assenting, voted another sum of like amount for carrying out the entire +project. The sum of 300,000_l._ was found, however, insufficient for +purchasing the whole of the ground required, and a further grant of from +25,000_l._ to 27,000_l._ was voted by Parliament, and a sum of +15,000_l._ was given by the Royal Commissioners. Mr. Cubitt was engaged +to obtain the ground, and the roads through the Harrington estate were +planned by him in conjunction with the author, who aided him to the +utmost of his power in obtaining the land requisite to complete the site +required for the various buildings proposed to occupy it. The site was +2100 feet in length, by an average breadth of 1200 feet, and consisted +of about 56 acres; the level of the ground on the north of Kensington +being about 36 feet higher than the portion at Brompton. Another block +of land, upon which the Department of Science and Art is at present +placed, made a space with an average width of 700 feet--in the whole 86 +acres. + +In sketching the design for the general building, of which a bird’s-eye +view is here given, the author only took the 56 acres--the view shows +only that portion of the building facing the Prince Albert’s Road, now +called Queen’s Gate. It is placed in the centre of the land, so as to +have large open grounds surrounding it. These at any time could have +been covered up for the purpose of national exhibitions similar to those +of 1851 and 1862. By putting the level of the ground floor of the new +building about ten feet above that of the Kensington Road, a +sub-basement would have been obtained, over 30 feet in height, affording +ample space for arranging and storing works of art, as well as for +receiving articles to be exhibited, or a great portion of them, from the +upper parts of the building should the latter be wanted for any special +purpose, and affording room likewise for all minor business departments. +The Hall of Arts and Sciences was to be placed in the centre of the mass +of building: a portion of the dome is seen in the view at the upper +left-hand corner. This room was to be made 300 feet in length, by 180 in +width. Two galleries for paintings, each 1000 feet in length and 80 feet +in breadth, were to be placed on each side of the Central Hall. The +sculptures from the British Museum were to be deposited in the central +smaller halls of approach. The various Societies were to occupy the +side-wings, + +[Illustration: View of Queen’s Gate, Hyde Park, with the National +Gallery and other buildings, as suggested by His Royal Highness the late +Prince Consort.] + +each having its meeting and lecture room, and all necessary offices and +apartments. The public were to enter at the porticoes seen in the view, +and the carriages of the professors at the gateways in front. Two roads +were proposed traversing the ground from north to south, and giving easy +access for vehicles to every part of the building. + +In the small block plan attached to the view, placed on the upper +right-hand corner, _b_ is the Prince Albert’s Road, _a_ the Exhibition +Road, and _c_ and _d_ the roads north and south. + +The design was placed before the Prince at one of the Architects’ +meetings at the Earl de Grey’s, and it was exhibited at the Royal +Academy in the same year. The House of Commons, however, after granting +such a large sum of money for the purchase of the land, expressed its +disapproval of removing the National Gallery from the present position, +said to be the finest site in Europe, and the Fellows of the Royal +Academy were informed that the portion of the building they then +occupied would be added to that of the gallery. A view of the gates and +lodge as at present executed is here given. + +[Illustration] + +It cannot be supposed that a sum of 340,000_l._ would have been expended +by the nation for the purpose of giving the Horticultural Society a +perpetual lease of the best portion of the estate purchased. It is +already evident that the gardens are not well situated there. The smoke +of the district will not permit the growth of delicate plants, and their +exhibitions are supplied from the gardens at Chiswick. In much less than +fifty years their grounds will probably be the centre of London, and +consequently the noble conception of His Royal Highness has still a good +chance of being carried into effect. The Society will be smoked out when +the city bounds are extended. The present National Gallery building will +be wanted either for a Bank of England or a Royal Exchange, and my Lord +Mayor may follow the example of the India Directors, and leave the +Mansion House, to move to Whitehall. A tunnel under the Exhibition Road +takes visitors into the grounds direct from the railway, that now makes +them as easy of access from the heart of the City as Charing Cross +itself. + +A few remarks may be made here on the great rise which takes place in +the value of land in any fashionable neighbourhood of London required +for the erection of buildings. + +The Harrington estate at Kensington Gore, containing in the whole 93a. +3r. 27p., was the joint property of the Earl of Harrington and of the +Baron de Villars, through the right of his wife, the Baroness de +Graffenried Villars. Previous to 1848 it had been some time in Chancery. +In that year Mr. John Gaunt Lye was appointed auditor and agent to the +fifth Earl of Harrington for the whole of the property. The rental of +the Kensington Gore estate amounted at this time to 2779_l._ 9_s._ per +annum. Through Mr. Lye’s exertions, he having received a power of +attorney for the purpose, the estate was taken out of Chancery, and a +division took place on the 7th May, 1850, at Mr. Lye’s office in +Lancaster Place. For the purpose of division, one portion--that charged +with maintaining the Cromwell Almshouses--was valued at 41,996_l._, and +the other at 40,552_l._ Cards representing each portion were placed in a +hat, and the one representing the 41,996_l._, was taken out by the +Baron. + +In 1851 the Earl’s portion was let to Mr. W. Jackson on a building +agreement for 99 years, at 100_l._ per acre, or 4600_l._ per annum. In +1852 the Baron de Villars sold his moiety to the Royal Commissioners for +the Exhibition of 1851 for the sum of 153,793_l._ The Commissioners only +wanted a small portion of the Earl’s property. The first offer made by +Mr. Cubitt to the surveyor of the estate was 40,800_l._ for 17 acres, +or at the rate of 2400_l._ per acre. This was declined, and after a +little negotiation the sum of 54,716_l._ was obtained. The matter was +settled on the 7th of March, 1853; Mr. Jackson the builder received +7964_l._ as compensation for the loss of so much of his building land. + +More land was purchased by the Royal Commissioners to make up the site +they required; in the very middle of the latter was a field which had +only been used as a place for beating carpets. It belonged to the Smith +Charity estate, and fetched a rent of about 40_l._ per annum; this field +was obtained by giving in exchange an outlaying one on the Villars +estate, the building value of which was estimated at 800_l._ per annum. + +The Royal Commissioners, after squaring the site they required, and +putting aside the portion now occupied by the Department of Science and +Art, parcelled out the remaining outlying portion into three blocks, and +let them on building leases. The first and most important of these was +secured by the author for an employer, at a rental of 1500_l._ per +annum, on condition that the fee of each house plot could be purchased +within 6 years after the lease was granted; it contained about 2 acres. +And these are now the only freeholds that can be obtained. This plot is +now covered with buildings of the selling value, as leaseholds, of +250,000_l._, and it produces an improved ground rental. For the purchase +of the whole fee, the sum to be paid was 46,500_l._, so that for a +portion of this land which the author of this work, as surveyor of the +property, sold in 1852 for little more than 3200_l._ per acre, the value +had risen, in 1860, to no less than 23,250_l._ per acre. + +It is only since Hyde Park has become almost the centre of the +metropolis, instead of being in one of its rural districts, that +attention has been paid to supply it with ornamental lodges and gates. +The country was so long occupied with the importance of the war with +France, which terminated so gloriously to the honour of our country, +that the Royal Parks were left in a very neglected state; and the gates +and lodges, particularly the entrance into London by Knightsbridge, were +mean in character, and totally unworthy of the purpose. + +Londoners of the present day have no notion of the wretched state of +Hyde Park as it existed fifty years ago. The side next Park Lane, now a +beautiful walk, adorned by the gardener’s utmost skill with several +varieties of flowers and shrubs, was then a narrow sunken road, which +for the most part continued, by the side of the boundary wall, all the +way from Oxford Street to Piccadilly. This, when improvement commenced, +was filled up, and laid down in grass; and a wide Mall, with two +foot-paths, was formed on the higher ground, and enclosed by handsome +iron posts and rails. Some extensive gravel pits existed in the middle +of the park; these were filled up, one only being permitted to remain. +The surface of the park was generally levelled and manured, by which the +herbage has been greatly improved. Numerous seats were placed about the +park, for the convenience of the public; clumps and avenues of trees +were planted. The Serpentine was cleansed for the first time; it is just +now recleansed. A new drive, nearly a mile in extent was made through +the most distant and beautiful part of the park, to lead to Kensington +Gardens; and generally, all the roads were macadamized, and enclosed +with posts and rails. To connect the roads north and south of the +Serpentine, a handsome bridge was erected, from the designs and under +the superintendence of Messrs. Rennie. This has much conduced to the +accommodation of pedestrians and horsemen. + +About twenty years after these great improvements were effected, Queen +Anne’s garden, at the extreme termination of Kensington Gardens, was +thrown open to the public; the kitchen garden belonging to Kensington +Palace was let out on building leases, and a road formed through it +connecting the town of Kensington with Bayswater. This road, called the +Queen’s Palace Gardens Road, is now covered from end to end with +first-class mansions. The improvements continued, and are being still +carried on. + +The lodges and gates, at the chief entrances into the park, were put up +at the expense of the nation. When any building operator required an +entrance into the park, for some new outlying district, he bore the +expense of the construction, working under the direction of Her +Majesty’s Chief Commissioner of Works. The Government lodges at +Cumberland Place cost 2151_l._ One of these has been lately removed to +widen Park Lane. + +The two first lodges, with gates opposite Stanhope Street, cost 5062_l._ +The single lodge at the end of Grosvenor Street, with the iron gates, +cost 2929_l._, and the fountain 340_l._ + +The grandest of all these erections, that at Hyde Park corner, adjoining +the Duke of Wellington’s mansion, cost 17,069_l._ + +The first lodge and entrance gates put up by a private building +contractor was the Albert Gate, erected by the late Thomas Cubitt; the +lodge is sunk, its flat roof being on a level only eight feet above the +ground, and containing two small rooms, with a little yard and scullery. +The iron railing forming the carriage gates and entrances to the +foot-paths is of the same height as the lodge, and extends about 60 +feet; the stone piers have on them the old stags which formerly +decorated the stone piers at the entrance of the Ranger’s Lodge in +Piccadilly. This gate gave an entrance by Hyde Park to Belgravia, and +very much raised the value of that district. + +The next lodge and gate were put up by Mr. Kelk, opposite the fine +mansions at Prince’s Gate. This is known as the Prince of Wales’s Gate. + +There are two lodges in size and plan exactly similar to the lodge at +the Queen’s Gate. The gates and railings are very plain; they are 12 +feet in height, and extend to a length of 77 feet. + +The Queen’s Gate lodge and gates are certainly the chief of all the +erections put up by building contractors; their cost was 2800_l._, as +previously mentioned. Both in ornamentation and character they vie with +the best erections put up by the Government. The length of the iron-work +between the stone pedestals is 140 feet; the height of the common rails, +11 feet above ground; the height of the standard and lamp, 18 feet; +there are two carriage gates, each of 15 feet opening, and two entrances +for foot-passengers, each of 10 feet opening. The stone pedestals at +each end are 6 feet in width by 15 feet in height. The iron-work is +designed to represent a group of spears; the author wished to surmount +the pedestals with groups of military arms similar to those of the +trophies of + +[Illustration: Design No. 13. Elevation of centre of iron-work, Queen’s +Gate.] + +Marius on the balustrading in front of the Senatorial Palace, Rome. +These could have been constructed in + +[Illustration: Elevation of one of the Iron Standards.] + +stone, at little expense. Sir Benjamin Hall wished for marble statues, +and on Prince Albert’s suggestion models were made of two reclining +figures, by Mr. + +[Illustration: Section showing construction of Standard.] + +Theed, representing “Morning” and “Evening.” These would have caused +great additional expense to the builders, who wished, as the entrance +was a great improvement in the value of the Earl of Harrington’s +property at Kensington, to place, on the piers, two + +[Illustration: Plans of Standard at various heights, showing +construction.] + +fine antique statues of Hercules then on the gates at Elvaston in +Derbyshire, a country seat of the Earl’s. But as the statues belonged to +the estate, and were entailed property, they could not be removed, and +the Earl objected to their being taken down for the purpose of casting. +The effect of the whole is much injured by the pedestals remaining +unoccupied. The plate on page 143 represents the centre of the ironwork, +surmounted by the Royal Arms. + +[Illustration: Iron block and ball latch.] + +The gates and railing are of very superior construction; they are the +work of Mr. Turner, of Hinde Street, Manchester Square. They have been +pronounced by the Government officials as requiring little attention, +and that the gates open and shut better than any other gates in the +park. Page 144 gives an elevation of one of the iron standards. Each is +two feet in width; there are ten of them; four, those belonging to the +carriage entrances, being surmounted by lamps. The small size of this +volume will not allow a full illustration of the ornamentation to be +given, but it admits that important part, the construction, to be +clearly shown. Page 145 gives a section of one of the standards, _d_ is +a layer of concrete, 1 foot 6 inches in height and four feet in width, +which goes all through; _a_ is the York landing, 6 inches thick and 5 +feet square; _b_ is the brickwork, this goes all through; _c c_ +represent the blocks of Portland stone; and _e_ is the granite curb 8 +inches by 10 inches in section, within the entrances. + +[Illustration: Wheel block.] + +Page 146 gives the plans of the standards at different heights, showing +the several plates given in the section; and on page 149 is a section of +the wrought-iron coupling-bar with its brass bush. + +The gates move on a hardened steel socket of circular form, working +within a steel box, as shown in the section. + +[Illustration: Fall-down latch.] + +[Illustration: Coupling-bar.] + +Iron block and ball latches are provided for each of the gates. On pages +148 and 149 are cuts of the wheel block, with the plan, elevation, and +section of the stopping-piece or fall-down latch. The stopping-piece is +keyed into the granite curb in the centre of each gateway; _a a_ is the +lower rail of gates, and by its side is a small portion of the ornament +between the rails. That the effect of the whole structure was, very +much injured by the unfinished state of the pedestals was the opinion of +Lord Llanover, who sent the following letter to the architect, +expressing his dissatisfaction: + + Great Stanhope Street, + _July 11, 1859_. + + SIR, + + The works at the Queen’s Gate, Hyde, Park, are very well executed, + and the entrance, as completed, produces a good effect; but that + effect would be materially improved if the gates and the railings, + and the ornamental works were relieved by colour, and some of the + parts gilt as I intended they should be. The two pedestals are also + without the groups which were to form the superstructure of the + square blocks. The work so far as it is executed is very well + executed, and I am quite satisfied with it so far; but I shall not + consider it completed until the groups are placed on the pedestals, + and the best effect will not be produced so long as the iron-work + remains wholly black. + + I am, Sir, + + Yours faithfully, + + LLANOVER. + +C. J. Richardson, Esq. + + + + +ON THE FOUNDATION AND BASEMENT WALLS OF BUILDINGS, DAMP PREVENTION, AND +FIRE PROOF CONSTRUCTION. + + +The foundations of buildings require careful consideration. When a house +approaches completion and shows cracks in the upper walls, they arise +either from insufficient attention having been given to the solid +character of the earth forming the site, or from bad construction at the +basement. The building in fact settles down unequally. As a settlement +of every building is certain to take place upon its completion, the +greatest precaution should be taken to make it as equable as possible. +No portion should settle deeper than another, and this can only be +secured by care at the foundations. + +It often happens that portions of a selected site are of unequal +quality. In such cases it is necessary to excavate the worst portions +deeper to reach a good stratum, and to take the brickwork lower, no +filling up beyond the usual thickness of concrete being allowed. + +There is another very serious evil, in building, to be guarded against. +Owing to the moisture of the earth rising through the foundations and +saturating the walls above, the health of the occupants of such houses +may be seriously affected by its presence in the walls. About twenty +years ago it was the universal practice in good buildings to place wide +stone landings--three times the thickness of the wall above--under the +foundations, for the purpose of preventing the damp from rising as well +as to spread the width of the wall. + +[Illustration: Section of a proper foundation for a wall.] + +A bed of concrete is now used as a substitute for this plan; the +engraving below shows the best method of constructing foundation walls. +A trench, three times the width of the wall is dug, at least 2 feet 6 +inches in depth. Into this is thrown a quantity of concrete, which soon +dries and becomes solid. In the superior class of buildings a layer of +concrete, six inches in thickness, is placed entirely over the ground, +inside the foundation. Upon this concrete the walls are built, the +lowest footing being twice the width of the wall above. On a few courses +above the top footing a course called a “damp course” is put; this is +shown at _a_, page 152. + +Two courses of slate are laid in cement; but other materials are often +used, as a thin sheet of lead, for the whole width of the wall. Zinc +might answer, but it has not yet been tried. A thin coat of asphalte, or +asphalted cloth, tar, pitch, or a plain coat of cement are also often +employed, but the two courses of slate in cement are considered +sufficient. The first course of bricks above the ground is often formed +entirely of air bricks, originated by Mr. Aldin, the builder, of +Kensington. Each brick has eight or ten perforations, ½ inch in +diameter, through its whole length; a small piece of perforated zinc is +placed upright between the bricks to prevent insects from entering. This +is shown at _b_. The timbers and stone flooring of the basement do not +enter the walls, but rest upon dwarf walls, the joists having oak +sleepers to rest on. The brick fenders of the foundations are entirely +filled with dry rubbish or ironfounder’s ashes, and the stone hearths +bedded solid either in mortar or concrete. This is the construction +shown in all the designs of this volume. To illustrate still further the +attention given in constructing foundations, the engraving below is +given, showing a section of a foundation executed several years ago at +Westminster, where the ground was uncertain. Its scale is only half that +of the previous figure, the upper wall being 3 feet in thickness + +[Illustration: Section of foundation to a wall.] + +instead of 1 foot 6 inches. Above the bed of concrete, which is 9 feet +in breadth, by 3 feet in thickness, are York landings, _a_, 4 inches +thick and exceeding 6 feet in width. Upon these are laid two lines of +wood sleepers, _b_, bedded in brick and cement, the size of each sleeper +being 12 by 6 inches, and in long lengths. Above this is a course of +planking, _c_, placed diagonally across the wall; each plank being 12 +inches by 6 inches, and about 9 feet in length. Above this are the +footings, each two courses in height: in the return walls the landings, +sleepers, and planking are placed a course higher, so that they might be +tied together. The brickwork goes down twelve feet, and invert arches +are turned at every opening. + +[Illustration] + +In order to keep the walls as solid as possible in the lower part of a +building, the ground floor joisting should rest on projecting corbel +bricks as here shown,--the joists going between the cross walls rest +upon projecting bricks, the upper one being of peculiar strength; tall +piles are put between each joist against the wall, for the skirting in +cement to be formed upon it. Air bricks in open iron-work, two to each +front, are placed so as to admit air within the joisting. + +This mode of construction is carried throughout the ground floor. + +The stone landing of the passage by the side of the servants’ stairs, is +supported on the part next the wall by corbel bricks, and on the other +side by an iron bar let into the wall at each end; as shown above. In +the upper floor, the joisting should be reversed and go front to back, +notched on wall plates let into the wall, thus tying both walls +together. + +[Illustration: Section of stone landing of passage.] + +[Illustration: Section of kitchen roofing.] + +The introduction of rolled iron girders into buildings renders fireproof +construction very easy. They are made of all sizes, and can be placed +over any opening, so as to carry the weight above them. Kitchens in many +London houses are constructed in the back yards, with an area between +them and the house. This confines all the smell of the cooking to the +precincts of the kitchen. As it is very important that no roofing should +interrupt the light from the back ground-windows of the house, the roof +of the kitchen is so constructed that the yard is only moved upwards; it +belongs to the ground floor and not to the basement. For this purpose, +cast iron girders, standing on brick piers, bear up rolled iron six-inch +girders, between which half-brick arches are turned. Above all these is +concrete, cement, or asphalte. The courses of tiles and cement are laid +at such a slope as will be sufficient to take the water off quickly. It +is easy to put skylights, or any kind of opening, in this construction, +and to make the whole water-tight. + +This figure shows a way of supporting walls over openings, instead of +the old method of arching in brick; the iron girders or plates have +often no timber between them; they rest upon iron shoes or stone slabs, +their depth being proportioned to the opening and the weight above. +Strong large hollow bricks or tiles are placed over them, and above all +is the brickwork. + +[Illustration: Support over opening.] + +The upper floors of buildings are made fire-proof in a similar manner, +and for this purpose there are several excellent patented methods. The +iron girders are closed up by brick arches, or filled between with +concrete. The only objection to this mode of construction for upper +floors is the great weight, and the walls require to be made of extra +strength. Several years ago a hollow brick was used to form such arches +and roofing, _e.g._, the dome of the Rotunda, at the Bank of England, is +formed with them. The brick is somewhat similar to a flowerpot, but flat +and closed at each end. There were several varieties of these cone +bricks, as they were called; a few are preserved in the Soane Museum. +One sort was 7½ inches in height, 4⅛ by 2⅜ inches at the top, and 3-2/8 +by 2 inches at the bottom. They were curved inwards with a small +opening, 1 by 2/8 inch in the centre. The edges of the brick were +slightly splayed, and the sides scored; these were as strong as the +common bricks, and very much lighter. When the East India House was +pulled down a large quantity of these bricks was obtained; they were +brought to Kensington, and the builders did not know what they were +intended for; their purpose being pointed out, they were used up in the +construction of fire-proof flooring. + +_Fire-proofing._--A method of rendering buildings nearly fire-proof was +introduced about 1770 by Mr. David Hartley, M.P. for Hull. It consisted +in placing thin metal plates between the flooring boards and the joists, +so as to prevent any upward currents of air. For domestic buildings the +system was one of great value. After several successful trials it +obtained considerable notoriety, and being thought capable of an +impossibility, that of rendering a Theatre fireproof, it was applied to +the Pantheon Theatre in Oxford Street. On that structure being burnt to +the ground the plates lost their character, and went out of use. It was +clearly a mistake to apply them to such a building. Thin iron plates +hung at a short distance below the ceiling were successfully adopted by +Mr. Walter Crum, to prevent the spread of fire from one room to another +in his calico printing works, near Glasgow. + +_Damp._--The damp rising from foundations is more easily guarded against +than damp coming against a building laterally. Houses in exposed +situations and subject to driving winds, are often very wet inside the +walls, the rain being driven through them. Sometimes the best +construction will not keep out wet. As a rule, a well-built wall wherein +proper material has been used, should not be damp. + +A rectory, not far from Salisbury, where the author was engaged a few +years ago, was in such an exposed situation that on three of its sides +no tree or any other object in a direct line could be seen for three +miles. Clothes, if placed against the external wall of the +dressing-room, were often quite wet. The Rector had tried several +preventives himself; one was a mixture, used to water-proof cloth--a +wash of soap and alum. + +The ingredients were mixed in the following proportions: ¾ lb. of +mottled soap to 1 gallon of water. This mixture, when in a boiling +state, was laid over the surface of the brickwork steadily and carefully +with a large flat brush, so as not to form a froth or lather on the +surface, and was permitted to remain twenty-four hours to become dry and +hard. Another mixture was then made in these proportions: ½ lb. of alum +to 4 gallons of water, which, after standing twelve hours, in order that +the alum should be completely dissolved, was applied in like manner with +a flat brush over the coating of soap. The coating had to be very often +renewed. The wall most exposed was made free from wet by being covered +with a coating of cement. + +Walls exposed to damp should be coated with a thin layer of Portland +cement, mixed with a little plaster of Paris, and after this is +thoroughly dry, it may be hardened and rendered impervious to water by +painting it with boiled linseed oil and red lead, mixed together. + +In very exposed situations all external walls should be battened, lath +and plastered within, or built with a hollow cavity in the middle, with +proper bond and a proportionate increase of thickness,--the hollow +could be filled with concrete, or the back of the bricks covered with +pitch. There are several other methods for keeping walls free from damp. +One is to saturate the walls with some kind of mastic, or a wash +composed of two or three parts of resin and one part of drying oil, to +the extent of as many washes as the wall will absorb. This must be quite +dry at the time, or be dried by means of a small portable furnace. The +plan is effectual, but it is a difficult operation to perform. A cement +composed of lime, boiled linseed oil, white lead, and sand, has been +recommended. + +Besides these various compositions, there are several excellent +well-known paint and metallic cements, which have stood very severe +tests, and are largely made use of; but walls properly constructed +should not require their application. + +[Illustration: Plaster ornament for a ceiling.] + + + + +_DESIGN No. 14._ + +A SMALL COUNTRY RECTORY. + +[Illustration: Perspective view.] + + +This design was made for a country clergyman residing near Montacute, in +Somersetshire. It was arranged according to his express directions in +every particular, both as to style, and in regard to the number and size +of the rooms on each floor. Living in the immediate neighbourhood of +some of the finest + +[Illustration: Ground plan.] + +old English mansions, he was anxious to have a residence in the old +decorated style of wooden architecture, certainly the most picturesque +of all the styles our forefathers have left us. The timber dwelling is +found in almost every county throughout England, with their projecting +windows and highly ornamented bargeboards; several large houses in +Cheshire and Shropshire remain to satisfy us that such construction, +when properly carried out, is very lasting. The timber used requires to +be felled at the right time, and to be properly seasoned before being +placed up; which must be done on a brick or stone foundation. Dwellings +constructed in this way were anciently + +[Illustration: Plan of upper floor.] + +called post-and-pan houses. They have been known to rock and bend before +severe storms, and to stand intact while adjoining buildings have been +blown down. Large palaces were formerly constructed in England of wood; +the chimney flues and fireplaces alone being of brick. The sketch-book +of John Thorpe, an Elizabethan architect, a copy of which is in the +fine library of the Art Museum of South Kensington, illustrates several +of these dwellings. + +With the present design it was the intention of the rector to carry out +the work himself, the necessary drawings being provided him. The +building is small and compact. When much adornment is intended, it is +necessary to confine the expense within + +[Illustration: Ornament in ceiling of study.] + +bounds; if a cheap large house with plenty of accommodation be required, +then four walls and an overhanging roof alone need be given. The view +shows the principal front of the building; on page 163 is the ground +plan; _a_ is a small hall having a window looking into the conservatory +on the right; the door leading to the servants’ department is on the +left; _c_ is a small study, 16 ft. by 14 ft., with a decorated ceiling, +containing the shield of arms of the owner. The drawing-room, _d_, size +28 ft. by 15 ft, has the + +[Illustration: The ceiling of drawing-room.] + +ornamental ceiling of bold Elizabethan character; this covers the whole +ceiling, and the effect of such ornamentation + +[Illustration: Cornice of drawing-room.] + +is very good. Often, in the olden times, a portion of the rib moulding +was gilt, the ground of the ceiling being of a light blue; ceilings of +this kind exist which represent foliage and flowers, giving the effect +of a garden bower. The preceding illustration shows the present ceiling. +The simple rib moulding is in plaster, with small flowers and pendants. +The section of the rib moulding to a large scale is shown in the cut; +which also gives the cornice and frieze of the room; _e_, in the ground +plan, is the dining-room, 16 ft. by 12 ft., this opens on to a terrace +paved with + +[Illustration: Plan of attic. Basement plan.] + +marble in black and white squares--the present ornamental tiles were not +in common use at the time the design was made; _f_ is the kitchen, _g_ +the scullery, and _h_ the larder. A small enclosed servants’ yard, with +place for coals, wood, and other conveniences, is in front of the +kitchen. The yard has a separate entrance from the front. This is the +whole of the accommodation given on the ground floor. The one-pair plan +shows the five bedrooms. These are without dressing-rooms, there being +no space for them. A small turret staircase leads to the attic floor. +This gives two large bedrooms and a small one for the + +[Illustration: Section through building.] + +servants. The large bow-windowed room might serve as a nursery. The +tower was carried up and contained a bell. The basement plan contains a +large and small wine cellar, and one also for beer; there are four +cellars, besides an inner cellar under the stairs. + +[Illustration: Front elevation.] + +The principal staircase is very light and cheerful, having on one side +three large windows, with a ledge or stand for flowers. It was proposed +to panel it entirely with oak, and have an ornamental ceiling similar to +that in the drawing-room, with a pendant in the centre. The section is +taken through the drawing-room, staircase, and kitchen, and shows the +form and height of the rooms above; also the stone stairs to the +cellars. + +[Illustration: Details of gable ornaments.] + +It will be seen that the walls rest upon a concrete foundation; the +scale is too small to show the damp course or the ventilating bricks, as +previously described (see page 159). The chimneys are shown carried up +nine inches square, excepting the kitchen chimney, that being 14 inches +by 9. The staircase was to have a plain Elizabethan iron railing, and +the whole of the wood-work to be coloured and grained oak; the roof was +to be covered with slate, these requiring a less solid base; ornamental +ironwork crowned the summit of the principal roof over the staircase. An +illustration of the front of the building is given on page 169. + +[Illustration: Section and elevation of chimney.] + +The figures on page 170 illustrate various kinds of treatment for the +carving of the finials and pendants, and the ornaments of the small +gables; it being usual in these structures not to have any two parts of +ornamental detail exactly alike. It has all to be carved by hand, and +requires only slight extra trouble on the part of the architect to make +separate patterns for the workmen. A section and elevation of one of the +chimneys are shown also; they are fitted with the small cap introduced +and used so extensively by the late Mr. Thomas Cubitt, at Belgravia and +Pimlico; this will + +[Illustration: Knocker. Key escutcheons.] + +[Illustration: Oak corbel.] + +be found fully illustrated in the chapter on chimney and flue +construction. At the time this design was made, this plan was not +known. The chimney is shown with an iron funnel 2 feet in height, a +chimney-pot, in fact, let into the stone work at top, having no +projection within for soot to lodge. Two of the stone balustrades are +illustrated. Every separate balustrade in such buildings should be of a +different pattern. + +[Illustration: Stone balustrades.] + +The knocker on the entrance door, the key, escutcheons for the doors, +and a corbel in oak from the entrance front, are illustrated on page +172. + +[Illustration: An external frieze.] + + + + +_DESIGN No. 15._ + +A SMALL COUNTRY HOUSE. + +[Illustration: The front elevation.] + + +This building was intended to be only a comfortable country house for +the residence of an eminent provincial solicitor. It was directed to be +made of superior character, as the owner, being a person well known in +the county, considered that the + +[Illustration: The ground plan.] + +eyes of the whole neighbourhood would be upon it. The situation was on +one of the roads leading out of Maidstone, and as the land in which it +was to stand was taken on lease for 99 years, nothing beyond a superior +gentlemanly character could be given to it, as it is only in freehold +houses that any superior or expensive architectural adornment should be +indulged in. The Roman or Italian style, as being the most appropriate +and the one best understood by builders, was adopted. + +[Illustration: The plan of the upper floor.] + +The front of the house had no prospect, the side of the road opposite to +it showing only a high bank with boulders of ragstone, peculiar to the +county of Kent; and for this reason none of the principal windows looked +towards it. The back-front and side, however, turned towards the hills +between Maidstone and Rochester. Very precise directions were given as +to the arrangement, size, height, and number of the rooms. The study, +_c_, was to be on the left of the entrance-hall, and its size 16 feet +by 12 feet. It was made 16 feet square. The drawing-room, _d_, having +the chief prospect, was to be the principal room. This was made 20 feet +by 17 feet. The dining-room, _e_, was 20 feet by 16 feet; both rooms +looked into conservatories, _i_ _i_. The back front faced the north--a +very favourite aspect for the principal rooms with many of the noblemen +and gentlemen of Kent; the reason being that the flowers in the gardens +under the windows, turning towards the sun, present a cheerful and +agreeable appearance to the occupants of the rooms. + +[Illustration: Plan of second floor.] + +[Illustration: Plan of basement floor.] + +The dining-room had steps leading down to the garden; the kitchen _b_, +scullery _g_, and small larder _h_, were on the right of the entrance, +the kitchen and the study having small windows by the side of the +entrance, so that all visitors coming to the house might be seen. The +servants’ door was in the small yard by the side of kitchen, with a +place for coals; _o_ is a small chaise-house, and _p_ a stable for a +pony; _l_ is the dust-hole. + +[Illustration: Frieze of drawing-room.] + +[Illustration: Frieze of dining-room.] + +[Illustration: Section of cement skirtings.] + +The upper floor had to contain five best bedrooms; these can be seen in +the plan. Their sizes were 17 feet by 12 feet, and 16 feet by 10 feet. +There were three dressing-rooms, the largest 12 feet by 10, the two +smaller each 12 feet 6 inches by 6 feet. The second floor contained two +rooms for servants, one 16 feet by 10 feet, the other 12 feet by 10 +feet. The basement had a footman’s pantry, 12 feet by 9 feet 6 inches, +and a dairy of the same size. This had steps down to it in the area. +There was a wet larder with a window, a wine cellar, and a beer cellar. + +[Illustration: Section through entrance-hall and dining-room.] + +The interior was plainly finished, with nothing beyond the best modern +enrichments. The whole of the interior had Keen’s cement skirtings. The +staircase had a skirting flush with the wall, so as not to take away +space from the stairs; this is shown at page 178. There were ornamental +roses in the centre of the ceilings of the principal rooms. The section +of the interior is made through the principal entrance, across the +staircase and dining-room; and in the upper floor, through two of the +dressing-rooms. + +[Illustration: Elevation of portico.] + +The only architectural feature in the front of any importance was the +portico (see page 180). A bold and prominent effect was given to it. The +estimated expense of the building was 2151_l._, full price put down as +2250_l._ + + * * * * * + +The vignette is an elevation of an Elizabethan balustrade, in stone, +intended to crown a cornice, and to be placed in an elevated position +against the sky line. + +[Illustration] + + + + +_DESIGN No. 16._ + +A COUNTRY VILLA. + +[Illustration] + + +This villa, which has just been erected in Berkshire, in the +neighbourhood of Windsor, is intended as the country residence for a +lady of rank. The living rooms are large and noble, and the +accommodation + +[Illustration: Plan of ground floor.] + +for a small establishment ample. The plate (page 182) shows the garden +front, and above is the ground plan. The two principal rooms, the +drawing and dining-rooms, are respectively 25 feet by 18 feet and 21 +feet by 18 feet. They are to the left of the hall; this, of moderate +size, leads to the principal staircase, which is of very easy ascent, +each step rising less than + +[Illustration: Plan of upper story.] + +6 inches. The second landing opens to the servants’ staircase; _b_ (see +page 183) is the kitchen, size 15 feet + +[Illustration: Plan of wine cellar.] + +by 14 feet, with the larder _h_, leading directly out of it,--_g_ is the +scullery, with an oven, and a shoot into the dustpit _m_, _n_ is the +housekeeper’s room, and _j_ the butler’s pantry; _c_ is the lady’s room +or study. This was enlarged, by taking down the partition, marked on +the plan by the dotted lines, to allow of a splendid oak cabinet being +placed there. A door in the room opens direct into that of the +housekeeper; _k_ is the dairy, + +[Illustration: Section through drawing-room, staircase, and kitchen.] + +and _l_ a place for coals. The wine cellar was at first intended to be +placed under the principal flight of stairs, descending a few steps; but +a large one, _b_ (see page 184), was afterwards made. + +[Illustration: French cut pine woodwork, from the exterior.] + +The plan of the upper story shows it containing two large principal +bedchambers--each with a dressing-room, and a large room with two +fireplaces serving as a nursery, but which could at any time be made +into two rooms by putting up partitions. + +The servants’ sleeping apartments, the housemaid’s closet, and the +servants’ staircase, occupy the remaining portion of the plan. + +The cost of erecting the carcase of the building, including the wine +cellar, was 1108_l._ The cost of finishing, putting up the principal +staircase in Portland + +[Illustration: Plan and elevation of iron glazed casement to +entrance-door.] + +stone, and leaving all work required to be painted with two coats, but +exclusive of papering, stoves, ironwork, marble mantelpieces, +conservatory, verandah and exterior decorations to roof, was 1550_l._ +Mr. Hockley, of Kensington, was the builder. When the mansion was +finished so far, all ornamentations, &c., formed an agreeable occupation +for the lady to complete from favourite examples seen by her on the +Continent. The extra parquet flooring in the dining and drawing-rooms is +from Switzerland. This cost 148_l._ All the stone flooring of the hall, +staircase, passages, and conservatory, is covered with tiles from Italy; +these are about 8 inches square, but not so well made as the English +kind, although more artistic. Each has a small figure put in by hand, +which is different on every tile. The tiles are faced with a white +china ground and look extremely well. The common tiles cost 16_s._ per +100. The grotesque figured tiles, + +[Illustration: Plan and view of remains of old house.] + +of which the illustration on page 189 shows four, cost 2_l._ per 100. +They were supplied by M. Giustiniani, of Naples. The marble +chimney-pieces were to be supplied from Italy. The ironwork of the +staircases, and the panel to fill up the opening in staircase, shown +dotted in the upper plan, were supplied from Paris. It is different from +any ironwork that can be procured here, of elegant design, and covered +apparently with a thin coat of zinc. This gives it a silvery metallic +appearance, and it does not require + +[Illustration: Four of the Italian figured tiles.] + +painting; it is really a coating of glass, and is termed the _lavenant_ +process. It it said to be a great preservative of the iron, and can be +put on in different colours. Each of the windows of the principal rooms, +and the hall, is fitted within with Price’s steel revolving shutters. +These cost 75_l._ The upper windows on the outside have iron balconets, +likewise from France, and the roof, surrounding the principal parts, is +finished with the French cut pine patterns. They were supplied by M. +Jules Millet, of 12, Boulevard du Temple. The entrance door has the two +upper panels + +[Illustration: French iron staircase railing.] + +filled with French castings, executed in a fashion different from the +English mode; but one quite worthy to be followed. The iron panel is +placed on the outside, with a light iron glazed casement fitted behind +it. This in warm weather can be opened, so as to admit fresh air into +the hall. The plan and elevation of the casement shown from the inside, +on page 187; by the side of it is one quarter of the external iron +casting. + +It may be remarked that these French patterns, both in iron and wood, +are not finished off as clean as they would be in England. The castings +appear just as they came out of the sand, and the wood pattern exactly +as the machines or saw left them; but they are extremely elegant, and +the metallic appearance of the ironwork is very pleasing. + +The former house is pulled down, except a portion, permitted to remain, +which is formed into a decorative building for the garden; the plan +(page 188) shows _a_ the old kitchen, _b_ the wine cellar made into an +ice-house, _d_ a lock-up closet, _f_ a prospect tower, _c_ a closet in a +small enclosed garden, and _e_, a garden seat. + +On page 190 is a pattern sent from Paris for the staircase railing. + +[Illustration] + + + + +_DESIGN No. 17._ + +A DOUBLE SUBURBAN VILLA. + +[Illustration: Perspective view.] + + +This building was intended for erection on a leasehold estate at a +little distance out of London. It would have been of rather plainer +character, but the view (page 192) shows the design first made. The +frontage, or width of ground for each house, was + +[Illustration: Ground-floor plan.] + +60 feet, the depth 150 feet. The character of the building was of the +domestic style of the reign of Henry VII., and the accommodation it +afforded is given in the several plans. The ground plan shows two large +rooms _D_ and _E_, the drawing and dining rooms, which can easily be +opened into each other by sliding back the inner doors into the +partition; _C_ is the library, with a book-room leading out of it. _B_ +is the staircase, of a size rather larger than that generally allowed in +London houses. Very often, sufficient attention is not paid to this +highly important part of our dwellings by builders, nor full space +allowed for it. A + +[Illustration: One-pair plan.] + +good staircase should have, at every six or seven steps, a landing of at +least 2 feet 6 inches in depth. Where winding stairs are used they +should have a good sweep; the tread, in the centre, should be 1 foot in +width, the riser never more than 6 inches in height--less even would be +better. It is also of considerable importance in a staircase that the +height of the steps in the various flights should be the same. Some of +the most costly and important of the builders’ houses in London, erected +on highly rented land, have the staircases so confined that these, an +architect’s well-known rules, are wholly put aside. Staircases with +risers of 6 inches in height from the ground to the one-pair floor, +increased to near 7 inches to the two-pair, the latter flight containing +probably 30 steps in a straight line without a landing, render a house +almost uninhabitable. + +[Illustration: Attic plan.] + +A servants’ staircase is a most desirable addition to a large house. +The present building was not considered of sufficient importance to have +one. It was proposed to be placed between the tower and the dining-room, +but it was rightly considered that the two staircases should be put +together so that the + +[Illustration: Basement plan.] + +landings of each, on every half space, should be on the same level, +separated only by a door, and giving the servant immediate access to +every floor of the house. A position between the library and staircase +would have been most proper, but there was not sufficient width; it +would have interfered with the kitchen, and would have made too +intricate a plan, which, for houses to be erected on leasehold land, is +objected to by builders unless directed by the party purchasing. + +[Illustration: Section of roof to larder.] + +[Illustration: Section of steps to garden.] + +With a servants’ staircase follow a large housemaid’s closet, sink, &c., +which must always be provided where possible. The plan of the one-pair +shows three large bedrooms and one dressing-room, with the tower room, +which was intended either for a morning room, a + +[Illustration: The side elevation.] + +school room, or a boudoir. There is a large conservatory on the +principal landing of staircase, and a closet leading out of it. A +good-sized aquarium with a regular supply of water could be easily +arranged in the centre of the conservatory. The attic plan contains +three large rooms for servants, and the tower room was to be used as a +smoking room, or as a play room for the children. + +[Illustration] + +The basement contains a private breakfast or dining room, _T_, with a +large store closet, having an opening one foot in height filled with +perforated zinc opposite + +[Illustration: Half elevation of small library.] + +the window of the passage; _N_ is the housekeeper’s or servants’ hall; +_B_ the kitchen 23 feet by 18 feet, with _G_ the scullery behind, _H_, +_H_, the larders, _S_ position for a lift, and _L_ a place for coals. +The basement stairs should have been on the side adjoining kitchen. + +[Illustration] + +It is a difficult thing in this class of house to confine the smell of +the cooking to the kitchen. An endeavour was made here to effect it. The +kitchen had no direct entrance to the body of the house, the servants +going through the passage, by the side of the area, from which it was +well ventilated, to get to the common staircase. This had a window at +the top, not shown in the plan. The small section on page 197 shows + +[Illustration: Elevation of hall screen.] + +the mode of ventilating the larder; _a_ is a slab of slate let into the +wall, _b_ a pane of perforated zinc, _c_ iron bars glazed with thick +glass, so that whatever the weather, there would be full ventilation, +the fresh air always entering and the confined air leaving the room. +This is the usual mode, in large houses, of covering the external +passage leading from the kitchen to the house. + +[Illustration: Details of hall screen. (See page 206.)] + +The general view shows the front and side of the two houses. The +elevation of the side front is given on page 198. + +[Illustration: Plan and elevation of entrance garden-gate.] + +The three small illustrations on page 199 are various details of the +exterior. One is a part section of the roof of turret, showing the +timbers and the vane at top, an elevation of one half the upper gable +window, and half of one of the small front windows; these portions of +the exterior, together with the arcade at the entrance and balustrade +over it, were to be executed in stone. + +The Gothic window by the side of the arcade is an example from Berstead +Church, in Kent. The gentleman for whom the design was made caught a +sight of it in the “Architect Sketch Book,” and required it might be +introduced as a small window in his library. An elevation of one half of +it is given on page 200. + +The general section (page 201) is of one of the houses taken through the +drawing room, the staircase, and the library. The staircase is well +lighted, having a conservatory and closet on the first half-space +landing. The ceiling of the staircase is finished with groining and +pendant flowers; the stairs have a plain Gothic iron-railing, painted +and lightly gilt; the section shows the party-wall between the two +houses. + +[Illustration: Balustrading on garden wall.] + +The entrance is divided into an inner and outer hall, divided by a +Gothic screen in carved oak, the various openings of which, together +with the upper panels of the folding doors, are filled with embossed +glass. This keeps the house warm, and prevents cold draughts from +entering; a second glazed screen separates the inner hall from the +staircase; the effect of the screens when there is plenty of light +behind is extremely pleasing. It was for such a screen that the +door-handle illustrated at an earlier page, as a vignette, was made. + +[Illustration: Balustrading in front of house.] + +Of the first of these screens, that in the hall, only the larger lower +and upper panels were to have white embossed glass; the smaller openings +were to be filled with richly coloured embossed glass; a small elevation +of the hall screen, and portions of its details to a larger scale, are +given on pp. 202, 203. + +The chimney pieces were proposed to be of cast iron, and to be painted +and slightly gilt. + +The expense of construction of the pair of villas would be nearly about +7800_l._ + +[Illustration: Front.] + +Cut-wood canopy to a door at West Brompton, a short distance beyond the +Metropolitan District Railway. It has been constructed about twenty +years, and stands well. + +[Illustration: One of the side trusses or corbels.] + + + + +_DESIGN No. 18._ + +DESIGN FOR VILLAGE SCHOOLS, AND READING ROOM. + +[Illustration: Front elevation.] + +[Illustration: Plan.] + + +This building is about to be erected in the county of Norfolk. It will +contain a boys’ and girls’ school, with two rooms each, forming a +parlour and bedroom, for the master and mistress; _a_ is the entrance +porch, _d_ and _d_ are the two school rooms, and _e_ and _e_ the living +rooms. The centre of the building forms the reading, lecture, and +meeting-room for the village. The small room _c_, leading out of it, is +a book room for the secretary or attendant; _b_, _b_, are open yards; +each master and mistress have private entrances, and yards to +themselves. The construction is of the cheapest kind; on a brick +foundation, quarter framing is placed, filled in with brick, and +plastered inside and out. The columns in the centre are trunks of trees, +standing on stone slabs, and each has a flat stone capping. This +building complete should not cost more than 850_l._ It is much to be +desired that every village should have a room set apart, distinct from +any public-house or tavern, where newspapers and books can be provided, +lectures given, and various entertainments supplied the villagers. + +[Illustration] + + + + +_DESIGN No. 19._ + +A ROMAN CATHOLIC CHAPEL AND SCHOOLS. + +[Illustration: Elevation of front.] + + +This design was made for a building intended to occupy a site leading +from the High street in a + +[Illustration: Plan of chapel and schools.] + +very fashionable district, immediately out of London. The ground was +rather confined in area, and from its position, being behind the houses +in the street, it could only be approached by a narrow avenue between +two of the houses. + +[Illustration: Transverse section of chapel.] + +The plan was an endeavour to make the most of the space afforded; the +entrance to the church, a small tower with an open decorated spire, was +placed at the end of the avenue of approach; _a_ _a_, are the schools, +which have immediate access to the space before the altar; _b_ _b_, the +rooms for the teachers or priests, had staircases on each side leading +to rooms above. These buildings were kept low, so that as much light as +possible should enter from the window above the altar. An elevation of +the front of the chapel is given in our first illustration. The section +looks towards the chancel, showing the chancel arch and pulpit in front, +the altar, and the decorated window over it; the latter contains a large +cross formed of white embossed glass, on a richly coloured glass ground. +Above is the elevation of the porch, proposed to have been placed at the +entrance of the avenue of approach. + +[Illustration: Porch in the High street.] + +[Illustration] + + + + +_DESIGN No. 20._ + +DESIGN FOR A BATH HOUSE, AND SUMMER ROOM. + +[Illustration: Perspective view.] + + +This design was made for a building intended to occupy a prominent +position in a park in Kent; it would have commanded an extensive view +over the Weald and surrounding country. The lower ragstone foundation +already existed, being portions of an ancient building which had +formerly stood there, and this held a fine spring of pure cold water, +which runs down into a lake at a lower level in the park. Occupying a +position in which it could be well seen, it was desirable that the +building should form a picturesque object, and to effect this the Old +English style of wooden architecture was chosen. + +[Illustration: One-pair plan. Ground-floor plan.] + +The view shows the back and side of the building, with the entrances, +these being here less exposed to the weather than if they had been in +front facing the open country. The ground-floor plan shows the cold bath +with a small dressing-room; the bath was octangular in form, and +fifteen feet in diameter. A small iron circular staircase led to the +upper room; this was eighteen feet in diameter, with a domed ceiling, +the sides of the room having iron + +[Illustration: Side elevation.] + +casemented windows, and over them a bold ornamented plaster frieze; the +fire-place was adorned with oak carving. The fine prospect from the +windows of the Weald, and the lake and park scenery in front, would +have made this an extremely pleasant room. + +[Illustration: Section.] + +The lower story of the building above the ancient ragstone foundation +was of brick, nine inches in thickness, with quarters on the outside, +brick-nogged; carved oak inch plank was then to be screwed to this +quartering, and the inner spaces filled with cement; this it was +proposed to dust with small bits of coloured + +[Illustration: Entrance.] + +glass. The building was intended to be strongly constructed, as it was +to stand on an elevated site in the most exposed situation in the park. +The entrance, of which an elevation is given above, had two carved oak +columns, having iron rings fixed to them. A small shield of arms was +above the entrance; the whole of the oak was to be stained and +varnished. A portion of the exterior is given on a larger scale. The +upper story was in quartering, brick-nogged, faced externally with +carved oak planks and plaster, and plastered inside as below. The small +plan, _a_, in the illustration, shows this; _b_ is an elevation of one +of the carved oak trusses, and these were carried right round the +structure. + +[Illustration: Portion of exterior.] + +An elevation of one of the small gables is shown in the next cut with +its richly carved barge-board, and turned pendants and finials. + +The plan of the iron casements is given, p. 220; _a_ is the frame fixed +to the wood quartering, _b_ the loose frame fixed to receive the loose +frame, _c d_ is the glass, and _e_ the hinge and staple; a +representation of the small turn-buckle is shown, and lastly the plan +of the flooring over the bath; the joists, each 9 inches by 4 inches, +and 9 inches by 2½ inches, were strapped down + +[Illustration: Elevation of one of the small gables.] + +[Illustration: Plan of iron casement.] + +eight or nine inches into the wall, where necessary. + +[Illustration: Turn-buckle.] + +[Illustration] + + + + +_DESIGN No. 21._ + +DESIGN FOR A SMALL COUNTRY VILLA. + +[Illustration: Perspective view.] + + +This mansion was erected in Devonshire, for a gentleman having a +numerous family. It consisted of three floors:--a basement story, ground + +[Illustration: Ground plan.] + +floor, first floor, and attic. The picturesque style of the time of +Henry VII. was adopted, and the construction + +[Illustration: Plan of first floor.] + +was of brick with stone ashlar facings for the walls. The decorated +portions were of stone; but red + +[Illustration: The attic floor.] + +brick and stone, or red brick alone, would have been equally +appropriate. The red brick with compo-dressing + +[Illustration: Basement plan.] + +and enrichments would have been the cheapest. Considerable attention was +given to obtain a picturesque character for the building, and the +chimneys were so placed as to obtain one. The height to the top of gable +was 38 feet 6 inches. The ground floor, given on page 223, contained two +rooms, _A_ and _B_, each 28 feet by 16 feet, without the bay. The porch +was enclosed from the hall. + +[Illustration: View of entrance porch.] + +The upper floor had five rooms, intended merely as sleeping apartments. +All had fireplaces except the centre front one, and that is shown +supplied with a flue pedestal, a contrivance by which an upper room + +[Illustration: The front elevation.] + +can be warmed by one of the fireplaces in a lower room, which prevents +waste of heat. The attic floor had two good-sized rooms without +fireplaces, for the servants. + +[Illustration: The side elevation.] + +The basement floor had good accommodation. One large room, that marked +_n_, was for the housekeeper, with space for a bed. It could be used as +a private breakfast or dining-room; _b_ is the kitchen, 20 feet by 15 +feet 6 inches, with a large space in the bay. The scullery _g_ adjoined +the kitchen; _h_ is the larder, _q_ the wine cellar, _i_ the beer, and +_l_ the coal cellars. + +[Illustration: Transverse section.] + +Another design for the porch is given on page 225; this is of a more +decorative character than that seen in the view. It had on it the shield +of arms of the proprietor. It was to be constructed entirely of stone, +the portion above the archway being richly carved. The front and side +elevations of the exterior of the building, of which representations are +given, show the extreme simplicity of the design. + +The transverse section (page 228) shows the interior; this is taken +through the kitchen and scullery in the basement, looking towards the +fireplace and through the living rooms and attic above. + +[Illustration: Plan of additional offices.] + +This design has, with various alterations, been adopted in several +places for different parties, stripped entirely of its ornamental +character, and merely having four walls and an overhanging roof, in +plain cottage style. It forms the cheapest model that can be given for a +villa. One was erected a few years back that cost considerably less than +eight hundred pounds. It had the basement floor but no attic, the upper +rooms being heightened by having an open collar-beam roof. One addition +made to it when it had no basement was in extensive external offices, as + +[Illustration: Elevation and section of external balustrade and angle +buttress.] + +seen in plan on page 229: _f_, the kitchen, is 18 feet square, with its +scullery _g_, 18 feet by 10 feet; _h_ is the larder, 9 feet 9 inches +square, and _k_ the dairy, of the same size, with a northern aspect. The +two small rooms by the side, one marked _n_, were intended for a study +or school-room, and a footman’s or butler’s pantry, with a separate +entrance and an outlet from the house into the garden; the servants’ +closet, and boot and knife cleaning place, were at a little distance +away, together with the place for coals and wood. Some details of the +exterior on a larger scale are given above. + + * * * * * + +The vignette shows the best proportion that can be given to stairs +intended for a public building; the rise of each step being 6 inches, +the tread 13 inches. In private dwellings the tread is made smaller by +half an inch. When the rise can be made 5¾ inches only, much greater +ease can be obtained in the ascent. + +[Illustration] + + + + +_DESIGN No. 22._ + +A VILLA IN THE OLD ENGLISH WOODEN STYLE. + +[Illustration: Perspective view, garden side.] + + +This structure was intended to bear the resemblance, as near as +possible, of a first-class old English half-timbered house, the +post-and-pan dwelling of our forefathers, which seems to have been an +especial favourite throughout the country. It was easily constructed at +a time when timber, chiefly chestnut, was far more plentiful than at the +present day. Such were the most picturesque of all our domestic +buildings; the timber cottage, with its projecting windows, and highly +ornamented barge-boards, is found in every village. The large houses in +Cheshire and Shropshire, which still remain, prove that such +constructions are as lasting as brick and stone, provided the timber is +felled at the proper time, and thoroughly seasoned before it is made use +of. Houses of this kind have been seen to rock and bend in severe +storms, while adjoining buildings, comparatively strong erections, have +been blown down, this was known to have been the case with Park Hall, +near Oswestry in Shropshire. Such buildings were called by different +names, as will be shortly described in detail, according to the +materials of which they were composed. + +The design afforded on page 234 was taken from an elevation given in +“John Thorpe’s Sketch Book,” one of the richest illustrations of wooden +architecture. It was to have been erected in a Kentish village, with + +[Illustration: Front elevation.] + +its front towards the road, on high ground, the road looking down to a +wide extent of open country. The garden side of the house commanded a +fine prospect. Advantage was taken of the steep descent of the ground to +build the kitchen and scullery, with a day room for the children, apart +from the main building. + +The plan of the basement is given on p. 236; _a_ is the kitchen, 18 feet +square, the scullery _b_, was at the side, and the larder, _c_, at its +side; _d_ is the place for coals, a passage _e_, leads to the day room, +_f_, for the children; _g_ is either the cook’s room, or a sleeping room +for a man servant; _h_ is the passage up to the house, _i_ is the dry +larder, _j_ is the butler’s pantry, with a strong room for holding +plate; this was intended to be a sleeping room. _k_ is the wine cellar, +_l_ the back staircase which went from the lower floor to the attic, _m_ +is the principal staircase, and _n_ a place for stores. The roof of this +lower building was to be formed with flat-girders, and brick and tile in +cement, making a terrace-walk above; the chimneys were taken up from the +lower building to the higher one, as shown in the side elevation by the +dotted lines. The kitchen, and the whole of the basement, was to be +paved with the best Seyssel asphalte. It is laid on a solid foundation, +on a thickness of ground lime. The objection to the black and British +asphalte for the interior of rooms, is that a fine dust rises from it, +which in sweeping, affects the eyes of the occupants of the apartments. + +[Illustration: Basement plan.] + +The plan of the building was not intended to be in the old style, but to +be arranged, as far as possible, according to modern notions, without +any great hall, or stone screen within it. A noble stone porch was + +[Illustration: The ground plan.] + +placed in front, resembling slightly an ancient archway. The hall is 20 +feet in length by 12 feet in breadth. The breakfast and eating rooms, +_b_ and _c_, 20 feet square, are on each side; both have bay + +[Illustration: The first floor.] + +windows, with an exterior colonnade and terrace. The drawing-room, _d_, +and the library _e_, are each 18 feet square; both have bay windows, and +the angular window peculiar to the Elizabethan architecture. These +windows open on to the terrace. _f_ is the + +[Illustration: The attic floor.] + +gentleman’s dressing-room, _g_ is the principal staircase containing the +servants’ staircase, _h_, within it; _o_ is the lift. At the back of the +building is a colonnade commanding a view of the country, and beneath +is the terrace, with its balustrading and steps to the garden. + +The one pair floor contains only four large bed-rooms _a_, _a_, and two +dressing-rooms _b_, _b_. One dressing-room, that in front, could have +been converted into a pleasant morning room; each of the two principal +bedrooms in the front could easily have been formed into two; a small +dressing-room taken out of each. Terraces were in front of these two +rooms, the small circular bow-window opening on to them; the principal +staircase only led to this floor. The servants’ staircase led to the +attics. + +This floor contained three large servants’ rooms, with two small octagon +rooms. It was proposed to form the front rooms into one, with a circular +roof, covered with scroll work and flowers, in the form of a +garden-bower, similar to the gallery ceiling at Burton Agnes in +Yorkshire. In this ceiling there are about a dozen varieties of flowers +and bunches of leaves, which were placed in a scroll-stem in various +positions so as to vary the pattern. The flowers and leaves could have +been painted in their natural colours. These rooms, however, could not +be spared, so it was proposed to turn the two octagon rooms into what +may be termed garden-bower rooms, and to attempt growing dwarf +fruit-trees in them, as practised in Germany. The roofs of these rooms +were to be constructed in iron and glass, and covered internally with +wire trellis-work, the warming to be effected with flue pedestals, two +in each room, one taking the kitchen flue and the other house flues, the +corresponding pedestal in the other room to have the remaining flues in +that side of the building. The illustration on page 242 shows a plan and +section of one of these rooms. + +The tower in the centre of the back front contained a cistern for the +supply of the house; the closets beneath could have Moule’s earth system +applied to them, the earth to be brought up by the lift _o_, dried in +the bower rooms, and deposited in an enclosure in the tower room from +which it could descend to the closets. + +It may be here remarked that the closets throughout the whole of these +designs are in such a position that the dry-earth system could be easily +applied to each. In cottages that have the flues in an external wall, +and where this system is introduced, the earth deposit should be placed +against the flue, and the closet adjoining. + +The lift _o_, shown in the plans, connects every floor with the +basement; it permits coals and other heavy articles to be lifted up, +receives the speaking tubes leading to the basement and children’s +day-room, and any bell wires that may be required. + +[Illustration: Plan and section of garden bower-rooms.] + +[Illustration: Side front.] + +[Illustration: Section through lower part of building.] + +The first elevation given shows the front of the building, having a +length of 87 feet. Although the structure was to be an imitation wooden +house, the timber was merely intended to be an appendage to the +brickwork. The exterior walls were to have been two bricks and a half +thick on the ground-floor, two bricks above. The wooden posts and pans +were let into the external half brick, and well built in, the ornamental +woodwork in inch oak screwed to the wood-quartering, the space between +them filled with plaster, with an ornamental pattern-stamp on it, and +the columns and entablature were of oak. + +The next elevation given is that of the side front, with its gable, in +the centre of which is a small circular window, opening on to a terrace +over the colonnade; the scroll at the side is a construction to permit +the flues from the lower portion of the basement to ascend the tower +walls; flue sweeping doors could be placed there. A section of the lower +part of the building is given, taken through the centre of the house, +showing the principal staircase and the external steps to garden. The +perspective view shows the garden front. + +Wooden houses were once the chief kind of construction in England. The +great fire of London would not have been so serious in its results if +such constructions had not been almost universal. + +In many parts of England these houses have other designations. There is +a mode of building peculiar to each, and adapted to the kind of material +that the districts offer. In Cambridgeshire, for instance, many of the +houses are formed entirely of “Clunch,” a kind of indurated chalk marl, +of which there are extensive quarries at Roach, near Burwell. Others are +of gault, a local term for the blue clay which lies below the gravel of +Cambridgeshire, and forms the immediate substratum in the low ground +about it. This is beaten up with chopped straw, then formed into blocks +of large size, and dried by the sun. A writer in the “Cambridge +Portfolio,” in his remarks on what he terms the inferior style of +domestic architecture, says: “Many of these houses have the lower floor +formed of stone or clunch, in which a framework of wood is raised, +consisting of studs and wall-plates with strong posts at intervals and +some cross pieces as a tie. The joists of the upper floor are laid in +the wall-plates, and project about a foot or eighteen inches beyond the +wall beneath. The smaller timbers have tenons which are fitted into +mortices in the larger, and secured by wooden pins. The interstices are +filled either with durable boarding, double lath and plaster, clunch or +bricks, laid level or obliquely. The better houses of this description +have gables, with ornamented barge-boards with hip-kobs and corbels or +brackets, more or less carved, under the ends of the principal timbers +of the upper floors.” + +The barge-board is sometimes called berge-board, verge-board, +parge-board. It was a board fixed to the ends of the gables of timber +houses, to hide those of the projecting timbers of the roof, and throw +off the wet. They were generally richly carved and very ornamental. +Occasionally some of these of the date of the 14th century are met with; +those of the 15th and 16th, many of the Elizabethan character, are very +common. We have few of the better class of these half-timbered houses, +in which the decorative labour of our ancestors was most conspicuous, +remaining in our towns and cities; but in Edinburgh, York, Chester, and +Newcastle there are still a sufficient number of specimens to prove the +truth of these remarks. In the towns of Normandy and the Netherlands +numerous buildings, and indeed whole streets, may be seen which still +exhibit the perfect counterpart of our old Cheapside, as it appeared +before the great fire. Troyes, the capital of Champagne, still retains +its ancient buildings, and the chestnut-timber houses of Caen, which +were raised, or restored, during the period in the 15th century when it +was in the hands of the English, show us what our cities once were, and, +of course, the extent of our improvements. London formerly possessed the +richest examples. At the corner of Chancery Lane, in Fleet Street, +there once stood a five-storied house in timber, each story projecting; +the whole of the timber and the gables being richly carved. In this +house once lived the celebrated Isaac Walton. + +The other most common application of this kind of house is +“half-timbered.” In some counties the woodwork is not in patterns. It +appears that when a greater degree of elegance was required the uprights +and beams were carved, or the houses were pargetted, that is, coated +thickly with plaster, in which embossed or indented ornaments were used. +This kind is very common in nearly all the English counties. The origin +of the word _parget_ appears to be doubtful. We find _parget_, +substantive, and _pargetting_, _pergetting_, and _pergining_, verb, in +old writings, of various kinds of plaster work, used inside and outside +of houses, particularly about the time of Elizabeth; the word _parget_ +was used as far back as 1450. + +The half-timbered houses generally had the woodwork (studs and posts) +painted black or tarred, with the intermediate spaces of brickwork +whitewashed. Many of these houses have been plastered over in modern +days. In London several of them have been refronted, and we lose sight +of the woodwork, and imagine we see fresh-built houses. + +In some parts of the country we see numbers of cottages built of mud +mixed with chopped “haum.” This is commonly barley stubble. The word +appears of foreign derivation; in High and Low German, Dutch, Danish, +Swedish, halm; Ang.-Sax., healm; Icelandic, halmr, stubble. + +The haum is used to give the mud strength. These houses, previously +described in connexion with concrete erections, were built about a yard +in height at a time; each part was allowed to dry before further +addition was made. The openings for windows and doors were cut when the +wall became firmer; the walls were then smoothed off a little, and +whitewashed. These houses are said to be very strong, and to last for +many years. In the Midland Counties they seldom exceed one story in +height, but in Devon, Somersetshire, and Hampshire, this composition is +a common material for gentlemen’s houses two and three stories in +height. It is there called _cob_, the derivation of which word remains +in obscurity, unless it is a short term for _cobble_, or a coarse clumsy +performance. A cob-wall was one composed of straw and clay beaten up +together. + +In Kent, the half-timbered houses are called wood-noggin houses, because +the pieces of timber were called wood-nogs. Nog is properly a wooden +brick, which is inserted into walls to hold the joiners’ work; nogging +is the term for the brick-filling partitions between the quartering. + +Sometimes, but very rarely, there is no projection of the upper story +over the lower one. These openings in the windows are common, and all +have richly carved barge-boards. + +In some of the Kentish villages there are several noggin houses +plastered over, with a ground in which flowers and patterns are worked +in another colour. Some have a red ground and white flowers, others a +black ground and white flowers. The wooden frame is always built on a +substructure of brick or stone, called the “under-pinning.” Numbers of +the houses in Kent are covered at the sides with weather tiles; here the +brickwork is carried up to the first floor, in which the wooden +framework is placed, and laths nailed across, in which the tiles are +hung; the shape of the tile varies. Some are diamond-shape, and others +finish with circular ends. + +In Warwickshire, Oxfordshire, and Gloucestershire, we meet with +half-timbered houses, which are there called brick pane houses, but very +few of them are worked in patterns. + +In Northamptonshire the half-timbered houses are commonly called studded +or framed houses, because the framework is put up before the spaces are +filled up. The studs are upright between the posts, which are larger +than the studs. There are also “wattle,” and “dab-houses,” and sheds, +which are constructed of studs, sills, and wall-plates. Between or into +the studs are laid, horizontally, plaited or wattled strong hazel twigs, +or other underwood, and on both of these a thick coat of plaster or mud +is laid or dabbed. A wattle is a hurdle made of four or five upright +stakes, and hazel branches woven closely and horizontally into the +stakes--Anglo-Saxon, _watel_, a hurdle or covering of twigs; in some +counties they are called “flakes,” merely from their being thin and +flat. In Sussex and Devonshire, and in the South of England, wattled +hurdles are called “Raddles.” In a little Dictionary for children of the +date of 1608, we find “a hartheled wall or ratheled with hasile rods or +wands.” The word _hartheled_ is the same as hardilled, and the +Dictionary spells hurdill _hardill_, Ang.-Sax., _hyrdel_, Low Germ., +_hoidt_, Dutch, _horde_. Germ., _hurde_. _Ratheled_ is from the same +derivation as _raddled_. What in one county is “wattle and dab,” is in +another “raddle and dab.” _Dab_ is here used as a substantive, but it is +properly a verb--to dab on, to sprinkle, or bespatter. In French, +_dawber_, or _dober_, to smear, hence “to daub.” These mud cottages are +very common even in the richest counties of England. In South +Northamptonshire are red sandstone houses frequently possessing stone +mullions in the windows, and dripstones. + +Further northwards, as in Shropshire, Cheshire, and Lancashire, we find +a better description of the half-timbered houses in many of the manor +houses built there. Lord Liverpool’s seat at Pitchford, near Shrewsbury, +illustrated by Habershon, is a fine and a very large example, although +the pattern is not so elegant as many of them. Joseph Nash and other +artists have made the best of these familiar to us by their +publications. Cheshire is the county most abounding in them. In the +southern part of the county of Lancashire they are called “post-and-pan +houses.” Post is an upright piece of timber, used in various ways, such +as gate-post, door-post, a jamb-lining. The word “post” is found in many +languages, commonly meaning an upright. In Ang.-Sax., _post_, a post, +Frisic, _post_, a beam, German, _pfost_, French, _poste_, Latin, +_postis_, a post. + +“Pan,” in Lancashire, certainly means a beam, and is the common name for +it (beam not being used), although we do not find the word _pan_, a +beam, noticed in most of the glossaries as it deserves. In the Craven +Glossary, “_post_ and _pan_” a building of wood and plaster alternately. +_Pan_, totally to fit: “Weal and woman cannot pan, but woe and woman +can,” is the complete old English proverb, in which the word pan is +used. In the glossary of Tim Bobbin, “Pan” means to join or agree. In +Hunter’s Hallamshire Glossary “pan,” properly in building, is the +wall-plate--the piece of timber that lies on the tops of the posts, and +on which the balks rest, and the sparfoot also. _To pan_, to apply to +closely. In Brockett’s North Country work, _pan_ means to match, agree. +The idea of a pan for a beam would seem to be a shortened word for span, +but it comes, it is said, from the old word _pan_, denoting to close or +join together, to match, fit, apply, agree. From this, or the origin of +which, came pane, or panel of wood, or wainscot, pane of glass. +Ang.-Sax., _pan_, a piece, hem, plait; pan hose, patched hose, because +pieces are fitted into them. + +In Warwickshire and Oxfordshire they call a post-and-pan house a +brick-_pane_ house, because the wood-work divides the building into +rectangular spaces, filled with _panes_ of brickwork. + +In Forby’s Suffolk Vocabulary _pane_ is a division of work in husbandry, +also strips of cloth. The slits in Elizabethan dresses are called +_panes_. Du Cange, in his _Glossarium Mediæ et Infimæ Latinitatis_, has +_panna_, a carpenter’s word, signifying a square piece of wood of 6 or 7 +fingers on a side, which being placed on the rafters of the roof, and +retained by wooden supports, carries the asseres. The “Glossary of +Architecture” construes a pan as a lathe; but of this there seems some +doubt. + +There is a remarkable example of the word _Panna_ in the Close Rolls of +the 9th of Henry 3rd, membrane 5, page 65, though the word in the +printed copy is erroneously spelt _pauna_. + +[Sidenote: De postibus et pannis datis.] + +Mandatum est Hugoni de Neville quod habere faciat Baldivinium de Veer +duos postes et duos _pannas_ in bosco nostro in Deresle, de dono nostro +ad se habergandum apud Thrapston. Teste rege apud Westmonasterium XV die +Octobris, anno nono.--That is: The King orders Hugh de Neville to give +Baldwin de Veer two _posts_ and two _pans_ out of the Royal forest of +Deresley to build a house at Thrapstone.--“Habergandum” is from +_habergo_, to build a house, which seems to be derived from the old +German _habe_, goods and possessions, and _bergen_; in Ang.-Sax., +_boergan_, to defend, keep, and protect. _Habe_, goods, is from the +German _haben_, Ang.-Sax., _habban_, to have and possess. In Du Cange we +find “Habergagium vel habergamentum, domicilium domus,” that is, a place +to keep goods in. This account is given us by the writer in the +“Cambridge Portfolio,” who adds, “That it is probable the house alluded +to in Thrapstone was merely a shed.” He gives a great many derivations +from the word _pan_ in French. He says that _pan_ or _post_ is a _post_ +and _pan_ wall, perhaps with boarding in the panes instead of brick or +stone. A post-and-pan house therefore signifies one formed of uprights +and cross-pieces, and this appears to be the most rational name for +them. The patterns of the woodwork are sometimes extremely elegant; at +Park Hall in Shropshire, one represents balustrading intermingled with +quatre-foiling, while the plaster ceilings inside the building are of +excessively rich character. In many of the old post-and-pan houses, the +windows are between every post, running the whole length of the house in +each story, rendering a remark of Lord Bacon’s true, that in such houses +you did not know where to become to get out of the sun or the cold. They +are now sometimes called “bird-cage houses,” from the effect at a +distance. Some of these old mansions had the hall extending to the roof, +and this was carried down to a very late period. At Kirby in +Northamptonshire, a seat of the Lord Chancellor Hatton, built by the +architect, John Thorpe, Inigo Jones altered the timbers of the hall roof +and gave them an Italianized character. He was, previous to his visit to +Italy, one of the chief and most celebrated masters of the then +fashionable Elizabethan style, which was carried down to a later period +than is generally supposed. + +The superior class of wooden houses were for the gentry, the wattle and +dab houses for the hind. This cottage, then, must have been little +better than a miserable shed. Cottages still exist in the north of +England, amid the northern counties, that are bad at the very best. The +tenants have to bring everything with them, partitions, window-frames, +fixtures of all kinds, grates, and a substitute for a ceiling. Certainly +the improved concrete cottage, if it could be erected at a small +expense, would be a great advantage to them. Its partitions, and even +its roof, the latter covered with slate, might be securely formed of +strong hurdles, and a cistern for water easily placed just below it. The +walls, if covered with a good Portland cement face, will last for many +years, and, if the roof be so formed as to protect them, for warmth, +comfort, and cleanliness such cottages are unsurpassed. + +It is to be regretted that the combination of workmen forming the +various Trades’ Unions, has so raised the price of labour that it has +reacted against themselves, and the workmen’s houses, roomy, and formed +of sound, lasting materials can no longer be constructed at a cost that +would allow a fair percentage on outlay. + +Lord Bacon paid particular attention to building, and he had several +fine mansions. He received his Sovereign at one, _Gorhambury_, who on +her remarking its great size, said, “It was not that the house was too +big, but that her Grace had made him too big to inhabit it.” His essay +on building gives such a complete picture of what the nobleman’s house +was in those days, that it is here quoted. + +“First, therefore, I say you cannot have a perfect palace, except you +have two several sides: a side for the banquet, as is spoken of in the +book of Esther, and a side for the household; the one for feasts and +triumphs, and the other for dwelling. + +“I understand both these sides to be not only returns, but parts of the +front; and to be uniform without, though severally partitioned within; +and to be on both sides of a great and stately tower in the midst of the +front, that, as it were, joineth them together on either hand. I would +have, on the side of the banquet in front, one only goodly room, above +stairs, of some forty feet high: and under it a room for a dressing or +preparing place, at times of triumphs. On the other side, which is the +household side, I wish it divided, at the first, into a hall and chapel +(with a partition between), both of good state and bigness; and those +not to go all the length, but to have at the farther end a winter and +summer parlour, both fair; and under these rooms a fair and large cellar +sunk under ground, and likewise some privy kitchens, with butteries and +pantries, and the like. As for the tower I would have it two stories, of +eighteen foot high apiece above the two wings; and goodly leads upon the +top, railed with statues interposed; and the same tower to be divided +into rooms, as shall be thought fit. The stairs likewise to the upper +rooms, let them be upon a fair open newel, and finely railed in with +images of wood cast into a brass colour; and a very fair landing-place +at the top. But this to be, if you do not point any of the lower rooms +for a dining-place of servants; for otherwise, you shall have the +servants’ dinner after your own; for the steam of it will come up as in +a tunnel; and so much for the front; only I understand the height of the +first stairs to be sixteen foot, which is the height of the lower room. + +“Beyond the front is there to be a fair court, but three sides of it of +a far lower building than the front; and in all the four corners of that +court fair staircases, cast into turrets on the outside, and not within +the row of buildings themselves; but those towers are not to be of the +height of the front, but rather proportionable to the lower buildings. +Let the court not be paved, for that striketh up a great heat in summer +and much cold in winter; but only some side alleys with a cross, and the +quarters to graze, being kept shorn, but not too near shorn. The row of +return on the banquet side, let it be all stately galleries: in which +galleries let there be three or five fine cupolas in the length of it, +placed at equal distance; and fine coloured windows of several works: on +the household side, chambers of presence and ordinary entertainments, +with some bedchambers; and let all three sides be a double house, +without thorough lights in the sides, that you may have rooms from the +sun both for forenoon and afternoon:--cast it also that you may have +rooms both for summer and winter; shade for summer, and warm for winter. +You shall have sometimes fair houses so full of glass that one cannot +tell where to become to be out of the sun or cold. For embowed windows, +I hold them of good use (in cities indeed, upright do better, in respect +of the uniformity towards the street); for they be pretty retiring +places for conference, and besides they keep both the wind and sun off; +for that which would strike almost through the room doth scarce pass the +window; but let them be but few, four in the court, on the sides only. + +“Beyond this court, let there be an inward court of the same square and +height, which is to be environed with the garden on all sides; and in +the inside, cloistered on all sides upon decent and beautiful arches as +high as the first story; on the under story, towards the garden, let it +be turned to a grotto, or place of shade, or estivation; and only have +opening and windows toward the garden, and be level upon the floor, no +whit sunk under ground, to avoid all dampishness: let there be a +fountain or some fair work of statues in the midst of this court, and to +be paved as the other court was. These buildings to be for privy +lodgings on both sides, and the end for privy galleries; whereof you +must foresee that one of them be for an infirmary, if the prince or any +special person should be sick, with chambers, bedchamber, ante-camera, +and recamera, joining to it; this upon the second story. + +“Upon the ground story, a fair gallery, open, upon pillars, and upon the +third story likewise, an open gallery upon pillars, to take the prospect +and freshness of the garden. + +“At both corners of the farther side, by way of return, let there be two +delicate or rich cabinets, daintily paved, richly hanged, glazed with +crystalline glass, and a rich cupola in the midst; and all other +elegancy that may be thought upon. In the upper gallery too, I wish that +there may be, if the place will yield it, some fountains running in +divers places from the wall, with some fine avoidances. And thus much +for the model of the palace; save that you must have, before you come to +the front, three courts, a green court plain, with a wall about it; a +second court of the same, but more garnished with little turrets, or +rather embellishments upon the wall; and a third court, to make a square +with the front, but not to be built nor yet enclosed with a naked wall, +but enclosed with terraces leaded aloft, and fairly garnished on the +three sides; and cloistered on the inside with pillars, and not with +arches below. As for offices, let them stand at distance, with some low +galleries to pass from them to the palace itself.” + + * * * * * + +The vignette is an elevation, with enlarged details, of a design for a +weathercock or wind vane. In buildings where there are many on the roof, +they are sometimes seen pointing different ways, and it is of importance +they should be properly constructed. The construction necessary to +prevent these differences is shown in the two sections on each side the +elevation; _a_ is a gun-metal rod, in which is fixed the small steel rod +_b_; this moves in a piece of agate fixed in a small block of copper +_c_; the agate is marked black in the left-hand section. + +[Illustration] + + + + +_DESIGN No. 23._ + +A GARDEN SUMMER-HOUSE. + +[Illustration: Perspective view and plan.] + + +This small circular erection was designed from the express directions, +as to style, size, form, and plan, of the gentleman for whom it was +made, and who had it constructed. It was of wood, standing on a brick +foundation, with a quaint room in the centre, completely lined with +match-boarding, stained oak and varnished, the ceiling having hanging +pendants. The lead lights of the sashes were glazed with various +specimens of old coloured glass. + +[Illustration: Elevation.] + +The view and plan are illustrated at page 262; the plan shows the +general arrangements; the porch had seats on each side, and the back +portion of the + +[Illustration: Section.] + +[Illustration: Detail showing construction.] + +summer-house was enclosed for a single seat. The elevation given on page +263 shows, as well as the view, flower-pots on supports in the roof. +These were + +[Illustration: Gate to a flower-garden.] + +omitted in execution. The section shows the building as constructed; it +is taken through the porch. The interior room and the enclosed seat +behind the illustration gives the detail of a portion of the +construction. + +[Illustration: Elevation.] + +[Illustration: Section.] + +[Illustration: Plan.] + +The building had no fireplace, being merely intended for summer use; it +was placed on an elevated site, and commanded a fine view. + +No small structure can be made too expensive in construction if it is to +be placed in a beautiful flower-garden. However pretty its ornaments may +be, they are sure to pale by the side of the natural objects surrounding +it. The small gateway shown in view on page 265 was constructed entirely +in oak with a slab-slated roof. It stood at some distance from the +dwelling, to which it formed a conspicuous object, and it was the +entrance to an enclosed flower-garden. An elevation, section, and plan +of it are given on page 266. + + * * * * * + +The vignette represents an open ironwork console or holder for a +meat-jack for the kitchen fireplace: it is of French design. + +[Illustration] + + + + +_DESIGN No. 24._ + +A SMALL COUNTRY RETREAT, OR FRENCH MAISONETTE. + +[Illustration: The front elevation.] + + +This is a study for a small villa in the modern French style, one which +has lately been introduced into several buildings of domestic character +in England, the woodwork being sent from France. The + +[Illustration: Ground plan.] + +chief feature of the style is the machine-cut ornamental wood; it is of +common deal, about an inch or a little more in thickness. When placed +up, and coloured a light fawn colour or plain yellow, it is extremely +pleasing, and has the merit of being very cheap. + +The design has an ornamental iron verandah completely round two sides +of the building, with small upright standards taken through its roof, +which are + +[Illustration: Section through length of building.] + +connected together with zinc wire-work; the intention being to permit +flowering plants to grow over it, so that the front should be crowned +with flowers. The villa is only intended for summer use, being confined +in its accommodation. The ground plan, given on page 269, shows _d_ and +_e_, the drawing and dining + +[Illustration: Transverse section.] + +rooms, divided one from the other by curtains hanging on a glazed +screen; the length of the two rooms is 42 feet, their breadth 15 feet. +They are decorated gaily in French style; the room _c_ can be used as a +study, but it is intended for a sleeping room; the kitchen _f_ has a +large larder _h_, but it would be desirable if the kitchen was formed a +short distance away from the building, and connected with it by a +passage; the rooms _f_ and _g_ could then be made into a bed and +dressing-room. The wine cellar is at g, and a conservatory _i_, is +placed at the end of the building. + +[Illustration: Plan of one-pair.] + +The elevation of the front of the building and the two sections show the +general construction of the upper part of the house. This was in timber, +the flues alone being of brick. + +The plan of the upper floor shows four rooms; each of the flues is +supplied with its pedestal, so that should the house be occupied in +winter, these upper apartments could be kept well aired by the fires in +the lower apartments, without any attention from the servants. The +framing of the upper portion is correctly shown in the section copied +from the working drawing. + +[Illustration: Portion of verandah.] + +All elevation of a small portion of the verandah, showing its iron work, +is given; and an illustration to a large scale shows its ornamental zinc +guttering, and the carved wood French ornament, a section showing how +they are fastened on; and the zinc gutter placed in front is likewise +given. + +[Illustration: Elevation of zinc gutter, and cut woodwork.] + +[Illustration: Section of the same.] + +The following is a design in purely French taste for the circular top +over the entrance porch on the upper floor. + +[Illustration: Cut woodwork.] + +The roofs of buildings in this style should be covered with zinc. The +French are as much before us in their use of this metal as they are +with their cut woodwork. + +Roofs covered with zinc could be made flatter, and have a covering or +floor of boards, each board ½ an inch apart. An illustration is given of +such a construction; it has a light iron railing with a scroll + +[Illustration: Design for roofing.] + +against the brick parapet; and supports a stand for flowers. With the +absence of offensive smoke, and with the use of the flue pedestal to +supply warmth, the upper parts of our houses could easily be formed into +conservatories. + +The interior of the building was intended to be as profusely decorated +with the cut woodwork as the exterior. The staircase balusters were of a +rich pattern, the whole being stained after some ornamental wood, and +varnished. + +[Illustration: Staircase balusters.] + +The expense of constructing such a building would be 2450_l._ + +In this style cut-wood decoration the French certainly excel us. Some +English examples, very common in our railway stations, are shown below. +The most ornamental is a pattern used by the author some few years ago; +a rose is introduced to cover the fastening of the cut pattern to the +fascia behind. + +[Illustration] + +We have in England a carving-machine, known as Irving’s patent, that was +a few years since much worked at a manufactory in Pimlico by Mr. Pratt +of Bond Street. At one time it bid fair to exert a most important +influence upon the production of this kind of cut-wood decoration. It +could make such carvings with the greatest ease and rapidity, whether in +stone or wood. The machine was a simple drill in a moveable arm, worked +either by steam or a hand-wheel, on a moveable table; the combined +motion rendered it capable of carving any form, however intricate, from +the largest Gothic window-head, to the smallest screen. At Pimlico it +was under the architectural superintendence of R. W. Billings. It is +still used, together with Jordan’s patent for carving, at Lambeth. + + * * * * * + +The vignette gives a pattern for cut-wood balustrading. + +[Illustration] + + + + +_DESIGN No. 25._ + +AN ELIZABETHAN VILLA. + +[Illustration: Perspective view.] + + +This design was made a few years ago for a gentleman who was a great +admirer of our old English architecture, and who desired to have a + +[Illustration: Ground-floor plan.] + +dwelling with its chief characteristics, both internally as well as +externally, but with all modern arrangements. He intended to purchase a +piece of land in the neighbourhood of London for the purpose of +erecting the structure upon it. Producing the design was a labour of +love to us both, and many a pleasant evening we + +[Illustration: Balustrading of staircase.] + +spent together in studying the details as to what we should like to have +in each room, without troubling ourselves about what the expense would +be; unhappily he did not live to carry out his intention, and the +drawings were laid aside. + +[Illustration: Section of hall.] + +The exterior is a study from the celebrated building, Rushton Hall in +Northamptonshire, erected in the + +[Illustration] + +reign of Elizabeth, by Sir Thomas Tresham. On the estate in the forest, +about a mile from the house, is that curious and unique building, the +Triangular Lodge,[B] which served as a secret place of meeting for the +conspirators of the Gunpowder Plot. + +The ground plan shows only a small and single staircase _b_; +considerable discussion took place upon this; the great staircase was +first planned in the hall _a_, but a billiard-table was imperative, and +the hall alone + +[Illustration: Elevation of hall fireplace.] + +could receive it. The smaller staircase was made ornamental, with carved +oak balustrades having a + +[Illustration: Details of hall fireplace.] + +small brass ornament between, for the children to lay hold of in getting +upstairs. + +The hall was to be wainscoted all round; the illustration on page 283 +shows one side, with the entrance into the dining-room; a section of the +moulding of the panels is given on page 283 of full size. A gilt +decoration was to have been put in each panel, as shown. An ornamental +plaster frieze, containing shields of arms + +[Illustration: Hall stove.] + +which were to be emblazoned, came over the panelling. An elevation of +the fireplace, to have been made in Caen stone, with its details on a +large scale, is given in cuts on pp. 284, 285. + +[Illustration: Portion of hall ceiling.] + +The fireplace is shown with fire-dogs to burn wood, with its iron +fire-back; but this was objected to, and + +[Illustration: Section.] + +the stove was selected; my friend having great interest in coal, +preferred it to wood. + +[Illustration: Dining-room ceiling.] + +The illustration on page 286 is a portion of the hall ceiling, copied +from a celebrated example of the time of Henry VIII. To illustrate every +room or give only one-third of the drawings made for this design would +far exceed the limits the present volume allows. Each of the three rooms +on the ground floor had + +[Illustration: Pendant.] + +decorated chimney-pieces, and carved architraves and panels to the +doors. The section shows the height of the rooms. The dining-room _e_ +(see ground-plan) was + +[Illustration: Pendant and centre ornaments.] + +22 ft. by 20 ft.; the library _c_, 17 ft. by 15 ft., and the +drawing-room _d_, 24 ft. by 17 ft., with a large bay window opening on +to a terrace--their height 12 ft. 9 in.; _f_ is the lift and _g_ the +closet. Each of these rooms was to have ornamental flat plaster ceilings +with + +[Illustration: Drawing-room ceiling.] + +pendant ornaments. These are shown in illustrations on page 289. + +The staircase led to a gallery in the middle of the building on the +first floor, dimly lighted at each end by the staircase and passage +windows. The first floor (page 292) contained a morning room, _a_, in +the centre, 15 ft. by 12 ft., with a bow window; and three bedrooms _b_, +_b_, _b_, with two dressing-rooms _c_, _c_, one with a bath and a +closet. + +[Illustration: Library ceiling.] + +The attic plan (page 292) contained three large rooms for the servants, +_b_, _b_, _b_; a housemaid’s closet _e_, and in the recessed space by +the side a large slate cistern for water. The basement (page 293) +contained considerable accommodation: _d_ was intended for a private +room for the family, _a_ the kitchen, _c_ larder, _b_ the scullery, _i_ +beer-cellar, _g_ butler’s sleeping-room, _e_ butler’s pantry, _h_ +wine-cellar, _l_ place for cleaning + +[Illustration: Plan (page 291).] + +[Illustration: Attic plan (see page 291).] + +knives. The housekeeper’s room _f_, and servants’ hall are in the front, +and _j_ is the lift for dishes to ground floor, _k_ the coal-cellar. An +open area was made on two sides of the building. + +[Illustration: Basement plan (see page 291).] + +It was intended to construct the basement fireproof, and to have the +flooring chiefly of asphalte, laid on brick and concrete, solid with the +earth; having a width of stone at the fireplaces. Small openings into +the areas were to be made for water to run off, so that the floors could +be at any time flooded from a + +[Illustration: Front elevation.] + +[Illustration: Back elevation.] + +[Illustration: Elevation of side.] + +hose. The skirtings for eighteen inches above the floor were to be in +asphalte, so that no beetles or other vermin should find their way in. +It was a + +[Illustration: Ironwork on terrace.] + +subject of discussion whether all the other floors and skirting should +not be of a similar description. The three elevations of the building +are given: they were + +[Illustration: Ironwork on bay-window.] + +to have been in red brick with compo dressings, and the balustrades in +artificial stone. One peculiar portion of the exterior decoration was +the ironwork in lieu of stone balustrading. The bay window and the +terrace were surmounted with this ironwork; that on the terrace was to +be formed so as to sustain heavy + +[Illustration: Small finial.] + +[Illustration: Portion of front.] + +earthenware pots of flowering shrubs:--an elevation of the two examples +is given on page 297. + +The mouldings on the exterior of the building were small and simple; +this is shown in illustrations on page 298. Various designs were made +for the + +[Illustration: Balustrades for first floor.] + +balustrading; three of these, with the ornament containing a shield of +arms in the centre of the side gables, are likewise given. + +The expense of constructing this design with all the ornamentation +shown, would have been great. A + +[Illustration: Lower balustrade.] + +considerable portion of it, when it came to be estimated and the +specification and working drawings were made + +[Illustration: Ornament in side gable.] + +for the builder, would have been left out, and the whole made more +simple. The design would not have materially suffered for such +deductions; all the general forms or the simple outline of the exterior +would have been preserved. The chief deduction would have been made in +the ornaments of the interior, or these might have been only partly +done. Such a design, with a moderate amount of decoration only, would +cost about 4700_l._ + + * * * * * + +The vignette shows French and English cut-wood patterns for blind +ornaments. + +[Illustration] + + + + +_DESIGN No. 26._ + +A SUMMER OR GARDEN VILLA. + +[Illustration: Perspective view.] + + +One of our most eminent writers on gardens, Repton, remarked that +“gardening and architecture, like all the fine arts, have much in +common; and the department of architecture which belongs more +exclusively to gardens has especially a great affinity to gardening in +its broadest principles.” In fact, there is much more relation between +the two than is usually admitted--a