Modern Architecture

BOOK

FOR

ARCHITECTS

AND

Till- I'Llil.IC

H.
FELLOW

HEATHCOTE
OF THE EDITOR INSTITUTE OF FOR in OF

STATHAM
BRITISH

ARCHITECTS,

"THE

BUILDER,"

AUTHOR

OF

"ARCHITECTURE

GENERAL LONDON

READERS,"
BUILDING

"FORM

ANP ETC.

i"f"ii-v

IN

MUSIC," "changes

LAW,"

WITH

NUMEROUS CONTEMPORA

ILLUSTRATIONS
RY B UIL DINGS

OF

LONDON

CHAPMAN

"

HALL,

ld.

1897

\"^-.

INDEX

TO

ILLUSTRATIONS.

The

Tower

Bridge
Renaissance

remodelled
t

FroHtispiiCi:
(Gotch's
"

Renaissance

in )

Plan

of

house

(
Decorative Reform Thatched Pastellists' Sections Gabled
Plans of

England

")

arcades Club
House

in

Norman

work

16

(Photograph)
Club
... ... ...

as
25 32

,,

pavilion,
three-aisled of

Paris and

Exhibition

"passage-aisle"
...

church

48
49

treatment

passage-aisle
Walbrook,
...

of

St.

Stephen's,

and

St.

j
(
.

(Birch's
London

"

Churches

.J

50

Mary
9ID.

Woolnoth
... . .

")
57

Catholic The
Mr. Mr.
same

church church

at

Chelsea,
as

final

design

(The

Builder)

originally designed
for

58
64
...

II.

Brooks's Emerson's

plan

Liverpool
for

Cathedral Cathedral

12.

design des^ign
for

Liverpool

65
67
68

Mr. 14. '516.

Hay's

Liverpool

Cathedral

New Detail Section Plan

cathedral,
of of
of
new new

Berlin

cathedral,
new

Berlin

69
Berlin

dome,

cathedral,
Berlin

69 {The Builder)
70 72

'7. 18.
19.
20.

cathedral,
Tours... Auteuil Cathedral

Basilica Church Marseilles Church Church

at at

( The

Builder)

73 74 75

(PhoK^raph)
Paris

21.

of of

La

Trinite,

22.

St.

Augustin,
for

Paris

76
Cardiff

2324. 2526. 2728. 29.

Sedding's
Church of

design
the

St.

Dyfrig's,

{The
...

Builder)

77 79 80 81

Holy

Redeemer,

Clerkenwell

Church,

Stanstead-Monlfitchet Rossett Church

...

Tower,
Slinden St. St.

Church

85
view and

Andrew's,

Willesden,
Worcester

plan

86

George's,

87
...

VI

I\Jfh\

J I)

ILLUSTRATIONS.

KIO.

tkau

30.

Church

of

the

Good

Shepherd, Hatnpstead,

Uvhe

/iuilJer)

89

interior 31. 32. 33. 34. St. Clare's Built rood Garrison

Church, Liverpool,interior
screen

church, Stuttgart
Wiesbaden
...

Ring-Kirche,
Plan
of

(Photograph)
...

35.

Ring-Kirche, Wiesbaden
I louses of Houses

( The

Builder)

36.
37.

Hungarian

view and plan I'arliamcnt, view and view

Japanese
Design

of Tarliament,

plan
and 105

38.

for Slate

House, Minnesota,

plan
39. 40. 41. 42. 43. 44. Houses Carved Entrance
of

Parliament, Berlin, view

Houses Houses Hall

and

plan
...

panel, Berlin
Hall, Berlin
Town

of Parliament
of Parliament

...

Staircase,Vienna
Plan Salle of Hotel

de Villc, Paris de

des Cariatides, Hotel

Ville,Paris

...

45.

Municipal buildings, Hamburg

Sheffield Municipal buildings, Plan
of

46.
47.

Sheffield municipal buildings, feature of Sheffield municipal buildings,

48.
49. 50.

Central

Municipal buildings, Bath

Messrs. cipal Leeming's design for Edinburgh Muni-

Buildings
51. 52.
Plan

of

do.

do.

Author's

design
design

for

Edinbui^h Edinburgh

Municipal Municipal

Buildings
53. Another
for

Buildings
54. 5$. Ground

plan,Oxford
of Oxford

Town Town

Hall
...

First floor View Mairie Plan Three

plan, O.xford
Town

Hall

56.
57.

Hall

of Xth
of Mairie

Arrondissement, Paris
of Xth

58.
59. 60.
61.

Arrondissement

French

Mairie

designs
Town Hall
...

Elevation

of Battersea of Chelsea

Elevation

Vestry
Law

Hall
...

62.

Competition
Plan

Design for Oxford

Courts

Town

Hall
...

63. 64. 65.

66.

of Birmingham

Imperial Law
Brussels Plan
Law

Courts, Leipsic Courts, Leipsic

Courts

Interior, Imperial Law

67.

of Imperial Institute...

INDEX

TO

ILLUSTRATIONS.

Vllt

INDEX

TO

ILLUSTRATIONS,

PREFACE.

The

idea

of

this the

book author
at

originated
to

in

short

course

of of the and

lectures

delivered

by

the

Class of the

of

Design
the

tectural Archiwhich
of

Association,
went
on

the taken

request
in

Council,
four
down

the
The form into is

main lectures
when
a

lines

first

chapters
nor

the

book. in any

were

neither
;

written substance the

published
is
a

delivered form
it
are

the

of

them
in
to

here in

expanded
which,
but
to

which
may be

places
of

subject
not

light
architects
a

it

hoped,
who
art

interest
to

only
who

those
in
at

their which
in
a

clients,
is

those
much

take

general
to

interest

an

of

so

importance
sense.

the

nation
The

large, both
main is
to

practical
the
answer

and

artistic

object
offer
an

of

first
to

chapter,
the
views critics

'*

on

The

Present

Position,"
section wish
from
to

propounded
of

by
who

of

architects

and

architectural
as a

the

day,

regard

architecture considerations
to

purely
which the

ideal

art,

dissociated
of modern
;

the

practical

conditions
upon

life, as
to

it appears

me,

inexorably
of the
to
me

impose
of
the

the

architect
and
turn

look

only
on

at

one

side

the
more

work

architect

their

back

the

other,

prosaic

and

practical

side

position
The

which

appears
"

entirely

untenable.
"

chapters

on

Church
"

Architecture,"

State
are

and

cipal Muni-

Architecture,"
to

and has

Domestic

Architecture,"

an

attempt
what
is

summarize in

what those

been

accomplished
of

recently,

and

required,
with

three
taken

branches

contemporary
and

architecture,
of modern

illustrations

from

designs

plans

PREFACE.

buildings.
consider

The

chapter
new

on

"

Street of the
in

Architecture

"

embodies,

I
to

believe, a rather

treatment

subject,in
to

the attempt

architectural

design
case

reference

the form

ditions special con-

existingin
a

the

of

buildings which

portions of
of
a

street, and

in which A

the

architectural of this
a

design consists only chapter

formed of the

street

frontage.
on

portion
to

part of

paper

the

subject read
of the the book

general meeting
last,and

tectural Archi-

Association the

in December

reported at partially
but in

time

in

some

architectural
which

journals ; appeared

this

is the

only portion of
form.

has

print

in any

considerable
which

number

of the illustrations from these time

may
own

are

reduced Builder.

from
In
as

plates
the

appeared
of