matter already alluded to in the +Introductory Essay. Architectural forms and decorations, temples and +rustic bowers, seats, &c., are not, as many have observed, unfit for our +climate. In western counties they certainly can be indulged in to a +large extent; and the fine evergreens and the beautiful grass of this +country will, in association with ornamental terraces and sculpture, +impart sufficient warmth of tone to render them agreeable. The garden of +_Mon-plaisir_ at Elvaston, in Derbyshire, and the Alhambra Gardens +there; those at Castle Coombe, Trentham, Alton Towers, and Bowood, +sufficiently prove how attractive gardens can be architecturally made. +In former years gardens were almost universal through every part of +England, as is proved by the bird’s-eye view, engraved by Kipp, from +drawings by Knyff in the book, “Britannia Illustrata,” and those of the +gardens given in Loggan’s “Oxonia Restituta,” and the similar work on +Cambridge. But gardens, like all other mundane matters, have their +periods of change or retrogression; the natural style having almost +obliterated the architectural garden of William and Mary. This might +have been too precise, as + +[Illustration: Ground plan of villa.] + +copied from the Dutch model: they were satirized by Pope, thus-- + + “Grove nods at grove, each alley has a brother, + And half the platform just reflects the other.” + +They were called King William’s style of fortifications, surrounded +with yew hedges, cut in variety of forms; those which have been suffered +to outlive their original shape are really beautiful. Queen Anne’s +Garden, now part of Kensington Gardens, is an example. But these gardens +were very inferior to those of Italy and France, or even those in +England of the Elizabethan age. It is to Italy, the garden of Europe, +that we must look for the finest specimens of garden architecture. The +Villa Pamphilia or de Belrespiro, situated half a mile out of Rome +beyond the Gate of San Pancrazio, is celebrated for its gardens; from +them could be observed the whole city of Rome, and surrounding suburbs. +The gardens are nearly five miles in circumference, and occupy the site +of those of the Emperor Galba. Their arrangement is varied and +agreeable; being picturesque without disorder, symmetrical without +monotony; and we here observe the art with which the arrangement of a +regular garden is made to agree with the rural nature of which it forms +a part, and the noble structure it surrounds. It is doubtless the work +of the architect of the villa L’Algardi, about the year 1646. They have +been ascribed to the French artist, Le Notre, but there is very little +of the French style about them; they are wholly Italian, following the +lines of the villa, and in the same style or spirit. These are, or were +admirable; while the fountains, + +[Illustration: Ground plan of garden and villa.] + +the cascades, grottos, basins, statues, and the antique fragments which +adorn them are arranged with the + +[Illustration: Small group in centre of side left-hand basin.] + +skill and intelligence of genius. Illustrations are preserved to us only +in a fine Italian work, by Jacobi de Rubeis, published at Rome, about +the middle of + +[Illustration: Small group in centre of right-hand basin.] + +the seventeenth century. The villa was destroyed by the French when they +crushed the liberty of the Roman people at their onslaught on Rome +against Garibaldi. + +In designs of this description the house and garden should unite, and be +lost in each other. Those parts of the garden most contiguous to the +house should follow its outline, its walks and terraces, and be so + +[Illustration: Fountain ornaments.] + +placed that the windows and doors of the mansion could command a perfect +view of them. The province of garden architecture is, primarily, to +supply fitting appendages and accompaniments to the house, so that the +latter may not appear alone and unsupported. If judiciously adopted it +will be effective in helping to produce a good outline, carry down the +lines of the + +[Illustration: Elevation of front.] + +[Illustration: Section through centre of building.] + +house, and connect it with other buildings, which may be conservatories, +ferneries, aquaria, rustic seats, temples, and arbours; and it will +provide a + +[Illustration: Portion of saloon.] + +proper basement to the house. Such arrangements afford shelter or +privacy to a flower garden, extend the façade or frontage of the house, +shut out back yards, stabling or offices, enrich, vary, and enliven the +garden, supply conveniences, receptacles for birds, plants, sculpture, +or works of art, specimens of natural history, and support for climbing +plants. These points indicate refinement, wealth, and love of art, and +otherwise blend the various constituents of a garden with the house, and +harmonize the two by communicating an artistic tone to the garden. So +says Repton, and most of the principal writers on gardening. + +[Illustration: Cap in saloon.] + +Some of the ancient gardens of Asia and Italy were considered among the +wonders of the world. They were termed paradises, and were filled with +such plants, both beautiful and useful, that the soil could produce; +they were enriched with many kinds of works of art, banqueting-houses, +aviaries, wells, and streams of running water, indispensable in those +warm climates. + +[Illustration: Section of part of saloon ceiling.] + +An architectural garden, as illustrated in the design at page 302, +should have a picturesque outline, a + +[Illustration: Plan of the same.] + +marked boldness and prominence of parts, rather than a mere ornamental +detail; a picturesque effect by changes of level in the ground, by +diversity of height + +[Illustration: Portion of centre panel.] + +of the different terraces, and by an arrangement in plan that would +produce depth of shade. Every object admitted should fit into its proper +place. This + +[Illustration: Panel of ceiling.] + +villa was designed to cover a fine spring of cold water, and thus insure +a deep cold plunging bath. It was to be merely a place for temporary +occupation and retirement, to renovate the health of the owner. The +gardens and fountains externally were only ornamental accessories; the +plan at page 306 illustrates these. The villa was approached by two +roads _d_ _d_; there was a circle of open lawn between the house and the +terraced gardens in front. The latter were approached + +[Illustration: Section and plan of one of centre pendants.] + +by descending flights of steps. A basin of water and a large fountain, +rising from a group of sculpture in the centre, are there shown. By the +side are two smaller basins with smaller groups of sculpture, +representing sea-horses, cupids, and dolphins. This terrace is paved +with ornamental encaustic tiles. At the head of the two side gardens +_b_ _b_, are grottos _g_ _g_, with seats on a raised terrace on each +side of their entrances. The steps descend to a lower level, and have +sea-horses and cupids on their pedestals, with five falls of water from +griffins’ heads, filling a basin below. A + +[Illustration: Bedroom ceiling.] + +wide walk, and a running stream by its side, were thus gained. + +The author at the time he made the design was effecting some additions +to a country house, which admitted such a garden to be formed in front +of it: he published his design for it at the time (1850) in the +_Builder_. + +[Illustration: Drawing-room ceiling.] + +This villa may be considered a casine, or a retired dwelling on a rather +larger scale, similar to the picturesque house at Wothorp, in +Northamptonshire, which was erected by one of the Earls of Burleigh, as +a place to retire to, while his “great house at Burghley was sweeping.” +Wothorp was a large building: it was fully illustrated in one of the + +[Illustration: Sections of moulding of ceiling.] + +author’s works, from original drawings lent him by the late Marquis of +Exeter. The casine, only one size larger than a cottage, was the fashion +of the preceding age. Whenever the proprietor of an estate wished to +turn hermit, he retired to the casine, a small temple erected in a +portion of his grounds, where the finest views could be obtained, and +the most perfect repose secured. In earlier times such buildings + +[Illustration: Drawing-room chimney-piece.] + +afforded secret meeting-places wherein to hatch political plots; such a +one was the triangular lodge in a secluded part of the wood at Rushton +in Northamptonshire, + +[Illustration] + +the seat of Sir Thomas Tresham, where the gunpowder conspirators +assembled. The casine of more modern times was not so small, but it +contained all the requirements of good living. One example, is the +casine of Marino, near Dublin, built by Sir William Chambers for the +Earl of Charlemont. + +[Illustration] + +It was square in plan, surrounded by twelve columns, two projecting flat +porticoes in front and back, and pedimented porticoes at the sides. The +entrance was approached by a noble flight of steps, the pedestals of +which were decorated with carvings, and supported crouching lions. +Statues and vases adorned the roof. A print of it, from a drawing of +Wheatly, was published in 1783. The building contained a small hall or +vestibule, a saloon or living-room, 20 feet in length by 15 feet in +width. Leading out of this were + +[Illustration: Plan of mezzanine floor.] + +two small rooms; one a study, the other a bedroom and closet. The +basement contained a large and well-fitted kitchen, a scullery and +larder, a butler’s pantry, and servants’ hall, and cellars for ale and +wine. Retired buildings of this kind, of larger character and of more +importance, were often erected in private grounds of noblemen and +gentry. One, very similar to the present design, was constructed by the +late Robert Adam, for a salt-water bath, at Mistley, the seat of the +Right Hon. Richard Rigby. Mr. Adam and Sir William Chambers erected a +large number of such ornamental structures. One of the most elegant + +[Illustration: Plan of upper story.] + +examples, by Mr. Robert Adam, was the rout-house or pavilion erected for +a _fête champêtre_ in the gardens of the Earl of Derby, at the Oaks, in +Surrey, in 1774. The building was internally of the most ornamental +character; there was an octangular vestibule, a hall 30 feet in +diameter; this opened into a grand ball-room, 72 feet by 35 feet within +the columns, and 86 feet by 56 feet within the walls. The supper-room, +surrounding the ball-room, measured 200 feet from one end to the other, +and 20 feet in width. It was exposed in its full splendour on the +curtains being drawn; and at the end of the ball-room there were + +[Illustration: Basement plan.] + +two tea-rooms, each 20 feet square, on each side of the entrance saloon. +The author gives these details in order that he may not be considered +too venturesome in submitting to public notice, in these economical +times, such an ornamental design as the + +[Illustration: Elevation of back front.] + +present. Similar structures of a more expensive character were once very +common; but the small + +[Illustration: Elevation of top of pedestal.] + +[Illustration: Plan.] + +retired casine has now gone out of fashion. The ladies consider such +secluded buildings as only fit for laundries, and not preferring +themselves lives of perfect retirement and quiet, have brought in the +small + +[Illustration: Ornament terminating pedestal on attic.] + +villa where a whole family can dwell, and no selfish thoughts or gloomy +contemplations find place. + +In referring to the plan of the villa at page 304, of which the plate +page 302 shows the elevation, _e_ is the + +[Illustration: Section.] + +[Illustration: Plan.] + +small hall 8 feet square, _g_ the gun room or waiting room is on the +right, the serving room with a lift from the basement on the left. The +saloon is a highly decorated apartment, 20 feet in diameter. This is +seen in the section through the centre of the building given at page +310; _h_ is the sleeping room, 13 feet square, with an ornamental +ceiling. The saloon serves as a dining-room and place for meals. The +drawing-room, _d_, or music room, 22 feet by 14 feet, is on + +[Illustration: Termination of attic pedestal.] + +the left, _b_ is the principal staircase leading to the upper rooms; +this serves also for servants. The small iron staircase _j_, is for +passage to the cold bath below, _i_ is a room for a warm bath. The cold +bath, as shown in the section, is ventilated through a domed ceiling, +but the scale is too small to show this perfectly. + +A portion of the saloon is shown at page 311, with a few of its details +in the six cuts following it. + +[Illustration: Chimney-pot elevation and section.] + +The bedroom ceiling (page 316) supposes the covering of a tent, upheld +by spears and ropes. The colour of the drapery is of a light fawn, the +ground a deep ultramarine blue. In the centre of the ceiling is a small +Cupid on a red or gilt ground, a light blue circle surrounding it. The +spears, roses, ropes, and tassels are gilt and coloured. + +[Illustration: Iron balconet to window.] + +The drawing-room ceiling is decorated plaster work in white and gold. +Its plan is shown at page 317, and three of its details on page 318. +Among other decorations of these rooms may be considered the +chimney-pieces. The cuts (page 319) give an elevation of the +drawing-room chimney-piece, the plan of its shelf above, and a portion +of its details to a larger scale beneath. This chimney-piece in the +finest statuary marble would cost 80_l._ to execute. Several have been +done for the author at that price. They look very well in execution. Two +fire-places of less pretensions are shown in the illustrations at pp. +320 and 321; the first was in rouge royal, costing 25_l._; the last are +of marble with slate panels covered with imitation of Brocatelli +marbles, these costing 19_l._ 10_s._ each. The illustration of the whole +of the details of internal decoration of such a structure would fill a +much larger volume than the present; but it is the sole object of the +author to give such illustrations of the several designs, that a portion +of each part of the building only shall be shown; _k_, in the ground +plan (page 304), is an open portico with steps to the garden or park in +front of it. + +The next plan (page 322) is that of the mezzanine. This shows two of the +female servants’ sleeping rooms, _a_, _a_, with a closet; the decorated +ceilings of the saloon, drawing-room, and bed-room, are also shown; the +bath-room should have some slight decoration, but this has been omitted. +The female servants’ sleeping rooms are each 17 feet in length by 8 in +width. + +The plan of the upper story (page 323) gives a smoking room _a_, with an +open terrace _c c_, front and back, a closet _d_, and a cistern room +_b_. + +[Illustration: Section of window sill and iron balconet.] + +The basement plan (page 324) shows the cold bath in the centre, with its +staircase; the kitchen _b_, the scullery _g_, _h_ _h_ the larders, _c_ +is the lift, and _d_ _d_ are men’s sleeping rooms; the servants’ hall +_t_, and housekeeper’s room _j_, are on the left, _q_ is the wine +cellar, and _s_ the beer cellar. + +The elevation of the back front is at page 325; it has a circular +portico and steps down to the garden. An attempt has been made to +introduce an original termination for the pedestals on the attics, +instead of using the almost universal Soanic bulbous ornament so +repeatedly seen in nearly every public building in + +[Illustration] + +London and the country, and of which the author’s late master, Sir John +Soane, was so fond. These attempts are given in the figures pp. 326-328; +and an attempt is made to give an ornamental chimney-pot on page 330. +It will be seen in the figure that the ornamental cement pot or vase +contains an iron, or it might be a zinc, lining; this would be kept +warm, and a security for the smoke passing out. + +The exterior of the building is ornamented with statues and vases, and +the windows have iron balconets. + +The last remaining illustration to be given is the arcade on each side +of the villa, dividing the front and back gardens. The chief portion of +this in stone, with statues between the columns and vases over them; at +the back of the columns is another front of ornamental trellis work in +wood, with scroll stands for flowers--this is supported or upheld by the +stone screen; an elevation of each, with a section, is given at page +334. + + * * * * * + +The vignette gives French and English patterns for cover to external +sunblinds. + +[Illustration] + + + + +_DESIGN No. 27._ + +A DECORATED WINDOW. + +[Illustration] + + +This design was sketched with the intention of making Italian forms +rival the tracery of the Decorated Gothic window, and to obtain a rich +and variegated mass of painted and coloured glass, without any stiff +mannerism or formality. The window was 11 ft. in height with a width of +7 ft.; it served as a screen in one of the principal staircases in a +house at Queen’s Gate, Kensington; immediately behind it is the +servants’ staircase, having a large window and skylight. The lower +portion of this window is divided into three lights by two pilasters +acting as mullions. The circle above the transome is filled with a +richly painted subject, representing a basket of flowers and scrollwork +on a ruby ground. The basket is formed of emerald glass, the ground of +the surrounding portions is richly embossed glass, the chief portions +white, the small portions ruby, yellow and blue, the latter with white +ornaments upon it. The three lights between the pilasters are filled +with embossed glass, and the whole is surrounded by borders of +scrollwork richly embossed, stained and painted; the ruby ground is +shown in the drawing by vertical lines, the yellow by oblique lines, and +the blue by horizontal lines. The expense, including the zinc-work for +fixing the glass to the upper portion or fan-light, was 22_l._ 6_s._; +the lower portion cost 8_l._ 10_s._ It was the work of Messrs. Baillie +and Co. of Wardour Street. + + + + +_DESIGN No. 28._ + +A SCULPTOR’S VILLA. + +[Illustration] + + +During the year 1850 the author, in conjunction with the late Mr. John +Britton, F.S.A., was engaged in making some topographical sketches in +one of the western counties of England. He became for a short time the +guest of one of its principal residents--a gentleman who had succeeded +to the possession of more than a million of money, the result of a +relative’s gains as a merchant in the City. He had filled the small +house he was then inhabiting with a very fine collection of antique +bronzes: also with ancient and modern statuary. The house was occupied +in every corner with these valuable and beautiful works of art. He was +then having another house of larger dimensions erected to receive them. +Considerable discussion took place at his table between himself and his +visitors, among whom were two or three distinguished men of taste, as to +the best method of introducing sculpture into a dwelling of moderate +capacity. It was the general opinion that to properly exhibit classic +sculpture, a villa the size of those of the ancients, such as are +described by Pliny in the account of his villas at Laurentinum and +Tusculum, would be required, and that no other would suffice. On his +return home, the author, as a matter of amusement, without any thought +that his ideas would ever be carried out, made the present design; it +was a subject that pleased him, as he had only a few years previously + +[Illustration: Plan of ground floor.] + +superintended the construction of a small sculpture gallery for the late +Sir Francis Chantrey at Pimlico. + +The ground plan of this design shows a gallery of sculpture in the +centre of the building, a small + +[Illustration: Section of staircase.] + +“Museo Chiaramonti.” The principal group at the end, representing the +capture of the Queen of the Amazons, is so placed that the staircase +winding round it forms its base; the group can be seen from the +staircase, and from the galleries at the side, in every point of view. +This being a large building, the scale upon which the plans, elevation, +and sections are drawn is smaller than the scale previously used in this +volume. The gallery, including that portion which forms the ante-room to +the conservatory, is 80 ft. in length by 20 ft. in width, which is a +poor + +[Illustration: Plan of principal staircase.] + +imitation of the gallery at the Vatican--the Museo Chiaramonti. This is +280 ft. in length, with a breadth of 20 ft. + +But the possession of only a million of money gives a moderate income +compared with that of the sovereign popes at the time the Vatican was +erected. The + +[Illustration: Section through gallery and conservatory.] + +sculpture is arranged on each side of the gallery, the bas-reliefs +inserted in the walls, the bronzes on small pedestals, a reclining group +is placed in a niche in front of the staircase. A marble group is placed +in the fountain in the ante-room to the conservatory, and another in the +conservatory itself. A gallery of this description permits the admission +of a large quantity of sculpture, allowing it to be seen with advantage. +The entrance of the building, partly taken from the front of one of the +Italian palaces,[C] permits a large quantity of sculpture to be placed +in advantageous positions. The plan, page 340, shows an entrance loggia +_a_, the hall _b_, 17 ft. by 16 ft., with the waiting-room _c_, to the +right, the breakfast parlour _d_, and the butler’s pantry _g_, to the +left; _f_ is the library, 28 ft. by 16 ft., entered either from the +gallery or the waiting-room. It has a large window looking into the +ante-room to the conservatory, and permits a good view of the group of +sculpture and the fountain in the centre; _e_ is the gallery, with the +principal staircase, _i_ is the dining-room opening into the picture +gallery and drawing-room _h_, _k_. + +The section, page 343, shows the general arrangement, and an idea can be +formed of its grand scenic effect in summer, when the doors were +opened. The walk round the conservatory and through the whole of the +gallery would have a length of 170 ft., and round the galleries 150 ft. +more, giving ample space to place a very large collection of sculpture. +Underneath the gallery were supposed to be large cellars for wine. These +had a private entrance through the pedestal of the Amazonian group, as +shown in the plan and section to a larger scale at page 342; the +collection below was supposed to be as valuable as the one above, and +calculated to yield as much enjoyment, and one certainly that would be +more highly appreciated by a greater number of persons. The villa, +however, is on a small scale compared with some of the noble residences +in the county, and the accommodation throughout very scanty. The +servants’ offices are shown annexed to the plan; _l_ is the kitchen, 24 +ft. by 22 ft., _m_ the scullery, _n_ the housekeeper’s room, _o_ a small +servants’ hall, _p_ is a serving room, and _q_ the external entrance to +the cellarage. + +By the side of the principal staircase is a descent into the cellars and +basement, for the servants, _b_, plan page 342. The conservatory has a +diameter of 40 ft. and a height of 44 ft.; it is of light construction, +in decorated ironwork. + +The one-pair plan shows the sleeping department, the principal +bed-rooms, _b_ _b_, each with a dressing-room, + +[Illustration: Plan of one-pair.] + +_d_ _d_. These are entered direct from the gallery; in the front of the +building are five smaller sleeping + +[Illustration: Cross section.] + +rooms. At the conservatory end the gallery opens on to the roof of the +ante-room beneath, and from this there is an entrance to a circular +gallery inside the conservatory. On the servants’ side are seen two +large sleeping rooms, and a housemaid’s closet; as this portion of the +building is kept lower than the other, it could have two or three rooms +constructed over the kitchen, or it could be carried up another story. +The plan of the principal bedchambers is taken up another floor; the +small staircase for this purpose is seen at the end of the gallery. + +The cross section (page 347) shows the height of the building, and its +general construction. The whole of the principal living rooms in the +three floors are of the same height, 16 ft. 6 in. each; 37 steps were +required in the principal staircase to ascend to the first floor on one +side, and 31 on the other; the roof of the saloon was to be constructed +similar to the roof of the Riding-house shown in plate, page 389. Large +roofs can be constructed on this principle at a very cheap rate, and it +is a very strong and efficient one; the roof of the Pantheon in +Oxford-street, constructed by Mr. Sydney Smirke, is of a similar kind; +the roofs of the annexes to the Exhibition building of 1862 by Captain +Fowkes were on the same principle, but as these were only intended to +stand for a year, were very slight. The cross section shows the +ventilating flue, proposed and illustrated in a following chapter; the +small stack in the low building shows the incline necessary to meet the +back eddy of wind from the high building. It would have been better, +could it have been effected, to have placed the stack in a position +parallel to the high building, and not at right angles to it. The stack +on the latter shows two ventilating flues, each with an upward shaft; +the whole of the smoke from the fireplaces would be delivered from these +two shafts. + +It only remains to illustrate the system of warming proposed to have +been introduced. This was by a combination of two entirely different +systems of warm water circulation through iron pipes. + +The various apparatus of warming buildings by the circulation of hot +water, may be roughly stated to be of two kinds, each acting on the +opposite principle to the other. The first, or more modern one, is the +_closed system_. This has always been preferred by the author, it being +more conveniently introduced into a building, less expensive, and giving +less trouble than any other, and more certain in its action. In it the +water circulates with great rapidity, completely under pressure, the +pipes being closed, and the whole of the air expelled from them. The +older system is that in which the tubes are not closed, but are +connected with a cistern, into which the water is allowed to flow and +re-flow; the two may very properly be called the high and low +temperature systems, and by these terms they are here designated. With +the first, the tubes can be made to reach a higher degree of heat if +necessary, by placing a larger proportion of them than is usual in the +furnace; but with the second, a temperature of 180 degrees can alone be +reached. With the latter, its greater or less efficiency depends upon +the position of its open cistern, which regulates the amount of pressure +in the tubes, according as its situation is high or low. It was +introduced into this country about 1818; the open cistern was placed in +the upper part of the house, the boiler being below in the kitchen, thus +allowing a considerable pressure in the tubes, and securing a quick +circulation of the water. The high temperature system was introduced by +A. M. Perkins, Esq., about the year 1832; in its simplest form it +consisted of a continuous or endless tube of wrought iron of one inch +external diameter, filled with water, and closed in all parts; a portion +of the tubing was formed into a coil and placed in a furnace of wrought +iron, the fire being enclosed in fire-brick. When it was first +introduced a larger amount of tubing was placed in the furnace than is +now usually done; with the proper amount, one-tenth or one-eleventh only +of the full quantity is necessary, and then it must be obvious that no +overheating of the tubes can take place. In practice it is more usual to +find objections made to the apparatus not giving sufficient heat, than +to its giving too much. The quantity of feet in pipes necessary to raise +rooms of a certain size to a given temperature, must be proportioned to +their cubical contents, and this depends equally on the situation and +aspect of the building, the number of doors, and windows or skylights; +no rule can consequently be given which would be applicable to all +places with any degree of certainty. + +The pipes being only five-eighths of an inch internal diameter, a very +small quantity of water is required to fill the apparatus. A tube called +the expansion tube is placed above the highest level of the circulating +pipes, and is generally of larger diameter. The object of this tube is +to allow for the expansion of the water as it becomes heated; a tube is +also placed at the highest level, in order to fill the apparatus, so as +to leave the expansion tube empty. + +The tubes are provided with screw plugs, so as to be conveniently opened +when it is required to fill the pipes with water, and closed again after +being filled. This can be done with facility by a servant. The +circulation of the water is produced by the application of heat to the +coil in the furnace; and as the small size of the pipes admits of +presenting the largest possible amount of surface to the action of the +fire, it is clear that a greater economy of fuel is effected by it than +by the ordinary system of boilers. As the water becomes heated it rises +immediately to the highest level of the circulating pipes, and thus +forms a column of heated water, specifically lighter than the colder +water, which descends to the lower part of the coil. Thus a circulation +is effected throughout the whole course of the pipes,[D] which +eventually become heated, and the whole may be regulated exactly to that +degree of temperature which is most conducive to a beneficial effect. + +To regulate the degree of heat to be given to the tubes, without +requiring the necessity of an attendant, advantage has been taken of the +expansive property of the iron pipe when heated. There are three +multiplying levers fixed in a box, and so placed that the short arm of +one of the levers rests upon a regulating screw attached to the flow +pipe. On the other end of the series of levers a rod so rests that upon +the slightest movement of the levers, the damper in the flue, which is +attached to the rod, is opened or closed, as the case may be. The box of +levers is suspended from the hot pipe, so as to leave about two feet in +length between the point of suspension and the point of contact with the +short arm of the lever. + +The operation of this arrangement is obvious, for the instant the pipe +becomes heated, it expands and presses the short arm of the lever; and +as the fulcrum within the box cannot move, by reason of the rod which +suspends it being cold, it follows that the lever must be depressed, by +which action a sufficient motion is given to the damper, to close it at +any given temperature at which it may be originally fixed. + +The great advantage in the use of this apparatus is the saving of time +in obtaining the requisite degree of heat. It often happens that the +time occupied in heating the water of an ordinary hot-water apparatus +completely defeats the object of getting warmth in any reasonable time, +particularly in greenhouses, where it is frequently desirable to get up +the heat quickly, to prevent the effect of frost. It has been said that +this property of generating the heat rapidly has the disadvantage of not +being able to retain it: this, however, is not the case, for, on the +contrary, an equal temperature may be maintained for any length of time +that may be desired. It is only necessary to make the fireplace +sufficiently large to contain fuel enough to last the time the heat is +required to be continued, and the damper will regulate the combustion of +the fuel and the heat of the pipes, so that there will be no variation +for twelve hours together. + +There being no boiler to the apparatus, it is free from the ordinary +danger of explosion; if a pipe by possibility should burst, no harm +ensues, for the water escapes from so small an aperture that it becomes +absolutely cool by its expansion and mixture with atmospheric air. + +So little fear of fire exists with the apparatus, that the directors of +the principal fire offices readily accept, at the lowest rate of +premium, all proposals for the insurance of buildings in which the +system is adopted, not requiring even the customary inspection. + +The author made drawings of one of these apparatus put up in an +ornamental greenhouse in Kew Gardens in 1844; and fourteen years after, +the director of the garden, Sir W. J. Hooker, publicly allowed it to be +stated in print that no hot-water apparatus in any of their houses had +given so much satisfaction; that the heat was given out after lighting +the fires more rapidly than in any other of their houses, and steadily +maintained at any degree of temperature required. The two systems of the +high and low temperature can readily be combined, and the temperature of +both large and small tubes nearly equalized. This may be done by using +one furnace. A diagram given by Dr. Arnott in a lecture delivered by him +at the Royal Institution in March, 1836, with his explanation, will show +the principle upon which the combination is effected. Suppose A, fig. +1, is a cistern full of cold water, and B a cistern full of hot water: +if the two cocks _c_ _c_ are unturned, it is a fact that the water at +_d_ will be one degree of warmth only above the water at + +[Illustration: Fig. 1.] + +A, and the water at e will be of one degree less temperature than the +water in B. If, therefore, on this principle, some of the pipes of the +high-temperature system are passed through the large tubing of the low +temperature one, the desired effect is obtained: the large pipes or +tablets of one apparatus remain at their full heat, while an additional +quantity of inch pipe of sufficiently warm temperature is obtained, that +can be carried into rooms and placed in situations into which the +warming surfaces of the low-temperature system could not be made to +approach. + +As regards the low temperature apparatus, if the large pipes belonging +to it are laid in sufficient quantity, they doubtless have the effect of +producing a moderate degree of heat. + +The best way of introducing them into a dwelling-house is to sink them +in channels in the floor, with perforated ironwork over them: they are +more usually introduced into hothouses, factories, and workshops, where +their appearance is not objectionable. A feeling exists in favour of +their use in conservatories; in order to show how they can be retained +for that purpose, the combined systems are introduced in the plan of the +villa here described. + +The ground plan shows the entrance hall, the gallery or sculpture saloon +in the centre, the principal staircase, the picture room and the +servants’ staircase, all warmed by the inch pipes; the larger pipes are +introduced into the conservatory. In the picture room--that between the +drawing-room and the dining-room--and in the hall, the pipes are sunk in +trenches in the floor. They are close to the walls, and lined with brick +with an inside covering of zinc. These trenches have over them +perforated ornamental ironwork; _a´_ _a´_ are pedestals containing coils +of pipe; _b´_ _b´_ are pipes behind the skirting, likewise perforated. +Where these pipes pass the doorways they are sunk in the floor. In the +conservatory _d´_ _d´_ are the large pipes; _f_ is an open cistern, +through which the circulation of water in the pipes flows; at _g_ are +placed the expansion and filling tubes. + +Fig. 2 is an isometrical view of the pipes, furnace, and cisterns +complete to a small scale; _e_ is the furnace placed in the basement; +_f_ is a cistern of cold water through which the flow and return pipes +from the furnace pass: the water becoming heated in the cistern flows +out, and returns in the direction shown by the arrows. The flow pipe, +leaving this cistern, passes up to the expansion tube _g_, whence the +tubes run through the building in the manner shown, returning to the +furnace. The pipes _d_, are two other flow and return pipes, furnished +with a stop-cock, by means of which the circulation can be confined +either to the house or to the conservatory. The furnace + +[Illustration: Fig. 2.] + +should in reality contain two coils of pipe, having two flows and two +returns, the whole of which should go through the cistern _f_, but the +small scale of the plate allows one circulation only to be shown. + +Dr. Arnott’s principle of nearly equalizing temperatures was applied by +him for room ventilation. Its mode of application is explained in the +following extract from his report on “Warming and Ventilating +Infirmaries, Workhouses, Factories, and Domestic Apartments,” given in +the appendix to the Second Annual Report of the Poor Law +Commissioners:--“In rooms where the mechanical mode of ventilation +already described (by means of fanners) and now common in factories, has +been adopted, an addition might be made to the apparatus for extracting +the impure air, which would drive fresh air in, and which, by causing +the two currents to pass each other in contact for a certain distance in +very thin metallic tubes, would cause the fresh air entering to absorb +nearly the whole heat from the impure air going out, and would thus +render it at once both pure and warm, and would consequently save, after +the room was once warmed, any further expense of fuel for the day, and +would avoid, how rapid soever the ventilation, all the danger from +draught and unequal heating.” + +The above idea is extremely ingenious, but as to its practical +efficiency, some doubt might be expressed. The temperature of a warm +room, even if it was 65°, would be much too low to produce the action +described. + +A very ingenious application of the small-tube system of warming has +been introduced into his dwelling by Mr. Babbage. He placed the furnace +in the basement, and divided the whole length of piping by means of a +multiple cock into four circulations, any one of which he could turn off +or on at pleasure; one circulation warmed the bath, which, when the +cistern that supplied it was once up to 160 degrees (and this it took an +hour to obtain), remained sufficiently warm for a bath during 24 hours. +The whole quantity of pipe in the building was 891 feet, and the +quantity in the furnace 135. The thermometer in the smoke-flue was +seldom higher than 212 degrees, when that in the flow-pipe was 240 +degrees. Any two or three, or all four of the circulations could be +worked together, by simply turning an index provided for the purpose. + +The tool-room was always kept at a temperature of from 50° to 54°. In +winter the hat-room received a portion of piping, so that coats and +gloves, even in the dampest weather, were always kept dry. One +circulation was sent through the dining-room a short time before it was +used; it was after a certain time turned off and sent through the +bedrooms and dressing-rooms. The various rooms in the winter were kept +at different temperatures, the dressing-rooms were a few degrees warmer +than were the bed-rooms: an inducement for early rising. The linen was +aired, and warm water provided in the dressing-rooms and for the use of +the servants. The apparatus saved labour in cleaning and lighting of +fires, and it was economical, the consumption of fuel during the six +winter months being about a bushel of coke in 24 hours. The supply of +air, and the consequent combustion and quantity of fuel, was regulated +by the fire itself. This was never suffered to go out after it had been +once lighted, except when necessary to remove the clinkers, and this +occurred about once a fortnight. In the morning, about seven o’clock, +the fire was well shaken by means of a lever attached to the bars of the +grate. Coal or coke was supplied, and the air valve opened. The +stop-cock was then turned on to supply the coils for the library and +stairs. At about eight o’clock in the evening the stop-cock was turned +to heat the coil of the bath, and at eleven o’clock, fuel having been +supplied, the air valve was completely closed, and the damper also if +necessary. By these means the fire burned very slowly during the whole +of the night, and the bath cistern received the warmth thus generated. + +These conveniences and luxuries might be more generally applied than +they are at present in the dwellings of this country. + +[Illustration] + + + + +_DESIGN No. 29._ + +GARDEN SEAT. + + +This small ornamental structure was designed for a garden in Wiltshire, +on an estate near Chippenham. The garden, which is very extensive, +rises + +[Illustration: Perspective view.] + +[Illustration: Plan.] + +in steep terraces up the combe or hill by the side of the mansion, which +lies down in the valley. The structure was to be on the highest part of +the garden, + +[Illustration: Elevation of front.] + +commanding an extensive view of the valley, the village, and adjacent +country. As the house is in the neighbourhood of several fine old +Elizabethan mansions, the design partook of that character. The view +represents + +[Illustration: Section.] + +[Illustration: Side elevation.] + +[Illustration: Balustrade.] + +the structure in its complete state, with the terrace overlooking the +valley. The turret on the tower of the village church is seen in the +distance. The latter + +[Illustration: Portion of exterior front.] + +[Illustration: Portion of the entrance front.] + +[Illustration: Balustrade (2nd example).] + +is an agreeable object in the view, being an extremely fine specimen of +Decorated English Gothic, and in good preservation. + +The plan is beneath the view, and the elevation of the building is +likewise given. The whole of it was to have been constructed in stone; +the vases were intended to receive flower-pots, so that a constant +change of flowers could be placed in them by the pots being changed as +often as was desired. A section through the centre and a side elevation +are given; the balustrade is from an ancient example, it is five inches +in thickness. The mouldings of the exterior are of plain Roman +character, without any admixture of Gothic forms. The best examples of +our Elizabethan architecture are pure Italian, but possessing a bolder +and more picturesque outline, suited to our northern climate, than that +shown by the elegant Italian model. + +The second balustrade, p. 365, was an after-suggestion, it being +considered more appropriate to the design than the first one. Another +elevation was made for the same structure; this is shown as Design No. +30; it was to occupy the same site, and to have been constructed wholly +in stone. + + * * * * * + +Opposite is a drawing of an ancient chimney-piece at Enfield, bearing +the inscription-- + + Sola salus servire Deo, + Sunt cætera fravdes. + +[Illustration: Ancient chimney-piece in the Palace School, Enfield. + +(Formerly in the occupation of Queen Elizabeth.)] + + + + +_DESIGN No. 30._ + +A GARDEN SEAT. + +[Illustration] + + +The turret of the village church is seen through the centre opening; +this was proposed to be filled with plain and coloured glass; the detail +of the ornament above the cornice is copied from that on + +[Illustration: Plan (2nd design).] + +the gables of Charlton House, Wiltshire, from which the author had just +returned, having visited it for the purpose of making drawings and fully +illustrating it in one of his publications. + + + + +_DESIGN No. 31._ + +AN ICE-HOUSE. + +[Illustration: Perspective view.] + +[Illustration: Section.] + + +This design represents an old-fashioned ice-house, such as were +constructed in the country several years ago, and still are so, where +large quantities of ice are required to be stored. This small structure, +embosomed amidst trees, impervious to the sun, was formed with the stone +of the district, and arched and domed over with bricks. The well _a_, +sunk in the earth, is 10 feet in diameter, _b_ is a cesspool to receive +the water that drops from the ice, and _c_ is the drain + +[Illustration: Plan.] + +to convey it to the well _d_; the ice is thrown in from the top, the +earth _e_, and the two stone slabs and the straw between them, being +removed. + +As an additional precaution against warmth, the structure was buried in +a mound of earth. This, as it quite destroyed any picturesque effect it +would otherwise have had amidst the trees, is not shown in the view. + +These ice-wells have not often so long a passage of approach; one only +from 6 to 10 feet in length is sufficient, but double doors and a free +current of air across the entrance passage are desirable. It has not +often a domed roof to cover that of the well, a common wooden roof +covered with thatch placed a few feet above the roof of the well being +sufficient; neither is it often considered necessary to have a well to +receive the water dropping from the ice. The ice-well walls may be +splayed down to the ground, with proper footings, and an uncovered piece +of ground left at the bottom. Over this is placed an open wood frame, +which supports the ice, and permits all water to drain off. When the +walls are splayed down in this form, buttresses must be added to support +them, and the weight of the ice. Every country house in America is +provided with an excellent ice-house of the simplest and most practical +kind. It consists of a deep excavation in the earth, roofed over with a +pointed thatch. These ice-houses are always well filled in the winter, +and rarely if ever quite emptied during the summer. An accurate section +of such an ice-well, with full directions for its construction, has been +lately published.[E] + + + + +_DESIGN No. 32._ + +A SUBURBAN VILLA. + + +One of the chief peculiarities in small suburban villas that have been +erected near London within the last thirty years, is that of making the + +[Illustration: Elevation of principal front.] + +chief room on the basement the ordinary apartment for the family. The +confined areas formerly adopted in front and back of the building are +omitted, and the earth is sloped up in form of a bank, being adorned +with flowers and shrubs so as to look pleasing from within the +apartments. There is usually a side room in the basement, with +descending steps to the entrance, which serves as an office to the +occupier of the house. If his business be chiefly in the locality, + +[Illustration: Ground plan.] + +this is very convenient; the chief room in the basement is used as a +dining and supper room, and indeed for all common purposes by the +family. It renders it unnecessary to have more than one, or at most, two +servants’ rooms. The drawing-room, the library, and the superior +dining-room are on the floor above. + +This suburban dwelling very much resembles the same class of structure +in America, where economy of space is carried out more completely than +with us, and the residents are less dependent on servants. In the +American house, the pantry is nearly always placed between the kitchen +and the dining-room, and its chief approach is from the latter, even +when the dining-room is on the ground floor. The American + +[Illustration: One-pair plan.] + +house has the office, or place of business of the occupier, on the lower +floor, with its separate entrance. The Americans exhibit a compactness +of arrangement and an attention to detail that prove they are in no way +behind us in a knowledge of what is requisite for household comfort. One +peculiarity in the American building is the verandah, which is +considered to be indispensable. It is large and roomy, and often placed +on three sides of the building; the climate, warmer and drier than our +own, renders such an addition a + +[Illustration: Section through front and back.] + +great luxury. Our atmosphere in the winter months has often been +pronounced of leaden gravity, and it does not permit of any erection +that stops the circulation of the air, which would render it stagnant. +Another peculiarity in the houses of our American cousins, is that they +are often cased in wood. If the house be only two or three storeys in +height, an 8-in. brick wall is considered sufficient: this is “furred +off outside, and covered with clap boards,” in the ordinary + +[Illustration: Basement plan.] + +way followed in a wooden building. Its advantage is, that it is sure to +secure a perfectly dry wall. This mode of construction in England would +necessitate the painting of the whole of the exterior once at least in +every three or four years. One more suitable with us for a wall in a +damp situation would be the plan the author pursued in the house on +Salisbury Plain, putting quartering against the wall, and covering it +with diamond slating. The surface could be varied with coloured +encaustic tiles so as to present a pleasant + +[Illustration: Front windows.] + +appearance, proper ventilation being given behind the slating. + +The small suburban villa represented in the plate is supposed to stand +on a plot of ground with a frontage of 50 ft.; the construction is in +brick and stucco, the small columns of the portico are of Bath stone. +The plan shows a small hall _a_, the library _c_, 15 ft. by 14 ft., and +on the right with a strong closet. The dining-room _e_, is 18 ft. by 15 +ft., and on the left; the drawing-room _d_, is 23 ft. by 18 ft. There is +a large commodious staircase _b_, and leading from it a small +dressing-room _i_, and closet. This dressing-room might easily be made +to contain a bath; the water for the bath in any one of the floors +should always be heated by means of a close boiler attached to an +ordinary kitchen-range. It is the most simple, economical, and efficient +arrangement for that purpose, as no more fire than that used for cooking +is required. The cold water is supplied from a cistern at the top of the +house, and a continual circulation of the water between that and the +boiler goes on, the hot water ascending, the cold descending. Pipes may +be branched off from the ascending pipe, which leaves the top of the +boiler, and taken to any part of the house, ensuring a supply of hot +water to dressing-rooms, nurseries, &c. Instead of a boiler, a coil of +iron or copper pipe is often used, rendering the circulation quicker and +more effective. The one-pair plan of the suburban villa contains three +large bedrooms, two dressing-rooms, and one invalid’s room entered from +the staircase; to this room the closet could be attached. The staircase +leads up to two large attics for the servants. + +The section, p. 376, shows a portion of the front and back of the +building, with the construction of the roof, the back wall not being +carried so high as the front. This is done to give the building an +imposing appearance from the road, a mode of construction very often +carried out in suburban houses. The basement plan affords good +accommodation; _f_ is the kitchen, 18 ft. by 15 ft., _g_ the scullery, +_h_ the larder, _k_ the living room, _l_ the business office, with its +separate entrance. The closet for the servants is external; the +footman’s pantry and the wine cellar lead out of the staircase _b_; the +coal cellar is under the portico. The house thus contains seventeen +rooms; the cost of its erection would be 3260_l._ completely finished. A +detail of the windows is given on a large scale at page 378. + +The following is an elevation of the vane, the constructive detail of +which is given in a former vignette. The character is Elizabethan, and +designed from an example at Oxnead Hall, Norfolk. + +[Illustration] + + + + +_DESIGN No. 33._ + +A SUBURBAN VILLA. + +[Illustration: Elevation of principal front.] + + +This design is also one for a suburban villa, or a small country house, +on a rather larger scale than the preceding. This villa, dressed with a +plain Italian elevation, and of smaller dimensions as to plan, has been +erected on several sites near London. The front of the present design +was partly taken from a plate in “Nash’s Mansions,” at the request of a + +[Illustration: Ground plan.] + +gentleman who very much admired it, and who was anxious to have a +semi-detached villa of the same character. The villa was therefore +designed so that another could be placed by the side of it. The two +gables form the centre, the chimney stack is between them on the roof; +the front was to have a sunk area, topped by a Gothic balustrade, and +as there were no principal rooms on the basement floor in the front of +the house, this was easily given; the rooms at the back looked into the +garden, and these had the ground in front of them sloped up. + +The ground plan shows an entrance hall _a_, 14 ft. by 10 ft., with a +commodious staircase _b_, 18 ft. by 12 ft., to the left. There was a +closet to the right; + +[Illustration: The one-pair plan.] + +a lift from the basement could easily be obtained here. The study _c_, +was about 16 ft. square, and was entered from the hall; the dining-room +_e_, had a bay window, and was in the centre of the building; it +measured 20 ft. square. The drawing-room _d_, was very large, being 31 +ft. in length by 16 ft. in breadth, with a large window at each end; +this was often considered objectionable, as the occupants of the room +can always be seen from the opposite houses, but as this was intended +for a semi-detached villa, windows could not be obtained at the side. + +The one-pair plan contains one large and three small bedrooms, with a +closet. Over the porch was placed a conservatory, and by its side the +tower staircase led up to the attic. This contained four good-sized + +[Illustration: Attic plan.] + +bedrooms, each with a fireplace; there was a housemaid’s closet, and a +place for the slate cistern to supply the lower part of the house with +water; a small cistern on a higher level was placed on the roof of the +tower. Another room could easily have been obtained on this floor, by +continuing the passage at the housemaid’s closet through the centre +room, and this was proposed, but it was objected to, as it could not be +rendered light and airy. A second staircase, + +[Illustration: Section through portion of building.] + +from the attic to the basement, could have been formed in the tower, the +two closets being placed in a similar position to the one on the first +floor. The staircase in the tower led on to the roof. The section shows +the height of the various rooms, there being no variation throughout the +floors. It was intended to carry out + +[Illustration: The basement plan.] + +the style of the exterior in the interior--a medley between the Gothic +and Elizabethan; the proprietor having a very large collection of +old-fashioned carvings of various styles and dates, picked up at sales, +or purchased in Wardour Street (at that time more celebrated for such +antiquities than at present). The walls were to be covered with gilt +leather and rich tapestries, and with this the architect did not intend +to meddle, leaving it all to the taste and skill of the owner, although +he has finished several interiors with such materials. + +The basement plan shows the kitchen _f_, the scullery _g_, and larder +_h_; _q_ is the wine cellar, and _j_ the butler’s pantry. Then there +were two large rooms looking towards the garden, and these were +unappropriated. The butler’s small pantry had a window looking into the +side area; the servants’ door was on the staircase; the coal cellar was +placed under the steps leading to the porch. + +The building was to be constructed in brick and cement, with the porch +and external balustrade in stone. The expense would have amounted to +4600_l._, or the double villa to 9000_l._ + + + + +_DESIGN No. 34._ + +RIDING-HOUSE AND STABLING. + + +This collection of designs could hardly be complete without a group of +stable buildings. To make such a group picturesque is extremely +difficult, + +[Illustration: Perspective view of riding-house.] + +and it is very seldom attempted. Such buildings mostly form a portion of +the offices which are placed out of view, concealed by plantations or +shrubbery, and generally at some distance from the mansion to which +they appertain. + +The present design, carried out in 1846 and 1848, was for some +additional stabling to a baronial park, and it formed a conspicuous +object. It stands on the + +[Illustration: Plan of riding-house and stabling.] + +eastern side of a quadrangle, the larger stabling being on the west, the +offices of the mansion on the north (see above), and on the south there +was a terrace-walk overlooking the park. The block of buildings as +represented in the plan, comprised a riding-house _a_, 62 ft. in length +by 32 ft. in width, a four-stall stable _e_, 30 ft. in length, a loose +box _b_, 13 ft. square, and the boiler room _d_. The dung pit _g_, into +which the liquid manure from the stable was sent, was on a very low +level, and had a cart road at its side. The coach-house between the +riding-house and stable was 40 ft. in length by 20 ft. in breadth; it +had a covered area in front 44 ft. in length, with a width of 13 ft., +and a well and pump. The prospect tower _h_, as well as the tower _i_, +had iron staircases, which led to the stud-groom’s sleeping room, two +harness rooms, and the gallery of the riding-house. + +The latter was erected first. It is in brick, with a circular-ribbed +wooden roof, on the plan introduced by Phil. de l’Orme, whose well-known +book was published in Paris in 1567. He introduced a construction for +roofing that is both cheap and efficient, and one that while plenty of +light and ventilation can be obtained, gives the largest space in the +interior of the room. + +The walls of the riding-house were two bricks thick, laid English bond. +As the foundation rested on the stone no concrete was used, but the +rock, which was on a steep incline, was levelled in step-like fashion, +to receive the walls. Buttresses were placed where the circular ribs of +the roof were situate; two lines of iron-hoop bond, 1 in. by 1/16 in., +tarred and sanded were laid in all the walls, piers, and buttresses; +there were 13 courses 2 lines in side walls, 16 courses 2 lines in gable +walls, and 7 courses 2 lines in buttresses. The walls were covered with +brick copings formed of two courses of moulded bricks cut to lengths and +mitred, and set and jointed in cement to gable ends: the flaunches of +the angle buttress were formed with stocks, the upper courses set and +pointed in cement, and the angles of parapets cut and mitred to the +same. + +Ragstone moulded corbels were placed over the piers inside the building, +from these the circular ribs sprung and into which they were stubbed. +The roof was thus described in the specification:--The roof will be +formed of circular ribs placed two and two, each 7½ inches apart, +screwed and bolted together, each single rib to be in three thicknesses, +the inner one of oak and to consist of twenty-six pieces of 1¼ inch deal +and ten of 1¼ oak, each separate piece 1 foot in width, and to be as +long as the scantling of the timber will allow, the ribs to be wrought +and glued together, and at each joint to have two hard nails or ¾ inch +screws having a good thread; the top and bottom edges of rib cut fair +for linings, the side finished for paint. Cross pieces, 7½ by 2½ inches, +twelve to each pair of ribs, the whole to be bolted together. To prevent +the ribs from being at an unequal distance, the two outer ribs to be +sunk half-an-inch at the places where the purlins notch in them. + +The purlins, eight in number, to run the whole length of roof, notching +in the rib arches. The purlins to be placed in pairs and to have small +cross struts either notched into them or securely nailed to prevent them +from buckling or twisting. + +All the horizontal timbers of roof, such as the purlins, poll plate, +sill, and heads of skylight, to run 9 inches in end walls, and to be +cogged on template. Each purlin, if not in one piece, to be properly +scarfed. An oak wall-plate, 9 in. by 6 in., was laid the whole length +and width of the building, running 6 in. in the wall at angles, where it +was pinned and lapped. The plate in the arch over the entrance formed +the upper part of the railing in the gallery. + +This plate served as the abutment for twenty-four oak braces or struts, +each 7 in. by 4 in., placed in the lower portions of the roof on each +side, each strut to be sub-tenoned either into purlin or cross piece +between rib, and the whole to be securely fixed. + +The framing to support curb or sill of skylights to be in one piece, to +run over the wood arches, and to be securely fixed to purlin. + +Each pair of circular ribs moneyed out 22_l._ 4_s._ 6_d._ The more +modern French style of forming this kind of roof would have been by bent +ribs composed of three ten-inch planks, 12 inches by 3, cut true at the +saw-mill, jointed with glue, planed all round, chamfered to edges, with +20 half-inch bolts. These would have cost only 13_l._ 16_s._ 8_d._ each, +but they would have caused considerable lateral pressure against the +side walls. + +The roof of the riding-house is correctly shown in the small view, p. +389, which serves also to show the section. Fig. 1 of the accompanying +cut shows one + +[Illustration: _Fig 1._] + +[Illustration: _Fig. 2._] + +[Illustration: _Fig. 3._] + +of the circular ribs, fig. 2 the section of the pair joined together, +and fig. 3 the section of the more modern French method of bent ribs. A +roof in this latter construction was put up by Mr. Charles Fowler, +architect, at the sale-room, St. Paul’s Churchyard. The circular ribs of +the roof were formed in three thicknesses of 1¼ deal, footed into iron +sockets or corbels let into stone templates. As a precaution until the +perfect set and settlement of the work, three of the roof-frames had +iron tie-rods, which were removed when all fear of lateral thrust was +over. A print of the room was given in the _Builder_. + +The first construction described could be much improved, strengthened, +and lightened by introducing an iron bar in lieu of the oak rib; and +this has been done in several instances, resulting in the roofs standing +well. + +The chief portion of the bricks used in the construction of the +riding-house were provided from the estate, and were carted on the +ground for the use of the builder. His account came to 920_l._ + +The elevation of the stable shows the entrance to the coachhouse in the +centre, between coupled columns. These were in iron, of slightly +Elizabethan character as to style. Two gabled windows are on each side, +one forming the entrance to the riding-house, the whole flanked by two +towers; that on the left contained the staircase leading to the gallery +of the riding-house seen in the view, the other is the prospect tower, +overlooking the park. These buildings were commenced and finished in +1848. The builder had to take down the old coachhouse and stabling which +stood upon the site, and was permitted to use the old materials as far +as they would go; one roof was re-used. The cost of the new building was +1107_l._ The whole length was 95 ft. One of its principal features was +the prospect tower, a view of which and + +[Illustration: Elevation of stable.] + +a representation of the back front is on p. 398; this was 60 ft. in +height above the foundations. + +An iron staircase led up to the small tower, which had a staircase +leading to the roof or lead flat, upon which was a seat and flagstaff. +The battlements of + +[Illustration: Cap of iron column.] + +this small tower and its doorway were constructed of ragstone. This +turret was corbelled out from the building as seen in the view; its plan +and that of the corbelling is given on p. 399. The corbels were two +bricks in height, each course; the arch is covered with + +[Illustration: Perspective view of prospect tower.] + +a stone landing upon which the small turret stands. It has a lightning +conductor. This, the three iron staircases, and the columns, cost +200_l._, which, however, + +[Illustration] + +was included in the previously stated amount of 1107_l._ + +It was proposed to give the terrace-walk an ornamental stone. The +balustrading and one of the bays of this balustrading are illustrated +below. + +[Illustration: Elevation of the balustrade.] + + + + +_DESIGN No. 35._ + +A BACHELOR’S HOUSE. + + +This building was intended to have been erected on an estate in the +neighbourhood of London, for the solicitor acting for the lessee, a +builder who was erecting numerous first-class houses upon the property, +and who required his solicitor to be often with him. The gentleman was a +bachelor, and this was, for a time, to have been his private town +dwelling. It was only to consist of a basement and ground floor, but the +walls were to be made sufficiently thick to enable the structure to be +carried upwards when the estate was fully covered, and the house would +be required for a family. + +The plan was arranged after the legal gentleman’s own directions: _a_ is +the small entrance hall, leading to the inner hall, from which the +living room _b_, and the picture gallery _f_, are gained; the gallery +contained a choice collection of cabinet pictures, hunting subjects by a +celebrated painter; _c_ is a small bedroom, which could be enclosed or +shut off from the living room by a lifting-screen, worked somewhat +similar to a lifting shutter. The screen was to be covered on the side +next the living room with paintings; _d_ is the bath + +[Illustration: Plan.] + +room, _e_ the closet, _h_ is the dining-room with its lift, _i_, from +the pantry in the basement; _j_ was a small iron staircase leading down +to the stable, where some valuable hunters were to be kept. Under the +dining-room was the coachhouse; no rooms were over the stabling. The +servants’ entrance was in the area. The exterior of the building had a +plain Gothic Tudor front. + + * * * * * + +The vignette shows a corbel in the French cut-wood style. + +[Illustration] + + + + +THE FIREPLACE. + +FLUE CONSTRUCTION AND SMOKE PREVENTION. + + +An especial love for home comfort has always been an English +characteristic. It has formed a species of national taste and pride even +among our working classes. The constant changes of our climate are +injurious to every class; the chief point of attraction in the English +dwellings, during winter’s wet, cold, and fog, is centred in the +fireplace. This has long been deemed the favoured spot where + + “Social mirth + Exults and glows before the blazing hearth.” + +The fireplace suits our climate; it is cheerful and attractive, but it +gives its heat only by radiation. We are warmed on one side and chilled +on the other, but neither the warmth nor the chill is too great to bear, +and the occupant of the room can move into any temperature that suits +him. In more northern climates the use of the fireplace would not be +tolerated; there the cold is so excessive that an equal warmth must be +diffused throughout the apartments, and flues in hollow walls, and +closed stoves either in iron or brick are in the ascendant, as already +mentioned in an earlier part of this work. But such means, by which the +air is heated, and not merely warmed--and there is a great difference +between warmed air and heated--would not be tolerated here. A puff of +air from a closed stove caused by a back draught is not pleasant, and is +very different from the honest puff of smoke from an English fireplace, +that gives as a natural product of combustion, carbonic acid gas. But +not one of these stoves, nor those that are called “smoke-consuming +stoves,” make a good companionable fire--and this is not liked. + +The common open fireplace has held its own, and will continue to hold +its own, against the best-contrived stove that can be introduced in lieu +of it. But it still remains to find such a construction as will remedy +its serious defects. These are chiefly such as pertain to the flue; it +is not to the stove that these belong, for that, thanks to our excellent +makers, is quite perfect. + +In our sluggish winter atmosphere the smoke leaves the open flue with +tolerable certainty unless the flue is foul with soot; but when high +winds prevail and the atmosphere is anything but sluggish, it teaches us +the faults of the open flue, and volumes of smoke descend into our +apartments. There are few occurrences in domestic life more vexatious +and annoying than this; the numerous unsightly appendages in the form +of cowls, turncaps, and windguards which appear alike on our houses, +churches, and palaces, whilst they exhibit the ingenuity of our builders +and workmen in remedying the trouble of smoky chimneys, demonstrate also +the frequency of the misfortune. + +When flues are carefully constructed, with the best modern improvements, +and a due supply of air is admitted into the stove, a smoky chimney is +an exception; still the flue forms only a simple open funnel for the +passage of the smoke, and failures will inevitably often happen. A +construction on a good principle should render these defects as trifling +as possible. In our best houses--those constructed within the last +twenty or thirty years--two kinds of the common brick flue are mostly in +use. One is of the old-fashioned kind, having a section of 14 by 9 in., +which was made originally of that size for the accommodation of the poor +sweeping-boys. This is now retained only for the kitchen fire, which +makes a large quantity of smoke, and for the rest of the fireplaces the +flue known as “Cubitt’s” flue is employed, which has a diameter each way +of 9 in. The author prefers the small flue, and always uses it in the +buildings he has constructed. There are many persons who still maintain +that the old-fashioned flue is the correct one, and it is still very +generally used. There is an old saying about the proof of the pudding. +In Belgrave Square, all the houses first designed and erected have the +old-fashioned flue, and there are scarcely a dozen of the old +chimney-pots left; all have been changed for tall-boys and other similar +contrivances; one house has about 24 in one stack. No. 49, built by +Cubitt about 35 years ago, and having the descending or sweeping flue, +has the stacks exactly as at first constructed, with the exception only +of a little doctoring to the kitchen flue. In the house opposite, No. +48, one of the first, the external stack alone, next the street, has no +less than 17 tall-boys, two of which appear to be broken off. On the +opposite side of the Square, in Chesham Place, is No. 38, built by +Cubitt about 30 years; it has all the original stacks untouched. + +The Cubitt flue can be recognised by the small peculiar cap on the +chimney-pot, and several of these stacks remain in their original state. +In Eaton Place and Eccleston Square, where this flue is used, the roofs +tell the same story. In the first buildings erected by the author he +used the large flue, and he now finds several specimens of +chimney-doctoring on the roofs. In some large houses he lately erected +at Queen’s Gate, in which the sweeping flue is used, there are several +houses together without any disfigurement at all on the roof. He +considers that the appearance of a tall-boy on one of them would be +rather a proof that there was something wrong about the servants’ +management of the fires, than an error in the construction of his flues. + +A representation of this flue, and the manner of introducing it into a +building, is here given. Fig. 1 + +[Illustration: Flue construction.] + +represents a portion of the chimney-flue construction of a first-rate +house; the lower chimney opening is in the basement, and above it are +two others, one on the ground floor, and one on the first floor. It will +be seen that there are three flues descending or taken down to the +basement. The third flue belongs to the room on the second floor. The +wall is two bricks thick, the flue 9 in. in diameter, and contained +within the wall with no chimney-breast projecting. Fig. 2 is a plan of +the flues on the ground floor, and fig. 3 of those on the first floor. +Fig. 4 is a section of the fireplace opening; this is 3 ft. in height +from the floor-line, the brickwork at top is splayed, and supported by +an iron bar; these openings are always filled up with 4½ straight joint +work, to be taken out when the mantelpiece is fixed. Fig. 5 is the +chimney-pot and its cap, the latter opening at top 7 in. by 9 in. only; +fig. 6 shows one of the sweeping doors, in which there are two to each +descending flue. The latter three figures are twice the scale of the +former. A plan and section of the chimney complete, with its marble +mantel and stove, is given in figs. 7 and 8. The flue passes completely +down at the back of the stove, the front is closed by an iron plate to a +height of 2 ft. On this is fixed the moveable door or register, shut +fully or partly over the flue when the stove is in use, and closed over +the stove when the flue has to be swept. The arrows show the mode of +admission of air to the front of the fire; it is brought through the + +[Illustration: Fig. 7.--Plan of stove.] + +floor and two openings in the back hearth from the outside of the house. +This is generally kept concealed, + +[Illustration: Fig. 8.--Section.] + +and in order to ensure a supply of air to the stove the room should be +kept completely closed. + +To cause as full and perfect a combustion of the fuel as possible, a +draught or current of the external air should be always admitted to the +stove, and it could easily be placed under open management, so as to +admit either a large or small supply of air, as required. Numerous +patent processes to effect this are in use, but the most effective way +of doing it is that shown in figs. 7 and 8: it is too simple for a +patent. + +[Illustration: Fig. 9.] + +Fig. 9 shows a method of admitting air above the architrave of the +entrance door of the room. The opening is made about 2 ft. in length; +this, after a little time, becomes marked by the blacklets coming in +from the passage. The sweeping flue when the fire is lighted becomes +very hot; the smoke ascends speedily and soon leaves it. The flue +requires the stove to be formed expressly for it. Mr. Cubitt made the +stoves only for his own houses, and the author had some difficulty at +Queen’s Gate, in procuring stoves of the right pattern, for +manufacturers prefer their own shop patterns, and some of these would +have covered up half the descending flue. Those he used were supplied by +Messrs. Feetham of Clifford Street, who are well acquainted with the use +of the flue and stove. The flue is considered an excellent one; it is a +builder’s flue, constructed solely of brick, and is certainly the best +of the brick flues. The same attention was paid to it as was given to +every part of Mr. Cubitt’s buildings. It may be asked, “Are there no +other kinds of flues constructed of superior materials?” Yes, certainly +there are; particular attention has often been paid to the flue. There +is Hiort’s circular flue, formed in each course of four wedge-formed +bricks. Mr. Hiort held a very important position; he was Treasurer of +the office of Works at Whitehall, and his flue was extensively used in +some of the Government buildings and the houses in Carlton Gardens. It +did not bond well with the brickwork, so we have Mr. Moon’s improvement +upon it. This was considered not sufficient, and another patent was +taken out in 1844 by Messrs. Clark and Reed for its further improvement. +The flue was an excellent one, but on Mr. Hiort’s retirement from the +Government Board, it went out of use. + +There is Seth Smith’s metallic chimney lining, which makes an excellent +flue; the lining is a pipe of from 5 to 10 in. in diameter, built in the +brickwork. About 150 of these flues are at the Pantechnicon. Mr. Smith +announced his determination of never building any house above the value +of 30_l._ per annum, without using them. They could be introduced, to +form perfect linings to chimneys in buildings already erected, and allow +the stack to be reduced in height, without having the unsightly +appearance of contractions made above them. The drawback to the use of +these tubes by builders was the price. Without any royalty, the 9 in. +tube cost 3_s._ 4_d._ per ft. run, the curved tubes 4_s._ 3_d._, the +starting tube 3_s._ 8_d._ The tubes were of the exact form of drain +pipes, and they were cheaper, and as effectual. + +If Mr. Smith’s metal tubes had been introduced into a large brick flue, +they would have rendered the latter an efficient shaft for ventilating +every room in its upward course, openings being made for the purpose at +the upper part of the rooms. This mode of ventilation was applied to +hospitals on a large scale by the late Mr. Jacob Perkins several years +ago, with perfect success. + +Denley’s flue, introduced in 1843, is believed to have been the +precursor of that used by the late Mr. Thos. Cubitt at Belgravia and +Pimlico, and there is a great resemblance between the two; but Mr. +Denley’s flue has nothing like the simplicity nor ease of construction +of Mr. Cubitt’s. The downward flues were merged into one at the +basement, and all the soot and cinders were collected or thrown down +into a fire-proof box, which must have stood out in the lower rooms, +from which they had to be removed. The flues were swept from the roof, +the register doors of the stoves being closed, and there was no +provision for sweeping the flues between the basement and the stoves. +Joined to his system for sweeping, was one of air flues which brought a +current of air direct from the exterior of the house to each fireplace. + +We have several flue systems which have ventilating flues in connexion +with them. Boyd’s flue forms the wythes, or half-brick spaces between +the flues, of iron plates, and the open spaces thus gained make +ventilating passages. Mr. Doulton’s combined smoke and air flues are +manufactured in terra-cotta, in three sizes; the air flues follow the +line of the smoke flue, the passages being quite distinct, as in Mr. +Boyd’s. The heat from the smoke flue causes a current in the air-flue +which carries off the vitiated air admitted by openings near the +ceiling. The common drain pipes and the glazed fire-clay pipes make good +flues; the use of these pipe-flues has greatly increased during the last +few years; they improve the draught, and clean easily. Flues for +ventilation from rooms should, like Arnott’s ventilator, enter into the +smoke or a hot ventilating flue. Arnott’s ventilator requires careful +adjustment, to be balanced in such a way that it should stand closed on +a calm day. + +The superior patented flues, as they are of considerable cost, and take +extra time in construction, are only used in the better class of +buildings, or in those erected under the express direction of the +owner. In speculative buildings they are never used. The time required +for their construction beyond that of the common brick flue, being +regarded by the builder as so much money lost. + +The great desideratum in a flue is to make it pass off its smoke +quickly, and this the small size flue effects more certainly than the +larger one, as it warms sooner and keeps its heat longer. + +An enthusiastic admirer of the descending or sweeping flue once told the +author that with a good fire in the grate, if a kettle of water could be +placed on the top of the chimney-cap the water would soon boil, even if +the flue were fifty feet high. The flues constructed of metallic or +earthenware casings retain also the heat longer, and keep hotter. It may +be imagined that with these flues, and the large quantity of gas lamps +in the streets, why the temperature of London should be always some +degrees higher than that of the country. In winter snow may be seen in +the suburban fields, but none is found in town. + +Architects have often been blamed for not inventing a good system of +flue-construction, not only for the prevention of smoke in our +dwellings, but for the hindrance of its presence in the atmosphere. +Several, and most excellent attempts, have been made for the former, but +very few for the latter, which is one of far greater difficulty. Yet +this is one that admits of a cure, great as the evil is. The chimney +flue might be so improved as to effect a more certain and larger +ventilation of our houses, without any addition of ventilation flues. +The introduction of the French Mansard roof with us, one from a country +where coal fires are not in use, renders it almost imperative for the +chimneys belonging to such buildings to have a different construction, +for chimneys when placed against a building or roof that overtops them, +are sure, as they are at present made, to become smoky: the wind +returning owing to the high construction, and descending in the flues. +The following few designs are offered to cure these various evils. + +Accepting as a fact that tall-boys, and the other iron and zinc +constructions, are useful appendages, there can be no reason why they +should be so used as to disfigure our buildings. Some of the finest +specimens of architecture in the Metropolis serve only as pedestals to +an ugly collection of cowls. + +The author proposes to form the upper part of the flues in a building, +for a length of about 15 to 20 feet, entirely of iron or other tubing, +in square, round, or oblong sections, of a less diameter than the brick +flues to which they are attached. This tubing is gathered up in groups, +and carried out at an angle of 45° towards a centre stack: the tubes in +direct contact with each other, having no brick wyths, except one or +two to strengthen the stack. + +It is obvious that if only one of the flues be in use, it would +moderately warm those next to it; and if the whole of the flues of a +building were constructed on this plan, and two or three were in use, +such a power would be obtained as would effectually ventilate every +room; the action would be continuous and imperceptible, and a fire could +be lighted in any one without the risk of return smoke from a cold or +damp flue. + +Thus the heat now wasted in the atmosphere by the action of the common +flue, would be partly retained and turned to use, and the draught of the +flue very much improved. + +This tubing could be readily introduced into either old or new +buildings, as the introduction does not involve taking down more than +twelve feet of the brickwork, measuring from the top of the coping. The +tubes could never become sufficiently heated to be dangerous, and less +brickwork would be required. + +They might be made either of zinc or earthenware; cast-iron would be +objectionable on account of its weight. It will be seen that they admit +a better mode of sweeping than that now practised, and they could easily +have some kind of capping to prevent down-draughts. + +These “stack flues” should commence from the attic or upper storey of a +building, at about six feet from the floor; sweeping doors should be +placed beneath them, so as to give the sweep command of the flue beneath +as well as above. + +Each flue should be composed of three separate forms of tubing, by which +the various directions and turns necessary for the construction might be +obtained. + +Fig. 10 gives the representation of the three forms; 1, is the first; +this is placed directly over the brick + +[Illustration: Fig. 10.] + +flue, and gathers it up to a size having an internal dimension of 6 + +4½. It is 21 inches in height. 2, the second piece, is on a curve; the +top and bottom lines, if carried on, would form an angle of 45°; it is +about 18 inches in height, and internal size 6 + 4½. The third, 3, is a +straight piece, internal size 6 + 4½, the lengths various. Fig. 11 +gives a plan of four flues and an elevation of the commencement of two. +The sweeping doors are shown below. The flue without a door is the +ventilating flue for the basement. The ease with which this tubing can +be grouped is shown in fig. 12. The stack consists of five flues; the +tube, 2, connects them together below, and + +[Illustration: Fig. 11.] + +separates them above. The stack above the roof is 4 feet 9 inches in +length. + +Fig. 13 shows, in the upper plan, how the flue wall could be reduced in +thickness, made a brick and a half only, with a two-brick block at each +end; it contains coupled and tripled sets of tubes. + +The middle plan shows nine flues grouped together, the centre being that +belonging to the kitchen. The last plan shows a group of six in a +two-and-a-half-brick wall; by the side of this are two flues of the +common construction, 14 inches by 9, made of this + +[Illustration: Fig. 12.] + +size to enable a boy to get up to the top and place his head out of the +chimney-pot. + +The tube 1, fig. 12, can have its position reversed, as shown in fig. +14; six flues can thus be grouped together, as shown in the third plan, +fig. 13. The elevation of this stack is given in fig. 15. + +[Illustration: Fig. 13.] + +For a covering to these tubes figs. 16 to 20 show ornamental pots and +their sections. The only merit + +[Illustration: Fig. 14.] + +in these may be that they are of a more ornamental character than any +that have ever been introduced; they are formed of zinc, supported by a +stout dwarf iron railing. The intention is to permit the smoke to escape +in any direction, either upwards, sideways, or downwards, sheltering it +as far as possible from any action of the wind, and rendering of little +consequence whether the stack is high, low, unsheltered or + +[Illustration: Fig. 15.] + +otherwise. If any sudden gust of wind take place and the smoke be driven +back, the capping provides larger outlets for its escape than the small +aperture of the flue itself; in other words, it is easier for the smoke +to pass in any direction rather than return down the flue. + +The stack flues are only, in fact, tall-boys boxed up and not put out in +the cold, and it is presumed they would be sufficiently powerful, from +their warmth, to ensure a good passing off of the smoke, and secure +ventilation to the building. + +[Illustration: Fig. 16.] + +[Illustration: Fig. 17.] + +A forced ventilation to our dwellings, in ever so slight a degree, is a +matter of importance. By the proper construction of these proposed stack +flues it is presumed that any amount of ventilating power, self-acting +and continuous, could be obtained. Their introduction alone would be +beneficial; combined with the flue pedestal, to be described, the tubes +could be led into one general upward shaft; by either plan we should +have some command over the smoke, while the roofs of our buildings might +be made ornamental and picturesque. It would be a treatment of +bituminous coal alike artistic and novel, surprising to foreigners and +creditable to ourselves. + +[Illustration: Fig. 18.] + +It remains to show how the open character of the flue could be taken +away (this forms its chief evil), and how a chimney-stack may be formed +without chimney-pots. The late Lord Palmerston, when Home Secretary, +proposed the abolition of chimney-stacks, and the use of only one +chimney-stalk for each separate dwelling. In 1856, a commission was +appointed to inquire into the best modes of warming and ventilating the +apartments of dwelling-houses and barracks. Their report, given to the +General Board of Health, was published in 1857, and it afforded a +section illustrating “the principle on which it was proposed to +construct dwelling-houses.” There was only to be + +[Illustration: Fig. 19.] + +one flue, and this of metal 10 inches in diameter, enclosed in a large +brick flue, which was to serve for ventilation. In the metal flue were +to be inserted the flues of the several fireplaces; these were placed +back to back, and if the register doors of the stoves were open, a +person in one room might both see and converse with another in the +next; the music of a pianoforte in one room could be heard in them all; +this construction was taken up through four storeys, there being eight +fireplaces. For one fireplace alone it would have been perfect, but the +smoke from the two kitchen fires would have been sufficient to have +choked + +[Illustration: Fig. 20.] + +the flue and caused the smoke to enter into the whole of the eight +rooms. + +The chimney-stack might possibly be lowered, and it certainly could be +constructed without chimney-pots, but each separate flue must have its +own outlet. A design for this, one that should take away the open +character of the flue, and fit the stack, possibly for the Mansard roof, +is here given. + +In fig. 21, _a_ _a_ are the flues, delivering their smoke into a large +ventilating flue, _b_. The warm smoke would induce a current of air to +enter at _c_: any current will have a tendency to draw another with it, +so that the smoke leaving the flues _c_ _c_ would be taken out at _d_ by +the current of air at _c_. + +[Illustration: Fig. 21.--The ventilating flue.] + +This is the principle upon which all the best ventilating chimney-pots, +tall-boys, and cowls are made, and it is a very sure one. The jet of +steam in the funnel of the locomotive, drawing the smoke from the fire, +and creating a draught, is adopted on the same principle. + +In scientific language, the established law both of pneumatics and +hydraulics is that when two currents of fluid matter passing in the same +direction, but in separate channels, arrive at any point of confluence, +the stronger current draws the other along in its course, and with a +considerable portion of its own velocity. Thus the force of the wind, +which checks in other instances the action of a chimney-draught, is made +to produce a stronger draught, exactly in proportion to the violence +with which it blows. + +Returning to fig. 21, a current of air, instead of coming in at the +opening _c_, might come in at _d_. It would then have a tendency to blow +down the flues _a_ _a_: to prevent this, the opening _d_ could be +closed, and an upright stalk placed at _e_,--this should have a downward +shaft, a place for soot, and a sweeping door. + +There is still another mode of treatment; fig. 22 represents the flues +grouped, each with a separate ventilating flue, the smoke delivered +being at the side of each. + +The stack might be covered with zinc in the ornamental style with which +that metal is now treated. + +It is probable that if a stack on this principle was placed parallel to +the side of one of these Mansard roofs, it would be secure from the +ill-effects of any wind returning against it. The author will not vouch +for its success, but it is offered here to the attention of architects +and builders as an experiment worthy of trial. + +[Illustration: Section.] + +[Illustration: Elevation.] + +[Illustration: Fig. 22.--Plan.] + +It has been affirmed that the smoke of towns, however disagreeable it +may be to the inhabitants, neutralizes the poisonous effect of the gases +caused by sewers, &c. If it was possible wholly to remove carbon +evolved by smoke, our towns would almost be uninhabitable, and they +represent that any scheme for getting rid of smoke must be combined with +one for getting rid of the exhalations from sewers at the same time. If +the two evils were brought together, they would neutralize each other, +and both could then be got rid of at one operation. The best scheme for +this is a matter of important consideration, but few have been proposed. + +It may be asked, what has a work on Picturesque Architecture to do with +either smoke or sewer gases? The author in reply considers that +buildings never will look picturesque while they are covered with great +patches of soot. An eminent sculptor once affirmed that the statues of +London were improved by their soot covering, because it made them stand +boldly out against the sky. But those beautiful decorated smoke towers +which stand on the roof of the Houses of Parliament, and which are as +black as Erebus, look anything but pleasing, standing amidst the whiter +front of the rest of the building. Besides, tall-boys are beginning to +make their appearance on the roof under the Victoria tower, and these +certainly form no part of the architecture, but appear monstrously ugly; +consequently smoke and its abolition are clearly questions to be +considered in relation to Picturesque Architecture. + +A plan for removing smoke from the atmosphere of towns, and at the same +time ventilating buildings and sewers, was proposed in 1849 by Mr. +Flockton, surveyor to the town trustees of Sheffield,[F] a town as much +begrimed with sooty smoke, only in a smaller way, as the Metropolis. + +The proposal was, that under the footways along the side of every street +and lane, flues should be constructed of sufficient capacity to carry +off all the smoke and other atmospheric impurities, these flues all +converging, upon a general plan, to tall shafts or chimneys at some +distance from the town, and supplied with furnaces. These, when the +fires were once ignited, would give a fire produced by the combustion of +the inflammable gases accompanying the smoke, and which would burn +spontaneously in a similar manner to the combustion of foul air from old +shafts connected with coal mines. The combustion might be assisted by +jets of coal gas, in a fire of coke. + +In very large towns it would be necessary, Mr. Flockton added, to divide +the whole into districts, and to erect towers in the centre of each, to +which all the flues should converge. He published a plate, showing two +large dwelling-houses, with a street between, the common sewer in the +middle of the carriage way, and the smoke flues on each side under the +footpaths, also showing the connexion between the sewer and flue. The +alteration proposed to houses already erected consisted in converting +ascending into descending flues; turning the smoke from the chimney-top +into the latter, and from thence into the street flue. This operation +would have necessitated the pulling down and rebuilding of the flue +walls. The street smoke flues, in order to carry off the smoke from a +few thousand chimneys, would require to have been made of a size even +larger than the sewer itself. Provision must have been made for clearing +out the soot, for the smoke would have been cooled and the soot would +accumulate in large quantities in them. + +The same scheme, with similar constructions, was proposed by a foreign +gentleman, who took out a patent for it in 1850 (No. 13,061). His plan +was a very grand one; he did not propose alterations in existing +buildings, but pulled them down and gave designs for a new city. + +A more practical plan was proposed about 1851 by Mr. Devey, a surveyor +of Furnival’s Inn. A model of his invention was in the Great Exhibition +of 1851, and it is described and an engraving given of it in the +illustrated volumes published by the Royal Exhibition Commissioners at +the close of the Exhibition. The model is now in the Museum at South +Kensington. Mr. Devey’s plan was to make only one descending flue to +each building, to which the flues at the top could be either connected +or not, at pleasure; the descending flue was carried to the sewer in the +middle of the street, and the action of this was to be assisted by the +heat of the kitchen fire. He says, “The smoke would be drawn down by the +current produced by exhaustion in the sewer, the action being assisted +by the kitchen fire.” Mr. Devey did not propose to have furnace shafts, +but depended entirely upon the sewer acting as an exhaust. + +In this scheme the objections were, that one descending flue was not +sufficient to carry off the smoke from several chimneys, and the sewer +certainly would not act as an exhaust without its being connected with +upright furnaces. Our sewers generally have ventilating openings which +permit their odours to ascend into our streets. Soot would no doubt +neutralize these odours--this, a paper in a late _Quarterly Review_ +(April, 1866) admits. First, speaking of the sewer gases, the reviewer +says: “These offensive gases have often engendered formidable diseases, +and have, in several instances of late, been clearly shown to have +caused the outbreak both of typhoid fever and cholera.” Of this the +author has had proof during the outbreak of cholera in London in 1849. +He was superintending the construction of a mass of buildings in one of +the worst dwelling districts in London. This builder, who had just +finished the erection of Harrington House, a description of which is +given in this volume, died the first night of the outbreak in the +greatest agony; he was a strong robust man; from one to three deaths +took place in every house in the locality; a black flag was put up in +the streets, and the foul fiend reigned for a while supreme. A large +mass of the worst buildings have been cleared away, and model +lodging-houses erected, but a considerable portion of the rotten old +structures remain, the sewers are untouched, and the visitation of the +cholera forgotten. + +The _Quarterly Review_ says there is no reason why ordinary sewers +should not be made to serve the double purpose of carrying off smoke and +sewage at the same time, provided they were connected here and there +with high shafts rendered powerfully expansive by furnaces; and adds, +“sewage would be improved for agricultural purposes by admixture with +soot, which is an excellent manure, and the noxious qualities of the +sewer gases would be destroyed.” Whether soot would increase the value +of sewage or decrease it, is a question for chemists to decide; a +generally increasing opinion is, that our method of using sewage by +liquefaction and sending it away, is a mistake, and renders it quite +worthless, and that the system of dry earth-closets is more conformable +to Nature’s laws. + +The subject was taken up in 1857 by Mr. Peter Spence, of Manchester, a +large alum manufacturer.[G] This gentleman states that the “blacks,” the +horror of the Londoner, are guiltless of any deleterious effect to human +health, as carbon is one of the most anti-putrescent of bodies, and +while floating in the atmosphere over everything, arrest and destroy +noxious and miasmatic vapours. Perfect freedom from smoke would, if +accomplished, only increase the evil arising from the purely gaseous +results of combustion. He proposed a system of _atmospheric_ or _gaseous +sewage_, and the complete removal of all their gases to a safe distance +from our towns. He would combine this gaseous sewage in such a form with +town drainage as would bring all the liquid sewage into contact with the +gases from our furnaces and house fires, the liquid sewage being kept +from all surface drainage. The same liquid and fœtid mass of sewage he +would concentrate in an innoxious form, to be converted, in a convenient +place, where it might with perfect safety be manufactured into manure +more valuable than the richest guano. + +For effecting this all the gases from our coal combustion would have to +be conveyed along the same tunnel with the sewage to centralizing +conduits converging to a point, where an immense chimney, 600 ft. high, +should be erected, to discharge these gases into the atmosphere, the +ascensive power being obtained either from the retained heat of the +gases, which would probably be found quite sufficient, or if not, +artificial heat could then be applied to effect the object. The chimney +should be of the internal diameter of 100 ft. at the top, and 140 ft. +external diameter at the bottom. This would take the smoke from 500 +chimneys and every particle of foul emanation from the sewer, and every +leak or opening to the upward air from these sewers would not then emit +foul gases, but draw in fresh air with a pressure or suction of three +and a half pounds per foot, and with a velocity of 40 feet per second. +This gentleman says: “It is idle to talk of trapping, and thus confining +gases evolved under ground; exit they must and will have, and when you +imagine you have secured them in one place, you will find them pouring +out in another.” He makes this plain by an illustration. He took an +old-fashioned detached house; after entering into possession he found +frequently very disagreeable smells, especially after rain, a change of +wind, or a fall of the barometer; it may be remarked here that it was +not necessary to take an old-fashioned house to find out this; in more +modern built houses in London, after a fall in the barometer or rain, +such a thing is repeatedly occurring. Mr. Spence, to cure the evil in +his old mansion, exhausted all the remedies which the philosophy of +London schemes acknowledges; he trapped all the exits from the sewer +with the most approved patent girds; all slopstone pipes were cut and +water-luted. But this was of no use, the smell came through the very +walls and floors, and one bedroom on the first floor, which showed no +connexion with the sewer, was quite uninhabitable. He adopted a plan +which succeeded: a branch from the main sewer was brought right under +the kitchen grate, from that a pipe of cast iron, four inches in +diameter, was carried up through the brickwork, and the open top +projected into the chimney a yard and a half behind the kitchen fire, +above the fire. When this fire was again lighted, in a few hours the +house was perfectly sweet, and the distant bedroom, uninhabitable +before, has been slept in ever since. When this nuisance occurs in a +London house the only remedy is to open the doors and windows to get rid +of it, as we are not allowed to meddle with the sewers. Disagreeable +effluvia in dwellings often occur, and baffle every endeavour to trace +from where they proceed; in every case it is from choked-up drains or +the sewer, and the decomposition of animal and vegetable matter therein +retained. + +As for Mr. Spence’s scheme, its grandeur almost stops its execution. It +is well known that in all large manufactories, and in gas works, a tall +chimney serves to draw out the smoke from the numerous fires, and it +forms a smoke-outlet for them all. In most of these places the fuel is +used up so completely that it is only the gases of combustion that are +drawn away. Mr. Spence’s scheme has been successfully tried in its +application to private residences, and also on a large scale to the new +Assize Courts in Manchester. It was adopted by one of the architects in +the competitive designs for the New Law Courts in London. + +If these tall shafts and furnaces were applied in London, it may be +questioned whether the smoke in cooling would not deposit the soot in +the sewer, and this must be removed, if not run off by water. The flues +connecting the house fires with the sewer would be partly horizontal, +and these would certainly fill with soot, and no machines we have at +present in use could clean out these flues from above. The operation +must be performed from within the sewer, and then these flues being +unsupplied with drain-eyes at their entrance to the sewer, would form so +many open channels for the passage of the sewer gases into the houses. +This would be the case in a very great degree where there were no fires +in the stoves and their register doors were open. It would require an +immense consumption of fuel in the high stalks to cause a current to +prevent it, and the furnaces must be close together to lessen the +cooling effects of cold currents of air from flues not in use. + +As to the mere ventilation of the sewer itself, it could easily be +effected by single drain pipes 6 inches in diameter, placed at +intervals, from the sewer to the ash-pit of any neighbouring furnace. It +would be probably to the advantage of the furnace itself, as even the +tall stalks must sometimes make black smoke. A legislative enactment +should require their owners to let them perform this service. It might +require strong furnaces and plenty of them to effect it. A suggestion +for getting rid of that “monster nuisance, London smoke” was made known +in the _Builder_ about 1859, by Messrs. Bruce Neil. It is thus +described: “The plan consists in placing small tanks containing water +over the chimney (the chimney-pots being fixed inside the tanks, and +made of a spiral and bent form). The chill of the water gradually +condenses the smoke, which becomes decomposed and destroyed, being +precipitated at the bottom of the tank in the form of mineral tar. The +water is turned on and off daily. It will be here observed that in the +event of a fire in the chimney the flames cannot spread, as they are +immediately quenched by the water in the tank. According to Mr. Bruce +Neil’s calculation, the smoke of 80 tons of coal, if collected, will +yield upwards of 28 barrels of tar, of 2½ cwt. each. He proposes that +the Legislature, or the Society of Arts, should offer a premium to the +person who will undertake to rid us of this monster nuisance and convert +the smoke into tar, so as to make it applicable to commercial purposes. +In the adoption of the above plan a slight alteration in the mode of +ventilating our apartments is all that is required, he tells us. + +As to the possibility of converting smoke into tar by such means as are +above described, some doubts might be expressed if it could really be +done; the remedy would be worse even than the disease, every household +using yearly 20 tons of coal would have in that time to remove 7 barrels +or 17½ cwt. of tar from their roof. The _Builder_, in publishing this +suggestion, did not give any diagram or sketch showing how the process +was to be effected. Mr. Bruce Neil no doubt made one, as he speaks of +the alteration required in the ventilation of our apartments; a drawing +would at least have explained how the water was to collect the soot, and +how it was to have access to the flue in case of its being on fire. + +The suggestion of collecting soot at the chimney-top by means of water +was a valuable one, and there is no doubt it could be done to some +extent, but not by encircling the pots with cold water, which would +chill the smoke and prevent the soot from rising. A + +[Illustration: Fig. 23.--Water chimney-vase for collecting soot. + +Half elevation. Half section.] + +design is here given, fig. 23, to show how it could be effected. + +It will be seen that the chimney-pot or funnel has a zinc cover carried +by stout ironwork surrounding it; _a_ is the water, _b_ the pipe to +convey it away; it would be self-acting, and being washed by every +shower would not be likely to get out of order. The rain-water must be +looked for as to supply--to pay for high service for the roof of our +houses to the water companies would not do. + +Our climate is more damp than cold, and a considerable quantity of rain +falls on our roofs. The zinc cover is spread out, so as to retain as +large a portion as possible of the rain-fall. In winter, when there is +most smoke, there is most water, with little or no evaporation. A pool +of water could be thus collected, and the smoke projected over it would +lose some portion of its soot, which could be floated away by the pipe +into a receptacle provided for it in the back yard. The water might be +sent into the drain and the soot left; or it could be sent into the +drain as well. + +The arrows in the diagram show the direction of the smoke, and the cover +is so spread out and curved as to render it unlikely for any violent +wind to flow out both water and soot into the street beneath. + +Certainly coal smoke is a great nuisance; it is yearly pointed out as +such by our paper the _Times_, in one, probably two, very excellently +written leaders. Even the youngest member of the press, the _Echo_, in +one of the common London fogs occurring in April, 1868, thus remarks: +“The most sad and remarkable circumstance about the fog of yesterday was +that the newspapers and people in the streets spoke of it as a +‘visitation,’ as a ‘gigantic pall,’ as if, indeed, the black darkness +was something as strange and unaccountable as a fall of frogs or fishes +from the sky. Of course it was nothing but our own familiar coal smoke +which stopped the way of the sunlight. It is most lamentable that +Londoners are becoming so used to this filthy nuisance that nothing more +than a passing exclamation is uttered when it is forced down upon them +in such volumes as to produce almost the darkness of midnight at midday. +If ‘cleanliness is next to godliness,’ then the people of London must +have been yesterday the most ungodly people in the world, for nothing +would remain clean which was exposed to the fog of that morning. A +plague of locusts would not create more terror and sense of ruin in any +foreign capital, where every article of dress and furniture and house +decoration, both external and internal, would have been regarded as +spoiled by the loss of freshness. But London received its coat of dirt +yesterday, and to-day only wonders with the remark ‘how dark it was!’ +Will nothing move us to abate the nuisance? Is there no hope but that +distant one of the exhaustion of our coal-beds? Must we inhale +coal-blacks, and always contemplate dirty houses and grimy furniture? Is +it not possible by smoke sewers, or some contrivance or machinery, to +relieve us of this plague?” It is very possible it could be done with +the greatest ease, but at some first expense; and in some generation or +other it will be written that it found London foul and left it sweet, +and there will be a time when this will be appreciated; and the man who +gives the city the pure atmosphere of a small country town will receive +all due honour and acknowledgment, that is, when he is in his grave and +securely buried. + +The public have so long been accustomed to be choked with smoke, and +their health affected by deleterious gases, that they look upon the +proposal of any scheme to secure pure air as the hallucinations of +dreamy philosophers or inexperienced Utopians. + +None of our present flues can, in the very slightest degree, stop these +aqueous vapours from ascending into the atmosphere, neither can they +effect any purification of the smoke, or retain the blacks for any +useful purpose; and it is of no use disguising the fact that any +contrivance or appliance, to effect either of these most desirable +objects, must consist of an additional construction to the flue, which +will be attended with additional expense, and require extra attention. +Therefore any such appliance, if introduced, should be effectual, and +repay such additional cost to its owner, by a saving, or at least a more +economical use of fuel. + +The appliance to the flue the author has to recommend, he considers will +not only cause an economical use of the fuel by not permitting the +present waste of heat, but it will purify the smoke, and retain the +blacks for any useful object to which they can be applied. + +The principle of the best-constructed flue at present is to get rid of +all vapour, smoke, and soot as soon as possible, without the slightest +consideration for the people outside. That the smoke should not return +to annoy the occupants within the house is the aim of the constructors, +and to secure this, the waste of heat in the chimney, and the consequent +waste of fuel, is considered of no importance, for is it not the hot +smoke that carries up the soot and ventilates the apartment? + +This operation of the flue could be taken advantage of. In the +construction of chimney-flues in a wall they are often turned at an +angle to the right or left to pass an obstruction, such as a fireplace +or timber placed within or against the wall. A flue could easily be +taken out of the wall and returned, and if the part so taken out was +formed in cast iron with a small cistern of water at top, it would +become a warm-water pedestal, and could moderately warm or air an +apartment in which it was placed; the author calls this the flue +pedestal, and it is represented in the following cut. + +[Illustration: Fig. 24.--The flue pedestal.] + +It is about three feet six in height, not much higher than a small +cabinet. The door could open, and a small tap supplying warm water for +domestic use would be seen. Thus the upper rooms of a house could be +warmed or aired by the fires below in perfect safety, and the present +waste of heat in the flues prevented. This would be economical, as in +most cases no fires would be necessary in the upper rooms. + +The flue thus brought out in iron could contain a fine spray of water, +that would draw up the smoke, and take down its vapours and soot at the +same time into the sewer. + +Fig. 25 shows a section of the flue thus brought out. The wall is two +bricks thick, the flue _a_, is 9 inches in diameter, _d_ is the +cast-iron flue, and another, _e_, shaped like a funnel, is placed behind +it, to collect the soot and water, and pass it off through the pipe _h_. +The cistern is partly within the walls and partly covering the two +flues. It is not necessary that the water in the cistern should supply +the spray: that might be done by a separate pipe with a tap to turn off +and on as desirable; _b_ is the moveable pedestal covering the whole. + +The adaptation of this simple contrivance to any kind of domestic +chimney-flue is not a very difficult operation. It is only necessary to +take out the brickwork in front of a flue of a height of 4 to 5 feet, +and then introduce the iron flue, gathering up the brickwork beneath it; +the section, fig. 25, supposes the iron flues to be in an external wall; +should it be required in a party wall the soot goes off at _g_ _g_, to +be conveyed outside the building in the nearest way; doors are provided +for the purpose of sweeping; any down + +[Illustration: Fig. 25.--Section of the flue pedestal.] + +draught of air in the chimney might expend itself in the soot flue, and +the smoke having passed the spray could not return. The spray of water +should be equal to the whole width of the flue, and proportioned in +strength to the work it has to do; the smoke from a whole group of flues +might be conducted to one powerful spray, one upper flue or chimney +would then suffice for the roof, while the soot and flues in any number +might be formed into one before passing to the sewer. + +The pipe _h_, shown in fig. 25, would not form an open communication +with the sewer; it would be supplied with a flap-cover or drain-eye, +like the common house drain at its extremity. This would open only when +sufficient water and soot was behind it, and close when it was passed. +It would not require sweeping, the water keeping it clear. It should +have another kind of drain-eye to that at present in use, the lid, or +flap of which is hinged from the top, the soot floating on the surface +of the water, would require the flap to open from below. Fig. 26 shows +the kind of drain-eye that would be required. + +If it was not for the difficulty of the present form of drain-eye to our +houses, the soot flue might discharge its contents into the house drains +at once, below the trappings; there is probably no absolute necessity at +all for drain-eyes at the termination of house drains, their use is to +make precaution doubly sure, to prevent the rising of the gases from the +sewer, and to keep out the rats, to prevent them, by getting through the +traps, from entering the house. + +[Illustration: Fig. 26.--Drain-eye.] + +Experiments were made with a shower of water in Mr. Cubitt’s descending +flue. It will be seen by inspecting the figures 1 to 8 that these flues +could easily be formed into one, and taken into the drain; the +experiment did not succeed, as none will, that brings heavy smoke in +opposition to a water-fall. The smoke must go with the current or +water-shower, and not against it. + +The flue pedestal, with its water-spray, is the whole of the contrivance +by which the author believes the smoke of the domestic hearth could be +got rid of, or rendered inoffensive. What the action of the water would +be on the gases that escape from the fuel he cannot say, but he presumes +it could not be other than beneficial. + +He experimented on the subject a few years ago, and had a stove and flue +erected about ten feet in height; the lower part of the stove was of +brick, the upper part with the cistern of zinc. The coal fire was +lighted, and as soon as black smoke appeared at the chimney-top, the +water-valve was lifted and about 16 fine jets of water were sprayed +against a piece of loose perforated zinc, suspended in the flue; this +zinc is shown in fig. 25; in the second flue _e_ (it should have been +marked _f_, but by a mistake in the cutting it is made _d_), the smoke +had to pass through under this perforated zinc to get to the chimney +above. On the instant the water was applied, the smoke appeared at the +chimney-top of a light colour, and it came out of the soot receptacle, +placed a little height above the ground, nearly as much as it did at +top, and of a similar light vapourish character,[H] a sure sign that it +was drawn down by the current of water. Soot in large quantities was +soon seen in the receptacle; the author has not ascertained the quantity +of soot which would be obtained by this process from a ton of coals, but +he believes it would be very considerable, possibly two sacks or more. +As clean unmixed soot is worth in London 2_s._ 6_d._ per sack, if this +soot were retained it would pay for the extra expense of the water, and +the retaining of it, and to carry off the water would be an easy +operation. + +The “blacks” are good things at present in their wrong place; they could +in the way proposed be very easily got rid of, and if it were possible +to cut into all the chimneys of London and apply the remedy, the whole +of the soot, which at present escapes into the atmosphere, might be +caught and passed into the drains; it would there probably fully +deodorize them. It is certainly not possible, from the herculean nature +of the task, to disturb the whole of the chimneys of London, but the +worst only might be operated upon, such as the chief kitchen flues of +the great establishments, which are continually sending out black smoke. + +Among the chief offenders are our bakers, nearly twenty of them being +fined weekly for this by the magistrates, and for fires occurring in +their chimneys. It appears that the Smoke Nuisance Act bears hardly upon +them; the smoke-consuming apparatus forced upon them by the Act has +utterly failed in its purpose, and it is impossible for them to comply +with the requirements of the Act, and carry on their business in a +satisfactory manner either to themselves or the public. They have +applied to the Home Secretary for relief, and a bill to repeal so much +of the Act 16 and 17 Vict. that relates to bakehouses has been in +contemplation. + +There would be no difficulty in placing a flue pedestal in their flues +at any height above their oven fires; it would not only relieve their +neighbours from the annoyance of black smoke from their chimneys, but it +would secure the chimneys themselves from taking fire. The water need +only be turned on when required, when black smoke was being made, and if +they chose to collect the soot the expense of the operation would be +trifling, if anything, beyond the first expense of the flue pedestal, in +the end. + +In large country houses the flue pedestal would warm the upper rooms or +passages, and cause a more equal temperature in the building; this, +together with the practicability of collecting the soot for agricultural +purposes, might be an inducement to its introduction. Water could be +lifted to the roof of a country mansion by that ingenious contrivance +the hydraulic ram, and passed off to its original source when done with, +the soot being left behind. + +The beautiful self-acting machine, known as Gwynne and Co.’s improved +hydraulic ram, is peculiarly adapted for raising or lifting water to any +required elevation. It is necessary to have a fall of water to work it, +and the greater the height of the fall, the more effective will be the +machine. In favourable cases it will raise water thirty times higher +than the fall working it. The greater the height of the lift, of course +the less will be the quantity raised in a given time. This machine can +be made to deliver comparatively large quantities of water, either in +tanks on the roofs of houses, or in farmyards for filling ponds. It will +work day and night without any attendance or expense after it is once +fixed. Two or more rams may be used to force through the same pipe, or +rising main. Where a continuous stream of water to work the machine +cannot be obtained, a spring, or even rainfall, or drainage may be +stored up in a reservoir or dam, and made to work the ram. + +The expense of these machines is not excessive, as the following table +will show:-- + ++-----------+-----------+-----------------------+-------------------------+ +|Diameter of|Diameter of| Approximate Number of |Price of Ram, complete, | +|Feed Pipe. | Delivery |Gallons of Water raised|with all the accessories,| +| | Pipe. | in a day of 24 hours. | but exclusive of Pipes. | ++-----------+-----------+-----------------------+-------------------------+ +|Inches. |Inches. | | £ | +| 2 | 1 | 800 to 1150 | 12 | +| 3 | 2 | 3000 to 4000 | 24 | +| 4 | 2 | 4000 to 5000 | 34 | ++-----------+-----------+-----------------------+-------------------------+ + +A small room or enclosure must be erected to contain the machine. + +The question of how far the removal of smoke from the atmosphere would +affect the various gases of combustion floating therein is a question +for the chemist. The plan that has been here proposed is founded on the +supposition that Nature’s law, relative to the diffusion of gases, +permits only carbonic acid gas, the chief product of combustion, to +remain in the proportion of 1 in 2000. The introduction of so much water +in the sewer, where its presence already is considered an injury to the +sewage, is an objection, but the present system of drainage requires a +plentiful supply of water, to prevent stoppages or choking. Should the +dry earth system ever be generally introduced, the present sewers would +serve to remove liquid sewage and all products of combustion. The +operation of the sewer in any way in receiving this smoke and soot, +would permit the full and cheering light of the sun to shine alike in +country and town. + + + + +_DESIGN No. 36._ + +A LECTURE HALL, OR LITERARY INSTITUTION. + +[Illustration: Elevation.] + + +This design was made to refront an old chapel in the country which had +been purchased for the purpose of forming a Literary Institute. The +interior + +[Illustration: Tablet in front.] + +was one large room, the lecturer’s table at the back, a recess and +fireplace behind, a large gallery in front, under which were formed two +small rooms, with a + +[Illustration: Elevation of entrance-door.] + +passage from the grand entrance between. The entrance-door with a bust +of Socrates over it, under the arch, was made large, to give an +important character to the front. A section of the niche over the +doorway is given, some details of the angle rustication, together with +an elevation of the entrance-door. + +[Illustration] + + + + +_DESIGN No. 37._ + +ENCAUSTIC TILES. + + +A slight digression from the subject-matter of the preceding pages may +serve to break monotony, and introduce to the notice of the reader an +ornamental object--the encaustic tile. They are + +[Illustration: Design for a floor encaustic tile.] + +now of universal use, both for floor and wall decoration, and have +become general favourites for such purposes. A few suggestions, +therefore, for the purpose of making them more artistic and pleasing +will not be out of place. + +The present patterns are almost entirely of a conventional kind, or +according to strict geometric forms. The same pattern is repeated all +over the surface, without variation, and however excellent the pattern +may be, it is designed on the same principle as that of a printed wall +paper. + +The design just given puts all geometric forms aside, and introduces a +free-hand treatment, allowing the pattern to be varied on every surface +laid down. + +[Illustration: Design for wall encaustic tile.] + +The first tile shows eight points in which the stem of the pattern +(suppose that of a flower design) meets in them all. The second tile +shows the stem; the third and fourth the flower pattern varied. One tile +might have more flowers than leaves, another all leaves or buds, and as +all the tiles would fall in their right places, they depend only on the +care of the workmen who place them; the pattern might be varied +according to the number of tiles of different pattern. + +For wall linings a trellis work might be shown on the tile, having a +blue ground; some tiles might be without either leaves, stems, or +flowers, and the design would show a flowered trellis against the sky. +The figure given on page 461 shows this. + +These tiles are beginning to be used on columns. Some good examples are +to be seen in the South Kensington Museum Galleries. In columns with +trellis work a white marble ground with leaves and roses twined round it +naturally, would look a great deal better than formal lines of stiff +ornaments. + +Some of our latest Gothic architects who were at the same time artists, +did not trouble themselves to draw out according to rule the geometric +lines for the foliation of their Gothic windows. They knew the +principles thoroughly, but merely made the vertical lines correct, and +then sketched in the foliation with a free hand. This gave an outline +greatly superior to the usual stiff conventional forms. Some examples of +this may be seen in one of the author’s books, now in the Fine Art +Library of the South Kensington Museum, in which the free-hand designs +(rubbings) are placed by the side of the same patterns drawn out +geometrically. + +The vignette shows foreign cut-wood patterns for roof ornament; the +section the method of forming the zinc gutter. + +[Illustration] + + + + +_DESIGN No. 38._--RESTORATION OF CASTLE GUNNARSTROP, SWEDEN. + +[Illustration] + + +It has been remarked in the Introduction, that the localities in which a +residence can be placed greatly affect their picturesque appearance. The +north and west Highlands of Scotland, in our own country, and a similar +class of scenery in Sweden and Norway, greatly aid by their natural +beauties the best effects of the architect, and generally in northern +Europe, including Denmark with the above-named countries, those +accessories can be largely taken advantage of. An instance of this can +be found in the design now under consideration. In this castle the +gables are carried up to a greater height, and made more ornamental and +of greater importance than with us. In the year 1852 the author was +making a design for a villa for the Count de Bark, a Swedish nobleman. +It was to be erected on the heights bordering the Sound near Copenhagen, +and was seen from the sea in passing, peering above the trees. The upper +part of the villa was made as picturesque as possible, with a tower, +battlements, and turrets. The lower part of the building was very plain, +and the plan merely contained a few living rooms and servants’ +apartments; it was much unlike our style, and is therefore not given +here: only the view from the vignette is afforded in this description. +The Count’s uncle occupied the old castle, the Vrams Gunnarstrop in +Sweden, then very much out of repair and unfitted for the requirements +of modern domestic life. + +It was planned originally on a grand scale; the fronts had high +triangular gables in steps, and decorated with cut granite ornaments, +but the whole was + +[Illustration: The one-pair plan.] + +very plain. The north front was in two floors, and the angle towers of +the building had only two floors. The portions between one storey--that +of the ground floor--thus had to be raised. The ground floor was given +to the servants, and the southern portion of the building was to remain +for a time in its then existing state. The plan shows _a_, the grand +staircase, adorned with columns supporting the upper landing. It was 27 +ft. in length by 26 ft. in width, and led up to an ante-room _b_, in the +centre of the building, 26 ft. in length by 12 ft. in breadth. It opened +into the first and second drawing-rooms, _c_ and _d_: one 30 ft. in +length, the other 40 ft., and both of a width of 26 ft. + +[Illustration: Perspective view of the Count de Bark’s villa.] + +The dining-room _e_, entered from the chief drawing-room, was 40 ft. in +length, with a width of 22 ft.; _f_ shows the gallery or library filled +with book-cases, and leading to the day-room _h_; the chief bedroom is +shown at _i_ adjoining, _k_ is the lady’s dressing-room, _l_ the +gentleman’s dressing-room and bath; _m_ is the nursery, with a +servants’ staircase and closet adjoining; _g_ is the servants’ +serving-place at the entrance of dining-room. The light portions of the +plan show the additions made; the black, the old portions of the castle. +The two towers contained staircases to the attics which were formed in +the high roofs. + +The principal elevation faced the west. The perspective view of this +front is given. Its length is 130 ft., and the height of the principal +entrance from the ground to the top of the gable is 60 ft. + +The south and west sides were of an equally picturesque character, but +neither had any central gable. The south had triple dormer windows +joined in the centre with one dormer window at each side. The two towers +were seen rising above the roof, and a wide terrace with open stone +Elizabethan balustrading extending the entire front, with steps down to +the garden in the centre below. The terrace was 130 ft. in length. The +west side had the two gables, one at each end, with three tall dormer +windows in the roof; these were connected by wood balustrading, and a +window with three lights was placed below each. The granite-stone +ornaments in the old fronts were replaced in the new fronts. + +The vignette gives a view of a small garden fountain, designed from one +in the old garden at Blickling in Norfolk. The plinth is hexangular in +plan, with the scrolls projecting on the three sides. To the top of the +jet its height is about 9 feet. + +[Illustration] + + + + +_DESIGN No. 39._ + +SUMMER VILLA FOR THE COUNT KINSKI, AT TEPLITZ. + +[Illustration: Perspective view of Count Kinski’s summer villa.] + + +This villa was designed about the year 1852, for an Austrian nobleman, +who wished to have a villa in the English Elizabethan character. The +plan was arranged after his own figured sketches, and it is given here +as showing the requirements considered desirable for such a building in +a summer place of + +[Illustration: Ground plan.] + +retirement, or palace for a foreign nobleman’s occupation. The porch was +approached on four sides by flights of steps 12 ft. 6 in. in diameter; +it opened into a hall _b_, 20 ft. in length by 14 ft. in width. The +drawing-room _c_, of noble size, with two bay windows, was 36 ft. in +length by 22 in width. The dining-room _d_, in the opposite side of the +hall, was 28 ft. in length by 18 ft. in width. The butler’s pantry _k_, +and the servants’ offices and kitchen _g_, with a large store-closet +_h_, and scullery _i_, adjoined. A bread-room is shown at _j_, _l_ is +the servants’ hall, _m_ a china-closet, _n_ a store-room, and _o_ the +servants’ staircase, _q q_ are the servants’ entrances, and _r r_ the +closets. + +[Illustration: One-pair plan.] + +Returning to the principal portion of the building, the chief staircase, +_v_, opens from the entrance hall, _e e e_ are nurseries, and _f_ is the +library. On the first floor, _a_ is the balcony over the porch; this was +to be used for smoking, &c., _b_ is the best bed-chamber, and _c_ the +boudoir to the same, _d_ is the second best bedchamber, and _e_ its +boudoir, _f_ is the third best bedchamber, and _g_ its boudoir, _h_ is a +bedroom without any boudoir, _i_ is the housekeeper’s bedroom, _k k k_ +the men’s sleeping room, _i_ housemaid’s closet, _j j_ closets, _l l_ +linen-closets, _m_ a closet or bath-room, _n_ the principal staircase, +and _o_ the servants’ staircase. + +The attic plan was devoted to the sleeping rooms, _b b b_, of the female +servants. Here plans are made + +[Illustration: Attic plan.] + +(the building being so large) on a smaller scale than the other plans in +this volume. + +The perspective view merely exhibits the common forms of Elizabethan +character. The tower which formed the entrance was 70 ft. in height from +the foundation to the top of its roof, the height of the ground-floor +rooms was 14 ft. 3 in. They had rich plaster friezes, and the staircase +had carved oak Elizabethan balustrading. The second-floor rooms were 12 +ft. 3 in. in height, and were very plain in character. The upper floor +of the tower was open, but could be closed by sashes; this was intended +for a smoking retreat. A small detail of one of the gabled windows in +front is given below. Altogether, the design had a most picturesque +effect, and its style met with approval. It combined utility with +elegance, + +[Illustration: Gable window.] + +and completely answered the objects for which it was constructed. + +Another villa was designed for an Austrian nobleman, the Prince Clary: a +view of it is given in the first illustration of this volume, through +the window of the architect’s study. It was intended as a summer retreat +for the Prince and his friends when engaged in a fishing-excursion on +the noble river the Elbe, on the banks of which it was placed. It +contained a large centre dining-room, 48 ft. by 22, with a saloon or +drawing-room, 40 ft. by 20 ft., and extensive accommodation for the +kitchen and servants’ departments. The upper storey contained 14 best +bedrooms, each with an ante or dressing-room, besides bath-room and the +sleeping apartments for the domestics. + + + + +_DESIGN No. 40._ + +HARRINGTON HOUSE, QUEEN’S PALACE GARDENS. + +[Illustration: Perspective view of exterior.] + + +This building, with which the present collection of designs closes, is +probably the most unpicturesque example in the volume. Its exterior has +been frequently criticised; whatever its merits or demerits may be, it +certainly is wholly unlike, while at the same time it is not inferior, +to the strange style at present so popular with the younger branch of +architectural professors, which appears to be a + +[Illustration: Elevation of principal staircase.] + +mixture of the Byzantine and Romanesque styles, joined with the Roman +Gothic. Some call it the Missal style, others the Northern Italian. The +sole recommendation of it is that it comes more expensive to carry out +than any other. This house has at least the reputation of being a very +comfortable one, and as more than usually adapted to receive large +assemblies and fashionable parties. Indeed the noble Earl who erected +it was so pleased with it, that on entering, on its completion, he +addressed the following note to the author:-- + + H. H., Kensington Palace Gardens, + _31 May, 1854_. + + My dear Sir,-- + + I take this opportunity of expressing to you my thanks for having + constructed a house, in my humble judgment, _without a fault_. + + Believe me most sincerely yours, + + (Signed) HARRINGTON. + +To C. J. Richardson, Esq. + + + +And after having resided in it nine months, he again +wrote as follows:-- + + H. H., Palace Gardens, Kensington, + _2nd February, 1855_. + + My dear Sir,-- + + I pray you to accept my cordial thanks for your most able + architectural skill in the construction of my house. I have lived + in it one season, and have not discovered in it a single fault. + + Believe me most truly yours, + + (Signed) HARRINGTON. + +To C. J. Richardson, Esq. + + + +The site upon which the house stands was taken by the Earl from the +Commissioners of Her Majesty’s + +[Illustration: Ground plan.] + +Woods and Forests, and it certainly is, or was, one of the best sites +for building in the metropolis. It adjoins Kensington Gardens, looking +on the old winter garden of Queen Anne. Agreeable and admirable a + +[Illustration: One-pair plan of staircase.] + +site for building as this was, in 1853, it remained for some time +utterly neglected. The first speculator had been ruined, and only one or +two of his houses (one erected by Mr. Owen Jones, the architect) were + +[Illustration: Ground-floor plan.] + +standing in the road. Soon after the Earl of Harrington acquired the +land, and erected this building, the whole of the road, on each side, +was covered with first-class mansions. + +The terms of the agreement were, that the Earl should take plot No. 9 +and the northern portion of plot No. 10, having a frontage of 196 ft. to +the Queen’s Road, and a depth of about 260 ft., for a period of 91¼ +years, from the 5th July, 1851, at a peppercorn rent for the first year, +of 73_l._ 10_s._ for the second year, and of 147_l._ a year for the +remainder of the term, also a rent of 5_s._ a year in lieu of land-tax +for every year except the first. + +The Earl was to expend a sum of not less than 6000_l._ in erecting upon +the ground a dwelling-house of the first-class style of building. The +house was to be insured in the sum of 6000_l._, and the Earl was to pay +jointly, with the adjacent occupiers, the expense of lighting and +keeping up the road, which was a private one, and to pay the gatekeepers +at the lodge. The rest of the covenants of the agreement were such as +are usually found in such documents. + +The house was, until the present year, the only Gothic one in the +district, the Earl insisting upon having this, his favourite style, +admitted. It stands in the centre of the road at the highest level, and +is well up out of the ground. The principal floor is 7 ft. above the +outside road of approach, and 14 ft. above the level of the public road. +The whole of the walls stand on a basement of concrete, and the lower +flooring is 5 ft. above the level of the foundations. The basement +story is 14 ft. in height, and of entirely fireproof construction. The +best rooms on the ground-floor are 17 ft. 6 in. in height, the secondary +rooms are 15 ft. high. All the principal staircases are of stone; the +ground plan on page 479 shows the + +[Illustration: Section of principal staircase.] + +entrance hall, _a_, approached by 12 steps; it is 30 ft. in length, by +21 ft. in width; _b_ is the principal staircase, situated on one side of +the saloon in the centre of the building; the latter is 41 ft. long by +21 ft. wide. The dining-room _e_, and the library _c_, on each side of +the hall, are respectively 30 ft. by 22 ft. The great room, with the bay +window, entered from the saloon, is the picture gallery _f_. This room +is 41 ft. long by 30 ft. wide, without the bay. The drawing-rooms _d_, +_d_, on each side, are each 25 ft. by 20 ft.; _g_, the conservatory, +measures 40 ft. by 21 ft.; this, with the two drawing-rooms and the +picture gallery, can in less than half an hour be thrown into one by the +removal of the large folding-doors in the picture + +[Illustration: Ornament for stairs.] + +gallery, which can be taken away, frames complete, by simply removing a +few screws. A length of drawing-room is then gained of 125 ft. + +The principal staircase is shown in elevation on page 477; the plans are +here given to a larger scale. + +The lower plan shows a portion of the first flight and the servants’ +passage, _a_, under the first landing; _b_ is their staircase down to +the basement, this should have been shown on the left-hand side. It is +the footman’s staircase, adapted for him to ascend and + +[Illustration: Iron railing on staircase.] + +descend readily from or to the basement, and the passage _a_ permits +him to enter either side of the house without being seen. The upper plan +shows the two flights, right and left, rising from the principal +landing. Each of these has 22 steps. Three more in the centre lead up to +the gallery round the saloon; the section of the staircase, given on p. +482, clearly shows this arrangement. The staircase front is in Bath +stone. The only ornaments are the decorated corbels supporting the small +angular projections or buttresses necessary to receive the iron +standards of the railing above. One of the corbels and a panel of the +iron railing is given. This is carried up the stairs on both sides and +round the gallery, and is richly coloured and gilt. The only remaining +portions of the ground plan to be described are the secondary rooms. A +side entrance is at _j_, and the waiting room, _i_, is also at the side; +_h_ is the servants’ staircase, going from the basement to the attic. On +the other side of the building _o_ is the Earl’s dressing-room, with a +study or writing room by its side. This has a lift, _n_, from the +kitchen, enabling it to be used as a serving room. The picture gallery +has a flight of steps descending to a large ornamented garden at the +back of the house, _n n_ is the stable yard, and _k k k_ rooms over the +stable. + +The section through the complete building, given on page 486, shows the +general character of the interior. The rooms are wholly without +ornament; all have plain cornices formed of running Gothic mouldings. +The + +[Illustration] + +only decorated portion is the saloon (_inf._), the coved ceiling of +which has the shields of painted and gilt coats of arms of family +connexions, together with + +[Illustration] + +mottoes and monograms. The skylight is filled with richly coloured +embossed glass, every pane having a shield of arms, its ceiling being +panelled with painted enrichments on a blue ground. A view of the saloon +is given on p. 487; it contains in the centre a statue + +[Illustration: Half-section of roof of conservatory.] + +by Theed, of Lady Chandos Pole, the eldest daughter of the Earl. The +statues are shown in the plan by the letters _m m_. The ground floor is +supplied with warm-water pipes; these are shown by the dotted lines. +They are sunk in the brickwork forming the substructure of the +flooring, and covered with open ornamental ironwork. The hall has two +warm-water pedestals. The whole of the rooms and conservatory are so +warmed. + +The latter part of the interior resembles in some respects a small +chapel. A half-section of a portion + +[Illustration: Plan of one-pair.] + +of its roof is given on p. 488; it measures 22 ft. from the floor to the +collar-beam. The corbels, from which the roof springs, are decorated +with shields of arms, surrounded by a garland of strawberry leaves. + +In the plan of the one-pair floor _a_ is the boudoir or morning room; +_b b b_ are bedrooms; _c c c_ dressing-rooms, and _d_ is the bath-room. +The gallery is shown as completely going round the saloon; its ceiling +is of ground glass arranged in panels, each of which is + +[Illustration] + +moveable, with a skylight over the whole. There is plenty of light +therefore afforded for the paintings with which the walls are covered. + +The small attic plan shows these skylights on three sides only, +likewise the sleeping-rooms _b b_, and the housemaid’s closet _c_. Under +this plan is that of the upper room in the tower with its two slate +cisterns, each capable of containing 800 gallons of water. They are +supported by strong trussed girders fixed in the walls. This upper room +is approached by a + +[Illustration: Staircase to lower rooms.] + +cottage staircase, the plan of which, with its 22 risers, is shown in +cut on p. 490. It enables the room to be approached without any +structural appearance being seen from without. A half elevation of the +exterior, and another of its section is given above. It is well supplied +with light. + +[Illustration: Basement plan.] + +[Illustration: Elevation of bay window.] + +[Illustration: Section.] + +[Illustration: Plan.] + +The building contains upwards of forty rooms; the basement is very +large, and contains considerable accommodation. The mere enumeration of +these would require every letter in the alphabet to point them out in an +engraving, but as it is desirable to show how closely a large +establishment of servants can be packed together, the basement plan is +given. _a_ is the kitchen, _b_ the scullery, and _c_ the larder. The +kitchen is provided with a lift _f_, and a small service window; _d_ is +the pastry-room, and _e_ the still-room, with the lift; _g_ is the +dairy, _h_ the washhouse, _i_ the laundry, _j_ the butler’s pantry, _k_ +the steward’s room with its strong closet; _l_ is the housekeeper’s, +with the cook’s room between it and the still-room, _m_ is the servants’ +hall, _n_ the men’s sleeping room; _o o_ are wine-cellars, _p_ the +butler’s wine-cellar, _q_ the footman’s stairs under the principal +staircase, _r_ the warm-water furnace, by the steward’s room, placed at +the back of his strong closet; _s_ is the stable, containing eight +stalls, one loose box, and a harness-room; _t t t_ are cart-sheds, _u_ +is the cowhouse, _v_ the dung-pit, _w_ the coach-house, _x x_ two of the +three coal-cellars, _y_ the dust-pit, and _z z z_ are the closets. The +carriage-road to the side entrance is formed over the cart-sheds and +coal-cellars. These are arched over in brick and covered with a thick +layer of Brown’s metallic lava, and are provided with proper drainage. +The boot-cleaning place and that for lamps are between the coach-house +and the cart-sheds. + +The exterior of the building has been censured on account of the Gothic +outline being too flat, the roofs too low, and all the windows having +common sash + +[Illustration] + +frames. With regard to the latter, it may be considered very probable +that if the Gothic race of architects had continued with us to the +present day, they would have adopted plate glass for their windows, and +put aside their lead-lights and small panes of common glass. One of the +greatest improvements that could be made in our cathedrals, not +excepting even St. Paul’s, would be the reglazing the windows in the +modern style. + +[Illustration: Half-elevation and section of bell-turret.] + +As a specimen of the architectural style of the building, the centre +bay-window of the principal front is given, with its section and plan. +It is 9 ft. 6 in. across, and 21 ft. 4 in. high, and stands directly +over the chief entrance. The construction of a projecting bay-window +coming over an archway requires a short description. + +The three diagrams on page 495 show the manner in which such windows are +corbelled out. The upper + +[Illustration: Plan of turret.] + +one is a plan of the bottom stone course, immediately over the key-stone +of the arch; it shows also the centre stone of the second course upon +it. The middle diagram shows the two courses from the back. It will be +seen that the middle stone of the first course does not bear upon the +arch, but is supported by the two end stones let into the wall. The last +diagram is a plan of the upper course at top. Slate dowels were used, +and an iron bar, shown in plan under elevation _a_, 3 in. by ¾ in., was +placed across the course tailing into the walls on each side; and two +bars _p p_, each 2½ by ¾ in. and 12 ft. in length, tied it to the +flooring of the room. This is shown likewise in the plan, the dotted +lines dividing the length of flooring; _d_ is the upper course of +stones, and _c_ one of the principal beams of the floor. + +[Illustration: Balustrading on top of building.] + +The bell-turret stands 20 ft. above the roof. This is carved in oak; an +elevation, section, and plan is given. Only those parts of the building +are intended to be here illustrated which have some peculiarity of +design or construction. + +A building of this size would require about 150 working drawings to be +made for it, and a considerable number to be given to show its +construction. + +It was completed in about two years, at an expense of 14,814_l._; but +this did not include the price of the warming apparatus, nor that of the +lightning conductor fixed to the bell-turret. + +[Illustration: Front. Side. + +Pedestal to steps.] + +Whatever opinions may be expressed in regard to the architectural +details of this erection, the author at least can plead, as its owner +stated in the letters, copies of which have been given, that the +essentials of a house, convenience, comfort, and complete suitability +for all domestic purposes, were accomplished. These objects being +attained, any real or imaginary faults perceived by professional critics +may be palliated if not forgotten. + + + + +INDEX. + + + PAGE + +Introduction, 3-48 + + +“Albert Hall of Arts”, 131 + +Architectural history, 16 + +Architectural orders, 20 _et seq._ + +Architecture and gardening, 46, 312 + +Architecture, English, 25 + +Architecture, Grecian, &c., 11 + +Architecture, Mexican, &c., 26 + +Architecture, origin of, 8 + +Architecture, principles of, 27 + +Architecture, Roman, 23 + +Architecture, Suburban, 29 + +Architectural symmetry, &c., 31 + +Arnott’s, Dr., system of warming, 357 + +Arnott’s ventilator, 414 + +Aspect of a house, 36 + +Asphalte as a paving, 235 + +Atmosphere, the, and smoke, 431 + + +Bacon, Lord, on house construction, 256 + +Balconet, an iron, 331 + +Balconet, design for a, 123 + +Balusters for a staircase, 277 + +Balustrade, a garden, 363 _et seq._ + +Balustrade, Elizabethan, 181 + +Balustrade for a staircase, 282 + +Balustrades, stone, 247 + +Balustrading, cut wood, 279 + +Balustrading, designs for iron, &c., 299 + +Balustrading, house and garden, 204 _et seq._ + +Barge-board, 247 + +Bath-house, design for a, 214 + +Bower, garden, rooms, 242 + +Boyd’s flue, 414 + +Bricks, ventilating, 157, 170 + +Buildings, foundation of, 151 + + +Carving by machinery, 278 + +Casements, iron, 220 + +Castle, Gunnarstrop, Sweden, 464 + +Ceiling, a dining-room, 288 + +Ceiling and cornices, 44 + +Ceiling, drawing-room and library, 290, 291 + +Ceiling for a drawing-room, 166 + +Ceiling for a hall, 286 + +Ceiling, ornament for a, 61 + +Ceilings, ornamental, various, 313 _et seq._ + +Ceilings, plaster ornament for, 161 + +Chalk concrete, 83 + +Chapel, design for a Roman Catholic, 210 + +Cheshire wooden houses, 233 + +Chimney-piece, ancient, at Enfield, 228 + +Chimney-pieces, designs for, 80, 81, 319 + +Chimney-pot, ornamented, 329, 330, 423 + +Chimney stack, ancient, 74 + +Churches, concrete, 96 + +Clunch, 246 + +Concrete as a foundation, 152 + +Concrete, chalk, 83 + +Concrete churches, 96 + +Concrete construction, 82 + +Concrete cottages, 83 + +Concrete, nature, cost, &c., of, 91 + +Concrete, remarks on, 93 + +Concrete sewers, 96 + +Concrete walls, 92 + +Construction, fire-proof, 156 + +Construction, concrete, 82 + +Corbels, 172 + +Corbel, French cut-wood, 403 + +Corbels, ragstone, 392 + +Cornice and ceiling, 44 + +Cornice, design for a plaster drawing-room, 101 + +Cornice for a drawing-room, 166 + +Cottage, design for a picturesque, 62 + +Cottage, double, design for a, 66, 72 + +Cottage, gardener’s, 50 + +Cottages, Hampshire, Kentish, &c., 88 _et seq._ + +Cottage or lodge, design for a small, 58 + +Cottage or lodge, design for a huntsman’s, 78 + +Country house, design for a small, 174 + +Country villa, design for a, 182 + +Cubitt’s flues, 407 + + +Dab houses, 251 + +Damp walls, 152 + +Damp, wash to prevent, in walls, 159 + +Deals, stained, 45 + +Decoration external and internal, 42 + +Denley’s flue, 413 + +Door, entrance for a hall, 458 + +Door ornaments, 69 + +Doric order, 20 + +Drain-eye, 450 + + +Egyptian architecture, 19 + +Elizabethan balustrades, 181 + +Elizabethan villa, 280 + +Encaustic tiles, 460 + +English architecture, 25 + +Escutcheon, design of an, 69 + +Escutcheon, key, 172 + + +Finials, 109 + +Finials, roof, 80 + +Fireplace for a hall, 284 + +Fireplace, the, 404 + +Fire-proof construction, 156 + +Fire-proofing, 158 + +Flue construction, 405 _et seq._ + +Flue pedestal, the, 446 + +Flues, Cubitt’s, 407 + +Flues, various, 405 _et seq._ + +Fogs, London, and smoke, 443 + +Foundations, concrete, 152 + +Foundations of buildings, 151 + +Fountain, an ancient nymph’s, 47 + +Fountain, garden, 49 + +Fountain, garden, design for a, 469 + +Fountains, various designs for, 307 + +French villas, roofs, zinc work, &c., 273 + +Frieze, external, 173 + +Frieze for dining and drawing-room, 178 + +Frieze, plaster, for a drawing-room, 65 + + +Gable, ornamental, 170, 220, 300 + +Gardens, ancient, 312 + +Gardens and architecture, 45 + +Garden, architectural, 313 + +Garden bower rooms, 242 + +Gardener’s cottage, 50 + +Garden fountain, 49 + +Garden gate, a, 204 + +Garden gate, design for a, 95 + +Garden, gate to a flower, 265 + +Garden or summer villa, 302 + +Garden summer house, 262 + +Garden steps, 197 + +Garden seat, design for a, 361 + +Garden, vignette plan of an Old English, 119 + +Gate, a garden, 265 + +Gates, iron, in Hyde Park, 128 + +Gate lodge, Hyde Park, 125 + +Gates, Park, 149 + +Gates of London Parks, 139 + +Gothic, modern, 24 + +Gothic screen, 205 + +Gothic style, 10 + +Gothic window, 204 + +Grecian architecture, 11 + +Gunnarstrop castle, Sweden, 464 + + +Half-Timbered houses, 248 + +Hall ceiling, 286 + +Hall fireplace, 284 + +Hall, lecture, design for a, 456 + +“Hall of Arts and Sciences,” Kensington, 133 + +Hall stove, 285 + +Hall, stove for entrance of a, 120 + +Hampshire cottages, 88 + +Handle, design for a door, 69 + +Harrington estate, the, 136 + +Harrington House, Queen’s Palace Gardens, 476 + +Houses, foundations of, 151 + +Haum as a building material, 249 + +Hiort’s flue, 412 + +Hot-water apparatus, 349 + +House, a bachelor’s, 401 + +House, a garden summer, 262 + +Houses, aspect of, 36 + +Houses, dab and wattle, 251 + +House construction, Lord Bacon on, 256 + +House, design for a small country, 174 + +Houses, heating of, 34 + +Houses in Kent, 249 + +Houses, noggin, &c., 249 + +Houses, post-and-pan, 252 + +Houses, site, &c. of, 351 + +Houses, warming of, 351 + +Hyde Park, Queen’s Gate, entrance to, 139 + +Hyde Park Corner Gate, 140 + + +Ice-house, design for a, 370 + + +Kensington Gardens, 140 + +Kent ragstone, 176 + +Kentish cottages, 91 + +Kentish village houses, 249 + +Key escutcheons, 172 + +Knocker, 172 + + +Library, elevation of a small, 200 + +Literary Institution, design for a, 456 + +Lodge, a park, 102 + +Lodge and gateway, design for, 112 + +Lodges of London Parks, 142 + +Lodge or cottage, a huntsman’s, 78 + +Lodge or cottage, design for a small, 56 + +Lodge, park entrance, 104 + +Lodge, Queen’s Gate, Hyde Park, 125 + + +Machine-carving, 278 + +Mantel-pieces, 44 + +Maisonette, a French, 268 + +Meat-jack, design for a, 267 + +Moule’s earth system, 241 + +Moon’s flue, 412 + +Mud walls, 90 + + +Noggin houses, 249 + + +Orders of architecture, 20 _et seq._ + +Origin of architecture, 8 + + +Paper hangings, 42 + +Parge-boards, 247 + +Pargetting, &c., 248 + +Park, entrance lodge and gateway, 112 + +Park lodge, design for a, 99 + +Park lodge entrance, 104 + +Parks, history of the London, 139 + +Parks, the Royal, 139 + +Pedestals, ornamental, 326 + +Pedestal, the flue, 446 + +Pendants, &c., 289 + +Perkins’ hot-water apparatus, 350 + +Picturesque cottage, design for a, 62 + +Picturesque defined, 5 + +Pipes, elevation of Elizabethan lead-water, 55 + +Plaster frieze for a drawing-room, 65 + +Plaster ornament for a ceiling, 161 + +Porch, design for an entrance, 225 + +Portico, elevation of, 180 + +Post-and-pan houses, 252 + +Pots, ornamental chimney, 423 + +Prevention of damp, 151 + + +Queen Anne’s garden, 140 + +Queen’s Gate, iron-work of, 143 + +Queen’s Gate Lodge, 125, 142 + + +Ragstone, Kentish, 176 + +Railing, French, in iron, 190 + +Railing, park, 147 + +Railing, ornamental, 81 + +Riding-house and stabling, 389 + +Reading-room, design for a, 208 + +Rectory, design for a small country, 162 + +Retreat, a small country, 268 + +Roman Architecture, 23 + +Roman Temple, 5 + +Roof, French style of, 275 + +Roofs, iron, 348 + +Roof ornaments, design for wood, 463 + +Rose Hill Villa, 82 + +Rotunda at Bank of England, 158 + +Rushton Hall, 283 + + +Schools, design for, 208 + +School, design for a village Sunday, 70 + +School, village, 208 + +Screen, Gothic, 205 + +Screen, hall, 206 + +Sculptor’s villa, 338 + +Serpentine, the, 140 + +Sewers, a receptacle for soot, 438 + +Sewer gases in houses, 436 + +Sewers, concrete, 96 + +Situation of a house, 38 + +Smith’s, Seth, flue, 412 + +Smoke Nuisance Act, 452 + +Smoke Prevention, 405 + +Smoke purified, by a spray of water, from soot, 441 + +Smoky chimneys, 427 + +Soot and the sewers, 436 + +Soot, prevention of, 428 + +Soot, removal of, from smoke, 433 + +Soot, value of, 451 + +Spiral staircase, 61 + +Stabling and riding-houses, 389 + +Stack flues, 417 + +Stair, best proportions of a, 231 + +Staircase balustrade, 277, 282 + +Staircases, construction of, 194 + +Staircase railing, French, in iron, 190 + +Staircase, spiral, 61 + +Steps, garden, 197 + +Stone balustrades, 173 + +Stove, design for an entrance hall, 120 + +Stove for a hall, 285 + +Styles of architecture, 10 + +Style, Gothic, 10 + +Summer house, or garden, 262 + +Summer or garden villa, 302 + +Summer room, design for a, 214 + +Sunday school, village, design for a, 70 + + +Tall-boys, 416 + +Taste in architecture, 15 + +Terrace, ironwork, 297 + +Tiles, design for ornamental, 189 + +Tiles, encaustic, 460 + +Tiles, ornamental, 187 + +Turn-buckle, 221 + + +Ventilation, general principles of, 32 + +Ventilation, 411 + +Verandahs, 375 + +Verge-board, 247 + +Villa, a sculptor’s, 338 + +Villa, design for a country, 182 + +Villa, design for a small country, 222 + +Villa, double suburban, 192 + +Villa, Elizabethan, 280 + +Villa, French, 268 + +Villa, old English wooden, 232 + +Villa, suburban, design for a, 382 + +Villa, suburban, design for a, 373 + +Villa, summer or garden, 302 + +Villa, summer, for Count Kinski, 470 + +Village schools, 208 + + +Wainscoting, 285 + +Walls, concrete, 92 + +Walls, damp, 152 + +Walls, how to cure damp, 160 + +Warming houses, 34, 351 + +Water, for removing soot from smoke, 440 + +Wattle houses, 251 + +Weathercock, design for a, 261, 381 + +Window, design for a decorated, 336 + +Window, Gothic, 204 + +Window, ironwork for, 297 + +Wooden villa, old English, 232 + +Wood-noggin houses, 249 + +Woodwork, French, pine, 186 + +Woodwork, French, 275 + + +Zinc, French ornamental work in, 274 + + +THE END. + + * * * * * + +[_Post-Office Orders payable +at Piccadilly Circus._] [NOVEMBER, 1874. + +[Illustration] + +A List of Books + +PUBLISHED BY + +CHATTO & WINDUS, + +_74 & 75, PICCADILLY, LONDON, W._ + +[Illustration] + +SUMPTUOUS GIFT-BOOK. + +THE TURNER GALLERY: + +A Series of Sixty Engravings, + +From the Principal Works of JOSEPH MALLORD WILLIAM TURNER. + +_With a Memoir and Illustrative Text_ + +By RALPH NICHOLSON WORNUM, + +KEEPER AND SECRETARY, NATIONAL GALLERY. + +Handsomely half-bound, India Proofs, Royal folio, £10; LARGE PAPER +copies, Artists’ India Proofs, Elephant folio, £20. + +_A Descriptive Pamphlet will be sent upon application._ + + +_74 & 75, PICCADILLY, LONDON, W._ + + +THE NATIONAL GALLERY: + +A Selection from its Pictures, + +By CLAUDE, REMBRANDT, CUYP, Sir DAVID WILKIE, CORREGGIO, GAINSBOROUGH, +CANALETTI, VANDYCK, PAUL VERONESE, CARACCI, RUBENS, N. and G. 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In several important + respects, it appears to us, Miss Braddon’s recent works deserve the + highest commendation.”--_Illustrated London News._ + + “We may confidently predict for it a warm welcome from Miss + Braddon’s numerous admirers.”--_Graphic._ + + “‘Lost for Love’ must be placed high among Miss Braddon’s novels. + It has a quiet power, which makes it attractive in a high + degree.”--_Scotsman._ + + “Unaffected, simple, and easily written, it will disappoint Miss + Braddon’s early admirers, and please that which we hope is a wider + public.”--_Athenæum._ + + + =Byron’s (Lord) Letters and Journals=, with Notices of his Life. By + THOMAS MOORE. A Reprint of the Original Edition, newly revised, + complete in a thick volume of 1060 pp., with Twelve full-page + Plates. Crown 8vo, cloth extra, gilt, 7_s._ 6_d._ + + “We have read this book with the greatest pleasure. Considered + merely as a composition, it deserves to be classed among the best + specimens of English prose which our age has produced. It contains, + indeed, no single passage equal to two or three which we could + select from the Life of Sheridan; but, as a whole, it is + immeasurably superior to that work. The style is agreeable, clear, + and manly, and, when it rises into eloquence, rises without effort + or ostentation. Nor is the matter inferior to the manner. It would + be difficult to name a book which exhibits more kindness, fairness, + and modesty. It has evidently been written, not for the purpose of + showing--what, however, it often shows--how well its author can + write, but for the purpose of vindicating, as far as truth will + permit, the memory of a celebrated man who can no longer vindicate + himself. Mr. Moore never thrusts himself between Lord Byron and the + public. With the strongest temptations to egotism, he has said no + more about himself than the subject absolutely required. A great + part, indeed the greater part, of these volumes consists of + extracts from the Letters and Journals of Lord Byron; and it is + difficult to speak too highly of the skill which has been shown in + the selection and arrangement.... It is impossible, on a general + survey, to deny that the task has been executed with great judgment + and great humanity. When we consider the life which Lord Byron had + led, his petulance, his irritability, and his communicativeness, we + cannot but admire the dexterity with which Mr. Moore has contrived + to exhibit so much of the character and opinions of his friend, + with so little pain to the feelings of the living.”--LORD MACAULAY, + in the _Edinburgh Review_. + + + =Carols of Cockayne=: Vers de Société descriptive of London Life. By + HENRY S. LEIGH. Third Edition. With numerous Illustrations by + ALFRED CONCANEN. Crown 8vo, cloth extra, gilt, 5_s._ + + + =Carlyle (T.) on the Choice of Books.= With New Life and Anecdotes. + Brown cloth, UNIFORM WITH THE 2_s._ EDITION OF HIS WORKS, 1_s._ + 6_d._ + + + =Celebrated Claimants=, Ancient and Modern. Being the Histories of + all the most celebrated Pretenders and Claimants from PERKIN + WARBECK to ARTHUR ORTON. Fcap. 8vo, 350 pages, illustrated boards, + price 2_s._ + + +MR. WILKIE COLLINS’S NEW NOVEL. + + =The Law and the Lady=: A Novel. By WILKIE COLLINS, Author of “The + Woman in White.” 3 vols., crown 8vo, 31_s._ 6_d._ + +[_Shortly._ + + + =Christmas Carols and Ballads.= Selected and Edited by JOSHUA + SYLVESTER. A New Edition, beautifully printed and bound in cloth, + extra gilt, gilt edges, 3_s._ 6_d._ + + + =Cruikshank’s Comic Almanack.= Complete in TWO SERIES: the FIRST from + 1835 to 1843; the SECOND from 1844 to 1853. A Gathering of the BEST + HUMOUR of THACKERAY, HOOD, MAYHEW, ALBERT SMITH, A’BECKETT, ROBERT + BROUGH, &c. With 2,000 Woodcuts and Steel Engravings by CRUIKSHANK, + HINE, LANDELLS, &c. Crown 8vo, cloth gilt, two very thick volumes, + 15_s._; or, separately, 7_s._ 6_d._ per volume. + + ⁂ _The “Comic Almanacks” of George Cruikshank have long been + regarded by admirers of this inimitable artist as among his finest, + most characteristic productions. Extending over a period of + nineteen years, from 1835 to 1853, inclusive, they embrace the best + period of his artistic career, and show the varied excellences of + his marvellous power. The late Mr. Tilt, of Fleet Street, first + conceived the idea of the “Comic Almanack” and at various times + there were engaged upon it such writers as_ THACKERAY, ALBERT + SMITH, _the Brothers_ MAYHEW, _the late_ ROBERT BROUGH, GILBERT + A’BECKETT, _and, it has been asserted_, TOM HOOD _the elder_. + THACKERAY’S _stories of “Stubbs’ Calendar; or, The Fatal Boots” + which subsequently appeared as “Stubbs’ Diary;” and “Barber Cox; + or, The Cutting of his Comb,” formed the leading attractions in the + numbers for 1839 and 1846_. + + +THE BEST GUIDE TO HERALDRY. + +[Illustration] + +=Cussans’ Handbook of Heraldry=; with Instructions for Tracing Pedigrees +and Deciphering Ancient MSS.; also, Rules for the Appointment of +Liveries, &c., &c. By JOHN E. CUSSANS. Illustrated with 360 Plates and +Woodcuts. Crown 8vo, cloth extra, gilt and emblazoned, 7_s._ 6_d._ + + ⁂ _This volume, beautifully printed on toned paper, contains not + only the ordinary matter to be found in the best books on the + science of Armory, but several other subjects hitherto unnoticed. + Amongst these may be mentioned_:--1. DIRECTIONS FOR TRACING + PEDIGREES. 2. DECIPHERING ANCIENT MSS., ILLUSTRATED BY ALPHABETS + AND FACSIMILES. 3. THE APPOINTMENT OF LIVERIES. 4. CONTINENTAL AND + AMERICAN HERALDRY, &C. + + +NEW AND IMPORTANT WORK. + + =Cyclopædia of Costume=; or, A Dictionary of Dress, Regal, + Ecclesiastical, Civil, and Military, from the Earliest Period in + England to the reign of George the Third. Including Notices of + Contemporaneous Fashions on the Continent, and preceded by a + General History of the Costume of the Principal Countries of + Europe. By J. R. PLANCHÉ, F.S.A., Somerset Herald. + +[Illustration] + + _This work will be published in Twenty-four Monthly Parts, quarto, + at Five Shillings, profusely illustrated by Plates and Wood + Engravings; with each Part will also be issued a splendid Coloured + Plate, from an original Painting or Illumination, of Royal and + Noble Personages, and National Costume, both foreign and domestic. + The First Part is just ready._ + + In collecting materials for a History of Costume of more importance + than the little handbook which has met with so much favour as an + elementary work, I was not only made aware of my own deficiencies, + but surprised to find how much more vague are the explanations, and + contradictory the statements, of our best authorities, than they + appeared to me, when, in the plenitude of my ignorance, I rushed + upon almost untrodden ground, and felt bewildered by the mass of + unsifted evidence and unhesitating assertion which met my eyes at + every turn. + + During the forty years which have elapsed since the publication of + the first edition of my “History of British Costume” in the + “Library of Entertaining Knowledge,” archæological investigation + has received such an impetus by the establishment of metropolitan + and provincial peripatetic antiquarian societies, that a flood of + light has been poured upon us, by which we are enabled to + re-examine our opinions and discover reasons to doubt, if we cannot + find facts to authenticate. + + That the former greatly preponderate is a grievous acknowledgment + to make after assiduously devoting the leisure of half my life to + the pursuit of information on this, to me, most fascinating + subject. It is some consolation, however, to feel that where I + cannot instruct, I shall certainly not mislead, and that the reader + will find, under each head, all that is known to, or suggested by, + the most competent writers I am acquainted with, either here or on + the Continent. + + That this work appears in a glossarial form arises from the desire + of many artists, who have expressed to me the difficulty they + constantly meet with in their endeavours to ascertain the complete + form of a garment, or the exact mode of fastening a piece of + armour, or buckling of a belt, from their study of a sepulchral + effigy or a figure in an illumination; the attitude of the + personages represented, or the disposition of other portions of + their attire, effectually preventing the requisite examination. + + The books supplying any such information are very few, and the best + confined to armour or ecclesiastical costume. The only English + publication of the kind required, that I am aware of, is the late + Mr. Fairholt’s “Costume in England” (8vo, London, 1846), the last + two hundred pages of which contain a glossary, the most valuable + portion whereof are the quotations from old plays, mediæval + romances, and satirical ballads, containing allusions to various + articles of attire in fashion at the time of their composition. + Twenty-eight years have expired since that book appeared, and it + has been thought that a more comprehensive work on the subject than + has yet issued from the English press, combining the pith of the + information of many costly foreign publications, and, in its + illustrations, keeping in view the special requirement of the + artist, to which I have alluded, would be, in these days of + educational progress and critical inquiry, a welcome addition to + the library of an English gentleman + + J. R. PLANCHÉ. + + + + + =Cussans’ History of Hertfordshire.= A County History, got up in a + very superior manner, and ranging with the finest works of its + class. By JOHN E. CUSSANS. Illustrated with full-page Plates on + Copper and Stone, and a profusion of small Woodcuts. Parts I. to + VIII. are now ready, price 21_s._ each. + + ⁂ _An entirely new History of this important County, great + attention being given to all matters pertaining to Family History._ + + + =Dickens’ Life and Speeches.= By THEODORE TAYLOR. In One Volume, + 16mo, cloth extra, 2_s._ 6_d._ + + +“DON QUIXOTE” IN THE ORIGINAL SPANISH. + + =El Ingenioso Hidalgo Don Quijote de la Mancha.= Nueva Edicion, + corregida y revisada. Por MIGUEL DE CERVANTES SAAVEDRA. Complete in + one volume, post 8vo, nearly 700 pages, cloth extra, price 4_s._ + 6_d._ + + +GIL BLAS IN SPANISH. + + =Historia de Gil Blas de Santillana.= Por LE SAGE. Traducida al + Castellano por el PADRE ISLA. Nueva Edicion, corregida y revisada. + Complete in One Volume. Post 8vo, cloth extra, nearly 600 pages, + price 4_s._ 6_d._ + + + =Earthward Pilgrimage=, from the Next World to that which now is. By + MONCURE D. CONWAY. Crown 8vo, beautifully printed and bound, 7_s._ + 6_d._ + + + =Ellis’s (Mrs.) Mothers of Great Men.= A New Edition, with + Illustrations by VALENTINE W. BROMLEY. Crown 8vo, cloth gilt, over + 500 pages, 6_s._ + + “Mrs. Ellis believes, as most of us do, that the character of the + mother goes a long way; and, in illustration of this doctrine, she + has given us several lives written in her charming, yet earnest, + style. We especially commend the life of Byron’s and Napoleon’s + mothers.... The volume has some solid merits.”--_Echo._ + + “This is a book which ought to be in the libraries of all who + interest themselves in the education of women.”--_Victoria + Magazine._ + + “An extremely agreeable and readable book, ... and its value is not + a little enhanced by Mr. Bromley’s illustrations.”--_Illustrated + Dramatic News._ + + + =Emanuel on Diamonds and Precious Stones=; Their History, Value, and + Properties; with Simple Tests for ascertaining their Reality. By + HARRY EMANUEL, F.R.G.S. With numerous Illustrations, Tinted and + Plain. A New Edition, Crown 8vo, cloth extra, gilt, 6_s._ + + + =Edgar Allan Poe’s Prose and Poetical Works=; including Additional + Tales and his fine Critical Essays. With a Translation of CHARLES + BAUDELAIRE’S “Essay.” 750 pages, crown 8vo, fine Portrait and + Illustrations, cloth extra, 7_s._ 6_d._ + +[Illustration: POE’S COTTAGE AT FORDHAM.] + + + =English Surnames=: Their Sources and Significations. By CHARLES + WAREING BARDSLEY, M.A. SECOND EDITION, revised throughout, + considerably enlarged, and partially re-written. Crown 8vo, cloth + extra, 9_s._ + + “Mr. Bardsley has faithfully consulted the original mediæval + documents and works from which the origin and development of + surnames can alone be satisfactorily traced. He has furnished a + valuable contribution to the literature of surnames, and we hope to + hear more of him in this field.”--_Times._ + + “Mr. Bardsley’s volume is a very good specimen of the work which + the nineteenth century can turn out. He has evidently bestowed a + great deal of attention, not only upon surnames, but upon philology + in general. The book is a mine of information.”--_Westminster + Review._ + + “We welcome this book as an important addition to our knowledge of + an important and interesting subject.”--_Athenæum._ + + + =Englishman’s House= (The): A Practical Guide to all interested in + Selecting or Building a House. By C. J. RICHARDSON, Architect, + Author of “Old English Mansions,” &c. Third Edition. With nearly + 600 Illustrations. Crown 8vo, cloth extra, 7_s._ 6_d._ + +[Illustration] + + ⁂ _This Work might not inappropriately termed “A Book of Houses.” + It gives every variety of house, from a workman’s cottage to a + nobleman’s palace. The book is intended to supply a want long felt, + viz., a plain, non-technical account of every style of house, with + the cost and manner of building._ + + + =Faraday’s Chemical History of a Candle.= Lectures delivered to a + Juvenile Audience. A New Edition, edited by W. CROOKES, Esq., + F.C.S., &c. Crown 8vo, cloth extra, with all the Original + Illustrations, 4_s._ 6_d._ + + + =Faraday’s Various Forces of Nature.= A New Edition, edited by W. + CROOKES, Esq., F.C.S., &c. Crown 8vo, cloth extra, with all the + Original Illustrations, 4_s._ 6_d._ + + +FATHER PROUT’S REMAINS. + + =Final Reliques of Father Prout.= Collected and Edited, from MSS. + supplied by the Family of the Rev. FRANCIS MAHONEY, by BLANCHARD + JERROLD. + +[_In preparation._ + + + =Finish to Life in and out of London=; or, The Final Adventures of + Tom, Jerry, and Logic. By PIERCE EGAN. Royal 8vo, cloth extra, with + Spirited Coloured Illustrations by CRUIKSHANK, 21_s._ + + + =Flagellation and the Flagellants.=--A History of the Rod in all + Countries, from the Earliest Period to the Present Time. By the + Rev. W. COOPER, B.A. Third Edition, revised and corrected, with + numerous Illustrations. Thick crown 8vo, cloth extra, gilt, 12_s._ + 6_d._ + + + =Fools’ Paradise=; with the Many Wonderful Adventures there, as seen + in the strange, surprising Peep-Show of Professor Wolley Cobble. + Crown 4to, with nearly 350 very funny Coloured Pictures, cloth + extra, gilt, 7_s._ 6_d._ + +[Illustration: THE PROFESSOR’S LEETLE MUSIC LESSON.] + + +RUSKIN AND CRUIKSHANK. + + =German Popular Stories.= Collected by the Brothers GRIMM, and + Translated by EDGAR TAYLOR. Edited, with an Introduction, by JOHN + RUSKIN. With 22 Illustrations after the inimitable designs of + GEORGE CRUIKSHANK. Both Series complete. Square crown 8vo, 6_s._ + 6_d._; gilt leaves, 7_s._ 6_d._ + + “The illustrations of this volume ... are of quite sterling and + admirable art, in a class precisely parallel in elevation to the + character of the tales which they illustrate; and the original + etchings, as I have before said in the Appendix to my ‘Elements of + Drawing,’ were unrivalled in masterfulness of touch since Rembrandt + (in some qualities of delineation, unrivalled even by him).... To + make somewhat enlarged copies of them, looking at them through a + magnifying glass, and never putting two lines where Cruikshank has + put only one, would be an exercise in decision and severe drawing + which would leave afterwards little to be learnt in + schools.”--_Extract from Introduction by_ JOHN RUSKIN. + + + =Golden Treasury of Thought.= The Best Encyclopædia of Quotations and + Elegant Extracts, from Writers of all Times and all Countries, ever + formed. Selected and Edited by THEODORE TAYLOR. Crown 8vo, very + handsomely bound, cloth gilt, and gilt edges, 7_s._ 6_d._ + + + =Genial Showman=; or, Show Life in the New World. Adventures with + Artemus Ward, and the Story of his Life. By E. P. HINGSTON. Third + Edition. Crown 8vo, Illustrated by BRUNTON, cloth extra, 7_s._ + 6_d._ + + +THE GOLDEN LIBRARY. + +Square 16mo (Tauchnitz size), cloth, extra gilt, price 2_s._ per vol. + + =Clerical Anecdotes=: The Humours and Eccentricities of “the Cloth.” + + =Holmes’s Autocrat of the Breakfast Table.= With an Introduction by + GEORGE AUGUSTUS SALA. + + =Holmes’s Professor at the Breakfast Table.= With the STORY OF IRIS. + + =Hood’s Whims and Oddities.= Both Series complete in One Volume, with + all the original Illustrations. + + =Lamb’s Essays of Elia.= Both Series complete in One Volume. + + =Leigh Hunt’s Essays=: A Tale for a Chimney Corner, and other Pieces. + With Portrait, and Introduction by EDMUND OLLIER. + + =Shelley’s Early Poems=: Queen Mab, &c. Reprinted from the Author’s + Original Editions. With Essay by LEIGH HUNT. (First Series of his + Works.) + + =Shelley’s Later Poems=: Laon and Cythna, the Cenci, and other + Pieces. Reprinted from the Author’s Original Editions. With an + Introductory Essay. (Second Series of his Works.) + + =Shelley’s Miscellaneous Poems and Prose Works.= The Third and Fourth + Series. These Two Volumes will include the Posthumous Poems, + published by Mrs. SHELLEY in 1824; the Shelley Papers, published in + 1833; the Six Weeks’ Tour (1816); the Notes to “Queen Mab,” &c.; + the Marlow and Dublin Pamphlets; “The Wandering Jew,” a Poem; and + the two Novels, “Zastrozzi” and “St. Irvyne.” The three last now + first included in any edition of Shelley. + + + =Great Condé (The), and the Period of the Fronde=: An Historical + Sketch. By WALTER FITZPATRICK. Second Edition, in 2 vols. 8vo, + cloth extra, 15_s._ + + + =Greenwood’s (James) Wilds of London=: Being Descriptive Sketches, + from the Personal Observations and Experiences of the Writer, of + Remarkable Scenes, People, and Places in London. By JAMES + GREENWOOD, the “Lambeth Casual.” With Twelve full-page + Illustrations by ALFRED CONCANEN. Crown 8vo, cloth extra, gilt, + 7_s._ 6_d._ + + + =Hall’s (Mrs. S. C.) Sketches of Irish Character.= “WOOING AND + WEDDING,” “JACK THE SHRIMP,” “PETER THE PROPHET,” “GOOD AND BAD + SPIRITS,” “MABEL O’NEIL’S CURSE,” &c., &c. With numerous + Illustrations on Steel and Wood, by DANIEL MACLISE, R.A., Sir JOHN + GILBERT, W. HARVEY, and G. CRUIKSHANK. 8vo, pp. 450, cloth extra, + 7_s._ 6_d._ + +[Illustration] + + “The Irish sketches of this lady resemble Miss Mitford’s beautiful + English Sketches in ‘Our Village,’ but they are far more vigorous + and picturesque and bright.”--_Blackwood’s Magazine._] + + +THE MOST COMPLETE HOGARTH EVER PUBLISHED. + + =Hogarth’s Works=: with Life and Anecdotal Descriptions of the + Pictures, by JOHN IRELAND and JOHN NICHOLS. The Work includes 160 + Engravings, reduced in exact facsimile of the Original Plates, + specimens of which have now become very scarce. The whole in Three + Series, 8vo, cloth, gilt, 22_s._ 6_d._; or, separately, 7_s._ 6_d._ + per volume. Each Series is Complete in itself. + +[Illustration: THE TALKING HAND.] + + “Will be a great boon to authors and artists as well as + amateurs.... Very cheap and very complete.”--_Standard._ + + “For all practical purposes the three handsome volumes comprising + this edition are equal to a collection of Hogarthian prints. We are + quite sure that any one who adds this work to his library will be + amply repaid by the inexhaustible charms of its facsimile + prints.”--_Birmingham Daily Mail._ + + “The plates are reduced in size, but yet truthfully reproduced. The + best and cheapest edition of Hogarth’s complete works yet brought + forward.”--_Building News._ + + “Three very interesting volumes, important and valuable additions + to the library. The edition is thoroughly well brought out, and + carefully printed on fine paper.”--_Art Journal._ + + + =Hogarth’s Five Days’ Frolic=; or, Peregrinations by Land and Water. + Illustrated with Tinted Drawings, made by HOGARTH and SCOTT during + the Journey. 4to, beautifully printed, cloth, extra gilt, 10_s._ + 6_d._ + + ⁂ _A graphic and most extraordinary picture of the hearty English + times in which these merry artists lived._ + + + =Hogg’s Jacobite Relics of Scotland=: Being the Songs, Airs, and + Legends of the Adherents to the House of Stuart. Collected and + Illustrated by JAMES HOGG. In 2 vols. Vol. I., a Facsimile of the + original Edition; Vol. II., the _original_ Edition. 8vo, cloth, + 28_s._ + + + =Haunted=; or, Tales of the Weird and Wonderful. A new and entirely + original series of GHOST STORIES, by FRANCIS E. STAINFORTH. Post + 8vo, illust. bds., 2_s._ + +[_Nearly ready._ + + + =Hawthorne’s English and American Note Books.= Edited, with an + Introduction, by MONCURE D. CONWAY. Royal 16mo, paper cover, 1_s._; + in cloth, 1_s._ 6_d._ + + + =Hone’s Scrap-Books=: The Miscellaneous Writings of WILLIAM HONE, + Author of “The Table-Book,” “Every-Day Book,” and the “Year Book:” + being a Supplementary Volume to those works. Now first collected. + With Notes, Portraits, and numerous Illustrations of curious and + eccentric objects. Crown 8vo, cloth extra. + +[_Preparing._ + + + + +MR. HORNE’S EPIC. + + =Orion=: An Epic Poem, in Three Books. By RICHARD HENGIST HORNE. With + Photographic Portrait-Frontispiece. TENTH EDITION. Crown 8vo, cloth + extra, 7_s._ + + “Orion will be admitted, by every man of genius, to be one of the + noblest, if not the very noblest poetical work of the age. Its + defects are trivial and conventional, its beauties intrinsic and + supreme.--EDGAR ALLAN POE. + + + =Hunt’s (Robert) Drolls of Old Cornwall=; or, POPULAR ROMANCES OF THE + WEST OF ENGLAND. With Illustrations by GEORGE CRUIKSHANK. Crown + 8vo, cloth extra, gilt, 7_s._ 6_d._ + +[Illustration] + + ⁂ “Mr. Hunt’s charming book of the Drolls and Stories of the West + of England.”--_Saturday Review._ + + + =Irish Guide.--How to Spend a Month in Ireland.= Being a complete + Guide to the Country, with an Appendix containing information as to + the Fares between the Principal Towns in England and Ireland, and + as to Tourist Arrangements for the Season. With a Map and 80 + Illustrations. By Sir CUSACK P. RONEY. A New Edition, Edited by + Mrs. J. H. RIDDELL. 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There are also some letters + and poems of Mary Lamb which are not easily accessible + elsewhere.”--_Westminster Review._ + + “Must be consulted by all future biographers of the Lambs.”--_Daily + News._ + + “Tells us a good deal that is interesting and something that is + fairly new.”--_Graphic._ + + “Very many passages will delight those fond of literary trifles; + hardly any portion will fail to have its interest for lovers of + Charles Lamb and his sister.”--_Standard._ + + “Mr. Hazlitt’s work is very important and valuable, and all lovers + of Elia will thank him for what he has done.”--_Sunday Times._ + + “Will be joyfully received by all Lambites.”--_Globe._ + + + =Lee (General Edward)=: His Life and Campaigns. By his Nephew, EDWARD + LEE CHILDE. With Portrait and Plans. 1 vol. Crown 8vo. + +[_In preparation._ + + + + + =Life in London=; or, The Day and Night Scenes of Jerry Hawthorn and + Corinthian Tom. 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Reprinted from the Rare Original, + with an Introduction by JOHN CAMDEN HOTTEN. 16mo, binding after the + original, 6_s._ 6_d._ + + + =Longfellow’s Prose Works=, complete, including “Outre-Mer,” + “Hyperion,” “Kavanagh,” “Drift-wood,” “On the Poets and Poetry of + Europe.” With Portrait and Illustrations by BROMLEY. 800 pages, + crown 8vo, cloth gilt, 7_s._ 6_d._ + +[Illustration] + + ⁂ _The reader will find the present edition of Longfellow’s Prose + Writings by far the most complete ever issued in this country. + “Outre-Mer” contains two additional chapters, restored front the + first edition; while “The Poets and Poetry of Europe” and the + little collection of Sketches entitled “Driftwood” are now first + introduced to the English public._ + + + =Linton’s (Mrs. E. Lynn) True History of Joshua Davidson, Christian + and Communist.= SIXTH EDITION, with a New Preface. 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Price 5_s._; or, handsomely framed and glazed, + in carved oak, of an antique pattern, 22_s._ 6_d._ + + A full Translation, with Notes, printed on a large sheet, price + 6_d._ + + +AUTHOR’S CORRECTED EDITION. + + =Mark Twain’s Choice Works.= Revised and Corrected throughout by the + Author. With Life, Portrait, and numerous Illustrations. 700 pages, + cloth extra gilt, 7_s._ 6_d._ + + =Mark Twain’s Pleasure Trip on the Continent of Europe=, With + Frontispiece. 500 pages, illustrated boards, 2_s._; or cloth extra, + 2_s._ 6_d._ + + =Marston’s (Dr. Westland) Poetical and Dramatic Works.= A New and + Collected Edition is now in preparation. + + +MR. PHILIP MARSTON’S POEMS. + + =Song Tide=, and other Poems. By PHILIP BOURKE MARSTON. SECOND + EDITION. Crown 8vo, cloth extra, 8_s._ + + “This is a first work of extraordinary performance and of still + more extraordinary promise. The youngest school of English poetry + has received an important accession to its ranks in Philip Bourke + Marston.”--_Examiner._ + + “Mr. Marston has fairly established his claim to be heard as a + poet.... His present volume is well worthy of careful perusal, as + the utterance of a poetic, cultivated mind.”--_Standard._ + + “We have spoken plainly of some defects in the poetry before us, + but we have read much of it with interest, and even + admiration.”--_Pall Mall Gazette._ + + =All in All=: Poems and Sonnets. By PHILIP BOURKE MARSTON. Crown 8vo, + cloth extra, 8_s._ + + + =Mayhew’s London Characters=: Illustrations of the Humour, Pathos, + and Peculiarities of London Life. By HENRY MAYHEW, Author of + “London Labour and the London Poor,” and other Writers. With nearly + 100 graphic Illustrations by W. S. GILBERT, and others. Crown 8vo, + cloth extra, 6_s._ + + “Well fulfils the promise of its title.... The book is an eminently + interesting one, and will probably attract many readers.”--_Court + Circular._ + + + =Memorials of Manchester Streets.= By RICHARD WRIGHT PROCTER. With an + Appendix, containing “The Chetham Library,” by JAMES CROSSLEY, + F.S.A.; and “Old Manchester and its Worthies,” by JAMES CROSTON, + F.S.A. Demy 8vo, cloth extra, with Photographic Frontispiece and + numerous Illustrations, 15_s._ + + + =Monumental Inscriptions of the West Indies=, from the Earliest Date, + with Genealogical and Historical Annotations, &c., from Original, + Local, and other Sources. Illustrative of the Histories and + Genealogies of the Seventeenth Century, the Calendars of State + Papers, Peerages, and Baronetages. With Engravings of the Arms of + the principal Families. Chiefly collected on the spot by the + Author, Capt. J. H. LAWRENCE-ARCHER. Demy 4to, cloth extra, 42_s._ + +[_Nearly ready._ + + + =Muses of Mayfair=: Vers de Société of the Nineteenth Century. The + best Society Verses of the most important Writers of the last 80 + years, including TENNYSON, BROWNING, SWINBURNE, ROSSETTI, JEAN + INGELOW, LOCKER, INGOLDSBY, HOOD, LYTTON, C. S. C., LANDOR, HENRY + S. LEIGH, and very many others. Edited by H. CHOLMONDELEY-PENNELL, + Author of “Puck on Pegasus.” Beautifully printed, cloth extra gilt, + gilt edges, uniform with “The Golden Treasury of Thought,” 7_s._ + 6_d._ + + +MR. O’SHAUGHNESSY’S POEMS. + + =Music and Moonlight=: Poems and Songs. By ARTHUR O’SHAUGHNESSY, + Author of “An Epic of Women.” Fcap. 8vo, cloth extra, 7_s._ 6_d._ + + “It is difficult to say which is more exquisite, the technical + perfection of structure and melody, or the delicate pathos of + thought. Mr. O’Shaughnessy will enrich our literature with some of + the very best songs written in our generation.”--_Academy._ + + =An Epic of Women=, and other Poems. SECOND EDITION. Fcap. 8vo, cloth + extra, 6_s._ + + “Of the formal art of poetry he is in many senses quite a master; + his metres are not only good,--they are his own, and often of an + invention most felicitous as well as careful.”--_Academy._ + + =Lays of France.= (Founded on the “Lays of Marie.”) SECOND EDITION. + Crown 8vo, cloth extra, 10_s._ 6_d._ + + “As we have before remarked in noticing an earlier volume of his, + this modern votary of Marie has, in imaginative power, keen + intuition, and ear, a genuine claim to be writing poetry, as things + go now.... And Mr. O’S. is also an accomplished master in those + peculiar turns of rhythm which are designed to reproduce the manner + of the mediæval originals.”--_Saturday Review._ + + =Mystery of the Good Old Cause=: Sarcastic Notices of those Members + of the Long Parliament that held Places, both Civil and Military, + contrary to the Self-denying Ordinance of April 3, 1645; with the + Sums of Money and Lands they divided among themselves. Small 4to, + half-morocco, 7_s._ 6_d._ + + =Napoleon III., the Man of His Time=; from Caricatures. PART I. THE + STORY OF THE LIFE OF NAPOLEON III., as told by J. M. HASWELL. PART + II. THE SAME STORY, as told by the POPULAR CARICATURES of the past + Thirty-five Years. Crown 8vo, with Coloured Frontispiece and over + 100 Caricatures, 7_s._ 6_d._ + + =Original Lists of Persons of Quality=; Emigrants; Religious Exiles; + Political Rebels; Serving Men Sold for a Term of Years; + Apprentices; Children Stolen; Maidens Pressed; and others who went + from Great Britain to the American Plantations, 1600-1700. With + their Ages, the Localities where they formerly Lived in the Mother + Country, Names of the Ships in which they embarked, and other + interesting particulars. From MSS. preserved in the State Paper + Department of Her Majesty’s Public Record Office, England. Edited + by JOHN CAMDEN HOTTEN. A very handsome volume, crown 4to, cloth + gilt, 700 pages, 38_s._ A few Large Paper copies have been printed, + price 60_s._ + + +THE OLD DRAMATISTS. + + =Ben Jonson’s Works.= With Notes, Critical and Explanatory, and a + Biographical Memoir by WILLIAM GIFFORD. Edited by Lieut.-Col. + FRANCIS CUNNINGHAM. Complete in 3 vols., crown 8vo, cloth extra + gilt, with Portrait, price 6_s._ each. + + =George Chapman’s Plays=, Complete, from the Original Quartos, + including those Plays in which he was only partly concerned. Edited + by RICHARD HERNE SHEPHERD. Crown 8vo, cloth extra gilt, with + Portrait Frontispiece, price 6_s._ + + =George Chapman’s Poems and Minor Translations.= Complete, including + some Pieces now first printed. With an Essay on the Dramatic and + Poetical Works of GEORGE CHAPMAN, by ALGERNON CHARLES SWINBURNE. + Crown 8vo, with Frontispiece, cloth extra, 6_s._ + + =George Chapman’s Translations of Homer’s Iliad and Odyssey.= Edited + by RICHARD HERNE SHEPHERD. In one volume, crown 8vo, cloth extra, + 6_s._ + + =Christopher Marlowe’s Works=; Including his Translations. Edited, + with Notes and Introduction, by Lieut.-Col. F. CUNNINGHAM. Crown + 8vo, cloth extra gilt, with Portrait, price 6_s._ + + =Philip Massinger’s Plays.= From the Text of WM. GIFFORD. With the + addition of the Tragedy of “Believe as You List.” Edited by + Lieut.-Col. FRANCIS CUNNINGHAM. Crown 8vo, cloth extra gilt, with + Portrait, price 6_s._ + + +OLD BOOKS--FACSIMILE REPRINTS. + + =Rump (The)=; or, An Exact Collection of the choicest POEMS AND SONGS + relating to the late Times, and continued by the most eminent Wits; + from Anno 1639 to 1661. A Facsimile Reprint of the rare Original + Edition (London, 1662), with Frontispiece and Engraved Title-page. + In 2 vols., large fcap. 8vo, printed on antique laid paper, and + bound in antique boards, 17_s._ 6_d._ + + =D’Urfey’s (“Tom”) Wit and Mirth=; or, PILLS TO PURGE MELANCHOLY: + Being a Collection of the best Merry Ballads and Songs, Old and + New. Fitted to all Humours, having each their proper Tune for + either Voice or Instrument: most of the Songs being new set. + London: Printed by W. Pearson, for J. Tonson, at Shakespeare’s + Head, over-against Catherine Street in the Strand, 1719. An exact + reprint. In 6 vols., large fcap. 8vo, antique boards, edges uncut, + beautifully printed on laid paper, made expressly for the work, £3 + 3_s._ + + =Musarum Deliciæ=; or, The Muses’ Recreation, 1656; Wit Restor’d, + 1658; and Wit’s Recreations, 1640. The whole compared with the + originals; with all the Wood Engravings, Plates, Memoirs, and + Notes. A New Edition, in 2 vols., post 8vo, beautifully printed on + antique laid paper, and bound in antique boards, 21_s._ + + =English Rogue (The)=, described in the Life of MERITON LATROON, and + other Extravagants, comprehending the most Eminent Cheats of both + Sexes. By RICHARD HEAD and FRANCIS KIRKMAN. A Facsimile Reprint of + the rare Original Edition (1665-1672), with Frontispiece, + Facsimiles of the 12 copper plates, and Portraits of the Authors. + In 4 volumes, large foolscap 8vo, beautifully printed on antique + laid paper, made expressly, and bound in antique boards, 36_s._ + + =Ireland Forgeries.--Confessions of= WILLIAM-HENRY IRELAND. + Containing the Particulars of his Fabrication of the Shakspeare + Manuscripts; together with Anecdotes and Opinions (hitherto + unpublished) of many Distinguished Persons in the Literary, + Political, and Theatrical World. A Facsimile Reprint from the + Original Edition, with several additional Facsimiles. Fcap. 8vo, + printed on antique laid paper, and bound in antique boards, 10_s._ + 6_d._; a few Large Paper copies, at 21_s._ + + =Grose’s Dictionary of the Vulgar Tongue.= 1785. An unmutilated + Reprint of the First Edition. Quarto, bound in half-Roxburghe, gilt + top, price 8_s._ + + =Joe Miller’s Jests=; the politest Repartees, most elegant Bon-Mots, + and most pleasing short Stories in the English Language. London: + printed by T. Read, 1739. A Facsimile of the Original Edition. 8vo, + half-morocco, 9_s._ 6_d._ + + =Old Prose Stories= whence TENNYSON’S “Idylls of the King” were + taken. By B. M. RANKING. Royal 16mo, paper cover, 1_s._; cloth + extra, 1_s._ 6_d._ + + +OLD SHEKARRY’S WORKS. + +=Forest and Field=: Life and Adventure in Wild Africa. By the OLD +SHEKARRY. With Eight Illustrations, Crown 8vo, cloth extra, gilt, 6_s._ + +=Wrinkles=; or, Hints to Sportsmen and Travellers upon Dress, Equipment, +Armament, and Camp Life. By the OLD SHEKARRY. A New Edition, with +Illustrations. Small crown 8vo, cloth extra, gilt, 6_s._ + + +OUIDA’S NOVELS. + +Uniform Edition, each Complete in One Volume, crown 8vo, red cloth +extra, price 5_s._ each. + +=Folle Farine.= +=Idalia=: A Romance. +=Chandos=: A Novel. +=Under Two Flags.= +=Cecil Castlemaine’s Gage.= +=Tricotrin=: The Story of a Waif and Stray. +=Pascarèl=: Only a Story. +=Held In Bondage=; or, Granville de Vigne. +=Puck=: His Vicissitudes, Adventures, &c. +=A Dog of Flanders=, and other Stories. +=Strathmore=; or, Wrought by his Own Hand. +=Two Little Wooden Shoes.= + + + =Parochial History of the County of Cornwall.= Compiled from the best + Authorities, and corrected and improved from actual Survey. 4 vols. + 4to, cloth extra, £3 3_s._ the set; or, separately, the first three + volumes, 16_s._ each; the fourth volume, 18_s._ + + =Plain English.= By JOHN HOLLINGSHEAD, of the Gaiety Theatre. Crown + 8vo, illust. cover, 1_s._ + +[_Preparing._ + + + =Private Book of Useful Alloys and Memoranda for Goldsmiths and + Jewellers.= By JAMES E. COLLINS, C.E. Royal 16mo, 3_s._ 6_d._ + + +SEVENTH EDITION OF + + =Puck on Pegasus.= By H. CHOLMONDELEY-PENNELL. Profusely illustrated + by the late JOHN LEECH, H. K. BROWNE, Sir NOEL PATON, JOHN MILLAIS, + JOHN TENNIEL, RICHARD DOYLE, Miss ELLEN EDWARDS, and other artists. + A New Edition (the SEVENTH), crown 8vo, cloth extra, gilt, price + 5_s._; or gilt edges, 6_s._ + + “The book is clever and amusing”, vigorous and healthy.”--_Saturday + Review._ + + “The epigrammatic drollery of Mr. Cholmondeley-Pennell’s ‘Puck on + Pegasus’ is well known to many of our readers.... The present (_the + sixth_) is a superb and handsomely printed and illustrated edition + of the book.”--_Times._ + + “Specially fit for reading in the family circle.”--_Observer._ + + +“AN AWFULLY JOLLY BOOK FOR PARTIES.” + + =Puniana=: Thoughts Wise and Otherwise. By the Hon. HUGH ROWLEY. Best + Book of Riddles and Puns ever formed. With nearly 100 exquisitely + Fanciful Drawings. Contains nearly 3000 of the best Riddles, and + 10,000 most outrageous Puns, and is one of the most Popular Books + ever issued. New Edition, small quarto, green and gold, gilt edges, + price 6_s._ + +[Illustration] + + “Enormous burlesque--unapproachable and pre-eminent. We think this + very queer volume will be a favourite. We should suggest that, to a + dull person desirous to get credit with the young holiday people, + it would be good policy to invest in the book, and dole it out by + instalments.”--_Saturday Review._ + +Also, + + =More Puniana.= By the Hon. HUGH ROWLEY. Containing nearly 100 + beautifully executed Drawings, and a splendid Collection of Riddles + and Puns, rivalling those in the First Volume. Small 4to, green and + gold, gilt edges, uniform with the First Series, price 6_s._ + + +COMPANION TO “CUSSANS’ HERALDRY.” + + =Pursuivant of Arms (The)=; or, Heraldry founded upon Facts. A + Popular Guide to the Science of Heraldry. By J. R. PLANCHÉ, Esq., + F.S.A., Somerset Herald. To which are added, Essays on the BADGES + OF THE HOUSES OF LANCASTER AND YORK. A New Edition, enlarged and + revised by the Author, illustrated with Coloured Frontispiece, five + full-page Plates, and about 200 Illustrations. Crown 8vo, + beautifully bound in cloth, with Emblematic Design, extra gilt, + 7_s._ 6_d._ + +[Illustration] + + +IMPORTANT TO ALL INTERESTED IN MINES. + + =Practical Assayer=: A Guide to Miners and Explorers. By OLIVER + NORTH. With Tables and Illustrative Woodcuts. Crown 8vo, 7_s._ + 6_d._ + + ⁂ _This book gives directions, in the simplest form, for assaying + bullion and the baser metals by the cheapest, quickest, and best + methods. Those interested in mining property will be enabled, by + following its instructions, to form a tolerably correct idea of the + value of ores, without previous knowledge of assaying; while to the + young man seeking his fortune in mining countries it is + indispensable._ + + “Likely to prove extremely useful. The instructions are clear and + precise.”--_Chemist and Druggist._ + + “We cordially recommend this compact little volume to all engaged + in mining enterprize, and especially to explorers.”--_Monetary and + Mining Review._ + + “An admirable little volume.”--_Mining Journal._ + + +GUSTAVE DORÉ’S DESIGNS. + + =Rabelais’ Works.= Faithfully translated from the French, with + variorum Notes, and numerous characteristic Illustrations by + GUSTAVE DORÉ. Crown 8vo, cloth extra, 700 pages. Price 7_s._ 6_d._ + + +UNIFORM WITH “WONDERFUL CHARACTERS.” + + =Remarkable Trials and Notorious Characters.= From “Half-Hanged + Smith,” 1700, to Oxford, who shot at the Queen, 1840. By Captain L. + BENSON. With spirited full-page Engravings by PHIZ. 8vo, 550 pages, + 7_s._ 6_d._ + + + =Rochefoucauld’s Reflections and Moral Maxims.= With Introductory + Essay by SAINTE-BEUVE, and Explanatory Notes. Cloth extra, 1_s._ + 6_d._ + + + =Reminiscences of the late Thomas Assheton Smith, Esq.=; or, The + Pursuits of an English Country Gentleman. By Sir J. E. EARDLEY + WILMOT, Bart. A New and Revised Edition, with Steel-plate Portrait, + and plain and coloured Illustrations. Crown 8vo, cloth extra, 7_s._ + 6_d._ + + + =Roll of Battle Abbey=; or, A List of the Principal Warriors who came + over from Normandy with William the Conqueror, and Settled in this + Country, A.D. 1066-7. Carefully drawn, and printed on fine plate + paper, nearly three feet by two feet, with the Arms of the + principal Barons elaborately emblazoned in Gold and Colours. Price + 5_s._; or, handsomely framed in carved oak of an antique pattern, + 22_s._ 6_d._ + + + =Roll of Caerlaverock=, the Oldest Heraldic Roll; including the + Original Anglo-Norman Poem, and an English Translation of the MS. + in the British Museum. By THOMAS WRIGHT, M.A. The Arms emblazoned + in Gold and Colours. In 4to, very handsomely printed, extra gold + cloth, 12_s._ + + + =Roman Catholics in the County of York in 1604.= Transcribed from the + Original MS. in the Bodleian Library, and Edited, with Genealogical + Notes, by EDWARD PEACOCK, F.S.A., Editor of “Army Lists of the + Roundheads and Cavaliers, 1642.” Small 4to, handsomely printed and + bound, 15_s._ + + ⁂ _Genealogists and Antiquaries will find much new and curious + matter in this work. An elaborate Index refers to every name in the + volume, among which will be found many of the highest local + interest._ + + + =Ross’s (Chas. H.) Story of a Honeymoon.= A New Edition of this + charmingly humorous book, with numerous Illustrations by the + Author. Fcap. 8vo, illustrated boards, 2_s._ + + + =School Life at Winchester College=; or, The Reminiscences of a + Winchester Junior. By the Author of “The Log of the Water Lily;” + and “The Water Lily on the Danube.” Second Edition, Revised, + COLOURED PLATES, 7_s._ 6_d._ + + + =Schopenhauer’s The World Considered as Will and Imagination.= + Translated by Dr. FRANZ HÜFFER, Author of “Richard Wagner and the + Music of the Future.” + +[_In preparation._ + + +THE “SECRET OUT” SERIES. + +Crown 8vo, cloth extra, profusely Illustrated, price 4_s._ 6_d._ per +Vol. + + =Art of Amusing.= A Collection of Graceful Arts, Games, Tricks, + Puzzles, and Charades, intended to Amuse Everybody. By FRANK + BELLEW. With nearly 300 Illustrations. + + =Hanky-Panky.= A Wonderful Book of Very Easy Tricks, Very Difficult + Tricks, White Magic, Sleight of Hand; in fact, all those startling + Deceptions which the Great Wizards call “Hanky-Panky.” Edited by W. + H. CREMER. With nearly 200 Illustrations. + + =Magician’s Own Book.= Ample Instruction for Performances with Cups + and Balls, Eggs, Hats, Handkerchiefs, &c. All from Actual + Experience. Edited by W. H. CREMER. With 200 Illustrations. + + =Magic No Mystery.= A Splendid Collection of Tricks with Cards, Dice, + Balls, &c., with fully descriptive working Directions. With very + numerous Illustrations. + +[_Nearly ready._ + + =Merry Circle (The)=, and How the Visitors were entertained during + Twelve Pleasant Evenings. A Book of New Intellectual Games and + Amusements. Edited by Mrs. CLARA BELLEW. With numerous + Illustrations. + + =Secret Out=; or, One Thousand Tricks with Cards, and other + Recreations; with Entertaining Experiments in Drawing Room or + “White Magic.” Edited by W. H. CREMER. With 300 Engravings. + + + =Shelley’s Early Life.= From Original Sources. With Curious + Incidents, Letters, and Writings, now First Published or Collected. + By DENIS FLORENCE MAC-CARTHY. Crown 8vo, with Illustrations, 440 + pages, 7_s._ 6_d._ + + + =Sheridan’s Complete Works=, with Life and Anecdotes. Including his + Dramatic Writings, printed from the Original Editions, his Works in + Prose and Poetry, Translations, Speeches, Jokes, Puns, &c.; with a + Collection of Sheridaniana. Crown 8vo, cloth gilt, with 10 + beautifully executed Portraits and Scenes from his Plays, 7_s._ + 6_d._ + + + =Signboards=: Their History. With Anecdotes of Famous Taverns and + Remarkable Characters. By JACOB LARWOOD and JOHN CAMDEN HOTTEN. + SEVENTH EDITION. Crown 8vo, cloth extra, 7_s._ 6_d._ + +[Illustration: HELP ME THROUGH THIS WORLD!] + + “It is not fair on the part of a reviewer to pick out the plums of + an author’s book, thus filching away his cream, and leaving little + but skim-milk remaining; but, even if we were ever so maliciously + inclined, we could not in the present instance pick out all Messrs. + Larwood and Hotten’s plums, because the good things are so numerous + as to defy the most wholesale depredation,”--_The Times._ + + ⁂ _Nearly 100 most curious illustrations on ‘wood are given, + showing the signs which were formerly hung from taverns, &c._ + + +HANDBOOK OF COLLOQUIALISMS. + + =The Slang Dictionary=: Etymological, Historical, and Anecdotal. An + ENTIRELY NEW EDITION, revised throughout, and considerably + Enlarged, containing upwards of a thousand more words than the last + edition. Crown 8vo, with Curious Illustrations, cloth extra, 6_s._ + 6_d._ + +[Illustration: THE WEDGE AND THE WOODEN SPOON.] + + “Peculiarly a book which ‘no gentleman’s library should be + without,’ while to costermongers and thieves it is absolutely + indispensable.”--_Dispatch._ + + “Interesting and curious. Contains as many as it was possible to + collect of all the words and phrases of modern slang in use at the + present time.”--_Public Opinion._ + + “In every way a great improvement on the edition of 1864. Its uses + as a dictionary of the very vulgar tongue do not require to be + explained.”--_Notes and Queries._ + + “Compiled with most exacting care, and based on the best + authorities.”--_Standard._ + + “In ‘The Slang Dictionary’ we have not only a book that reflects + credit upon the philologist; it is also a volume that will repay, + at any time, a dip into its humorous pages.”--_Figaro._ + + +WEST-END LIFE AND DOINGS. + + =Story of the London Parks.= By JACOB LARWOOD. With numerous + Illustrations, Coloured and Plain. In One thick Volume, crown 8vo, + cloth extra, gilt, 7_s._ 6_d._ + + ⁂ _A most interesting work, giving a complete History of these + favourite out-of-door resorts, from the earliest period to the + present time._ + + +A KEEPSAKE FOR SMOKERS. + + =Smoker’s Text-Book.= By J. HAMER, F.R.S.L. Exquisitely printed from + “silver-faced” type, cloth, very neat, gilt edges, 2_s._ 6_d._, + post free. + + +CHARMING NEW TRAVEL-BOOK. + +[Illustration: “It may be we shall touch the happy isles.”] + + =Summer Cruising in the South Seas,= By CHARLES WARREN STODDARD. With + Twenty-five Engravings on Wood, drawn by WALLIS MACKAY. Crown 8vo, + cloth, extra gilt, 7_s._ 6_d._ + + “This is a very amusing book, and full of that quiet humour for + which the Americans are so famous. We have not space to enumerate + all the picturesque descriptions, the poetical thoughts, which have + so charmed us in this volume; but we recommend our readers to go to + the South Seas with Mr. Stoddard in his prettily illustrated and + amusingly written little book.”--_Vanity Fair._ + + “Mr. Stoddard’s book is delightful reading, and in Mr. Wallis + Mackay he has found a most congenial and poetical + illustrator.”--_Bookseller._ + + “A remarkable book, which has a certain wild + picturesqueness.”--_Standard._ + + “The author’s experiences are very amusingly related, and, in + parts, with much freshness and originality.”--_Judy._ + + “Mr. Stoddard is a humourist; ‘Summer Cruising’ has a good deal of + undeniable amusement.”--_Nation._ + + + =Syntax’s (Dr.) Three Tours.= With the whole of ROWLANDSON’S very + droll full-page Illustrations, in Colours, after the Original + Drawings. Comprising the well-known TOURS--1. IN SEARCH OF THE + PICTURESQUE. 2. IN SEARCH OF CONSOLATION. 3. IN SEARCH OF A WIFE. + The Three Series Complete, with a Life of the Author by JOHN CAMDEN + HOTTEN. Medium 8vo, cloth extra, gilt, price 7_s._ 6_d._ + + + =Theseus: A Greek Fairy Legend.= Illustrated, in a series of Designs + in Gold and Sepia, by JOHN MOYR SMITH. With descriptive text. + Oblong folio, price 7_S._ 6_d._ + + + =Theodore Hook’s Choice Humorous Works=, with his Ludicrous + Adventures, Bons-mots, Puns, and Hoaxes. With a new Life of the + Author, PORTRAITS, FACSIMILES, and ILLUSTRATIONS. Crown 8vo, 600 + pages, cloth extra, 7_s._ 6_d._ + +[Illustration: THEODORE HOOK’S HOUSE, NEAR PUTNEY] + + ⁂ “As a wit and humourist of the highest order his name will be + preserved. His political songs and _jeux d’esprit_, when the hour + comes for collecting them, _will form a volume of sterling and + lasting attraction_!”--J. G. LOCKHART. + + +MR. SWINBURNE’S WORKS. + +SECOND EDITION NOW READY OF + + =Bothwell=: A Tragedy. By ALGERNON CHARLES SWINBURNE. Crown 8vo, + cloth extra, pp. 540, 12_s._ 6_d._ + + “Mr. Swinburne’s most prejudiced critic cannot, we think, deny that + ‘Bothwell’ is a poem of a very high character. Every line bears + traces of power, individuality, and vivid imagination. The + versification, while characteristically supple and melodious, also + attains, in spite of some affectations, to a sustained strength and + dignity of a remarkable kind. Mr. Swinburne is not only a master of + the music of language, but he has that indescribable touch which + discloses the true poet--the touch that lifts from off the + ground.”--_Saturday Review._ + + “It is not too much to say that, should he never write anything + more, the poet has by this work firmly established his position, + and given us a poem upon which his fame may safely rest. He no + longer indulges in that frequent alliteration, or that oppressive + wealth of imagery and colour, which gave rhythm and splendour to + some of his works, but would have been out of place in a grand + historical poem; we have now a fair opportunity of judging what the + poet can do when deprived of such adventitious aid,--and the + verdict is, that he must henceforth rank amongst the first of + British authors.”--_Graphic._ + + “The whole drama flames and rings with high passions and great + deeds. The imagination is splendid; the style large and imperial; + the insight into character keen; the blank verse varied, sensitive, + flexible, alive. Mr. Swinburne has once more proved his right to + occupy a seat among the lofty singers of our land.”--_Daily News._ + + “A really grand, statuesque dramatic work.... The reader will here + find Mr. Swinburne at his very best, if manliness, dignity, and + fulness of style are superior to mere pleasant singing and + alliterative lyrics.”--_Standard._ + + “Splendid pictures, subtle analyses of passion, and wonderful + studies of character will repay him who attains the end.... In this + huge volume are many fine and some unsurpassable things. Subtlest + traits of character abound, and descriptive passages of singular + delicacy.”--_Athenæum._ + + “There can be no doubt of the dramatic force of the poem. It is + severely simple in its diction, and never dull; there are + innumerable fine touches on almost every page.”--_Scotsman._ + + “‘Bothwell’ shows us Mr. Swinburne at a point immeasurably superior + to any that he has yet achieved. It will confirm and increase the + reputation which his daring genius has already won. He has handled + a difficult subject with a mastery of art which is a true + intellectual triumph.”--_Hour._ + + =Chastelard=: A Tragedy. Foolscap 8vo, 7_s._ + + =Poems and Ballads.= Foolscap 8vo, 9_s._ + + =Notes on “Poems and Ballads,”= and on the Reviews of them. Demy 8vo, + 1_s._ + + =Songs before Sunrise.= Post 8vo, 10_s._ 6_d._ + + =Atalanta in Calydon.= Fcap. 8vo, 6_s._ + + =The Queen Mother and Rosamond.= Foolscap 8vo, 5_s._ + + =A Song of Italy.= Foolscap 8vo, 3_s._ 6_d._ + + =Ode on the Proclamation of the French Republic.= Demy 8vo, 1_s._ + + =Under the Microscope.= Post 8vo, 2_s._ 6_d._ + + =William Blake=: A Critical Essay. With facsimile Paintings, Coloured + by Hand, after the Drawings by Blake and his Wife. Demy 8vo, 16_s._ + + +THE THACKERAY SKETCH-BOOK. + +THACKERAYANA. + +_Notes and Anecdotes_, + +Illustrated by about Six Hundred Sketches by WILLIAM MAKEPEACE +THACKERAY, depicting Humorous Incidents in his School-life, and +Favourite Scenes and Characters in the books of his every-day reading, +NOW FOR THE FIRST TIME PUBLISHED, from the Original Drawings made on the +margins of his books, &c. Large post 8vo, cloth extra gilt, gilt top, +price 12_s._ 6_d._ + +[Illustration] + + “It is Thackeray’s aim to represent life as it is actually and + historically--men and women as they are, in those situations in + which they are usually placed, with that mixture of good and evil, + of strength and foible, which is to be found in their characters, + and liable only to those incidents which are of ordinary + occurrence. He will have no faultless characters, no + demi-gods,--nothing but men and brethren.”--DAVID MASSON. + + + =Timbs’ Clubs and Club Life in London.= With ANECDOTES of its FAMOUS + COFFEE HOUSES, HOSTELRIES, and TAVERNS. By JOHN TIMBS, F.S.A. New + Edition, with NUMEROUS ILLUSTRATIONS, drawn expressly. Crown 8vo, + cloth extra, 600 pages, 7_s._ 6_d._ + +[Illustration: THE SUBSCRIPTION ROOM AT BROOKES’S.] + + ⁂ _A Companion to “The History of Sign-Boards.”_ _It abounds in + quaint stories of the_ Blue Stocking, Kit-Kat, Beef Steak, Robin + Hood, Mohocks, Scriblerus, One o’Clock, the Civil, _and hundreds of + other Clubs; together with_ Tom’s, Dick’s, Button’s, Ned’s, Will’s, + _and the famous Coffee Houses of the last century_. + + “The book supplies a much-felt want. The club is the avenue to + general society at the present day, and Mr. Timbs gives the + _entrée_ to the club. The scholar and antiquary will also find the + work a repertory of information on many disputed points of literary + interest, and especially respecting various well-known anecdotes, + the value of which only increases with the lapse of + time.”--_Morning Post._ + + + =Timbs’ English Eccentrics and Eccentricities.= Stories of Wealth and + Fashion, Delusions, Impostures and Fanatic Missions, Strange Sights + and Sporting Scenes, Eccentric Artists, Theatrical Folks, Men of + Letters, &c. By JOHN TIMBS, F.S.A. An entirely New Edition, with + about 50 Illustrations. Crown 8vo, cloth extra, 600 pages, 7_s._ + 6_d._ + + + =Taylor’s History of Playing Cards.= With Sixty curious + Illustrations. 550 pp., crown 8vo, cloth, extra gilt, price 7_s._ + 6_d._ + +[Illustration] + + ⁂ _Ancient and Modern Games, Conjuring, Fortune-Telling, and Card + Sharping, Gambling and Calculation, Cartomancy, Old Gaming-Houses, + Card Revels and Blind Hookey, Picquet and Vingt-et-un, Whist and + Cribbage, Tricks, &c._ + + +=Vagabondiana=; or, Anecdotes of Mendicant Wanderers through the Streets +of London; with Portraits of the most remarkable, drawn from the Life by +JOHN THOMAS SMITH, late Keeper of the Prints in the British Museum. With +Introduction by FRANCIS DOUCE, and descriptive text. Reprinted from the +original, with the Woodcuts, and the 32 Plates, from the original +Coppers, in crown 4to, half Roxburghe, price 12_s._ 6_d._ + + +“LES MISÉRABLES.” Complete in Three Parts. + + =Victor Hugo’s Fantine.= Now first published in an English + Translation, complete and unabridged, with the exception of a few + advisable omissions. Post 8vo, illustrated boards, 2_s._ + + “This work has something more than the beauties of an exquisite + style or the word-compelling power of a literary Zeus to recommend + it to the tender care of a distant posterity: in dealing with all + the emotions, passions, doubts, fears, which go to make up our + common humanity, M. Victor Hugo has stamped upon every page the + Hall-mark of genius and the loving patience and conscientious + labour of a true artist. But the merits of ‘Les Misérables’ do not + merely consist in the conception of it as a whole; it abounds, page + after page, with details of unequalled beauty.”--_Quarterly + Review._ + + =Victor Hugo’s Cosette and Marius.= Translated into English, + complete, uniform with “Fantine.” Post 8vo, illustrated boards, + 2_s._ + + =Victor Hugo’s Saint Denis and Jean Valjean.= Translated into + English, complete, uniform with the above. Post 8vo, illustrated + boards, 2_s._ 6_d._ + + + =Vyner’s Notitia Venatica=: A Treatise on Fox-Hunting, the General + Management of Hounds, and the Diseases of Dogs; Distemper and + Rabies; Kennel Lameness, &c. Sixth Edition, Enlarged. By ROBERT C. + VYNER. WITH SPIRITED ILLUSTRATIONS IN COLOURS, BY ALKEN, OF + MEMORABLE FOX-HUNTING SCENES. Royal 8vo, cloth extra, 21_s._ + +⁂ _An entirely new edition of the best work on Fox-Hunting._ + + + =Walt Whitman’s Leaves of Grass.= The Complete Work, precisely as + issued by the Author in Washington. A thick volume, 8vo, green + cloth, price 9_s._ + + “Whitman is a poet who bears and needs to be read as a whole, and + then the volume and torrent of his power carry the disfigurements + along with it and away. He is really a fine fellow.”--_Chambers’s + Journal._ + + + =Walton and Cotton, Illustrated.--The Complete Angler=; or, the + Contemplative Man’s Recreation; being a Discourse of Rivers, + Fish-ponds, Fish and Fishing, written by IZAAK WALTON; and + Instructions how to Angle for a Trout or Grayling in a clear + Stream, by CHARLES COTTON. With Original Memoirs and Notes by Sir + HARRIS NICOLAS, K.C.M.G. With the whole 61 Illustrations, precisely + as in the royal 8vo two-volume Edition issued by Pickering. A New + Edition, complete in One Volume, large crown 8vo, with the + Illustrations from the original plates, printed on full pages, + separately from the text, price 7_s._ 6_d._ + + + =Warrant to Execute Charles I.= An exact Facsimile of this important + Document, with the Fifty-nine Signatures of the Regicides, and + corresponding Seals, admirably executed on paper made to imitate + the original document, 22 in. by 14 in. Price 2_s._; or, handsomely + framed and glazed in carved oak of antique pattern, 14_s._ 6_d._ + + + =Warrant to Execute Mary Queen of Scots.= The Exact Facsimile of this + important Document, including the Signature of Queen Elizabeth and + Facsimile of the Great Seal, on tinted paper, made to imitate the + Original MS. Price 2_s._; or, handsomely framed and glazed in + carved oak of antique pattern, 14_s._ 6_d._ + + + =Waterford Roll (The).--Illuminated Charter-Roll of Waterford=, Temp. + Richard II. + + ⁂ _Amongst the Corporation Muniments of the City of Waterford is + preserved an ancient Illuminated Roll, of great interest and + beauty, comprising all the early Charters and Grants to the City of + Waterford, from the time of Henry II. to Richard II. A full-length + Portrait of each King, ‘whose Charter is given--including Edward + III., when young, and again at an advanced age--adorns the margin. + These Portraits, with the exception of four which are smaller, and + on one sheet of vellum, vary from eight to nine inches in + length--some in armour; and some in robes of state. In addition to + these are Portraits of an Archbishop in full canonicals, of a + Chancellor, and of many of the chief Burgesses of the City of + Waterford, as well as singularly curious Portraits of the Mayors of + Dublin, Waterford, Limerick, and Cork, figured for the most part in + the quaint bipartite costume of the Second Richard’s reign, though + partaking of many of the peculiarities of that of Edward III. + Altogether this ancient work of art is unique of its kind in + Ireland, and deserves to be rescued from oblivion, by the + publication of the unedited Charters, and of fac-similes of all the + Illuminations. The production of such a work would throw much light + on the question of the art and social habits of the Anglo-Norman + settlers in Ireland at the close of the fourteenth century. The + Charters are, many of them, highly important from an historic point + of view._ + + _The Illuminations have been accurately traced and coloured for the + work from a copy carefully made, by permission of the Mayor and + Corporation of Waterford, by the late George V. Du Noyer, Esq., + M.R.I.A.; and those Charters which have not already appeared in + print will be edited by the Rev. James Graves, A.B., M.R.I.A., Hon. + Secretary Kilkenny and South-East of Ireland Archæological + Society._ + + _The Work will be brought out in the best manner, with embossed + cover and characteristic title-page; and it will be put to press as + soon as 250 subscribers are obtained. The price, in imperial 4to, + is 20s. to subscribers, or 30s. to non-subscribers._ + + + =Wonderful Characters=: Memoirs and Anecdotes of Remarkable and + Eccentric Persons of Every Age and Nation. From the text of HENRY + WILSON and JAMES CAULFIELD. Crown 8vo, cloth extra, with Sixty-one + full-page Engravings of Extraordinary Persons, 7_s._ 6_d._ + + ⁂ _There are so many curious matters discussed in this volume, that + any person who takes it up will not readily lay it down until he + has read it through. The Introduction is almost entirely devoted to + a consideration of Pig-Faced Ladies, and the various stories + concerning them._ + + + =Wright’s (Andrew) Court-Hand Restored=; or, Student’s Assistant in + Reading Old Deeds, Charters, Records, &c. Half Morocco, a New + Edition, 10_s._ 6_d._ + +⁂ _The best guide to the reading of old Records, &c._ + + + =Wright’s Caricature History of the Georges= (House of Hanover). With + 400 Pictures, Caricatures, Squibs, Broadsides, Window Pictures, &c. + By THOMAS WRIGHT, Esq., M.A., F.S.A. Crown 8vo, cloth extra, 7_s._ + 6_d._ + +[Illustration] + + “A set of caricatures such as we have in Mr. Wright’s volume brings + the surface of the age before us with a vividness that no prose + writer, even of the highest power, could emulate. Macaulay’s most + brilliant sentence is weak by the side of the little woodcut from + Gillray, which gives us Burke and Fox.”--_Saturday Review._ + + “A more amusing work of its kind was never issued.”--_Art Journal._ + + “It is emphatically one of the liveliest of books, as also one of + the most interesting. It has the twofold merit of being at once + amusing and edifying.”--_Morning Post._ + + + =Yankee Drolleries.= Edited by G. A. SALA. Containing ARTEMUS WARD’S + BOOK; BIGLOW PAPERS; ORPHEUS C. KERR; JACK DOWNING; and NASBY + PAPERS. 700 pp., 3_s._ 6_d._ + + =More Yankee Drolleries.= Containing ARTEMUS WARD’S TRAVELS; HANS + BREITMANN; PROFESSOR AT BREAKFAST TABLE; BIGLOW PAPERS, Part II.; + and JOSH BILLINGS; with Introduction by G. A. SALA. 700 pp., cloth, + 3_s._ 6_d._ + + =A Third Supply of Yankee Drolleries.= Containing ARTEMUS WARD’S + FENIANS; AUTOCRAT OF BREAKFAST TABLE; BRET HARTE’S STORIES; + INNOCENTS ABROAD; and NEW PILGRIM’S PROGRESS; with an Introduction + by G. A. SALA. 700 pp., cloth, 3_s._ 6_d._ + + + _74 & 75, PICCADILLY, LONDON, W._ + + +FOOTNOTES: + +[A] Now Sir William Fothergill Cooke--October, 1869. + +[B] First illustrated by the author in his work, “Architectural Remains +of the Reigns of Elizabeth and James I.” + +[C] The garden entrance to the ancient palace of the Grand Duke of +Tuscany, alla Trinita de’ Monti. The architecture of Annibale Lippi. + +[D] This subject is fully treated and illustrated with plates in the +Author’s treatise on “The Warming and Ventilation Buildings,” published +in 1837 and 1856. + +[E] “Cheap Ice Well.” (Atchley & Co.) + +[F] “Plan for Purifying the Atmosphere of Towns.” (Hamilton, Adams, & +Co.) + +[G] “Coke, Smoke, and Sewage.” (Cave and Sever, Manchester.) + +[H] A print of the stove is given in the author’s pamphlet entitled +“The Smoke Nuisance, and its Remedy; with Remarks on Liquid Fuel.” +Price 1_s._ (Atchley & Co.) + + + + + + + + +End of the Project Gutenberg EBook of The Englishman's House, by +C.J. 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J. Richardson. +</title> +<style type="text/css"> + p {margin-top:.2em;text-align:justify;margin-bottom:.2em;text-indent:4%;} + +.btbrt {text-align:right; +border-top:2px black solid;border-bottom:2px black solid;} + +.c {text-align:center;text-indent:0%;} + +.cb {text-align:center;text-indent:0%;font-weight:bold;} + +.spc1 {margin-top:1em;} + +.spc2 {margin-top:.5em;} + +.spc4 {margin-left:7%;margin-right:7%;} + +.eng {font-family: "Old English Text MT",fantasy,sans-serif;} + +.sans {font-family:sans-serif;font-size:80%;font-weight:bold;} + +.fint {text-align:center;text-indent:0%; +margin-top:2em;} + +.letra {font-size:250%;float:left;margin-top:-1%;} + @media print, handheld + { .letra + {font-size:250%;padding:0%;} + } + +.nind {text-indent:0%;} + +.nonvis {display:inline;} + @media print, handheld + {.nonvis + {display: none;} + } + +.r {text-align:right;margin-right: 5%;} + +.rt {text-align:right;} + +small {font-size: 70%;} + +big {font-size: 130%;} + + h1 {margin-top:5%;text-align:center;clear:both; +font-weight:normal;} + + h2 {margin-top:4%;margin-bottom:2%;text-align:center;clear:both; + font-size:100%;font-weight:normal;} + + hr {width:90%;margin:2em auto 2em auto;clear:both;color:black;} + + hr.full {width: 60%;margin:2% auto 2% auto;border-top:1px solid black; +padding:.1em;border-bottom:1px solid black;border-left:none;border-right:none;} + + table {margin-top:2%;margin-bottom:2%;margin-left:auto;margin-right:auto;border:none;} + + body{margin-left:4%;margin-right:6%;background:#ffffff;color:black;font-family:"Times New Roman", serif;font-size:medium;} + +a:link {background-color:#ffffff;color:blue;text-decoration:none;} + + link {background-color:#ffffff;color:blue;text-decoration:none;} + +a:visited {background-color:#ffffff;color:purple;text-decoration:none;} + +a:hover {background-color:#ffffff;color:#FF0000;text-decoration:underline;} + +.smcap {font-variant:small-caps;font-size:100%;} + + img {border:none;} + +.blockquot {margin-top:2%;margin-bottom:2%;} + +.caption {font-weight:normal;} +.caption p{font-size:75%;text-align:center;text-indent:0%;} + +.figcenter {margin-top:3%;margin-bottom:3%;clear:both; +margin-left:auto;margin-right:auto;text-align:center;text-indent:0%;} + @media handheld, print + {.figcenter + {page-break-before: avoid;} + } + +.figleft {float:left;clear:left;margin-left:0;margin-bottom:1em;margin-top:1em;margin-right:1em;padding:0;text-align:center;} + +.figright {float:right;clear:right;margin-left:1em;margin-bottom:1em;margin-top:1em;margin-right:0;padding:0;text-align:center;} + +.footnotes {border:dotted 3px gray;margin-top:5%;clear:both;} + +.footnote {width:95%;margin:auto 3% 1% auto;font-size:0.9em;position:relative;} + +.label {position:relative;left:-.5em;top:0;text-align:left;font-size:.8em;} + +.fnanchor {vertical-align:30%;font-size:.8em;} + +div.poetry {text-align:center;} +div.poem {font-size:90%;margin:auto auto;text-indent:0%; +display: inline-block; text-align: left;} +.poem .stanza {margin-top: 1em;margin-bottom:1em;} +.poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} +.poem span.i1 {display: block; margin-left: .45em; padding-left: 3em; text-indent: -3em;} +.poem span.i8 {display: block; margin-left: 7em; padding-left: 3em; text-indent: -3em;} + +.pagenum {font-style:normal;position:absolute; +left:95%;font-size:55%;text-align:right;color:gray; +background-color:#ffffff;font-variant:normal;font-style:normal;font-weight:normal;text-decoration:none;text-indent:0em;} +@media print, handheld +{.pagenum + {display: none;} + } + +.sidenote {width:5em;padding-bottom:.5em; +padding-top:.5em;padding-left:.5em; +padding-right:.5em;margin-left:auto;float:left; +margin-top:1em;font-size:70%; +color:black;background:#eeeeee;border:dashed 1px;} +</style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of The Englishman's House, by +C.J. (Charles James) Richardson + +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/license + + +Title: The Englishman's House + +Author: C.J. (Charles James) Richardson + +Release Date: November 22, 2019 [EBook #60759] + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK THE ENGLISHMAN'S HOUSE *** + + + + +Produced by Chuck Greif and the Online Distributed +Proofreading Team at http://www.pgdp.net (This file was +produced from images available at The Internet Archive) + + + + + + +</pre> + +<hr class="full" /> + +<p class="figcenter"> +<a href="images/cover_lg.jpg"> +<img src="images/cover.jpg" alt="[Image of +the book's cover unavailable.]" /></a> +</p> + +<table border="0" cellpadding="0" cellspacing="0" summary="" +style="border: 2px black solid;margin:auto auto;max-width:50%; +padding:1%;"> +<tr><td> +<p class="c"><a href="#CONTENTS">Contents.</a><br /> +<a href="#INDEX">Index.</a><br /> +<span class="nonvis">(In certain versions of this etext [in certain browsers] +clicking on the image will bring up a larger version.)</span></p> + +<p class="c">(etext transcriber's note)</p></td></tr> +</table> + + +<p class="c">THE<br /><br /> +ENGLISHMAN’S HOUSE.</p> + +<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span> </p> + +<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a> </span> + +<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span> </p> + +<div class="figcenter"> +<a href="images/frontispiece_lg.jpg"> +<img src="images/frontispiece_sml.jpg" width="353" height="538" alt="[Image unavailable.]"/></a> +<br /> +<span class="caption">HOUSES MADE PICTURESQUE.</span> +</div> + +<h1> +THE<br /> +<br /> +ENGLISHMAN’S HOUSE.</h1> + +<p class="c"><i>A PRACTICAL GUIDE FOR SELECTING OR<br /> +BUILDING A HOUSE.</i><br /> +<br /><a href="images/colophon_lg.jpg"> +<img src="images/colophon.jpg" width="250" alt="" /></a> +<br /> +<br /> +BY<br /> +<br /> +C. J. RICHARDSON,<br /><small> +AUTHOR OF “OLD ENGLISH MANSIONS,” ETC.</small><br /> +<br /><span class="sans"> +THIRD EDITION, WITH NEARLY 600 ILLUSTRATIONS.</span><br /> +<br /> +<span class="eng">London</span>:<br /> +CHATTO AND WINDUS, PICCADILLY.<br /> +<span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span><br /><small><br /><br /> +LONDON:<br /> +SAVILL, EDWARDS AND CO., PRINTERS, CHANDOS STREET,<br /> +COVENT GARDEN.<br /></small> +<span class="pagenum"><a name="page_v" id="page_v">{v}</a></span> </p> + +<h2><a name="PREFACE" id="PREFACE"></a>PREFACE.</h2> + +<p class="nind"><span class="letra">S</span>EVERAL years ago the author of this volume published a small work on +the Warming and Ventilation of Buildings which was very favourably +received by the Public, but is now out of print. He afterwards wrote +various other works illustrating the Architecture of England during the +reigns of Queen Elizabeth and James I., with one volume on Ornamental +Designs. These had an extensive sale, and are now, like the first small +volume, out of print. His last publication was a small pamphlet, +entitled, “The Smoke Nuisance and its Remedy, with remarks on Liquid +Fuel,” the subject of which, at least so far as regards an improved +construction for the domestic chimney flue, is continued in the present +volume.</p> + +<p>The present volume consists of numerous plans, &c., for Cottages, +Villas, and small and large Mansions, most of which have been carried +into execution. They are carefully selected from a large collection of +similar subjects, the result of many years’ professional practice, and +it is hoped that they may be favourably received.<span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span><span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span></p> + +<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS.</h2> + +<table border="0" cellpadding="2" cellspacing="0" summary=""> + +<tr><td colspan="3"> </td><td class="rt"><small>PAGE</small></td></tr> + +<tr><td valign="top" colspan="3">Introduction</td><td class="rt" valign="bottom"><a href="#page_3">3</a></td></tr> + +<tr><td valign="top">Design</td><td align="right" valign="top"><a href="#DESIGN_No_1">No. 1</a>.</td><td valign="top"> A Gardener’s Cottage</td><td class="rt" valign="bottom"><a href="#page_50">50</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_2">2</a>.</td><td valign="top"> A Small Cottage or Lodge</td><td class="rt" valign="bottom"><a href="#page_56">56</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_3">3</a>.</td><td valign="top"> A Picturesque Cottage</td><td class="rt" valign="bottom"><a href="#page_62">62</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_4">4</a>.</td><td valign="top"> A Double Cottage</td><td class="rt" valign="bottom"><a href="#page_66">66</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_5">5</a>.</td><td valign="top"> A Double Cottage and Village Sunday School</td><td class="rt" valign="bottom"><a href="#page_70">70</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_6">6</a>.</td><td valign="top"> A Huntsman’s Lodge or Cottage</td><td class="rt" valign="bottom"><a href="#page_78">78</a></td></tr> + +<tr><td colspan="2"> </td><td valign="top"> Concrete Construction for Building Cottages</td><td class="rt" valign="bottom"><a href="#page_82">82</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_7">7</a>.</td><td valign="top"> A Garden Gate</td><td class="rt" valign="bottom"><a href="#page_95">95</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_8">8</a>.</td><td valign="top"> A Park Lodge</td><td class="rt" valign="bottom"><a href="#page_99">99</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_9">9</a>.</td><td valign="top"> A Park Lodge</td><td class="rt" valign="bottom"><a href="#page_102">102</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_10">10</a>.</td><td valign="top"> An Entrance Lodge to a Park</td><td class="rt" valign="bottom"><a href="#page_104">104</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_11">11</a>.</td><td valign="top"> An Entrance Lodge and Gateway to a Park</td><td class="rt" valign="bottom"><a href="#page_112">112</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_12">12</a>.</td><td valign="top"> A Stove for an Entrance Hall</td><td class="rt" valign="bottom"><a href="#page_120">120</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_13">13</a>.</td><td valign="top"> Queen’s Gate Lodge, Hyde Park</td><td class="rt" valign="bottom"><a href="#page_124">124</a></td></tr> + +<tr><td colspan="2"> </td><td valign="top">On the Foundation and Basement Walls of Buildings, Damp Prevention, And Fire-proof Construction</td><td class="rt" valign="bottom"><a href="#page_151">151</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_14">14</a>.</td><td valign="top"> A Small Country Rectory</td><td class="rt" valign="bottom"><a href="#page_162">162</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_15">15</a>.</td><td valign="top"> A Small Country House</td><td class="rt" valign="bottom"><a href="#page_174">174</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_16">16</a>.</td><td valign="top"> A Country Villa</td><td class="rt" valign="bottom"><a href="#page_182">182</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_17">17</a>.</td><td valign="top"> A Double Suburban Villa</td><td class="rt" valign="bottom"><a href="#page_192">192</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_18">18</a>.</td><td valign="top"> Village Schools and Reading Room</td><td class="rt" valign="bottom"><a href="#page_208">208</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_19">19</a>.</td><td valign="top"> A Roman Catholic Chapel and Schools</td><td class="rt" valign="bottom"><a href="#page_210">210</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_20">20</a>.</td><td valign="top"> A Bath House and Summer Room</td><td class="rt" valign="bottom"><a href="#page_214">214</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_21">21</a>.</td><td valign="top"> A Small Country Villa</td><td class="rt" valign="bottom"><a href="#page_222">222</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_22">22</a>.</td><td valign="top"> A Villa in the Old English Wooden Style</td><td class="rt" valign="bottom"><a href="#page_232">232</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_23">23</a>.</td><td valign="top"> A Garden Summer House</td><td class="rt" valign="bottom"><a href="#page_262">262</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_24">24</a>.</td><td valign="top"> A Small Country Retreat, or French Maisonette</td><td class="rt" valign="bottom"><a href="#page_268">268</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_25">25</a>.</td><td valign="top"> An Elizabethan Villa</td><td class="rt" valign="bottom"><a href="#page_280">280</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_26">26</a>.</td><td valign="top"> A Summer or Garden Villa</td><td class="rt" valign="bottom"><a href="#page_302">302</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_27">27</a>.</td><td valign="top"> A Decorated Window</td><td class="rt" valign="bottom"><a href="#page_336">336</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_28">28</a>.</td><td valign="top"> A Sculptor’s Villa</td><td class="rt" valign="bottom"><a href="#page_338">338</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_29">29</a>.</td><td valign="top"> A Garden Seat</td><td class="rt" valign="bottom"><a href="#page_361">361</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_30">30</a>.</td><td valign="top"> A Garden Seat</td><td class="rt" valign="bottom"><a href="#page_368">368</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_31">31</a>.</td><td valign="top"> An Ice House</td><td class="rt" valign="bottom"><a href="#page_370">370</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_32">32</a>.</td><td valign="top"> A Suburban Villa</td><td class="rt" valign="bottom"><a href="#page_373">373</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_33">33</a>.</td><td valign="top"> A Suburban Villa</td><td class="rt" valign="bottom"><a href="#page_382">382</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_34">34</a>.</td><td valign="top"> Riding-house and Stabling</td><td class="rt" valign="bottom"><a href="#page_389">389</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_35">35</a>.</td><td valign="top"> A Bachelor’s House</td><td class="rt" valign="bottom"><a href="#page_401">401</a></td></tr> + +<tr><td colspan="2"> </td><td valign="top">The Fireplace</td><td class="rt" valign="bottom"><a href="#page_404">404</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_36">36</a>.</td><td valign="top"> A Lecture Hall, or Literary Institution</td><td class="rt" valign="bottom"><a href="#page_456">456</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_37">37</a>.</td><td valign="top"> Encaustic Tiles</td><td class="rt" valign="bottom"><a href="#page_460">460</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_38">38</a>.</td><td valign="top"> Restoration of Castle Gunnarstrop, Sweden</td><td class="rt" valign="bottom"><a href="#page_464">464</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_39">39</a>.</td><td valign="top"> Summer Villa for the Count Kinski at Teplitz</td><td class="rt" valign="bottom"><a href="#page_470">470</a></td></tr> + +<tr><td class="c" valign="top">”</td><td align="right" valign="top"><a href="#DESIGN_No_40">40</a>.</td><td valign="top"> Harrington House, Queen’s Palace Gardens</td><td class="rt" valign="bottom"><a href="#page_476">476</a></td></tr> + +</table> + +<p><span class="pagenum"><a name="page_2" id="page_2">{2}</a></span><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span></p> + +<div class="figcenter" style="width: 400px;"> +<a href="images/ill_pg_002_lg.jpg"> +<img src="images/ill_pg_002_sml.jpg" width="400" height="545" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_3" id="page_3">{3}</a></span></p> + +<h2><a name="INTRODUCTORY_CHAPTER" id="INTRODUCTORY_CHAPTER"></a>INTRODUCTORY CHAPTER<br /><br /> +ON THE PICTURESQUE IN RELATION TO ARCHITECTURE.</h2> + +<div class="figcenter" style="width: 360px;"> +<a href="images/ill_pg_003_lg.jpg"> +<img src="images/ill_pg_003_sml.jpg" width="360" height="261" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Grecian Temple.</p></div> +</div> + +<p class="nind"><span class="letra">I</span>T has been said that a definition of the picturesque in respect to +architecture, or indeed any branch of the fine arts, is scarcely +possible. The most able writers on the subject have failed to convey an +adequate and popular idea. In fact the term has so great and extensive +an application as to forbid exact defi<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span>nition. The architect usually +considers that if his building look well when seen by moonlight, or +through the medium of a foggy or dull atmosphere, it is picturesque, and +he is satisfied. Blenheim Castle and Castle Howard have always been +pointed out as eminent examples of the picturesque in buildings. But +this quality varies with every change of situation and circumstance +under which it can be conceived.</p> + +<p>The entrance to the Acropolis of Athens, with its noble equestrian +statues in the foreground, the steps between them, and the beautiful +temples rising at different heights behind, giving a varied outline, the +whole probably delicately coloured, must have been picturesque in the +highest degree. The Temple of the Winds and the Monument of Lysicrates +were equally examples of the picturesque. Yet although great efforts +were made on the publication of Athenian Stuart’s volumes to introduce +pure Grecian architecture here, it has obtained no hold with us. St. +Pancras Church, and St. Stephen’s, Camden Town, are probably the last +specimens in our metropolis. The delicate mouldings of the one are +destroyed by the roughness of the climate, and the beautiful figures of +the Caryatidæ in the other are covered with soot.</p> + +<p>There is no doubt that the Roman temples were as picturesque and as +varied in outline as the Grecian buildings of which they were studies, +but none remain<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span></p> + +<div class="figcenter" style="width: 269px;"> +<a href="images/ill_pg_005_lg.jpg"> +<img src="images/ill_pg_005_sml.jpg" width="269" height="436" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Roman Temple in Ruins.</p></div> +</div> + +<p><span class="pagenum"><a name="page_6" id="page_6">{6}</a></span></p> + +<p class="nind">sufficiently perfect to illustrate them. In their original, entire +state, with the surfaces and colour smooth and even, either in painting +or reality, they were beautiful; in ruins, there is no denying they are +highly picturesque. Observe the process by which time, the great author +of such changes works, first by means of weather stains, partial +incrustations, mosses, &c., which simultaneously take off the uniformity +of surface and of colour, giving a degree of roughness, and variety of +tint. Then the various accidents of weather loosen the stones +themselves: they tumble in irregular masses upon what was perhaps smooth +turf or pavement, or nicely trimmed walks and shrubberies, now mixed and +overgrown with wild plants and creepers that crawl over and shoot among +the falling ruins. Sedums, wall-flowers, and other plants that bear +drought, find nourishment in the decayed cement from which the stones +have been detached; birds convey their food into the chinks, and yew, +elder, and other berried plants project from the sides; while the ivy +mantles over other parts, and crowns the top. The even, regular lines of +the doors and windows are broken, and through their ivy-fringed openings +is displayed in a highly broken and picturesque manner that striking +image described by Virgil:</p> + +<div class="poetry"> +<div class="poem"><div class="stanza"> +<span class="i0">“Apparet domus intus, et atria longa patescunt<br /></span> +<span class="i1">Apparent Priami et veterum penetralia regum.”<br /></span> +<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span></div></div> +</div> + +<p>The first view given in this volume attempts to show the picturesque +effect of the Grecian Temple in its complete state, the attendants +having just retired from some display or ceremony; the second, the front +of a Roman Temple in its noble remains.</p> + +<p>To the Greeks we owe all the general principles and forms of classic +art, but they have been modified to modern ideas and tastes, and, it may +be added, to suit also the various climates of the countries where they +have been adopted.</p> + +<p>However much the occupations of our countrymen may partake of the +commercial character, the mental qualities requisite to such pursuits +have not been so displayed as to exclude a taste for art. Where, for +example, can be found superior specimens of art-choice than exist in +their mansions, villas, or cottage-ornées, their picture and sculpture +galleries, or the museums and other collections of those whose business +pursuits have been the cause of their prosperity.</p> + +<p>An essential element of success in every branch of progress is involved +in tasteful selection. Without considering those classes who by +successful efforts of their ancestry have been placed beyond the pale of +want (either artificial or real), a large proportion of our population +may be ranked as having advanced morally, socially, and commercially by +that intuition<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> which characterizes our national progress. It takes as +its basis nature and nature’s products. It eliminates from these not +only pecuniary benefits that in a commercial point of view may occur, +but associating the useful with the beautiful (the sense of the latter +having been gained during intervals of quiet thought as a relief from +the incessant requirements of business engagements), a tendency to +embody the picturesque, especially in regard to architecture, arises. We +have no hesitation in assigning to this cause the production of some of +the most picturesque architectural erections which grace our +country,—that render English homes an example, and prove that, while +the main element of our national prosperity is making money, we are not +insensible to the beneficent influences resulting from the cultivation +of refined taste.</p> + +<p>It would be interesting as an object of careful inquiry, if there +existed sufficient data for the purpose, to trace each of the many steps +that have occurred between the birth of architecture and its present +condition. The early history of mankind had as its locality climates +which favoured the construction and use of the <i>crudest</i> contrivances, +intended only to meet the few wants of shelter and occasional domestic +privacy. The first condition of man’s existence, either in this +primitive or modern state, is that of roving or wandering tribes. +Instances of this are found in the early inhabi<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span>tants of Asia Minor, and +adjacent countries, and at the present day the same habit is maintained +in Central Asia, Arabia, and many parts of America. As soon as the +sustenance afforded for their cattle is consumed in one district a +migration is made to another. Gradually, however, centres of trade +sprung up where commodities could be bartered for live stock. Men thus +became massed together in villages and towns. Quitting a semi-savage +condition, they built permanent residences in place of the tent. At +first these, like the log-hut of the modern Canadian, were only +sufficient for the most common necessities of life. In course of time, +however, the spirit of emulation, the growth of riches, and the +germination of man’s natural taste for the beautiful, led to artificial +wants, which were soon converted into necessities of life. This called +out the study of art on the part of the few for the benefit of the many. +Systems of art in all its branches gradually developed themselves. By +the study of the beauties of nature such systems gradually progressed in +purity of style, and produced designs that eventually were appreciated +by the common people, in a greater or less degree, according to the +capabilities of each individual. Architecture and the other fine arts +thus, by slow but sure degrees, began to gain a hold on popular taste, +and step by step they arrived at the state of perfection of which we now +boast.<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span></p> + +<p>It will be evident that whilst the primary objects of architecture were +simply those of meeting the immediate necessities of life, its ultimate +purpose was only attained when it became an art, cultivated by refined +taste, an educated eye, and encouraged by the growth of civilization and +commerce. It thus advanced from a state of barbarism into one in which +it was connected with all the highest developments of the moral and +mental qualities of mankind, but especially with the æsthetic +aspirations of our nature.</p> + +<p>Incidentally but necessarily connected with the general progress of +architecture is the great variety of styles that has been invented. The +whole of these are modifications of some one or more primaries. No two +individuals acquire the same mental impression by viewing one object; +each of their impressions is tinted by the mental characteristics of the +individual. It is, therefore, from this cause that so many varieties of +style have originated from one first model. An illustration of this is +afforded in the Gothic, which in different hands has been greatly +divided and modified in its details. This style, which at first was of +exclusive application only, has subsequently become most extensively in +use for purposes that at first sight it would have been judged as quite +unfit for.</p> + +<p>The style of architecture just referred to is remarkable for its +picturesque character, and may fitly be<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> adduced as an ensample of that +quality in the absence of an exact definition of the term.</p> + +<p>An able writer criticising Gothic buildings, remarks that the outline of +the summit presents a great variety of forms of turrets and pinnacles, +some open, some fretted and variously enriched. But even where there is +an exact correspondence of parts, it is often disguised by an appearance +of splendid confusion and irregularity.</p> + +<p>In the doors and windows of Gothic Churches, the pointed arch has as +much variety as any regular figure can well have; the eye, too, is less +strongly conducted than by the parallel lines in the Grecian style, from +the top of one aperture to that of another; and every person must be +struck with the extreme richness and intricacy of some of the principal +windows of our cathedrals and ruined abbeys. In these last is displayed +the triumph of the picturesque, and their charms to a painter’s eye are +often so great as to rival those which arise from the chaste ornaments +and the noble and elegant simplicity of Grecian architecture.</p> + +<p>These remarks will explain to a certain degree the nature of the +picturesque in regard to architecture, so far at least as the general +principles are involved. But in the more minute points, other questions +and relations arise, to which the attention of the reader<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> will be fully +drawn in the descriptive text and illustrations of this work.</p> + +<p>The comparative value of Grecian and Gothic architecture, as practically +adopted in the erection of ornamental dwellings, is well discussed by an +eminent architect in the following remarks, slightly modified from the +original. He observes that the two are better distinguished by an +attention to their general effects, than to the minute parts peculiar to +each. It is in architecture as in painting—beauty depends on light and +shade, and they are caused by the openings or projections in the +surface. If these tend to produce horizontal lines, the building must be +deemed Grecian, however whimsically the doors and windows may be +constructed. If, on the contrary, the shadows give a preference to +perpendicular lines, the general character of the building will be +Gothic. This is evident from the large houses built in Queen Elizabeth’s +reign, where Grecian columns were introduced. Yet they are always +considered as Gothic buildings.</p> + +<p>In our modern Grecian architecture large cornices are repeated, with +windows ranged perfectly in the same line, and these lines often more +strongly marked by a horizontal fascia. There are few breaks of any +great depth; and if there be a portico, the shadow made by the columns +is very trifling compared with that broad horizontal shadow proceeding +from the<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> soffit (that is, the under side of the heads of apertures, +architraves, and the corona of cornices). The only ornament its roof +will admit, is either a flat pediment departing very little from the +horizontal, or a dome still rising from a horizontal base.</p> + +<p>But in these remarks attention is chiefly drawn to the general +architectural effects of style, independent of concomitant +circumstances. Yet it is hardly necessary to do more than call on the +experience of any man of taste to show that position, adjacent scenery, +and other “accidental” or “incidental” matters will modify the special +effect of any style in regard to the picturesque, and also those of a +general character. A Gothic erection in a confined situation will lose +most of its beauties, while one of a Grecian character may be especially +suitable. In choosing, therefore, any design for the erection of a new +building, or alterations in one already in existence, respect should be +had to the natural character of the surrounding country, the aspects in +regard to the sun and prevalent winds, the extent of the estate or +grounds on which the building is to be erected, the views from the +various apartments, the character of wood, plain, or other adjacent +tree-scenery, and last, but of equal or greater importance, questions in +reference to domestic comfort and convenience, drainage and dry soil, +supply of water, and a variety of details, most of which will at<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span> once +suggest themselves. In many cases the choice of site is necessarily +fixed by previous purchase or inheritance of the land, yet in such cases +chances are left for a judicious selection in regard to some of the +conditions above mentioned. But when the purchase has to be effected, +<i>all</i> the conditions should be kept in mind, and, if possible, +completely satisfied. Such details should form the subject of minute +inquiry, and they are here only named for the purpose of showing how the +choice of the best style, in regard either to general beauty or +picturesque effect, should be decided on with mature attention to all +the circumstances of the case.</p> + +<p>Most of the old mansions, &c., of this country and many parts of +Continental Europe, have been erected in situations that were then +immediately, and at little cost, available for the purpose. At one time +the choice of such situation depended on careful attention to the +special circumstances of those who erected the building. Thus it is +found, generally, that the banks of the rivers, as affording ready and +cheap means of carriage by the stream, were mostly chosen. Hence our +abbeys, monasteries, &c., are frequently found in such localities. +Baronial castles were usually erected on hills, the height of which +tended to the security of the owners against sudden incursions of their +foes. From the varied character of English topography has<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span> arisen that +great variety of picturesque beauty that distinguishes the ruins which +abound in almost every county throughout the length and breadth of the +land; such ruins, architecturally considered in relation to the +surrounding circumstances of wood, vale, hill and dale, have become +subjects of study and suggestion to modern architects, and models, +constantly adopted at the present time, in certain details, for +producing new designs. In the selection of these, or of any other style, +however, Burke has laid down, in his essay on “The Sublime and +Beautiful,” an excellent rule: “A true artist should put a generous +deceit on the spectators, and effect the noblest designs by easy +methods. Designs that are vast only by their dimensions, are always the +sign of a common and low imagination. The work of art can be great but +as it deceives; to be otherwise is the prerogative of nature only.”</p> + +<p>It will thus be seen, that to obtain the highest effect of the +picturesque in architecture requires an educated eye, a refined taste, +great experience, but especially a keen perception of all the +conditions, on the fulfilment of which the most successful result can be +obtained. In all there is a natural love of unity and effect. +Montesquieu, in his dissertation on <i>Taste</i>, observes: “Wherever +symmetry is useful to the soul, and may assist her functions, it is +agreeable to her; but wherever it is useless, it becomes distasteful, +because it<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> takes away variety. Therefore things that are seen in +succession ought to have variety, for our soul has no difficulty in +seeing them; those on the contrary, that we see at one glance, ought to +have symmetry. Thus at one glance we see the front of a building, a +parterre, a temple. In such things there is always a symmetry which +pleases the soul by the facility it gives her of taking in the whole +object at once.”</p> + +<p>The numerous dissertations, essays, &c., that have been produced on the +subjects that have here been treated on in a discursive manner only, are +a sufficient proof of the difficulty which exists in acquiring, +applying, and affording an accurate and ample description of all the +conditions necessary to picturesque architecture; they also in some +measure explain the reason of the grotesque, and even offensive results +that obtrude on refined taste in the productions of builders who are +utterly deficient of artistic taste and knowledge in carrying out their +objects. A general, and in part a historic view of architecture may +serve to show how success has been attained in many cases, and the evils +that should be avoided as leading to failure in effect of the general +and special features of an erection.</p> + +<p>In the cursory view of the history of architecture already given, it has +been shown that the earliest efforts of the art were simply directed to +satisfy the simple wants of man, without any regard being had<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span> to taste. +It was not until riches began to accumulate in a few hands that taste in +architecture was developed, and by the few examples thus produced the +taste of society at large was educed, refined, and extended.</p> + +<p>Omitting then any inquiry into the architecture of our earth’s +aborigines, which was evidently of the rudest character, reference may +first be made to early architectural attempts in Asia. It has been +ingeniously observed by M. Pair, that the Chinese imitated a tent as the +model of their system, a result that undoubtedly arose from the fact +that the first Tartar tribes were nomadic or wandering in their nature. +It has also been remarked that a bird’s-eye view of a Chinese city at +once suggests the idea of a fixed camp. In southern and south-western +Asia may be found, on the other hand, the remains of extensive +architectural productions in caves, such as that of the Pagoda +Elephanta, from which many have argued that subterraneous dwellings were +amongst the earliest; but it is evident that such could only be made in +places where stone existed in masses, as a basis of the country. In a +plain and sandy district, and in alluvial soil generally, such could not +possibly have been produced. There is not the least doubt that the +conditions of climate have in all cases determined the early character +of each national system. In both hot and cold countries caves would +naturally have been sought as affording shelter from<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> the two extremes +of heat and cold. Recent geological discoveries have brought to light +the fact that the remains of human and quadruped bones have been found +together in such situations, the human inhabitants having most probably +been the predecessors of the beasts of prey, as also of the fowls of the +air. It has been suggested too that the forest tree having formerly +served for shelter, might have suggested the floral character of +columns, and the use of floral decoration generally at their summit.</p> + +<p>In respect to these “natural” and consequently primitive “systems” of +architecture, Billington has made the following judicious +remarks:—“Those people or nations who lived by the chase (and in the +same class the Ichthyophagi, or fish-eaters, are included) could not for +a great length of time have built themselves shelters. The long courses +the hunters made prevented them from watching their property, which must +have comprised [but] few articles; and they found it more convenient to +make hollows in the rocks for their dwellings, or to profit by those +which nature offered them in its caverns. It was the same with those who +lived by fishing; passing a sedentary life on the sea shores, the sides +of rivers, or the borders of the lakes, they always made themselves such +abodes, or took advantage of those already formed by nature. The little +industry which this<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> mode of life required, and the natural idleness +which followed it, was sufficient to induce them to prefer the dwellings +presented by nature, to those of art. This fact is proved by experience +at the present day, as these descriptions of persons continue to adopt +the same plan of life in countries where the arts of civilization have +not extended their beneficial influence. The pastors or shepherds, as +they were inhabitants of plains during a great portion of the year, +could not make use of the retreats hollowed and prepared in the +mountains and rocks by the hand of nature; being obliged to seek change +of pasture, and thus lead an ambulatory life, it was requisite to have +dwellings or shelters that could be carried with them wherever they +went, and hence originated the use of tents. But the active operations +of agriculture requiring a definite situation, necessity suggested the +propriety of building solid and fixed abodes. The agriculturist then, +living on his own grounds, and in the enjoyment of his property, had to +store his provisions; it was therefore necessary to have a habitation at +once commodious, safe, healthful, and extensive; and the wood hut with +its roof was soon erected.”</p> + +<p>The same author considers that there is not the least certainty of this +primitive wooden construction, with its inclined roof, having been the +universal model of all nations, but especially in regard to Egypt and<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> +China. The peculiarities of the early Chinese style of architecture have +been already named, and with the persistent continuity in one course yet +prevalent, that style is still preserved. But the Grecian style was +evidently founded on the rude model, and the ingenuity of that nation +eventually led to the transference of material from wood to stone.</p> + +<p>At the present day the Orders of Grecian architecture are fundamental to +the principles of modern art in numerous varieties of detail; they have +survived the prejudices, fancies, and dicta of various schools of art, +although, as already shown, the Gothic and other systems have become +formidable competitors, and in many cases, especially in regard to the +picturesque, efficient, elegant, and ornamental substitutes. The taste +for the latter characteristic has led to an increased adoption, for +example, of the Italian style, which in many respects resembles the +Grecian, but differs from it especially in lightness of detail, with +greater variety. The author just quoted traces the origin of the Doric +Order of the Greeks to a primary adaptation of the trunks of trees as +external supports of the wooden dwelling, seeing in them the +foreshadowing of the column designative of that order. “As trees are of +greater circumference at their lower extremities, and diminish in +rising, the diminution of the column was suggested by them.... These +timbers<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> (as supports) consisting of trunks of trees planted in the +ground, offered not as yet the idea of bases and pedestals, as is seen +in the Doric Order, which is without base. But in the course of time the +inconvenience of this method was perceived, as it exposed the wood to +rot, and to remedy this inconvenience pieces of wood were placed under +each support to give it a better foundation, and to protect it from +humidity. This practice may be traced in some of the ancient edifices in +which the columns have no other base than a block of stone. But +afterwards, the number of pieces of wood employed for the base was +increased, in order to give greater elevation to the supports, or to +effect better security against the effects of humidity. From this +multiplication of blocks as footings, sprung the <i>torus</i> and other +mouldings of the base, an origin far more probable than that of +ligaments of iron, as imagined by Scamozzi and others. It is also more +conformable to the nature of capitals, in which it is known that the +same proceeding was employed. After beginning with a simple abacus, +several others were afterwards added, which were enlarged, as they rose, +one above another, in such a manner that as the base was to the column a +kind of footing on which it rested more solidly, so the capital made a +head more capable of receiving and supporting the weight and form of the +architrave, a large beam placed horizon<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span>tally on perpendicular supports, +and destined to receive the covering of the whole edifice.”</p> + +<p>The author goes on, in a similarly ingenious manner, to prove the +derivation, from nature, of the Orders of Grecian architecture. He +ascribes the form of the roof as having necessarily suggested that of +the pediment. On this point he quotes the remark of Cicero: “It is not +to pleasure that we are indebted for the pediment of the Capitol and +those of our temples: necessity suggested the form for the better +draining off the water; nevertheless, its beauty is so very great, and +it is become so necessary for edifices, that if a Capitol were to be +built in Olympus, where it was never known to rain, it would, +notwithstanding, be necessary to give it a pediment.”</p> + +<p>The preceding remarks and ingenious theory amply justify the opinion +already suggested, that nature must be the foundation of every true +principle of art. Assuming, as we are compelled to do, that the Grecian +style as a whole was original, the only perfect model that could have +been selected was that afforded by natural objects, in all of which are +found the most perfect results, derived from few means but answering an +infinity of ends. It will be remembered that the construction of the +Eddystone lighthouse was based in regard to durability, and resistance +to the force of the waves, on those properties which are possessed by +any<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span> kind of tree exposed to the full force of the tempest. “Nature +ought to be the basis of all imitation.”</p> + +<p>Proceeding from the teachings of nature, the Greeks learned gradually to +introduce new types, consistent in the main with the original mode, but +of great variety in detail. By further refinement of this, but close +adherence to the facts or the analogies of nature, the Grecian art +became developed in the invention of other Orders, the names of which +are sufficiently known to all interested in architecture. Limited space +prevents our entering into a class of analyses of the characteristics of +each. Little doubt exists of the Doric Order having been the first +produced, and following it were the Ionic, Corinthian, Composite, and +Tuscan, which constitute the five Orders in general of architecture.</p> + +<p>Perhaps the best epoch of ancient architecture was that during which, +subsequent to the battle of Marathon, the Greeks commenced to rebuild +the remains of Persian buildings, and to re-construct Athens. The ruins +of this period yet with us, attest the advance which Grecian +architectural art had attained. The ingenuity and refinement of Greek +art gradually spread to Rome, the Romans adopting the Doric Order under +the modification known as the Tuscan. The art having been introduced +into Etruria by the Pelasgi, under the celebrated Augustus, Rome +attained that magni<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span>ficence which has ever since rendered its name +famous as a seat of the arts. Amongst the great erections of this period +was the Pantheon, one of the grandest efforts of genius that the world +has yet known. Under subsequent emperors architecture also progressed, +and the name of Trajan is identified with the erection of triumphal +arches, &c., the ruins of which still receive the admiration of every +qualified judge in art.</p> + +<p>The removal of the seat of Roman government to Byzantium led to the +decadence of art at Rome, which was completed by the incursions of the +Visigoths. Eventually the Gothic style arose, phœnix-like, from the +ruins of Grecian and Roman art, and obtained a place that has rendered +it ever since one of the most favourite styles of architecture.</p> + +<p>Just as under the heathens, the art had been chiefly promoted by +erections for religious purposes, so when the Christians began to obtain +the ascendancy, the erection of churches led to a similar result. From +the fourth to the seventh century some magnificent buildings of this +kind were erected. At the commencement of the eleventh century the +church of St. Mark at Venice attested the wonderful progress which +architecture had made, and it continued to progress during the next two +or three centuries, being confined chiefly, however, to Italy. But the +Gothic style, suited to a northern clime, never obtained full hold<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> +there; Italy cannot boast of a single pure Gothic edifice. Gradually the +new style spread over Europe. The Cathedral at Strasbourg, the Louvre at +Paris, suggested improvements in our own country at Windsor Castle, +Oxford, &c., all indicated the rapid extension of the Gothic style or +its modifications. But in numerous instances the taste that was +exhibited showed a decadence from the simplicity and grandeur of the +Grecian and Latin styles. In respect to the latter, indeed, the +materials of the new erections were obtained from the ruins of the +ancient edifices, the columns, &c. there found, being pressed into the +service, in any manner, of the new school of architects.</p> + +<p>Towards the middle of the fifteenth century a revival in architectural +art took place, especially under Brunelleschi. The patronage of the +Medici added a stimulus to the progress thus initiated. Improvements +were introduced in the erection of private residences in most parts of +Western Europe, the art having in its best form been chiefly till then +directed to building edifices for religious purposes alone. In the +sixteenth century architecture in Rome attained a perfection nearly +equal to that it had formerly enjoyed under the Cæsars, especially +during the Augustan age. Private and public buildings were erected of +great magnificence, yet of simplicity of form combined with grandeur. +Under Vignola architecture attained great excellence.<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> Michael Angelo +was appointed architect of St. Peter’s at Rome about the middle of the +sixteenth century, and the mention of his name alone is sufficient to +call to mind the extent and value of his labours in the art. In the +seventeenth century, about the year 1620, Inigo Jones was engaged in +repairing St. Paul’s Cathedral in London, and subsequently produced +designs for the Royal Palace at Whitehall in the reign of Charles I. +Greenwich and Chelsea Hospitals, and other noted buildings, were +designed about this period. In France and other continental countries +architecture attained great perfection at this period, both in respect +to public and private buildings. Among the most eminent architects of a +period somewhat nearer to our own time, was Sir Christopher Wren, whose +St. Paul’s Cathedral serves as a monument to the great genius of that +eminent man. This era may, comparatively speaking, be considered as the +commencement of the modern style of English church architecture, +inasmuch as several productions of Wren are still used for the purposes +to which they were first applied, having undergone little or no change +since their completion.</p> + +<p>Such is a brief, and necessarily very imperfect resumé of the progress +of architecture. The styles of Eastern Europe, ancient Mexico, and many +others, have not been described, because unnecessary, in this +Introduction, which has only for its object to call<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span> general attention +to the causes which have led to the present state of the art. Like all +others it has been the subject of alternating prosperity and adversity. +At one time fostered by men eminent in their profession, and by those +whose means permitted them to lavish riches on magnificent piles, +fountains, villas, &c.; and at others, degraded by its students, and +neglected by those who should have been its patrons.</p> + +<p>In all branches of architecture direct reference should be had to the +objects for which the building is intended. An eminent architect, +already quoted, has well set forth this essential point in the following +remarks:—“The art of characterizing, that is to say, of rendering +evident by material forms the intellectual qualities and moral ideas +required to express in edifices, or to make known by the harmony and +suitableness of all the constituent parts that enter into their +composition the use for which they are intended, is perhaps of all the +secrets of architecture the most difficult to develope or to attain. +This happy talent of conceiving and of communicating the conception in +the physiognomy suitable to each edifice; this sure and delicate +discernment, which exhibits the distinguishing parts of such edifices, +that at first appear susceptible of no characteristic distinctions; this +judicious employment of the different styles which are as the tones of +architecture; this skilful application of the signs which the<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span> art +employs to affect the sight and understanding; this exquisite feeling, +which errs neither in the just disposition of the masses and employment +of the details, nor in the just dispensation of richness and simplicity, +and which is able to combine true expression of character with the +harmonious accord of all the qualities susceptible of being represented +by architecture—all this requisite talent, which study perfects, but +does not produce, is a gift possessed by few. This suitable expression +presents itself under two relations, the one appertaining to +architecture in general, and the other to edifices in particular. The +first consists in the expression of the qualities or intellectual ideas +which are the results of the art metaphysically considered; the second, +in the true indication of the uses for which edifices are designed, that +is, in considering architecture as a certain mode of expressing or +painting. This expression, according to the nature of the buildings and +edifices, may be produced by the gradation of richness and greatness +proportionate to the nature and the object for which they are erected; +by the indication of the moral qualities attached to each edifice, the +manner of expressing which is beyond the reach of rules; by the general +and particular form of architecture; by the species of the construction +and the quality of the materials that may be employed in the execution; +and lastly, by the resources of decoration.<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span>” In these remarks will be +found a highly valuable <i>précis</i> of the excellence to which the art of +the architect should be directed, and the means that must be adopted to +obtain pleasing and successful results.</p> + +<p>The erection of country mansions, villas, and other residences, has of +late years been greatly stimulated in our country. The enormous annually +accumulated savings of the commercial portion of the community have +induced a large amount of capital to be invested in such objects. In +regard to questions of taste and decoration, it should be borne in mind +that but very little extra cost is incurred in building a residence in a +pleasing and picturesque style than in one having not the least +pretension to architectural beauty. In our earlier remarks on the nature +of the picturesque the <i>general principles</i> of obtaining that effect +have been pointed out. In the following pages the special details are +amply descanted on, and illustrated by designs, drawings, &c. It is the +object of every department of constructive skill at the present day, to +endeavour to obtain the best possible result by the least possible +expenditure of material, and thus taste actually causes economy rather +than increased expense. Tons of heavy and unsightly materials are now +replaced by hundredweights of decorative, and yet substantial, masonry +and iron work. A number of modern elegant erections, affording +accommodation equal in extent,<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> but vastly superior in quality, are now +made at an expenditure of stone or brick less by one-third in quantity +than was employed in many old houses; those in High Street, Edinburgh, +by way of example. The result has been arrived at by the joint aid of +science and art, the former giving data as to the strength of the +material, and the latter directing its disposal. The peculiar character +of English scenery is exactly adapted for giving a picturesque character +to villa residences, provided the latter are designed and erected in +accordance with the principles of sound taste. Surely he who would spend +money in building a house, in which all or most of the remainder of his +days are to be spent, will not grudge making that dwelling the subject +of decoration or ornamental art, by which its aspect shall at all times +be suggestive of pleasure rather than of aversion or disgust. It has +been said that most individuals, by long association together, acquire a +mutuality of tastes and even physical resemblance. It cannot be denied +that even inanimate objects, such as our dwellings, furniture, +landscapes, gardens, and other such surroundings, have a parallel effect +on us. Hence the wisdom of using all the means which architectural art +places at our disposal. Errors in this respect often proceed from +thoughtlessness, if not from want of refined taste. An instance may +suffice to show how much<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> such matters should be attended to in the +choice of a site and other conditions. A retired manufacturer erected a +mansion at a cost exceeding fifty thousand pounds, and had never paid +any heed to the fact that the most prominent object seen from his +dining-room window was the cemetery of the adjacent town! Soon this +became unbearable, and the house has been comparatively deserted by the +family, caused by an oversight that the least consideration would have +remedied.</p> + +<p>The designs given in the following pages have for their object to +suggest the most approved, tasteful, and effective plans for the +mansion, the villa, or cottage, and great care has been devoted to their +production. Whilst a residence must necessarily be kept within a cost +suitable to the means of the proprietor, by judicious care of the +professional man, possessed of a competent knowledge, a little money may +go a long way in the decorative art. Many of the drawings are devoted to +the minor but not less effective portions of the house. Congruity in +detail inside the dwelling is equally required with symmetry, beauty, or +picturesque character of the exterior. Want of judgment in this point +may speedily convert the most elegant building into little better than a +repository for gewgaws selected without taste and arranged without +skill. It is impossible for <i>every</i> man to become his own architect; but +it is possible, in most cases, for all who have<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> the means, to select +such a design as shall best comport with their taste, leaving the +working out of details to the architect. But a remote possibility exists +of an unprofessional being able even to state what he requires, and +should he ask an architect for a design or plan, it is more than likely +that the latter would fail to please. When, however, a variety of +designs is placed before the eye of any intelligent person the act of +selection becomes easy. Although no single plan may succeed, a +combination may suggest itself, and the architect can then readily work +on something like a sound foundation, and with the hope of success. This +work is intended to supply such requirements.</p> + +<p>Again, in building a house, or in effecting alterations in an old one, +points apparently of minor, but really of great importance, require +attention. A badly constructed chimney will make the whole house +miserable, independent of the injury done to furniture, decorations, +&c., and the destruction of paint and paperhangings. A defective +drainage may render that which was intended to be an abode of peace, +plenty, and happiness, a living charnel-house, or the door to the grave! +A question of vital importance is that of ventilation. These apparently +minor questions can therefore scarcely be exaggerated in their value, +for neglect of them will render nugatory the best external efforts of +the architect. Hence they have hereafter<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span> full attention, in their +practical details, directed to them.</p> + +<p>On the general principles of ventilation the following remarks may be of +value to all who propose to erect new dwellings, or alter those already +inhabited. In all houses, and in fact every building divided into +stories, a ready means of ventilation may be insured, or rather always +exists. This is presented in the opening formed by the staircase. Into +this general opening communications can be made into, and from, each +apartment by apertures placed in some convenient position in each room. +The grand law on which ventilation depends is, that hot air, being +lighter than cool air, has a universal tendency to rise, whilst cold air +takes the lowest part of a house or apartment. It hence follows, that if +a supply of cold air be admitted by an opening at the lower part of a +house, and it becomes heated within the house, it will have a tendency +to rise to the roof; and if a sufficient opening be there provided, it +will escape into the open air. Consequently a constant current may thus +be obtained in any dwelling, sufficient to give a supply of pure air and +to remove that which has been vitiated by breathing, the combustion of +fires, and other causes. The heavy atmosphere of this country requires +assistance to make this grand law operative; to cause the air of a room +to move as readily as it is required, forced<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> ventilation becomes +necessary. The English fireplace provides this; and to that it owes, +with us, its extreme popularity. A constant current of air from the room +is heated and passed up the chimney flue, and this draws in a +corresponding supply of cold air, and proper and convenient apertures +should be left to permit this to enter. The fireplace forces attention +to the necessity; if sufficient fresh air be not provided for it the +smoke enters the room and drives the occupants out. Notwithstanding the +attention that has been paid to the stove and its flue, we are still +sadly behindhand in a proper construction of them. The flues could be so +arranged that a building might be enabled, using a figurative +expression, to breathe, whenever its principal flue, that of the kitchen +fireplace, was in action; a construction to effect this will be +illustrated in the text. In conclusion on this point, it may be added +that nothing is more essential to the health and comfort of a house than +that it should be thoroughly and constantly ventilated, and if any +portion is to be particularized, it should be the sleeping apartments.</p> + +<p>Another question which, to a certain extent, should influence the +arrangement of a house of any pretensions in respect to size, is that of +the method of warming it. The preference, or rather prejudice, in favour +of fireplaces is so great, that a revolution of the nation in political +matters could be more easily brought about<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span> than the abolition of the +fire-grate; but it is well known that at least three-fourths of the coal +consumed is wasted in the attempt to heat the room to an equable and +pleasant temperature. But by such means the result cannot be arrived at. +In front of, and close to the fire, the temperature is excessive, while +the backs of the sitters facing in are suffering from cold. An equalized +temperature in rooms is obtained abroad. In Russia, a plan is adopted of +heating the rooms by means of the walls, the latter being double, and so +arranged that they act as flues to a furnace situated at the lower part +of the building. By this method every part of the room acquires, +simultaneously, an equable temperature. There need be no draught, simply +because the air is not drawn in one direction more than in another. From +every side a gentle current of warm air arises. This method cannot be +adopted here; it would not suit for English houses where coal is used as +fuel: the interstices of the double wall would soon be filled with soot. +The same effect is produced in a far more elegant way, by means of +warm-water pipes passed round the room; by this simple process the +staircase and passages and the sides of a room distant from the +fireplace are made of equal temperature—one, or at most two furnaces, +burning coke and making no smoke, if placed in a cellar outside an +extensive building, can render the whole in<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span>terior, from attic to +ground-floor of equal temperature, and not prevent the action of the +fireplace, or its agreeable presence in our homes. In the British +Museum, where warming apparatus is used, the temperature of the whole is +kept uniformly the same, that is, 65° Fah., even throughout the most +severe weather, independent of the common fireplace. No greater change +is required in any part of our buildings than in the latter; not that it +requires to be removed, but a change to prevent its waste of heat and +its contaminating the outside air with the soot and blacks from its coal +fuel; the lower fireplaces in a building should warm or air the upper +rooms, and no soot or blacks should be allowed to leave the flues. A +construction for this purpose will be shown in the ensuing pages, as +well as one for warming an entire building and a conservatory.</p> + +<p>An opposite effect to that of warming is frequently desirable in our +houses; and to ensure this the position of the site of the house must be +considered. It is evident that a room having a south-western aspect must +of all others be the warmest, whether in winter or summer, simply +because that aspect is most exposed to the influence of the sun’s rays. +On the other hand, rooms having a north-easterly aspect must necessarily +be the coolest, because, except during the earliest part of midsummer +mornings, say from 2 to<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span> 4 <small>A.M.</small>, the sun’s rays cannot reach them. It +is, therefore, in the power of those who have the requisite resources, +to construct a house in such a manner that warm rooms can be provided +for winter use, and cool for alleviating the heat of summer. It is by no +means an uncommon occurrence to find a large dinner-party assembled in +the heat of summer in a room that has been exposed to the sun’s rays +during the afternoon. Frequently in such cases, owing to the number of +persons present, the heat of the viands, lights, &c., the temperature +rises above 80°, a circumstance prejudicial to health, enjoyment, and +the vivacity of social intercourse, that might have been entirely +avoided had the dining-room been placed in a northern aspect. These are +points well worthy of attention in constructing a newly-designed +dwelling. It unfortunately happens, in many cases, that the supposed +exigencies of architectural arrangement must have priority of all other +considerations. Yet the architect who wilfully opposes such +modifications of his plan for the purpose of conducing to general +comfort is shortsighted. His object ought to be to build a house <i>to be +lived in</i>, and not <i>to be looked at</i> alone.</p> + +<p>A few remarks on some of the general principles that should lead to a +choice of site, situation, and other matters, may not be without +advantage. Whatever inducement a plot of ground for building purposes<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span> +may possess, the great question which has first to be solved is that of +<i>health</i>. A clayey soil, bog, marsh, or stagnant water; a low level; an +undrained or badly drained surface; a moist atmosphere, or exposure to +the chill north and east winds, are all objections that a question of +price should never be pitted against. Popular knowledge on sanitary +subjects is now so extensively diffused that healthy localities are +always of ready sale, while those of an opposite character are +frequently unsold in the market, and consequently may be had at a low +price, but are really never cheap. Nothing can counterbalance the value +of a healthy locality, for in the end one of an opposite character +becomes far more costly. The timbers of the building fall rapidly into +decay, and require renewal; the decorative portion, internally and +externally, becomes faded; doors and windows cease to fit and work +accurately; the iron work becomes rusted and requires frequent renewal +of paint or other protecting coat; and the same may be remarked in +regard to the fences of the estate.</p> + +<p>The position of the residence in regard to the sun at different periods +of the year is also an important matter. If it stands with each front +north and south, the north front will have comparatively little sun, +except during summer time; and if the position be north-east and +south-west respectively, the cold bitter<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span> winds of winter will be +severely felt, whilst from the fact that the greater portion of the year +the rainy quarter of the wind is south-west, that front or back of the +house will be continually exposed to its influence. Consequently, +frontages to the south-east and north-west are to be preferred in all +cases, when possible, as such position ensures to both sides the +greatest average of sun, heat, and light, and protection from the +north-east wind of winter or the south-west of the rainy season. +Comparatively little attention has been paid to the influence of light +on health and its effects on the mind, in the construction of modern +dwelling-houses. An excess is easily avoided by blinds and other +contrivances; but if the architectural features of the building be such +as to exclude the light, an opposite remedy is impossible. Abundant +access of light tends to set off all the internal decorations of the +house, and spreads a cheerfulness of appearance that is always highly +prized. It gives brilliancy of outline and detail to coloured +decorations, and, to use a common phrase, is the best possible “set-off” +that the architect or decorator can desire. As already pointed out, the +effect of light and shade, in regard to architecture, is a condition of +success in respect to the picturesque.</p> + +<p>It is always desirable that a house should be placed on an eminence; it +becomes thus a prominent object, and its qualities are the more readily +perceived. A<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> gradual ascent to the house by the walks or drive adds +much to the general effect. The walks are thus constantly drained, and +preserve longer a neat appearance, a matter which is of much importance +in setting off the advantages of situation, site, &c. In respect to +questions of health also, this is of great advantage, as the waste +matter of the household more readily falls away by its own gravity, and +is thus quickly removed; which if left stagnant would be productive of +harm to the inmates.</p> + +<p>Abundant access of fresh air is of great importance to health in a +residence; unnecessary exposure to wind being at the same time to be +avoided. Hence to place a residence in the centre of a close array of +trees is not desirable; not only is the access of air, light, and heat +prevented, but there is always a tendency induced to dampness in the +house. In an open, airy, and well drained situation, the effects of even +long-continued wet are soon dispelled, but when all sides of a house are +surrounded closely by trees, an opposite result is induced, and, in +comparatively dry situations, many evils of a damp one ultimately ensue.</p> + +<p>One of our earliest English writers on building, Thomas Fuller (1633), +speaking of the choice of situation for a new structure, says: “<i>Chiefly +choose a wholesome air</i>, for air is a dish one feeds on every minute, +and therefore it need be good. Wherefore,<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span> great men (who may build +where they please, as poor men where they can) if herein they prefer +their profit above their health, I refer them to their physicians to +make them pay for it accordingly.” And as to light, he continues: +“<i>Light (God’s eldest daughter!) is a principal beauty in a building</i>, +yet it shines not alike from all parts of heaven. An east window +welcomes the infant beams of the sun before they are of strength to do +any harm, and is offensive to none but a sluggard. A south window, in +summer, is a chimney with a fire in it, and needs the screen of a +curtain. In a west window, in summer time, towards night, the sun grows +low and ever familiar, with more light than delight. A north window is +best for butteries and cellars, where the beer will not be sour for the +sun’s smiling on it. Thorough lights are best for rooms of +entertainment, and windows on one side for dormitories.” And he tells +us, “<i>a pleasant prospect is to be respected</i>. A medley view, such as of +water and land at Greenwich, best entertains the eyes, refreshing the +wearied beholder with exchange of objects. Yet,” he adds, “I know a more +profitable prospect—where the owner can only see his own land round +about.”</p> + +<p>Having thus disposed of some of the most important points that should be +kept in mind when choosing the site of a house, and of such other +conditions as affect its picturesque and sanitary character, a small +space may<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> be devoted to the consideration of its internal decorations.</p> + +<p>On this point there is no disputing about tastes, but to this may be +added that the absence of taste is by no means uncommon. Having fixed on +the style of house, the next question for decision, in respect to its +general effect, should be that of its internal decoration. Congruity of +design should exist between the two, for if an opposite course be +adopted, a vulgarity will be introduced that will be highly displeasing +to good taste. On the other hand, a slavish adherence to uniformity of +internal with external character might produce so severe an adherence to +system as to exclude the benefits that arise from judiciously chosen +contrast. What has before been remarked in regard to the exterior, +applies equally to the interior of a house—each should have in its +general effect an agreement in appearance to its objects. In an antique +apartment the light character of modern furniture would be evidently out +of place, and <i>vice versâ</i>.</p> + +<p>It is evidently impossible to direct attention to more than a few +elements of success that may be arrived at in internal decoration. +Independently of this, each person has his own views on the matter, that +would be sure in the end to overrule any exact principles, or at least +greatly modify them. The following observations however, are offered +suggestively.<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span></p> + +<p>The facility with which the most beautiful designs in painting, &c., are +transferred to paper for paper hangings, has brought these into very +extensive use for decorative purposes. Formerly the best patterns were +produced in France alone, but of late years the British manufactures +have rivalled the Continental. The pattern in respect to size, colour, +design, &c., should be so chosen as to be in accordance with the amount +of light, the size, and other conditions of the room. A large pattern in +a small room is equally out of place with the reverse condition. A light +pattern again in a dark room, although advantageous in alleviating +sombreness, is also incongruous. The general effect of a room on a +spectator is thus largely influenced by these points, and consequently +they should be carefully attended to. Frequently paint is preferred for +covering walls of apartments, and where many pictures are introduced +this may be advantageously employed, because the paintings alleviate the +monotonous effect that would otherwise ensue. Painted walls are liable +to injury by peeling off in places, especially where likely to meet with +blows from furniture, &c. In damp weather, from the absorption of heat +they generally become not only wet, but frequently stream with water. If +the apartment is “smoky,” lines of sooty hue soon follow, and the room +acquires a dirty appearance. This is avoided<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> by the use of paper, which +prevents the abstraction of heat and the consequent deposition of water; +Beautiful effects may be produced by graining and other devices which +are too well known to require enumeration. When flock paper on walls +becomes dirty and requires renewing, if painted it looks extremely well, +a diaper ornamental surface being produced by such means.</p> + +<p>The mantel-piece of a room adds to or detracts from its general effect. +In a well lighted apartment, with light furniture, white marble is +decidedly preferable. Whereas serpentine, black, or coloured marbles, +grey and even red granite, may all agree in rooms but moderately +lighted.</p> + +<p>The cornice and ceiling decorations equally require adaptation to the +character of the apartment. For these purposes beautiful designs have +been suggested and employed. The material of which they are usually made +is so plastic as to be capable of receiving and retaining the most +intricate forms conducive to elegance and beauty. In some rooms such add +greatly to the general effect, while in others, especially with painted +walls, plain mouldings seem most appropriate.</p> + +<p>A profusion of gold or gilding displays want of taste. A glaring example +of this might be pointed out—a white marble mantel-piece supported by +gilt angels five feet high which “graces” the <span class="pagenum"><a name="page_45" id="page_45">{45}</a></span>drawing-room of a mansion +in one part of this country. The outer room is a gorgeous display of +gold, silver, and vulgarity. It serves, however, index-like, to point +out at once the riches and “taste” of the owner. On the other hand, +paintings and engravings in gilt frames have an excellent effect in +setting off a room, provided that their size is in accordance with that +of the apartment.</p> + +<p>Stained deals, varnished, afford a good material for panelling, and for +covering the walls of rooms. We have in our eye a dining-room thus +fitted which has an effect approaching to some of the oaken fittings of +olden times. The material is cheap and durable, whilst the surface can +always be renewed in its freshness by a new coat of varnish. It has been +largely adopted in churches for pews and other fittings, with the best +possible results.</p> + +<p>The minor objects of decoration, such as handles, finger-plates, +bell-pulls, &c. &c., can only be here named. In many instances designs +are given in the following pages, suggesting the most suitable either +for indoor or outdoor use, according to the character of the room or +entrance for which they are intended.</p> + +<p>So much for the picturesque exterior and tasteful interior of a house; a +few words however may be said in respect to its immediate surroundings, +such as the lawns, gardens, pleasure grounds, &c.</p> + +<p>The most picturesque villa would be a nonentity in<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span> a wrong situation. +It would be opposed to what is usually called the “fitness of things;” a +phrase that expresses much meaning without an exact definition. Hence +“landscape gardening” has become an almost necessary adjunct to the art +of architecture. An unframed picture has possibly every merit that the +painter’s art can bestow on it, yet it lacks that finish which the +exterior confers on it. So the well laid-out garden, the vista at its +extremity, the carefully arranged parterre, the judicious management of +floral culture, especially with regard to colour; neatly arranged walks, +and many other exterior matters of detail, add to, enhance, and +occasionally become indispensable adjuncts to the picturesque.</p> + +<p>We give two examples of picturesque accessories to garden architecture; +the first rather belongs to the secluded wood, to some sequestered spot +of sylvan shade, whence rises a spring which tradition may designate as +that of some beautiful nymph; where the limpid crystal flows in gentle, +yet ceaseless streams, conveying “health to the sick and solace to the +swain.” The last, a vignette at the end of this chapter, is the +representation of a ruined fountain, designed in 1820 by one of the best +teachers of drawing England ever possessed, the late C. J. M. Whichelo. +The architect may suggest the addition of a garden, but it is no part of +his business to<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span> supply the details; these rather belong to the +horticulturist. Yet these should not be forgotten; a complete whole is +always made up of minute parts, and by these littles an entirety of +effect is produced, just as their individual importance is not lost +sight of.</p> + +<div class="figcenter" style="width: 292px;"> +<a href="images/ill_pg_047_lg.jpg"> +<img src="images/ill_pg_047_sml.jpg" width="292" height="275" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The Nymph’s Fountain.</p></div> +</div> + +<p>In conclusion, it has been attempted in this introductory essay to +enable the unprofessional reader to become acquainted with the general +principles, and some practical details that should guide him in the +selection of a site, and the erection of an elegant, con<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span>venient, and +pleasant house, both externally and internally. So far as architecture +and decorative art can aid such objects, the special details involved +have to be perused in the text of this work. Fundamental ideas of such +subjects have alone been here treated. A hope may be expressed that any +suggestion or advice hitherto offered may not, in all cases, be without +value. It is not given to all men to know all things. By the experience +of others we gain fresh views of old ideas, invest them with new +clothing, and in fact make out of that which is past, the material for +something new. We rest on the apparently obsolete for suggestive ideas +of improvement. Although the fashion of this world passeth away, yet as +a dissolving view it reproduces itself in other forms, which, by the +contrast of apparent novelty, and real or supposed merits, gain, either +temporarily or permanently, the applause of mankind.</p> + +<div class="figcenter" style="width: 209px;"> +<a href="images/ill_pg_048_lg.jpg"> +<img src="images/ill_pg_048_sml.jpg" width="209" height="80" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Old English Garden Plots.</p> +</div> +</div> + +<p><span class="pagenum"><a name="page_49" id="page_49">{49}</a></span></p> + +<div class="figcenter" style="width: 352px;"> +<a href="images/ill_pg_049_lg.jpg"> +<img src="images/ill_pg_049_sml.jpg" width="352" height="239" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Garden Fountain in Ruins.</p></div> +</div> + +<p><span class="pagenum"><a name="page_50" id="page_50">{50}</a></span></p> + +<h2><a name="DESIGN_No_1" id="DESIGN_No_1"></a><i>DESIGN No. 1.</i><br /><br /> +A GARDENER’S COTTAGE.</h2> + +<p><span class="pagenum"><a name="page_51" id="page_51">{51}</a></span></p> + +<div class="figcenter" style="width: 275px;"> +<a href="images/ill_pg_050-a_lg.jpg"> +<img src="images/ill_pg_050-a_sml.jpg" width="275" height="201" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation.</p></div> +</div> + +<div class="figcenter" style="width: 222px;"> +<a href="images/ill_pg_050-b_lg.jpg"> +<img src="images/ill_pg_050-b_sml.jpg" width="222" height="203" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Back elevation.</p></div> +</div> + +<p class="nind"><span class="letra">S</span>OME examples of designs for small cottages will be first given in this +volume. There are few domestic<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span></p> + +<div class="figcenter" style="width: 197px;"> +<a href="images/ill_pg_051-a_lg.jpg"> +<img src="images/ill_pg_051-a_sml.jpg" width="197" height="98" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground-floor plan.</p></div> +</div> + +<div class="figcenter" style="width: 142px;"> +<a href="images/ill_pg_051-b_lg.jpg"> +<img src="images/ill_pg_051-b_sml.jpg" width="142" height="84" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of upper floor.</p></div> +</div> + +<div class="figcenter" style="width: 292px;"> +<a href="images/ill_pg_051-c_lg.jpg"> +<img src="images/ill_pg_051-c_sml.jpg" width="292" height="209" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">structures that have received within the last fifty years a greater +share of attention than the English Cottage, especially that designed +for the occupation of the labourer. Each detail has received much care; +thus, whether its walls should be solid or formed in two thicknesses, as +most conducive to warmth and comfort; whether they should be of thin +brick or of solid thick concrete; the best kind of roof covering, and +indeed all such questions, have been fully discussed.</p> + +<div class="figcenter" style="width: 218px;"> +<a href="images/ill_pg_052_lg.jpg"> +<img src="images/ill_pg_052_sml.jpg" width="218" height="205" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through length of building.</p></div> +</div> + +<p>Besides this, the calculation of cost has been of importance; they are +required to return a rent that will pay 5 per cent. on the outlay, and +to gain their picturesque appearance has generally been sacrificed.<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span></p> + +<p>The cottage examples in this volume have been erected on estates where +the only aim was to render them substantial and lasting structures, +expense being a matter of minor importance. Their picturesque appearance +being in every case insisted on.</p> + +<p>Before entering into any description of the designs, it must be pointed +out that the plans, with the exception only of a few at the end of the +volume, are all drawn to the same scale, that of 20 feet to the inch, +and that the elevations and sections are to a scale of 15 feet to the +inch.</p> + +<div class="figcenter" style="width: 157px;"> +<a href="images/ill_pg_053_lg.jpg"> +<img src="images/ill_pg_053_sml.jpg" width="157" height="212" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cross section.</p></div> +</div> + +<p>The details and the vignettes, one of which is mostly given between each +example, are of various scales suited to each separate subject.<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span></p> + +<div class="figcenter" style="width: 185px;"> +<a href="images/ill_pg_054-a_lg.jpg"> +<img src="images/ill_pg_054-a_sml.jpg" width="185" height="113" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of wood casement.</p></div> +</div> + +<div class="figcenter" style="width: 103px;"> +<a href="images/ill_pg_054-b_lg.jpg"> +<img src="images/ill_pg_054-b_sml.jpg" width="103" height="89" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p>The cottage design shown in the plate, and which forms the first example +in this series, was erected on a nobleman’s estate in the country, for +the use of a favourite gardener, a married man without children, and the +accommodation afforded was all that he required. It consisted of a lower +room fifteen feet by twelve, fitted with a small cottage oven; a +scullery ten feet by ten feet, and a larder; the upper floor contained +one room of the same size as the lower, and one fourteen feet by ten +feet. The building was constructed in a very superior way. It was +erected in red brick with compo dressings round the door and windows. +The illustrations represent the front and<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span> back elevations; and sections +through the length and breadth of the cottage, with details of the wood +casements, and a plan and section of the cottage oven.</p> + +<div class="figright" style="width: 58px;"> +<a href="images/ill_pg_055-a_lg.jpg"> +<img src="images/ill_pg_055-a_sml.jpg" width="58" height="94" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cottage oven.</p></div> +</div> + +<p>A view of a cottage slightly different in design but having rooms of the +same size with similar accommodation, is given. This was intended for +the same estate.</p> + +<p class="spc1"> </p> + +<p>The vignette is an elevation of two lead pipes designed for an +Elizabethan building in the country.</p> + +<div class="figright" style="width: 293px;"> +<a href="images/ill_pg_055-b_lg.jpg"> +<img src="images/ill_pg_055-b_sml.jpg" width="293" height="226" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_56" id="page_56">{56}</a></span></p> + +<h2><a name="DESIGN_No_2" id="DESIGN_No_2"></a><i>DESIGN No. 2.</i><br /><br /> +A SMALL COTTAGE OR LODGE.</h2> + +<div class="figcenter" style="width: 286px;"> +<a href="images/ill_pg_056-a_lg.jpg"> +<img src="images/ill_pg_056-a_sml.jpg" width="286" height="221" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<div class="figcenter" style="width: 306px;"> +<a href="images/ill_pg_056-b_lg.jpg"> +<img src="images/ill_pg_056-b_sml.jpg" width="306" height="122" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground-floor plan. + +<span class="spc4"> </span> + +.</p></div> +</div> + +<p><span class="pagenum"><a name="page_57" id="page_57">{57}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS small building forms the outer lodge to a country park. It is +finished in all its parts so as</p> + +<div class="figcenter" style="width: 214px;"> +<a href="images/ill_pg_057-a_lg.jpg"> +<img src="images/ill_pg_057-a_sml.jpg" width="214" height="174" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of front.</p></div> +</div> + +<p class="nind">to correspond in style and details with the old family mansion, and +being a prominent object, standing in a cheerful position, each side was +made pleasing. It is<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span></p> + +<div class="figcenter" style="width: 164px;"> +<a href="images/ill_pg_057-b_lg.jpg"> +<img src="images/ill_pg_057-b_sml.jpg" width="164" height="169" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Side elevation.</p></div> +</div> + +<p class="nind">so placed that the sun during its daily course shines on all the +exterior walls. Cottages should have no</p> + +<div class="figcenter" style="width: 212px;"> +<a href="images/ill_pg_058-a_lg.jpg"> +<img src="images/ill_pg_058-a_sml.jpg" width="212" height="172" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through length.</p></div> +</div> + +<p class="nind">dark corners, the sun should find entrance at all the windows whenever +it is bright; the interior is then warm and cheerful. If the plan of a +building is either</p> + +<div class="figcenter" style="width: 164px;"> +<a href="images/ill_pg_058-b_lg.jpg"> +<img src="images/ill_pg_058-b_sml.jpg" width="164" height="156" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cross section.</p></div> +</div> + +<p><span class="pagenum"><a name="page_59" id="page_59">{59}</a></span></p> + +<p class="nind">a square or a parallelogram, and it is placed on the ground so that one +of its diagonal lines runs due north and south, the advantage of +sunlight at all the openings is obtained, and this has been pointed out +by several writers on the subject. The ground plan shows the general +arrangement of the interior. The parlour and kitchen are both of the +same size (14 feet by 11 feet); it has a small scullery, an open outside +porch, and a place for coals; the larder with its window</p> + +<div class="figcenter" style="width: 193px;"> +<a href="images/ill_pg_059_lg.jpg"> +<img src="images/ill_pg_059_sml.jpg" width="193" height="165" alt="[Image unavailable.]" /></a> +<div class="caption"> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td align="left"><p>Section through front and back porches.</p></td> + <td align="left"><p>Dry vault.</p></td></tr> +</table> + +</div> +</div> + +<p class="nind">is under the staircase. The latter is a cottage staircase, occupying +only half the usual space. The plan of the upper floor shows two rooms +of the same size as those on the lower floor, with the compact reduced +form of the staircase. The plate gives the front and side elevations of +the building; sections through its length and breadth, and through the +two<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> porches back and front, and the dry vault of closet, are given.</p> + +<p>The water from the scullery sink is discharged into the dry vault. The +staircase, of which a section is given, occupies exactly half the space +of a staircase on the ordinary plan. The width is three feet, each step +rising in two heights of 6 inches. It is necessary that such a +contrivance should have plenty of light. These staircases were first +used in France. Loudon, in his “Encyclopædia of Cottage, Farm, and Villa +Architecture,” gives a representation of one, and remarks that the +celebrated American, Jefferson, when</p> + +<div class="figcenter" style="width: 317px;"> +<a href="images/ill_pg_060_lg.jpg"> +<img src="images/ill_pg_060_sml.jpg" width="317" height="276" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Section of staircase. +</p></td><td> </td> +<td> +<p>A staircase. +</p></td></tr> +</table> +</div></div> + +<p class="nind">making a tour in that country, was so struck with the contrivance, that +he noted it in his journal, which was<span class="pagenum"><a name="page_61" id="page_61">{61}</a></span> published with his +correspondence. A perspective view of one of these staircases is +annexed.</p> + +<p>A staircase of this description, if made four feet in width, might take +up only one-third the usual space: it would be very applicable to +offices and warehouses where room cannot be spared, and where staircases +little better than ladders are used, but in such cases a baluster and +hand-rail should be placed between each second step, to prevent persons +falling.</p> + +<p>The “Builder” of November, 1843, gave two views of an ingenious double +spiral staircase then exhibiting at a manufactory in Berners Street, +Commercial Road. It was described as extremely simple, the object being +to provide for ascent and descent without chance of meeting or +collision. It consisted of a deal or other board of suitable thickness 6 +feet long and 12 inches wide, forming a double <i>tread</i>, and the <i>riser</i> +crossed, as it were from corner to corner, except as arranged to form a +<i>newel</i> in the centre, of about five inches in diameter. The staircase +had twenty-two risers, and took one complete turn round.</p> + +<div class="figcenter" style="width: 183px;"> +<a href="images/ill_pg_061_lg.jpg"> +<img src="images/ill_pg_061_sml.jpg" width="183" height="66" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plaster ornament for a ceiling.</p></div> +</div> + +<p><span class="pagenum"><a name="page_62" id="page_62">{62}</a></span></p> + +<h2><a name="DESIGN_No_3" id="DESIGN_No_3"></a><i>DESIGN No. 3.</i><br /><br /> +A PICTURESQUE COTTAGE.</h2> + +<div class="figcenter" style="width: 247px;"> +<a href="images/ill_pg_062-a_lg.jpg"> +<img src="images/ill_pg_062-a_sml.jpg" width="247" height="238" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<div class="figcenter" style="width: 311px;"> +<a href="images/ill_pg_062-b_lg.jpg"> +<img src="images/ill_pg_062-b_sml.jpg" width="311" height="111" alt="[Image unavailable.]" /></a> +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Ground-floor plan. +</p></td> +<td> +<p> +Upper floor. +</p></td></tr> +</table> +</div></div> + +<p><span class="pagenum"><a name="page_63" id="page_63">{63}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design for a peasant’s cottage possesses no architectural feature +beyond what could be given</p> + +<div class="figcenter" style="width: 199px;"> +<a href="images/ill_pg_063-a_lg.jpg"> +<img src="images/ill_pg_063-a_sml.jpg" width="199" height="164" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of front.</p></div> +</div> + +<p class="nind">to it by any common country village carpenter. It was made from the +recollection of one at Blaise Hamlet,</p> + +<div class="figcenter" style="width: 184px;"> +<a href="images/ill_pg_063-b_lg.jpg"> +<img src="images/ill_pg_063-b_sml.jpg" width="184" height="158" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Side front.</p></div> +</div> + +<p class="nind">near Blaise Castle, in Gloucestershire, the seat of John I. Harford, +Esq., to whom the hamlet belonged. This<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span> was celebrated for having about +a dozen of these small picturesque structures, apparently put up by the +owner of the estate. Nearly the whole of them were provided with rustic +seats under a projecting roof, as well as with a pigeon-house at the +gable. This was called Vine Cottage; there were besides Sweet Briar +Cottage, Rose Cottage, Diamond Cottage, Dial Cottage, Jessamine Cottage, +Circular Cottage, and Oak Cottage. Views of all of them were first +published at Bristol by Mr. Western.</p> + +<div class="figcenter" style="width: 166px;"> +<a href="images/ill_pg_064_lg.jpg"> +<img src="images/ill_pg_064_sml.jpg" width="166" height="167" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p>There are numerous similar hamlets and villages in England, some having +the cottages, schoolhouses, literary meeting room, and even the village +pump, all in picturesque form, and generally architectural in character. +The plan given here is probably not like that of the cottage at the +hamlet. It illustrates one room, size 13 ft. by 12 ft., a scullery 12 +ft. by 9 ft.,<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span> and larder under the stairs. The latter are shown with +the double-rise step. The upper plan shows one room of the same size as +that below, and a closet. The scullery on the ground floor is large +enough to form a sleeping room for boys, or to make a small living room. +The height of the lower room is 9 feet 6 inches. The section shows the +general form and fittings of the rooms. The plate below the plans gives +an elevation of the front, showing the rustic seat and the side of the +entrance porch, the gable of the cottage formed into a pigeon-house, +together with the side front of the cottage and its entrance porch. The +small window at the side is intended to light the first steps of the +stairs; a small shed for wood or coals is placed at the back. Such a +cottage could be built and finished complete at a cost of about one +hundred and ten pounds.</p> + +<div class="figcenter" style="width: 236px;"> +<a href="images/ill_pg_065_lg.jpg"> +<img src="images/ill_pg_065_sml.jpg" width="236" height="139" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plaster frieze for drawing-room.</p></div> +</div> + +<p><span class="pagenum"><a name="page_66" id="page_66">{66}</a></span></p> + +<h2><a name="DESIGN_No_4" id="DESIGN_No_4"></a><i>DESIGN No. 4.</i><br /><br /> +A DOUBLE COTTAGE.</h2> + +<div class="figcenter" style="width: 217px;"> +<a href="images/ill_pg_066-a_lg.jpg"> +<img src="images/ill_pg_066-a_sml.jpg" width="217" height="180" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<div class="figcenter" style="width: 308px;"> +<a href="images/ill_pg_066-b_lg.jpg"> +<img src="images/ill_pg_066-b_sml.jpg" width="308" height="137" alt="[Image unavailable.]" /></a> +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Ground plan. +</p></td><td> </td> +<td> +<p> +. +</p></td></tr> +</table> +</div></div> + +<p><span class="pagenum"><a name="page_67" id="page_67">{67}</a></span></p> + +<p class="nind"><span class="letra">T</span>HESE cottages were intended to be attached to some ornamental grounds +which were very carefully attended to; and as the building formed a</p> + +<div class="figcenter" style="width: 175px;"> +<a href="images/ill_pg_067-a_lg.jpg"> +<img src="images/ill_pg_067-a_sml.jpg" width="175" height="177" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of front.</p></div> +</div> + +<p class="nind">prominent object, it was rendered architectural and pleasing in +character. In plan the cottages are large<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span></p> + +<div class="figcenter" style="width: 193px;"> +<a href="images/ill_pg_067-b_lg.jpg"> +<img src="images/ill_pg_067-b_sml.jpg" width="193" height="180" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p class="nind">and roomy, and they are of the cheapest kind. If constructed in plain +brickwork, without the ornamental gable on the porch, the pair could not +have cost more than 250<i>l.</i>, and at that sum they have been estimated +for by a London builder. Each cottage has one living-room on the ground +floor, <i>f f</i>, of the size of 14 feet by 10 feet, with a scullery, <i>g g</i>, +attached, size 10 feet by 6 feet 6 inches, and a small larder and +staircase.</p> + +<div class="figcenter" style="width: 248px;"> +<a href="images/ill_pg_068_lg.jpg"> +<img src="images/ill_pg_068_sml.jpg" width="248" height="272" alt="[Image unavailable.]" /></a> +</div> + +<p>The latter, with ten risers, leads to the upper floor, in which are one +large and one small room. The plate gives the ground plan, and the plan +of the<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span> upper floor. The closets are in the yard attached to the +cottages, but not shown in the plan.</p> + +<p>The plate gives an elevation of one of the fronts, and a section, taken +through the living-room and scullery: a portion of the ornamental gable +is illustrated in the previous page.</p> + +<p class="spc1"> </p> + +<p>The vignette represents an ornamental escutcheon and handle, in brass, +for an inner entrance-hall door. The drawing is one-third of the full +size.</p> + +<div class="figcenter" style="width: 180px;"> +<a href="images/ill_pg_069_lg.jpg"> +<img src="images/ill_pg_069_sml.jpg" width="180" height="308" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_70" id="page_70">{70}</a></span></p> + +<h2><a name="DESIGN_No_5" id="DESIGN_No_5"></a><i>DESIGN No. 5.</i><br /><br /> +A DOUBLE COTTAGE AND VILLAGE SUNDAY SCHOOL.</h2> + +<div class="figcenter" style="width: 357px;"> +<a href="images/ill_pg_070-a_lg.jpg"> +<img src="images/ill_pg_070-a_sml.jpg" width="357" height="303" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<div class="figcenter" style="width: 342px;"> +<a href="images/ill_pg_070-b_lg.jpg"> +<img src="images/ill_pg_070-b_sml.jpg" width="342" height="129" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground-floor plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_71" id="page_71">{71}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS building was intended to be placed in a village of one of the +midland counties, nearly all the buildings in the village being of +picturesque character. It was the property of a gentleman who was +erecting a large Elizabethan mansion in the neighbourhood; the design is +for a double cottage and Sunday school; the latter being under the +direction of the clergyman of the parish.</p> + +<div class="figcenter" style="width: 304px;"> +<a href="images/ill_pg_071_lg.jpg"> +<img src="images/ill_pg_071_sml.jpg" width="304" height="123" alt="[Image unavailable.]" /></a> +<div class="caption"><p>One-pair plan.</p></div> +</div> + +<p>The porch was decorated to give it importance, and form a shelter for +the clergyman in passing from one school to the other. One part was +intended for boys and the other for girls. The chimneys of the building +were grouped together in the centre so as to form a prominent object; +they were copied from a very fine ancient example, then existing at a +farm-house near Ashford, in Kent.</p> + +<p>The illustration gives a view of the front, and the plans. Each of the +two principal rooms was 16 feet 6 inches by 13 feet 6 inches, with a +scullery on the<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span> side 10 feet square, and having a good oven; the larder +was under the stairs. The rooms above were</p> + +<div class="figcenter" style="width: 395px;"> +<a href="images/ill_pg_072_lg.jpg"> +<img src="images/ill_pg_072_sml.jpg" width="395" height="191" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through length of building.</p></div> +</div> + +<p class="nind">of the same size as those below. One of the cottages had the centre room +below as well as that above arranged so that one had four rooms and the +other<span class="pagenum"><a name="page_73" id="page_73">{73}</a></span> two; but this could be changed at any time, to provide each +cottage with three living rooms each. A section through the length of +the building and the chimney stack is given in the previous page, and an +elevation of the front is given above.</p> + +<div class="figcenter" style="width: 400px;"> +<a href="images/ill_pg_073_lg.jpg"> +<img src="images/ill_pg_073_sml.jpg" width="400" height="194" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of entrance front.</p></div> +</div> + +<p><span class="pagenum"><a name="page_74" id="page_74">{74}</a></span></p> + +<p>The building was to be constructed with sound stock bricks, and red +brick rusticated facing round the upper windows; the finishing of the +gables with their small pediments was of cut red bricks. Small compo +finials crowned the whole.</p> + +<div class="figcenter" style="width: 309px;"> +<a href="images/ill_pg_074-a_lg.jpg"> +<img src="images/ill_pg_074-a_sml.jpg" width="309" height="109" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Finial.</p></div> +</div> + +<div class="figleft" style="width: 194px;"> +<a href="images/ill_pg_074-b_lg.jpg"> +<img src="images/ill_pg_074-b_sml.jpg" width="194" height="335" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of chimney stack.</p></div> +</div> + +<p>The porch had trunks of trees for columns, the entablature and pediment +were formed of cut bricks and compo facing; the pilasters on each side +of the lower windows were of cut squared flint, peculiar to the county, +the whole resting on a plinth of rough country stone. A wooden +balustrade of simple pattern surmounted the porch, extend<span class="pagenum"><a name="page_75" id="page_75">{75}</a></span>ing on each +side of the columns. These latter resting on a stone slab. The chimney +stack is shown, and its plan, on the previous page.</p> + +<div class="figright" style="width: 189px;"> +<a href="images/ill_pg_075-a_lg.jpg"> +<img src="images/ill_pg_075-a_sml.jpg" width="189" height="75" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<div class="figcenter" style="width: 226px;"> +<a href="images/ill_pg_075-b_lg.jpg"> +<img src="images/ill_pg_075-b_sml.jpg" width="226" height="265" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of a chimney stack at a farm-house, Ashford, +Kent.</p></div> +</div> + +<p>The old stack from Ashford, with the plan at its base, and capping, is +also illustrated.</p> + +<p>These representations of the two chimney stacks, ancient and modern, are +drawn to the same scale, so that the difference between the present and +old mode<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span> of treatment may be seen. The large flues of the old example +permitted the then mode of sweeping, by discharging a culverin up the +flue. The occupants of the dwelling could not then have cared much for +return smoke in their rooms; which in these large flues, with coal as +fuel, must have been considerable, and could only be obviated or +prevented by the numerous cold draughts of air permitted to pass through +the interior of the building.</p> + +<div class="figcenter" style="width: 216px;"> +<a href="images/ill_pg_076-a_lg.jpg"> +<img src="images/ill_pg_076-a_sml.jpg" width="216" height="131" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of capping.</p></div> +</div> + +<div class="figcenter" style="width: 203px;"> +<a href="images/ill_pg_076-b_lg.jpg"> +<img src="images/ill_pg_076-b_sml.jpg" width="203" height="112" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of base.</p></div> +</div> + +<p><span class="pagenum"><a name="page_77" id="page_77">{77}</a></span></p> + +<p>The plan of this building was adapted from a very favourite one of the +late Sir John Soane. He erected it at Wimpole, in Cambridgeshire, for +the Earl of Hardwicke, in 1794. It had a very plain exterior, and the +roof was covered with thatch, a very common mode with architects at that +time, but now objected to from the serious evil of its harbouring +numerous insects—indeed at times they render the building almost +untenantable. The walls of the cottages at Wimpole were built in Pisé, +or with clay and fine gravel, properly prepared and beaten down in a +mould. Each wall was three feet in thickness, the fireplaces and +chimneys were of brick. Every opening was covered with strong wood +lintels, the whole width of the walls, and two feet longer than their +respective openings.</p> + +<p>The walls stood on brick foundations two feet above the ground. The cost +of the construction was about 450<i>l.</i> Design No. 5 could not now be +constructed for less than 630<i>l.</i></p> + +<p>It may be here remarked that nothing certain can be advanced about the +cost of a building until the situation and local circumstances are fully +known and considered. In the absence of these no estimates can be given +with that accuracy which every gentleman wishes for, and ought to be +possessed of, before he begins building.<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span></p> + +<h2><a name="DESIGN_No_6" id="DESIGN_No_6"></a><i>DESIGN No. 6.</i><br /><br /> +A HUNTSMAN’S LODGE OR COTTAGE.</h2> + +<div class="figcenter" style="width: 238px;"> +<a href="images/ill_pg_078-a_lg.jpg"> +<img src="images/ill_pg_078-a_sml.jpg" width="238" height="276" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<div class="figcenter" style="width: 288px;"> +<a href="images/ill_pg_078-b_lg.jpg"> +<img src="images/ill_pg_078-b_sml.jpg" width="288" height="90" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Ground plan. +</p></td><td> </td> +<td> +<p> +. +</p></td></tr> +</table> +</div></div> + +<p><span class="pagenum"><a name="page_79" id="page_79">{79}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS edifice was erected in the neighbourhood of some thick plantations +in a sporting district. It was constructed of brick, with a wooden +porch; the facing bricks of the walls being of a light-yellow colour, +with red bricks round the windows; and the whole of the cornices and the +four chimneys were of cut red brick. The building seen from among the +trees looks</p> + +<div class="figcenter" style="width: 311px;"> +<a href="images/ill_pg_079_lg.jpg"> +<img src="images/ill_pg_079_sml.jpg" width="311" height="205" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Front elevation. +</p></td><td> </td> +<td> +<p> +Section. +</p></td></tr> +</table> +</div></div> + +<p class="nind">very pleasing. The ground plan shows a front room 13 feet square, with a +small scullery behind; the larder is under the stairs, which have the +double riser, and a window is placed both at the bottom as well as at +the upper part of the staircase, to give plenty of light. The upper plan +shows three bed-rooms, each about 10 feet by 6, and a small bed<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span> closet +for children, the closet having a ventilator in the chimney at the +angle. These chimneys, instead of being grouped together in the centre +of the structure, occupy the four corners—an expensive form of +erection, but one that gives more room in the interior. The elevation of +the front is given in the plate, and the section by its side; the small +figure below shows the different courses of cut bricks forming the +pediment and cornice.</p> + +<div class="figleft" style="width: 110px;"> +<a href="images/ill_pg_080-a_lg.jpg"> +<img src="images/ill_pg_080-a_sml.jpg" width="110" height="80" alt="[Image unavailable.]" /></a> +</div> + +<p>These were carefully executed, and had a good effect. The first figure +likewise illustrates the oak finial on the top of the roof. A +chimney-piece in one of the upper rooms had a quaint carving in the +centre of a fox’s head, a subject appropriate to the pursuits of the +occupant of the cottage.</p> + +<div class="figcenter" style="width: 206px;"> +<a href="images/ill_pg_080-b_lg.jpg"> +<img src="images/ill_pg_080-b_sml.jpg" width="206" height="158" alt="[Image unavailable.]" /></a> +</div> + +<p>The chimney-piece, and the fox’s head on a larger<span class="pagenum"><a name="page_81" id="page_81">{81}</a></span> scale, are here +represented. The gateway seen at the side of the building in the view +was formed by the workmen out of various old fragments; it leads to a +yard in which are various sheds and out-buildings.</p> + +<div class="figcenter" style="width: 230px;"> +<a href="images/ill_pg_081-a_lg.jpg"> +<img src="images/ill_pg_081-a_sml.jpg" width="230" height="87" alt="[Image unavailable.]" /></a> +</div> + +<p class="spc1"> </p> + +<p>This vignette affords a specimen of ornamental iron railing intended for +exterior work, and suitable for any situation in which such may be +required, in consequence of the neatness of its pattern.</p> + +<div class="figcenter" style="width: 322px;"> +<a href="images/ill_pg_081-b_lg.jpg"> +<img src="images/ill_pg_081-b_sml.jpg" width="322" height="138" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_82" id="page_82">{82}</a></span></p> + +<div class="figcenter"> +<a href="images/ill_pg_082_lg.jpg"> +<img src="images/ill_pg_082_sml.jpg" width="305" height="181" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Rose Hill Villa.</p></div> +</div> + +<h2>THE CONCRETE CONSTRUCTION FOR BUILDING COTTAGES.</h2> + +<p class="nind"><span class="letra">C</span>ONSIDERABLE pains have been taken for the last fifty years to discover +the best and cheapest method of building cottages; bricks, stones, wood, +mud, plaster, and lately straw and bitumen, have all been selected. +Sound bricks and good building stones, well incorporated with mortar of +a good and binding quality, will last for centuries; while those of mud, +clay, plaster or concrete are continually becoming out of repair, and +therefore ought never to be introduced where sound construction is +desired, and better materials can be procured. In our moist climate, +unless great pains are taken in compounding such materials as clay or +concrete, in constructing walls, and in pro<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span>tecting these against the +effects of the weather, they will soon decay. Mud walls, however, made +perfectly in the common manner, of clay well tempered and mixed with +sharp sand, will last very many years.</p> + +<p>The preceding view represents Rose Hill Villa, near Stockbridge, +Hampshire. It is probably the largest and most important specimen of +such a construction in England, and comprises dining and drawing-rooms, +each 20 feet by 18 feet, morning-room, housekeeper’s-room, kitchen, back +kitchen, pantry, excellent cellars and all requisite offices; five very +superior bedrooms, two dressing rooms, a water-closet on the landing and +ground floor, and five servants’ bedrooms. It has a double coach-house, +harness-room, and stabling for four or six horses, and in the outhouses +a four-roomed cottage for the coachman.</p> + +<p>This villa was formerly in the occupation of Fothergill Cooke, Esq.,<a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">[A]</a> +the inventor of the Electric Telegraph, and is now the residence of Sir +Augustus Webster, Bart.</p> + +<p>The building is constructed of chalk concrete, and has stood the test of +forty years’ exposure without any signs of decay. Mr. James Flitcroft +sent in 1843 a view of the villa to the “Builder,” and thus<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span> described +the construction of such houses in the locality:—The walls are carried +above the ground two and sometimes three feet to prevent the damp from +rising to the mud, which if wetted would scale off by the action of +frost. The kind of earth used is fine chalk, dug from the surface; if +timely notice of any building will permit, it is best dug in winter, +that the frost may act upon it. Buildings formed of this material can be +erected only in dry warm weather. The workmen in preparing this chalk +for use put about a cartload of it together, throw water over it, and +tread it with their feet, turn it over, again tread and turn it, until +it begins to bind something like loamy clay; then let it soak a little +while, when it is ready for use. The waller is able to put on a layer of +about fifteen inches; he begins at one corner and goes round the +building, putting one layer on another, taking care that the lower one +is sufficiently dry to bear the upper. In buildings of two stories high, +the walls are generally eighteen inches thick. When the walls are got up +five or six feet, and pretty dry, the quoins are plumbed, and the walls +dressed down a little, in order that the waller may see what he is +about. A small short spade is the best tool for this purpose, with short +handle and rather bent. The work is then proceeded with as before, until +it is raised up to the square of the building, when the<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span></p> + +<div class="figcenter" style="width: 521px;"> +<a href="images/ill_pg_085_lg.jpg"> +<img src="images/ill_pg_085_sml.jpg" width="521" height="274" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation and section of a wall (see p. 86).</p></div> +</div> + +<p><span class="pagenum"><a name="page_86" id="page_86">{86}</a></span></p> + +<p class="nind">walls get their general dressing, ready to receive their coating.</p> + +<p>Mr. Flitcroft describes Rose Hill Villa as coated with stone, +lime-coloured and drawn. The columns of the villa are of brick. He +states that there are several other buildings of this kind at +Stockbridge, Winchester, and other places in the neighbourhood. He +describes a better method of constructing such walls by the use of a +moveable trough or box about 12 feet in length by 18 inches in depth. +This trough rests on bearers put across the wall, with a mortice at each +end wide enough apart to receive the sides, and the thickness of the +wall; in these are inserted uprights to prevent the sides giving way, +with others to go across the top. This mode of construction is however +very ancient, and when done on a large scale the primitive method is +still pursued.</p> + +<p>This method is shown in the preceding engraving, which gives an +elevation and section of a wall in process of construction, with the +posts, <i>b b</i>, the moveable planking, <i>c c</i>, and cross pieces, <i>d</i>. It +will be seen that three courses of bricks are put about every five feet +in height. The figures here given are copied from a very old French work +on Architecture and Building; they also show the manner in which roof +construction was attempted with slabs of the same material, as shown in +figs. 1 and 2: the building is<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span> supposed to be square, as shown by the +dotted lines <i>a</i>, <i>b</i>, <i>c</i>, <i>d</i>.</p> + +<div class="figcenter" style="width: 314px;"> +<a href="images/ill_pg_087-a_lg.jpg"> +<img src="images/ill_pg_087-a_sml.jpg" width="314" height="179" alt="[Image unavailable.]" /></a> +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Fig. 1. +</p></td><td> </td> +<td> +<p> +Fig. 2. +</p></td></tr> +</table> +</div></div> + +<div class="figcenter" style="width: 321px;"> +<a href="images/ill_pg_087-b_lg.jpg"> +<img src="images/ill_pg_087-b_sml.jpg" width="321" height="207" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Elevation +</p></td><td> </td> +<td> +<p>Section. +</p></td></tr> +</table> +</div></div> + +<p>The plan, elevation, and section given below represent a small tomb +wholly formed of concrete slabs, the door alone being excepted. This +little<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span> building forms really a solid concrete monolithic edifice.</p> + +<div class="figcenter" style="width: 281px;"> +<a href="images/ill_pg_088_lg.jpg"> +<img src="images/ill_pg_088_sml.jpg" width="281" height="150" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +The entrance door +</p></td><td> </td> +<td> +<p>Plan. +</p></td></tr> +</table> +</div></div> + +<p>A very common method of forming partitions, and even roofs in some of +the agricultural districts in Hampshire, is first to put them up with +strong wattle hurdles. They are double the size of the common hurdle, +and made of a thicker material. When in their place, they are plastered +over with concrete, and made about four inches in thickness; they very +often require repair. It is said that concrete walls are subject to +contraction and expansion, and speedily show vertical cracks at +intervals, which in our damp climate would soon permit the wet to enter. +There can be no question as to its strength as a building material, as +some experiments conducted by the Institute of British Architects gave +the following results—viz., “Concrete composed of two parts of<span class="pagenum"><a name="page_89" id="page_89">{89}</a></span> lime, +thirty-six parts of sand, and five parts of cement, can resist a +crushing weight of four tons to the square inch, being twice the +strength of Portland stone, eight times the strength of Bath stone, and +sixteen times the strength of brickwork.”</p> + +<p>In constructing cottages with concrete everything depends upon the +goodness of the cement and the care with which it is used. The occupiers +of these cottages are frequently their own operators; the work is +generally too speedily performed, and the consequence is that the fruits +of their labour are in most instances of but short duration.</p> + +<p>For obvious reasons it is necessary that the greatest economy should be +observed in the construction of peasants’ cottages, and for these +reasons the apartments should always be on the ground floor, which will +render it unnecessary to build them more than eight or nine feet high. +Where mud walls are introduced, the lower they are made the better, in +which case they should be made to batir on the outside so as to resist +the pressure of the roof, the covering of which should project as much +as possible, to throw off the wet and protect the walls. The chimney +flues in these clay and concrete walls are formed of drain-pipes, which +answer admirably. These humble dwellings should be paved with +brick-on-edge paving laid on sand, which is much warmer, and more +conducive<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span> to health than any sort of rough flagging, plaster, mud, or +concrete floor. The latter, although much cheaper, can never be made to +look clean. Foundations of clay or concrete walls should be of brick a +few courses above the surface, and the walls when dry should be covered +with a thick coat of plaster consisting of lime and sand, or what is +still better, a coating of good Portland cement. This ought constantly +to be kept perfect, as everything depends upon the goodness of the work. +Concrete improperly mixed is not so strong as brickwork, but is mere +rubbish; but when perfectly done it hardens with age, becoming like +stone, impervious both to wet and frost.</p> + +<p>Materials can be found in every locality. One of the principal +constructors using such, Mr. Tall, who works with an excellently +contrived apparatus, thus describes them:—“Clay, which may be burnt +into ballast easily and cheaply, and is a most superior material for +concrete; gravel, stone, crushed slag from furnaces, smith’s clinkers, +oyster-shells, broken glass, crockery, or any hard and durable +substance. Where sandstone or any flat stone is to be found, walls can +be built even cheaper than of gravel concrete, as a labourer can break +the stone.” He gives the proportions of materials used in houses then +being constructed at Gravesend, as follows:<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span></p> + +<table border="0" cellpadding="0" cellspacing="0" summary=""> +<tr><td> </td><td class="rt">£ </td> +<td class="rt"><i>s.</i></td> +<td class="rt"><i>d.</i></td></tr> +<tr><td>7 yards of burrs from brickfield, at 5s.</td><td class="rt">1</td><td class="rt">15</td><td class="rt">0</td></tr> +<tr><td>7 yards of gravel stone, at 3s.</td><td class="rt">1</td><td class="rt">1</td><td class="rt">0</td></tr> +<tr><td>1 yard of Portland cement, 16 bushels to the cubic yard, at 2s.</td><td class="rt">1</td><td class="rt">12</td><td class="rt">0</td></tr> +<tr><td>Labour, at 2s. per cube yard</td><td class="rt">1</td><td class="rt">10</td><td class="rt">0</td></tr> +<tr><td class="c">Total</td><td class="btbrt">£5</td> +<td class="btbrt"> 18 </td> +<td class="btbrt"> 0</td></tr> +</table> + +<p>Three cubic yards of concrete will build 60 yards of 9-inch work, at a +fraction under 1<i>s.</i> 11<i>d.</i> per yard.</p> + +<p>Concrete cottages have been built at Setting, in Kent, under Mr. Adkins, +architect, that cost only 105<i>l.</i> per pair; the ground floor contained +two rooms; with the usual larder and closets, and the upper floor three +rooms and a cupboard; these cottages had gabled fronts and were +picturesque in character. It would be an extra expense over the common +method to construct floors and roofing of concrete; the advantage to be +gained would be their fire-proof character.</p> + +<p>In superior buildings the high tenacious power of good cement is +repeatedly, it may be said commonly taken advantage of in the +construction of roofs. These are formed by cementing plain tiles, and +they have considerable strength. Roofs of 12 feet span, constructed in +segmental form, rising three feet, and only of three plain tiles in +thickness, successfully resist great pressure, and are durable in a very +superior<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span> degree; but they require to be well tied in, and formed +between iron girders connected together with iron tie rods, otherwise +they sink and force out the walls. Roofs of cemented tiles have been +constructed from 30 to 40 feet span, and have been found to answer well; +hoop-iron bond, laid at intervals between the tiles, is a great +advantage. The tenacious power of good cement was proved in a very high +degree a few years ago by Mr. Brunel, in the construction of two +semi-arches built of brick, springing from a pier or abutment 14 feet in +height. One extended 50 feet in length, the other 38; the rise of the +arches was 10 feet, the width only 4 feet 6 inches; a weight of about 40 +tons was suspended to the extremity of the shorter arch without breaking +it.</p> + +<p>The result of this test proved that arches of 200 feet or 300 feet span, +and probably more, might be constructed in the same manner at very +moderate expense, without centering. Iron-hoop bond is said to nearly +double the strength or holding power of the cement. Flat experimental +beams have been constructed of brick and cement, with hoop-iron bond +laid horizontally between the joints or courses of the brickwork, which +have given equally extraordinary results.</p> + +<p>Concrete for walling was extensively used in England at the beginning of +the present century; it<span class="pagenum"><a name="page_93" id="page_93">{93}</a></span> got into bad repute through failure of a river +wall at Woolwich, where it was either badly done, some mistake was made, +or it was unsuited to the position. The wall was constructed of blocks +of concrete cast in moulds, and submitted to pressure while setting; a +coating of fine stuff being applied for the sake of appearance, ample +time having been allowed for the blocks to set and harden before use. +The blocks were 1 foot 6 inches high, the binders and stretchers in the +course being each 2 feet 6 inches long, the bed of the former being 2 +feet, and of the latter 1 foot; the wall was built upon piles, its +height above the piles being 24 feet; the thickness at bottom was 9 +feet, at top 5 feet with a batir in front of 3 feet in 22.</p> + +<p>The face of the wall was composed of blocks, as described, and rough +concrete thrown in to complete its thickness, and that of the +counterforts. After a frost it was found that this wall was seriously +damaged, hardly a single block having escaped, and in many cases their +whole face had peeled off to the depth of half an inch. The discharge of +a drain from a height of 6 or 8 feet had worn away the lower courses to +the depth of some inches. On a like wall at Chatham, similar but much +more severe effects were produced.</p> + +<p>The failure of this wall costing about 80,000<i>l.</i>, was a serious matter, +and for several years after architects looked upon concrete as being so +much uneatable<span class="pagenum"><a name="page_94" id="page_94">{94}</a></span> hasty pudding, considering that it was only beneficial +when confined in a trench for foundations. Sir Robert Smirke used it in +the foundations of the Penitentiary, Millbank, and Sir John Soane in +1830 used it in the foundations of the New State Paper Office (now +pulled down) in St. James’s Park. Here the ground had to be excavated to +a depth of 22 feet before arriving at a gravelly stratum; at each high +tide the Thames filled the trenches with water, which remained in +considerable quantity; as this was pumped out, the adjoining party walls +of the buildings in Duke-street cracked so completely that they had to +be taken down. The trenches were first filled to the height of two feet +with broken stones and bricks from the old buildings, and then dry lime +and clean river sand, with a large quantity of small broken granite +stones, were thrown in from the height above. A body of concrete 8 feet +in width by a thickness of 3 feet was thus formed; the water ceased to +enter the trenches and the building was commenced.</p> + +<p>Mr. G. Godwin, the editor of the “Builder,” in an essay on concrete +which gained the first prize given by the Royal Institution of British +Architects, appears to have been the first to suggest its use in walls +above ground; and for these Portland cement concrete, when properly +prepared, is without question an admirable material.<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span></p> + +<h2><a name="DESIGN_No_7" id="DESIGN_No_7"></a><i>DESIGN No. 7.</i></h2> + +<div class="figcenter" style="width: 357px;"> +<a href="images/ill_pg_095_lg.jpg"> +<img src="images/ill_pg_095_sml.jpg" width="357" height="511" alt="[Image unavailable.]" /></a> +<div class="caption"><p>A garden gate—plan and elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_96" id="page_96">{96}</a></span></p> + +<p>In France it is used to a very great extent, in numerous bridges, and +several miles of large sewers. A church (that at Vésinet, near Paris, of +mediæval architecture), constructed entirely with iron and this +concrete, is completely fireproof. In England a considerable length of +sewer has been constructed of concrete at Sidmouth, under the direction +of Mr. Phillips; and near London, between the Kensington and Gloucester +Road stations of the Metropolitan Railway, a very large handsome bridge, +rusticated, and in design similar to, and in every respect in appearance +a stone bridge. From some alteration required in the railway, it has +been removed.</p> + +<p>This mode of construction is now being practically tested in the north +of England, at Church Bank, Alnmouth, in its complete form, in a cottage +built entirely of concrete, having three rooms, scullery, and other +conveniences. The material used in the building, as we are told by the +“Builder,” is Portland cement and gravel from the sea-shore. The +foundation is in sand 6 inches thick and 18 inches wide; in this there +is a base course, and above, the walls are 9 inches in thickness. Part +of the erection is two stories in height. The roofs are all flat, and +are constructed entirely of concrete and old wire rope. The ceilings are +divided into panels by ribs at right angles, and require no plastering. +A wall on the upper floor is<span class="pagenum"><a name="page_97" id="page_97">{97}</a></span> supported by a concrete beam with a +13-feet span; and a large cistern is formed under the roof of the pantry +for rain water. The sides of the cistern forming the walls of the +bedroom will test severely the impermeability of the material. No wood +is used except for doors, and no iron except five shillings’ worth of +old wire rope. This is said to be an experiment made by the Duke of +Northumberland.</p> + +<p>Another experimental cottage has been constructed under Mr. Edwin +Chadwick’s superintendence at East Sheen near Mortlake. In this the +walls are formed of light iron framework filled with compressed straw, +bitumen, and concrete. The thickness of each wall complete is only about +three and a half inches. The floors are of bitumen and concrete, covered +with ordinary deal boards; the roof has the same construction as the +walls. These, inside, may be either left rough or finely smoothed, +without additional cost. In the former case it is said they resemble the +ordinary “dashes” of stuccoed cottages; in the latter they appear as if +coated with Roman cement, after the fashion of villas and town houses.</p> + +<p>If a construction of this kind can be made durable it possesses superior +advantages to every other. In England both stone and brick are great +absorbents of moisture, causing the occupants of the houses to be +afflicted by rheumatism and other undesirable ail<span class="pagenum"><a name="page_98" id="page_98">{98}</a></span>ments. Any building +material that is non-absorbent of moisture is a great desideratum yet +unsatisfied.</p> + +<p>An elevation of a design for a garden gate and balustrade to be formed +of concrete blocks is given in Design No. 7. It was originally intended +for the entrance to an old house in Berkshire.</p> + +<p class="spc1"> </p> + +<p>The vignette beneath is a Swiss pattern of open woodwork used by the +author as balustrading. The construction is too simple to require +explanation.</p> + +<div class="figcenter" style="width: 249px;"> +<a href="images/ill_pg_098_lg.jpg"> +<img src="images/ill_pg_098_sml.jpg" width="249" height="238" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_99" id="page_99">{99}</a></span></p> + +<h2><a name="DESIGN_No_8" id="DESIGN_No_8"></a><i>DESIGN No. 8.</i><br /><br /> +A PARK LODGE.</h2> + +<div class="figcenter" style="width: 195px;"> +<a href="images/ill_pg_099-a_lg.jpg"> +<img src="images/ill_pg_099-a_sml.jpg" width="195" height="161" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation.</p></div> +</div> + +<p class="nind"><span class="letra">T</span>HE entrance lodge to a country park may be considered as a superior +kind of cottage; it is</p> + +<div class="figcenter" style="width: 144px;"> +<a href="images/ill_pg_099-b_lg.jpg"> +<img src="images/ill_pg_099-b_sml.jpg" width="144" height="156" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">often occupied by some favourite domestic or other attaché of the +family. It is usually placed in a<span class="pagenum"><a name="page_100" id="page_100">{100}</a></span> prominent position, dressed with +surrounding trees, and with the accompanying gates, posts, and rails. +Considerable attention is always paid to the lodge.</p> + +<div class="figcenter" style="width: 198px;"> +<a href="images/ill_pg_100-a_lg.jpg"> +<img src="images/ill_pg_100-a_sml.jpg" width="198" height="164" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Back front.</p></div> +</div> + +<p>An ugly one is an exception, and is very seldom seen. In most cases the +lodge is similar in character to the mansion to which it permits +approach: a Gothic house, hence has a Gothic lodge, and an Elizabethan</p> + +<div class="figcenter" style="width: 220px;"> +<a href="images/ill_pg_100-b_lg.jpg"> +<img src="images/ill_pg_100-b_sml.jpg" width="220" height="154" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p><span class="pagenum"><a name="page_101" id="page_101">{101}</a></span></p> + +<p class="nind">house a lodge of the same character; frequently it is in the Rustic +style that would suit either. Of this the present design and the +following are examples.</p> + +<p>This design was made for one story only, and it is placed so as to +command, or have a view of two roads by which it can be approached; the +plan shows a living room, 13 ft. by 13 ft., a scullery, <i>g</i>, 12 ft. by 9 +ft, a larder, <i>h</i>, and two sleeping rooms. It has a porch, formed with +trunks of trees, enclosing a seat or bench. The back front is made of a +pleasing character, having a covered way to the closet and coal cellar, +<i>l</i>.</p> + +<p>The section shows the height of the rooms, 11 × 6 from floor to collar +beam. The construction was to have been in the common fashion in brick, +with red brick facing, and compo dressings round the windows and top of +chimney stack, the latter in cut red brick. An erection of this kind +could not be completed under a cost of about 370<i>l.</i></p> + +<div class="figcenter" style="width: 204px;"> +<a href="images/ill_pg_101_lg.jpg"> +<img src="images/ill_pg_101_sml.jpg" width="204" height="115" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plaster cornice for a drawing-room.</p></div> +</div> + +<p><span class="pagenum"><a name="page_102" id="page_102">{102}</a></span></p> + +<h2><a name="DESIGN_No_9" id="DESIGN_No_9"></a><i>DESIGN No. 9.</i><br /><br /> +A PARK LODGE.</h2> + +<div class="figcenter" style="width: 255px;"> +<a href="images/ill_pg_102-a_lg.jpg"> +<img src="images/ill_pg_102-a_sml.jpg" width="255" height="156" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation.</p></div> +</div> + +<div class="figcenter" style="width: 174px;"> +<a href="images/ill_pg_102-b_lg.jpg"> +<img src="images/ill_pg_102-b_sml.jpg" width="174" height="151" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_103" id="page_103">{103}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design was a second study for the same small building illustrated +in the previous design. It was intended for a different site, and so +placed as to command only one road of approach. It could have been seen +for nearly two miles previous to reaching it, and was placed about +twenty feet behind the entrance gates; the front had a rustic porch +intended to contain rustic seats. The plan shows a living room 18 feet +by 14, a small scullery, <i>g</i>, larder, <i>h</i>, and two sleeping rooms each +13 feet by 10 feet. The section is taken through the centre of the +building, showing the front and back porch. It could be constructed for +about 375<i>l.</i></p> + +<div class="figcenter" style="width: 204px;"> +<a href="images/ill_pg_103_lg.jpg"> +<img src="images/ill_pg_103_sml.jpg" width="204" height="150" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p>Either of these lodges could be constructed in concrete, the walls twice +the thickness, the chimney stock in brick and cement, and their cost +would be reduced.<span class="pagenum"><a name="page_104" id="page_104">{104}</a></span></p> + +<h2><a name="DESIGN_No_10" id="DESIGN_No_10"></a><i>DESIGN No. 10.</i><br /><br /> +AN ENTRANCE LODGE TO A PARK</h2> + +<p>This lodge stands within an ancient park in Kent. It occupies a +triangular piece of ground and commands three roads of approach. The +building is</p> + +<div class="figcenter" style="width: 220px;"> +<a href="images/ill_pg_104_lg.jpg"> +<img src="images/ill_pg_104_sml.jpg" width="220" height="298" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<p class="nind">strictly in accordance with the style of the old family mansion within +the park itself, which is a celebrated structure of the times of +Elizabeth and James I. The<span class="pagenum"><a name="page_105" id="page_105">{105}</a></span></p> + +<div class="figcenter" style="width: 179px;"> +<a href="images/ill_pg_105-a_lg.jpg"> +<img src="images/ill_pg_105-a_sml.jpg" width="179" height="193" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">perspective view represents the lodge as seen from the avenue of trees +within the park, the road coming</p> + +<div class="figcenter" style="width: 207px;"> +<a href="images/ill_pg_105-b_lg.jpg"> +<img src="images/ill_pg_105-b_sml.jpg" width="207" height="226" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The front elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_106" id="page_106">{106}</a></span></p> + +<p class="nind">between. In the ground plan, p. 105, <i>a</i> is the porch, <i>b</i> the living +room, <i>c</i> the scullery, and <i>d</i> the larder; <i>g</i> are the steps leading to +a vault under the stairs, used for coals, and <i>f</i> is the stone cover +over the dry well. Considerable care and attention were</p> + +<div class="figcenter" style="width: 280px;"> +<a href="images/ill_pg_106_lg.jpg"> +<img src="images/ill_pg_106_sml.jpg" width="280" height="283" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view of back and side fronts, from a +photograph.</p></div> +</div> + +<p class="nind">bestowed in working out the details of this building, which was wholly +erected by the workmen of the estate, with bricks and stone also from +the estate. The lower part or plinth of the structure is of ashlar +ragstone in random courses, the top course header<span class="pagenum"><a name="page_107" id="page_107">{107}</a></span> faced, the joints +worked fair, and a sunk splay in the top tooled fair, the course rising +nine inches on the</p> + +<div class="figcenter" style="width: 168px;"> +<a href="images/ill_pg_107-a_lg.jpg"> +<img src="images/ill_pg_107-a_sml.jpg" width="168" height="163" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of upper floor.</p></div> +</div> + +<p class="nind">face, with an average depth in the bed of eleven inches. The string over +the lower windows is in moulded brick,</p> + +<div class="figcenter" style="width: 180px;"> +<a href="images/ill_pg_107-b_lg.jpg"> +<img src="images/ill_pg_107-b_sml.jpg" width="180" height="176" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of roof timbers.</p></div> +</div> + +<p class="nind">faced with compo,—the gables and the chimneys are constructed and +finished with cut red bricks. The<span class="pagenum"><a name="page_108" id="page_108">{108}</a></span></p> + +<div class="figcenter" style="width: 220px;"> +<a href="images/ill_pg_108-a_lg.jpg"> +<img src="images/ill_pg_108-a_sml.jpg" width="220" height="222" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Side elevation.</p></div> +</div> + +<div class="figcenter" style="width: 344px;"> +<a href="images/ill_pg_108-b_lg.jpg"> +<img src="images/ill_pg_108-b_sml.jpg" width="344" height="235" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Details of entrance porch.</p></div> +</div> + +<p><span class="pagenum"><a name="page_109" id="page_109">{109}</a></span></p> + +<p class="nind">finials, of which there are three, are copied from those of the old +mansion, and cost each 3<i>l.</i> The front and side elevations are here +given, together with the details of the entrance porch. The columns were +formed of trunks of trees, with an entablature and pediment of brick +tiles and compo, with iron ties securing the whole.</p> + +<div class="figcenter" style="width: 309px;"> +<a href="images/ill_pg_109-a_lg.jpg"> +<img src="images/ill_pg_109-a_sml.jpg" width="309" height="156" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Finial.</p></div> +</div> + +<p>The brick walls were splashed externally in four colours, black, white, +red, and yellow, which gave a very pleasing tone of colour to the whole. +The plan</p> + +<div class="figcenter" style="width: 215px;"> +<a href="images/ill_pg_109-b_lg.jpg"> +<img src="images/ill_pg_109-b_sml.jpg" width="215" height="234" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p><span class="pagenum"><a name="page_110" id="page_110">{110}</a></span></p> + +<p class="nind">of the upper floor shows the rooms like the lower, each of the average +length of 21 and a width of 10 feet. The staircase leads conveniently to +the two upper rooms; <i>a</i> is a trap-door to permit furniture and large +baggage to be lifted up from below. The sections show the construction +of the roof, the timbers of which were firmly secured by iron straps, <i>b +b</i>. The chimney forms a prominent feature in the centre of the building, +the construction of which is shown in the annexed cut; <i>c</i> are corbel +bricks, <i>b</i> the iron strap.</p> + +<div class="figcenter" style="width: 179px;"> +<a href="images/ill_pg_110_lg.jpg"> +<img src="images/ill_pg_110_sml.jpg" width="179" height="248" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p>The last two illustrations are sections through the<span class="pagenum"><a name="page_111" id="page_111">{111}</a></span> coal-cellar and the +dry well. The photographic view shows the small circular gable over the +staircase. There are only six of these gables, as a seventh could not be +obtained, or it might have been called the “house with the seven +gables.” The structure cost 526<i>l.</i>, the cottage design No. 2, on the +same estate, 311<i>l.</i>, both in full.</p> + +<div class="figcenter" style="width: 311px;"> +<a href="images/ill_pg_111_lg.jpg"> +<img src="images/ill_pg_111_sml.jpg" width="311" height="291" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan and section of chimney stack.</p></div> +</div> + +<p><span class="pagenum"><a name="page_112" id="page_112">{112}</a></span></p> + +<h2><a name="DESIGN_No_11" id="DESIGN_No_11"></a><i>DESIGN No. 11.</i><br /><br /> +AN ENTRANCE LODGE AND GATEWAY TO A PARK.</h2> + +<div class="figcenter" style="width: 330px;"> +<a href="images/ill_pg_112_lg.jpg"> +<img src="images/ill_pg_112_sml.jpg" width="330" height="337" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<p><span class="pagenum"><a name="page_113" id="page_113">{113}</a></span></p> + +<p class="nind"><span class="letra">T</span>HE first erection of an entrance lodge and gateway to a country park, +is often considered of sufficient importance to meet with very full and +careful</p> + +<div class="figcenter" style="width: 188px;"> +<a href="images/ill_pg_113-a_lg.jpg"> +<img src="images/ill_pg_113-a_sml.jpg" width="188" height="130" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">consideration. If the park is an ancient one, the old castellated style +for the entrance lodge will mark its character, and it is generally +chosen, although the</p> + +<div class="figcenter" style="width: 159px;"> +<a href="images/ill_pg_113-b_lg.jpg"> +<img src="images/ill_pg_113-b_sml.jpg" width="159" height="133" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of upper floor.</p></div> +</div> + +<p class="nind">building or mansion within the park itself may be of more recent style. +The family architect, in such cases, will have to make various sketches +before one is<span class="pagenum"><a name="page_114" id="page_114">{114}</a></span> selected that gives general satisfaction. The castellated +Tudor design shown in the perspective view, was the first one made under +such circumstances, and several designs were submitted before it was put +aside, and one selected similar in style and character to the mansion +within the park, and which was soon carried out.</p> + +<div class="figcenter" style="width: 281px;"> +<a href="images/ill_pg_114_lg.jpg"> +<img src="images/ill_pg_114_sml.jpg" width="281" height="242" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation of lodge.</p></div> +</div> + +<p>The ground plan, p. 113, shows the lodge to have very little +accommodation, one small room 15 feet by 11 feet, with a scullery +attached; indeed, one of the principal reasons for giving up the design +was that the steep character of the ground did not admit a larger +erection. The staircase of the lodge<span class="pagenum"><a name="page_115" id="page_115">{115}</a></span> led to one upper room over the +gateway; this was 13 feet by 13 feet. The elevation of the lodge is +shown at p. 114.</p> + +<div class="figcenter" style="width: 295px;"> +<a href="images/ill_pg_115_lg.jpg"> +<img src="images/ill_pg_115_sml.jpg" width="295" height="469" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of half gate.</p></div> +</div> + +<p>The details are plain and bold; a shield of arms with quatrefoils is +placed over the side entrance; these and the ornaments on the bay-window +are the chief enrichments.<span class="pagenum"><a name="page_116" id="page_116">{116}</a></span></p> + +<p>The lodge was to have been erected with ragstone ashlar for the quoins +and red-brick facing for walls,—the bay-window and all the strings and +battlements were to be in Caen stone. The iron gates were to be of +wrought iron in the olden style. An elevation of one of the gates is +given, showing a thin ornamental pattern within a strong iron frame.</p> + +<div class="figcenter" style="width: 231px;"> +<a href="images/ill_pg_116_lg.jpg"> +<img src="images/ill_pg_116_sml.jpg" width="231" height="223" alt="[Image unavailable.]" /></a> +<div class="caption"><p>A</p><p>Elevation of second design.</p></div> +</div> + +<p>The parts, ¼ full size, are shown; <i>a</i> is the top rail, <i>b</i> the circular +bar, <i>c</i> a section and elevation of the hanging rail, and <i>d</i> the +meeting bar.</p> + +<p>The accommodation required by the gate-keeper who was to occupy the +lodge was greater than could<span class="pagenum"><a name="page_117" id="page_117">{117}</a></span> be well provided on the site the building +was to stand on. What he did ask for was given in a second</p> + +<div class="figcenter" style="width: 188px;"> +<a href="images/ill_pg_117-a_lg.jpg"> +<img src="images/ill_pg_117-a_sml.jpg" width="188" height="206" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">design, which, as it shows a different treatment of the elevation, is +here illustrated. In this the rooms are</p> + +<div class="figcenter" style="width: 170px;"> +<a href="images/ill_pg_117-b_lg.jpg"> +<img src="images/ill_pg_117-b_sml.jpg" width="170" height="186" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of upper floor.</p></div> +</div> + +<p><span class="pagenum"><a name="page_118" id="page_118">{118}</a></span></p> + +<p class="nind">larger, as may be seen by the ground plan; <i>c</i>, the back room, is +intended to be used as a boy’s sleeping room; <i>h</i> is the larder under +the stairs, and <i>l</i> is a place for coals. The upper plan shows the room +over the gateway; a second room was to be added by taking up the walls +of the lodge.</p> + +<div class="figcenter" style="width: 283px;"> +<a href="images/ill_pg_118_lg.jpg"> +<img src="images/ill_pg_118_sml.jpg" width="283" height="367" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Details of bay-window, second design.</p></div> +</div> + +<p><span class="pagenum"><a name="page_119" id="page_119">{119}</a></span></p> + +<p>The elevation of this design was considered more quaint and +characteristic of the olden style than the first; its window is copied +from one at the old gatehouse to the abbey at Montacute in +Somersetshire, both as to dimensions and detail. It is rather late in +style, and not a very good example, but it is here given with a few +sections and details to a larger scale.</p> + +<p class="spc1"> </p> + +<p>The vignette affords a plan of an old English garden with its labyrinth, +fountains, fishponds, and flower beds.</p> + +<div class="figcenter" style="width: 201px;"> +<a href="images/ill_pg_119_lg.jpg"> +<img src="images/ill_pg_119_sml.jpg" width="201" height="139" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_120" id="page_120">{120}</a></span></p> + +<h2><a name="DESIGN_No_12" id="DESIGN_No_12"></a><i>DESIGN No. 12.</i><br /><br /> +A STOVE FOR AN ENTRANCE HALL</h2> + +<div class="figcenter" style="width: 222px;"> +<a href="images/ill_pg_120_lg.jpg"> +<img src="images/ill_pg_120_sml.jpg" width="222" height="508" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of stove.</p></div> +</div> + +<p><span class="pagenum"><a name="page_121" id="page_121">{121}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS stove is intended to fill a recess in the hall of a Baronial +Mansion, placed on a marble pavement with groups of ancient armour, +pikes and</p> + +<div class="figcenter" style="width: 213px;"> +<a href="images/ill_pg_121-a_lg.jpg"> +<img src="images/ill_pg_121-a_sml.jpg" width="213" height="134" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of stove.</p></div> +</div> + +<p class="nind">helmets, and the other like warlike implements of ancient times, +surrounding it. The plan shows its interior to be filled with fire-clay. +It is only a<span class="pagenum"><a name="page_122" id="page_122">{122}</a></span></p> + +<div class="figcenter" style="width: 127px;"> +<a href="images/ill_pg_121-b_lg.jpg"> +<img src="images/ill_pg_121-b_sml.jpg" width="127" height="197" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The front of stove, the shield or door open.</p></div> +</div> + +<div class="figcenter" style="width: 338px;"> +<a href="images/ill_pg_122_lg.jpg"> +<img src="images/ill_pg_122_sml.jpg" width="338" height="517" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Side of stove +</p></td><td> </td> +<td> +<p> +Section of stove. +</p></td></tr> +</table> +</div></div> + +<p><span class="pagenum"><a name="page_123" id="page_123">{123}</a></span></p> + +<p class="nind">common iron stove, but with a more artistic outline or figure than is +generally seen; the section shows the construction. A moveable box is +placed within the pedestal to receive the ashes; the smoke flue leaves +at the back; the helmet opens to receive a cup of water; the section +shows the construction. When the shield is open the fire is seen; this +could be made partly open, so as to allow the fire to be wholly closed +in.</p> + +<p class="spc1"> </p> + +<p>The vignette is a portion of a French design for an iron balconet. In +France these balconets are regarded as necessary protections at the +window openings. In England they are used chiefly for holding flowers.</p> + +<div class="figcenter" style="width: 314px;"> +<a href="images/ill_pg_123_lg.jpg"> +<img src="images/ill_pg_123_sml.jpg" width="314" height="109" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_124" id="page_124">{124}</a></span></p> + +<h2><a name="DESIGN_No_13" id="DESIGN_No_13"></a><i>DESIGN No. 13.</i><br /><br /> +QUEEN’S GATE LODGE, HYDE PARK.</h2> + +<p>The formation of that new and important suburb of London, known as +Queen’s Gate, South Kensington, resulted, as is well known, from the +exertions of His Royal Highness the Prince Consort. It</p> + +<div class="figcenter" style="width: 221px;"> +<a href="images/ill_pg_124_lg.jpg"> +<img src="images/ill_pg_124_sml.jpg" width="221" height="247" alt="[Image unavailable.]" /></a> +<div class="caption"><p>First design, Gate Entrance to Hyde Park.</p></div> +</div> + +<p class="nind">promises soon to become the most fashionable and attractive portion of +the Metropolis, as the land is engaged for the purpose of applying it to +national objects connected with the Arts and Sciences, by the<span class="pagenum"><a name="page_125" id="page_125">{125}</a></span></p> + +<div class="figcenter" style="width: 303px;"> +<a href="images/ill_pg_125-a_lg.jpg"> +<img src="images/ill_pg_125-a_sml.jpg" width="303" height="211" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view of Lodge, Queen’s Gate.</p></div> +</div> + +<div class="figcenter" style="width: 312px;"> +<a href="images/ill_pg_125-b_lg.jpg"> +<img src="images/ill_pg_125-b_sml.jpg" width="312" height="250" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Ground plan. +</p></td><td> </td> +<td> +<p> +Basement plan. +</p></td></tr> +</table> +</div></div> + +<p><span class="pagenum"><a name="page_126" id="page_126">{126}</a></span></p> + +<p class="nind">Government. Consequently, with the beauty of the situation, this has led +to the erection of a large number of first-class mansions of the value +of from 20,000<i>l.</i> each to 3000<i>l.</i> (leaseholds.) The author of this +work, at the time of the purchase by the Government, was surveyor to the +principal estate in that locality—that of the late Charles, Earl of +Harrington;</p> + +<div class="figcenter" style="width: 327px;"> +<a href="images/ill_pg_126_lg.jpg"> +<img src="images/ill_pg_126_sml.jpg" width="327" height="225" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view of Lodge opposite the Exhibition Road, +Hyde Park.</p></div> +</div> + +<p class="nind">and an opening to Hyde Park, for the chief new road, being granted by +Government, he had to submit designs for the new entrance lodge and +gates to the Commissioner of Public Works. The first design he had made +had previously been submitted to the Prince. It was on a large scale, an +archway being<span class="pagenum"><a name="page_127" id="page_127">{127}</a></span> placed in the centre, with gates and lodges on each side. +But as the new entrance had to be made at the expense of the builders of +the Harrington Estate, designs of a more modest character were chosen.</p> + +<div class="figcenter" style="width: 171px;"> +<a href="images/ill_pg_127_lg.jpg"> +<img src="images/ill_pg_127_sml.jpg" width="171" height="335" alt="[Image unavailable.]" /></a> +</div> + +<p>Lord Llanover, then Sir Benjamin Hall, was the Chief Commissioner of +Public Works, and took great interest in the designs, repeatedly +visiting the spot, and having various studies made; indeed the works +were carried out under his supervision and direction.<span class="pagenum"><a name="page_128" id="page_128">{128}</a></span></p> + +<p>The opening into Hyde Park was 140 feet in length; this was filled up by +the gates and railings, a lodge being placed within the park.</p> + +<div class="figcenter" style="width: 156px;"> +<a href="images/ill_pg_128-a_lg.jpg"> +<img src="images/ill_pg_128-a_sml.jpg" width="156" height="135" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation.</p></div> +</div> + +<p>The view shows the lodge as it was erected by Mr. Aldin, one of the +building lessees of the Harrington estate; it cost him about 800<i>l.</i> The +iron gates and</p> + +<div class="figcenter" style="width: 240px;"> +<a href="images/ill_pg_128-b_lg.jpg"> +<img src="images/ill_pg_128-b_sml.jpg" width="240" height="134" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Side elevation.</p></div> +</div> + +<p class="nind">railing were put up by Mr. W. Jackson, the chief building +lessee on the same estate, at a cost which amounted to upwards of +2000<i>l.</i><span class="pagenum"><a name="page_129" id="page_129">{129}</a></span></p> + +<div class="figcenter" style="width: 340px;"> +<a href="images/ill_pg_129_lg.jpg"> +<img src="images/ill_pg_129_sml.jpg" width="340" height="198" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through length of building.</p></div> +</div> + +<p>The lodge contains two rooms on the ground floor the front room being 17 +feet by 12 feet, the back room 13 feet by 11 feet. The basement has two +rooms of the same size; with a small yard, a place for coals, and a dry +area surrounding the whole. The plans are shown under the perspective +view; the front and side elevations on page 128; the small portico has +the centre columns without rusticated blocks, so that no<span class="pagenum"><a name="page_130" id="page_130">{130}</a></span> square edges +or projecting parts obstruct the entrance of persons into the lodge.</p> + +<div class="figcenter" style="width: 231px;"> +<a href="images/ill_pg_130_lg.jpg"> +<img src="images/ill_pg_130_sml.jpg" width="231" height="211" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cross section.</p></div> +</div> + +<p>The section through the length of the building shows the two upper and +the two lower rooms, with the sunk yard; it does not show clearly the +section of the ground outside the building; the level of this is 18 +inches below the floor of the upper rooms. The basement is completely +buried, but as the small structure stood upon a mound and was protected +by a dry area, this was of little consequence. The cross section next +given shows the level of the outside ground correctly, with the two dry +areas. Over this cross section are given two small details of the +construction of the roof.<span class="pagenum"><a name="page_131" id="page_131">{131}</a></span></p> + +<p>The building was of stone and brick, the ashlar front of the walls Bath +stone, and the cornice of Portland—this was made so as to form the +gutter.</p> + +<p>The lodge has lately been taken down, and reconstructed on the opposite +side of the entrance gate. So completely was this done that only one +small block of stone was required to complete it, and this was only a +replacement of one broken. The structure itself has been reproduced by +the Government as a lodge opposite to the Exhibition Road. In the cut at +page 127, is given a section through the portico and a section through +the end wall.</p> + +<p>The first design, made by the author, was intended to embody the views +of His Royal Highness Prince Albert, in regard to the arrangement of the +buildings for the purpose of Science and Art then proposed to be erected +on the newly purchased estate. They comprised one for the collection of +Pictures, at that time occupying only half the building at Trafalgar +Square; this, the New National Gallery, was to be surrounded with other +structures, affording ample accommodation for the chief learned and +Artistic Societies of London. A large central Hall of Arts and Sciences +was to be placed in their midst; the whole to form a metropolitan +institution for the promotion of scientific and artistic knowledge as +connected with industrial pursuits. It is well known that the surplus +funds of<span class="pagenum"><a name="page_132" id="page_132">{132}</a></span> the Exhibition of 1851, amounting to the sum of 150,000<i>l.</i>, +were offered by the Royal Exhibition Commissioners at the instance of +the Prince, for the purpose of carrying out this grand conception. The +report of the House of Commons’ Committee on the National Gallery +strongly recommended the offer to be accepted, and Parliament at first +assenting, voted another sum of like amount for carrying out the entire +project. The sum of 300,000<i>l.</i> was found, however, insufficient for +purchasing the whole of the ground required, and a further grant of from +25,000<i>l.</i> to 27,000<i>l.</i> was voted by Parliament, and a sum of +15,000<i>l.</i> was given by the Royal Commissioners. Mr. Cubitt was engaged +to obtain the ground, and the roads through the Harrington estate were +planned by him in conjunction with the author, who aided him to the +utmost of his power in obtaining the land requisite to complete the site +required for the various buildings proposed to occupy it. The site was +2100 feet in length, by an average breadth of 1200 feet, and consisted +of about 56 acres; the level of the ground on the north of Kensington +being about 36 feet higher than the portion at Brompton. Another block +of land, upon which the Department of Science and Art is at present +placed, made a space with an average width of 700 feet—in the whole 86 +acres.<span class="pagenum"><a name="page_133" id="page_133">{133}</a></span></p> + +<p>In sketching the design for the general building, of which a bird’s-eye +view is here given, the author only took the 56 acres—the view shows +only that portion of the building facing the Prince Albert’s Road, now +called Queen’s Gate. It is placed in the centre of the land, so as to +have large open grounds surrounding it. These at any time could have +been covered up for the purpose of national exhibitions similar to those +of 1851 and 1862. By putting the level of the ground floor of the new +building about ten feet above that of the Kensington Road, a +sub-basement would have been obtained, over 30 feet in height, affording +ample space for arranging and storing works of art, as well as for +receiving articles to be exhibited, or a great portion of them, from the +upper parts of the building should the latter be wanted for any special +purpose, and affording room likewise for all minor business departments. +The Hall of Arts and Sciences was to be placed in the centre of the mass +of building: a portion of the dome is seen in the view at the upper +left-hand corner. This room was to be made 300 feet in length, by 180 in +width. Two galleries for paintings, each 1000 feet in length and 80 feet +in breadth, were to be placed on each side of the Central Hall. The +sculptures from the British Museum were to be deposited in the central +smaller halls of approach. The various Societies were to occupy the +side-wings,<span class="pagenum"><a name="page_134" id="page_134">{134}</a></span></p> + +<div class="figcenter" style="width: 536px;"> +<a href="images/ill_pg_134_lg.jpg"> +<img src="images/ill_pg_134_sml.jpg" width="536" height="316" alt="[Image unavailable.]" /></a> +<div class="caption"><p>View of Queen’s Gate, Hyde Park, with the National +Gallery and other buildings, as suggested by His Royal Highness the late +Prince Consort.</p></div> +</div> + +<p><span class="pagenum"><a name="page_135" id="page_135">{135}</a></span></p> + +<p class="nind">each having its meeting and lecture room, and all necessary offices and +apartments. The public were to enter at the porticoes seen in the view, +and the carriages of the professors at the gateways in front. Two roads +were proposed traversing the ground from north to south, and giving easy +access for vehicles to every part of the building.</p> + +<p>In the small block plan attached to the view, placed on the upper +right-hand corner, <i>b</i> is the Prince Albert’s Road, <i>a</i> the Exhibition +Road, and <i>c</i> and <i>d</i> the roads north and south.</p> + +<p>The design was placed before the Prince at one of the Architects’ +meetings at the Earl de Grey’s, and it was exhibited at the Royal +Academy in the same year. The House of Commons, however, after granting +such a large sum of money for the purchase of the land, expressed its +disapproval of removing the National Gallery from the present position, +said to be the finest site in Europe, and the Fellows of the Royal +Academy were informed that the portion of the building they then +occupied would be added to that of the gallery. A view of the gates and +lodge as at present executed is here given.</p> + +<div class="figcenter" style="width: 351px;"> +<a href="images/ill_pg_135_lg.jpg"> +<img src="images/ill_pg_135_sml.jpg" width="351" height="57" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_136" id="page_136">{136}</a></span></p> + +<p>It cannot be supposed that a sum of 340,000<i>l.</i> would have been expended +by the nation for the purpose of giving the Horticultural Society a +perpetual lease of the best portion of the estate purchased. It is +already evident that the gardens are not well situated there. The smoke +of the district will not permit the growth of delicate plants, and their +exhibitions are supplied from the gardens at Chiswick. In much less than +fifty years their grounds will probably be the centre of London, and +consequently the noble conception of His Royal Highness has still a good +chance of being carried into effect. The Society will be smoked out when +the city bounds are extended. The present National Gallery building will +be wanted either for a Bank of England or a Royal Exchange, and my Lord +Mayor may follow the example of the India Directors, and leave the +Mansion House, to move to Whitehall. A tunnel under the Exhibition Road +takes visitors into the grounds direct from the railway, that now makes +them as easy of access from the heart of the City as Charing Cross +itself.</p> + +<p>A few remarks may be made here on the great rise which takes place in +the value of land in any fashionable neighbourhood of London required +for the erection of buildings.</p> + +<p>The Harrington estate at Kensington Gore, con<span class="pagenum"><a name="page_137" id="page_137">{137}</a></span>taining in the whole 93a. +3r. 27p., was the joint property of the Earl of Harrington and of the +Baron de Villars, through the right of his wife, the Baroness de +Graffenried Villars. Previous to 1848 it had been some time in Chancery. +In that year Mr. John Gaunt Lye was appointed auditor and agent to the +fifth Earl of Harrington for the whole of the property. The rental of +the Kensington Gore estate amounted at this time to 2779<i>l.</i> 9<i>s.</i> per +annum. Through Mr. Lye’s exertions, he having received a power of +attorney for the purpose, the estate was taken out of Chancery, and a +division took place on the 7th May, 1850, at Mr. Lye’s office in +Lancaster Place. For the purpose of division, one portion—that charged +with maintaining the Cromwell Almshouses—was valued at 41,996<i>l.</i>, and +the other at 40,552<i>l.</i> Cards representing each portion were placed in a +hat, and the one representing the 41,996<i>l.</i>, was taken out by the +Baron.</p> + +<p>In 1851 the Earl’s portion was let to Mr. W. Jackson on a building +agreement for 99 years, at 100<i>l.</i> per acre, or 4600<i>l.</i> per annum. In +1852 the Baron de Villars sold his moiety to the Royal Commissioners for +the Exhibition of 1851 for the sum of 153,793<i>l.</i> The Commissioners only +wanted a small portion of the Earl’s property. The first offer made by +Mr. Cubitt to the surveyor of the estate was 40,800<i>l.</i> for 17 acres,<span class="pagenum"><a name="page_138" id="page_138">{138}</a></span> +or at the rate of 2400<i>l.</i> per acre. This was declined, and after a +little negotiation the sum of 54,716<i>l.</i> was obtained. The matter was +settled on the 7th of March, 1853; Mr. Jackson the builder received +7964<i>l.</i> as compensation for the loss of so much of his building land.</p> + +<p>More land was purchased by the Royal Commissioners to make up the site +they required; in the very middle of the latter was a field which had +only been used as a place for beating carpets. It belonged to the Smith +Charity estate, and fetched a rent of about 40<i>l.</i> per annum; this field +was obtained by giving in exchange an outlaying one on the Villars +estate, the building value of which was estimated at 800<i>l.</i> per annum.</p> + +<p>The Royal Commissioners, after squaring the site they required, and +putting aside the portion now occupied by the Department of Science and +Art, parcelled out the remaining outlying portion into three blocks, and +let them on building leases. The first and most important of these was +secured by the author for an employer, at a rental of 1500<i>l.</i> per +annum, on condition that the fee of each house plot could be purchased +within 6 years after the lease was granted; it contained about 2 acres. +And these are now the only freeholds that can be obtained. This plot is +now covered with buildings of the selling<span class="pagenum"><a name="page_139" id="page_139">{139}</a></span> value, as leaseholds, of +250,000<i>l.</i>, and it produces an improved ground rental. For the purchase +of the whole fee, the sum to be paid was 46,500<i>l.</i>, so that for a +portion of this land which the author of this work, as surveyor of the +property, sold in 1852 for little more than 3200<i>l.</i> per acre, the value +had risen, in 1860, to no less than 23,250<i>l.</i> per acre.</p> + +<p>It is only since Hyde Park has become almost the centre of the +metropolis, instead of being in one of its rural districts, that +attention has been paid to supply it with ornamental lodges and gates. +The country was so long occupied with the importance of the war with +France, which terminated so gloriously to the honour of our country, +that the Royal Parks were left in a very neglected state; and the gates +and lodges, particularly the entrance into London by Knightsbridge, were +mean in character, and totally unworthy of the purpose.</p> + +<p>Londoners of the present day have no notion of the wretched state of +Hyde Park as it existed fifty years ago. The side next Park Lane, now a +beautiful walk, adorned by the gardener’s utmost skill with several +varieties of flowers and shrubs, was then a narrow sunken road, which +for the most part continued, by the side of the boundary wall, all the +way from Oxford Street to Piccadilly. This, when improvement commenced, +was filled up, and laid down in grass; and a<span class="pagenum"><a name="page_140" id="page_140">{140}</a></span> wide Mall, with two +foot-paths, was formed on the higher ground, and enclosed by handsome +iron posts and rails. Some extensive gravel pits existed in the middle +of the park; these were filled up, one only being permitted to remain. +The surface of the park was generally levelled and manured, by which the +herbage has been greatly improved. Numerous seats were placed about the +park, for the convenience of the public; clumps and avenues of trees +were planted. The Serpentine was cleansed for the first time; it is just +now recleansed. A new drive, nearly a mile in extent was made through +the most distant and beautiful part of the park, to lead to Kensington +Gardens; and generally, all the roads were macadamized, and enclosed +with posts and rails. To connect the roads north and south of the +Serpentine, a handsome bridge was erected, from the designs and under +the superintendence of Messrs. Rennie. This has much conduced to the +accommodation of pedestrians and horsemen.</p> + +<p>About twenty years after these great improvements were effected, Queen +Anne’s garden, at the extreme termination of Kensington Gardens, was +thrown open to the public; the kitchen garden belonging to Kensington +Palace was let out on building leases, and a road formed through it +connecting the town of Kensington with Bayswater. This road, called the +Quee<span class="pagenum"><a name="page_141" id="page_141">{141}</a></span>n’s Palace Gardens Road, is now covered from end to end with +first-class mansions. The improvements continued, and are being still +carried on.</p> + +<p>The lodges and gates, at the chief entrances into the park, were put up +at the expense of the nation. When any building operator required an +entrance into the park, for some new outlying district, he bore the +expense of the construction, working under the direction of Her +Majesty’s Chief Commissioner of Works. The Government lodges at +Cumberland Place cost 2151<i>l.</i> One of these has been lately removed to +widen Park Lane.</p> + +<p>The two first lodges, with gates opposite Stanhope Street, cost 5062<i>l.</i> +The single lodge at the end of Grosvenor Street, with the iron gates, +cost 2929<i>l.</i>, and the fountain 340<i>l.</i></p> + +<p>The grandest of all these erections, that at Hyde Park corner, adjoining +the Duke of Wellington’s mansion, cost 17,069<i>l.</i></p> + +<p>The first lodge and entrance gates put up by a private building +contractor was the Albert Gate, erected by the late Thomas Cubitt; the +lodge is sunk, its flat roof being on a level only eight feet above the +ground, and containing two small rooms, with a little yard and scullery. +The iron railing forming the carriage gates and entrances to the +foot-paths is of the same height as the lodge, and extends about 60 +feet;<span class="pagenum"><a name="page_142" id="page_142">{142}</a></span> the stone piers have on them the old stags which formerly +decorated the stone piers at the entrance of the Ranger’s Lodge in +Piccadilly. This gate gave an entrance by Hyde Park to Belgravia, and +very much raised the value of that district.</p> + +<p>The next lodge and gate were put up by Mr. Kelk, opposite the fine +mansions at Prince’s Gate. This is known as the Prince of Wales’s Gate.</p> + +<p>There are two lodges in size and plan exactly similar to the lodge at +the Queen’s Gate. The gates and railings are very plain; they are 12 +feet in height, and extend to a length of 77 feet.</p> + +<p>The Queen’s Gate lodge and gates are certainly the chief of all the +erections put up by building contractors; their cost was 2800<i>l.</i>, as +previously mentioned. Both in ornamentation and character they vie with +the best erections put up by the Government. The length of the iron-work +between the stone pedestals is 140 feet; the height of the common rails, +11 feet above ground; the height of the standard and lamp, 18 feet; +there are two carriage gates, each of 15 feet opening, and two entrances +for foot-passengers, each of 10 feet opening. The stone pedestals at +each end are 6 feet in width by 15 feet in height. The iron-work is +designed to represent a group of spears; the author wished to surmount +the pedestals with groups of military arms similar to those of the +trophies of<span class="pagenum"><a name="page_143" id="page_143">{143}</a></span></p> + +<div class="figcenter" style="width: 530px;"> +<a href="images/ill_pg_143_lg.jpg"> +<img src="images/ill_pg_143_sml.jpg" width="530" height="374" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Design No. 13. Elevation of centre of iron-work, Queen’s +Gate.</p></div> +</div> + +<p><span class="pagenum"><a name="page_144" id="page_144">{144}</a></span></p> + +<p>Marius on the balustrading in front of the Senatorial Palace, Rome. +These could have been constructed in</p> + +<div class="figcenter" style="width: 345px;"> +<a href="images/ill_pg_144_lg.jpg"> +<img src="images/ill_pg_144_sml.jpg" width="345" height="423" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of one of the Iron Standards.</p></div> +</div> + +<p class="nind">stone, at little expense. Sir Benjamin Hall wished for<span class="pagenum"><a name="page_145" id="page_145">{145}</a></span> marble statues, +and on Prince Albert’s suggestion models were made of two reclining +figures, by Mr.</p> + +<div class="figcenter" style="width: 433px;"> +<a href="images/ill_pg_145_lg.jpg"> +<img src="images/ill_pg_145_sml.jpg" width="433" height="307" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section showing construction of Standard.</p></div> +</div> + +<p>Theed, representing “Morning” and “Evening.” These would have caused +great additional expense to the<span class="pagenum"><a name="page_146" id="page_146">{146}</a></span> builders, who wished, as the entrance +was a great improvement in the value of the Earl of Harrington’s +property at Kensington, to place, on the piers, two</p> + +<div class="figcenter" style="width: 189px;"> +<a href="images/ill_pg_146_lg.jpg"> +<img src="images/ill_pg_146_sml.jpg" width="189" height="435" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plans of Standard at various heights, showing +construction.</p></div> +</div> + +<p><span class="pagenum"><a name="page_147" id="page_147">{147}</a></span></p> + +<p class="nind">fine antique statues of Hercules then on the gates at Elvaston in +Derbyshire, a country seat of the Earl’s. But as the statues belonged to +the estate, and were entailed property, they could not be removed, and +the Earl objected to their being taken down for the purpose of casting. +The effect of the whole is much injured by the pedestals remaining +unoccupied. The plate on page 143 represents the centre of the ironwork, +surmounted by the Royal Arms.</p> + +<div class="figcenter" style="width: 126px;"> +<a href="images/ill_pg_147_lg.jpg"> +<img src="images/ill_pg_147_sml.jpg" width="126" height="205" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Iron block and ball latch.</p></div> +</div> + +<p>The gates and railing are of very superior construction; they are the +work of Mr. Turner, of Hinde Street, Manchester Square. They have been +pronounced by the Government officials as requiring little attention, +and that the gates open and shut better than any other gates in the +park. Page 144 gives an<span class="pagenum"><a name="page_148" id="page_148">{148}</a></span> elevation of one of the iron standards. Each is +two feet in width; there are ten of them; four, those belonging to the +carriage entrances, being surmounted by lamps. The small size of this +volume will not allow a full illustration of the ornamentation to be +given, but it admits that important part, the construction, to be +clearly shown. Page 145 gives a section of one of the standards, <i>d</i> is +a layer of concrete, 1 foot 6 inches in height and four feet in width, +which goes all through; <i>a</i> is the York landing, 6 inches thick and 5 +feet square; <i>b</i> is the brickwork, this goes all through; <i>c c</i> +represent the blocks of Portland stone; and <i>e</i> is the granite curb 8 +inches by 10 inches in section, within the entrances.</p> + +<div class="figcenter" style="width: 107px;"> +<a href="images/ill_pg_148_lg.jpg"> +<img src="images/ill_pg_148_sml.jpg" width="107" height="149" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Wheel block.</p></div> +</div> + +<p>Page 146 gives the plans of the standards at different heights, showing +the several plates given in the section; and on page 149 is a section of +the wrought-iron coupling-bar with its brass bush.<span class="pagenum"><a name="page_149" id="page_149">{149}</a></span></p> + +<p>The gates move on a hardened steel socket of circular form, working +within a steel box, as shown in the section.</p> + +<div class="figcenter" style="width: 250px;"> +<a href="images/ill_pg_149-a_lg.jpg"> +<img src="images/ill_pg_149-a_sml.jpg" width="250" height="230" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fall-down latch.</p></div> +</div> + +<div class="figcenter" style="width: 140px;"> +<a href="images/ill_pg_149-b_lg.jpg"> +<img src="images/ill_pg_149-b_sml.jpg" width="140" height="43" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Coupling-bar.</p></div> +</div> + +<p>Iron block and ball latches are provided for each of the gates. On pages +148 and 149 are cuts of the wheel block, with the plan, elevation, and +section of the stopping-piece or fall-down latch. The stopping-piece is +keyed into the granite curb in the centre of each gateway; <i>a a</i> is the +lower rail of gates, and by its side is a small portion of the ornament +between<span class="pagenum"><a name="page_150" id="page_150">{150}</a></span> the rails. That the effect of the whole structure was, very +much injured by the unfinished state of the pedestals was the opinion of +Lord Llanover, who sent the following letter to the architect, +expressing his dissatisfaction:</p> + +<div class="blockquot"><p class="r"> +Great Stanhope Street,<br /> +<i>July 11, 1859</i>. <br /> +</p> + +<p class="nind"> +<span class="smcap">Sir</span>,<br /> +</p> + +<p>The works at the Queen’s Gate, Hyde, Park, are very well executed, +and the entrance, as completed, produces a good effect; but that +effect would be materially improved if the gates and the railings, +and the ornamental works were relieved by colour, and some of the +parts gilt as I intended they should be. The two pedestals are also +without the groups which were to form the superstructure of the +square blocks. The work so far as it is executed is very well +executed, and I am quite satisfied with it so far; but I shall not +consider it completed until the groups are placed on the pedestals, +and the best effect will not be produced so long as the iron-work +remains wholly black.</p> + +<p class="r"> +<span style="margin-right: 8em;">I am, Sir,</span><br /> + +<span style="margin-right: 3em;">Yours faithfully,</span><br /> + +<span class="smcap">Llanover</span>.<br /> +</p> + +<p class="nind"> +C. J. Richardson, Esq.<br /> +</p></div><p><span class="pagenum"><a name="page_151" id="page_151">{151}</a></span> + +<h2><a name="ON_THE_FOUNDATION_AND_BASEMENT_WALLS_OF_BUILDINGS_DAMP_PREVENTION_AND" id="ON_THE_FOUNDATION_AND_BASEMENT_WALLS_OF_BUILDINGS_DAMP_PREVENTION_AND"></a>ON THE FOUNDATION AND BASEMENT<br /> +WALLS OF BUILDINGS,<br /> + DAMP PREVENTION, AND<br /> +FIRE PROOF CONSTRUCTION.</h2> + +<p class="nind"><span class="letra">T</span>HE foundations of buildings require careful consideration. When a house +approaches completion and shows cracks in the upper walls, they arise +either from insufficient attention having been given to the solid +character of the earth forming the site, or from bad construction at the +basement. The building in fact settles down unequally. As a settlement +of every building is certain to take place upon its completion, the +greatest precaution should be taken to make it as equable as possible. +No portion should settle deeper than another, and this can only be +secured by care at the foundations.</p> + +<p>It often happens that portions of a selected site are of unequal +quality. In such cases it is necessary to excavate the worst portions +deeper to reach a good stratum, and to take the brickwork lower, no +filling up beyond the usual thickness of concrete being allowed.</p> + +<p>There is another very serious evil, in building, to<span class="pagenum"><a name="page_152" id="page_152">{152}</a></span> be guarded against. +Owing to the moisture of the earth rising through the foundations and +saturating the walls above, the health of the occupants of such houses +may be seriously affected by its presence in the walls. About twenty +years ago it was the universal practice in good buildings to place wide +stone landings—three times the thickness of the wall above—under the +foundations, for the purpose of preventing the damp from rising as well +as to spread the width of the wall.</p> + +<div class="figcenter" style="width: 230px;"> +<a href="images/ill_pg_152_lg.jpg"> +<img src="images/ill_pg_152_sml.jpg" width="230" height="219" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of a proper foundation for a wall.</p></div> +</div> + +<p>A bed of concrete is now used as a substitute for this plan; the +engraving below shows the best method of constructing foundation walls. +A trench, three times the width of the wall is dug, at least 2 feet<span class="pagenum"><a name="page_153" id="page_153">{153}</a></span> 6 +inches in depth. Into this is thrown a quantity of concrete, which soon +dries and becomes solid. In the superior class of buildings a layer of +concrete, six inches in thickness, is placed entirely over the ground, +inside the foundation. Upon this concrete the walls are built, the +lowest footing being twice the width of the wall above. On a few courses +above the top footing a course called a “damp course” is put; this is +shown at <i>a</i>, page 152.</p> + +<p>Two courses of slate are laid in cement; but other materials are often +used, as a thin sheet of lead, for the whole width of the wall. Zinc +might answer, but it has not yet been tried. A thin coat of asphalte, or +asphalted cloth, tar, pitch, or a plain coat of cement are also often +employed, but the two courses of slate in cement are considered +sufficient. The first course of bricks above the ground is often formed +entirely of air bricks, originated by Mr. Aldin, the builder, of +Kensington. Each brick has eight or ten perforations, ½ inch in +diameter, through its whole length; a small piece of perforated zinc is +placed upright between the bricks to prevent insects from entering. This +is shown at <i>b</i>. The timbers and stone flooring of the basement do not +enter the walls, but rest upon dwarf walls, the joists having oak +sleepers to rest on. The brick fenders of the foundations are entirely +filled with dry rubbish or ironfounder’s ashes, and the stone hearths<span class="pagenum"><a name="page_154" id="page_154">{154}</a></span> +bedded solid either in mortar or concrete. This is the construction +shown in all the designs of this volume. To illustrate still further the +attention given in constructing foundations, the engraving below is +given, showing a section of a foundation executed several years ago at +Westminster, where the ground was uncertain. Its scale is only half that +of the previous figure, the upper wall being 3 feet in thickness</p> + +<div class="figcenter" style="width: 229px;"> +<a href="images/ill_pg_154_lg.jpg"> +<img src="images/ill_pg_154_sml.jpg" width="229" height="165" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of foundation to a wall.</p></div> +</div> + +<p class="nind">instead of 1 foot 6 inches. Above the bed of concrete, which is 9 feet +in breadth, by 3 feet in thickness, are York landings, <i>a</i>, 4 inches +thick and exceeding 6 feet in width. Upon these are laid two lines of +wood sleepers, <i>b</i>, bedded in brick and cement, the size of each sleeper +being 12 by 6 inches, and in long lengths. Above this is a course of +planking, <i>c</i>, placed diagonally across the wall; each plank being 12 +inches by 6 inches, and about 9 feet in length.<span class="pagenum"><a name="page_155" id="page_155">{155}</a></span> Above this are the +footings, each two courses in height: in the return walls the landings, +sleepers, and planking are placed a course higher, so that they might be +tied together. The brickwork goes down twelve feet, and invert arches +are turned at every opening.</p> + +<div class="figcenter" style="width: 150px;"> +<a href="images/ill_pg_155_lg.jpg"> +<img src="images/ill_pg_155_sml.jpg" width="150" height="162" alt="[Image unavailable.]" /></a> +</div> + +<p>In order to keep the walls as solid as possible in the lower part of a +building, the ground floor joisting should rest on projecting corbel +bricks as here shown,—the joists going between the cross walls rest +upon projecting bricks, the upper one being of peculiar strength; tall +piles are put between each joist against the wall, for the skirting in +cement to be formed upon it. Air bricks in open iron-work, two to each +front, are placed so as to admit air within the joisting.</p> + +<p>This mode of construction is carried throughout the ground floor.<span class="pagenum"><a name="page_156" id="page_156">{156}</a></span></p> + +<p>The stone landing of the passage by the side of the servants’ stairs, is +supported on the part next the wall by corbel bricks, and on the other +side by an iron bar let into the wall at each end; as shown above. In +the upper floor, the joisting should be reversed and go front to back, +notched on wall plates let into the wall, thus tying both walls +together.</p> + +<div class="figcenter" style="width: 195px;"> +<a href="images/ill_pg_156-a_lg.jpg"> +<img src="images/ill_pg_156-a_sml.jpg" width="195" height="60" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of stone landing of passage.</p></div> +</div> + +<div class="figcenter" style="width: 271px;"> +<a href="images/ill_pg_156-b_lg.jpg"> +<img src="images/ill_pg_156-b_sml.jpg" width="271" height="131" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of kitchen roofing.</p></div> +</div> + +<p>The introduction of rolled iron girders into buildings renders fireproof +construction very easy. They are made of all sizes, and can be placed +over any opening, so as to carry the weight above them. Kitchens in many +London houses are constructed in the back yards, with an area between +them and the house. This confines all the smell of the cooking to<span class="pagenum"><a name="page_157" id="page_157">{157}</a></span> the +precincts of the kitchen. As it is very important that no roofing should +interrupt the light from the back ground-windows of the house, the roof +of the kitchen is so constructed that the yard is only moved upwards; it +belongs to the ground floor and not to the basement. For this purpose, +cast iron girders, standing on brick piers, bear up rolled iron six-inch +girders, between which half-brick arches are turned. Above all these is +concrete, cement, or asphalte. The courses of tiles and cement are laid +at such a slope as will be sufficient to take the water off quickly. It +is easy to put skylights, or any kind of opening, in this construction, +and to make the whole water-tight.</p> + +<p>This figure shows a way of supporting walls over openings, instead of +the old method of arching in brick; the iron girders or plates have +often no timber between them; they rest upon iron shoes or stone slabs, +their depth being proportioned to the opening and the weight above. +Strong large hollow bricks or tiles are placed over them, and above all +is the brickwork.</p> + +<div class="figright" style="width: 56px;"> +<a href="images/ill_pg_157_lg.jpg"> +<img src="images/ill_pg_157_sml.jpg" width="56" height="135" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Support over opening.</p></div> +</div> + +<p>The upper floors of buildings are made fire-proof in a similar manner, +and for this purpose there are several excellent patented methods. The +iron girders are closed up by brick arches, or filled between with<span class="pagenum"><a name="page_158" id="page_158">{158}</a></span> +concrete. The only objection to this mode of construction for upper +floors is the great weight, and the walls require to be made of extra +strength. Several years ago a hollow brick was used to form such arches +and roofing, <i>e.g.</i>, the dome of the Rotunda, at the Bank of England, is +formed with them. The brick is somewhat similar to a flowerpot, but flat +and closed at each end. There were several varieties of these cone +bricks, as they were called; a few are preserved in the Soane Museum. +One sort was 7½ inches in height, 4⅛ by 2⅜ inches at the top, and 3-2/8 +by 2 inches at the bottom. They were curved inwards with a small +opening, 1 by 2/8 inch in the centre. The edges of the brick were +slightly splayed, and the sides scored; these were as strong as the +common bricks, and very much lighter. When the East India House was +pulled down a large quantity of these bricks was obtained; they were +brought to Kensington, and the builders did not know what they were +intended for; their purpose being pointed out, they were used up in the +construction of fire-proof flooring.</p> + +<p><i>Fire-proofing.</i>—A method of rendering buildings nearly fire-proof was +introduced about 1770 by Mr. David Hartley, M.P. for Hull. It consisted +in placing thin metal plates between the flooring boards and the joists, +so as to prevent any upward currents of air. For domestic buildings the +system was one of<span class="pagenum"><a name="page_159" id="page_159">{159}</a></span> great value. After several successful trials it +obtained considerable notoriety, and being thought capable of an +impossibility, that of rendering a Theatre fireproof, it was applied to +the Pantheon Theatre in Oxford Street. On that structure being burnt to +the ground the plates lost their character, and went out of use. It was +clearly a mistake to apply them to such a building. Thin iron plates +hung at a short distance below the ceiling were successfully adopted by +Mr. Walter Crum, to prevent the spread of fire from one room to another +in his calico printing works, near Glasgow.</p> + +<p><i>Damp.</i>—The damp rising from foundations is more easily guarded against +than damp coming against a building laterally. Houses in exposed +situations and subject to driving winds, are often very wet inside the +walls, the rain being driven through them. Sometimes the best +construction will not keep out wet. As a rule, a well-built wall wherein +proper material has been used, should not be damp.</p> + +<p>A rectory, not far from Salisbury, where the author was engaged a few +years ago, was in such an exposed situation that on three of its sides +no tree or any other object in a direct line could be seen for three +miles. Clothes, if placed against the external wall of the +dressing-room, were often quite wet. The Rector had tried several +preventives himself; one<span class="pagenum"><a name="page_160" id="page_160">{160}</a></span> was a mixture, used to water-proof cloth—a +wash of soap and alum.</p> + +<p>The ingredients were mixed in the following proportions: ¾ lb. of +mottled soap to 1 gallon of water. This mixture, when in a boiling +state, was laid over the surface of the brickwork steadily and carefully +with a large flat brush, so as not to form a froth or lather on the +surface, and was permitted to remain twenty-four hours to become dry and +hard. Another mixture was then made in these proportions: ½ lb. of alum +to 4 gallons of water, which, after standing twelve hours, in order that +the alum should be completely dissolved, was applied in like manner with +a flat brush over the coating of soap. The coating had to be very often +renewed. The wall most exposed was made free from wet by being covered +with a coating of cement.</p> + +<p>Walls exposed to damp should be coated with a thin layer of Portland +cement, mixed with a little plaster of Paris, and after this is +thoroughly dry, it may be hardened and rendered impervious to water by +painting it with boiled linseed oil and red lead, mixed together.</p> + +<p>In very exposed situations all external walls should be battened, lath +and plastered within, or built with a hollow cavity in the middle, with +proper bond and a proportionate increase of thickness,—the hollow +could<span class="pagenum"><a name="page_161" id="page_161">{161}</a></span> be filled with concrete, or the back of the bricks covered with +pitch. There are several other methods for keeping walls free from damp. +One is to saturate the walls with some kind of mastic, or a wash +composed of two or three parts of resin and one part of drying oil, to +the extent of as many washes as the wall will absorb. This must be quite +dry at the time, or be dried by means of a small portable furnace. The +plan is effectual, but it is a difficult operation to perform. A cement +composed of lime, boiled linseed oil, white lead, and sand, has been +recommended.</p> + +<p>Besides these various compositions, there are several excellent +well-known paint and metallic cements, which have stood very severe +tests, and are largely made use of; but walls properly constructed +should not require their application.</p> + +<div class="figcenter" style="width: 163px;"> +<a href="images/ill_pg_161_lg.jpg"> +<img src="images/ill_pg_161_sml.jpg" width="163" height="106" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plaster ornament for a ceiling.</p></div> +</div> + +<p><span class="pagenum"><a name="page_162" id="page_162">{162}</a></span></p> + +<h2><a name="DESIGN_No_14" id="DESIGN_No_14"></a><i>DESIGN No. 14.</i><br /><br /> +A SMALL COUNTRY RECTORY.</h2> + +<div class="figcenter" style="width: 374px;"> +<a href="images/ill_pg_162_lg.jpg"> +<img src="images/ill_pg_162_sml.jpg" width="374" height="329" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<p><span class="pagenum"><a name="page_163" id="page_163">{163}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design was made for a country clergyman residing near Montacute, in +Somersetshire. It was arranged according to his express directions in +every particular, both as to style, and in regard to the number and size +of the rooms on each floor. Living in the immediate neighbourhood of +some of the finest</p> + +<div class="figcenter" style="width: 275px;"> +<a href="images/ill_pg_163_lg.jpg"> +<img src="images/ill_pg_163_sml.jpg" width="275" height="224" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">old English mansions, he was anxious to have a residence in the old +decorated style of wooden architecture, certainly the most picturesque +of all the styles our forefathers have left us. The timber dwelling is +found in almost every county throughout England, with their projecting +windows and highly ornamented bargeboards; several large houses in +Cheshire and<span class="pagenum"><a name="page_164" id="page_164">{164}</a></span> Shropshire remain to satisfy us that such construction, +when properly carried out, is very lasting. The timber used requires to +be felled at the right time, and to be properly seasoned before being +placed up; which must be done on a brick or stone foundation. Dwellings +constructed in this way were anciently</p> + +<div class="figcenter" style="width: 263px;"> +<a href="images/ill_pg_164_lg.jpg"> +<img src="images/ill_pg_164_sml.jpg" width="263" height="225" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of upper floor.</p></div> +</div> + +<p class="nind">called post-and-pan houses. They have been known to rock and bend before +severe storms, and to stand intact while adjoining buildings have been +blown down. Large palaces were formerly constructed in England of wood; +the chimney flues and fireplaces alone being of brick. The sketch-book +of John Thorpe, an Elizabethan architect, a copy of which is<span class="pagenum"><a name="page_165" id="page_165">{165}</a></span> in the +fine library of the Art Museum of South Kensington, illustrates several +of these dwellings.</p> + +<p>With the present design it was the intention of the rector to carry out +the work himself, the necessary drawings being provided him. The +building is small and compact. When much adornment is intended, it is +necessary to confine the expense within</p> + +<div class="figcenter" style="width: 125px;"> +<a href="images/ill_pg_165_lg.jpg"> +<img src="images/ill_pg_165_sml.jpg" width="125" height="209" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ornament in ceiling of study.</p></div> +</div> + +<p class="nind">bounds; if a cheap large house with plenty of accommodation be required, +then four walls and an overhanging roof alone need be given. The view +shows the principal front of the building; on page 163 is the ground +plan; <i>a</i> is a small hall having a window looking into the conservatory +on the right; the door leading to the servants’ department is on the +left;<span class="pagenum"><a name="page_166" id="page_166">{166}</a></span> <i>c</i> is a small study, 16 ft. by 14 ft., with a decorated ceiling, +containing the shield of arms of the owner. The drawing-room, <i>d</i>, size +28 ft. by 15 ft, has the</p> + +<div class="figcenter" style="width: 243px;"> +<a href="images/ill_pg_166-a_lg.jpg"> +<img src="images/ill_pg_166-a_sml.jpg" width="243" height="199" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The ceiling of drawing-room.</p></div> +</div> + +<p class="nind">ornamental ceiling of bold Elizabethan character; this covers the whole +ceiling, and the effect of such ornamentation</p> + +<div class="figcenter" style="width: 164px;"> +<a href="images/ill_pg_166-b_lg.jpg"> +<img src="images/ill_pg_166-b_sml.jpg" width="164" height="101" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cornice of drawing-room.</p></div> +</div> + +<p class="nind">is very good. Often, in the olden times, a portion of the rib moulding +was gilt, the ground of the ceiling being of a light blue; ceilings of +this kind<span class="pagenum"><a name="page_167" id="page_167">{167}</a></span> exist which represent foliage and flowers, giving the effect +of a garden bower. The preceding illustration shows the present ceiling. +The simple rib moulding is in plaster, with small flowers and pendants. +The section of the rib moulding to a large scale is shown in the cut; +which also gives the cornice and frieze of the room; <i>e</i>, in the ground +plan, is the dining-room, 16 ft. by 12 ft., this opens on to a terrace +paved with</p> + +<div class="figcenter" style="width: 307px;"> +<a href="images/ill_pg_167_lg.jpg"> +<img src="images/ill_pg_167_sml.jpg" width="307" height="152" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of attic. Basement plan.</p></div> +</div> + +<p class="nind">marble in black and white squares—the present ornamental tiles were not +in common use at the time the design was made; <i>f</i> is the kitchen, <i>g</i> +the scullery, and <i>h</i> the larder. A small enclosed servants’ yard, with +place for coals, wood, and other conveniences, is in front of the +kitchen. The yard has a separate entrance from the front. This is the +whole of the accommodation given on the ground floor. The one-pair plan +shows the five bedrooms. These are<span class="pagenum"><a name="page_168" id="page_168">{168}</a></span> without dressing-rooms, there being +no space for them. A small turret staircase leads to the attic floor. +This gives two large bedrooms and a small one for the</p> + +<div class="figcenter" style="width: 340px;"> +<a href="images/ill_pg_168_lg.jpg"> +<img src="images/ill_pg_168_sml.jpg" width="340" height="371" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through building.</p></div> +</div> + +<p class="nind">servants. The large bow-windowed room might serve as a nursery. The +tower was carried up and contained a bell. The basement plan contains a +large<span class="pagenum"><a name="page_169" id="page_169">{169}</a></span> and small wine cellar, and one also for beer; there are four +cellars, besides an inner cellar under the stairs.</p> + +<div class="figcenter" style="width: 355px;"> +<a href="images/ill_pg_169_lg.jpg"> +<img src="images/ill_pg_169_sml.jpg" width="355" height="328" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation.</p></div> +</div> + +<p>The principal staircase is very light and cheerful, having on one side +three large windows, with a ledge or stand for flowers. It was proposed +to panel it entirely with oak, and have an ornamental ceiling similar to +that in the drawing-room, with a pendant<span class="pagenum"><a name="page_170" id="page_170">{170}</a></span> in the centre. The section is +taken through the drawing-room, staircase, and kitchen, and shows the +form and height of the rooms above; also the stone stairs to the +cellars.</p> + +<div class="figcenter" style="width: 357px;"> +<a href="images/ill_pg_170_lg.jpg"> +<img src="images/ill_pg_170_sml.jpg" width="357" height="261" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Details of gable ornaments.</p></div> +</div> + +<p>It will be seen that the walls rest upon a concrete foundation; the +scale is too small to show the damp course or the ventilating bricks, as +previously described (see page 159). The chimneys are shown carried up +nine inches square, excepting the kitchen chimney, that being 14 inches +by 9. The staircase was to have a plain Elizabethan iron railing, and +the whole of the<span class="pagenum"><a name="page_171" id="page_171">{171}</a></span> wood-work to be coloured and grained oak; the roof was +to be covered with slate, these requiring a less solid base; ornamental +ironwork crowned the summit of the principal roof over the staircase. An +illustration of the front of the building is given on page 169.</p> + +<div class="figcenter" style="width: 173px;"> +<a href="images/ill_pg_171_lg.jpg"> +<img src="images/ill_pg_171_sml.jpg" width="173" height="207" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section and elevation of chimney.</p></div> +</div> + +<p>The figures on page 170 illustrate various kinds of treatment for the +carving of the finials and pendants, and the ornaments of the small +gables; it being usual in these structures not to have any two parts of +ornamental detail exactly alike. It has all to be carved by hand, and +requires only slight extra trouble on the part of the architect to make +separate patterns for the workmen. A section and elevation of one of the +chimneys<span class="pagenum"><a name="page_172" id="page_172">{172}</a></span> are shown also; they are fitted with the small cap introduced +and used so extensively by the late Mr. Thomas Cubitt, at Belgravia and +Pimlico; this will</p> + +<div class="figcenter" style="width: 213px;"> +<a href="images/ill_pg_172-a_lg.jpg"> +<img src="images/ill_pg_172-a_sml.jpg" width="213" height="118" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Knocker. +</p></td><td> </td> +<td> +<p> +Key escutcheons. +</p></td></tr> +</table> +</div></div> + +<div class="figcenter" style="width: 153px;"> +<a href="images/ill_pg_172-b_lg.jpg"> +<img src="images/ill_pg_172-b_sml.jpg" width="153" height="230" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Oak corbel.</p></div> +</div> + +<p class="nind">be found fully illustrated in the chapter on chimney and flue +construction. At the time this design was<span class="pagenum"><a name="page_173" id="page_173">{173}</a></span> made, this plan was not +known. The chimney is shown with an iron funnel 2 feet in height, a +chimney-pot, in fact, let into the stone work at top, having no +projection within for soot to lodge. Two of the stone balustrades are +illustrated. Every separate balustrade in such buildings should be of a +different pattern.</p> + +<div class="figcenter" style="width: 306px;"> +<a href="images/ill_pg_173-a_lg.jpg"> +<img src="images/ill_pg_173-a_sml.jpg" width="306" height="56" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Stone balustrades.</p></div> +</div> + +<p>The knocker on the entrance door, the key, escutcheons for the doors, +and a corbel in oak from the entrance front, are illustrated on page +172.</p> + +<div class="figcenter" style="width: 218px;"> +<a href="images/ill_pg_173-b_lg.jpg"> +<img src="images/ill_pg_173-b_sml.jpg" width="218" height="113" alt="[Image unavailable.]" /></a> +<div class="caption"><p>An external frieze.</p></div> +</div> + +<p><span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p> + +<h2><a name="DESIGN_No_15" id="DESIGN_No_15"></a><i>DESIGN No. 15.</i><br /><br /> +A SMALL COUNTRY HOUSE.</h2> + +<div class="figcenter" style="width: 332px;"> +<a href="images/ill_pg_174_lg.jpg"> +<img src="images/ill_pg_174_sml.jpg" width="332" height="241" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The front elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_175" id="page_175">{175}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS building was intended to be only a comfortable country house for +the residence of an eminent provincial solicitor. It was directed to be +made of superior character, as the owner, being a person well known in +the county, considered that the</p> + +<div class="figcenter" style="width: 329px;"> +<a href="images/ill_pg_175_lg.jpg"> +<img src="images/ill_pg_175_sml.jpg" width="329" height="252" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The ground plan.</p></div> +</div> + +<p class="nind">eyes of the whole neighbourhood would be upon it. The situation was on +one of the roads leading out of Maidstone, and as the land in which it +was to stand was taken on lease for 99 years, nothing beyond a superior +gentlemanly character could be given to it, as it is only in freehold +houses that any superior or ex<span class="pagenum"><a name="page_176" id="page_176">{176}</a></span>pensive architectural adornment should be +indulged in. The Roman or Italian style, as being the most appropriate +and the one best understood by builders, was adopted.</p> + +<div class="figcenter" style="width: 237px;"> +<a href="images/ill_pg_176_lg.jpg"> +<img src="images/ill_pg_176_sml.jpg" width="237" height="212" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The plan of the upper floor.</p></div> +</div> + +<p>The front of the house had no prospect, the side of the road opposite to +it showing only a high bank with boulders of ragstone, peculiar to the +county of Kent; and for this reason none of the principal windows looked +towards it. The back-front and side, however, turned towards the hills +between Maidstone and Rochester. Very precise directions were given as +to the arrangement, size, height, and number of the rooms. The study, +<i>c</i>, was to be on the left of the entrance-hall,<span class="pagenum"><a name="page_177" id="page_177">{177}</a></span> and its size 16 feet +by 12 feet. It was made 16 feet square. The drawing-room, <i>d</i>, having +the chief prospect, was to be the principal room. This was made 20 feet +by 17 feet. The dining-room, <i>e</i>, was 20 feet by 16 feet; both rooms +looked into conservatories, <i>i</i> <i>i</i>. The back front faced the north—a +very favourite aspect for the principal rooms with many of the noblemen +and gentlemen of Kent; the reason being that the flowers in the gardens +under the windows, turning towards the sun, present a cheerful and +agreeable appearance to the occupants of the rooms.</p> + +<div class="figcenter" style="width: 255px;"> +<a href="images/ill_pg_177_lg.jpg"> +<img src="images/ill_pg_177_sml.jpg" width="255" height="196" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p> +Plan of second floor. +</p></td><td> </td> +<td> +<p>Plan of basement floor. +</p></td></tr> +</table> +</div></div> + +<p>The dining-room had steps leading down to the garden; the kitchen <i>b</i>, +scullery <i>g</i>, and small larder <i>h</i>, were on the right of the entrance, +the kitchen and the study having small windows by the side of the +entrance,<span class="pagenum"><a name="page_178" id="page_178">{178}</a></span> so that all visitors coming to the house might be seen. The +servants’ door was in the small yard by the side of kitchen, with a +place for coals; <i>o</i> is a small chaise-house, and <i>p</i> a stable for a +pony; <i>l</i> is the dust-hole.</p> + +<div class="figcenter" style="width: 193px;"> +<a href="images/ill_pg_178-a_lg.jpg"> +<img src="images/ill_pg_178-a_sml.jpg" width="193" height="90" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Frieze of drawing-room.</p></div> +</div> + +<div class="figcenter" style="width: 173px;"> +<a href="images/ill_pg_178-c_lg.jpg"> +<img src="images/ill_pg_178-c_sml.jpg" width="173" height="78" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Frieze of dining-room.</p></div> +</div> + +<div class="figleft"> +<a href="images/ill_pg_178-b_lg.jpg"> +<img src="images/ill_pg_178-b_sml.jpg" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of cement skirtings.</p></div> +</div> + +<p>The upper floor had to contain five best bedrooms; these can be seen in +the plan. Their sizes were 17 feet by 12 feet, and 16 feet by 10 feet. +There were three dressing-rooms, the largest 12 feet by 10, the two +smaller each 12 feet 6 inches by 6 feet. The second floor contained two +rooms for servants, one 16 feet by 10 feet, the other 12 feet by 10 +feet. The basement had a footman’s pantry,<span class="pagenum"><a name="page_179" id="page_179">{179}</a></span> 12 feet by 9 feet 6 inches, +and a dairy of the same size. This had steps down to it in the area. +There was a wet larder with a window, a wine cellar, and a beer cellar.</p> + +<div class="figcenter" style="width: 365px;"> +<a href="images/ill_pg_179_lg.jpg"> +<img src="images/ill_pg_179_sml.jpg" width="365" height="321" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through entrance-hall and dining-room.</p></div> +</div> + +<p>The interior was plainly finished, with nothing beyond the best modern +enrichments. The whole of the interior had Keen’s cement skirtings. The +staircase had a skirting flush with the wall, so as not to take away +space from the stairs; this is shown at<span class="pagenum"><a name="page_180" id="page_180">{180}</a></span> page 178. There were ornamental +roses in the centre of the ceilings of the principal rooms. The section +of the interior is made through the principal entrance, across the +staircase and dining-room; and in the upper floor, through two of the +dressing-rooms.</p> + +<div class="figcenter" style="width: 282px;"> +<a href="images/ill_pg_180_lg.jpg"> +<img src="images/ill_pg_180_sml.jpg" width="282" height="364" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of portico.</p></div> +</div> + +<p>The only architectural feature in the front of any<span class="pagenum"><a name="page_181" id="page_181">{181}</a></span> importance was the +portico (see page 180). A bold and prominent effect was given to it. The +estimated expense of the building was 2151<i>l.</i>, full price put down as +2250<i>l.</i></p> + +<p class="spc1"> </p> + +<p>The vignette is an elevation of an Elizabethan balustrade, in stone, +intended to crown a cornice, and to be placed in an elevated position +against the sky line.</p> + +<div class="figcenter" style="width: 348px;"> +<a href="images/ill_pg_181_lg.jpg"> +<img src="images/ill_pg_181_sml.jpg" width="348" height="224" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_182" id="page_182">{182}</a></span></p> + +<h2><a name="DESIGN_No_16" id="DESIGN_No_16"></a><i>DESIGN No. 16.</i><br /><br /> +A COUNTRY VILLA.</h2> + +<div class="figcenter" style="width: 361px;"> +<a href="images/ill_pg_182_lg.jpg"> +<img src="images/ill_pg_182_sml.jpg" width="361" height="237" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS villa, which has just been erected in Berkshire, in the +neighbourhood of Windsor, is intended as the country residence for a +lady of rank. The living rooms are large and noble, and the +accommodation</p> + +<div class="figcenter" style="width: 341px;"> +<a href="images/ill_pg_183_lg.jpg"> +<img src="images/ill_pg_183_sml.jpg" width="341" height="305" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of ground floor.</p></div> +</div> + +<p class="nind">for a small establishment ample. The plate (page 182) shows the garden +front, and above is the ground plan. The two principal rooms, the +drawing and dining-rooms, are respectively 25 feet by 18 feet and 21 +feet by 18 feet. They are to the left of the hall;<span class="pagenum"><a name="page_184" id="page_184">{184}</a></span> this, of moderate +size, leads to the principal staircase, which is of very easy ascent, +each step rising less than</p> + +<div class="figcenter" style="width: 260px;"> +<a href="images/ill_pg_184a_lg.jpg"> +<img src="images/ill_pg_184a_sml.jpg" width="260" height="259" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of upper story.</p></div> +</div> + +<p>6 inches. The second landing opens to the servants’ staircase; <i>b</i> (see +page 183) is the kitchen, size 15 feet</p> + +<div class="figleft" style="width: 58px;"> +<a href="images/ill_pg_184-b_lg.jpg"> +<img src="images/ill_pg_184-b_sml.jpg" width="58" height="65" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of wine cellar.</p></div> +</div> + +<p class="nind">by 14 feet, with the larder <i>h</i>, leading directly out of it,—<i>g</i> is the +scullery, with an oven, and a shoot into the dustpit <i>m</i>, <i>n</i> is the +housekeeper’s room, and <i>j</i> the butler’s pantry; <i>c</i> is the lady’s room +or study. This was enlarged, by taking down the partition, marked on<span class="pagenum"><a name="page_185" id="page_185">{185}</a></span> +the plan by the dotted lines, to allow of a splendid oak cabinet being +placed there. A door in the room opens direct into that of the +housekeeper; <i>k</i> is the dairy,</p> + +<div class="figcenter" style="width: 458px;"> +<a href="images/ill_pg_185_lg.jpg"> +<img src="images/ill_pg_185_sml.jpg" width="458" height="289" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through drawing-room, staircase, and kitchen.</p></div> +</div> + +<p><span class="pagenum"><a name="page_186" id="page_186">{186}</a></span></p> + +<p class="nind">and <i>l</i> a place for coals. The wine cellar was at first intended to be +placed under the principal flight of stairs, descending a few steps; but +a large one, <i>b</i> (see page 184), was afterwards made.</p> + +<div class="figcenter" style="width: 260px;"> +<a href="images/ill_pg_186_lg.jpg"> +<img src="images/ill_pg_186_sml.jpg" width="260" height="207" alt="[Image unavailable.]" /></a> +<div class="caption"><p>French cut pine woodwork, from the exterior.</p></div> +</div> + +<p>The plan of the upper story shows it containing two large principal +bedchambers—each with a dressing-room, and a large room with two +fireplaces serving as a nursery, but which could at any time be made +into two rooms by putting up partitions.</p> + +<p>The servants’ sleeping apartments, the housemaid’s closet, and the +servants’ staircase, occupy the remaining portion of the plan.</p> + +<p>The cost of erecting the carcase of the building, including the wine +cellar, was 1108<i>l.</i> The cost of finishing, putting up the principal +staircase in Portland<span class="pagenum"><a name="page_187" id="page_187">{187}</a></span></p> + +<div class="figright" style="width: 183px;"> +<a href="images/ill_pg_187_lg.jpg"> +<img src="images/ill_pg_187_sml.jpg" width="183" height="295" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan and elevation of iron glazed casement to +entrance-door.</p></div> +</div> + +<p class="nind">stone, and leaving all work required to be painted with two coats, but +exclusive of papering, stoves, ironwork, marble mantelpieces, +conservatory, verandah and exterior decorations to roof, was 1550<i>l.</i> +Mr. Hockley, of Kensington, was the builder. When the mansion was +finished so far, all ornamentations, &c., formed an agreeable occupation +for the lady to complete from favourite examples seen by her on the +Continent. The extra parquet flooring in the dining and drawing-rooms is +from Switzerland. This cost 148<i>l.</i> All the stone flooring of the hall, +staircase, passages, and conservatory, is covered with tiles from Italy; +these are about 8 inches square, but not so well made as the English +kind, although more artistic. Each has a small figure put in by hand, +which is different<span class="pagenum"><a name="page_188" id="page_188">{188}</a></span> on every tile. The tiles are faced with a white +china ground and look extremely well. The common tiles cost 16<i>s.</i> per +100. The grotesque figured tiles,</p> + +<div class="figcenter" style="width: 239px;"> +<a href="images/ill_pg_188_lg.jpg"> +<img src="images/ill_pg_188_sml.jpg" width="239" height="364" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan and view of remains of old house.</p></div> +</div> + +<p class="nind">of which the illustration on page 189 shows four, cost 2<i>l.</i> per 100. +They were supplied by M. Giustiniani, of Naples. The marble +chimney-pieces were<span class="pagenum"><a name="page_189" id="page_189">{189}</a></span> to be supplied from Italy. The ironwork of the +staircases, and the panel to fill up the opening in staircase, shown +dotted in the upper plan, were supplied from Paris. It is different from +any ironwork that can be procured here, of elegant design, and covered +apparently with a thin coat of zinc. This gives it a silvery metallic +appearance, and it does not require</p> + +<div class="figcenter" style="width: 191px;"> +<a href="images/ill_pg_189_lg.jpg"> +<img src="images/ill_pg_189_sml.jpg" width="191" height="189" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Four of the Italian figured tiles.</p></div> +</div> + +<p class="nind">painting; it is really a coating of glass, and is termed the <i>lavenant</i> +process. It it said to be a great preservative of the iron, and can be +put on in different colours. Each of the windows of the principal rooms, +and the hall, is fitted within with Price’s steel revolving shutters. +These cost 75<i>l.</i> The upper windows on the outside have iron balconets, +likewise from France, and the roof, surrounding the principal parts,<span class="pagenum"><a name="page_190" id="page_190">{190}</a></span> is +finished with the French cut pine patterns. They were supplied by M. +Jules Millet, of 12, Boulevard du Temple. The entrance door has the two +upper panels</p> + +<div class="figcenter" style="width: 235px;"> +<a href="images/ill_pg_190_lg.jpg"> +<img src="images/ill_pg_190_sml.jpg" width="235" height="376" alt="[Image unavailable.]" /></a> +<div class="caption"><p>French iron staircase railing.</p></div> +</div> + +<p class="nind">filled with French castings, executed in a fashion different from the +English mode; but one quite worthy to be followed. The iron panel is +placed on<span class="pagenum"><a name="page_191" id="page_191">{191}</a></span> the outside, with a light iron glazed casement fitted behind +it. This in warm weather can be opened, so as to admit fresh air into +the hall. The plan and elevation of the casement shown from the inside, +on page 187; by the side of it is one quarter of the external iron +casting.</p> + +<p>It may be remarked that these French patterns, both in iron and wood, +are not finished off as clean as they would be in England. The castings +appear just as they came out of the sand, and the wood pattern exactly +as the machines or saw left them; but they are extremely elegant, and +the metallic appearance of the ironwork is very pleasing.</p> + +<p>The former house is pulled down, except a portion, permitted to remain, +which is formed into a decorative building for the garden; the plan +(page 188) shows <i>a</i> the old kitchen, <i>b</i> the wine cellar made into an +ice-house, <i>d</i> a lock-up closet, <i>f</i> a prospect tower, <i>c</i> a closet in a +small enclosed garden, and <i>e</i>, a garden seat.</p> + +<p>On page 190 is a pattern sent from Paris for the staircase railing.</p> + +<div class="figcenter" style="width: 195px;"> +<a href="images/ill_pg_191_lg.jpg"> +<img src="images/ill_pg_191_sml.jpg" width="195" height="45" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_192" id="page_192">{192}</a></span></p> + +<h2><a name="DESIGN_No_17" id="DESIGN_No_17"></a><i>DESIGN No. 17.</i><br /><br /> +A DOUBLE SUBURBAN VILLA.</h2> + +<div class="figcenter" style="width: 477px;"> +<a href="images/ill_pg_192_lg.jpg"> +<img src="images/ill_pg_192_sml.jpg" width="477" height="377" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS building was intended for erection on a leasehold estate at a +little distance out of London. It would have been of rather plainer +character, but the view (page 192) shows the design first made. The +frontage, or width of ground for each house, was</p> + +<div class="figcenter" style="width: 291px;"> +<a href="images/ill_pg_193_lg.jpg"> +<img src="images/ill_pg_193_sml.jpg" width="291" height="282" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground-floor plan.</p></div> +</div> + +<p>60 feet, the depth 150 feet. The character of the building was of the +domestic style of the reign of Henry VII., and the accommodation it +afforded is given in the several plans. The ground plan shows two large +rooms <i>D</i> and <i>E</i>, the drawing and dining rooms, which can easily be +opened into each other by<span class="pagenum"><a name="page_194" id="page_194">{194}</a></span> sliding back the inner doors into the +partition; <i>C</i> is the library, with a book-room leading out of it. <i>B</i> +is the staircase, of a size rather larger than that generally allowed in +London houses. Very often, sufficient attention is not paid to this +highly important part of our dwellings by builders, nor full space +allowed for it. A</p> + +<div class="figcenter" style="width: 287px;"> +<a href="images/ill_pg_194_lg.jpg"> +<img src="images/ill_pg_194_sml.jpg" width="287" height="257" alt="[Image unavailable.]" /></a> +<div class="caption"><p>One-pair plan.</p></div> +</div> + +<p class="nind">good staircase should have, at every six or seven steps, a landing of at +least 2 feet 6 inches in depth. Where winding stairs are used they +should have a good sweep; the tread, in the centre, should be 1 foot in +width, the riser never more than 6 inches in height—less even would be +better. It is also of considerable importance<span class="pagenum"><a name="page_195" id="page_195">{195}</a></span> in a staircase that the +height of the steps in the various flights should be the same. Some of +the most costly and important of the builders’ houses in London, erected +on highly rented land, have the staircases so confined that these, an +architect’s well-known rules, are wholly put aside. Staircases with +risers of 6 inches in height from the ground to the one-pair floor, +increased to near 7 inches to the two-pair, the latter flight containing +probably 30 steps in a straight line without a landing, render a house +almost uninhabitable.</p> + +<div class="figcenter" style="width: 273px;"> +<a href="images/ill_pg_195_lg.jpg"> +<img src="images/ill_pg_195_sml.jpg" width="273" height="264" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Attic plan.</p></div> +</div> + +<p>A servants’ staircase is a most desirable addition to<span class="pagenum"><a name="page_196" id="page_196">{196}</a></span> a large house. +The present building was not considered of sufficient importance to have +one. It was proposed to be placed between the tower and the dining-room, +but it was rightly considered that the two staircases should be put +together so that the</p> + +<div class="figcenter" style="width: 284px;"> +<a href="images/ill_pg_196_lg.jpg"> +<img src="images/ill_pg_196_sml.jpg" width="284" height="280" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Basement plan.</p></div> +</div> + +<p class="nind">landings of each, on every half space, should be on the same level, +separated only by a door, and giving the servant immediate access to +every floor of the house. A position between the library and staircase +would have been most proper, but there was not sufficient width; it +would have interfered with the<span class="pagenum"><a name="page_197" id="page_197">{197}</a></span> kitchen, and would have made too +intricate a plan, which, for houses to be erected on leasehold land, is +objected to by builders unless directed by the party purchasing.</p> + +<div class="figcenter" style="width: 185px;"> +<a href="images/ill_pg_197-a_lg.jpg"> +<img src="images/ill_pg_197-a_sml.jpg" width="185" height="143" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of roof to larder.</p> +</div> +</div> + +<div class="figcenter" style="width: 190px;"> +<a href="images/ill_pg_197-b_lg.jpg"> +<img src="images/ill_pg_197-b_sml.jpg" width="190" height="207" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of steps to garden.</p></div> +</div> + +<p>With a servants’ staircase follow a large housemaid’s closet, sink, &c., +which must always be provided where<span class="pagenum"><a name="page_198" id="page_198">{198}</a></span> possible. The plan of the one-pair +shows three large bedrooms and one dressing-room, with the tower room, +which was intended either for a morning room, a</p> + +<div class="figcenter" style="width: 330px;"> +<a href="images/ill_pg_198_lg.jpg"> +<img src="images/ill_pg_198_sml.jpg" width="330" height="365" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The side elevation.</p></div> +</div> + +<p class="nind">school room, or a boudoir. There is a large conservatory on the +principal landing of staircase, and a closet leading out of it. A +good-sized aquarium with a<span class="pagenum"><a name="page_199" id="page_199">{199}</a></span> regular supply of water could be easily +arranged in the centre of the conservatory. The attic plan contains +three large rooms for servants, and the tower room was to be used as a +smoking room, or as a play room for the children.</p> + +<div class="figcenter" style="width: 271px;"> +<a href="images/ill_pg_199_lg.jpg"> +<img src="images/ill_pg_199_sml.jpg" width="271" height="381" alt="[Image unavailable.]" /></a> +</div> + +<p>The basement contains a private breakfast or dining<span class="pagenum"><a name="page_200" id="page_200">{200}</a></span> room, <i>T</i>, with a +large store closet, having an opening one foot in height filled with +perforated zinc opposite</p> + +<div class="figcenter" style="width: 189px;"> +<a href="images/ill_pg_200_lg.jpg"> +<img src="images/ill_pg_200_sml.jpg" width="189" height="372" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Half elevation of small library.</p></div> +</div> + +<p class="nind">the window of the passage; <i>N</i> is the housekeeper’s or servants’ hall; +<i>B</i> the kitchen 23 feet by 18 feet, with <i>G</i> the scullery behind, <i>H</i>, +<i>H</i>, the larders, <i>S</i> position<span class="pagenum"><a name="page_201" id="page_201">{201}</a></span> for a lift, and <i>L</i> a place for coals. +The basement stairs should have been on the side adjoining kitchen.</p> + +<div class="figcenter" style="width: 407px;"> +<a href="images/ill_pg_201_lg.jpg"> +<img src="images/ill_pg_201_sml.jpg" width="407" height="354" alt="[Image unavailable.]" /></a> +</div> + +<p>It is a difficult thing in this class of house to confine the smell of +the cooking to the kitchen. An endeavour was made here to effect it. The +kitchen<span class="pagenum"><a name="page_202" id="page_202">{202}</a></span> had no direct entrance to the body of the house, the servants +going through the passage, by the side of the area, from which it was +well ventilated, to get to the common staircase. This had a window at +the top, not shown in the plan. The small section on page 197 shows</p> + +<div class="figcenter" style="width: 197px;"> +<a href="images/ill_pg_202_lg.jpg"> +<img src="images/ill_pg_202_sml.jpg" width="197" height="276" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of hall screen.</p></div> +</div> + +<p class="nind">the mode of ventilating the larder; <i>a</i> is a slab of slate let into the +wall, <i>b</i> a pane of perforated zinc, <i>c</i> iron bars glazed with thick +glass, so that whatever the weather, there would be full ventilation, +the fresh air always entering and the confined air leaving the room. +This<span class="pagenum"><a name="page_203" id="page_203">{203}</a></span> is the usual mode, in large houses, of covering the external +passage leading from the kitchen to the house.</p> + +<div class="figcenter" style="width: 318px;"> +<a href="images/ill_pg_203_lg.jpg"> +<img src="images/ill_pg_203_sml.jpg" width="318" height="452" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Details of hall screen. (See page 206.)</p></div> +</div> + +<p><span class="pagenum"><a name="page_204" id="page_204">{204}</a></span></p> + +<p>The general view shows the front and side of the two houses. The +elevation of the side front is given on page 198.</p> + +<div class="figcenter" style="width: 194px;"> +<a href="images/ill_pg_204_lg.jpg"> +<img src="images/ill_pg_204_sml.jpg" width="194" height="180" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan and elevation of entrance garden-gate.</p></div> +</div> + +<p>The three small illustrations on page 199 are various details of the +exterior. One is a part section of the roof of turret, showing the +timbers and the vane at top, an elevation of one half the upper gable +window, and half of one of the small front windows; these portions of +the exterior, together with the arcade at the entrance and balustrade +over it, were to be executed in stone.</p> + +<p>The Gothic window by the side of the arcade is an example from Berstead +Church, in Kent. The gentleman for whom the design was made caught a +sight of it in the “Architect Sketch Book,” and required it<span class="pagenum"><a name="page_205" id="page_205">{205}</a></span> might be +introduced as a small window in his library. An elevation of one half of +it is given on page 200.</p> + +<p>The general section (page 201) is of one of the houses taken through the +drawing room, the staircase, and the library. The staircase is well +lighted, having a conservatory and closet on the first half-space +landing. The ceiling of the staircase is finished with groining and +pendant flowers; the stairs have a plain Gothic iron-railing, painted +and lightly gilt; the section shows the party-wall between the two +houses.</p> + +<div class="figcenter" style="width: 290px;"> +<a href="images/ill_pg_205_lg.jpg"> +<img src="images/ill_pg_205_sml.jpg" width="290" height="176" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Balustrading on garden wall.</p></div> +</div> + +<p>The entrance is divided into an inner and outer hall, divided by a +Gothic screen in carved oak, the various openings of which, together +with the upper panels of the folding doors, are filled with embossed +glass. This keeps the house warm, and prevents cold draughts from +entering; a second glazed screen<span class="pagenum"><a name="page_206" id="page_206">{206}</a></span> separates the inner hall from the +staircase; the effect of the screens when there is plenty of light +behind is extremely pleasing. It was for such a screen that the +door-handle illustrated at an earlier page, as a vignette, was made.</p> + +<div class="figcenter" style="width: 287px;"> +<a href="images/ill_pg_206_lg.jpg"> +<img src="images/ill_pg_206_sml.jpg" width="287" height="141" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Balustrading in front of house.</p></div> +</div> + +<p>Of the first of these screens, that in the hall, only the larger lower +and upper panels were to have white embossed glass; the smaller openings +were to be filled with richly coloured embossed glass; a small elevation +of the hall screen, and portions of its details to a larger scale, are +given on pp. 202, 203.</p> + +<p>The chimney pieces were proposed to be of cast iron, and to be painted +and slightly gilt.</p> + +<p>The expense of construction of the pair of villas would be nearly about +7800<i>l.</i><span class="pagenum"><a name="page_207" id="page_207">{207}</a></span></p> + +<div class="figcenter" style="width: 268px;"> +<a href="images/ill_pg_207-a_lg.jpg"> +<img src="images/ill_pg_207-a_sml.jpg" width="268" height="267" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front.</p></div> +</div> + +<p>Cut-wood canopy to a door at West Brompton, a short distance beyond the +Metropolitan District Railway. It has been constructed about twenty +years, and stands well.</p> + +<div class="figcenter" style="width: 175px;"> +<a href="images/ill_pg_207-b_lg.jpg"> +<img src="images/ill_pg_207-b_sml.jpg" width="175" height="226" alt="[Image unavailable.]" /></a> +<div class="caption"><p>One of the side trusses or corbels.</p></div> +</div> + +<p><span class="pagenum"><a name="page_208" id="page_208">{208}</a></span></p> + +<h2><a name="DESIGN_No_18" id="DESIGN_No_18"></a><i>DESIGN No. 18.</i><br /><br /> +DESIGN FOR VILLAGE SCHOOLS, AND READING ROOM.</h2> + +<div class="figcenter" style="width: 384px;"> +<a href="images/ill_pg_208-a_lg.jpg"> +<img src="images/ill_pg_208-a_sml.jpg" width="384" height="163" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation.</p></div> +</div> + +<div class="figcenter" style="width: 259px;"> +<a href="images/ill_pg_208-b_lg.jpg"> +<img src="images/ill_pg_208-b_sml.jpg" width="259" height="247" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_209" id="page_209">{209}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS building is about to be erected in the county of Norfolk. It will +contain a boys’ and girls’ school, with two rooms each, forming a +parlour and bedroom, for the master and mistress; <i>a</i> is the entrance +porch, <i>d</i> and <i>d</i> are the two school rooms, and <i>e</i> and <i>e</i> the living +rooms. The centre of the building forms the reading, lecture, and +meeting-room for the village. The small room <i>c</i>, leading out of it, is +a book room for the secretary or attendant; <i>b</i>, <i>b</i>, are open yards; +each master and mistress have private entrances, and yards to +themselves. The construction is of the cheapest kind; on a brick +foundation, quarter framing is placed, filled in with brick, and +plastered inside and out. The columns in the centre are trunks of trees, +standing on stone slabs, and each has a flat stone capping. This +building complete should not cost more than 850<i>l.</i> It is much to be +desired that every village should have a room set apart, distinct from +any public-house or tavern, where newspapers and books can be provided, +lectures given, and various entertainments supplied the villagers.</p> + +<div class="figcenter" style="width: 275px;"> +<a href="images/ill_pg_209_lg.jpg"> +<img src="images/ill_pg_209_sml.jpg" width="275" height="88" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_210" id="page_210">{210}</a></span></p> + +<h2><a name="DESIGN_No_19" id="DESIGN_No_19"></a><i>DESIGN No. 19.</i><br /><br /> +A ROMAN CATHOLIC CHAPEL AND SCHOOLS.</h2> + +<div class="figcenter" style="width: 287px;"> +<a href="images/ill_pg_210_lg.jpg"> +<img src="images/ill_pg_210_sml.jpg" width="287" height="361" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of front.</p></div> +</div> + +<p><span class="pagenum"><a name="page_211" id="page_211">{211}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design was made for a building intended to occupy a site leading +from the High street in a<span class="pagenum"><a name="page_212" id="page_212">{212}</a></span></p> + +<div class="figcenter" style="width: 244px;"> +<a href="images/ill_pg_211_lg.jpg"> +<img src="images/ill_pg_211_sml.jpg" width="244" height="456" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of chapel and schools.</p></div> +</div> + +<p class="nind">very fashionable district, immediately out of London. The ground was +rather confined in area, and from its position, being behind the houses +in the street, it could only be approached by a narrow avenue between +two of the houses.</p> + +<div class="figcenter" style="width: 261px;"> +<a href="images/ill_pg_212_lg.jpg"> +<img src="images/ill_pg_212_sml.jpg" width="261" height="224" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Transverse section of chapel.</p></div> +</div> + +<p>The plan was an endeavour to make the most of the space afforded; the +entrance to the church, a small tower with an open decorated spire, was +placed at the end of the avenue of approach; <i>a</i> <i>a</i>, are the schools, +which have immediate access to the space before the altar; <i>b</i> <i>b</i>, the +rooms for the teachers or priests, had staircases on each side leading +to rooms above. These buildings were kept low, so that as<span class="pagenum"><a name="page_213" id="page_213">{213}</a></span> much light as +possible should enter from the window above the altar. An elevation of +the front of the chapel is given in our first illustration. The section +looks towards the chancel, showing the chancel arch and pulpit in front, +the altar, and the decorated window over it; the latter contains a large +cross formed of white embossed glass, on a richly coloured glass ground. +Above is the elevation of the porch, proposed to have been placed at the +entrance of the avenue of approach.</p> + +<div class="figcenter" style="width: 133px;"> +<a href="images/ill_pg_213-a_lg.jpg"> +<img src="images/ill_pg_213-a_sml.jpg" width="133" height="163" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Porch in the High street.</p></div> +</div> + +<div class="figcenter" style="width: 66px;"> +<a href="images/ill_pg_213-b_lg.jpg"> +<img src="images/ill_pg_213-b_sml.jpg" width="66" height="67" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_214" id="page_214">{214}</a></span></p> + +<h2><a name="DESIGN_No_20" id="DESIGN_No_20"></a><i>DESIGN No. 20.</i><br /><br /> +DESIGN FOR A BATH HOUSE, AND SUMMER ROOM.</h2> + +<div class="figcenter" style="width: 318px;"> +<a href="images/ill_pg_214_lg.jpg"> +<img src="images/ill_pg_214_sml.jpg" width="318" height="455" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<p><span class="pagenum"><a name="page_215" id="page_215">{215}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design was made for a building intended to occupy a prominent +position in a park in Kent; it would have commanded an extensive view +over the Weald and surrounding country. The lower ragstone foundation +already existed, being portions of an ancient building which had +formerly stood there, and this held a fine spring of pure cold water, +which runs down into a lake at a lower level in the park. Occupying a +position in which it could be well seen, it was desirable that the +building should form a picturesque object, and to effect this the Old +English style of wooden architecture was chosen.</p> + +<div class="figcenter" style="width: 289px;"> +<a href="images/ill_pg_215_lg.jpg"> +<img src="images/ill_pg_215_sml.jpg" width="289" height="138" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>One-pair plan. +</p></td><td> </td> +<td> +<p>Ground-floor plan. +</p></td></tr> +</table> +</div></div> + +<p>The view shows the back and side of the building, with the entrances, +these being here less exposed to the weather than if they had been in +front facing the open country. The ground-floor plan shows the cold bath +with a small dressing-room; the bath<span class="pagenum"><a name="page_216" id="page_216">{216}</a></span> was octangular in form, and +fifteen feet in diameter. A small iron circular staircase led to the +upper room; this was eighteen feet in diameter, with a domed ceiling, +the sides of the room having iron</p> + +<div class="figcenter" style="width: 201px;"> +<a href="images/ill_pg_216_lg.jpg"> +<img src="images/ill_pg_216_sml.jpg" width="201" height="324" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Side elevation.</p></div> +</div> + +<p class="nind">casemented windows, and over them a bold ornamented plaster frieze; the +fire-place was adorned with oak carving. The fine prospect from the +windows of the Weald, and the lake and park scenery<span class="pagenum"><a name="page_217" id="page_217">{217}</a></span> in front, would +have made this an extremely pleasant room.</p> + +<div class="figcenter" style="width: 211px;"> +<a href="images/ill_pg_217_lg.jpg"> +<img src="images/ill_pg_217_sml.jpg" width="211" height="377" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p>The lower story of the building above the ancient ragstone foundation +was of brick, nine inches in thickness, with quarters on the outside, +brick-nogged;<span class="pagenum"><a name="page_218" id="page_218">{218}</a></span> carved oak inch plank was then to be screwed to this +quartering, and the inner spaces filled with cement; this it was +proposed to dust with small bits of coloured</p> + +<div class="figcenter" style="width: 209px;"> +<a href="images/ill_pg_218_lg.jpg"> +<img src="images/ill_pg_218_sml.jpg" width="209" height="345" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Entrance.</p></div> +</div> + +<p class="nind">glass. The building was intended to be strongly constructed, as it was +to stand on an elevated site in the most exposed situation in the park. +The entrance, of which an elevation is given above, had<span class="pagenum"><a name="page_219" id="page_219">{219}</a></span> two carved oak +columns, having iron rings fixed to them. A small shield of arms was +above the entrance; the whole of the oak was to be stained and +varnished. A portion of the exterior is given on a larger scale. The +upper story was in quartering, brick-nogged, faced externally with +carved oak planks and plaster, and plastered inside as below. The small +plan, <i>a</i>, in the illustration, shows this; <i>b</i> is an elevation of one +of the carved oak trusses, and these were carried right round the +structure.</p> + +<div class="figright" style="width: 161px;"> +<a href="images/ill_pg_219_lg.jpg"> +<img src="images/ill_pg_219_sml.jpg" width="161" height="336" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Portion of exterior.</p></div> +</div> + +<p>An elevation of one of the small gables is shown in the next cut with +its richly carved barge-board, and turned pendants and finials.</p> + +<p>The plan of the iron casements is given, p. 220; <i>a</i> is the frame fixed +to the wood quartering, <i>b</i> the loose frame fixed to receive the loose +frame, <i>c d</i> is the glass, and <i>e</i> the hinge and staple; a +representation of the small turn-buckle is<span class="pagenum"><a name="page_220" id="page_220">{220}</a></span> shown, and lastly the plan +of the flooring over the bath; the joists, each 9 inches by 4 inches, +and 9 inches by 2½ inches, were strapped down</p> + +<div class="figcenter" style="width: 223px;"> +<a href="images/ill_pg_220-a_lg.jpg"> +<img src="images/ill_pg_220-a_sml.jpg" width="223" height="275" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of one of the small gables.</p></div> +</div> + +<div class="figcenter" style="width: 346px;"> +<a href="images/ill_pg_220-b_lg.jpg"> +<img src="images/ill_pg_220-b_sml.jpg" width="346" height="106" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of iron casement.</p></div> +</div> + +<p><span class="pagenum"><a name="page_221" id="page_221">{221}</a></span></p> + +<p class="nind">eight or nine inches into the wall, where necessary.</p> + +<div class="figcenter" style="width: 276px;"> +<a href="images/ill_pg_221-a_lg.jpg"> +<img src="images/ill_pg_221-a_sml.jpg" width="276" height="87" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Turn-buckle.</p></div> +</div> + +<div class="figcenter" style="width: 245px;"> +<a href="images/ill_pg_221-b_lg.jpg"> +<img src="images/ill_pg_221-b_sml.jpg" width="245" height="335" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_222" id="page_222">{222}</a></span></p> + +<h2><a name="DESIGN_No_21" id="DESIGN_No_21"></a><i>DESIGN No. 21.</i><br /><br /> +DESIGN FOR A SMALL COUNTRY VILLA.</h2> + +<div class="figcenter" style="width: 373px;"> +<a href="images/ill_pg_222_lg.jpg"> +<img src="images/ill_pg_222_sml.jpg" width="373" height="296" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<p><span class="pagenum"><a name="page_223" id="page_223">{223}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS mansion was erected in Devonshire, for a gentleman having a +numerous family. It consisted of three floors:—a basement story, ground</p> + +<div class="figcenter" style="width: 224px;"> +<a href="images/ill_pg_223-a_lg.jpg"> +<img src="images/ill_pg_223-a_sml.jpg" width="224" height="192" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">floor, first floor, and attic. The picturesque style of the time of +Henry VII. was adopted, and the construc<span class="pagenum"><a name="page_224" id="page_224">{224}</a></span>tion</p> + +<div class="figcenter" style="width: 225px;"> +<a href="images/ill_pg_223-b_lg.jpg"> +<img src="images/ill_pg_223-b_sml.jpg" width="225" height="177" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of first floor.</p></div> +</div> + +<p class="nind">was of brick with stone ashlar facings for the walls. The decorated +portions were of stone; but red</p> + +<div class="figcenter" style="width: 165px;"> +<a href="images/ill_pg_224-a_lg.jpg"> +<img src="images/ill_pg_224-a_sml.jpg" width="165" height="117" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The attic floor.</p></div> +</div> + +<p class="nind">brick and stone, or red brick alone, would have been equally +appropriate. The red brick with compo-dressing</p> + +<div class="figcenter" style="width: 227px;"> +<a href="images/ill_pg_224-b_lg.jpg"> +<img src="images/ill_pg_224-b_sml.jpg" width="227" height="201" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Basement plan.</p></div> +</div> + +<p class="nind">and enrichments would have been the cheapest. Considerable attention was +given to obtain<span class="pagenum"><a name="page_225" id="page_225">{225}</a></span> a picturesque character for the building, and the +chimneys were so placed as to obtain one. The height to the top of gable +was 38 feet 6 inches. The ground floor, given on page 223, contained two +rooms, <i>A</i> and <i>B</i>, each 28 feet by 16 feet, without the bay. The porch +was enclosed from the hall.</p> + +<div class="figcenter" style="width: 220px;"> +<a href="images/ill_pg_225_lg.jpg"> +<img src="images/ill_pg_225_sml.jpg" width="220" height="285" alt="[Image unavailable.]" /></a> +<div class="caption"><p>View of entrance porch.</p></div> +</div> + +<p>The upper floor had five rooms, intended merely as sleeping apartments. +All had fireplaces except the centre front one, and that is shown +supplied with a flue pedestal, a contrivance by which an upper room<span class="pagenum"><a name="page_226" id="page_226">{226}</a></span></p> + +<div class="figcenter" style="width: 380px;"> +<a href="images/ill_pg_226_lg.jpg"> +<img src="images/ill_pg_226_sml.jpg" width="380" height="293" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The front elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_227" id="page_227">{227}</a></span></p> + +<p class="nind">can be warmed by one of the fireplaces in a lower room, which prevents +waste of heat. The attic floor had two good-sized rooms without +fireplaces, for the servants.</p> + +<div class="figcenter" style="width: 306px;"> +<a href="images/ill_pg_227_lg.jpg"> +<img src="images/ill_pg_227_sml.jpg" width="306" height="296" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The side elevation.</p></div> +</div> + +<p>The basement floor had good accommodation. One large room, that marked +<i>n</i>, was for the housekeeper, with space for a bed. It could be used as +a private breakfast or dining-room; <i>b</i> is the kitchen, 20 feet by 15 +feet 6 inches, with a large space in the bay. The<span class="pagenum"><a name="page_228" id="page_228">{228}</a></span> scullery <i>g</i> adjoined +the kitchen; <i>h</i> is the larder, <i>q</i> the wine cellar, <i>i</i> the beer, and +<i>l</i> the coal cellars.</p> + +<div class="figcenter" style="width: 239px;"> +<a href="images/ill_pg_228_lg.jpg"> +<img src="images/ill_pg_228_sml.jpg" width="239" height="377" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Transverse section.</p></div> +</div> + +<p>Another design for the porch is given on page 225; this is of a more +decorative character than that seen in the view. It had on it the shield +of arms of the pro<span class="pagenum"><a name="page_229" id="page_229">{229}</a></span>prietor. It was to be constructed entirely of stone, +the portion above the archway being richly carved. The front and side +elevations of the exterior of the building, of which representations are +given, show the extreme simplicity of the design.</p> + +<p>The transverse section (page 228) shows the interior; this is taken +through the kitchen and scullery in the basement, looking towards the +fireplace and through the living rooms and attic above.</p> + +<div class="figcenter" style="width: 225px;"> +<a href="images/ill_pg_229_lg.jpg"> +<img src="images/ill_pg_229_sml.jpg" width="225" height="171" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of additional offices.</p></div> +</div> + +<p>This design has, with various alterations, been adopted in several +places for different parties, stripped entirely of its ornamental +character, and merely having four walls and an overhanging roof, in +plain cottage style. It forms the cheapest model that can be given for a +villa. One was erected a few years back that cost considerably less than +eight hundred<span class="pagenum"><a name="page_230" id="page_230">{230}</a></span> pounds. It had the basement floor but no attic, the upper +rooms being heightened by having an open collar-beam roof. One addition +made to it when it had no basement was in extensive external offices, as</p> + +<div class="figcenter" style="width: 290px;"> +<a href="images/ill_pg_230_lg.jpg"> +<img src="images/ill_pg_230_sml.jpg" width="290" height="308" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation and section of external balustrade and angle +buttress.</p></div> +</div> + +<p class="nind">seen in plan on page 229: <i>f</i>, the kitchen, is 18 feet square, with its +scullery <i>g</i>, 18 feet by 10 feet; <i>h</i> is the larder, 9 feet 9 inches +square, and <i>k</i> the dairy, of the same size, with a northern aspect. The +two small rooms by the side, one marked <i>n</i>, were intended for a<span class="pagenum"><a name="page_231" id="page_231">{231}</a></span> study +or school-room, and a footman’s or butler’s pantry, with a separate +entrance and an outlet from the house into the garden; the servants’ +closet, and boot and knife cleaning place, were at a little distance +away, together with the place for coals and wood. Some details of the +exterior on a larger scale are given above.</p> + +<p class="spc1"> </p> + +<p>The vignette shows the best proportion that can be given to stairs +intended for a public building; the rise of each step being 6 inches, +the tread 13 inches. In private dwellings the tread is made smaller by +half an inch. When the rise can be made 5¾ inches only, much greater +ease can be obtained in the ascent.</p> + +<div class="figcenter" style="width: 228px;"> +<a href="images/ill_pg_231_lg.jpg"> +<img src="images/ill_pg_231_sml.jpg" width="228" height="189" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_232" id="page_232">{232}</a></span></p> + +<h2><a name="DESIGN_No_22" id="DESIGN_No_22"></a><i>DESIGN No. 22.</i><br /><br /> +A VILLA IN THE OLD ENGLISH WOODEN STYLE.</h2> + +<div class="figcenter" style="width: 388px;"> +<a href="images/ill_pg_232_lg.jpg"> +<img src="images/ill_pg_232_sml.jpg" width="388" height="397" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view, garden side.</p></div> +</div> + +<p><span class="pagenum"><a name="page_233" id="page_233">{233}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS structure was intended to bear the resemblance, as near as +possible, of a first-class old English half-timbered house, the +post-and-pan dwelling of our forefathers, which seems to have been an +especial favourite throughout the country. It was easily constructed at +a time when timber, chiefly chestnut, was far more plentiful than at the +present day. Such were the most picturesque of all our domestic +buildings; the timber cottage, with its projecting windows, and highly +ornamented barge-boards, is found in every village. The large houses in +Cheshire and Shropshire, which still remain, prove that such +constructions are as lasting as brick and stone, provided the timber is +felled at the proper time, and thoroughly seasoned before it is made use +of. Houses of this kind have been seen to rock and bend in severe +storms, while adjoining buildings, comparatively strong erections, have +been blown down, this was known to have been the case with Park Hall, +near Oswestry in Shropshire. Such buildings were called by different +names, as will be shortly described in detail, according to the +materials of which they were composed.</p> + +<p>The design afforded on page 234 was taken from an elevation given in +“John Thorpe’s Sketch Book,” one of the richest illustrations of wooden +architecture. It was to have been erected in a Kentish village, with<span class="pagenum"><a name="page_234" id="page_234">{234}</a></span></p> + +<div class="figcenter" style="width: 549px;"> +<a href="images/ill_pg_234_lg.jpg"> +<img src="images/ill_pg_234_sml.jpg" width="549" height="347" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_235" id="page_235">{235}</a></span></p> + +<p class="nind">its front towards the road, on high ground, the road looking down to a +wide extent of open country. The garden side of the house commanded a +fine prospect. Advantage was taken of the steep descent of the ground to +build the kitchen and scullery, with a day room for the children, apart +from the main building.</p> + +<p>The plan of the basement is given on p. 236; <i>a</i> is the kitchen, 18 feet +square, the scullery <i>b</i>, was at the side, and the larder, <i>c</i>, at its +side; <i>d</i> is the place for coals, a passage <i>e</i>, leads to the day room, +<i>f</i>, for the children; <i>g</i> is either the cook’s room, or a sleeping room +for a man servant; <i>h</i> is the passage up to the house, <i>i</i> is the dry +larder, <i>j</i> is the butler’s pantry, with a strong room for holding +plate; this was intended to be a sleeping room. <i>k</i> is the wine cellar, +<i>l</i> the back staircase which went from the lower floor to the attic, <i>m</i> +is the principal staircase, and <i>n</i> a place for stores. The roof of this +lower building was to be formed with flat-girders, and brick and tile in +cement, making a terrace-walk above; the chimneys were taken up from the +lower building to the higher one, as shown in the side elevation by the +dotted lines. The kitchen, and the whole of the basement, was to be +paved with the best Seyssel asphalte. It is laid on a solid foundation, +on a thickness of ground lime. The objection to the black and British +asphalte for the interior of rooms, is that a fine dust rises from it, +which in<span class="pagenum"><a name="page_236" id="page_236">{236}</a></span> sweeping, affects the eyes of the occupants of the apartments.</p> + +<div class="figcenter" style="width: 396px;"> +<a href="images/ill_pg_236_lg.jpg"> +<img src="images/ill_pg_236_sml.jpg" width="396" height="407" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Basement plan.</p></div> +</div> + +<p>The plan of the building was not intended to be in the old style, but to +be arranged, as far as possible,<span class="pagenum"><a name="page_237" id="page_237">{237}</a></span> according to modern notions, without +any great hall, or stone screen within it. A noble stone porch was</p> + +<div class="figcenter" style="width: 400px;"> +<a href="images/ill_pg_237_lg.jpg"> +<img src="images/ill_pg_237_sml.jpg" width="400" height="404" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The ground plan.</p></div> +</div> + +<p class="nind">placed in front, resembling slightly an ancient archway. The hall is 20 +feet in length by 12 feet in<span class="pagenum"><a name="page_238" id="page_238">{238}</a></span> breadth. The breakfast and eating rooms, +<i>b</i> and <i>c</i>, 20 feet square, are on each side; both have bay</p> + +<div class="figcenter" style="width: 402px;"> +<a href="images/ill_pg_238_lg.jpg"> +<img src="images/ill_pg_238_sml.jpg" width="402" height="275" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The first floor.</p></div> +</div> + +<p class="nind">windows, with an exterior colonnade and terrace. The drawing-room, <i>d</i>, +and the library <i>e</i>, are each 18 feet square; both have bay windows, and +the angular<span class="pagenum"><a name="page_239" id="page_239">{239}</a></span> window peculiar to the Elizabethan architecture. These +windows open on to the terrace. <i>f</i> is the</p> + +<div class="figcenter" style="width: 402px;"> +<a href="images/ill_pg_239_lg.jpg"> +<img src="images/ill_pg_239_sml.jpg" width="402" height="246" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The attic floor.</p></div> +</div> + +<p class="nind">gentleman’s dressing-room, <i>g</i> is the principal staircase containing the +servants’ staircase, <i>h</i>, within it; <i>o</i> is the lift. At the back of the +building is a colonnade<span class="pagenum"><a name="page_240" id="page_240">{240}</a></span> commanding a view of the country, and beneath +is the terrace, with its balustrading and steps to the garden.</p> + +<p>The one pair floor contains only four large bed-rooms <i>a</i>, <i>a</i>, and two +dressing-rooms <i>b</i>, <i>b</i>. One dressing-room, that in front, could have +been converted into a pleasant morning room; each of the two principal +bedrooms in the front could easily have been formed into two; a small +dressing-room taken out of each. Terraces were in front of these two +rooms, the small circular bow-window opening on to them; the principal +staircase only led to this floor. The servants’ staircase led to the +attics.</p> + +<p>This floor contained three large servants’ rooms, with two small octagon +rooms. It was proposed to form the front rooms into one, with a circular +roof, covered with scroll work and flowers, in the form of a +garden-bower, similar to the gallery ceiling at Burton Agnes in +Yorkshire. In this ceiling there are about a dozen varieties of flowers +and bunches of leaves, which were placed in a scroll-stem in various +positions so as to vary the pattern. The flowers and leaves could have +been painted in their natural colours. These rooms, however, could not +be spared, so it was proposed to turn the two octagon rooms into what +may be termed garden-bower rooms, and to attempt growing dwarf +fruit-trees in them, as practised in Germany.<span class="pagenum"><a name="page_241" id="page_241">{241}</a></span> The roofs of these rooms +were to be constructed in iron and glass, and covered internally with +wire trellis-work, the warming to be effected with flue pedestals, two +in each room, one taking the kitchen flue and the other house flues, the +corresponding pedestal in the other room to have the remaining flues in +that side of the building. The illustration on page 242 shows a plan and +section of one of these rooms.</p> + +<p>The tower in the centre of the back front contained a cistern for the +supply of the house; the closets beneath could have Moule’s earth system +applied to them, the earth to be brought up by the lift <i>o</i>, dried in +the bower rooms, and deposited in an enclosure in the tower room from +which it could descend to the closets.</p> + +<p>It may be here remarked that the closets throughout the whole of these +designs are in such a position that the dry-earth system could be easily +applied to each. In cottages that have the flues in an external wall, +and where this system is introduced, the earth deposit should be placed +against the flue, and the closet adjoining.</p> + +<p>The lift <i>o</i>, shown in the plans, connects every floor with the +basement; it permits coals and other heavy articles to be lifted up, +receives the speaking tubes leading to the basement and children’s +day-room, and any bell wires that may be required.<span class="pagenum"><a name="page_242" id="page_242">{242}</a></span></p> + +<div class="figcenter" style="width: 248px;"> +<a href="images/ill_pg_242_lg.jpg"> +<img src="images/ill_pg_242_sml.jpg" width="248" height="480" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan and section of garden bower-rooms.</p></div> +</div> + +<p><span class="pagenum"><a name="page_243" id="page_243">{243}</a></span></p> + +<div class="figcenter" style="width: 395px;"> +<a href="images/ill_pg_243_lg.jpg"> +<img src="images/ill_pg_243_sml.jpg" width="395" height="352" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Side front.</p></div> +</div> + +<p><span class="pagenum"><a name="page_244" id="page_244">{244}</a></span></p> + +<div class="figcenter" style="width: 592px;"> +<a href="images/ill_pg_244_lg.jpg"> +<img src="images/ill_pg_244_sml.jpg" width="592" height="362" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through lower part of building.</p></div> +</div> + +<p><span class="pagenum"><a name="page_245" id="page_245">{245}</a></span></p> + +<p>The first elevation given shows the front of the building, having a +length of 87 feet. Although the structure was to be an imitation wooden +house, the timber was merely intended to be an appendage to the +brickwork. The exterior walls were to have been two bricks and a half +thick on the ground-floor, two bricks above. The wooden posts and pans +were let into the external half brick, and well built in, the ornamental +woodwork in inch oak screwed to the wood-quartering, the space between +them filled with plaster, with an ornamental pattern-stamp on it, and +the columns and entablature were of oak.</p> + +<p>The next elevation given is that of the side front, with its gable, in +the centre of which is a small circular window, opening on to a terrace +over the colonnade; the scroll at the side is a construction to permit +the flues from the lower portion of the basement to ascend the tower +walls; flue sweeping doors could be placed there. A section of the lower +part of the building is given, taken through the centre of the house, +showing the principal staircase and the external steps to garden. The +perspective view shows the garden front.</p> + +<p>Wooden houses were once the chief kind of construction in England. The +great fire of London would not have been so serious in its results if +such constructions had not been almost universal.<span class="pagenum"><a name="page_246" id="page_246">{246}</a></span></p> + +<p>In many parts of England these houses have other designations. There is +a mode of building peculiar to each, and adapted to the kind of material +that the districts offer. In Cambridgeshire, for instance, many of the +houses are formed entirely of “Clunch,” a kind of indurated chalk marl, +of which there are extensive quarries at Roach, near Burwell. Others are +of gault, a local term for the blue clay which lies below the gravel of +Cambridgeshire, and forms the immediate substratum in the low ground +about it. This is beaten up with chopped straw, then formed into blocks +of large size, and dried by the sun. A writer in the “Cambridge +Portfolio,” in his remarks on what he terms the inferior style of +domestic architecture, says: “Many of these houses have the lower floor +formed of stone or clunch, in which a framework of wood is raised, +consisting of studs and wall-plates with strong posts at intervals and +some cross pieces as a tie. The joists of the upper floor are laid in +the wall-plates, and project about a foot or eighteen inches beyond the +wall beneath. The smaller timbers have tenons which are fitted into +mortices in the larger, and secured by wooden pins. The interstices are +filled either with durable boarding, double lath and plaster, clunch or +bricks, laid level or obliquely. The better houses of this description +have gables, with ornamented barge-boards with hip-kobs and corbels or +brackets,<span class="pagenum"><a name="page_247" id="page_247">{247}</a></span> more or less carved, under the ends of the principal timbers +of the upper floors.”</p> + +<p>The barge-board is sometimes called berge-board, verge-board, +parge-board. It was a board fixed to the ends of the gables of timber +houses, to hide those of the projecting timbers of the roof, and throw +off the wet. They were generally richly carved and very ornamental. +Occasionally some of these of the date of the 14th century are met with; +those of the 15th and 16th, many of the Elizabethan character, are very +common. We have few of the better class of these half-timbered houses, +in which the decorative labour of our ancestors was most conspicuous, +remaining in our towns and cities; but in Edinburgh, York, Chester, and +Newcastle there are still a sufficient number of specimens to prove the +truth of these remarks. In the towns of Normandy and the Netherlands +numerous buildings, and indeed whole streets, may be seen which still +exhibit the perfect counterpart of our old Cheapside, as it appeared +before the great fire. Troyes, the capital of Champagne, still retains +its ancient buildings, and the chestnut-timber houses of Caen, which +were raised, or restored, during the period in the 15th century when it +was in the hands of the English, show us what our cities once were, and, +of course, the extent of our improvements. London formerly possessed the +richest examples. At the<span class="pagenum"><a name="page_248" id="page_248">{248}</a></span> corner of Chancery Lane, in Fleet Street, +there once stood a five-storied house in timber, each story projecting; +the whole of the timber and the gables being richly carved. In this +house once lived the celebrated Isaac Walton.</p> + +<p>The other most common application of this kind of house is +“half-timbered.” In some counties the woodwork is not in patterns. It +appears that when a greater degree of elegance was required the uprights +and beams were carved, or the houses were pargetted, that is, coated +thickly with plaster, in which embossed or indented ornaments were used. +This kind is very common in nearly all the English counties. The origin +of the word <i>parget</i> appears to be doubtful. We find <i>parget</i>, +substantive, and <i>pargetting</i>, <i>pergetting</i>, and <i>pergining</i>, verb, in +old writings, of various kinds of plaster work, used inside and outside +of houses, particularly about the time of Elizabeth; the word <i>parget</i> +was used as far back as 1450.</p> + +<p>The half-timbered houses generally had the woodwork (studs and posts) +painted black or tarred, with the intermediate spaces of brickwork +whitewashed. Many of these houses have been plastered over in modern +days. In London several of them have been refronted, and we lose sight +of the woodwork, and imagine we see fresh-built houses.</p> + +<p>In some parts of the country we see numbers of<span class="pagenum"><a name="page_249" id="page_249">{249}</a></span> cottages built of mud +mixed with chopped “haum.” This is commonly barley stubble. The word +appears of foreign derivation; in High and Low German, Dutch, Danish, +Swedish, halm; Ang.-Sax., healm; Icelandic, halmr, stubble.</p> + +<p>The haum is used to give the mud strength. These houses, previously +described in connexion with concrete erections, were built about a yard +in height at a time; each part was allowed to dry before further +addition was made. The openings for windows and doors were cut when the +wall became firmer; the walls were then smoothed off a little, and +whitewashed. These houses are said to be very strong, and to last for +many years. In the Midland Counties they seldom exceed one story in +height, but in Devon, Somersetshire, and Hampshire, this composition is +a common material for gentlemen’s houses two and three stories in +height. It is there called <i>cob</i>, the derivation of which word remains +in obscurity, unless it is a short term for <i>cobble</i>, or a coarse clumsy +performance. A cob-wall was one composed of straw and clay beaten up +together.</p> + +<p>In Kent, the half-timbered houses are called wood-noggin houses, because +the pieces of timber were called wood-nogs. Nog is properly a wooden +brick, which is inserted into walls to hold the joiners’ work;<span class="pagenum"><a name="page_250" id="page_250">{250}</a></span> nogging +is the term for the brick-filling partitions between the quartering.</p> + +<p>Sometimes, but very rarely, there is no projection of the upper story +over the lower one. These openings in the windows are common, and all +have richly carved barge-boards.</p> + +<p>In some of the Kentish villages there are several noggin houses +plastered over, with a ground in which flowers and patterns are worked +in another colour. Some have a red ground and white flowers, others a +black ground and white flowers. The wooden frame is always built on a +substructure of brick or stone, called the “under-pinning.” Numbers of +the houses in Kent are covered at the sides with weather tiles; here the +brickwork is carried up to the first floor, in which the wooden +framework is placed, and laths nailed across, in which the tiles are +hung; the shape of the tile varies. Some are diamond-shape, and others +finish with circular ends.</p> + +<p>In Warwickshire, Oxfordshire, and Gloucestershire, we meet with +half-timbered houses, which are there called brick pane houses, but very +few of them are worked in patterns.</p> + +<p>In Northamptonshire the half-timbered houses are commonly called studded +or framed houses, because the framework is put up before the spaces are +filled up. The studs are upright between the posts, which<span class="pagenum"><a name="page_251" id="page_251">{251}</a></span> are larger +than the studs. There are also “wattle,” and “dab-houses,” and sheds, +which are constructed of studs, sills, and wall-plates. Between or into +the studs are laid, horizontally, plaited or wattled strong hazel twigs, +or other underwood, and on both of these a thick coat of plaster or mud +is laid or dabbed. A wattle is a hurdle made of four or five upright +stakes, and hazel branches woven closely and horizontally into the +stakes—Anglo-Saxon, <i>watel</i>, a hurdle or covering of twigs; in some +counties they are called “flakes,” merely from their being thin and +flat. In Sussex and Devonshire, and in the South of England, wattled +hurdles are called “Raddles.” In a little Dictionary for children of the +date of 1608, we find “a hartheled wall or ratheled with hasile rods or +wands.” The word <i>hartheled</i> is the same as hardilled, and the +Dictionary spells hurdill <i>hardill</i>, Ang.-Sax., <i>hyrdel</i>, Low Germ., +<i>hoidt</i>, Dutch, <i>horde</i>. Germ., <i>hurde</i>. <i>Ratheled</i> is from the same +derivation as <i>raddled</i>. What in one county is “wattle and dab,” is in +another “raddle and dab.” <i>Dab</i> is here used as a substantive, but it is +properly a verb—to dab on, to sprinkle, or bespatter. In French, +<i>dawber</i>, or <i>dober</i>, to smear, hence “to daub.” These mud cottages are +very common even in the richest counties of England. In South +Northamptonshire are red sandstone houses frequently possessing stone +mullions in the windows, and dripstones.<span class="pagenum"><a name="page_252" id="page_252">{252}</a></span></p> + +<p>Further northwards, as in Shropshire, Cheshire, and Lancashire, we find +a better description of the half-timbered houses in many of the manor +houses built there. Lord Liverpool’s seat at Pitchford, near Shrewsbury, +illustrated by Habershon, is a fine and a very large example, although +the pattern is not so elegant as many of them. Joseph Nash and other +artists have made the best of these familiar to us by their +publications. Cheshire is the county most abounding in them. In the +southern part of the county of Lancashire they are called “post-and-pan +houses.” Post is an upright piece of timber, used in various ways, such +as gate-post, door-post, a jamb-lining. The word “post” is found in many +languages, commonly meaning an upright. In Ang.-Sax., <i>post</i>, a post, +Frisic, <i>post</i>, a beam, German, <i>pfost</i>, French, <i>poste</i>, Latin, +<i>postis</i>, a post.</p> + +<p>“Pan,” in Lancashire, certainly means a beam, and is the common name for +it (beam not being used), although we do not find the word <i>pan</i>, a +beam, noticed in most of the glossaries as it deserves. In the Craven +Glossary, “<i>post</i> and <i>pan</i>” a building of wood and plaster alternately. +<i>Pan</i>, totally to fit: “Weal and woman cannot pan, but woe and woman +can,” is the complete old English proverb, in which the word pan is +used. In the glossary of Tim Bobbin, “Pan” means to join or agree. In +Hunter’s Hallamshire<span class="pagenum"><a name="page_253" id="page_253">{253}</a></span> Glossary “pan,” properly in building, is the +wall-plate—the piece of timber that lies on the tops of the posts, and +on which the balks rest, and the sparfoot also. <i>To pan</i>, to apply to +closely. In Brockett’s North Country work, <i>pan</i> means to match, agree. +The idea of a pan for a beam would seem to be a shortened word for span, +but it comes, it is said, from the old word <i>pan</i>, denoting to close or +join together, to match, fit, apply, agree. From this, or the origin of +which, came pane, or panel of wood, or wainscot, pane of glass. +Ang.-Sax., <i>pan</i>, a piece, hem, plait; pan hose, patched hose, because +pieces are fitted into them.</p> + +<p>In Warwickshire and Oxfordshire they call a post-and-pan house a +brick-<i>pane</i> house, because the wood-work divides the building into +rectangular spaces, filled with <i>panes</i> of brickwork.</p> + +<p>In Forby’s Suffolk Vocabulary <i>pane</i> is a division of work in husbandry, +also strips of cloth. The slits in Elizabethan dresses are called +<i>panes</i>. Du Cange, in his <i>Glossarium Mediæ et Infimæ Latinitatis</i>, has +<i>panna</i>, a carpenter’s word, signifying a square piece of wood of 6 or 7 +fingers on a side, which being placed on the rafters of the roof, and +retained by wooden supports, carries the asseres. The “Glossary of +Architecture” construes a pan as a lathe; but of this there seems some +doubt.<span class="pagenum"><a name="page_254" id="page_254">{254}</a></span></p> + +<p>There is a remarkable example of the word <i>Panna</i> in the Close Rolls of +the 9th of Henry 3rd, membrane 5, page 65, though the word in the +printed copy is erroneously spelt <i>pauna</i>.</p> + +<div class="sidenote">De postibus<br /> et pannis<br /> datis.</div> + +<p>Mandatum est Hugoni de Neville quod habere faciat Baldivinium de Veer +duos postes et duos <i>pannas</i> in bosco nostro in Deresle, de dono nostro +ad se habergandum apud Thrapston. Teste rege apud Westmonasterium XV die +Octobris, anno nono.—That is: The King orders Hugh de Neville to give +Baldwin de Veer two <i>posts</i> and two <i>pans</i> out of the Royal forest of +Deresley to build a house at Thrapstone.—“Habergandum” is from +<i>habergo</i>, to build a house, which seems to be derived from the old +German <i>habe</i>, goods and possessions, and <i>bergen</i>; in Ang.-Sax., +<i>boergan</i>, to defend, keep, and protect. <i>Habe</i>, goods, is from the +German <i>haben</i>, Ang.-Sax., <i>habban</i>, to have and possess. In Du Cange we +find “Habergagium vel habergamentum, domicilium domus,” that is, a place +to keep goods in. This account is given us by the writer in the +“Cambridge Portfolio,” who adds, “That it is probable the house alluded +to in Thrapstone was merely a shed.” He gives a great many derivations +from the word <i>pan</i> in French. He says that <i>pan</i> or <i>post</i> is a <i>post</i> +and <i>pan</i> wall, perhaps with boarding in the panes instead of brick or +stone. A post-and-pan house therefore signifies one formed of<span class="pagenum"><a name="page_255" id="page_255">{255}</a></span> uprights +and cross-pieces, and this appears to be the most rational name for +them. The patterns of the woodwork are sometimes extremely elegant; at +Park Hall in Shropshire, one represents balustrading intermingled with +quatre-foiling, while the plaster ceilings inside the building are of +excessively rich character. In many of the old post-and-pan houses, the +windows are between every post, running the whole length of the house in +each story, rendering a remark of Lord Bacon’s true, that in such houses +you did not know where to become to get out of the sun or the cold. They +are now sometimes called “bird-cage houses,” from the effect at a +distance. Some of these old mansions had the hall extending to the roof, +and this was carried down to a very late period. At Kirby in +Northamptonshire, a seat of the Lord Chancellor Hatton, built by the +architect, John Thorpe, Inigo Jones altered the timbers of the hall roof +and gave them an Italianized character. He was, previous to his visit to +Italy, one of the chief and most celebrated masters of the then +fashionable Elizabethan style, which was carried down to a later period +than is generally supposed.</p> + +<p>The superior class of wooden houses were for the gentry, the wattle and +dab houses for the hind. This cottage, then, must have been little +better than a miserable shed. Cottages still exist in the north of<span class="pagenum"><a name="page_256" id="page_256">{256}</a></span> +England, amid the northern counties, that are bad at the very best. The +tenants have to bring everything with them, partitions, window-frames, +fixtures of all kinds, grates, and a substitute for a ceiling. Certainly +the improved concrete cottage, if it could be erected at a small +expense, would be a great advantage to them. Its partitions, and even +its roof, the latter covered with slate, might be securely formed of +strong hurdles, and a cistern for water easily placed just below it. The +walls, if covered with a good Portland cement face, will last for many +years, and, if the roof be so formed as to protect them, for warmth, +comfort, and cleanliness such cottages are unsurpassed.</p> + +<p>It is to be regretted that the combination of workmen forming the +various Trades’ Unions, has so raised the price of labour that it has +reacted against themselves, and the workmen’s houses, roomy, and formed +of sound, lasting materials can no longer be constructed at a cost that +would allow a fair percentage on outlay.</p> + +<p>Lord Bacon paid particular attention to building, and he had several +fine mansions. He received his Sovereign at one, <i>Gorhambury</i>, who on +her remarking its great size, said, “It was not that the house was too +big, but that her Grace had made him too big to inhabit it.” His essay +on building gives such a complete picture of what the nobleman’s house +was in those days, that it is here quoted.<span class="pagenum"><a name="page_257" id="page_257">{257}</a></span></p> + +<p>“First, therefore, I say you cannot have a perfect palace, except you +have two several sides: a side for the banquet, as is spoken of in the +book of Esther, and a side for the household; the one for feasts and +triumphs, and the other for dwelling.</p> + +<p>“I understand both these sides to be not only returns, but parts of the +front; and to be uniform without, though severally partitioned within; +and to be on both sides of a great and stately tower in the midst of the +front, that, as it were, joineth them together on either hand. I would +have, on the side of the banquet in front, one only goodly room, above +stairs, of some forty feet high: and under it a room for a dressing or +preparing place, at times of triumphs. On the other side, which is the +household side, I wish it divided, at the first, into a hall and chapel +(with a partition between), both of good state and bigness; and those +not to go all the length, but to have at the farther end a winter and +summer parlour, both fair; and under these rooms a fair and large cellar +sunk under ground, and likewise some privy kitchens, with butteries and +pantries, and the like. As for the tower I would have it two stories, of +eighteen foot high apiece above the two wings; and goodly leads upon the +top, railed with statues interposed; and the same tower to be divided +into rooms, as shall be thought fit. The stairs likewise to the upper +rooms, let them be upon<span class="pagenum"><a name="page_258" id="page_258">{258}</a></span> a fair open newel, and finely railed in with +images of wood cast into a brass colour; and a very fair landing-place +at the top. But this to be, if you do not point any of the lower rooms +for a dining-place of servants; for otherwise, you shall have the +servants’ dinner after your own; for the steam of it will come up as in +a tunnel; and so much for the front; only I understand the height of the +first stairs to be sixteen foot, which is the height of the lower room.</p> + +<p>“Beyond the front is there to be a fair court, but three sides of it of +a far lower building than the front; and in all the four corners of that +court fair staircases, cast into turrets on the outside, and not within +the row of buildings themselves; but those towers are not to be of the +height of the front, but rather proportionable to the lower buildings. +Let the court not be paved, for that striketh up a great heat in summer +and much cold in winter; but only some side alleys with a cross, and the +quarters to graze, being kept shorn, but not too near shorn. The row of +return on the banquet side, let it be all stately galleries: in which +galleries let there be three or five fine cupolas in the length of it, +placed at equal distance; and fine coloured windows of several works: on +the household side, chambers of presence and ordinary entertainments, +with some bedchambers; and let all three sides be a double house, +without thorough lights in the<span class="pagenum"><a name="page_259" id="page_259">{259}</a></span> sides, that you may have rooms from the +sun both for forenoon and afternoon:—cast it also that you may have +rooms both for summer and winter; shade for summer, and warm for winter. +You shall have sometimes fair houses so full of glass that one cannot +tell where to become to be out of the sun or cold. For embowed windows, +I hold them of good use (in cities indeed, upright do better, in respect +of the uniformity towards the street); for they be pretty retiring +places for conference, and besides they keep both the wind and sun off; +for that which would strike almost through the room doth scarce pass the +window; but let them be but few, four in the court, on the sides only.</p> + +<p>“Beyond this court, let there be an inward court of the same square and +height, which is to be environed with the garden on all sides; and in +the inside, cloistered on all sides upon decent and beautiful arches as +high as the first story; on the under story, towards the garden, let it +be turned to a grotto, or place of shade, or estivation; and only have +opening and windows toward the garden, and be level upon the floor, no +whit sunk under ground, to avoid all dampishness: let there be a +fountain or some fair work of statues in the midst of this court, and to +be paved as the other court was. These buildings to be for privy +lodgings on both sides, and the end for privy<span class="pagenum"><a name="page_260" id="page_260">{260}</a></span> galleries; whereof you +must foresee that one of them be for an infirmary, if the prince or any +special person should be sick, with chambers, bedchamber, ante-camera, +and recamera, joining to it; this upon the second story.</p> + +<p>“Upon the ground story, a fair gallery, open, upon pillars, and upon the +third story likewise, an open gallery upon pillars, to take the prospect +and freshness of the garden.</p> + +<p>“At both corners of the farther side, by way of return, let there be two +delicate or rich cabinets, daintily paved, richly hanged, glazed with +crystalline glass, and a rich cupola in the midst; and all other +elegancy that may be thought upon. In the upper gallery too, I wish that +there may be, if the place will yield it, some fountains running in +divers places from the wall, with some fine avoidances. And thus much +for the model of the palace; save that you must have, before you come to +the front, three courts, a green court plain, with a wall about it; a +second court of the same, but more garnished with little turrets, or +rather embellishments upon the wall; and a third court, to make a square +with the front, but not to be built nor yet enclosed with a naked wall, +but enclosed with terraces leaded aloft, and fairly garnished on the +three sides; and cloistered on the inside with pillars, and not with +arches below. As for offices, let them<span class="pagenum"><a name="page_261" id="page_261">{261}</a></span> stand at distance, with some low +galleries to pass from them to the palace itself.”</p> + +<p class="spc2"> </p> + +<p>The vignette is an elevation, with enlarged details, of a design for a +weathercock or wind vane. In buildings where there are many on the roof, +they are sometimes seen pointing different ways, and it is of importance +they should be properly constructed. The construction necessary to +prevent these differences is shown in the two sections on each side the +elevation; <i>a</i> is a gun-metal rod, in which is fixed the small steel rod +<i>b</i>; this moves in a piece of agate fixed in a small block of copper +<i>c</i>; the agate is marked black in the left-hand section.</p> + +<div class="figcenter" style="width: 148px;"> +<a href="images/ill_pg_261_lg.jpg"> +<img src="images/ill_pg_261_sml.jpg" width="148" height="267" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_262" id="page_262">{262}</a></span></p> + +<h2><a name="DESIGN_No_23" id="DESIGN_No_23"></a><i>DESIGN No. 23.</i><br /><br /> +A GARDEN SUMMER-HOUSE.</h2> + +<div class="figcenter" style="width: 292px;"> +<a href="images/ill_pg_262_lg.jpg"> +<img src="images/ill_pg_262_sml.jpg" width="292" height="407" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view and plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_263" id="page_263">{263}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS small circular erection was designed from the express directions, +as to style, size, form, and plan, of the gentleman for whom it was +made, and who had it constructed. It was of wood, standing on a brick +foundation, with a quaint room in the centre, completely lined with +match-boarding, stained oak and varnished, the ceiling having hanging +pendants. The lead lights of the sashes were glazed with various +specimens of old coloured glass.</p> + +<div class="figcenter" style="width: 273px;"> +<a href="images/ill_pg_263_lg.jpg"> +<img src="images/ill_pg_263_sml.jpg" width="273" height="248" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation.</p></div> +</div> + +<p>The view and plan are illustrated at page 262; the plan shows the +general arrangements; the porch had seats on each side, and the back +portion of the<span class="pagenum"><a name="page_264" id="page_264">{264}</a></span></p> + +<div class="figcenter" style="width: 260px;"> +<a href="images/ill_pg_264-a_lg.jpg"> +<img src="images/ill_pg_264-a_sml.jpg" width="260" height="210" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<div class="figcenter" style="width: 136px;"> +<a href="images/ill_pg_264-b_lg.jpg"> +<img src="images/ill_pg_264-b_sml.jpg" width="136" height="280" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Detail showing construction.</p></div> +</div> + +<p><span class="pagenum"><a name="page_265" id="page_265">{265}</a></span></p> + +<p class="nind">summer-house was enclosed for a single seat. The elevation given on page +263 shows, as well as the view, flower-pots on supports in the roof. +These were</p> + +<div class="figcenter" style="width: 225px;"> +<a href="images/ill_pg_265_lg.jpg"> +<img src="images/ill_pg_265_sml.jpg" width="225" height="359" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Gate to a flower-garden.</p></div> +</div> + +<p class="nind">omitted in execution. The section shows the building as constructed; it +is taken through the porch. The interior room and the enclosed seat +behind the illus<span class="pagenum"><a name="page_266" id="page_266">{266}</a></span>tration gives the detail of a portion of the +construction.</p> + +<div class="figcenter" style="width: 320px;"> +<a href="images/ill_pg_266-a_lg.jpg"> +<img src="images/ill_pg_266-a_sml.jpg" width="320" height="291" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>Elevation. +</p></td><td> </td> +<td> +<p>Section. +</p></td></tr> +</table> +</div></div> + +<div class="figcenter" style="width: 155px;"> +<a href="images/ill_pg_266-b_lg.jpg"> +<img src="images/ill_pg_266-b_sml.jpg" width="155" height="120" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_267" id="page_267">{267}</a></span></p> + +<p>The building had no fireplace, being merely intended for summer use; it +was placed on an elevated site, and commanded a fine view.</p> + +<p>No small structure can be made too expensive in construction if it is to +be placed in a beautiful flower-garden. However pretty its ornaments may +be, they are sure to pale by the side of the natural objects surrounding +it. The small gateway shown in view on page 265 was constructed entirely +in oak with a slab-slated roof. It stood at some distance from the +dwelling, to which it formed a conspicuous object, and it was the +entrance to an enclosed flower-garden. An elevation, section, and plan +of it are given on page 266.</p> + +<p class="spc1"> </p> + +<p>The vignette represents an open ironwork console or holder for a +meat-jack for the kitchen fireplace: it is of French design.</p> + +<div class="figcenter" style="width: 161px;"> +<a href="images/ill_pg_267_lg.jpg"> +<img src="images/ill_pg_267_sml.jpg" width="161" height="104" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_268" id="page_268">{268}</a></span></p> + +<h2><a name="DESIGN_No_24" id="DESIGN_No_24"></a><i>DESIGN No. 24.</i><br /><br /> +A SMALL COUNTRY RETREAT, OR FRENCH MAISONETTE.</h2> + +<div class="figcenter" style="width: 354px;"> +<a href="images/ill_pg_268_lg.jpg"> +<img src="images/ill_pg_268_sml.jpg" width="354" height="210" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The front elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_269" id="page_269">{269}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS is a study for a small villa in the modern French style, one which +has lately been introduced into several buildings of domestic character +in England, the woodwork being sent from France. The</p> + +<div class="figcenter" style="width: 239px;"> +<a href="images/ill_pg_269_lg.jpg"> +<img src="images/ill_pg_269_sml.jpg" width="239" height="282" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">chief feature of the style is the machine-cut ornamental wood; it is of +common deal, about an inch or a little more in thickness. When placed +up, and coloured a light fawn colour or plain yellow, it is extremely +pleasing, and has the merit of being very cheap.</p> + +<p>The design has an ornamental iron verandah<span class="pagenum"><a name="page_270" id="page_270">{270}</a></span> completely round two sides +of the building, with small upright standards taken through its roof, +which are</p> + +<div class="figcenter" style="width: 400px;"> +<a href="images/ill_pg_270_lg.jpg"> +<img src="images/ill_pg_270_sml.jpg" width="400" height="168" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through length of building.</p></div> +</div> + +<p class="nind">connected together with zinc wire-work; the intention being to permit +flowering plants to grow over it, so<span class="pagenum"><a name="page_271" id="page_271">{271}</a></span> that the front should be crowned +with flowers. The villa is only intended for summer use, being confined +in its accommodation. The ground plan, given on page 269, shows <i>d</i> and +<i>e</i>, the drawing and dining</p> + +<div class="figcenter" style="width: 344px;"> +<a href="images/ill_pg_271_lg.jpg"> +<img src="images/ill_pg_271_sml.jpg" width="344" height="223" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Transverse section.</p></div> +</div> + +<p class="nind">rooms, divided one from the other by curtains hanging on a glazed +screen; the length of the two rooms is 42 feet, their breadth 15 feet. +They are decorated gaily in French style; the room <i>c</i> can be used as a<span class="pagenum"><a name="page_272" id="page_272">{272}</a></span> +study, but it is intended for a sleeping room; the kitchen <i>f</i> has a +large larder <i>h</i>, but it would be desirable if the kitchen was formed a +short distance away from the building, and connected with it by a +passage; the rooms <i>f</i> and <i>g</i> could then be made into a bed and +dressing-room. The wine cellar is at g, and a conservatory <i>i</i>, is +placed at the end of the building.</p> + +<div class="figcenter" style="width: 147px;"> +<a href="images/ill_pg_272_lg.jpg"> +<img src="images/ill_pg_272_sml.jpg" width="147" height="186" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of one-pair.</p></div> +</div> + +<p>The elevation of the front of the building and the two sections show the +general construction of the upper part of the house. This was in timber, +the flues alone being of brick.</p> + +<p>The plan of the upper floor shows four rooms; each of the flues is +supplied with its pedestal, so that should the house be occupied in +winter, these upper apart<span class="pagenum"><a name="page_273" id="page_273">{273}</a></span>ments could be kept well aired by the fires in +the lower apartments, without any attention from the servants. The +framing of the upper portion is correctly shown in the section copied +from the working drawing.</p> + +<div class="figcenter" style="width: 168px;"> +<a href="images/ill_pg_273_lg.jpg"> +<img src="images/ill_pg_273_sml.jpg" width="168" height="294" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Portion of verandah.</p></div> +</div> + +<p>All elevation of a small portion of the verandah, showing its iron work, +is given; and an illustration to a large scale shows its ornamental zinc +guttering, and the carved wood French ornament, a section showing<span class="pagenum"><a name="page_274" id="page_274">{274}</a></span> how +they are fastened on; and the zinc gutter placed in front is likewise +given.</p> + +<div class="figcenter" style="width: 280px;"> +<a href="images/ill_pg_274-a_lg.jpg"> +<img src="images/ill_pg_274-a_sml.jpg" width="280" height="203" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of zinc gutter, and cut woodwork.</p></div> +</div> + +<div class="figcenter" style="width: 164px;"> +<a href="images/ill_pg_274-b_lg.jpg"> +<img src="images/ill_pg_274-b_sml.jpg" width="164" height="236" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of the same.</p></div> +</div> + +<p><span class="pagenum"><a name="page_275" id="page_275">{275}</a></span></p> + +<p>The following is a design in purely French taste for the circular top +over the entrance porch on the upper floor.</p> + +<div class="figcenter" style="width: 395px;"> +<a href="images/ill_pg_275_lg.jpg"> +<img src="images/ill_pg_275_sml.jpg" width="395" height="211" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cut woodwork.</p></div> +</div> + +<p>The roofs of buildings in this style should be covered with zinc. The +French are as much before<span class="pagenum"><a name="page_276" id="page_276">{276}</a></span> us in their use of this metal as they are +with their cut woodwork.</p> + +<p>Roofs covered with zinc could be made flatter, and have a covering or +floor of boards, each board ½ an inch apart. An illustration is given of +such a construction; it has a light iron railing with a scroll</p> + +<div class="figcenter" style="width: 264px;"> +<a href="images/ill_pg_276_lg.jpg"> +<img src="images/ill_pg_276_sml.jpg" width="264" height="241" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Design for roofing.</p></div> +</div> + +<p class="nind">against the brick parapet; and supports a stand for flowers. With the +absence of offensive smoke, and with the use of the flue pedestal to +supply warmth, the upper parts of our houses could easily be formed into +conservatories.</p> + +<p>The interior of the building was intended to be as<span class="pagenum"><a name="page_277" id="page_277">{277}</a></span> profusely decorated +with the cut woodwork as the exterior. The staircase balusters were of a +rich pattern, the whole being stained after some ornamental wood, and +varnished.</p> + +<div class="figcenter" style="width: 266px;"> +<a href="images/ill_pg_277_lg.jpg"> +<img src="images/ill_pg_277_sml.jpg" width="266" height="337" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Staircase balusters.</p></div> +</div> + +<p>The expense of constructing such a building would be 2450<i>l.</i></p> + +<p>In this style cut-wood decoration the French certainly excel us. Some +English examples, very<span class="pagenum"><a name="page_278" id="page_278">{278}</a></span> common in our railway stations, are shown below. +The most ornamental is a pattern used by the author some few years ago; +a rose is introduced to cover the fastening of the cut pattern to the +fascia behind.</p> + +<div class="figcenter" style="width: 296px;"> +<a href="images/ill_pg_278_lg.jpg"> +<img src="images/ill_pg_278_sml.jpg" width="296" height="248" alt="[Image unavailable.]" /></a> +</div> + +<p>We have in England a carving-machine, known as Irving’s patent, that was +a few years since much worked at a manufactory in Pimlico by Mr. Pratt +of Bond Street. At one time it bid fair to exert a most important +influence upon the production of this kind of cut-wood decoration. It +could make such carvings with the greatest ease and rapidity, whether in +stone or wood. The machine was a simple drill in a move<span class="pagenum"><a name="page_279" id="page_279">{279}</a></span>able arm, worked +either by steam or a hand-wheel, on a moveable table; the combined +motion rendered it capable of carving any form, however intricate, from +the largest Gothic window-head, to the smallest screen. At Pimlico it +was under the architectural superintendence of R. W. Billings. It is +still used, together with Jordan’s patent for carving, at Lambeth.</p> + +<p class="spc1"> </p> + +<p>The vignette gives a pattern for cut-wood balustrading.</p> + +<div class="figcenter" style="width: 161px;"> +<a href="images/ill_pg_279_lg.jpg"> +<img src="images/ill_pg_279_sml.jpg" width="161" height="237" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_280" id="page_280">{280}</a></span></p> + +<h2><a name="DESIGN_No_25" id="DESIGN_No_25"></a><i>DESIGN No. 25.</i><br /><br /> +AN ELIZABETHAN VILLA.</h2> + +<div class="figcenter" style="width: 429px;"> +<a href="images/ill_pg_280_lg.jpg"> +<img src="images/ill_pg_280_sml.jpg" width="429" height="346" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<p><span class="pagenum"><a name="page_281" id="page_281">{281}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design was made a few years ago for a gentleman who was a great +admirer of our old English architecture, and who desired to have a</p> + +<div class="figcenter" style="width: 369px;"> +<a href="images/ill_pg_281_lg.jpg"> +<img src="images/ill_pg_281_sml.jpg" width="369" height="280" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground-floor plan.</p></div> +</div> + +<p class="nind">dwelling with its chief characteristics, both internally as well as +externally, but with all modern arrangements. He intended to purchase a +piece of land in the neigh<span class="pagenum"><a name="page_282" id="page_282">{282}</a></span>bourhood of London for the purpose of +erecting the structure upon it. Producing the design was a labour of +love to us both, and many a pleasant evening we</p> + +<div class="figcenter" style="width: 150px;"> +<a href="images/ill_pg_282_lg.jpg"> +<img src="images/ill_pg_282_sml.jpg" width="150" height="343" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Balustrading of staircase.</p></div> +</div> + +<p class="nind">spent together in studying the details as to what we should like to have +in each room, without troubling ourselves about what the expense would +be; unhappily<span class="pagenum"><a name="page_283" id="page_283">{283}</a></span> he did not live to carry out his intention, and the +drawings were laid aside.</p> + +<div class="figcenter" style="width: 299px;"> +<a href="images/ill_pg_283-a_lg.jpg"> +<img src="images/ill_pg_283-a_sml.jpg" width="299" height="167" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of hall.</p></div> +</div> + +<p>The exterior is a study from the celebrated building, Rushton Hall in +Northamptonshire, erected in the</p> + +<div class="figcenter" style="width: 320px;"> +<a href="images/ill_pg_283-b_lg.jpg"> +<img src="images/ill_pg_283-b_sml.jpg" width="320" height="196" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">reign of Elizabeth, by Sir Thomas Tresham. On the <span class="pagenum"><a name="page_284" id="page_284">{284}</a></span>estate in the forest, +about a mile from the house, is that curious and unique building, the +Triangular Lodge,<a name="FNanchor_B_2" id="FNanchor_B_2"></a><a href="#Footnote_B_2" class="fnanchor">[B]</a> which served as a secret place of meeting for the +conspirators of the Gunpowder Plot.</p> + +<p>The ground plan shows only a small and single staircase <i>b</i>; +considerable discussion took place upon this; the great staircase was +first planned in the hall <i>a</i>, but a billiard-table was imperative, and +the hall alone</p> + +<div class="figcenter" style="width: 289px;"> +<a href="images/ill_pg_284_lg.jpg"> +<img src="images/ill_pg_284_sml.jpg" width="289" height="237" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of hall fireplace.</p></div> +</div> + +<p class="nind">could receive it. The smaller staircase was made ornamental, with carved +oak balustrades having a<span class="pagenum"><a name="page_285" id="page_285">{285}</a></span></p> + +<div class="figright" style="width: 113px;"> +<a href="images/ill_pg_285-a_lg.jpg"> +<img src="images/ill_pg_285-a_sml.jpg" width="113" height="239" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Details of hall fireplace.</p></div> +</div> + +<p class="nind">small brass ornament between, for the children to lay hold of in getting +upstairs.</p> + +<p>The hall was to be wainscoted all round; the illustration on page 283 +shows one side, with the entrance into the dining-room; a section of the +moulding of the panels is given on page 283 of full size. A gilt +decoration was to have been put in each panel, as shown. An ornamental +plaster frieze, containing shields of arms</p> + +<div class="figcenter" style="width: 346px;"> +<a href="images/ill_pg_285-b_lg.jpg"> +<img src="images/ill_pg_285-b_sml.jpg" width="346" height="240" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Hall stove.</p></div> +</div> + +<p><span class="pagenum"><a name="page_286" id="page_286">{286}</a></span></p> + +<p class="nind">which were to be emblazoned, came over the panelling. An elevation of +the fireplace, to have been made in Caen stone, with its details on a +large scale, is given in cuts on pp. 284, 285.</p> + +<div class="figcenter" style="width: 275px;"> +<a href="images/ill_pg_286_lg.jpg"> +<img src="images/ill_pg_286_sml.jpg" width="275" height="368" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Portion of hall ceiling.</p></div> +</div> + +<p>The fireplace is shown with fire-dogs to burn wood, with its iron +fire-back; but this was objected to, and<span class="pagenum"><a name="page_287" id="page_287">{287}</a></span></p> + +<div class="figcenter" style="width: 384px;"> +<a href="images/ill_pg_287_lg.jpg"> +<img src="images/ill_pg_287_sml.jpg" width="384" height="433" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p><span class="pagenum"><a name="page_288" id="page_288">{288}</a></span></p> + +<p class="nind">the stove was selected; my friend having great interest in coal, +preferred it to wood.</p> + +<div class="figcenter" style="width: 359px;"> +<a href="images/ill_pg_288_lg.jpg"> +<img src="images/ill_pg_288_sml.jpg" width="359" height="322" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Dining-room ceiling.</p></div> +</div> + +<p>The illustration on page 286 is a portion of the hall ceiling, copied +from a celebrated example of the time of Henry VIII. To illustrate every +room or give only one-third of the drawings made for this design<span class="pagenum"><a name="page_289" id="page_289">{289}</a></span> would +far exceed the limits the present volume allows. Each of the three rooms +on the ground floor had</p> + +<div class="figcenter" style="width: 235px;"> +<a href="images/ill_pg_289-a_lg.jpg"> +<img src="images/ill_pg_289-a_sml.jpg" width="235" height="145" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Pendant.</p></div> +</div> + +<p class="nind">decorated chimney-pieces, and carved architraves and panels to the +doors. The section shows the height of the rooms. The dining-room <i>e</i> +(see ground-plan) was</p> + +<div class="figcenter" style="width: 304px;"> +<a href="images/ill_pg_289-b_lg.jpg"> +<img src="images/ill_pg_289-b_sml.jpg" width="304" height="207" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Pendant and centre ornaments.</p></div> +</div> + +<p><span class="pagenum"><a name="page_290" id="page_290">{290}</a></span></p> + +<p>22 ft. by 20 ft.; the library <i>c</i>, 17 ft. by 15 ft., and the +drawing-room <i>d</i>, 24 ft. by 17 ft., with a large bay window opening on +to a terrace—their height 12 ft. 9 in.; <i>f</i> is the lift and <i>g</i> the +closet. Each of these rooms was to have ornamental flat plaster ceilings +with</p> + +<div class="figcenter" style="width: 316px;"> +<a href="images/ill_pg_290_lg.jpg"> +<img src="images/ill_pg_290_sml.jpg" width="316" height="276" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Drawing-room ceiling.</p></div> +</div> + +<p class="nind">pendant ornaments. These are shown in illustrations on page 289.</p> + +<p>The staircase led to a gallery in the middle of the building on the +first floor, dimly lighted at each end by the staircase and passage +windows. The first floor<span class="pagenum"><a name="page_291" id="page_291">{291}</a></span> (page 292) contained a morning room, <i>a</i>, in +the centre, 15 ft. by 12 ft., with a bow window; and three bedrooms <i>b</i>, +<i>b</i>, <i>b</i>, with two dressing-rooms <i>c</i>, <i>c</i>, one with a bath and a +closet.</p> + +<div class="figcenter" style="width: 275px;"> +<a href="images/ill_pg_291_lg.jpg"> +<img src="images/ill_pg_291_sml.jpg" width="275" height="278" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Library ceiling.</p></div> +</div> + +<p>The attic plan (page 292) contained three large rooms for the servants, +<i>b</i>, <i>b</i>, <i>b</i>; a housemaid’s closet <i>e</i>, and in the recessed space by +the side a large slate cistern for water. The basement (page 293) +contained considerable accommodation: <i>d</i> was intended for a private +room for the family, <i>a</i> the kitchen, <i>c</i> larder,<span class="pagenum"><a name="page_292" id="page_292">{292}</a></span> <i>b</i> the scullery, <i>i</i> +beer-cellar, <i>g</i> butler’s sleeping-room, <i>e</i> butler’s pantry, <i>h</i> +wine-cellar, <i>l</i> place for cleaning</p> + +<div class="figcenter" style="width: 315px;"> +<a href="images/ill_pg_292-a_lg.jpg"> +<img src="images/ill_pg_292-a_sml.jpg" width="315" height="222" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan (page 291).</p></div> +</div> + +<div class="figcenter" style="width: 293px;"> +<a href="images/ill_pg_292-b_lg.jpg"> +<img src="images/ill_pg_292-b_sml.jpg" width="293" height="224" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Attic plan (see page 291).</p></div> +</div> + +<p><span class="pagenum"><a name="page_293" id="page_293">{293}</a></span></p> + +<p class="nind">knives. The housekeeper’s room <i>f</i>, and servants’ hall are in the front, +and <i>j</i> is the lift for dishes to ground floor, <i>k</i> the coal-cellar. An +open area was made on two sides of the building.</p> + +<div class="figcenter" style="width: 334px;"> +<a href="images/ill_pg_293_lg.jpg"> +<img src="images/ill_pg_293_sml.jpg" width="334" height="275" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Basement plan (see page 291).</p></div> +</div> + +<p>It was intended to construct the basement fireproof, and to have the +flooring chiefly of asphalte, laid on brick and concrete, solid with the +earth; having a width of stone at the fireplaces. Small openings into +the areas were to be made for water to run off, so that the floors could +be at any time flooded from a<span class="pagenum"><a name="page_294" id="page_294">{294}</a></span></p> + +<div class="figcenter" style="width: 495px;"> +<a href="images/ill_pg_294_lg.jpg"> +<img src="images/ill_pg_294_sml.jpg" width="495" height="359" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_295" id="page_295">{295}</a></span></p> + +<div class="figcenter" style="width: 533px;"> +<a href="images/ill_pg_295_lg.jpg"> +<img src="images/ill_pg_295_sml.jpg" width="533" height="342" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Back elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_296" id="page_296">{296}</a></span></p> + +<div class="figcenter" style="width: 388px;"> +<a href="images/ill_pg_296_lg.jpg"> +<img src="images/ill_pg_296_sml.jpg" width="388" height="347" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of side.</p></div> +</div> + +<p><span class="pagenum"><a name="page_297" id="page_297">{297}</a></span></p> + +<p class="nind">hose. The skirtings for eighteen inches above the floor were to be in +asphalte, so that no beetles or other vermin should find their way in. +It was a</p> + +<div class="figcenter" style="width: 218px;"> +<a href="images/ill_pg_297-a_lg.jpg"> +<img src="images/ill_pg_297-a_sml.jpg" width="218" height="126" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ironwork on terrace.</p></div> +</div> + +<p class="nind">subject of discussion whether all the other floors and skirting should +not be of a similar description. The three elevations of the building +are given: they were</p> + +<div class="figcenter" style="width: 282px;"> +<a href="images/ill_pg_297-b_lg.jpg"> +<img src="images/ill_pg_297-b_sml.jpg" width="282" height="138" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ironwork on bay-window.</p></div> +</div> + +<p class="nind">to have been in red brick with compo dressings, and the balustrades in +artificial stone. One peculiar portion of the exterior decoration was +the ironwork in<span class="pagenum"><a name="page_298" id="page_298">{298}</a></span> lieu of stone balustrading. The bay window and the +terrace were surmounted with this ironwork; that on the terrace was to +be formed so as to sustain heavy</p> + +<div class="figcenter" style="width: 224px;"> +<a href="images/ill_pg_298_lg.jpg"> +<img src="images/ill_pg_298_sml.jpg" width="224" height="373" alt="[Image unavailable.]" /></a> +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>Portion of front. +</p></td><td> </td> +<td> +<p>Small finial. +</p></td></tr> +</table> +</div></div> + +<p class="nind">earthenware pots of flowering shrubs:—an elevation of the two examples +is given on page 297.<span class="pagenum"><a name="page_299" id="page_299">{299}</a></span></p> + +<p>The mouldings on the exterior of the building were small and simple; +this is shown in illustrations on page 298. Various designs were made +for the</p> + +<div class="figcenter" style="width: 255px;"> +<a href="images/ill_pg_299-a_lg.jpg"> +<img src="images/ill_pg_299-a_sml.jpg" width="255" height="139" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Balustrades for first floor.</p></div> +</div> + +<div class="figcenter" style="width: 217px;"> +<a href="images/ill_pg_299-b_lg.jpg"> +<img src="images/ill_pg_299-b_sml.jpg" width="217" height="218" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">balustrading; three of these, with the ornament containing a shield of +arms in the centre of the side gables, are likewise given.<span class="pagenum"><a name="page_300" id="page_300">{300}</a></span></p> + +<p>The expense of constructing this design with all the ornamentation +shown, would have been great. A</p> + +<div class="figcenter"> +<a href="images/ill_pg_300-a_lg.jpg"> +<img src="images/ill_pg_300-a_sml.jpg" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Lower balustrade.</p></div> +</div> + +<p class="nind">considerable portion of it, when it came to be estimated and the +specification and working drawings were made</p> + +<div class="figcenter"> +<a href="images/ill_pg_300-b_lg.jpg"> +<img src="images/ill_pg_300-b_sml.jpg" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ornament in side gable.</p></div> +</div> + +<p class="nind">for the builder, would have been left out, and the whole made more +simple. The design would not have<span class="pagenum"><a name="page_301" id="page_301">{301}</a></span> materially suffered for such +deductions; all the general forms or the simple outline of the exterior +would have been preserved. The chief deduction would have been made in +the ornaments of the interior, or these might have been only partly +done. Such a design, with a moderate amount of decoration only, would +cost about 4700<i>l.</i></p> + +<p class="spc1"> </p> + +<p>The vignette shows French and English cut-wood patterns for blind +ornaments.</p> + +<div class="figcenter" style="width: 157px;"> +<a href="images/ill_pg_301_lg.jpg"> +<img src="images/ill_pg_301_sml.jpg" width="157" height="153" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_302" id="page_302">{302}</a></span></p> + +<h2><a name="DESIGN_No_26" id="DESIGN_No_26"></a><i>DESIGN No. 26.</i><br /><br /> +A SUMMER OR GARDEN VILLA.</h2> + +<div class="figcenter" style="width: 497px;"> +<a href="images/ill_pg_302_lg.jpg"> +<img src="images/ill_pg_302_sml.jpg" width="497" height="297" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<p><span class="pagenum"><a name="page_303" id="page_303">{303}</a></span></p> + +<p class="nind"><span class="letra">O</span>NE of our most eminent writers on gardens, Repton, remarked that +“gardening and architecture, like all the fine arts, have much in +common; and the department of architecture which belongs more +exclusively to gardens has especially a great affinity to gardening in +its broadest principles.” In fact, there is much more relation between +the two than is usually admitted—a matter already alluded to in the +Introductory Essay. Architectural forms and decorations, temples and +rustic bowers, seats, &c., are not, as many have observed, unfit for our +climate. In western counties they certainly can be indulged in to a +large extent; and the fine evergreens and the beautiful grass of this +country will, in association with ornamental terraces and sculpture, +impart sufficient warmth of tone to render them agreeable. The garden of +<i>Mon-plaisir</i> at Elvaston, in Derbyshire, and the Alhambra Gardens +there; those at Castle Coombe, Trentham, Alton Towers, and Bowood, +sufficiently prove how attractive gardens can be architecturally made. +In former years gardens were almost universal through every part of +England, as is proved by the bird’s-eye view, engraved by Kipp, from +drawings by Knyff in the book, “Britannia Illustrata,” and those of the +gardens given in Loggan’s “Oxonia Restituta,” and the similar work on +Cambridge. But gardens, like all other mundane matters, have their +periods of<span class="pagenum"><a name="page_304" id="page_304">{304}</a></span> change or retrogression; the natural style having almost +obliterated the architectural garden of William and Mary. This might +have been too precise, as</p> + +<div class="figcenter" style="width: 372px;"> +<a href="images/ill_pg_304_lg.jpg"> +<img src="images/ill_pg_304_sml.jpg" width="372" height="312" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan of villa.</p></div> +</div> + +<p class="nind">copied from the Dutch model: they were satirized by Pope, thus—</p> + +<div class="poetry"> +<div class="poem"><div class="stanza"> +<span class="i0">“Grove nods at grove, each alley has a brother,<br /></span> +<span class="i1">And half the platform just reflects the other.”<br /></span> +</div></div> +</div> + +<p class="nind">They were called King William’s style of fortifica<span class="pagenum"><a name="page_305" id="page_305">{305}</a></span>tions, surrounded +with yew hedges, cut in variety of forms; those which have been suffered +to outlive their original shape are really beautiful. Queen Anne’s +Garden, now part of Kensington Gardens, is an example. But these gardens +were very inferior to those of Italy and France, or even those in +England of the Elizabethan age. It is to Italy, the garden of Europe, +that we must look for the finest specimens of garden architecture. The +Villa Pamphilia or de Belrespiro, situated half a mile out of Rome +beyond the Gate of San Pancrazio, is celebrated for its gardens; from +them could be observed the whole city of Rome, and surrounding suburbs. +The gardens are nearly five miles in circumference, and occupy the site +of those of the Emperor Galba. Their arrangement is varied and +agreeable; being picturesque without disorder, symmetrical without +monotony; and we here observe the art with which the arrangement of a +regular garden is made to agree with the rural nature of which it forms +a part, and the noble structure it surrounds. It is doubtless the work +of the architect of the villa L’Algardi, about the year 1646. They have +been ascribed to the French artist, Le Notre, but there is very little +of the French style about them; they are wholly Italian, following the +lines of the villa, and in the same style or spirit. These are, or were +admirable; while the fountains,<span class="pagenum"><a name="page_306" id="page_306">{306}</a></span></p> + +<div class="figcenter" style="width: 372px;"> +<a href="images/ill_pg_306_lg.jpg"> +<img src="images/ill_pg_306_sml.jpg" width="372" height="573" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan of garden and villa.</p></div> +</div> + +<p><span class="pagenum"><a name="page_307" id="page_307">{307}</a></span></p> + +<p class="nind">the cascades, grottos, basins, statues, and the antique fragments which +adorn them are arranged with the</p> + +<div class="figcenter" style="width: 188px;"> +<a href="images/ill_pg_307-a_lg.jpg"> +<img src="images/ill_pg_307-a_sml.jpg" width="188" height="193" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Small group in centre of side left-hand basin.</p></div> +</div> + +<p class="nind">skill and intelligence of genius. Illustrations are preserved to us only +in a fine Italian work, by Jacobi de Rubeis, published at Rome, about +the middle of</p> + +<div class="figcenter" style="width: 162px;"> +<a href="images/ill_pg_307-b_lg.jpg"> +<img src="images/ill_pg_307-b_sml.jpg" width="162" height="168" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Small group in centre of right-hand basin.</p></div> +</div> + +<p><span class="pagenum"><a name="page_308" id="page_308">{308}</a></span></p> + +<p class="nind">the seventeenth century. The villa was destroyed by the French when they +crushed the liberty of the Roman people at their onslaught on Rome +against Garibaldi.</p> + +<p>In designs of this description the house and garden should unite, and be +lost in each other. Those parts of the garden most contiguous to the +house should follow its outline, its walks and terraces, and be so</p> + +<div class="figcenter" style="width: 338px;"> +<a href="images/ill_pg_308_lg.jpg"> +<img src="images/ill_pg_308_sml.jpg" width="338" height="237" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fountain ornaments.</p></div> +</div> + +<p class="nind">placed that the windows and doors of the mansion could command a perfect +view of them. The province of garden architecture is, primarily, to +supply fitting appendages and accompaniments to the house, so that the +latter may not appear alone and unsupported. If judiciously adopted it +will be effective in helping to produce a good outline, carry down the +lines of the<span class="pagenum"><a name="page_309" id="page_309">{309}</a></span></p> + +<div class="figcenter" style="width: 451px;"> +<a href="images/ill_pg_309_lg.jpg"> +<img src="images/ill_pg_309_sml.jpg" width="451" height="277" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of front.</p></div> +</div> + +<p><span class="pagenum"><a name="page_310" id="page_310">{310}</a></span></p> + +<div class="figcenter" style="width: 446px;"> +<a href="images/ill_pg_310_lg.jpg"> +<img src="images/ill_pg_310_sml.jpg" width="446" height="361" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through centre of building.</p></div> +</div> + +<p><span class="pagenum"><a name="page_311" id="page_311">{311}</a></span></p> + +<p class="nind">house, and connect it with other buildings, which may be conservatories, +ferneries, aquaria, rustic seats, temples, and arbours; and it will +provide a</p> + +<div class="figcenter" style="width: 383px;"> +<a href="images/ill_pg_311_lg.jpg"> +<img src="images/ill_pg_311_sml.jpg" width="383" height="286" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Portion of saloon.</p></div> +</div> + +<p class="nind">proper basement to the house. Such arrangements afford shelter or +privacy to a flower garden, extend the façade or frontage of the house, +shut out back<span class="pagenum"><a name="page_312" id="page_312">{312}</a></span> yards, stabling or offices, enrich, vary, and enliven the +garden, supply conveniences, receptacles for birds, plants, sculpture, +or works of art, specimens of natural history, and support for climbing +plants. These points indicate refinement, wealth, and love of art, and +otherwise blend the various constituents of a garden with the house, and +harmonize the two by communicating an artistic tone to the garden. So +says Repton, and most of the principal writers on gardening.</p> + +<div class="figcenter" style="width: 199px;"> +<a href="images/ill_pg_312_lg.jpg"> +<img src="images/ill_pg_312_sml.jpg" width="199" height="196" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cap in saloon.</p></div> +</div> + +<p>Some of the ancient gardens of Asia and Italy were considered among the +wonders of the world. They were termed paradises, and were filled with +such plants, both beautiful and useful, that the soil could produce; +they were enriched with many kinds of works of art, banqueting-houses, +aviaries, wells, and<span class="pagenum"><a name="page_313" id="page_313">{313}</a></span> streams of running water, indispensable in those +warm climates.</p> + +<div class="figcenter" style="width: 222px;"> +<a href="images/ill_pg_313-a_lg.jpg"> +<img src="images/ill_pg_313-a_sml.jpg" width="222" height="178" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of part of saloon ceiling.</p></div> +</div> + +<p>An architectural garden, as illustrated in the design at page 302, +should have a picturesque outline, a</p> + +<div class="figcenter" style="width: 219px;"> +<a href="images/ill_pg_313-b_lg.jpg"> +<img src="images/ill_pg_313-b_sml.jpg" width="219" height="217" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of the same.</p></div> +</div> + +<p><span class="pagenum"><a name="page_314" id="page_314">{314}</a></span></p> + +<p class="nind">marked boldness and prominence of parts, rather than a mere ornamental +detail; a picturesque effect by changes of level in the ground, by +diversity of height</p> + +<div class="figcenter" style="width: 212px;"> +<a href="images/ill_pg_314-a_lg.jpg"> +<img src="images/ill_pg_314-a_sml.jpg" width="212" height="147" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Portion of centre panel.</p></div> +</div> + +<p class="nind">of the different terraces, and by an arrangement in plan that would +produce depth of shade. Every object admitted should fit into its proper +place. This</p> + +<div class="figcenter" style="width: 123px;"> +<a href="images/ill_pg_314-b_lg.jpg"> +<img src="images/ill_pg_314-b_sml.jpg" width="123" height="142" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Panel of ceiling.</p></div> +</div> + +<p class="nind">villa was designed to cover a fine spring of cold water, and thus insure +a deep cold plunging bath. It was<span class="pagenum"><a name="page_315" id="page_315">{315}</a></span> to be merely a place for temporary +occupation and retirement, to renovate the health of the owner. The +gardens and fountains externally were only ornamental accessories; the +plan at page 306 illustrates these. The villa was approached by two +roads <i>d</i> <i>d</i>; there was a circle of open lawn between the house and the +terraced gardens in front. The latter were approached</p> + +<div class="figcenter" style="width: 137px;"> +<a href="images/ill_pg_315_lg.jpg"> +<img src="images/ill_pg_315_sml.jpg" width="137" height="228" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section and plan of one of centre pendants.</p></div> +</div> + +<p class="nind">by descending flights of steps. A basin of water and a large fountain, +rising from a group of sculpture in the centre, are there shown. By the +side are two smaller basins with smaller groups of sculpture, +representing sea-horses, cupids, and dolphins. This terrace is paved +with ornamental encaustic tiles. At the<span class="pagenum"><a name="page_316" id="page_316">{316}</a></span> head of the two side gardens +<i>b</i> <i>b</i>, are grottos <i>g</i> <i>g</i>, with seats on a raised terrace on each +side of their entrances. The steps descend to a lower level, and have +sea-horses and cupids on their pedestals, with five falls of water from +griffins’ heads, filling a basin below. A</p> + +<div class="figcenter" style="width: 296px;"> +<a href="images/ill_pg_316_lg.jpg"> +<img src="images/ill_pg_316_sml.jpg" width="296" height="292" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Bedroom ceiling.</p></div> +</div> + +<p class="nind">wide walk, and a running stream by its side, were thus gained.</p> + +<p>The author at the time he made the design was effecting some additions +to a country house, which admitted such a garden to be formed in front +of it:<span class="pagenum"><a name="page_317" id="page_317">{317}</a></span> he published his design for it at the time (1850) in the +<i>Builder</i>.</p> + +<div class="figcenter" style="width: 253px;"> +<a href="images/ill_pg_317_lg.jpg"> +<img src="images/ill_pg_317_sml.jpg" width="253" height="401" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Drawing-room ceiling.</p></div> +</div> + +<p>This villa may be considered a casine, or a retired dwelling on a rather +larger scale, similar to the pic<span class="pagenum"><a name="page_318" id="page_318">{318}</a></span>turesque house at Wothorp, in +Northamptonshire, which was erected by one of the Earls of Burleigh, as +a place to retire to, while his “great house at Burghley was sweeping.” +Wothorp was a large building: it was fully illustrated in one of the</p> + +<div class="figcenter" style="width: 306px;"> +<a href="images/ill_pg_318_lg.jpg"> +<img src="images/ill_pg_318_sml.jpg" width="306" height="279" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Sections of moulding of ceiling.</p></div> +</div> + +<p class="nind">author’s works, from original drawings lent him by the late Marquis of +Exeter. The casine, only one size larger than a cottage, was the fashion +of the preceding age. Whenever the proprietor of an estate wished to +turn hermit, he retired to the casine, a<span class="pagenum"><a name="page_319" id="page_319">{319}</a></span> small temple erected in a +portion of his grounds, where the finest views could be obtained, and +the most perfect repose secured. In earlier times such buildings</p> + +<div class="figcenter" style="width: 265px;"> +<a href="images/ill_pg_319-a_lg.jpg"> +<img src="images/ill_pg_319-a_sml.jpg" width="265" height="241" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Drawing-room chimney-piece.</p></div> +</div> + +<p><span class="pagenum"><a name="page_320" id="page_320">{320}</a></span></p> + +<p class="nind">afforded secret meeting-places wherein to hatch political plots; such a +one was the triangular lodge in a secluded part of the wood at Rushton +in Northamptonshire,</p> + +<div class="figcenter" style="width: 256px;"> +<a href="images/ill_pg_319-b_lg.jpg"> +<img src="images/ill_pg_319-b_sml.jpg" width="256" height="174" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">the seat of Sir Thomas Tresham, where the gunpowder conspirators +assembled. The casine of more modern times was not so small, but it +con<span class="pagenum"><a name="page_321" id="page_321">{321}</a></span>tained</p> + +<div class="figcenter" style="width: 272px;"> +<a href="images/ill_pg_320_lg.jpg"> +<img src="images/ill_pg_320_sml.jpg" width="272" height="386" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">all the requirements of good living. One example, is the +casine of Marino, near Dublin, built by Sir William Chambers for the +Earl of Charlemont.</p> + +<div class="figcenter"> +<a href="images/ill_pg_321_lg.jpg"> +<img src="images/ill_pg_321_sml.jpg" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">It was square in plan, surrounded by twelve columns, two projecting flat +porticoes in front and back, and pedimented porticoes at the sides. The +entrance was<span class="pagenum"><a name="page_322" id="page_322">{322}</a></span> approached by a noble flight of steps, the pedestals of +which were decorated with carvings, and supported crouching lions. +Statues and vases adorned the roof. A print of it, from a drawing of +Wheatly, was published in 1783. The building contained a small hall or +vestibule, a saloon or living-room, 20 feet in length by 15 feet in +width. Leading out of this were</p> + +<div class="figcenter" style="width: 319px;"> +<a href="images/ill_pg_322_lg.jpg"> +<img src="images/ill_pg_322_sml.jpg" width="319" height="225" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of mezzanine floor.</p></div> +</div> + +<p class="nind">two small rooms; one a study, the other a bedroom and closet. The +basement contained a large and well-fitted kitchen, a scullery and +larder, a butler’s pantry, and servants’ hall, and cellars for ale and +wine. Retired buildings of this kind, of larger character and of more +importance, were often erected in private<span class="pagenum"><a name="page_323" id="page_323">{323}</a></span> grounds of noblemen and +gentry. One, very similar to the present design, was constructed by the +late Robert Adam, for a salt-water bath, at Mistley, the seat of the +Right Hon. Richard Rigby. Mr. Adam and Sir William Chambers erected a +large number of such ornamental structures. One of the most elegant</p> + +<div class="figcenter" style="width: 325px;"> +<a href="images/ill_pg_323_lg.jpg"> +<img src="images/ill_pg_323_sml.jpg" width="325" height="231" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of upper story.</p></div> +</div> + +<p class="nind">examples, by Mr. Robert Adam, was the rout-house or pavilion erected for +a <i>fête champêtre</i> in the gardens of the Earl of Derby, at the Oaks, in +Surrey, in 1774. The building was internally of the most ornamental +character; there was an octangular vestibule, a hall 30 feet in +diameter; this opened into a grand ball<span class="pagenum"><a name="page_324" id="page_324">{324}</a></span>-room, 72 feet by 35 feet within +the columns, and 86 feet by 56 feet within the walls. The supper-room, +surrounding the ball-room, measured 200 feet from one end to the other, +and 20 feet in width. It was exposed in its full splendour on the +curtains being drawn; and at the end of the ball-room there were</p> + +<div class="figcenter" style="width: 327px;"> +<a href="images/ill_pg_324_lg.jpg"> +<img src="images/ill_pg_324_sml.jpg" width="327" height="266" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Basement plan.</p></div> +</div> + +<p class="nind">two tea-rooms, each 20 feet square, on each side of the entrance saloon. +The author gives these details in order that he may not be considered +too venturesome in submitting to public notice, in these economical +times, such an ornamental design as the<span class="pagenum"><a name="page_325" id="page_325">{325}</a></span></p> + +<div class="figcenter" style="width: 468px;"> +<a href="images/ill_pg_325_lg.jpg"> +<img src="images/ill_pg_325_sml.jpg" width="468" height="271" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of back front.</p></div> +</div> + +<p><span class="pagenum"><a name="page_326" id="page_326">{326}</a></span></p> + +<p class="nind">present. Similar structures of a more expensive character were once very +common; but the small</p> + +<div class="figcenter" style="width: 204px;"> +<a href="images/ill_pg_326-a_lg.jpg"> +<img src="images/ill_pg_326-a_sml.jpg" width="204" height="288" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of top of pedestal.</p></div> +</div> + +<div class="figcenter" style="width: 239px;"> +<a href="images/ill_pg_326-b_lg.jpg"> +<img src="images/ill_pg_326-b_sml.jpg" width="239" height="109" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<p class="nind">retired casine has now gone out of fashion. The ladies consider such +secluded buildings as only fit for<span class="pagenum"><a name="page_327" id="page_327">{327}</a></span> laundries, and not preferring +themselves lives of perfect retirement and quiet, have brought in the +small</p> + +<div class="figcenter" style="width: 243px;"> +<a href="images/ill_pg_327_lg.jpg"> +<img src="images/ill_pg_327_sml.jpg" width="243" height="403" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ornament terminating pedestal on attic.</p></div> +</div> + +<p class="nind">villa where a whole family can dwell, and no selfish thoughts or gloomy +contemplations find place.<span class="pagenum"><a name="page_328" id="page_328">{328}</a></span></p> + +<p>In referring to the plan of the villa at page 304, of which the plate +page 302 shows the elevation, <i>e</i> is the</p> + +<div class="figcenter" style="width: 105px;"> +<a href="images/ill_pg_328-a_lg.jpg"> +<img src="images/ill_pg_328-a_sml.jpg" width="105" height="257" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<div class="figcenter" style="width: 223px;"> +<a href="images/ill_pg_328-b_lg.jpg"> +<img src="images/ill_pg_328-b_sml.jpg" width="223" height="93" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<p class="nind">small hall 8 feet square, <i>g</i> the gun room or waiting room is on the +right, the serving room with a lift from the basement on the left. The +saloon is a highly<span class="pagenum"><a name="page_329" id="page_329">{329}</a></span> decorated apartment, 20 feet in diameter. This is +seen in the section through the centre of the building given at page +310; <i>h</i> is the sleeping room, 13 feet square, with an ornamental +ceiling. The saloon serves as a dining-room and place for meals. The +drawing-room, <i>d</i>, or music room, 22 feet by 14 feet, is on</p> + +<div class="figcenter" style="width: 200px;"> +<a href="images/ill_pg_329_lg.jpg"> +<img src="images/ill_pg_329_sml.jpg" width="200" height="252" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Termination of attic pedestal.</p></div> +</div> + +<p class="nind">the left, <i>b</i> is the principal staircase leading to the upper rooms; +this serves also for servants. The small iron staircase <i>j</i>, is for +passage to the cold bath below, <i>i</i> is a room for a warm bath. The cold +bath, as shown in the section, is ventilated through a<span class="pagenum"><a name="page_330" id="page_330">{330}</a></span> domed ceiling, +but the scale is too small to show this perfectly.</p> + +<p>A portion of the saloon is shown at page 311, with a few of its details +in the six cuts following it.</p> + +<div class="figcenter" style="width: 176px;"> +<a href="images/ill_pg_330_lg.jpg"> +<img src="images/ill_pg_330_sml.jpg" width="176" height="328" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Chimney-pot elevation and section.</p></div> +</div> + +<p>The bedroom ceiling (page 316) supposes the covering of a tent, upheld +by spears and ropes. The colour of the drapery is of a light fawn, the +ground a deep ultramarine blue. In the centre of the ceiling<span class="pagenum"><a name="page_331" id="page_331">{331}</a></span> is a small +Cupid on a red or gilt ground, a light blue circle surrounding it. The +spears, roses, ropes, and tassels are gilt and coloured.</p> + +<div class="figcenter" style="width: 454px;"> +<a href="images/ill_pg_331_lg.jpg"> +<img src="images/ill_pg_331_sml.jpg" width="454" height="214" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Iron balconet to window.</p></div> +</div> + +<p><span class="pagenum"><a name="page_332" id="page_332">{332}</a></span></p> + +<p>The drawing-room ceiling is decorated plaster work in white and gold. +Its plan is shown at page 317, and three of its details on page 318. +Among other decorations of these rooms may be considered the +chimney-pieces. The cuts (page 319) give an elevation of the +drawing-room chimney-piece, the plan of its shelf above, and a portion +of its details to a larger scale beneath. This chimney-piece in the +finest statuary marble would cost 80<i>l.</i> to execute. Several have been +done for the author at that price. They look very well in execution. Two +fire-places of less pretensions are shown in the illustrations at pp. +320 and 321; the first was in rouge royal, costing 25<i>l.</i>; the last are +of marble with slate panels covered with imitation of Brocatelli +marbles, these costing 19<i>l.</i> 10<i>s.</i> each. The illustration of the whole +of the details of internal decoration of such a structure would fill a +much larger volume than the present; but it is the sole object of the +author to give such illustrations of the several designs, that a portion +of each part of the building only shall be shown; <i>k</i>, in the ground +plan (page 304), is an open portico with steps to the garden or park in +front of it.</p> + +<p>The next plan (page 322) is that of the mezzanine. This shows two of the +female servants’ sleeping rooms, <i>a</i>, <i>a</i>, with a closet; the decorated +ceilings of the saloon, drawing-room, and bed-room, are also shown; the<span class="pagenum"><a name="page_333" id="page_333">{333}</a></span> +bath-room should have some slight decoration, but this has been omitted. +The female servants’ sleeping rooms are each 17 feet in length by 8 in +width.</p> + +<p>The plan of the upper story (page 323) gives a smoking room <i>a</i>, with an +open terrace <i>c c</i>, front and back, a closet <i>d</i>, and a cistern room +<i>b</i>.</p> + +<div class="figcenter" style="width: 130px;"> +<a href="images/ill_pg_333_lg.jpg"> +<img src="images/ill_pg_333_sml.jpg" width="130" height="185" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of window sill and iron balconet.</p></div> +</div> + +<p>The basement plan (page 324) shows the cold bath in the centre, with its +staircase; the kitchen <i>b</i>, the scullery <i>g</i>, <i>h</i> <i>h</i> the larders, <i>c</i> +is the lift, and <i>d</i> <i>d</i> are men’s sleeping rooms; the servants’ hall +<i>t</i>, and housekeeper’s room <i>j</i>, are on the left, <i>q</i> is the wine +cellar, and <i>s</i> the beer cellar.</p> + +<p>The elevation of the back front is at page 325; it has a circular +portico and steps down to the garden. An attempt has been made to +introduce an original<span class="pagenum"><a name="page_334" id="page_334">{334}</a></span> termination for the pedestals on the attics, +instead of using the almost universal Soanic bulbous ornament so +repeatedly seen in nearly every public building in</p> + +<div class="figcenter" style="width: 359px;"> +<a href="images/ill_pg_334_lg.jpg"> +<img src="images/ill_pg_334_sml.jpg" width="359" height="219" alt="[Image unavailable.]" /></a> +</div> + +<p>London and the country, and of which the author’s late master, Sir John +Soane, was so fond. These attempts are given in the figures pp. 326-328; +and an attempt is made to give an ornamental chimney<span class="pagenum"><a name="page_335" id="page_335">{335}</a></span>-pot on page 330. +It will be seen in the figure that the ornamental cement pot or vase +contains an iron, or it might be a zinc, lining; this would be kept +warm, and a security for the smoke passing out.</p> + +<p>The exterior of the building is ornamented with statues and vases, and +the windows have iron balconets.</p> + +<p>The last remaining illustration to be given is the arcade on each side +of the villa, dividing the front and back gardens. The chief portion of +this in stone, with statues between the columns and vases over them; at +the back of the columns is another front of ornamental trellis work in +wood, with scroll stands for flowers—this is supported or upheld by the +stone screen; an elevation of each, with a section, is given at page +334.</p> + +<p class="spc2"> </p> + +<p>The vignette gives French and English patterns for cover to external +sunblinds.</p> + +<div class="figcenter" style="width: 145px;"> +<a href="images/ill_pg_335_lg.jpg"> +<img src="images/ill_pg_335_sml.jpg" width="145" height="150" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_336" id="page_336">{336}</a></span></p> + +<h2><a name="DESIGN_No_27" id="DESIGN_No_27"></a><i>DESIGN No. 27.</i><br /><br /> +A DECORATED WINDOW.</h2> + +<div class="figcenter" style="width: 423px;"> +<a href="images/ill_pg_336_lg.jpg"> +<img src="images/ill_pg_336_sml.jpg" width="423" height="284" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_337" id="page_337">{337}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design was sketched with the intention of making Italian forms +rival the tracery of the Decorated Gothic window, and to obtain a rich +and variegated mass of painted and coloured glass, without any stiff +mannerism or formality. The window was 11 ft. in height with a width of +7 ft.; it served as a screen in one of the principal staircases in a +house at Queen’s Gate, Kensington; immediately behind it is the +servants’ staircase, having a large window and skylight. The lower +portion of this window is divided into three lights by two pilasters +acting as mullions. The circle above the transome is filled with a +richly painted subject, representing a basket of flowers and scrollwork +on a ruby ground. The basket is formed of emerald glass, the ground of +the surrounding portions is richly embossed glass, the chief portions +white, the small portions ruby, yellow and blue, the latter with white +ornaments upon it. The three lights between the pilasters are filled +with embossed glass, and the whole is surrounded by borders of +scrollwork richly embossed, stained and painted; the ruby ground is +shown in the drawing by vertical lines, the yellow by oblique lines, and +the blue by horizontal lines. The expense, including the zinc-work for +fixing the glass to the upper portion or fan-light, was 22<i>l.</i> 6<i>s.</i>; +the lower portion cost 8<i>l.</i> 10<i>s.</i> It was the work of Messrs. Baillie +and Co. of Wardour Street.<span class="pagenum"><a name="page_338" id="page_338">{338}</a></span></p> + +<h2><a name="DESIGN_No_28" id="DESIGN_No_28"></a><i>DESIGN No. 28.</i><br /><br /> +A SCULPTOR’S VILLA.</h2> + +<div class="figcenter" style="width: 591px;"> +<a href="images/ill_pg_338_lg.jpg"> +<img src="images/ill_pg_338_sml.jpg" width="591" height="297" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_339" id="page_339">{339}</a></span></p> + +<p class="nind"><span class="letra">D</span>URING the year 1850 the author, in conjunction with the late Mr. John +Britton, F.S.A., was engaged in making some topographical sketches in +one of the western counties of England. He became for a short time the +guest of one of its principal residents—a gentleman who had succeeded +to the possession of more than a million of money, the result of a +relative’s gains as a merchant in the City. He had filled the small +house he was then inhabiting with a very fine collection of antique +bronzes: also with ancient and modern statuary. The house was occupied +in every corner with these valuable and beautiful works of art. He was +then having another house of larger dimensions erected to receive them. +Considerable discussion took place at his table between himself and his +visitors, among whom were two or three distinguished men of taste, as to +the best method of introducing sculpture into a dwelling of moderate +capacity. It was the general opinion that to properly exhibit classic +sculpture, a villa the size of those of the ancients, such as are +described by Pliny in the account of his villas at Laurentinum and +Tusculum, would be required, and that no other would suffice. On his +return home, the author, as a matter of amusement, without any thought +that his ideas would ever be carried out, made the present design; it +was a subject that pleased him, as he had only a few years pre<span class="pagenum"><a name="page_340" id="page_340">{340}</a></span>viously</p> + +<div class="figcenter" style="width: 510px;"> +<a href="images/ill_pg_340_lg.jpg"> +<img src="images/ill_pg_340_sml.jpg" width="510" height="292" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of ground floor.</p></div> +</div> + +<p><span class="pagenum"><a name="page_341" id="page_341">{341}</a></span></p> + +<p class="nind">superintended the construction of a small sculpture gallery for the late +Sir Francis Chantrey at Pimlico.</p> + +<p>The ground plan of this design shows a gallery of sculpture in the +centre of the building, a small</p> + +<div class="figcenter" style="width: 275px;"> +<a href="images/ill_pg_341_lg.jpg"> +<img src="images/ill_pg_341_sml.jpg" width="275" height="307" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of staircase.</p></div> +</div> + +<p>“Museo Chiaramonti.” The principal group at the end, representing the +capture of the Queen of the Amazons, is so placed that the staircase +winding round it forms its base; the group can be seen from<span class="pagenum"><a name="page_342" id="page_342">{342}</a></span> the +staircase, and from the galleries at the side, in every point of view. +This being a large building, the scale upon which the plans, elevation, +and sections are drawn is smaller than the scale previously used in this +volume. The gallery, including that portion which forms the ante-room to +the conservatory, is 80 ft. in length by 20 ft. in width, which is a +poor</p> + +<div class="figcenter" style="width: 200px;"> +<a href="images/ill_pg_342_lg.jpg"> +<img src="images/ill_pg_342_sml.jpg" width="200" height="235" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of principal staircase.</p></div> +</div> + +<p class="nind">imitation of the gallery at the Vatican—the Museo Chiaramonti. This is +280 ft. in length, with a breadth of 20 ft.</p> + +<p>But the possession of only a million of money gives a moderate income +compared with that of the sovereign popes at the time the Vatican was +erected. The<span class="pagenum"><a name="page_343" id="page_343">{343}</a></span></p> + +<div class="figcenter" style="width: 589px;"> +<a href="images/ill_pg_343_lg.jpg"> +<img src="images/ill_pg_343_sml.jpg" width="589" height="199" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through gallery and conservatory.</p></div> +</div> + +<p><span class="pagenum"><a name="page_344" id="page_344">{344}</a></span></p> + +<p class="nind">sculpture is arranged on each side of the gallery, the bas-reliefs +inserted in the walls, the bronzes on small pedestals, a reclining group +is placed in a niche in front of the staircase. A marble group is placed +in the fountain in the ante-room to the conservatory, and another in the +conservatory itself. A gallery of this description permits the admission +of a large quantity of sculpture, allowing it to be seen with advantage. +The entrance of the building, partly taken from the front of one of the +Italian palaces,<a name="FNanchor_C_3" id="FNanchor_C_3"></a><a href="#Footnote_C_3" class="fnanchor">[C]</a> permits a large quantity of sculpture to be placed +in advantageous positions. The plan, page 340, shows an entrance loggia +<i>a</i>, the hall <i>b</i>, 17 ft. by 16 ft., with the waiting-room <i>c</i>, to the +right, the breakfast parlour <i>d</i>, and the butler’s pantry <i>g</i>, to the +left; <i>f</i> is the library, 28 ft. by 16 ft., entered either from the +gallery or the waiting-room. It has a large window looking into the +ante-room to the conservatory, and permits a good view of the group of +sculpture and the fountain in the centre; <i>e</i> is the gallery, with the +principal staircase, <i>i</i> is the dining-room opening into the picture +gallery and drawing-room <i>h</i>, <i>k</i>.</p> + +<p>The section, page 343, shows the general arrangement, and an idea can be +formed of its grand<span class="pagenum"><a name="page_345" id="page_345">{345}</a></span> scenic effect in summer, when the doors were +opened. The walk round the conservatory and through the whole of the +gallery would have a length of 170 ft., and round the galleries 150 ft. +more, giving ample space to place a very large collection of sculpture. +Underneath the gallery were supposed to be large cellars for wine. These +had a private entrance through the pedestal of the Amazonian group, as +shown in the plan and section to a larger scale at page 342; the +collection below was supposed to be as valuable as the one above, and +calculated to yield as much enjoyment, and one certainly that would be +more highly appreciated by a greater number of persons. The villa, +however, is on a small scale compared with some of the noble residences +in the county, and the accommodation throughout very scanty. The +servants’ offices are shown annexed to the plan; <i>l</i> is the kitchen, 24 +ft. by 22 ft., <i>m</i> the scullery, <i>n</i> the housekeeper’s room, <i>o</i> a small +servants’ hall, <i>p</i> is a serving room, and <i>q</i> the external entrance to +the cellarage.</p> + +<p>By the side of the principal staircase is a descent into the cellars and +basement, for the servants, <i>b</i>, plan page 342. The conservatory has a +diameter of 40 ft. and a height of 44 ft.; it is of light construction, +in decorated ironwork.</p> + +<p>The one-pair plan shows the sleeping department, the principal +bed-rooms, <i>b</i> <i>b</i>, each with a dressing-room,<span class="pagenum"><a name="page_346" id="page_346">{346}</a></span></p> + +<div class="figcenter" style="width: 490px;"> +<a href="images/ill_pg_346_lg.jpg"> +<img src="images/ill_pg_346_sml.jpg" width="490" height="227" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of one-pair.</p></div> +</div> + +<p><span class="pagenum"><a name="page_347" id="page_347">{347}</a></span></p> + +<p><i>d</i> <i>d</i>. These are entered direct from the gallery; in the front of the +building are five smaller sleeping</p> + +<div class="figcenter" style="width: 400px;"> +<a href="images/ill_pg_347_lg.jpg"> +<img src="images/ill_pg_347_sml.jpg" width="400" height="300" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cross section.</p></div> +</div> + +<p class="nind">rooms. At the conservatory end the gallery opens on to the roof of the +ante-room beneath, and from this<span class="pagenum"><a name="page_348" id="page_348">{348}</a></span> there is an entrance to a circular +gallery inside the conservatory. On the servants’ side are seen two +large sleeping rooms, and a housemaid’s closet; as this portion of the +building is kept lower than the other, it could have two or three rooms +constructed over the kitchen, or it could be carried up another story. +The plan of the principal bedchambers is taken up another floor; the +small staircase for this purpose is seen at the end of the gallery.</p> + +<p>The cross section (page 347) shows the height of the building, and its +general construction. The whole of the principal living rooms in the +three floors are of the same height, 16 ft. 6 in. each; 37 steps were +required in the principal staircase to ascend to the first floor on one +side, and 31 on the other; the roof of the saloon was to be constructed +similar to the roof of the Riding-house shown in plate, page 389. Large +roofs can be constructed on this principle at a very cheap rate, and it +is a very strong and efficient one; the roof of the Pantheon in +Oxford-street, constructed by Mr. Sydney Smirke, is of a similar kind; +the roofs of the annexes to the Exhibition building of 1862 by Captain +Fowkes were on the same principle, but as these were only intended to +stand for a year, were very slight. The cross section shows the +ventilating flue, proposed and illustrated in a following chapter; the +small stack in the low building shows the incline necessary to meet<span class="pagenum"><a name="page_349" id="page_349">{349}</a></span> the +back eddy of wind from the high building. It would have been better, +could it have been effected, to have placed the stack in a position +parallel to the high building, and not at right angles to it. The stack +on the latter shows two ventilating flues, each with an upward shaft; +the whole of the smoke from the fireplaces would be delivered from these +two shafts.</p> + +<p>It only remains to illustrate the system of warming proposed to have +been introduced. This was by a combination of two entirely different +systems of warm water circulation through iron pipes.</p> + +<p>The various apparatus of warming buildings by the circulation of hot +water, may be roughly stated to be of two kinds, each acting on the +opposite principle to the other. The first, or more modern one, is the +<i>closed system</i>. This has always been preferred by the author, it being +more conveniently introduced into a building, less expensive, and giving +less trouble than any other, and more certain in its action. In it the +water circulates with great rapidity, completely under pressure, the +pipes being closed, and the whole of the air expelled from them. The +older system is that in which the tubes are not closed, but are +connected with a cistern, into which the water is allowed to flow and +re-flow; the two may very properly be called the high and low +temperature systems, and by these terms they<span class="pagenum"><a name="page_350" id="page_350">{350}</a></span> are here designated. With +the first, the tubes can be made to reach a higher degree of heat if +necessary, by placing a larger proportion of them than is usual in the +furnace; but with the second, a temperature of 180 degrees can alone be +reached. With the latter, its greater or less efficiency depends upon +the position of its open cistern, which regulates the amount of pressure +in the tubes, according as its situation is high or low. It was +introduced into this country about 1818; the open cistern was placed in +the upper part of the house, the boiler being below in the kitchen, thus +allowing a considerable pressure in the tubes, and securing a quick +circulation of the water. The high temperature system was introduced by +A. M. Perkins, Esq., about the year 1832; in its simplest form it +consisted of a continuous or endless tube of wrought iron of one inch +external diameter, filled with water, and closed in all parts; a portion +of the tubing was formed into a coil and placed in a furnace of wrought +iron, the fire being enclosed in fire-brick. When it was first +introduced a larger amount of tubing was placed in the furnace than is +now usually done; with the proper amount, one-tenth or one-eleventh only +of the full quantity is necessary, and then it must be obvious that no +overheating of the tubes can take place. In practice it is more usual to +find objections made to the apparatus not giving sufficient heat, than<span class="pagenum"><a name="page_351" id="page_351">{351}</a></span> +to its giving too much. The quantity of feet in pipes necessary to raise +rooms of a certain size to a given temperature, must be proportioned to +their cubical contents, and this depends equally on the situation and +aspect of the building, the number of doors, and windows or skylights; +no rule can consequently be given which would be applicable to all +places with any degree of certainty.</p> + +<p>The pipes being only five-eighths of an inch internal diameter, a very +small quantity of water is required to fill the apparatus. A tube called +the expansion tube is placed above the highest level of the circulating +pipes, and is generally of larger diameter. The object of this tube is +to allow for the expansion of the water as it becomes heated; a tube is +also placed at the highest level, in order to fill the apparatus, so as +to leave the expansion tube empty.</p> + +<p>The tubes are provided with screw plugs, so as to be conveniently opened +when it is required to fill the pipes with water, and closed again after +being filled. This can be done with facility by a servant. The +circulation of the water is produced by the application of heat to the +coil in the furnace; and as the small size of the pipes admits of +presenting the largest possible amount of surface to the action of the +fire, it is clear that a greater economy of fuel is effected by it than +by the ordinary system of boilers. As the water<span class="pagenum"><a name="page_352" id="page_352">{352}</a></span> becomes heated it rises +immediately to the highest level of the circulating pipes, and thus +forms a column of heated water, specifically lighter than the colder +water, which descends to the lower part of the coil. Thus a circulation +is effected throughout the whole course of the pipes,<a name="FNanchor_D_4" id="FNanchor_D_4"></a><a href="#Footnote_D_4" class="fnanchor">[D]</a> which +eventually become heated, and the whole may be regulated exactly to that +degree of temperature which is most conducive to a beneficial effect.</p> + +<p>To regulate the degree of heat to be given to the tubes, without +requiring the necessity of an attendant, advantage has been taken of the +expansive property of the iron pipe when heated. There are three +multiplying levers fixed in a box, and so placed that the short arm of +one of the levers rests upon a regulating screw attached to the flow +pipe. On the other end of the series of levers a rod so rests that upon +the slightest movement of the levers, the damper in the flue, which is +attached to the rod, is opened or closed, as the case may be. The box of +levers is suspended from the hot pipe, so as to leave about two feet in +length between the point of suspension and the point of contact with the +short arm of the lever.<span class="pagenum"><a name="page_353" id="page_353">{353}</a></span></p> + +<p>The operation of this arrangement is obvious, for the instant the pipe +becomes heated, it expands and presses the short arm of the lever; and +as the fulcrum within the box cannot move, by reason of the rod which +suspends it being cold, it follows that the lever must be depressed, by +which action a sufficient motion is given to the damper, to close it at +any given temperature at which it may be originally fixed.</p> + +<p>The great advantage in the use of this apparatus is the saving of time +in obtaining the requisite degree of heat. It often happens that the +time occupied in heating the water of an ordinary hot-water apparatus +completely defeats the object of getting warmth in any reasonable time, +particularly in greenhouses, where it is frequently desirable to get up +the heat quickly, to prevent the effect of frost. It has been said that +this property of generating the heat rapidly has the disadvantage of not +being able to retain it: this, however, is not the case, for, on the +contrary, an equal temperature may be maintained for any length of time +that may be desired. It is only necessary to make the fireplace +sufficiently large to contain fuel enough to last the time the heat is +required to be continued, and the damper will regulate the combustion of +the fuel and the heat of the pipes, so that there will be no variation +for twelve hours together.<span class="pagenum"><a name="page_354" id="page_354">{354}</a></span></p> + +<p>There being no boiler to the apparatus, it is free from the ordinary +danger of explosion; if a pipe by possibility should burst, no harm +ensues, for the water escapes from so small an aperture that it becomes +absolutely cool by its expansion and mixture with atmospheric air.</p> + +<p>So little fear of fire exists with the apparatus, that the directors of +the principal fire offices readily accept, at the lowest rate of +premium, all proposals for the insurance of buildings in which the +system is adopted, not requiring even the customary inspection.</p> + +<p>The author made drawings of one of these apparatus put up in an +ornamental greenhouse in Kew Gardens in 1844; and fourteen years after, +the director of the garden, Sir W. J. Hooker, publicly allowed it to be +stated in print that no hot-water apparatus in any of their houses had +given so much satisfaction; that the heat was given out after lighting +the fires more rapidly than in any other of their houses, and steadily +maintained at any degree of temperature required. The two systems of the +high and low temperature can readily be combined, and the temperature of +both large and small tubes nearly equalized. This may be done by using +one furnace. A diagram given by Dr. Arnott in a lecture delivered by him +at the Royal Institution in March, 1836, with his explanation, will show +the principle upon which the combination is<span class="pagenum"><a name="page_355" id="page_355">{355}</a></span> effected. Suppose A, fig. +1, is a cistern full of cold water, and B a cistern full of hot water: +if the two cocks <i>c</i> <i>c</i> are unturned, it is a fact that the water at +<i>d</i> will be one degree of warmth only above the water at</p> + +<div class="figcenter" style="width: 266px;"> +<a href="images/ill_pg_355_lg.jpg"> +<img src="images/ill_pg_355_sml.jpg" width="266" height="89" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 1.</p></div> +</div> + +<p>A, and the water at e will be of one degree less temperature than the +water in B. If, therefore, on this principle, some of the pipes of the +high-temperature system are passed through the large tubing of the low +temperature one, the desired effect is obtained: the large pipes or +tablets of one apparatus remain at their full heat, while an additional +quantity of inch pipe of sufficiently warm temperature is obtained, that +can be carried into rooms and placed in situations into which the +warming surfaces of the low-temperature system could not be made to +approach.</p> + +<p>As regards the low temperature apparatus, if the large pipes belonging +to it are laid in sufficient quantity, they doubtless have the effect of +producing a moderate degree of heat.</p> + +<p>The best way of introducing them into a dwelling-house is to sink them +in channels in the floor, with<span class="pagenum"><a name="page_356" id="page_356">{356}</a></span> perforated ironwork over them: they are +more usually introduced into hothouses, factories, and workshops, where +their appearance is not objectionable. A feeling exists in favour of +their use in conservatories; in order to show how they can be retained +for that purpose, the combined systems are introduced in the plan of the +villa here described.</p> + +<p>The ground plan shows the entrance hall, the gallery or sculpture saloon +in the centre, the principal staircase, the picture room and the +servants’ staircase, all warmed by the inch pipes; the larger pipes are +introduced into the conservatory. In the picture room—that between the +drawing-room and the dining-room—and in the hall, the pipes are sunk in +trenches in the floor. They are close to the walls, and lined with brick +with an inside covering of zinc. These trenches have over them +perforated ornamental ironwork; <i>a´</i> <i>a´</i> are pedestals containing coils +of pipe; <i>b´</i> <i>b´</i> are pipes behind the skirting, likewise perforated. +Where these pipes pass the doorways they are sunk in the floor. In the +conservatory <i>d´</i> <i>d´</i> are the large pipes; <i>f</i> is an open cistern, +through which the circulation of water in the pipes flows; at <i>g</i> are +placed the expansion and filling tubes.</p> + +<p>Fig. 2 is an isometrical view of the pipes, furnace, and cisterns +complete to a small scale; <i>e</i> is the furnace placed in the basement; +<i>f</i> is a cistern of cold<span class="pagenum"><a name="page_357" id="page_357">{357}</a></span> water through which the flow and return pipes +from the furnace pass: the water becoming heated in the cistern flows +out, and returns in the direction shown by the arrows. The flow pipe, +leaving this cistern, passes up to the expansion tube <i>g</i>, whence the +tubes run through the building in the manner shown, returning to the +furnace. The pipes <i>d</i>, are two other flow and return pipes, furnished +with a stop-cock, by means of which the circulation can be confined +either to the house or to the conservatory. The furnace</p> + +<div class="figcenter" style="width: 364px;"> +<a href="images/ill_pg_357_lg.jpg"> +<img src="images/ill_pg_357_sml.jpg" width="364" height="113" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 2.</p></div> +</div> + +<p class="nind">should in reality contain two coils of pipe, having two flows and two +returns, the whole of which should go through the cistern <i>f</i>, but the +small scale of the plate allows one circulation only to be shown.</p> + +<p>Dr. Arnott’s principle of nearly equalizing temperatures was applied by +him for room ventilation. Its mode of application is explained in the +following extract from his report on “Warming and Ventilating +Infirmaries, Workhouses, Factories, and Domestic Apartments,” given in +the appendix to the Second<span class="pagenum"><a name="page_358" id="page_358">{358}</a></span> Annual Report of the Poor Law +Commissioners:—“In rooms where the mechanical mode of ventilation +already described (by means of fanners) and now common in factories, has +been adopted, an addition might be made to the apparatus for extracting +the impure air, which would drive fresh air in, and which, by causing +the two currents to pass each other in contact for a certain distance in +very thin metallic tubes, would cause the fresh air entering to absorb +nearly the whole heat from the impure air going out, and would thus +render it at once both pure and warm, and would consequently save, after +the room was once warmed, any further expense of fuel for the day, and +would avoid, how rapid soever the ventilation, all the danger from +draught and unequal heating.”</p> + +<p>The above idea is extremely ingenious, but as to its practical +efficiency, some doubt might be expressed. The temperature of a warm +room, even if it was 65°, would be much too low to produce the action +described.</p> + +<p>A very ingenious application of the small-tube system of warming has +been introduced into his dwelling by Mr. Babbage. He placed the furnace +in the basement, and divided the whole length of piping by means of a +multiple cock into four circulations, any one of which he could turn off +or on at pleasure; one circulation warmed the bath, which,<span class="pagenum"><a name="page_359" id="page_359">{359}</a></span> when the +cistern that supplied it was once up to 160 degrees (and this it took an +hour to obtain), remained sufficiently warm for a bath during 24 hours. +The whole quantity of pipe in the building was 891 feet, and the +quantity in the furnace 135. The thermometer in the smoke-flue was +seldom higher than 212 degrees, when that in the flow-pipe was 240 +degrees. Any two or three, or all four of the circulations could be +worked together, by simply turning an index provided for the purpose.</p> + +<p>The tool-room was always kept at a temperature of from 50° to 54°. In +winter the hat-room received a portion of piping, so that coats and +gloves, even in the dampest weather, were always kept dry. One +circulation was sent through the dining-room a short time before it was +used; it was after a certain time turned off and sent through the +bedrooms and dressing-rooms. The various rooms in the winter were kept +at different temperatures, the dressing-rooms were a few degrees warmer +than were the bed-rooms: an inducement for early rising. The linen was +aired, and warm water provided in the dressing-rooms and for the use of +the servants. The apparatus saved labour in cleaning and lighting of +fires, and it was economical, the consumption of fuel during the six +winter months being about a bushel of coke in 24 hours. The supply of +air, and the consequent<span class="pagenum"><a name="page_360" id="page_360">{360}</a></span> combustion and quantity of fuel, was regulated +by the fire itself. This was never suffered to go out after it had been +once lighted, except when necessary to remove the clinkers, and this +occurred about once a fortnight. In the morning, about seven o’clock, +the fire was well shaken by means of a lever attached to the bars of the +grate. Coal or coke was supplied, and the air valve opened. The +stop-cock was then turned on to supply the coils for the library and +stairs. At about eight o’clock in the evening the stop-cock was turned +to heat the coil of the bath, and at eleven o’clock, fuel having been +supplied, the air valve was completely closed, and the damper also if +necessary. By these means the fire burned very slowly during the whole +of the night, and the bath cistern received the warmth thus generated.</p> + +<p>These conveniences and luxuries might be more generally applied than +they are at present in the dwellings of this country.</p> + +<div class="figcenter" style="width: 313px;"> +<a href="images/ill_pg_360_lg.jpg"> +<img src="images/ill_pg_360_sml.jpg" width="313" height="72" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_361" id="page_361">{361}</a></span></p> + +<h2><a name="DESIGN_No_29" id="DESIGN_No_29"></a><i>DESIGN No. 29.</i><br /><br /> +GARDEN SEAT.</h2> + +<p>This small ornamental structure was designed for a garden in Wiltshire, +on an estate near Chippenham. The garden, which is very extensive, +rises<span class="pagenum"><a name="page_362" id="page_362">{362}</a></span></p> + +<div class="figcenter" style="width: 282px;"> +<a href="images/ill_pg_361-a_lg.jpg"> +<img src="images/ill_pg_361-a_sml.jpg" width="282" height="218" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<div class="figcenter" style="width: 239px;"> +<a href="images/ill_pg_361-b_lg.jpg"> +<img src="images/ill_pg_361-b_sml.jpg" width="239" height="89" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<p class="nind">in steep terraces up the combe or hill by the side of the mansion, which +lies down in the valley. The structure was to be on the highest part of +the garden,</p> + +<div class="figcenter" style="width: 367px;"> +<a href="images/ill_pg_362_lg.jpg"> +<img src="images/ill_pg_362_sml.jpg" width="367" height="272" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of front.</p></div> +</div> + +<p class="nind">commanding an extensive view of the valley, the village, and adjacent +country. As the house is in the neighbourhood of several fine old +Elizabethan mansions, the design partook of that character. The view +represents<span class="pagenum"><a name="page_363" id="page_363">{363}</a></span></p> + +<div class="figcenter" style="width: 319px;"> +<a href="images/ill_pg_363-a_lg.jpg"> +<img src="images/ill_pg_363-a_sml.jpg" width="319" height="268" alt="[Image unavailable.]" /></a> +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>Section. +</p></td><td> </td> +<td> +<p>Side elevation. +</p></td></tr> +</table> +</div></div> + +<div class="figcenter" style="width: 269px;"> +<a href="images/ill_pg_363-b_lg.jpg"> +<img src="images/ill_pg_363-b_sml.jpg" width="269" height="173" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Balustrade.</p></div> +</div> + +<p><span class="pagenum"><a name="page_364" id="page_364">{364}</a></span></p> + +<p class="nind">the structure in its complete state, with the terrace overlooking the +valley. The turret on the tower of the village church is seen in the +distance. The latter</p> + +<div class="figcenter" style="width: 228px;"> +<a href="images/ill_pg_364_lg.jpg"> +<img src="images/ill_pg_364_sml.jpg" width="228" height="435" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Portion of exterior front.</p></div> +</div> + +<p><span class="pagenum"><a name="page_365" id="page_365">{365}</a></span></p> + +<div class="figcenter" style="width: 333px;"> +<a href="images/ill_pg_365-a_lg.jpg"> +<img src="images/ill_pg_365-a_sml.jpg" width="333" height="244" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Portion of the entrance front.</p></div> +</div> + +<div class="figcenter" style="width: 282px;"> +<a href="images/ill_pg_365-b_lg.jpg"> +<img src="images/ill_pg_365-b_sml.jpg" width="282" height="222" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Balustrade (2nd example).</p></div> +</div> + +<p><span class="pagenum"><a name="page_366" id="page_366">{366}</a></span></p> + +<p class="nind">is an agreeable object in the view, being an extremely fine specimen of +Decorated English Gothic, and in good preservation.</p> + +<p>The plan is beneath the view, and the elevation of the building is +likewise given. The whole of it was to have been constructed in stone; +the vases were intended to receive flower-pots, so that a constant +change of flowers could be placed in them by the pots being changed as +often as was desired. A section through the centre and a side elevation +are given; the balustrade is from an ancient example, it is five inches +in thickness. The mouldings of the exterior are of plain Roman +character, without any admixture of Gothic forms. The best examples of +our Elizabethan architecture are pure Italian, but possessing a bolder +and more picturesque outline, suited to our northern climate, than that +shown by the elegant Italian model.</p> + +<p>The second balustrade, p. 365, was an after-suggestion, it being +considered more appropriate to the design than the first one. Another +elevation was made for the same structure; this is shown as Design No. +30; it was to occupy the same site, and to have been constructed wholly +in stone.</p> + +<p class="spc2"> </p> + +<p>Opposite is a drawing of an ancient chimney-piece at Enfield, bearing +the inscription—</p> + +<div class="poetry"> +<div class="poem"><div class="stanza"> +<span class="i0">Sola salus servire Deo,<br /></span> +<span class="i0">Sunt cætera fravdes.<br /></span> +<span class="pagenum"><a name="page_367" id="page_367">{367}</a></span></div></div> +</div> + +<div class="figcenter" style="width: 351px;"> +<a href="images/ill_pg_367_lg.jpg"> +<img src="images/ill_pg_367_sml.jpg" width="351" height="511" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ancient chimney-piece in the Palace School, Enfield.</p> + +<p>(Formerly in the occupation of Queen Elizabeth.)</p></div> +</div> + +<p><span class="pagenum"><a name="page_368" id="page_368">{368}</a></span></p> + +<h2><a name="DESIGN_No_30" id="DESIGN_No_30"></a><i>DESIGN No. 30.</i><br /><br /> +A GARDEN SEAT.</h2> + +<div class="figcenter" style="width: 397px;"> +<a href="images/ill_pg_368_lg.jpg"> +<img src="images/ill_pg_368_sml.jpg" width="397" height="336" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_369" id="page_369">{369}</a></span></p> + +<p class="nind"><span class="letra">T</span>HE turret of the village church is seen through the centre opening; +this was proposed to be filled with plain and coloured glass; the detail +of the ornament above the cornice is copied from that on</p> + +<div class="figcenter" style="width: 359px;"> +<a href="images/ill_pg_369_lg.jpg"> +<img src="images/ill_pg_369_sml.jpg" width="359" height="159" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan (2nd design).</p></div> +</div> + +<p class="nind">the gables of Charlton House, Wiltshire, from which the author had just +returned, having visited it for the purpose of making drawings and fully +illustrating it in one of his publications.<span class="pagenum"><a name="page_370" id="page_370">{370}</a></span></p> + +<h2><a name="DESIGN_No_31" id="DESIGN_No_31"></a><i>DESIGN No. 31.</i><br /><br /> +AN ICE-HOUSE.</h2> + +<div class="figcenter" style="width: 168px;"> +<a href="images/ill_pg_370-a_lg.jpg"> +<img src="images/ill_pg_370-a_sml.jpg" width="168" height="201" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view.</p></div> +</div> + +<div class="figcenter" style="width: 389px;"> +<a href="images/ill_pg_370-b_lg.jpg"> +<img src="images/ill_pg_370-b_sml.jpg" width="389" height="219" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section.</p></div> +</div> + +<p><span class="pagenum"><a name="page_371" id="page_371">{371}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design represents an old-fashioned ice-house, such as were +constructed in the country several years ago, and still are so, where +large quantities of ice are required to be stored. This small structure, +embosomed amidst trees, impervious to the sun, was formed with the stone +of the district, and arched and domed over with bricks. The well <i>a</i>, +sunk in the earth, is 10 feet in diameter, <i>b</i> is a cesspool to receive +the water that drops from the ice, and <i>c</i> is the drain</p> + +<div class="figcenter" style="width: 357px;"> +<a href="images/ill_pg_371_lg.jpg"> +<img src="images/ill_pg_371_sml.jpg" width="357" height="155" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<p class="nind">to convey it to the well <i>d</i>; the ice is thrown in from the top, the +earth <i>e</i>, and the two stone slabs and the straw between them, being +removed.</p> + +<p>As an additional precaution against warmth, the structure was buried in +a mound of earth. This, as it quite destroyed any picturesque effect it +would otherwise have had amidst the trees, is not shown in the view.<span class="pagenum"><a name="page_372" id="page_372">{372}</a></span></p> + +<p>These ice-wells have not often so long a passage of approach; one only +from 6 to 10 feet in length is sufficient, but double doors and a free +current of air across the entrance passage are desirable. It has not +often a domed roof to cover that of the well, a common wooden roof +covered with thatch placed a few feet above the roof of the well being +sufficient; neither is it often considered necessary to have a well to +receive the water dropping from the ice. The ice-well walls may be +splayed down to the ground, with proper footings, and an uncovered piece +of ground left at the bottom. Over this is placed an open wood frame, +which supports the ice, and permits all water to drain off. When the +walls are splayed down in this form, buttresses must be added to support +them, and the weight of the ice. Every country house in America is +provided with an excellent ice-house of the simplest and most practical +kind. It consists of a deep excavation in the earth, roofed over with a +pointed thatch. These ice-houses are always well filled in the winter, +and rarely if ever quite emptied during the summer. An accurate section +of such an ice-well, with full directions for its construction, has been +lately published.<a name="FNanchor_E_5" id="FNanchor_E_5"></a><a href="#Footnote_E_5" class="fnanchor">[E]</a></p> + +<p><span class="pagenum"><a name="page_373" id="page_373">{373}</a></span></p> + +<h2><a name="DESIGN_No_32" id="DESIGN_No_32"></a><i>DESIGN No. 32.</i><br /><br /> +A SUBURBAN VILLA.</h2> + +<p>One of the chief peculiarities in small suburban villas that have been +erected near London within the last thirty years, is that of making the</p> + +<div class="figcenter" style="width: 329px;"> +<a href="images/ill_pg_373_lg.jpg"> +<img src="images/ill_pg_373_sml.jpg" width="329" height="306" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of principal front.</p></div> +</div> + +<p class="nind">chief room on the basement the ordinary apartment for the family. The +confined areas formerly adopted in front and back of the building are +omitted, and<span class="pagenum"><a name="page_374" id="page_374">{374}</a></span> the earth is sloped up in form of a bank, being adorned +with flowers and shrubs so as to look pleasing from within the +apartments. There is usually a side room in the basement, with +descending steps to the entrance, which serves as an office to the +occupier of the house. If his business be chiefly in the locality,</p> + +<div class="figcenter" style="width: 231px;"> +<a href="images/ill_pg_374_lg.jpg"> +<img src="images/ill_pg_374_sml.jpg" width="231" height="258" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">this is very convenient; the chief room in the basement is used as a +dining and supper room, and indeed for all common purposes by the +family. It renders it unnecessary to have more than one, or at most, two +servants’ rooms. The drawing-room, the library, and the superior +dining-room are on the floor above.<span class="pagenum"><a name="page_375" id="page_375">{375}</a></span></p> + +<p>This suburban dwelling very much resembles the same class of structure +in America, where economy of space is carried out more completely than +with us, and the residents are less dependent on servants. In the +American house, the pantry is nearly always placed between the kitchen +and the dining-room, and its chief approach is from the latter, even +when the dining-room is on the ground floor. The American</p> + +<div class="figcenter" style="width: 191px;"> +<a href="images/ill_pg_375_lg.jpg"> +<img src="images/ill_pg_375_sml.jpg" width="191" height="197" alt="[Image unavailable.]" /></a> +<div class="caption"><p>One-pair plan.</p></div> +</div> + +<p class="nind">house has the office, or place of business of the occupier, on the lower +floor, with its separate entrance. The Americans exhibit a compactness +of arrangement and an attention to detail that prove they are in no way +behind us in a knowledge of what is requisite for household comfort. One +peculiarity in the American building is the verandah, which is +considered to be in<span class="pagenum"><a name="page_376" id="page_376">{376}</a></span>dispensable. It is large and roomy, and often placed +on three sides of the building; the climate, warmer and drier than our +own, renders such an addition a</p> + +<div class="figcenter" style="width: 321px;"> +<a href="images/ill_pg_376_lg.jpg"> +<img src="images/ill_pg_376_sml.jpg" width="321" height="374" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through front and back.</p></div> +</div> + +<p class="nind">great luxury. Our atmosphere in the winter months has often been +pronounced of leaden gravity, and it does not permit of any erection +that stops the circula<span class="pagenum"><a name="page_377" id="page_377">{377}</a></span>tion of the air, which would render it stagnant. +Another peculiarity in the houses of our American cousins, is that they +are often cased in wood. If the house be only two or three storeys in +height, an 8-in. brick wall is considered sufficient: this is “furred +off outside, and covered with clap boards,” in the ordinary</p> + +<div class="figcenter" style="width: 227px;"> +<a href="images/ill_pg_377_lg.jpg"> +<img src="images/ill_pg_377_sml.jpg" width="227" height="259" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Basement plan.</p></div> +</div> + +<p class="nind">way followed in a wooden building. Its advantage is, that it is sure to +secure a perfectly dry wall. This mode of construction in England would +necessitate the painting of the whole of the exterior once at least in +every three or four years. One more suitable with us for a wall in a +damp situation would be the plan<span class="pagenum"><a name="page_378" id="page_378">{378}</a></span> the author pursued in the house on +Salisbury Plain, putting quartering against the wall, and covering it +with diamond slating. The surface could be varied with coloured +encaustic tiles so as to present a pleasant</p> + +<div class="figcenter" style="width: 120px;"> +<a href="images/ill_pg_378_lg.jpg"> +<img src="images/ill_pg_378_sml.jpg" width="120" height="350" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Front windows.</p></div> +</div> + +<p class="nind">appearance, proper ventilation being given behind the slating.</p> + +<p>The small suburban villa represented in the plate<span class="pagenum"><a name="page_379" id="page_379">{379}</a></span> is supposed to stand +on a plot of ground with a frontage of 50 ft.; the construction is in +brick and stucco, the small columns of the portico are of Bath stone. +The plan shows a small hall <i>a</i>, the library <i>c</i>, 15 ft. by 14 ft., and +on the right with a strong closet. The dining-room <i>e</i>, is 18 ft. by 15 +ft., and on the left; the drawing-room <i>d</i>, is 23 ft. by 18 ft. There is +a large commodious staircase <i>b</i>, and leading from it a small +dressing-room <i>i</i>, and closet. This dressing-room might easily be made +to contain a bath; the water for the bath in any one of the floors +should always be heated by means of a close boiler attached to an +ordinary kitchen-range. It is the most simple, economical, and efficient +arrangement for that purpose, as no more fire than that used for cooking +is required. The cold water is supplied from a cistern at the top of the +house, and a continual circulation of the water between that and the +boiler goes on, the hot water ascending, the cold descending. Pipes may +be branched off from the ascending pipe, which leaves the top of the +boiler, and taken to any part of the house, ensuring a supply of hot +water to dressing-rooms, nurseries, &c. Instead of a boiler, a coil of +iron or copper pipe is often used, rendering the circulation quicker and +more effective. The one-pair plan of the suburban villa contains three +large bedrooms, two dressing-rooms, and one invalid’s room<span class="pagenum"><a name="page_380" id="page_380">{380}</a></span> entered from +the staircase; to this room the closet could be attached. The staircase +leads up to two large attics for the servants.</p> + +<p>The section, p. 376, shows a portion of the front and back of the +building, with the construction of the roof, the back wall not being +carried so high as the front. This is done to give the building an +imposing appearance from the road, a mode of construction very often +carried out in suburban houses. The basement plan affords good +accommodation; <i>f</i> is the kitchen, 18 ft. by 15 ft., <i>g</i> the scullery, +<i>h</i> the larder, <i>k</i> the living room, <i>l</i> the business office, with its +separate entrance. The closet for the servants is external; the +footman’s pantry and the wine cellar lead out of the staircase <i>b</i>; the +coal cellar is under the portico. The house thus contains seventeen +rooms; the cost of its erection would be 3260<i>l.</i> completely finished. A +detail of the windows is given on a large scale at page 378.<span class="pagenum"><a name="page_381" id="page_381">{381}</a></span></p> + +<p>The following is an elevation of the vane, the constructive detail of +which is given in a former vignette. The character is Elizabethan, and +designed from an example at Oxnead Hall, Norfolk.</p> + +<div class="figcenter" style="width: 212px;"> +<a href="images/ill_pg_381_lg.jpg"> +<img src="images/ill_pg_381_sml.jpg" width="212" height="391" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_382" id="page_382">{382}</a></span></p> + +<h2><a name="DESIGN_No_33" id="DESIGN_No_33"></a><i>DESIGN No. 33.</i><br /><br /> +A SUBURBAN VILLA.</h2> + +<div class="figcenter" style="width: 385px;"> +<a href="images/ill_pg_382_lg.jpg"> +<img src="images/ill_pg_382_sml.jpg" width="385" height="444" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of principal front.</p></div> +</div> + +<p><span class="pagenum"><a name="page_383" id="page_383">{383}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design is also one for a suburban villa, or a small country house, +on a rather larger scale than the preceding. This villa, dressed with a +plain Italian elevation, and of smaller dimensions as to plan, has been +erected on several sites near London. The front of the present design +was partly taken from a plate in “Nash’s Mansions,” at the request of a</p> + +<div class="figcenter" style="width: 305px;"> +<a href="images/ill_pg_383_lg.jpg"> +<img src="images/ill_pg_383_sml.jpg" width="305" height="246" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">gentleman who very much admired it, and who was anxious to have a +semi-detached villa of the same character. The villa was therefore +designed so that another could be placed by the side of it. The two +gables form the centre, the chimney stack is between them on the roof; +the front was to have a sunk area,<span class="pagenum"><a name="page_384" id="page_384">{384}</a></span> topped by a Gothic balustrade, and +as there were no principal rooms on the basement floor in the front of +the house, this was easily given; the rooms at the back looked into the +garden, and these had the ground in front of them sloped up.</p> + +<p>The ground plan shows an entrance hall <i>a</i>, 14 ft. by 10 ft., with a +commodious staircase <i>b</i>, 18 ft. by 12 ft., to the left. There was a +closet to the right;</p> + +<div class="figcenter" style="width: 289px;"> +<a href="images/ill_pg_384_lg.jpg"> +<img src="images/ill_pg_384_sml.jpg" width="289" height="190" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The one-pair plan.</p></div> +</div> + +<p class="nind">a lift from the basement could easily be obtained here. The study <i>c</i>, +was about 16 ft. square, and was entered from the hall; the dining-room +<i>e</i>, had a bay window, and was in the centre of the building; it +measured 20 ft. square. The drawing-room <i>d</i>, was very large, being 31 +ft. in length by 16 ft. in breadth, with a large window at each end; +this was often considered<span class="pagenum"><a name="page_385" id="page_385">{385}</a></span> objectionable, as the occupants of the room +can always be seen from the opposite houses, but as this was intended +for a semi-detached villa, windows could not be obtained at the side.</p> + +<p>The one-pair plan contains one large and three small bedrooms, with a +closet. Over the porch was placed a conservatory, and by its side the +tower staircase led up to the attic. This contained four good-sized</p> + +<div class="figcenter" style="width: 295px;"> +<a href="images/ill_pg_385_lg.jpg"> +<img src="images/ill_pg_385_sml.jpg" width="295" height="189" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Attic plan.</p></div> +</div> + +<p class="nind">bedrooms, each with a fireplace; there was a housemaid’s closet, and a +place for the slate cistern to supply the lower part of the house with +water; a small cistern on a higher level was placed on the roof of the +tower. Another room could easily have been obtained on this floor, by +continuing the passage at the housemaid’s closet through the centre +room, and<span class="pagenum"><a name="page_386" id="page_386">{386}</a></span> this was proposed, but it was objected to, as it could not be +rendered light and airy. A second staircase,</p> + +<div class="figcenter" style="width: 207px;"> +<a href="images/ill_pg_386_lg.jpg"> +<img src="images/ill_pg_386_sml.jpg" width="207" height="458" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section through portion of building.</p></div> +</div> + +<p><span class="pagenum"><a name="page_387" id="page_387">{387}</a></span></p> + +<p class="nind">from the attic to the basement, could have been formed in the tower, the +two closets being placed in a similar position to the one on the first +floor. The staircase in the tower led on to the roof. The section shows +the height of the various rooms, there being no variation throughout the +floors. It was intended to carry out</p> + +<div class="figcenter" style="width: 292px;"> +<a href="images/ill_pg_387_lg.jpg"> +<img src="images/ill_pg_387_sml.jpg" width="292" height="251" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The basement plan.</p></div> +</div> + +<p class="nind">the style of the exterior in the interior—a medley between the Gothic +and Elizabethan; the proprietor having a very large collection of +old-fashioned carvings of various styles and dates, picked up at sales, +or purchased in Wardour Street (at that time more celebrated for such +antiquities than at present). The<span class="pagenum"><a name="page_388" id="page_388">{388}</a></span> walls were to be covered with gilt +leather and rich tapestries, and with this the architect did not intend +to meddle, leaving it all to the taste and skill of the owner, although +he has finished several interiors with such materials.</p> + +<p>The basement plan shows the kitchen <i>f</i>, the scullery <i>g</i>, and larder +<i>h</i>; <i>q</i> is the wine cellar, and <i>j</i> the butler’s pantry. Then there +were two large rooms looking towards the garden, and these were +unappropriated. The butler’s small pantry had a window looking into the +side area; the servants’ door was on the staircase; the coal cellar was +placed under the steps leading to the porch.</p> + +<p>The building was to be constructed in brick and cement, with the porch +and external balustrade in stone. The expense would have amounted to +4600<i>l.</i>, or the double villa to 9000<i>l.</i><span class="pagenum"><a name="page_389" id="page_389">{389}</a></span></p> + +<h2><a name="DESIGN_No_34" id="DESIGN_No_34"></a><i>DESIGN No. 34.</i><br /><br /> +RIDING-HOUSE AND STABLING.</h2> + +<p>This collection of designs could hardly be complete without a group of +stable buildings. To make such a group picturesque is extremely +difficult,</p> + +<div class="figcenter" style="width: 333px;"> +<a href="images/ill_pg_389_lg.jpg"> +<img src="images/ill_pg_389_sml.jpg" width="333" height="275" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view of riding-house.</p></div> +</div> + +<p class="nind">and it is very seldom attempted. Such buildings mostly form a portion of +the offices which are placed out of view, concealed by plantations or +shrubbery,<span class="pagenum"><a name="page_390" id="page_390">{390}</a></span> and generally at some distance from the mansion to which +they appertain.</p> + +<p>The present design, carried out in 1846 and 1848, was for some +additional stabling to a baronial park, and it formed a conspicuous +object. It stands on the</p> + +<div class="figcenter" style="width: 313px;"> +<a href="images/ill_pg_390_lg.jpg"> +<img src="images/ill_pg_390_sml.jpg" width="313" height="278" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of riding-house and stabling.</p></div> +</div> + +<p class="nind">eastern side of a quadrangle, the larger stabling being on the west, the +offices of the mansion on the north (see above), and on the south there +was a terrace-walk overlooking the park. The block of buildings as +represented in the plan, comprised a riding-house <i>a</i>,<span class="pagenum"><a name="page_391" id="page_391">{391}</a></span> 62 ft. in length +by 32 ft. in width, a four-stall stable <i>e</i>, 30 ft. in length, a loose +box <i>b</i>, 13 ft. square, and the boiler room <i>d</i>. The dung pit <i>g</i>, into +which the liquid manure from the stable was sent, was on a very low +level, and had a cart road at its side. The coach-house between the +riding-house and stable was 40 ft. in length by 20 ft. in breadth; it +had a covered area in front 44 ft. in length, with a width of 13 ft., +and a well and pump. The prospect tower <i>h</i>, as well as the tower <i>i</i>, +had iron staircases, which led to the stud-groom’s sleeping room, two +harness rooms, and the gallery of the riding-house.</p> + +<p>The latter was erected first. It is in brick, with a circular-ribbed +wooden roof, on the plan introduced by Phil. de l’Orme, whose well-known +book was published in Paris in 1567. He introduced a construction for +roofing that is both cheap and efficient, and one that while plenty of +light and ventilation can be obtained, gives the largest space in the +interior of the room.</p> + +<p>The walls of the riding-house were two bricks thick, laid English bond. +As the foundation rested on the stone no concrete was used, but the +rock, which was on a steep incline, was levelled in step-like fashion, +to receive the walls. Buttresses were placed where the circular ribs of +the roof were situate; two lines of iron-hoop bond, 1 in. by 1/16 in., +tarred and sanded<span class="pagenum"><a name="page_392" id="page_392">{392}</a></span> were laid in all the walls, piers, and buttresses; +there were 13 courses 2 lines in side walls, 16 courses 2 lines in gable +walls, and 7 courses 2 lines in buttresses. The walls were covered with +brick copings formed of two courses of moulded bricks cut to lengths and +mitred, and set and jointed in cement to gable ends: the flaunches of +the angle buttress were formed with stocks, the upper courses set and +pointed in cement, and the angles of parapets cut and mitred to the +same.</p> + +<p>Ragstone moulded corbels were placed over the piers inside the building, +from these the circular ribs sprung and into which they were stubbed. +The roof was thus described in the specification:—The roof will be +formed of circular ribs placed two and two, each 7½ inches apart, +screwed and bolted together, each single rib to be in three thicknesses, +the inner one of oak and to consist of twenty-six pieces of 1¼ inch deal +and ten of 1¼ oak, each separate piece 1 foot in width, and to be as +long as the scantling of the timber will allow, the ribs to be wrought +and glued together, and at each joint to have two hard nails or ¾ inch +screws having a good thread; the top and bottom edges of rib cut fair +for linings, the side finished for paint. Cross pieces, 7½ by 2½ inches, +twelve to each pair of ribs, the whole to be bolted together. To prevent +the ribs from being at an unequal distance,<span class="pagenum"><a name="page_393" id="page_393">{393}</a></span> the two outer ribs to be +sunk half-an-inch at the places where the purlins notch in them.</p> + +<p>The purlins, eight in number, to run the whole length of roof, notching +in the rib arches. The purlins to be placed in pairs and to have small +cross struts either notched into them or securely nailed to prevent them +from buckling or twisting.</p> + +<p>All the horizontal timbers of roof, such as the purlins, poll plate, +sill, and heads of skylight, to run 9 inches in end walls, and to be +cogged on template. Each purlin, if not in one piece, to be properly +scarfed. An oak wall-plate, 9 in. by 6 in., was laid the whole length +and width of the building, running 6 in. in the wall at angles, where it +was pinned and lapped. The plate in the arch over the entrance formed +the upper part of the railing in the gallery.</p> + +<p>This plate served as the abutment for twenty-four oak braces or struts, +each 7 in. by 4 in., placed in the lower portions of the roof on each +side, each strut to be sub-tenoned either into purlin or cross piece +between rib, and the whole to be securely fixed.</p> + +<p>The framing to support curb or sill of skylights to be in one piece, to +run over the wood arches, and to be securely fixed to purlin.</p> + +<p>Each pair of circular ribs moneyed out 22<i>l.</i> 4<i>s.</i> 6<i>d.</i> The more +modern French style of forming this kind of roof would have been by bent +ribs composed of<span class="pagenum"><a name="page_394" id="page_394">{394}</a></span> three ten-inch planks, 12 inches by 3, cut true at the +saw-mill, jointed with glue, planed all round, chamfered to edges, with +20 half-inch bolts. These would have cost only 13<i>l.</i> 16<i>s.</i> 8<i>d.</i> each, +but they would have caused considerable lateral pressure against the +side walls.</p> + +<p>The roof of the riding-house is correctly shown in the small view, p. +389, which serves also to show the section. Fig. 1 of the accompanying +cut shows one</p> + +<div class="figcenter" style="width: 287px;"> +<a href="images/ill_pg_394_lg.jpg"> +<img src="images/ill_pg_394_sml.jpg" width="287" height="121" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">of the circular ribs, fig. 2 the section of the pair joined together, +and fig. 3 the section of the more modern French method of bent ribs. A +roof in this latter construction was put up by Mr. Charles Fowler, +architect, at the sale-room, St. Paul’s Churchyard. The circular ribs of +the roof were formed in three thicknesses of 1¼ deal, footed into iron +sockets or corbels let into stone templates. As a precaution until the +perfect set and settlement of the work, three of the roof-frames had +iron tie-rods, which were re<span class="pagenum"><a name="page_395" id="page_395">{395}</a></span>moved when all fear of lateral thrust was +over. A print of the room was given in the <i>Builder</i>.</p> + +<p>The first construction described could be much improved, strengthened, +and lightened by introducing an iron bar in lieu of the oak rib; and +this has been done in several instances, resulting in the roofs standing +well.</p> + +<p>The chief portion of the bricks used in the construction of the +riding-house were provided from the estate, and were carted on the +ground for the use of the builder. His account came to 920<i>l.</i></p> + +<p>The elevation of the stable shows the entrance to the coachhouse in the +centre, between coupled columns. These were in iron, of slightly +Elizabethan character as to style. Two gabled windows are on each side, +one forming the entrance to the riding-house, the whole flanked by two +towers; that on the left contained the staircase leading to the gallery +of the riding-house seen in the view, the other is the prospect tower, +overlooking the park. These buildings were commenced and finished in +1848. The builder had to take down the old coachhouse and stabling which +stood upon the site, and was permitted to use the old materials as far +as they would go; one roof was re-used. The cost of the new building was +1107<i>l.</i> The whole length was 95 ft. One of its principal features was +the prospect tower, a view of which and<span class="pagenum"><a name="page_396" id="page_396">{396}</a></span></p> + +<div class="figcenter" style="width: 496px;"> +<a href="images/ill_pg_396_lg.jpg"> +<img src="images/ill_pg_396_sml.jpg" width="496" height="259" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of stable.</p></div> +</div> + +<p><span class="pagenum"><a name="page_397" id="page_397">{397}</a></span></p> + +<p class="nind">a representation of the back front is on p. 398; this was 60 ft. in +height above the foundations.</p> + +<p>An iron staircase led up to the small tower, which had a staircase +leading to the roof or lead flat, upon which was a seat and flagstaff. +The battlements of</p> + +<div class="figcenter" style="width: 152px;"> +<a href="images/ill_pg_397_lg.jpg"> +<img src="images/ill_pg_397_sml.jpg" width="152" height="278" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Cap of iron column.</p></div> +</div> + +<p class="nind">this small tower and its doorway were constructed of ragstone. This +turret was corbelled out from the building as seen in the view; its plan +and that of the corbelling is given on p. 399. The corbels were two +bricks in height, each course; the arch is covered with<span class="pagenum"><a name="page_398" id="page_398">{398}</a></span></p> + +<div class="figcenter" style="width: 255px;"> +<a href="images/ill_pg_398_lg.jpg"> +<img src="images/ill_pg_398_sml.jpg" width="255" height="475" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view of prospect tower.</p></div> +</div> + +<p><span class="pagenum"><a name="page_399" id="page_399">{399}</a></span></p> + +<p class="nind">a stone landing upon which the small turret stands. It has a lightning +conductor. This, the three iron staircases, and the columns, cost +200<i>l.</i>, which, however,</p> + +<div class="figcenter" style="width: 228px;"> +<a href="images/ill_pg_399_lg.jpg"> +<img src="images/ill_pg_399_sml.jpg" width="228" height="409" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">was included in the previously stated amount of 1107<i>l.</i><span class="pagenum"><a name="page_400" id="page_400">{400}</a></span></p> + +<p>It was proposed to give the terrace-walk an ornamental stone. The +balustrading and one of the bays of this balustrading are illustrated +below.</p> + +<div class="figcenter" style="width: 436px;"> +<a href="images/ill_pg_400_lg.jpg"> +<img src="images/ill_pg_400_sml.jpg" width="436" height="293" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of the balustrade.</p></div> +</div> + +<p><span class="pagenum"><a name="page_401" id="page_401">{401}</a></span></p> + +<h2><a name="DESIGN_No_35" id="DESIGN_No_35"></a><i>DESIGN No. 35.</i><br /><br /> +A BACHELOR’S HOUSE.</h2> + +<p>This building was intended to have been erected on an estate in the +neighbourhood of London, for the solicitor acting for the lessee, a +builder who was erecting numerous first-class houses upon the property, +and who required his solicitor to be often with him. The gentleman was a +bachelor, and this was, for a time, to have been his private town +dwelling. It was only to consist of a basement and ground floor, but the +walls were to be made sufficiently thick to enable the structure to be +carried upwards when the estate was fully covered, and the house would +be required for a family.</p> + +<p>The plan was arranged after the legal gentleman’s own directions: <i>a</i> is +the small entrance hall, leading to the inner hall, from which the +living room <i>b</i>, and the picture gallery <i>f</i>, are gained; the gallery +contained a choice collection of cabinet pictures, hunting subjects by a +celebrated painter; <i>c</i> is a small bedroom, which could be enclosed or +shut off from the living room by a lifting-screen, worked somewhat +similar to a lifting shutter. The screen was to be covered on the side +next the living room with paintings; <i>d</i> is the bath<span class="pagenum"><a name="page_402" id="page_402">{402}</a></span></p> + +<div class="figcenter" style="width: 212px;"> +<a href="images/ill_pg_402_lg.jpg"> +<img src="images/ill_pg_402_sml.jpg" width="212" height="498" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_403" id="page_403">{403}</a></span></p> + +<p class="nind">room, <i>e</i> the closet, <i>h</i> is the dining-room with its lift, <i>i</i>, from +the pantry in the basement; <i>j</i> was a small iron staircase leading down +to the stable, where some valuable hunters were to be kept. Under the +dining-room was the coachhouse; no rooms were over the stabling. The +servants’ entrance was in the area. The exterior of the building had a +plain Gothic Tudor front.</p> + +<p class="spc1"> </p> + +<p>The vignette shows a corbel in the French cut-wood style.</p> + +<div class="figcenter" style="width: 161px;"> +<a href="images/ill_pg_403_lg.jpg"> +<img src="images/ill_pg_403_sml.jpg" width="161" height="179" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_404" id="page_404">{404}</a></span></p> + +<h2><a name="THE_FIREPLACE" id="THE_FIREPLACE"></a>THE FIREPLACE.<br /><br /> +FLUE CONSTRUCTION AND SMOKE PREVENTION.</h2> + +<p>An especial love for home comfort has always been an English +characteristic. It has formed a species of national taste and pride even +among our working classes. The constant changes of our climate are +injurious to every class; the chief point of attraction in the English +dwellings, during winter’s wet, cold, and fog, is centred in the +fireplace. This has long been deemed the favoured spot where</p> + +<div class="poetry"> +<div class="poem"><div class="stanza"> +<span class="i8">“Social mirth<br /></span> +<span class="i0">Exults and glows before the blazing hearth.”<br /></span> +</div></div> +</div> + +<p>The fireplace suits our climate; it is cheerful and attractive, but it +gives its heat only by radiation. We are warmed on one side and chilled +on the other, but neither the warmth nor the chill is too great to bear, +and the occupant of the room can move into any temperature that suits +him. In more northern climates the use of the fireplace would not be +tolerated; there the cold is so excessive that an equal warmth must be +diffused throughout the apartments, and flues in hollow walls, and +closed stoves either in iron or brick are in the ascendant, as already +mentioned in<span class="pagenum"><a name="page_405" id="page_405">{405}</a></span> an earlier part of this work. But such means, by which the +air is heated, and not merely warmed—and there is a great difference +between warmed air and heated—would not be tolerated here. A puff of +air from a closed stove caused by a back draught is not pleasant, and is +very different from the honest puff of smoke from an English fireplace, +that gives as a natural product of combustion, carbonic acid gas. But +not one of these stoves, nor those that are called “smoke-consuming +stoves,” make a good companionable fire—and this is not liked.</p> + +<p>The common open fireplace has held its own, and will continue to hold +its own, against the best-contrived stove that can be introduced in lieu +of it. But it still remains to find such a construction as will remedy +its serious defects. These are chiefly such as pertain to the flue; it +is not to the stove that these belong, for that, thanks to our excellent +makers, is quite perfect.</p> + +<p>In our sluggish winter atmosphere the smoke leaves the open flue with +tolerable certainty unless the flue is foul with soot; but when high +winds prevail and the atmosphere is anything but sluggish, it teaches us +the faults of the open flue, and volumes of smoke descend into our +apartments. There are few occurrences in domestic life more vexatious +and annoying than this; the numerous unsightly appendages in<span class="pagenum"><a name="page_406" id="page_406">{406}</a></span> the form +of cowls, turncaps, and windguards which appear alike on our houses, +churches, and palaces, whilst they exhibit the ingenuity of our builders +and workmen in remedying the trouble of smoky chimneys, demonstrate also +the frequency of the misfortune.</p> + +<p>When flues are carefully constructed, with the best modern improvements, +and a due supply of air is admitted into the stove, a smoky chimney is +an exception; still the flue forms only a simple open funnel for the +passage of the smoke, and failures will inevitably often happen. A +construction on a good principle should render these defects as trifling +as possible. In our best houses—those constructed within the last +twenty or thirty years—two kinds of the common brick flue are mostly in +use. One is of the old-fashioned kind, having a section of 14 by 9 in., +which was made originally of that size for the accommodation of the poor +sweeping-boys. This is now retained only for the kitchen fire, which +makes a large quantity of smoke, and for the rest of the fireplaces the +flue known as “Cubitt’s” flue is employed, which has a diameter each way +of 9 in. The author prefers the small flue, and always uses it in the +buildings he has constructed. There are many persons who still maintain +that the old-fashioned flue is the correct one, and it is still very +generally used. There is an old saying about the proof of the pudding. +In Belgrave<span class="pagenum"><a name="page_407" id="page_407">{407}</a></span> Square, all the houses first designed and erected have the +old-fashioned flue, and there are scarcely a dozen of the old +chimney-pots left; all have been changed for tall-boys and other similar +contrivances; one house has about 24 in one stack. No. 49, built by +Cubitt about 35 years ago, and having the descending or sweeping flue, +has the stacks exactly as at first constructed, with the exception only +of a little doctoring to the kitchen flue. In the house opposite, No. +48, one of the first, the external stack alone, next the street, has no +less than 17 tall-boys, two of which appear to be broken off. On the +opposite side of the Square, in Chesham Place, is No. 38, built by +Cubitt about 30 years; it has all the original stacks untouched.</p> + +<p>The Cubitt flue can be recognised by the small peculiar cap on the +chimney-pot, and several of these stacks remain in their original state. +In Eaton Place and Eccleston Square, where this flue is used, the roofs +tell the same story. In the first buildings erected by the author he +used the large flue, and he now finds several specimens of +chimney-doctoring on the roofs. In some large houses he lately erected +at Queen’s Gate, in which the sweeping flue is used, there are several +houses together without any disfigurement at all on the roof. He +considers that the appearance of a tall-boy on one of them would be<span class="pagenum"><a name="page_408" id="page_408">{408}</a></span> +rather a proof that there was something wrong about the servants’ +management of the fires, than an error in the construction of his flues.</p> + +<p>A representation of this flue, and the manner of introducing it into a +building, is here given. Fig. 1</p> + +<div class="figcenter" style="width: 244px;"> +<a href="images/ill_pg_408_lg.jpg"> +<img src="images/ill_pg_408_sml.jpg" width="244" height="405" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Flue construction.</p></div> +</div> + +<p><span class="pagenum"><a name="page_409" id="page_409">{409}</a></span></p> + +<p class="nind">represents a portion of the chimney-flue construction of a first-rate +house; the lower chimney opening is in the basement, and above it are +two others, one on the ground floor, and one on the first floor. It will +be seen that there are three flues descending or taken down to the +basement. The third flue belongs to the room on the second floor. The +wall is two bricks thick, the flue 9 in. in diameter, and contained +within the wall with no chimney-breast projecting. Fig. 2 is a plan of +the flues on the ground floor, and fig. 3 of those on the first floor. +Fig. 4 is a section of the fireplace opening; this is 3 ft. in height +from the floor-line, the brickwork at top is splayed, and supported by +an iron bar; these openings are always filled up with 4½ straight joint +work, to be taken out when the mantelpiece is fixed. Fig. 5 is the +chimney-pot and its cap, the latter opening at top 7 in. by 9 in. only; +fig. 6 shows one of the sweeping doors, in which there are two to each +descending flue. The latter three figures are twice the scale of the +former. A plan and section of the chimney complete, with its marble +mantel and stove, is given in figs. 7 and 8. The flue passes completely +down at the back of the stove, the front is closed by an iron plate to a +height of 2 ft. On this is fixed the moveable door or register, shut +fully or partly over the flue when the stove is in use, and closed over +the stove when the flue has to be<span class="pagenum"><a name="page_410" id="page_410">{410}</a></span> swept. The arrows show the mode of +admission of air to the front of the fire; it is brought through the</p> + +<div class="figcenter" style="width: 195px;"> +<a href="images/ill_pg_410-a_lg.jpg"> +<img src="images/ill_pg_410-a_sml.jpg" width="195" height="118" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 7.—Plan of stove.</p></div> +</div> + +<p class="nind">floor and two openings in the back hearth from the outside of the house. +This is generally kept concealed,</p> + +<div class="figcenter" style="width: 150px;"> +<a href="images/ill_pg_410-b_lg.jpg"> +<img src="images/ill_pg_410-b_sml.jpg" width="150" height="221" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 8.—Section.</p></div> +</div> + +<p class="nind">and in order to ensure a supply of air to the stove the room should be +kept completely closed.<span class="pagenum"><a name="page_411" id="page_411">{411}</a></span></p> + +<p>To cause as full and perfect a combustion of the fuel as possible, a +draught or current of the external air should be always admitted to the +stove, and it could easily be placed under open management, so as to +admit either a large or small supply of air, as required. Numerous +patent processes to effect this are in use, but the most effective way +of doing it is that shown in figs. 7 and 8: it is too simple for a +patent.</p> + +<div class="figright" style="width: 82px;"> +<a href="images/ill_pg_411_lg.jpg"> +<img src="images/ill_pg_411_sml.jpg" width="82" height="97" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 9.</p></div> +</div> + +<p>Fig. 9 shows a method of admitting air above the architrave of the +entrance door of the room. The opening is made about 2 ft. in length; +this, after a little time, becomes marked by the blacklets coming in +from the passage. The sweeping flue when the fire is lighted becomes +very hot; the smoke ascends speedily and soon leaves it. The flue +requires the stove to be formed expressly for it. Mr. Cubitt made the +stoves only for his own houses, and the author had some difficulty at +Queen’s Gate, in procuring stoves of the right pattern, for +manufacturers prefer their own shop patterns, and some of these would +have covered up half the descending flue. Those he used were supplied by +Messrs. Feetham of Clifford Street, who are well acquainted with the use +of the flue and stove. The flue is considered an excellent one; it is a +builder’s flue, constructed solely of brick, and is<span class="pagenum"><a name="page_412" id="page_412">{412}</a></span> certainly the best +of the brick flues. The same attention was paid to it as was given to +every part of Mr. Cubitt’s buildings. It may be asked, “Are there no +other kinds of flues constructed of superior materials?” Yes, certainly +there are; particular attention has often been paid to the flue. There +is Hiort’s circular flue, formed in each course of four wedge-formed +bricks. Mr. Hiort held a very important position; he was Treasurer of +the office of Works at Whitehall, and his flue was extensively used in +some of the Government buildings and the houses in Carlton Gardens. It +did not bond well with the brickwork, so we have Mr. Moon’s improvement +upon it. This was considered not sufficient, and another patent was +taken out in 1844 by Messrs. Clark and Reed for its further improvement. +The flue was an excellent one, but on Mr. Hiort’s retirement from the +Government Board, it went out of use.</p> + +<p>There is Seth Smith’s metallic chimney lining, which makes an excellent +flue; the lining is a pipe of from 5 to 10 in. in diameter, built in the +brickwork. About 150 of these flues are at the Pantechnicon. Mr. Smith +announced his determination of never building any house above the value +of 30<i>l.</i> per annum, without using them. They could be introduced, to +form perfect linings to chimneys in buildings already erected, and allow +the stack to be reduced in height,<span class="pagenum"><a name="page_413" id="page_413">{413}</a></span> without having the unsightly +appearance of contractions made above them. The drawback to the use of +these tubes by builders was the price. Without any royalty, the 9 in. +tube cost 3<i>s.</i> 4<i>d.</i> per ft. run, the curved tubes 4<i>s.</i> 3<i>d.</i>, the +starting tube 3<i>s.</i> 8<i>d.</i> The tubes were of the exact form of drain +pipes, and they were cheaper, and as effectual.</p> + +<p>If Mr. Smith’s metal tubes had been introduced into a large brick flue, +they would have rendered the latter an efficient shaft for ventilating +every room in its upward course, openings being made for the purpose at +the upper part of the rooms. This mode of ventilation was applied to +hospitals on a large scale by the late Mr. Jacob Perkins several years +ago, with perfect success.</p> + +<p>Denley’s flue, introduced in 1843, is believed to have been the +precursor of that used by the late Mr. Thos. Cubitt at Belgravia and +Pimlico, and there is a great resemblance between the two; but Mr. +Denley’s flue has nothing like the simplicity nor ease of construction +of Mr. Cubitt’s. The downward flues were merged into one at the +basement, and all the soot and cinders were collected or thrown down +into a fire-proof box, which must have stood out in the lower rooms, +from which they had to be removed. The flues were swept from the roof, +the register doors of the stoves being closed, and there was no +provision for sweeping<span class="pagenum"><a name="page_414" id="page_414">{414}</a></span> the flues between the basement and the stoves. +Joined to his system for sweeping, was one of air flues which brought a +current of air direct from the exterior of the house to each fireplace.</p> + +<p>We have several flue systems which have ventilating flues in connexion +with them. Boyd’s flue forms the wythes, or half-brick spaces between +the flues, of iron plates, and the open spaces thus gained make +ventilating passages. Mr. Doulton’s combined smoke and air flues are +manufactured in terra-cotta, in three sizes; the air flues follow the +line of the smoke flue, the passages being quite distinct, as in Mr. +Boyd’s. The heat from the smoke flue causes a current in the air-flue +which carries off the vitiated air admitted by openings near the +ceiling. The common drain pipes and the glazed fire-clay pipes make good +flues; the use of these pipe-flues has greatly increased during the last +few years; they improve the draught, and clean easily. Flues for +ventilation from rooms should, like Arnott’s ventilator, enter into the +smoke or a hot ventilating flue. Arnott’s ventilator requires careful +adjustment, to be balanced in such a way that it should stand closed on +a calm day.</p> + +<p>The superior patented flues, as they are of considerable cost, and take +extra time in construction, are only used in the better class of +buildings, or in those erected under the express direction of the +owner.<span class="pagenum"><a name="page_415" id="page_415">{415}</a></span> In speculative buildings they are never used. The time required +for their construction beyond that of the common brick flue, being +regarded by the builder as so much money lost.</p> + +<p>The great desideratum in a flue is to make it pass off its smoke +quickly, and this the small size flue effects more certainly than the +larger one, as it warms sooner and keeps its heat longer.</p> + +<p>An enthusiastic admirer of the descending or sweeping flue once told the +author that with a good fire in the grate, if a kettle of water could be +placed on the top of the chimney-cap the water would soon boil, even if +the flue were fifty feet high. The flues constructed of metallic or +earthenware casings retain also the heat longer, and keep hotter. It may +be imagined that with these flues, and the large quantity of gas lamps +in the streets, why the temperature of London should be always some +degrees higher than that of the country. In winter snow may be seen in +the suburban fields, but none is found in town.</p> + +<p>Architects have often been blamed for not inventing a good system of +flue-construction, not only for the prevention of smoke in our +dwellings, but for the hindrance of its presence in the atmosphere. +Several, and most excellent attempts, have been made for the former, but +very few for the latter, which is one of far greater difficulty. Yet +this is one that admits of<span class="pagenum"><a name="page_416" id="page_416">{416}</a></span> a cure, great as the evil is. The chimney +flue might be so improved as to effect a more certain and larger +ventilation of our houses, without any addition of ventilation flues. +The introduction of the French Mansard roof with us, one from a country +where coal fires are not in use, renders it almost imperative for the +chimneys belonging to such buildings to have a different construction, +for chimneys when placed against a building or roof that overtops them, +are sure, as they are at present made, to become smoky: the wind +returning owing to the high construction, and descending in the flues. +The following few designs are offered to cure these various evils.</p> + +<p>Accepting as a fact that tall-boys, and the other iron and zinc +constructions, are useful appendages, there can be no reason why they +should be so used as to disfigure our buildings. Some of the finest +specimens of architecture in the Metropolis serve only as pedestals to +an ugly collection of cowls.</p> + +<p>The author proposes to form the upper part of the flues in a building, +for a length of about 15 to 20 feet, entirely of iron or other tubing, +in square, round, or oblong sections, of a less diameter than the brick +flues to which they are attached. This tubing is gathered up in groups, +and carried out at an angle of 45° towards a centre stack: the tubes in +direct contact with each other, having<span class="pagenum"><a name="page_417" id="page_417">{417}</a></span> no brick wyths, except one or +two to strengthen the stack.</p> + +<p>It is obvious that if only one of the flues be in use, it would +moderately warm those next to it; and if the whole of the flues of a +building were constructed on this plan, and two or three were in use, +such a power would be obtained as would effectually ventilate every +room; the action would be continuous and imperceptible, and a fire could +be lighted in any one without the risk of return smoke from a cold or +damp flue.</p> + +<p>Thus the heat now wasted in the atmosphere by the action of the common +flue, would be partly retained and turned to use, and the draught of the +flue very much improved.</p> + +<p>This tubing could be readily introduced into either old or new +buildings, as the introduction does not involve taking down more than +twelve feet of the brickwork, measuring from the top of the coping. The +tubes could never become sufficiently heated to be dangerous, and less +brickwork would be required.</p> + +<p>They might be made either of zinc or earthenware; cast-iron would be +objectionable on account of its weight. It will be seen that they admit +a better mode of sweeping than that now practised, and they could easily +have some kind of capping to prevent down-draughts.<span class="pagenum"><a name="page_418" id="page_418">{418}</a></span></p> + +<p>These “stack flues” should commence from the attic or upper storey of a +building, at about six feet from the floor; sweeping doors should be +placed beneath them, so as to give the sweep command of the flue beneath +as well as above.</p> + +<p>Each flue should be composed of three separate forms of tubing, by which +the various directions and turns necessary for the construction might be +obtained.</p> + +<p>Fig. 10 gives the representation of the three forms; 1, is the first; +this is placed directly over the brick</p> + +<div class="figcenter" style="width: 187px;"> +<a href="images/ill_pg_418_lg.jpg"> +<img src="images/ill_pg_418_sml.jpg" width="187" height="151" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 10.</p></div> +</div> + +<p class="nind">flue, and gathers it up to a size having an internal dimension of 6 + +4½. It is 21 inches in height. 2, the second piece, is on a curve; the +top and bottom lines, if carried on, would form an angle of 45°; it is +about 18 inches in height, and internal size 6 + 4½. The third, 3, is a +straight piece, internal size 6 + 4½,<span class="pagenum"><a name="page_419" id="page_419">{419}</a></span> the lengths various. Fig. 11 +gives a plan of four flues and an elevation of the commencement of two. +The sweeping doors are shown below. The flue without a door is the +ventilating flue for the basement. The ease with which this tubing can +be grouped is shown in fig. 12. The stack consists of five flues; the +tube, 2, connects them together below, and</p> + +<div class="figcenter" style="width: 168px;"> +<a href="images/ill_pg_419_lg.jpg"> +<img src="images/ill_pg_419_sml.jpg" width="168" height="180" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 11.</p></div> +</div> + +<p class="nind">separates them above. The stack above the roof is 4 feet 9 inches in +length.</p> + +<p>Fig. 13 shows, in the upper plan, how the flue wall could be reduced in +thickness, made a brick and a half only, with a two-brick block at each +end; it contains coupled and tripled sets of tubes.</p> + +<p>The middle plan shows nine flues grouped together, the centre being that +belonging to the kitchen. The<span class="pagenum"><a name="page_420" id="page_420">{420}</a></span> last plan shows a group of six in a +two-and-a-half-brick wall; by the side of this are two flues of the +common construction, 14 inches by 9, made of this</p> + +<div class="figcenter" style="width: 313px;"> +<a href="images/ill_pg_420_lg.jpg"> +<img src="images/ill_pg_420_sml.jpg" width="313" height="353" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 12.</p></div> +</div> + +<p class="nind">size to enable a boy to get up to the top and place his head out of the +chimney-pot.</p> + +<p>The tube 1, fig. 12, can have its position reversed,<span class="pagenum"><a name="page_421" id="page_421">{421}</a></span> as shown in fig. +14; six flues can thus be grouped together, as shown in the third plan, +fig. 13. The elevation of this stack is given in fig. 15.</p> + +<div class="figcenter" style="width: 150px;"> +<a href="images/ill_pg_421-a_lg.jpg"> +<img src="images/ill_pg_421-a_sml.jpg" width="150" height="220" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 13.</p></div> +</div> + +<p>For a covering to these tubes figs. 16 to 20 show ornamental pots and +their sections. The only merit</p> + +<div class="figcenter" style="width: 245px;"> +<a href="images/ill_pg_421-b_lg.jpg"> +<img src="images/ill_pg_421-b_sml.jpg" width="245" height="78" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 14.</p></div> +</div> + +<p class="nind">in these may be that they are of a more ornamental character than any +that have ever been introduced;<span class="pagenum"><a name="page_422" id="page_422">{422}</a></span> they are formed of zinc, supported by a +stout dwarf iron railing. The intention is to permit the smoke to escape +in any direction, either upwards, sideways, or downwards, sheltering it +as far as possible from any action of the wind, and rendering of little +consequence whether the stack is high, low, unsheltered or</p> + +<div class="figcenter" style="width: 226px;"> +<a href="images/ill_pg_422_lg.jpg"> +<img src="images/ill_pg_422_sml.jpg" width="226" height="240" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 15.</p></div> +</div> + +<p class="nind">otherwise. If any sudden gust of wind take place and the smoke be driven +back, the capping provides larger outlets for its escape than the small +aperture of the flue itself; in other words, it is easier for the smoke +to pass in any direction rather than return down the flue.<span class="pagenum"><a name="page_423" id="page_423">{423}</a></span></p> + +<p>The stack flues are only, in fact, tall-boys boxed up and not put out in +the cold, and it is presumed they would be sufficiently powerful, from +their warmth, to ensure a good passing off of the smoke, and secure +ventilation to the building.</p> + +<div class="figcenter" style="width: 305px;"> +<a href="images/ill_pg_423_lg.jpg"> +<img src="images/ill_pg_423_sml.jpg" width="305" height="265" alt="[Image unavailable.]" /></a> +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>Fig. 16. +</p></td><td> </td> +<td> +<p>Fig. 17. +</p></td></tr> +</table> +</div></div> + +<p>A forced ventilation to our dwellings, in ever so slight a degree, is a +matter of importance. By the proper construction of these proposed stack +flues it is presumed that any amount of ventilating power, self-acting +and continuous, could be obtained. Their introduction alone would be +beneficial; combined with the flue pedestal, to be described, the tubes +could be<span class="pagenum"><a name="page_424" id="page_424">{424}</a></span> led into one general upward shaft; by either plan we should +have some command over the smoke, while the roofs of our buildings might +be made ornamental and picturesque. It would be a treatment of +bituminous coal alike artistic and novel, surprising to foreigners and +creditable to ourselves.</p> + +<div class="figcenter" style="width: 118px;"> +<a href="images/ill_pg_424_lg.jpg"> +<img src="images/ill_pg_424_sml.jpg" width="118" height="220" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 18.</p></div> +</div> + +<p>It remains to show how the open character of the flue could be taken +away (this forms its chief evil), and how a chimney-stack may be formed +without chimney-pots. The late Lord Palmerston, when Home Secretary, +proposed the abolition of chimney-stacks, and the use of only one +chimney-stalk for each separate dwelling. In 1856, a commission was +appointed to<span class="pagenum"><a name="page_425" id="page_425">{425}</a></span> inquire into the best modes of warming and ventilating the +apartments of dwelling-houses and barracks. Their report, given to the +General Board of Health, was published in 1857, and it afforded a +section illustrating “the principle on which it was proposed to +construct dwelling-houses.” There was only to be</p> + +<div class="figcenter" style="width: 205px;"> +<a href="images/ill_pg_425_lg.jpg"> +<img src="images/ill_pg_425_sml.jpg" width="205" height="244" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 19.</p></div> +</div> + +<p class="nind">one flue, and this of metal 10 inches in diameter, enclosed in a large +brick flue, which was to serve for ventilation. In the metal flue were +to be inserted the flues of the several fireplaces; these were placed +back to back, and if the register doors of the stoves were open, a +person in one room might both see and con<span class="pagenum"><a name="page_426" id="page_426">{426}</a></span>verse with another in the +next; the music of a pianoforte in one room could be heard in them all; +this construction was taken up through four storeys, there being eight +fireplaces. For one fireplace alone it would have been perfect, but the +smoke from the two kitchen fires would have been sufficient to have +choked</p> + +<div class="figcenter" style="width: 138px;"> +<a href="images/ill_pg_426_lg.jpg"> +<img src="images/ill_pg_426_sml.jpg" width="138" height="233" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 20.</p></div> +</div> + +<p class="nind">the flue and caused the smoke to enter into the whole of the eight +rooms.</p> + +<p>The chimney-stack might possibly be lowered, and it certainly could be +constructed without chimney-pots, but each separate flue must have its +own outlet. A design for this, one that should take away the open<span class="pagenum"><a name="page_427" id="page_427">{427}</a></span> +character of the flue, and fit the stack, possibly for the Mansard roof, +is here given.</p> + +<p>In fig. 21, <i>a</i> <i>a</i> are the flues, delivering their smoke into a large +ventilating flue, <i>b</i>. The warm smoke would induce a current of air to +enter at <i>c</i>: any current will have a tendency to draw another with it, +so that the smoke leaving the flues <i>c</i> <i>c</i> would be taken out at <i>d</i> by +the current of air at <i>c</i>.</p> + +<div class="figcenter" style="width: 217px;"> +<a href="images/ill_pg_427_lg.jpg"> +<img src="images/ill_pg_427_sml.jpg" width="217" height="205" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 21.—The ventilating flue.</p></div> +</div> + +<p>This is the principle upon which all the best ventilating chimney-pots, +tall-boys, and cowls are made, and it is a very sure one. The jet of +steam in the funnel of the locomotive, drawing the smoke from the fire, +and creating a draught, is adopted on the same principle.<span class="pagenum"><a name="page_428" id="page_428">{428}</a></span></p> + +<p>In scientific language, the established law both of pneumatics and +hydraulics is that when two currents of fluid matter passing in the same +direction, but in separate channels, arrive at any point of confluence, +the stronger current draws the other along in its course, and with a +considerable portion of its own velocity. Thus the force of the wind, +which checks in other instances the action of a chimney-draught, is made +to produce a stronger draught, exactly in proportion to the violence +with which it blows.</p> + +<p>Returning to fig. 21, a current of air, instead of coming in at the +opening <i>c</i>, might come in at <i>d</i>. It would then have a tendency to blow +down the flues <i>a</i> <i>a</i>: to prevent this, the opening <i>d</i> could be +closed, and an upright stalk placed at <i>e</i>,—this should have a downward +shaft, a place for soot, and a sweeping door.</p> + +<p>There is still another mode of treatment; fig. 22 represents the flues +grouped, each with a separate ventilating flue, the smoke delivered +being at the side of each.</p> + +<p>The stack might be covered with zinc in the ornamental style with which +that metal is now treated.</p> + +<p>It is probable that if a stack on this principle was placed parallel to +the side of one of these Mansard roofs, it would be secure from the +ill-effects of any<span class="pagenum"><a name="page_429" id="page_429">{429}</a></span> wind returning against it. The author will not vouch +for its success, but it is offered here to the attention of architects +and builders as an experiment worthy of trial.</p> + +<div class="figcenter" style="width: 275px;"> +<a href="images/ill_pg_429-a_lg.jpg"> +<img src="images/ill_pg_429-a_sml.jpg" width="275" height="217" alt="[Image unavailable.]" /></a> + +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>Section. +</p></td><td> </td> +<td> +<p>Elevation. +</p></td></tr> +</table> +</div></div> + +<div class="figcenter" style="width: 104px;"> +<a href="images/ill_pg_429-b_lg.jpg"> +<img src="images/ill_pg_429-b_sml.jpg" width="104" height="55" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 22.—Plan.</p></div> +</div> + +<p>It has been affirmed that the smoke of towns, however disagreeable it +may be to the inhabitants, neutralizes the poisonous effect of the gases +caused by sewers, &c. If it was possible wholly to remove<span class="pagenum"><a name="page_430" id="page_430">{430}</a></span> carbon +evolved by smoke, our towns would almost be uninhabitable, and they +represent that any scheme for getting rid of smoke must be combined with +one for getting rid of the exhalations from sewers at the same time. If +the two evils were brought together, they would neutralize each other, +and both could then be got rid of at one operation. The best scheme for +this is a matter of important consideration, but few have been proposed.</p> + +<p>It may be asked, what has a work on Picturesque Architecture to do with +either smoke or sewer gases? The author in reply considers that +buildings never will look picturesque while they are covered with great +patches of soot. An eminent sculptor once affirmed that the statues of +London were improved by their soot covering, because it made them stand +boldly out against the sky. But those beautiful decorated smoke towers +which stand on the roof of the Houses of Parliament, and which are as +black as Erebus, look anything but pleasing, standing amidst the whiter +front of the rest of the building. Besides, tall-boys are beginning to +make their appearance on the roof under the Victoria tower, and these +certainly form no part of the architecture, but appear monstrously ugly; +consequently smoke and its abolition are clearly questions to be +considered in relation to Picturesque Architecture.<span class="pagenum"><a name="page_431" id="page_431">{431}</a></span></p> + +<p>A plan for removing smoke from the atmosphere of towns, and at the same +time ventilating buildings and sewers, was proposed in 1849 by Mr. +Flockton, surveyor to the town trustees of Sheffield,<a name="FNanchor_F_6" id="FNanchor_F_6"></a><a href="#Footnote_F_6" class="fnanchor">[F]</a> a town as much +begrimed with sooty smoke, only in a smaller way, as the Metropolis.</p> + +<p>The proposal was, that under the footways along the side of every street +and lane, flues should be constructed of sufficient capacity to carry +off all the smoke and other atmospheric impurities, these flues all +converging, upon a general plan, to tall shafts or chimneys at some +distance from the town, and supplied with furnaces. These, when the +fires were once ignited, would give a fire produced by the combustion of +the inflammable gases accompanying the smoke, and which would burn +spontaneously in a similar manner to the combustion of foul air from old +shafts connected with coal mines. The combustion might be assisted by +jets of coal gas, in a fire of coke.</p> + +<p>In very large towns it would be necessary, Mr. Flockton added, to divide +the whole into districts, and to erect towers in the centre of each, to +which all the flues should converge. He published a plate, showing<span class="pagenum"><a name="page_432" id="page_432">{432}</a></span> two +large dwelling-houses, with a street between, the common sewer in the +middle of the carriage way, and the smoke flues on each side under the +footpaths, also showing the connexion between the sewer and flue. The +alteration proposed to houses already erected consisted in converting +ascending into descending flues; turning the smoke from the chimney-top +into the latter, and from thence into the street flue. This operation +would have necessitated the pulling down and rebuilding of the flue +walls. The street smoke flues, in order to carry off the smoke from a +few thousand chimneys, would require to have been made of a size even +larger than the sewer itself. Provision must have been made for clearing +out the soot, for the smoke would have been cooled and the soot would +accumulate in large quantities in them.</p> + +<p>The same scheme, with similar constructions, was proposed by a foreign +gentleman, who took out a patent for it in 1850 (No. 13,061). His plan +was a very grand one; he did not propose alterations in existing +buildings, but pulled them down and gave designs for a new city.</p> + +<p>A more practical plan was proposed about 1851 by Mr. Devey, a surveyor +of Furnival’s Inn. A model of his invention was in the Great Exhibition +of 1851, and it is described and an engraving given of it in the +illustrated volumes published by the Royal Exhibi<span class="pagenum"><a name="page_433" id="page_433">{433}</a></span>tion Commissioners at +the close of the Exhibition. The model is now in the Museum at South +Kensington. Mr. Devey’s plan was to make only one descending flue to +each building, to which the flues at the top could be either connected +or not, at pleasure; the descending flue was carried to the sewer in the +middle of the street, and the action of this was to be assisted by the +heat of the kitchen fire. He says, “The smoke would be drawn down by the +current produced by exhaustion in the sewer, the action being assisted +by the kitchen fire.” Mr. Devey did not propose to have furnace shafts, +but depended entirely upon the sewer acting as an exhaust.</p> + +<p>In this scheme the objections were, that one descending flue was not +sufficient to carry off the smoke from several chimneys, and the sewer +certainly would not act as an exhaust without its being connected with +upright furnaces. Our sewers generally have ventilating openings which +permit their odours to ascend into our streets. Soot would no doubt +neutralize these odours—this, a paper in a late <i>Quarterly Review</i> +(April, 1866) admits. First, speaking of the sewer gases, the reviewer +says: “These offensive gases have often engendered formidable diseases, +and have, in several instances of late, been clearly shown to have +caused the outbreak both of typhoid fever and cholera.” Of this the +author has had proof during the<span class="pagenum"><a name="page_434" id="page_434">{434}</a></span> outbreak of cholera in London in 1849. +He was superintending the construction of a mass of buildings in one of +the worst dwelling districts in London. This builder, who had just +finished the erection of Harrington House, a description of which is +given in this volume, died the first night of the outbreak in the +greatest agony; he was a strong robust man; from one to three deaths +took place in every house in the locality; a black flag was put up in +the streets, and the foul fiend reigned for a while supreme. A large +mass of the worst buildings have been cleared away, and model +lodging-houses erected, but a considerable portion of the rotten old +structures remain, the sewers are untouched, and the visitation of the +cholera forgotten.</p> + +<p>The <i>Quarterly Review</i> says there is no reason why ordinary sewers +should not be made to serve the double purpose of carrying off smoke and +sewage at the same time, provided they were connected here and there +with high shafts rendered powerfully expansive by furnaces; and adds, +“sewage would be improved for agricultural purposes by admixture with +soot, which is an excellent manure, and the noxious qualities of the +sewer gases would be destroyed.” Whether soot would increase the value +of sewage or decrease it, is a question for chemists to decide; a +generally increasing opinion is, that our method of using sewage<span class="pagenum"><a name="page_435" id="page_435">{435}</a></span> by +liquefaction and sending it away, is a mistake, and renders it quite +worthless, and that the system of dry earth-closets is more conformable +to Nature’s laws.</p> + +<p>The subject was taken up in 1857 by Mr. Peter Spence, of Manchester, a +large alum manufacturer.<a name="FNanchor_G_7" id="FNanchor_G_7"></a><a href="#Footnote_G_7" class="fnanchor">[G]</a> This gentleman states that the “blacks,” the +horror of the Londoner, are guiltless of any deleterious effect to human +health, as carbon is one of the most anti-putrescent of bodies, and +while floating in the atmosphere over everything, arrest and destroy +noxious and miasmatic vapours. Perfect freedom from smoke would, if +accomplished, only increase the evil arising from the purely gaseous +results of combustion. He proposed a system of <i>atmospheric</i> or <i>gaseous +sewage</i>, and the complete removal of all their gases to a safe distance +from our towns. He would combine this gaseous sewage in such a form with +town drainage as would bring all the liquid sewage into contact with the +gases from our furnaces and house fires, the liquid sewage being kept +from all surface drainage. The same liquid and fœtid mass of sewage he +would concentrate in an innoxious form, to be converted, in a convenient +place, where it might with perfect safety be manufactured into manure +more valuable than the richest guano.<span class="pagenum"><a name="page_436" id="page_436">{436}</a></span></p> + +<p>For effecting this all the gases from our coal combustion would have to +be conveyed along the same tunnel with the sewage to centralizing +conduits converging to a point, where an immense chimney, 600 ft. high, +should be erected, to discharge these gases into the atmosphere, the +ascensive power being obtained either from the retained heat of the +gases, which would probably be found quite sufficient, or if not, +artificial heat could then be applied to effect the object. The chimney +should be of the internal diameter of 100 ft. at the top, and 140 ft. +external diameter at the bottom. This would take the smoke from 500 +chimneys and every particle of foul emanation from the sewer, and every +leak or opening to the upward air from these sewers would not then emit +foul gases, but draw in fresh air with a pressure or suction of three +and a half pounds per foot, and with a velocity of 40 feet per second. +This gentleman says: “It is idle to talk of trapping, and thus confining +gases evolved under ground; exit they must and will have, and when you +imagine you have secured them in one place, you will find them pouring +out in another.” He makes this plain by an illustration. He took an +old-fashioned detached house; after entering into possession he found +frequently very disagreeable smells, especially after rain, a change of +wind, or a fall of the barometer; it may be remarked here that<span class="pagenum"><a name="page_437" id="page_437">{437}</a></span> it was +not necessary to take an old-fashioned house to find out this; in more +modern built houses in London, after a fall in the barometer or rain, +such a thing is repeatedly occurring. Mr. Spence, to cure the evil in +his old mansion, exhausted all the remedies which the philosophy of +London schemes acknowledges; he trapped all the exits from the sewer +with the most approved patent girds; all slopstone pipes were cut and +water-luted. But this was of no use, the smell came through the very +walls and floors, and one bedroom on the first floor, which showed no +connexion with the sewer, was quite uninhabitable. He adopted a plan +which succeeded: a branch from the main sewer was brought right under +the kitchen grate, from that a pipe of cast iron, four inches in +diameter, was carried up through the brickwork, and the open top +projected into the chimney a yard and a half behind the kitchen fire, +above the fire. When this fire was again lighted, in a few hours the +house was perfectly sweet, and the distant bedroom, uninhabitable +before, has been slept in ever since. When this nuisance occurs in a +London house the only remedy is to open the doors and windows to get rid +of it, as we are not allowed to meddle with the sewers. Disagreeable +effluvia in dwellings often occur, and baffle every endeavour to trace +from where they proceed; in every case it is from choked-up drains or +the sewer,<span class="pagenum"><a name="page_438" id="page_438">{438}</a></span> and the decomposition of animal and vegetable matter therein +retained.</p> + +<p>As for Mr. Spence’s scheme, its grandeur almost stops its execution. It +is well known that in all large manufactories, and in gas works, a tall +chimney serves to draw out the smoke from the numerous fires, and it +forms a smoke-outlet for them all. In most of these places the fuel is +used up so completely that it is only the gases of combustion that are +drawn away. Mr. Spence’s scheme has been successfully tried in its +application to private residences, and also on a large scale to the new +Assize Courts in Manchester. It was adopted by one of the architects in +the competitive designs for the New Law Courts in London.</p> + +<p>If these tall shafts and furnaces were applied in London, it may be +questioned whether the smoke in cooling would not deposit the soot in +the sewer, and this must be removed, if not run off by water. The flues +connecting the house fires with the sewer would be partly horizontal, +and these would certainly fill with soot, and no machines we have at +present in use could clean out these flues from above. The operation +must be performed from within the sewer, and then these flues being +unsupplied with drain-eyes at their entrance to the sewer, would form so +many open channels for the passage of the sewer gases into the houses. +This would be the case in a very great degree<span class="pagenum"><a name="page_439" id="page_439">{439}</a></span> where there were no fires +in the stoves and their register doors were open. It would require an +immense consumption of fuel in the high stalks to cause a current to +prevent it, and the furnaces must be close together to lessen the +cooling effects of cold currents of air from flues not in use.</p> + +<p>As to the mere ventilation of the sewer itself, it could easily be +effected by single drain pipes 6 inches in diameter, placed at +intervals, from the sewer to the ash-pit of any neighbouring furnace. It +would be probably to the advantage of the furnace itself, as even the +tall stalks must sometimes make black smoke. A legislative enactment +should require their owners to let them perform this service. It might +require strong furnaces and plenty of them to effect it. A suggestion +for getting rid of that “monster nuisance, London smoke” was made known +in the <i>Builder</i> about 1859, by Messrs. Bruce Neil. It is thus +described: “The plan consists in placing small tanks containing water +over the chimney (the chimney-pots being fixed inside the tanks, and +made of a spiral and bent form). The chill of the water gradually +condenses the smoke, which becomes decomposed and destroyed, being +precipitated at the bottom of the tank in the form of mineral tar. The +water is turned on and off daily. It will be here observed that in the +event of a fire in the chimney the flames cannot spread, as they are<span class="pagenum"><a name="page_440" id="page_440">{440}</a></span> +immediately quenched by the water in the tank. According to Mr. Bruce +Neil’s calculation, the smoke of 80 tons of coal, if collected, will +yield upwards of 28 barrels of tar, of 2½ cwt. each. He proposes that +the Legislature, or the Society of Arts, should offer a premium to the +person who will undertake to rid us of this monster nuisance and convert +the smoke into tar, so as to make it applicable to commercial purposes. +In the adoption of the above plan a slight alteration in the mode of +ventilating our apartments is all that is required, he tells us.</p> + +<p>As to the possibility of converting smoke into tar by such means as are +above described, some doubts might be expressed if it could really be +done; the remedy would be worse even than the disease, every household +using yearly 20 tons of coal would have in that time to remove 7 barrels +or 17½ cwt. of tar from their roof. The <i>Builder</i>, in publishing this +suggestion, did not give any diagram or sketch showing how the process +was to be effected. Mr. Bruce Neil no doubt made one, as he speaks of +the alteration required in the ventilation of our apartments; a drawing +would at least have explained how the water was to collect the soot, and +how it was to have access to the flue in case of its being on fire.</p> + +<p>The suggestion of collecting soot at the chimney-top by means of water +was a valuable one, and there<span class="pagenum"><a name="page_441" id="page_441">{441}</a></span> is no doubt it could be done to some +extent, but not by encircling the pots with cold water, which would +chill the smoke and prevent the soot from rising. A</p> + +<div class="figcenter" style="width: 367px;"> +<a href="images/ill_pg_441_lg.jpg"> +<img src="images/ill_pg_441_sml.jpg" width="367" height="369" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 23.—Water chimney-vase for collecting soot.</p> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>Half elevation. +</p></td><td> </td> +<td> +<p>Half section. +</p></td></tr> +</table> +</div></div> + +<p class="nind">design is here given, fig. 23, to show how it could be effected.<span class="pagenum"><a name="page_442" id="page_442">{442}</a></span></p> + +<p>It will be seen that the chimney-pot or funnel has a zinc cover carried +by stout ironwork surrounding it; <i>a</i> is the water, <i>b</i> the pipe to +convey it away; it would be self-acting, and being washed by every +shower would not be likely to get out of order. The rain-water must be +looked for as to supply—to pay for high service for the roof of our +houses to the water companies would not do.</p> + +<p>Our climate is more damp than cold, and a considerable quantity of rain +falls on our roofs. The zinc cover is spread out, so as to retain as +large a portion as possible of the rain-fall. In winter, when there is +most smoke, there is most water, with little or no evaporation. A pool +of water could be thus collected, and the smoke projected over it would +lose some portion of its soot, which could be floated away by the pipe +into a receptacle provided for it in the back yard. The water might be +sent into the drain and the soot left; or it could be sent into the +drain as well.</p> + +<p>The arrows in the diagram show the direction of the smoke, and the cover +is so spread out and curved as to render it unlikely for any violent +wind to flow out both water and soot into the street beneath.</p> + +<p>Certainly coal smoke is a great nuisance; it is yearly pointed out as +such by our paper the <i>Times</i>, in one, probably two, very excellently +written leaders.<span class="pagenum"><a name="page_443" id="page_443">{443}</a></span> Even the youngest member of the press, the <i>Echo</i>, in +one of the common London fogs occurring in April, 1868, thus remarks: +“The most sad and remarkable circumstance about the fog of yesterday was +that the newspapers and people in the streets spoke of it as a +‘visitation,’ as a ‘gigantic pall,’ as if, indeed, the black darkness +was something as strange and unaccountable as a fall of frogs or fishes +from the sky. Of course it was nothing but our own familiar coal smoke +which stopped the way of the sunlight. It is most lamentable that +Londoners are becoming so used to this filthy nuisance that nothing more +than a passing exclamation is uttered when it is forced down upon them +in such volumes as to produce almost the darkness of midnight at midday. +If ‘cleanliness is next to godliness,’ then the people of London must +have been yesterday the most ungodly people in the world, for nothing +would remain clean which was exposed to the fog of that morning. A +plague of locusts would not create more terror and sense of ruin in any +foreign capital, where every article of dress and furniture and house +decoration, both external and internal, would have been regarded as +spoiled by the loss of freshness. But London received its coat of dirt +yesterday, and to-day only wonders with the remark ‘how dark it was!’ +Will nothing move us to abate the nuisance? Is there no hope but that +distant one<span class="pagenum"><a name="page_444" id="page_444">{444}</a></span> of the exhaustion of our coal-beds? Must we inhale +coal-blacks, and always contemplate dirty houses and grimy furniture? Is +it not possible by smoke sewers, or some contrivance or machinery, to +relieve us of this plague?” It is very possible it could be done with +the greatest ease, but at some first expense; and in some generation or +other it will be written that it found London foul and left it sweet, +and there will be a time when this will be appreciated; and the man who +gives the city the pure atmosphere of a small country town will receive +all due honour and acknowledgment, that is, when he is in his grave and +securely buried.</p> + +<p>The public have so long been accustomed to be choked with smoke, and +their health affected by deleterious gases, that they look upon the +proposal of any scheme to secure pure air as the hallucinations of +dreamy philosophers or inexperienced Utopians.</p> + +<p>None of our present flues can, in the very slightest degree, stop these +aqueous vapours from ascending into the atmosphere, neither can they +effect any purification of the smoke, or retain the blacks for any +useful purpose; and it is of no use disguising the fact that any +contrivance or appliance, to effect either of these most desirable +objects, must consist of an additional construction to the flue, which +will be attended with additional expense, and require extra<span class="pagenum"><a name="page_445" id="page_445">{445}</a></span> attention. +Therefore any such appliance, if introduced, should be effectual, and +repay such additional cost to its owner, by a saving, or at least a more +economical use of fuel.</p> + +<p>The appliance to the flue the author has to recommend, he considers will +not only cause an economical use of the fuel by not permitting the +present waste of heat, but it will purify the smoke, and retain the +blacks for any useful object to which they can be applied.</p> + +<p>The principle of the best-constructed flue at present is to get rid of +all vapour, smoke, and soot as soon as possible, without the slightest +consideration for the people outside. That the smoke should not return +to annoy the occupants within the house is the aim of the constructors, +and to secure this, the waste of heat in the chimney, and the consequent +waste of fuel, is considered of no importance, for is it not the hot +smoke that carries up the soot and ventilates the apartment?</p> + +<p>This operation of the flue could be taken advantage of. In the +construction of chimney-flues in a wall they are often turned at an +angle to the right or left to pass an obstruction, such as a fireplace +or timber placed within or against the wall. A flue could easily be +taken out of the wall and returned, and if the part so taken out was +formed in cast iron with a small<span class="pagenum"><a name="page_446" id="page_446">{446}</a></span> cistern of water at top, it would +become a warm-water pedestal, and could moderately warm or air an +apartment in which it was placed; the author calls this the flue +pedestal, and it is represented in the following cut.</p> + +<div class="figcenter" style="width: 159px;"> +<a href="images/ill_pg_446_lg.jpg"> +<img src="images/ill_pg_446_sml.jpg" width="159" height="317" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 24.—The flue pedestal.</p></div> +</div> + +<p>It is about three feet six in height, not much higher than a small +cabinet. The door could open, and a small tap supplying warm water for +domestic use would be seen. Thus the upper rooms of a house<span class="pagenum"><a name="page_447" id="page_447">{447}</a></span> could be +warmed or aired by the fires below in perfect safety, and the present +waste of heat in the flues prevented. This would be economical, as in +most cases no fires would be necessary in the upper rooms.</p> + +<p>The flue thus brought out in iron could contain a fine spray of water, +that would draw up the smoke, and take down its vapours and soot at the +same time into the sewer.</p> + +<p>Fig. 25 shows a section of the flue thus brought out. The wall is two +bricks thick, the flue <i>a</i>, is 9 inches in diameter, <i>d</i> is the +cast-iron flue, and another, <i>e</i>, shaped like a funnel, is placed behind +it, to collect the soot and water, and pass it off through the pipe <i>h</i>. +The cistern is partly within the walls and partly covering the two +flues. It is not necessary that the water in the cistern should supply +the spray: that might be done by a separate pipe with a tap to turn off +and on as desirable; <i>b</i> is the moveable pedestal covering the whole.</p> + +<p>The adaptation of this simple contrivance to any kind of domestic +chimney-flue is not a very difficult operation. It is only necessary to +take out the brickwork in front of a flue of a height of 4 to 5 feet, +and then introduce the iron flue, gathering up the brickwork beneath it; +the section, fig. 25, supposes the iron flues to be in an external wall; +should it be required in a party wall the soot goes off at <i>g</i> <i>g</i>, to +be conveyed<span class="pagenum"><a name="page_448" id="page_448">{448}</a></span> outside the building in the nearest way; doors are provided +for the purpose of sweeping; any down</p> + +<div class="figcenter" style="width: 320px;"> +<a href="images/ill_pg_448_lg.jpg"> +<img src="images/ill_pg_448_sml.jpg" width="320" height="465" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 25.—Section of the flue pedestal.</p></div> +</div> + +<p><span class="pagenum"><a name="page_449" id="page_449">{449}</a></span></p> + +<p class="nind">draught of air in the chimney might expend itself in the soot flue, and +the smoke having passed the spray could not return. The spray of water +should be equal to the whole width of the flue, and proportioned in +strength to the work it has to do; the smoke from a whole group of flues +might be conducted to one powerful spray, one upper flue or chimney +would then suffice for the roof, while the soot and flues in any number +might be formed into one before passing to the sewer.</p> + +<p>The pipe <i>h</i>, shown in fig. 25, would not form an open communication +with the sewer; it would be supplied with a flap-cover or drain-eye, +like the common house drain at its extremity. This would open only when +sufficient water and soot was behind it, and close when it was passed. +It would not require sweeping, the water keeping it clear. It should +have another kind of drain-eye to that at present in use, the lid, or +flap of which is hinged from the top, the soot floating on the surface +of the water, would require the flap to open from below. Fig. 26 shows +the kind of drain-eye that would be required.</p> + +<p>If it was not for the difficulty of the present form of drain-eye to our +houses, the soot flue might discharge its contents into the house drains +at once, below the trappings; there is probably no absolute necessity at +all for drain-eyes at the termination of<span class="pagenum"><a name="page_450" id="page_450">{450}</a></span> house drains, their use is to +make precaution doubly sure, to prevent the rising of the gases from the +sewer, and to keep out the rats, to prevent them, by getting through the +traps, from entering the house.</p> + +<div class="figcenter" style="width: 97px;"> +<a href="images/ill_pg_450_lg.jpg"> +<img src="images/ill_pg_450_sml.jpg" width="97" height="106" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Fig. 26.—Drain-eye.</p></div> +</div> + +<p>Experiments were made with a shower of water in Mr. Cubitt’s descending +flue. It will be seen by inspecting the figures 1 to 8 that these flues +could easily be formed into one, and taken into the drain; the +experiment did not succeed, as none will, that brings heavy smoke in +opposition to a water-fall. The smoke must go with the current or +water-shower, and not against it.</p> + +<p>The flue pedestal, with its water-spray, is the whole of the contrivance +by which the author believes the smoke of the domestic hearth could be +got rid of, or rendered inoffensive. What the action of the water would +be on the gases that escape from the fuel he cannot say, but he presumes +it could not be other than beneficial.<span class="pagenum"><a name="page_451" id="page_451">{451}</a></span></p> + +<p>He experimented on the subject a few years ago, and had a stove and flue +erected about ten feet in height; the lower part of the stove was of +brick, the upper part with the cistern of zinc. The coal fire was +lighted, and as soon as black smoke appeared at the chimney-top, the +water-valve was lifted and about 16 fine jets of water were sprayed +against a piece of loose perforated zinc, suspended in the flue; this +zinc is shown in fig. 25; in the second flue <i>e</i> (it should have been +marked <i>f</i>, but by a mistake in the cutting it is made <i>d</i>), the smoke +had to pass through under this perforated zinc to get to the chimney +above. On the instant the water was applied, the smoke appeared at the +chimney-top of a light colour, and it came out of the soot receptacle, +placed a little height above the ground, nearly as much as it did at +top, and of a similar light vapourish character,<a name="FNanchor_H_8" id="FNanchor_H_8"></a><a href="#Footnote_H_8" class="fnanchor">[H]</a> a sure sign that it +was drawn down by the current of water. Soot in large quantities was +soon seen in the receptacle; the author has not ascertained the quantity +of soot which would be obtained by this process from a ton of coals, but +he believes it would be very considerable, possibly two sacks or more. +As clean unmixed soot is worth<span class="pagenum"><a name="page_452" id="page_452">{452}</a></span> in London 2<i>s.</i> 6<i>d.</i> per sack, if this +soot were retained it would pay for the extra expense of the water, and +the retaining of it, and to carry off the water would be an easy +operation.</p> + +<p>The “blacks” are good things at present in their wrong place; they could +in the way proposed be very easily got rid of, and if it were possible +to cut into all the chimneys of London and apply the remedy, the whole +of the soot, which at present escapes into the atmosphere, might be +caught and passed into the drains; it would there probably fully +deodorize them. It is certainly not possible, from the herculean nature +of the task, to disturb the whole of the chimneys of London, but the +worst only might be operated upon, such as the chief kitchen flues of +the great establishments, which are continually sending out black smoke.</p> + +<p>Among the chief offenders are our bakers, nearly twenty of them being +fined weekly for this by the magistrates, and for fires occurring in +their chimneys. It appears that the Smoke Nuisance Act bears hardly upon +them; the smoke-consuming apparatus forced upon them by the Act has +utterly failed in its purpose, and it is impossible for them to comply +with the requirements of the Act, and carry on their business in a +satisfactory manner either to themselves or the public. They have +applied to the Home Secretary<span class="pagenum"><a name="page_453" id="page_453">{453}</a></span> for relief, and a bill to repeal so much +of the Act 16 and 17 Vict. that relates to bakehouses has been in +contemplation.</p> + +<p>There would be no difficulty in placing a flue pedestal in their flues +at any height above their oven fires; it would not only relieve their +neighbours from the annoyance of black smoke from their chimneys, but it +would secure the chimneys themselves from taking fire. The water need +only be turned on when required, when black smoke was being made, and if +they chose to collect the soot the expense of the operation would be +trifling, if anything, beyond the first expense of the flue pedestal, in +the end.</p> + +<p>In large country houses the flue pedestal would warm the upper rooms or +passages, and cause a more equal temperature in the building; this, +together with the practicability of collecting the soot for agricultural +purposes, might be an inducement to its introduction. Water could be +lifted to the roof of a country mansion by that ingenious contrivance +the hydraulic ram, and passed off to its original source when done with, +the soot being left behind.</p> + +<p>The beautiful self-acting machine, known as Gwynne and Co.’s improved +hydraulic ram, is peculiarly adapted for raising or lifting water to any +required elevation. It is necessary to have a fall of water to work it, +and the greater the height of the fall, the more<span class="pagenum"><a name="page_454" id="page_454">{454}</a></span> effective will be the +machine. In favourable cases it will raise water thirty times higher +than the fall working it. The greater the height of the lift, of course +the less will be the quantity raised in a given time. This machine can +be made to deliver comparatively large quantities of water, either in +tanks on the roofs of houses, or in farmyards for filling ponds. It will +work day and night without any attendance or expense after it is once +fixed. Two or more rams may be used to force through the same pipe, or +rising main. Where a continuous stream of water to work the machine +cannot be obtained, a spring, or even rainfall, or drainage may be +stored up in a reservoir or dam, and made to work the ram.</p> + +<p>The expense of these machines is not excessive, as the following table +will show:—</p> + +<table border="1" cellpadding="2" cellspacing="0" summary="" + style="font-size:75%;"> + +<tr class="c"><td> Diameter of<br /> + Feed Pipe. </td> + +<td>Diameter of<br /> + Delivery<br /> + Pipe. </td> + +<td> Approximate Number of<br /> + Gallons of Water raised<br /> + in a day of 24 hours.</td> + +<td>Price of Ram, complete,<br /> +with all the accessories,<br /> + but exclusive of Pipes.</td></tr> + +<tr><td class="c"> Inches.</td><td class="c"> Inches.</td><td class="c"> </td><td class="c"> £</td></tr> +<tr><td class="c"> 2</td><td class="c"> 1</td><td class="c"> 800 to 1150</td><td class="c"> 12</td></tr> +<tr><td class="c"> 3</td><td class="c"> 2</td><td class="c"> 3000 to 4000</td><td class="c"> 24</td></tr> +<tr><td class="c"> 4</td><td class="c"> 2</td><td class="c"> 4000 to 5000</td><td class="c"> 34</td></tr> +</table> + +<p>A small room or enclosure must be erected to contain the machine.</p> + +<p>The question of how far the removal of smoke from the atmosphere would +affect the various gases of combustion floating therein is a question +for the chemist.<span class="pagenum"><a name="page_455" id="page_455">{455}</a></span> The plan that has been here proposed is founded on the +supposition that Nature’s law, relative to the diffusion of gases, +permits only carbonic acid gas, the chief product of combustion, to +remain in the proportion of 1 in 2000. The introduction of so much water +in the sewer, where its presence already is considered an injury to the +sewage, is an objection, but the present system of drainage requires a +plentiful supply of water, to prevent stoppages or choking. Should the +dry earth system ever be generally introduced, the present sewers would +serve to remove liquid sewage and all products of combustion. The +operation of the sewer in any way in receiving this smoke and soot, +would permit the full and cheering light of the sun to shine alike in +country and town.<span class="pagenum"><a name="page_456" id="page_456">{456}</a></span></p> + +<h2><a name="DESIGN_No_36" id="DESIGN_No_36"></a><i>DESIGN No. 36.</i><br /><br /> +A LECTURE HALL, OR LITERARY INSTITUTION.</h2> + +<div class="figcenter" style="width: 341px;"> +<a href="images/ill_pg_456_lg.jpg"> +<img src="images/ill_pg_456_sml.jpg" width="341" height="302" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation.</p></div> +</div> + +<p><span class="pagenum"><a name="page_457" id="page_457">{457}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS design was made to refront an old chapel in the country which had +been purchased for the purpose of forming a Literary Institute. The +interior</p> + +<div class="figcenter" style="width: 271px;"> +<a href="images/ill_pg_457_lg.jpg"> +<img src="images/ill_pg_457_sml.jpg" width="271" height="428" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Tablet in front.</p></div> +</div> + +<p><span class="pagenum"><a name="page_458" id="page_458">{458}</a></span></p> + +<p class="nind">was one large room, the lecturer’s table at the back, a recess and +fireplace behind, a large gallery in front, under which were formed two +small rooms, with a</p> + +<div class="figcenter" style="width: 239px;"> +<a href="images/ill_pg_458_lg.jpg"> +<img src="images/ill_pg_458_sml.jpg" width="239" height="348" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of entrance-door.</p></div> +</div> + +<p class="nind">passage from the grand entrance between. The entrance-door with a bust +of Socrates over it, under the arch, was made large, to give an +important character<span class="pagenum"><a name="page_459" id="page_459">{459}</a></span> to the front. A section of the niche over the +doorway is given, some details of the angle rustication, together with +an elevation of the entrance-door.</p> + +<div class="figcenter" style="width: 137px;"> +<a href="images/ill_pg_459_lg.jpg"> +<img src="images/ill_pg_459_sml.jpg" width="137" height="174" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_460" id="page_460">{460}</a></span></p> + +<h2><a name="DESIGN_No_37" id="DESIGN_No_37"></a><i>DESIGN No. 37.</i><br /><br /> +ENCAUSTIC TILES.</h2> + +<p>A slight digression from the subject-matter of the preceding pages may +serve to break monotony, and introduce to the notice of the reader an +ornamental object—the encaustic tile. They are</p> + +<div class="figcenter" style="width: 193px;"> +<a href="images/ill_pg_460_lg.jpg"> +<img src="images/ill_pg_460_sml.jpg" width="193" height="194" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Design for a floor encaustic tile.</p></div> +</div> + +<p class="nind">now of universal use, both for floor and wall decoration, and have +become general favourites for such purposes. A few suggestions, +therefore, for the purpose of making them more artistic and pleasing +will not be out of place.</p> + +<p>The present patterns are almost entirely of a con<span class="pagenum"><a name="page_461" id="page_461">{461}</a></span>ventional kind, or +according to strict geometric forms. The same pattern is repeated all +over the surface, without variation, and however excellent the pattern +may be, it is designed on the same principle as that of a printed wall +paper.</p> + +<p>The design just given puts all geometric forms aside, and introduces a +free-hand treatment, allowing the pattern to be varied on every surface +laid down.</p> + +<div class="figcenter" style="width: 193px;"> +<a href="images/ill_pg_461_lg.jpg"> +<img src="images/ill_pg_461_sml.jpg" width="193" height="198" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Design for wall encaustic tile.</p></div> +</div> + +<p>The first tile shows eight points in which the stem of the pattern +(suppose that of a flower design) meets in them all. The second tile +shows the stem; the third and fourth the flower pattern varied. One tile +might have more flowers than leaves, another all leaves or buds, and as +all the tiles would fall in their right places, they depend only on the +care of<span class="pagenum"><a name="page_462" id="page_462">{462}</a></span> the workmen who place them; the pattern might be varied +according to the number of tiles of different pattern.</p> + +<p>For wall linings a trellis work might be shown on the tile, having a +blue ground; some tiles might be without either leaves, stems, or +flowers, and the design would show a flowered trellis against the sky. +The figure given on page 461 shows this.</p> + +<p>These tiles are beginning to be used on columns. Some good examples are +to be seen in the South Kensington Museum Galleries. In columns with +trellis work a white marble ground with leaves and roses twined round it +naturally, would look a great deal better than formal lines of stiff +ornaments.</p> + +<p>Some of our latest Gothic architects who were at the same time artists, +did not trouble themselves to draw out according to rule the geometric +lines for the foliation of their Gothic windows. They knew the +principles thoroughly, but merely made the vertical lines correct, and +then sketched in the foliation with a free hand. This gave an outline +greatly superior to the usual stiff conventional forms. Some examples of +this may be seen in one of the author’s books, now in the Fine Art +Library of the South Kensington Museum, in which the free-hand designs +(rubbings) are placed by the side of the same patterns drawn out +geometrically.<span class="pagenum"><a name="page_463" id="page_463">{463}</a></span></p> + +<p>The vignette shows foreign cut-wood patterns for roof ornament; the +section the method of forming the zinc gutter.</p> + +<div class="figcenter" style="width: 231px;"> +<a href="images/ill_pg_463_lg.jpg"> +<img src="images/ill_pg_463_sml.jpg" width="231" height="402" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_464" id="page_464">{464}</a></span></p> + +<h2><a name="DESIGN_No_38" id="DESIGN_No_38"></a><i>DESIGN No. 38.</i>—RESTORATION OF CASTLE GUNNARSTROP, SWEDEN.</h2> + +<div class="figcenter" style="width: 621px;"> +<a href="images/ill_pg_464_lg.jpg"> +<img src="images/ill_pg_464_sml.jpg" width="621" height="349" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_465" id="page_465">{465}</a></span></p> + +<p class="nind"><span class="letra">I</span>T has been remarked in the Introduction, that the localities in which a +residence can be placed greatly affect their picturesque appearance. The +north and west Highlands of Scotland, in our own country, and a similar +class of scenery in Sweden and Norway, greatly aid by their natural +beauties the best effects of the architect, and generally in northern +Europe, including Denmark with the above-named countries, those +accessories can be largely taken advantage of. An instance of this can +be found in the design now under consideration. In this castle the +gables are carried up to a greater height, and made more ornamental and +of greater importance than with us. In the year 1852 the author was +making a design for a villa for the Count de Bark, a Swedish nobleman. +It was to be erected on the heights bordering the Sound near Copenhagen, +and was seen from the sea in passing, peering above the trees. The upper +part of the villa was made as picturesque as possible, with a tower, +battlements, and turrets. The lower part of the building was very plain, +and the plan merely contained a few living rooms and servants’ +apartments; it was much unlike our style, and is therefore not given +here: only the view from the vignette is afforded in this description. +The Count’s uncle occupied the old castle, the Vrams Gunnarstrop in +Sweden, then very much out of repair and<span class="pagenum"><a name="page_466" id="page_466">{466}</a></span> unfitted for the requirements +of modern domestic life.</p> + +<p>It was planned originally on a grand scale; the fronts had high +triangular gables in steps, and decorated with cut granite ornaments, +but the whole was</p> + +<div class="figcenter" style="width: 252px;"> +<a href="images/ill_pg_466_lg.jpg"> +<img src="images/ill_pg_466_sml.jpg" width="252" height="274" alt="[Image unavailable.]" /></a> +<div class="caption"><p>The one-pair plan.</p></div> +</div> + +<p class="nind">very plain. The north front was in two floors, and the angle towers of +the building had only two floors. The portions between one storey—that +of the ground floor—thus had to be raised. The ground floor was given +to the servants, and the southern portion of the<span class="pagenum"><a name="page_467" id="page_467">{467}</a></span> building was to remain +for a time in its then existing state. The plan shows <i>a</i>, the grand +staircase, adorned with columns supporting the upper landing. It was 27 +ft. in length by 26 ft. in width, and led up to an ante-room <i>b</i>, in the +centre of the building, 26 ft. in length by 12 ft. in breadth. It opened +into the first and second drawing-rooms, <i>c</i> and <i>d</i>: one 30 ft. in +length, the other 40 ft., and both of a width of 26 ft.</p> + +<div class="figcenter" style="width: 281px;"> +<a href="images/ill_pg_467_lg.jpg"> +<img src="images/ill_pg_467_sml.jpg" width="281" height="186" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view of the Count de Bark’s villa.</p></div> +</div> + +<p>The dining-room <i>e</i>, entered from the chief drawing-room, was 40 ft. in +length, with a width of 22 ft.; <i>f</i> shows the gallery or library filled +with book-cases, and leading to the day-room <i>h</i>; the chief bedroom is +shown at <i>i</i> adjoining, <i>k</i> is the lady’s dressing-room, <i>l</i> the +gentleman’s dressing-room and bath; <i>m</i> is the nursery,<span class="pagenum"><a name="page_468" id="page_468">{468}</a></span> with a +servants’ staircase and closet adjoining; <i>g</i> is the servants’ +serving-place at the entrance of dining-room. The light portions of the +plan show the additions made; the black, the old portions of the castle. +The two towers contained staircases to the attics which were formed in +the high roofs.</p> + +<p>The principal elevation faced the west. The perspective view of this +front is given. Its length is 130 ft., and the height of the principal +entrance from the ground to the top of the gable is 60 ft.</p> + +<p>The south and west sides were of an equally picturesque character, but +neither had any central gable. The south had triple dormer windows +joined in the centre with one dormer window at each side. The two towers +were seen rising above the roof, and a wide terrace with open stone +Elizabethan balustrading extending the entire front, with steps down to +the garden in the centre below. The terrace was 130 ft. in length. The +west side had the two gables, one at each end, with three tall dormer +windows in the roof; these were connected by wood balustrading, and a +window with three lights was placed below each. The granite-stone +ornaments in the old fronts were replaced in the new fronts.<span class="pagenum"><a name="page_469" id="page_469">{469}</a></span></p> + +<p>The vignette gives a view of a small garden fountain, designed from one +in the old garden at Blickling in Norfolk. The plinth is hexangular in +plan, with the scrolls projecting on the three sides. To the top of the +jet its height is about 9 feet.</p> + +<div class="figcenter" style="width: 215px;"> +<a href="images/ill_pg_469_lg.jpg"> +<img src="images/ill_pg_469_sml.jpg" width="215" height="311" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_470" id="page_470">{470}</a></span></p> + +<h2><a name="DESIGN_No_39" id="DESIGN_No_39"></a><i>DESIGN No. 39.</i><br /><br /> +SUMMER VILLA FOR THE COUNT KINSKI, AT TEPLITZ.</h2> + +<div class="figcenter" style="width: 505px;"> +<a href="images/ill_pg_470_lg.jpg"> +<img src="images/ill_pg_470_sml.jpg" width="505" height="337" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view of Count Kinski’s summer villa.</p></div> +</div> + +<p><span class="pagenum"><a name="page_471" id="page_471">{471}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS villa was designed about the year 1852, for an Austrian nobleman, +who wished to have a villa in the English Elizabethan character. The +plan was arranged after his own figured sketches, and it is given here +as showing the requirements considered desirable for such a building in +a summer place of</p> + +<div class="figcenter" style="width: 282px;"> +<a href="images/ill_pg_471_lg.jpg"> +<img src="images/ill_pg_471_sml.jpg" width="282" height="228" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p class="nind">retirement, or palace for a foreign nobleman’s occupation. The porch was +approached on four sides by flights of steps 12 ft. 6 in. in diameter; +it opened into a hall <i>b</i>, 20 ft. in length by 14 ft. in width. The +drawing-room <i>c</i>, of noble size, with two bay windows, was 36 ft. in +length by 22 in width. The dining<span class="pagenum"><a name="page_472" id="page_472">{472}</a></span>-room <i>d</i>, in the opposite side of the +hall, was 28 ft. in length by 18 ft. in width. The butler’s pantry <i>k</i>, +and the servants’ offices and kitchen <i>g</i>, with a large store-closet +<i>h</i>, and scullery <i>i</i>, adjoined. A bread-room is shown at <i>j</i>, <i>l</i> is +the servants’ hall, <i>m</i> a china-closet, <i>n</i> a store-room, and <i>o</i> the +servants’ staircase, <i>q q</i> are the servants’ entrances, and <i>r r</i> the +closets.</p> + +<div class="figcenter" style="width: 268px;"> +<a href="images/ill_pg_472_lg.jpg"> +<img src="images/ill_pg_472_sml.jpg" width="268" height="227" alt="[Image unavailable.]" /></a> +<div class="caption"><p>One-pair plan.</p></div> +</div> + +<p>Returning to the principal portion of the building, the chief staircase, +<i>v</i>, opens from the entrance hall, <i>e e e</i> are nurseries, and <i>f</i> is the +library. On the first floor, <i>a</i> is the balcony over the porch; this was +to be used for smoking, &c., <i>b</i> is the best bed-chamber, and <i>c</i> the +boudoir to the same, <i>d</i> is the second best bed<span class="pagenum"><a name="page_473" id="page_473">{473}</a></span>chamber, and <i>e</i> its +boudoir, <i>f</i> is the third best bedchamber, and <i>g</i> its boudoir, <i>h</i> is a +bedroom without any boudoir, <i>i</i> is the housekeeper’s bedroom, <i>k k k</i> +the men’s sleeping room, <i>i</i> housemaid’s closet, <i>j j</i> closets, <i>l l</i> +linen-closets, <i>m</i> a closet or bath-room, <i>n</i> the principal staircase, +and <i>o</i> the servants’ staircase.</p> + +<p>The attic plan was devoted to the sleeping rooms, <i>b b b</i>, of the female +servants. Here plans are made</p> + +<div class="figcenter" style="width: 250px;"> +<a href="images/ill_pg_473_lg.jpg"> +<img src="images/ill_pg_473_sml.jpg" width="250" height="155" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Attic plan.</p></div> +</div> + +<p>(the building being so large) on a smaller scale than the other plans in +this volume.</p> + +<p>The perspective view merely exhibits the common forms of Elizabethan +character. The tower which formed the entrance was 70 ft. in height from +the foundation to the top of its roof, the height of the ground-floor +rooms was 14 ft. 3 in. They had rich plaster friezes, and the staircase +had carved oak Elizabethan balustrading. The second-floor rooms<span class="pagenum"><a name="page_474" id="page_474">{474}</a></span> were 12 +ft. 3 in. in height, and were very plain in character. The upper floor +of the tower was open, but could be closed by sashes; this was intended +for a smoking retreat. A small detail of one of the gabled windows in +front is given below. Altogether, the design had a most picturesque +effect, and its style met with approval. It combined utility with +elegance,</p> + +<div class="figcenter" style="width: 141px;"> +<a href="images/ill_pg_474_lg.jpg"> +<img src="images/ill_pg_474_sml.jpg" width="141" height="179" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Gable window.</p></div> +</div> + +<p class="nind">and completely answered the objects for which it was constructed.</p> + +<p>Another villa was designed for an Austrian nobleman, the Prince Clary: a +view of it is given in the first illustration of this volume, through +the window of the architect’s study. It was intended as a summer retreat +for the Prince and his friends when engaged in a fishing-excursion on +the noble river the Elbe, on<span class="pagenum"><a name="page_475" id="page_475">{475}</a></span> the banks of which it was placed. It +contained a large centre dining-room, 48 ft. by 22, with a saloon or +drawing-room, 40 ft. by 20 ft., and extensive accommodation for the +kitchen and servants’ departments. The upper storey contained 14 best +bedrooms, each with an ante or dressing-room, besides bath-room and the +sleeping apartments for the domestics.<span class="pagenum"><a name="page_476" id="page_476">{476}</a></span></p> + +<h2><a name="DESIGN_No_40" id="DESIGN_No_40"></a><i>DESIGN No. 40.</i><br /><br /> +HARRINGTON HOUSE, QUEEN’S PALACE GARDENS.</h2> + +<div class="figcenter" style="width: 335px;"> +<a href="images/ill_pg_476_lg.jpg"> +<img src="images/ill_pg_476_sml.jpg" width="335" height="329" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Perspective view of exterior.</p></div> +</div> + +<p><span class="pagenum"><a name="page_477" id="page_477">{477}</a></span></p> + +<p class="nind"><span class="letra">T</span>HIS building, with which the present collection of designs closes, is +probably the most unpicturesque example in the volume. Its exterior has +been frequently criticised; whatever its merits or demerits may be, it +certainly is wholly unlike, while at the same time it is not inferior, +to the strange style at present so popular with the younger branch of +architectural professors, which appears to be a</p> + +<div class="figcenter" style="width: 311px;"> +<a href="images/ill_pg_477_lg.jpg"> +<img src="images/ill_pg_477_sml.jpg" width="311" height="158" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Elevation of principal staircase.</p></div> +</div> + +<p class="nind">mixture of the Byzantine and Romanesque styles, joined with the Roman +Gothic. Some call it the Missal style, others the Northern Italian. The +sole recommendation of it is that it comes more expensive to carry out +than any other. This house has at least the reputation of being a very +comfortable one, and as more than usually adapted to receive large +assemblies and fashionable parties. Indeed the noble Earl who<span class="pagenum"><a name="page_478" id="page_478">{478}</a></span> erected +it was so pleased with it, that on entering, on its completion, he +addressed the following note to the author:—</p> + +<div class="blockquot"><p class="r"> +H. H., Kensington Palace Gardens,<br /> +<i>31 May, 1854</i>. <br /> +</p> + +<p class="nind"> +My dear Sir,—<br /> +</p> + +<p>I take this opportunity of expressing to you my thanks for having +constructed a house, in my humble judgment, <i>without a fault</i>.</p> + +<p class="c"> +Believe me most sincerely yours,<br /> +</p> + +<p class="c"> +(Signed) <span style="margin-left: 2em;"><span class="smcap">Harrington</span>.</span><br /> +</p> + +<p class="nind"> +To C. J. Richardson, Esq.<br /> +</p></div> + +<p class="nind"> +And after having resided in it nine months, he again<br /> +wrote as follows:—<br /> +</p> + +<div class="blockquot"><p class="r"> +H. H., Palace Gardens, Kensington,<br /> +<i>2nd February, 1855</i>. <br /> +</p> + +<p class="nind"> +My dear Sir,—<br /> +</p> + +<p>I pray you to accept my cordial thanks for your most able +architectural skill in the construction of my house. I have lived +in it one season, and have not discovered in it a single fault.</p> + +<p class="c"> +Believe me most truly yours,<br /> +</p> + +<p class="c"> +(Signed) <span style="margin-left: 2em;"><span class="smcap">Harrington</span>.</span><br /> +</p> + +<p class="nind"> +To C. J. Richardson, Esq.<br /> +</p></div> + +<p>The site upon which the house stands was taken by the Earl from the +Commissioners of Her Majest<span class="pagenum"><a name="page_479" id="page_479">{479}</a></span>y’s</p> + +<div class="figcenter" style="width: 545px;"> +<a href="images/ill_pg_479_lg.jpg"> +<img src="images/ill_pg_479_sml.jpg" width="545" height="358" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_480" id="page_480">{480}</a></span></p> + +<p>Woods and Forests, and it certainly is, or was, one of the best sites +for building in the metropolis. It adjoins Kensington Gardens, looking +on the old winter garden of Queen Anne. Agreeable and admirable a</p> + +<div class="figcenter" style="width: 186px;"> +<a href="images/ill_pg_480-a_lg.jpg"> +<img src="images/ill_pg_480-a_sml.jpg" width="186" height="84" alt="[Image unavailable.]" /></a> +<div class="caption"><p>One-pair plan of staircase.</p></div> +</div> + +<p class="nind">site for building as this was, in 1853, it remained for some time +utterly neglected. The first speculator had been ruined, and only one or +two of his houses (one erected by Mr. Owen Jones, the architect) were</p> + +<div class="figcenter" style="width: 168px;"> +<a href="images/ill_pg_480-b_lg.jpg"> +<img src="images/ill_pg_480-b_sml.jpg" width="168" height="91" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ground-floor plan.</p></div> +</div> + +<p class="nind">standing in the road. Soon after the Earl of Harrington acquired the +land, and erected this building, the whole of the road, on each side, +was covered with first-class mansions.<span class="pagenum"><a name="page_481" id="page_481">{481}</a></span></p> + +<p>The terms of the agreement were, that the Earl should take plot No. 9 +and the northern portion of plot No. 10, having a frontage of 196 ft. to +the Queen’s Road, and a depth of about 260 ft., for a period of 91¼ +years, from the 5th July, 1851, at a peppercorn rent for the first year, +of 73<i>l.</i> 10<i>s.</i> for the second year, and of 147<i>l.</i> a year for the +remainder of the term, also a rent of 5<i>s.</i> a year in lieu of land-tax +for every year except the first.</p> + +<p>The Earl was to expend a sum of not less than 6000<i>l.</i> in erecting upon +the ground a dwelling-house of the first-class style of building. The +house was to be insured in the sum of 6000<i>l.</i>, and the Earl was to pay +jointly, with the adjacent occupiers, the expense of lighting and +keeping up the road, which was a private one, and to pay the gatekeepers +at the lodge. The rest of the covenants of the agreement were such as +are usually found in such documents.</p> + +<p>The house was, until the present year, the only Gothic one in the +district, the Earl insisting upon having this, his favourite style, +admitted. It stands in the centre of the road at the highest level, and +is well up out of the ground. The principal floor is 7 ft. above the +outside road of approach, and 14 ft. above the level of the public road. +The whole of the walls stand on a basement of concrete, and the lower +flooring is 5 ft. above the level of the foundations.<span class="pagenum"><a name="page_482" id="page_482">{482}</a></span> The basement +story is 14 ft. in height, and of entirely fireproof construction. The +best rooms on the ground-floor are 17 ft. 6 in. in height, the secondary +rooms are 15 ft. high. All the principal staircases are of stone; the +ground plan on page 479 shows the</p> + +<div class="figcenter" style="width: 152px;"> +<a href="images/ill_pg_482_lg.jpg"> +<img src="images/ill_pg_482_sml.jpg" width="152" height="291" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Section of principal staircase.</p></div> +</div> + +<p class="nind">entrance hall, <i>a</i>, approached by 12 steps; it is 30 ft. in length, by +21 ft. in width; <i>b</i> is the principal staircase, situated on one side of +the saloon in the centre of the building; the latter is 41 ft. long by +21 ft. wide. The dining-room <i>e</i>, and the library <i>c</i>, on each side of<span class="pagenum"><a name="page_483" id="page_483">{483}</a></span> +the hall, are respectively 30 ft. by 22 ft. The great room, with the bay +window, entered from the saloon, is the picture gallery <i>f</i>. This room +is 41 ft. long by 30 ft. wide, without the bay. The drawing-rooms <i>d</i>, +<i>d</i>, on each side, are each 25 ft. by 20 ft.; <i>g</i>, the conservatory, +measures 40 ft. by 21 ft.; this, with the two drawing-rooms and the +picture gallery, can in less than half an hour be thrown into one by the +removal of the large folding-doors in the picture</p> + +<div class="figcenter" style="width: 113px;"> +<a href="images/ill_pg_483_lg.jpg"> +<img src="images/ill_pg_483_sml.jpg" width="113" height="127" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Ornament for stairs.</p></div> +</div> + +<p class="nind">gallery, which can be taken away, frames complete, by simply removing a +few screws. A length of drawing-room is then gained of 125 ft.</p> + +<p>The principal staircase is shown in elevation on page 477; the plans are +here given to a larger scale.</p> + +<p>The lower plan shows a portion of the first flight and the servants’ +passage, <i>a</i>, under the first landing; <i>b</i> is their staircase down to +the basement, this should<span class="pagenum"><a name="page_484" id="page_484">{484}</a></span> have been shown on the left-hand side. It is +the footman’s staircase, adapted for him to ascend and</p> + +<div class="figcenter" style="width: 287px;"> +<a href="images/ill_pg_484_lg.jpg"> +<img src="images/ill_pg_484_sml.jpg" width="287" height="399" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Iron railing on staircase.</p></div> +</div> + +<p class="nind">descend readily from or to the basement, and the <span class="pagenum"><a name="page_485" id="page_485">{485}</a></span>passage <i>a</i> permits +him to enter either side of the house without being seen. The upper plan +shows the two flights, right and left, rising from the principal +landing. Each of these has 22 steps. Three more in the centre lead up to +the gallery round the saloon; the section of the staircase, given on p. +482, clearly shows this arrangement. The staircase front is in Bath +stone. The only ornaments are the decorated corbels supporting the small +angular projections or buttresses necessary to receive the iron +standards of the railing above. One of the corbels and a panel of the +iron railing is given. This is carried up the stairs on both sides and +round the gallery, and is richly coloured and gilt. The only remaining +portions of the ground plan to be described are the secondary rooms. A +side entrance is at <i>j</i>, and the waiting room, <i>i</i>, is also at the side; +<i>h</i> is the servants’ staircase, going from the basement to the attic. On +the other side of the building <i>o</i> is the Earl’s dressing-room, with a +study or writing room by its side. This has a lift, <i>n</i>, from the +kitchen, enabling it to be used as a serving room. The picture gallery +has a flight of steps descending to a large ornamented garden at the +back of the house, <i>n n</i> is the stable yard, and <i>k k k</i> rooms over the +stable.</p> + +<p>The section through the complete building, given on page 486, shows the +general character of the interior. The rooms are wholly without +ornament; all have plain cornices formed of running Gothic mouldings. +The<span class="pagenum"><a name="page_486" id="page_486">{486}</a></span></p> + +<div class="figcenter" style="width: 564px;"> +<a href="images/ill_pg_486_lg.jpg"> +<img src="images/ill_pg_486_sml.jpg" width="564" height="411" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_487" id="page_487">{487}</a></span></p> + +<p class="nind">only decorated portion is the saloon (<i>inf.</i>), the coved ceiling of +which has the shields of painted and gilt coats of arms of family +connexions, together with</p> + +<div class="figcenter" style="width: 441px;"> +<a href="images/ill_pg_487_lg.jpg"> +<img src="images/ill_pg_487_sml.jpg" width="441" height="366" alt="[Image unavailable.]" /></a> +</div> + +<p><span class="pagenum"><a name="page_488" id="page_488">{488}</a></span></p> + +<p class="nind">mottoes and monograms. The skylight is filled with richly coloured +embossed glass, every pane having a shield of arms, its ceiling being +panelled with painted enrichments on a blue ground. A view of the saloon +is given on p. 487; it contains in the centre a statue</p> + +<div class="figcenter" style="width: 144px;"> +<a href="images/ill_pg_488_lg.jpg"> +<img src="images/ill_pg_488_sml.jpg" width="144" height="288" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Half-section of roof of conservatory.</p></div> +</div> + +<p class="nind">by Theed, of Lady Chandos Pole, the eldest daughter of the Earl. The +statues are shown in the plan by the letters <i>m m</i>. The ground floor is +supplied with warm-water pipes; these are shown by the dotted lines. +They are sunk in the brickwork forming the substructure of<span class="pagenum"><a name="page_489" id="page_489">{489}</a></span> the +flooring, and covered with open ornamental ironwork. The hall has two +warm-water pedestals. The whole of the rooms and conservatory are so +warmed.</p> + +<p>The latter part of the interior resembles in some respects a small +chapel. A half-section of a portion</p> + +<div class="figcenter" style="width: 253px;"> +<a href="images/ill_pg_489_lg.jpg"> +<img src="images/ill_pg_489_sml.jpg" width="253" height="286" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of one-pair.</p></div> +</div> + +<p class="nind">of its roof is given on p. 488; it measures 22 ft. from the floor to the +collar-beam. The corbels, from which the roof springs, are decorated +with shields of arms, surrounded by a garland of strawberry leaves.</p> + +<p>In the plan of the one-pair floor <i>a</i> is the boudoir<span class="pagenum"><a name="page_490" id="page_490">{490}</a></span> or morning room; +<i>b b b</i> are bedrooms; <i>c c c</i> dressing-rooms, and <i>d</i> is the bath-room. +The gallery is shown as completely going round the saloon; its ceiling +is of ground glass arranged in panels, each of which is</p> + +<div class="figcenter" style="width: 259px;"> +<a href="images/ill_pg_490_lg.jpg"> +<img src="images/ill_pg_490_sml.jpg" width="259" height="346" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">moveable, with a skylight over the whole. There is plenty of light +therefore afforded for the paintings with which the walls are covered.</p> + +<p>The small attic plan shows these skylights on three<span class="pagenum"><a name="page_491" id="page_491">{491}</a></span> sides only, +likewise the sleeping-rooms <i>b b</i>, and the housemaid’s closet <i>c</i>. Under +this plan is that of the upper room in the tower with its two slate +cisterns, each capable of containing 800 gallons of water. They are +supported by strong trussed girders fixed in the walls. This upper room +is approached by a</p> + +<div class="figcenter" style="width: 144px;"> +<a href="images/ill_pg_491_lg.jpg"> +<img src="images/ill_pg_491_sml.jpg" width="144" height="230" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Staircase to lower rooms.</p></div> +</div> + +<p class="nind">cottage staircase, the plan of which, with its 22 risers, is shown in +cut on p. 490. It enables the room to be approached without any +structural appearance being seen from without. A half elevation of the +exterior, and another of its section is given above. It is well supplied +with light.<span class="pagenum"><a name="page_492" id="page_492">{492}</a></span></p> + +<div class="figcenter" style="width: 411px;"> +<a href="images/ill_pg_492_lg.jpg"> +<img src="images/ill_pg_492_sml.jpg" width="411" height="285" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Basement plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_493" id="page_493">{493}</a></span></p> + +<div class="figcenter" style="width: 283px;"> +<a href="images/ill_pg_493-a_lg.jpg"> +<img src="images/ill_pg_493-a_sml.jpg" width="283" height="349" alt="[Image unavailable.]" /></a> +<div class="caption"> +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>Elevation of bay window. +</p></td><td> </td> +<td> +<p>Section. +</p></td></tr> +</table> +</div></div> + +<div class="figcenter" style="width: 224px;"> +<a href="images/ill_pg_493-b_lg.jpg"> +<img src="images/ill_pg_493-b_sml.jpg" width="224" height="100" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan.</p></div> +</div> + +<p><span class="pagenum"><a name="page_494" id="page_494">{494}</a></span></p> + +<p>The building contains upwards of forty rooms; the basement is very +large, and contains considerable accommodation. The mere enumeration of +these would require every letter in the alphabet to point them out in an +engraving, but as it is desirable to show how closely a large +establishment of servants can be packed together, the basement plan is +given. <i>a</i> is the kitchen, <i>b</i> the scullery, and <i>c</i> the larder. The +kitchen is provided with a lift <i>f</i>, and a small service window; <i>d</i> is +the pastry-room, and <i>e</i> the still-room, with the lift; <i>g</i> is the +dairy, <i>h</i> the washhouse, <i>i</i> the laundry, <i>j</i> the butler’s pantry, <i>k</i> +the steward’s room with its strong closet; <i>l</i> is the housekeeper’s, +with the cook’s room between it and the still-room, <i>m</i> is the servants’ +hall, <i>n</i> the men’s sleeping room; <i>o o</i> are wine-cellars, <i>p</i> the +butler’s wine-cellar, <i>q</i> the footman’s stairs under the principal +staircase, <i>r</i> the warm-water furnace, by the steward’s room, placed at +the back of his strong closet; <i>s</i> is the stable, containing eight +stalls, one loose box, and a harness-room; <i>t t t</i> are cart-sheds, <i>u</i> +is the cowhouse, <i>v</i> the dung-pit, <i>w</i> the coach-house, <i>x x</i> two of the +three coal-cellars, <i>y</i> the dust-pit, and <i>z z z</i> are the closets. The +carriage-road to the side entrance is formed over the cart-sheds and +coal-cellars. These are arched over in brick and covered with a thick +layer of Brown’s metallic lava, and are provided with proper drainage. +The boot-<span class="pagenum"><a name="page_495" id="page_495">{495}</a></span>cleaning place and that for lamps are between the coach-house +and the cart-sheds.</p> + +<p>The exterior of the building has been censured on account of the Gothic +outline being too flat, the roofs too low, and all the windows having +common sash</p> + +<div class="figcenter" style="width: 274px;"> +<a href="images/ill_pg_495_lg.jpg"> +<img src="images/ill_pg_495_sml.jpg" width="274" height="268" alt="[Image unavailable.]" /></a> +</div> + +<p class="nind">frames. With regard to the latter, it may be considered very probable +that if the Gothic race of architects had continued with us to the +present day, they would have adopted plate glass for their windows, and +put aside their lead-lights and small panes of common glass. One of the +greatest improvements that could be made in our cathedrals, not +excepting<span class="pagenum"><a name="page_496" id="page_496">{496}</a></span> even St. Paul’s, would be the reglazing the windows in the +modern style.</p> + +<div class="figcenter" style="width: 140px;"> +<a href="images/ill_pg_496_lg.jpg"> +<img src="images/ill_pg_496_sml.jpg" width="140" height="455" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Half-elevation and section of bell-turret.</p></div> +</div> + +<p><span class="pagenum"><a name="page_497" id="page_497">{497}</a></span></p> + +<p>As a specimen of the architectural style of the building, the centre +bay-window of the principal front is given, with its section and plan. +It is 9 ft. 6 in. across, and 21 ft. 4 in. high, and stands directly +over the chief entrance. The construction of a projecting bay-window +coming over an archway requires a short description.</p> + +<p>The three diagrams on page 495 show the manner in which such windows are +corbelled out. The upper</p> + +<div class="figcenter" style="width: 154px;"> +<a href="images/ill_pg_497_lg.jpg"> +<img src="images/ill_pg_497_sml.jpg" width="154" height="118" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Plan of turret.</p></div> +</div> + +<p class="nind">one is a plan of the bottom stone course, immediately over the key-stone +of the arch; it shows also the centre stone of the second course upon +it. The middle diagram shows the two courses from the back. It will be +seen that the middle stone of the first course does not bear upon the +arch, but is supported by the two end stones let into the wall. The last +diagram is a plan of the upper course at top. Slate dowels were used, +and an iron bar, shown in plan<span class="pagenum"><a name="page_498" id="page_498">{498}</a></span> under elevation <i>a</i>, 3 in. by ¾ in., was +placed across the course tailing into the walls on each side; and two +bars <i>p p</i>, each 2½ by ¾ in. and 12 ft. in length, tied it to the +flooring of the room. This is shown likewise in the plan, the dotted +lines dividing the length of flooring; <i>d</i> is the upper course of +stones, and <i>c</i> one of the principal beams of the floor.</p> + +<div class="figcenter" style="width: 315px;"> +<a href="images/ill_pg_498_lg.jpg"> +<img src="images/ill_pg_498_sml.jpg" width="315" height="213" alt="[Image unavailable.]" /></a> +<div class="caption"><p>Balustrading on top of building.</p></div> +</div> + +<p>The bell-turret stands 20 ft. above the roof. This is carved in oak; an +elevation, section, and plan is given. Only those parts of the building +are intended to be here illustrated which have some peculiarity of +design or construction.</p> + +<p>A building of this size would require about 150<span class="pagenum"><a name="page_499" id="page_499">{499}</a></span> working drawings to be +made for it, and a considerable number to be given to show its +construction.</p> + +<p>It was completed in about two years, at an expense of 14,814<i>l.</i>; but +this did not include the price of the warming apparatus, nor that of the +lightning conductor fixed to the bell-turret.</p> + +<div class="figcenter" style="width: 229px;"> +<a href="images/ill_pg_499_lg.jpg"> +<img src="images/ill_pg_499_sml.jpg" width="229" height="261" alt="[Image unavailable.]" /></a> +<div class="caption"> + +<table border="0" cellpadding="4" cellspacing="0" summary=""> +<tr valign="top"><td> +<p>Front. +</p></td><td> </td> +<td> +<p>Side. +</p></td></tr> +</table> + +<p>Pedestal to steps.</p> + +</div> +</div> + +<p>Whatever opinions may be expressed in regard to the architectural +details of this erection, the author at least can plead, as its owner +stated in the letters, copies of which have been given, that the +essentials<span class="pagenum"><a name="page_500" id="page_500">{500}</a></span> of a house, convenience, comfort, and complete suitability +for all domestic purposes, were accomplished. These objects being +attained, any real or imaginary faults perceived by professional critics +may be palliated if not forgotten.<span class="pagenum"><a name="page_501" id="page_501">{501}</a></span></p> + +<h2><a name="INDEX" id="INDEX"></a>INDEX.</h2> + +<p class="c"><a href="#A">A</a>, +<a href="#B">B</a>, +<a href="#C">C</a>, +<a href="#D">D</a>, +<a href="#E">E</a>, +<a href="#F">F</a>, +<a href="#G">G</a>, +<a href="#H">H</a>, +<a href="#I">I</a>, +<a href="#K">K</a>, +<a href="#L">L</a>, +<a href="#M">M</a>, +<a href="#N">N</a>, +<a href="#O">O</a>, +<a href="#P">P</a>, +<a href="#Q">Q</a>, +<a href="#R">R</a>, +<a href="#S">S</a>, +<a href="#T">T</a>, +<a href="#V">V</a>, +<a href="#W">W</a>, +<a href="#Z">Z</a>.</p> + +<p class="nind"> +<br /> +Introduction, <a href="#page_3">3-48</a><br /> + +<br /> +“<a name="A" id="A"></a><span class="smcap">Albert</span> Hall of Arts”, <a href="#page_131">131</a><br /> + +Architectural history, <a href="#page_16">16</a><br /> + +Architectural orders, <a href="#page_20">20</a> <i>et seq.</i><br /> + +Architecture and gardening, <a href="#page_46">46</a>, <a href="#page_312">312</a><br /> + +Architecture, English, <a href="#page_25">25</a><br /> + +Architecture, Grecian, &c., <a href="#page_11">11</a><br /> + +Architecture, Mexican, &c., <a href="#page_26">26</a><br /> + +Architecture, origin of, <a href="#page_8">8</a><br /> + +Architecture, principles of, <a href="#page_27">27</a><br /> + +Architecture, Roman, <a href="#page_23">23</a><br /> + +Architecture, Suburban, <a href="#page_29">29</a><br /> + +Architectural symmetry, &c., <a href="#page_31">31</a><br /> + +Arnott’s, Dr., system of warming, <a href="#page_357">357</a><br /> + +Arnott’s ventilator, <a href="#page_414">414</a><br /> + +Aspect of a house, <a href="#page_36">36</a><br /> + +Asphalte as a paving, <a href="#page_235">235</a><br /> + +Atmosphere, the, and smoke, <a href="#page_431">431</a><br /> + +<br /> +<a name="B" id="B"></a><span class="smcap">Bacon</span>, Lord, on house construction, <a href="#page_256">256</a><br /> + +Balconet, an iron, <a href="#page_331">331</a><br /> + +Balconet, design for a, <a href="#page_123">123</a><br /> + +Balusters for a staircase, <a href="#page_277">277</a><br /> + +Balustrade, a garden, <a href="#page_363">363</a> <i>et seq.</i><br /> + +Balustrade, Elizabethan, <a href="#page_181">181</a><br /> + +Balustrade for a staircase, <a href="#page_282">282</a><br /> + +Balustrades, stone, <a href="#page_247">247</a><br /> + +Balustrading, cut wood, <a href="#page_279">279</a><br /> + +Balustrading, designs for iron, &c., <a href="#page_299">299</a><br /> + +Balustrading, house and garden, <a href="#page_204">204</a> <i>et seq.</i><br /> + +Barge-board, <a href="#page_247">247</a><br /> + +Bath-house, design for a, <a href="#page_214">214</a><br /> + +Bower, garden, rooms, <a href="#page_242">242</a><br /> + +Boyd’s flue, <a href="#page_414">414</a><br /> + +Bricks, ventilating, <a href="#page_157">157</a>, <a href="#page_170">170</a><br /> + +Buildings, foundation of, <a href="#page_151">151</a><br /> + +<br /> +<a name="C" id="C"></a><span class="smcap">Carving</span> by machinery, <a href="#page_278">278</a><br /> + +Casements, iron, <a href="#page_220">220</a><br /> + +Castle, Gunnarstrop, Sweden, <a href="#page_464">464</a><br /> + +Ceiling, a dining-room, <a href="#page_288">288</a><br /> + +Ceiling and cornices, <a href="#page_44">44</a><br /> + +Ceiling, drawing-room and library, <a href="#page_290">290</a>, <a href="#page_291">291</a><br /> + +Ceiling for a drawing-room, <a href="#page_166">166</a><br /> + +Ceiling for a hall, <a href="#page_286">286</a><br /> + +Ceiling, ornament for a, <a href="#page_61">61</a><br /> + +Ceilings, ornamental, various, <a href="#page_313">313</a> <i>et seq.</i><br /> + +Ceilings, plaster ornament for, <a href="#page_161">161</a><br /> + +Chalk concrete, <a href="#page_83">83</a><br /> + +Chapel, design for a Roman Catholic, <a href="#page_210">210</a><br /> + +Cheshire wooden houses, <a href="#page_233">233</a><br /> + +Chimney-piece, ancient, at Enfield, <a href="#page_228">228</a><br /> + +Chimney-pieces, designs for, <a href="#page_80">80</a>, <a href="#page_81">81</a>, <a href="#page_319">319</a><br /> + +Chimney-pot, ornamented, <a href="#page_329">329</a>, <a href="#page_330">330</a>, <a href="#page_423">423</a><br /> + +Chimney stack, ancient, <a href="#page_74">74</a><br /> + +Churches, concrete, <a href="#page_96">96</a><br /> + +Clunch, <a href="#page_246">246</a><br /> + +Concrete as a foundation, <a href="#page_152">152</a><br /> + +Concrete, chalk, <a href="#page_83">83</a><br /> + +Concrete churches, <a href="#page_96">96</a><br /> + +Concrete construction, <a href="#page_82">82</a><br /> + +Concrete cottages, <a href="#page_83">83</a><br /> + +Concrete, nature, cost, &c., of, <a href="#page_91">91</a><br /> + +Concrete, remarks on, <a href="#page_93">93</a><br /> + +Concrete sewers, <a href="#page_96">96</a><br /> + +Concrete walls, <a href="#page_92">92</a><br /> + +Construction, fire-proof, <a href="#page_156">156</a><br /> + +Construction, concrete, <a href="#page_82">82</a><br /> + +Corbels, <a href="#page_172">172</a><br /> + +Corbel, French cut-wood, <a href="#page_403">403</a><br /> + +Corbels, ragstone, <a href="#page_392">392</a><br /> + +Cornice and ceiling, <a href="#page_44">44</a><br /> + +Cornice, design for a plaster drawing-room, <a href="#page_101">101</a><br /> + +Cornice for a drawing-room, <a href="#page_166">166</a><br /> + +Cottage, design for a picturesque, <a href="#page_62">62</a><br /> + +Cottage, double, design for a, <a href="#page_66">66</a>, <a href="#page_72">72</a><br /> + +<span class="pagenum"><a name="page_502" id="page_502">{502}</a></span>Cottage, gardener’s, <a href="#page_50">50</a><br /> + +Cottages, Hampshire, Kentish, &c., <a href="#page_88">88</a> <i>et seq.</i><br /> + +Cottage or lodge, design for a small, <a href="#page_58">58</a><br /> + +Cottage or lodge, design for a huntsman’s, <a href="#page_78">78</a><br /> + +Country house, design for a small, <a href="#page_174">174</a><br /> + +Country villa, design for a, <a href="#page_182">182</a><br /> + +Cubitt’s flues, <a href="#page_407">407</a><br /> + +<br /> +<a name="D" id="D"></a><span class="smcap">Dab houses</span>, <a href="#page_251">251</a><br /> + +Damp walls, <a href="#page_152">152</a><br /> + +Damp, wash to prevent, in walls, <a href="#page_159">159</a><br /> + +Deals, stained, <a href="#page_45">45</a><br /> + +Decoration external and internal, <a href="#page_42">42</a><br /> + +Denley’s flue, <a href="#page_413">413</a><br /> + +Door, entrance for a hall, <a href="#page_458">458</a><br /> + +Door ornaments, <a href="#page_69">69</a><br /> + +Doric order, <a href="#page_20">20</a><br /> + +Drain-eye, <a href="#page_450">450</a><br /> + +<br /> +<a name="E" id="E"></a><span class="smcap">Egyptian</span> architecture, <a href="#page_19">19</a><br /> + +Elizabethan balustrades, <a href="#page_181">181</a><br /> + +Elizabethan villa, <a href="#page_280">280</a><br /> + +Encaustic tiles, <a href="#page_460">460</a><br /> + +English architecture, <a href="#page_25">25</a><br /> + +Escutcheon, design of an, <a href="#page_69">69</a><br /> + +Escutcheon, key, <a href="#page_172">172</a><br /> + +<br /> +<a name="F" id="F"></a><span class="smcap">Finials</span>, <a href="#page_109">109</a><br /> + +Finials, roof, <a href="#page_80">80</a><br /> + +Fireplace for a hall, <a href="#page_284">284</a><br /> + +Fireplace, the, <a href="#page_404">404</a><br /> + +Fire-proof construction, <a href="#page_156">156</a><br /> + +Fire-proofing, <a href="#page_158">158</a><br /> + +Flue construction, <a href="#page_405">405</a> <i>et seq.</i><br /> + +Flue pedestal, the, <a href="#page_446">446</a><br /> + +Flues, Cubitt’s, <a href="#page_407">407</a><br /> + +Flues, various, <a href="#page_405">405</a> <i>et seq.</i><br /> + +Fogs, London, and smoke, <a href="#page_443">443</a><br /> + +Foundations, concrete, <a href="#page_152">152</a><br /> + +Foundations of buildings, <a href="#page_151">151</a><br /> + +Fountain, an ancient nymph’s, <a href="#page_47">47</a><br /> + +Fountain, garden, <a href="#page_49">49</a><br /> + +Fountain, garden, design for a, <a href="#page_469">469</a><br /> + +Fountains, various designs for, <a href="#page_307">307</a><br /> + +French villas, roofs, zinc work, &c., <a href="#page_273">273</a><br /> + +Frieze, external, <a href="#page_173">173</a><br /> + +Frieze for dining and drawing-room, <a href="#page_178">178</a><br /> + +Frieze, plaster, for a drawing-room, <a href="#page_65">65</a><br /> + +<br /> +<a name="G" id="G"></a><span class="smcap">Gable</span>, ornamental, <a href="#page_170">170</a>, <a href="#page_220">220</a>, <a href="#page_300">300</a><br /> + +Gardens, ancient, <a href="#page_312">312</a><br /> + +Gardens and architecture, <a href="#page_45">45</a><br /> + +Garden, architectural, <a href="#page_313">313</a><br /> + +Garden bower rooms, <a href="#page_242">242</a><br /> + +Gardener’s cottage, <a href="#page_50">50</a><br /> + +Garden fountain, <a href="#page_49">49</a><br /> + +Garden gate, a, <a href="#page_204">204</a><br /> + +Garden gate, design for a, <a href="#page_95">95</a><br /> + +Garden, gate to a flower, <a href="#page_265">265</a><br /> + +Garden or summer villa, <a href="#page_302">302</a><br /> + +Garden summer house, <a href="#page_262">262</a><br /> + +Garden steps, <a href="#page_197">197</a><br /> + +Garden seat, design for a, <a href="#page_361">361</a><br /> + +Garden, vignette plan of an Old English, <a href="#page_119">119</a><br /> + +Gate, a garden, <a href="#page_265">265</a><br /> + +Gates, iron, in Hyde Park, <a href="#page_128">128</a><br /> + +Gate lodge, Hyde Park, <a href="#page_125">125</a><br /> + +Gates, Park, <a href="#page_149">149</a><br /> + +Gates of London Parks, <a href="#page_139">139</a><br /> + +Gothic, modern, <a href="#page_24">24</a><br /> + +Gothic screen, <a href="#page_205">205</a><br /> + +Gothic style, <a href="#page_10">10</a><br /> + +Gothic window, <a href="#page_204">204</a><br /> + +Grecian architecture, <a href="#page_11">11</a><br /> + +Gunnarstrop castle, Sweden, <a href="#page_464">464</a><br /> + +<br /> +<a name="H" id="H"></a><span class="smcap">Half-Timbered</span> houses, <a href="#page_248">248</a><br /> + +Hall ceiling, <a href="#page_286">286</a><br /> + +Hall fireplace, <a href="#page_284">284</a><br /> + +Hall, lecture, design for a, <a href="#page_456">456</a><br /> + +“Hall of Arts and Sciences,” Kensington, <a href="#page_133">133</a><br /> + +Hall stove, <a href="#page_285">285</a><br /> + +Hall, stove for entrance of a, <a href="#page_120">120</a><br /> + +Hampshire cottages, <a href="#page_88">88</a><br /> + +Handle, design for a door, <a href="#page_69">69</a><br /> + +Harrington estate, the, <a href="#page_136">136</a><br /> + +Harrington House, Queen’s Palace Gardens, <a href="#page_476">476</a><br /> + +Houses, foundations of, <a href="#page_151">151</a><br /> + +Haum as a building material, <a href="#page_249">249</a><br /> + +Hiort’s flue, <a href="#page_412">412</a><br /> + +Hot-water apparatus, <a href="#page_349">349</a><br /> + +House, a bachelor’s, <a href="#page_401">401</a><br /> + +House, a garden summer, <a href="#page_262">262</a><br /> + +<span class="pagenum"><a name="page_503" id="page_503">{503}</a></span>Houses, aspect of, <a href="#page_36">36</a><br /> + +Houses, dab and wattle, <a href="#page_251">251</a><br /> + +House construction, Lord Bacon on, <a href="#page_256">256</a><br /> + +House, design for a small country, <a href="#page_174">174</a><br /> + +Houses, heating of, <a href="#page_34">34</a><br /> + +Houses in Kent, <a href="#page_249">249</a><br /> + +Houses, noggin, &c., <a href="#page_249">249</a><br /> + +Houses, post-and-pan, <a href="#page_252">252</a><br /> + +Houses, site, &c. of, <a href="#page_351">351</a><br /> + +Houses, warming of, <a href="#page_351">351</a><br /> + +Hyde Park, Queen’s Gate, entrance to, <a href="#page_139">139</a><br /> + +Hyde Park Corner Gate, <a href="#page_140">140</a><br /> + +<br /> +<a name="I" id="I"></a><span class="smcap">Ice</span>-house, design for a, <a href="#page_370">370</a><br /> + +<br /> +<a name="K" id="K"></a><span class="smcap">Kensington</span> Gardens, <a href="#page_140">140</a><br /> + +Kent ragstone, <a href="#page_176">176</a><br /> + +Kentish cottages, <a href="#page_91">91</a><br /> + +Kentish village houses, <a href="#page_249">249</a><br /> + +Key escutcheons, <a href="#page_172">172</a><br /> + +Knocker, <a href="#page_172">172</a><br /> + +<br /> +<a name="L" id="L"></a><span class="smcap">Library</span>, elevation of a small, <a href="#page_200">200</a><br /> + +Literary Institution, design for a, <a href="#page_456">456</a><br /> + +Lodge, a park, <a href="#page_102">102</a><br /> + +Lodge and gateway, design for, <a href="#page_112">112</a><br /> + +Lodges of London Parks, <a href="#page_142">142</a><br /> + +Lodge or cottage, a huntsman’s, <a href="#page_78">78</a><br /> + +Lodge or cottage, design for a small, <a href="#page_56">56</a><br /> + +Lodge, park entrance, <a href="#page_104">104</a><br /> + +Lodge, Queen’s Gate, Hyde Park, <a href="#page_125">125</a><br /> + +<br /> +<a name="M" id="M"></a><span class="smcap">Machine</span>-carving, <a href="#page_278">278</a><br /> + +Mantel-pieces, <a href="#page_44">44</a><br /> + +Maisonette, a French, <a href="#page_268">268</a><br /> + +Meat-jack, design for a, <a href="#page_267">267</a><br /> + +Moule’s earth system, <a href="#page_241">241</a><br /> + +Moon’s flue, <a href="#page_412">412</a><br /> + +Mud walls, <a href="#page_90">90</a><br /> + +<br /> +<a name="N" id="N"></a><span class="smcap">Noggin</span> houses, <a href="#page_249">249</a><br /> + +<br /> +<a name="O" id="O"></a><span class="smcap">Orders</span> of architecture, <a href="#page_20">20</a> <i>et seq.</i><br /> + +Origin of architecture, <a href="#page_8">8</a><br /> + +<br /> +<a name="P" id="P"></a><span class="smcap">Paper</span> hangings, <a href="#page_42">42</a><br /> + +Parge-boards, <a href="#page_247">247</a><br /> + +Pargetting, &c., <a href="#page_248">248</a><br /> + +Park, entrance lodge and gateway, <a href="#page_112">112</a><br /> + +Park lodge, design for a, <a href="#page_99">99</a><br /> + +Park lodge entrance, <a href="#page_104">104</a><br /> + +Parks, history of the London, <a href="#page_139">139</a><br /> + +Parks, the Royal, <a href="#page_139">139</a><br /> + +Pedestals, ornamental, <a href="#page_326">326</a><br /> + +Pedestal, the flue, <a href="#page_446">446</a><br /> + +Pendants, &c., <a href="#page_289">289</a><br /> + +Perkins’ hot-water apparatus, <a href="#page_350">350</a><br /> + +Picturesque cottage, design for a, <a href="#page_62">62</a><br /> + +Picturesque defined, <a href="#page_5">5</a><br /> + +Pipes, elevation of Elizabethan lead-water, <a href="#page_55">55</a><br /> + +Plaster frieze for a drawing-room, <a href="#page_65">65</a><br /> + +Plaster ornament for a ceiling, <a href="#page_161">161</a><br /> + +Porch, design for an entrance, <a href="#page_225">225</a><br /> + +Portico, elevation of, <a href="#page_180">180</a><br /> + +Post-and-pan houses, <a href="#page_252">252</a><br /> + +Pots, ornamental chimney, <a href="#page_423">423</a><br /> + +Prevention of damp, <a href="#page_151">151</a><br /> + +<br /> +<a name="Q" id="Q"></a><span class="smcap">Queen Anne’s</span> garden, <a href="#page_140">140</a><br /> + +Queen’s Gate, iron-work of, <a href="#page_143">143</a><br /> + +Queen’s Gate Lodge, <a href="#page_125">125</a>, <a href="#page_142">142</a><br /> + +<br /> +<a name="R" id="R"></a><span class="smcap">Ragstone</span>, Kentish, <a href="#page_176">176</a><br /> + +Railing, French, in iron, <a href="#page_190">190</a><br /> + +Railing, park, <a href="#page_147">147</a><br /> + +Railing, ornamental, <a href="#page_81">81</a><br /> + +Riding-house and stabling, <a href="#page_389">389</a><br /> + +Reading-room, design for a, <a href="#page_208">208</a><br /> + +Rectory, design for a small country, <a href="#page_162">162</a><br /> + +Retreat, a small country, <a href="#page_268">268</a><br /> + +Roman Architecture, <a href="#page_23">23</a><br /> + +Roman Temple, <a href="#page_5">5</a><br /> + +Roof, French style of, <a href="#page_275">275</a><br /> + +Roofs, iron, <a href="#page_348">348</a><br /> + +Roof ornaments, design for wood, <a href="#page_463">463</a><br /> + +Rose Hill Villa, <a href="#page_82">82</a><br /> + +Rotunda at Bank of England, <a href="#page_158">158</a><br /> + +Rushton Hall, <a href="#page_283">283</a><br /> + +<br /> +<a name="S" id="S"></a><span class="smcap">Schools</span>, design for, <a href="#page_208">208</a><br /> + +School, design for a village Sunday, <a href="#page_70">70</a><br /> + +School, village, <a href="#page_208">208</a><br /> + +Screen, Gothic, <a href="#page_205">205</a><br /> + +Screen, hall, <a href="#page_206">206</a><br /> + +<span class="pagenum"><a name="page_504" id="page_504">{504}</a></span>Sculptor’s villa, <a href="#page_338">338</a><br /> + +Serpentine, the, <a href="#page_140">140</a><br /> + +Sewers, a receptacle for soot, <a href="#page_438">438</a><br /> + +Sewer gases in houses, <a href="#page_436">436</a><br /> + +Sewers, concrete, <a href="#page_96">96</a><br /> + +Situation of a house, <a href="#page_38">38</a><br /> + +Smith’s, Seth, flue, <a href="#page_412">412</a><br /> + +Smoke Nuisance Act, <a href="#page_452">452</a><br /> + +Smoke Prevention, <a href="#page_405">405</a><br /> + +Smoke purified, by a spray of water, from soot, <a href="#page_441">441</a><br /> + +Smoky chimneys, <a href="#page_427">427</a><br /> + +Soot and the sewers, <a href="#page_436">436</a><br /> + +Soot, prevention of, <a href="#page_428">428</a><br /> + +Soot, removal of, from smoke, <a href="#page_433">433</a><br /> + +Soot, value of, <a href="#page_451">451</a><br /> + +Spiral staircase, <a href="#page_61">61</a><br /> + +Stabling and riding-houses, <a href="#page_389">389</a><br /> + +Stack flues, <a href="#page_417">417</a><br /> + +Stair, best proportions of a, <a href="#page_231">231</a><br /> + +Staircase balustrade, <a href="#page_277">277</a>, <a href="#page_282">282</a><br /> + +Staircases, construction of, <a href="#page_194">194</a><br /> + +Staircase railing, French, in iron, <a href="#page_190">190</a><br /> + +Staircase, spiral, <a href="#page_61">61</a><br /> + +Steps, garden, <a href="#page_197">197</a><br /> + +Stone balustrades, <a href="#page_173">173</a><br /> + +Stove, design for an entrance hall, <a href="#page_120">120</a><br /> + +Stove for a hall, <a href="#page_285">285</a><br /> + +Styles of architecture, <a href="#page_10">10</a><br /> + +Style, Gothic, <a href="#page_10">10</a><br /> + +Summer house, or garden, <a href="#page_262">262</a><br /> + +Summer or garden villa, <a href="#page_302">302</a><br /> + +Summer room, design for a, <a href="#page_214">214</a><br /> + +Sunday school, village, design for a, <a href="#page_70">70</a><br /> + +<br /> +<a name="T" id="T"></a><span class="smcap">Tall-boys</span>, <a href="#page_416">416</a><br /> + +Taste in architecture, <a href="#page_15">15</a><br /> + +Terrace, ironwork, <a href="#page_297">297</a><br /> + +Tiles, design for ornamental, <a href="#page_189">189</a><br /> + +Tiles, encaustic, <a href="#page_460">460</a><br /> + +Tiles, ornamental, <a href="#page_187">187</a><br /> + +Turn-buckle, <a href="#page_221">221</a><br /> + +<br /> +<a name="V" id="V"></a><span class="smcap">Ventilation</span>, general principles of, <a href="#page_32">32</a><br /> + +Ventilation, <a href="#page_411">411</a><br /> + +Verandahs, <a href="#page_375">375</a><br /> + +Verge-board, <a href="#page_247">247</a><br /> + +Villa, a sculptor’s, <a href="#page_338">338</a><br /> + +Villa, design for a country, <a href="#page_182">182</a><br /> + +Villa, design for a small country, <a href="#page_222">222</a><br /> + +Villa, double suburban, <a href="#page_192">192</a><br /> + +Villa, Elizabethan, <a href="#page_280">280</a><br /> + +Villa, French, <a href="#page_268">268</a><br /> + +Villa, old English wooden, <a href="#page_232">232</a><br /> + +Villa, suburban, design for a, <a href="#page_382">382</a><br /> + +Villa, suburban, design for a, <a href="#page_373">373</a><br /> + +Villa, summer or garden, <a href="#page_302">302</a><br /> + +Villa, summer, for Count Kinski, <a href="#page_470">470</a><br /> + +Village schools, <a href="#page_208">208</a><br /> + +<br /> +<a name="W" id="W"></a><span class="smcap">Wainscoting</span>, <a href="#page_285">285</a><br /> + +Walls, concrete, <a href="#page_92">92</a><br /> + +Walls, damp, <a href="#page_152">152</a><br /> + +Walls, how to cure damp, <a href="#page_160">160</a><br /> + +Warming houses, <a href="#page_34">34</a>, <a href="#page_351">351</a><br /> + +Water, for removing soot from smoke, <a href="#page_440">440</a><br /> + +Wattle houses, <a href="#page_251">251</a><br /> + +Weathercock, design for a, <a href="#page_261">261</a>, <a href="#page_381">381</a><br /> + +Window, design for a decorated, <a href="#page_336">336</a><br /> + +Window, Gothic, <a href="#page_204">204</a><br /> + +Window, ironwork for, <a href="#page_297">297</a><br /> + +Wooden villa, old English, <a href="#page_232">232</a><br /> + +Wood-noggin houses, <a href="#page_249">249</a><br /> + +Woodwork, French, pine, <a href="#page_186">186</a><br /> + +Woodwork, French, <a href="#page_275">275</a><br /> + +<br /> +<a name="Z" id="Z"></a><span class="smcap">Zinc</span>, French ornamental work in, <a href="#page_274">274</a><br /> +</p> + +<p class="fint">THE END.</p> + +<div class="footnotes"><p class="cb">FOOTNOTES:</p> + +<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">[A]</span></a> Now Sir William Fothergill Cooke—October, 1869.</p></div> + +<div class="footnote"><p><a name="Footnote_B_2" id="Footnote_B_2"></a><a href="#FNanchor_B_2"><span class="label">[B]</span></a> First illustrated by the author in his work, “Architectural +Remains of the Reigns of Elizabeth and James I.”</p></div> + +<div class="footnote"><p><a name="Footnote_C_3" id="Footnote_C_3"></a><a href="#FNanchor_C_3"><span class="label">[C]</span></a> The garden entrance to the ancient palace of the Grand Duke +of Tuscany, alla Trinita de’ Monti. The architecture of Annibale Lippi.</p></div> + +<div class="footnote"><p><a name="Footnote_D_4" id="Footnote_D_4"></a><a href="#FNanchor_D_4"><span class="label">[D]</span></a> This subject is fully treated and illustrated with plates +in the Author’s treatise on “The Warming and Ventilation Buildings,” +published in 1837 and 1856.</p></div> + +<div class="footnote"><p><a name="Footnote_E_5" id="Footnote_E_5"></a><a href="#FNanchor_E_5"><span class="label">[E]</span></a> “Cheap Ice Well.” (Atchley & Co.)</p></div> + +<div class="footnote"><p><a name="Footnote_F_6" id="Footnote_F_6"></a><a href="#FNanchor_F_6"><span class="label">[F]</span></a> “Plan for Purifying the Atmosphere of Towns.” (Hamilton, +Adams, & Co.)</p></div> + +<div class="footnote"><p><a name="Footnote_G_7" id="Footnote_G_7"></a><a href="#FNanchor_G_7"><span class="label">[G]</span></a> “Coke, Smoke, and Sewage.” (Cave and Sever, Manchester.)</p></div> + +<div class="footnote"><p><a name="Footnote_H_8" id="Footnote_H_8"></a><a href="#FNanchor_H_8"><span class="label">[H]</span></a> A print of the stove is given in the author’s pamphlet +entitled “The Smoke Nuisance, and its Remedy; with Remarks on Liquid +Fuel.” Price 1<i>s.</i> (Atchley & Co.)</p></div> + +</div> + +<div class="figcenter"> +<img src="images/back.jpg" width="320" height="500" alt="" title="" /> +</div> + +<hr class="full" /> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of The Englishman's House, by +C.J. 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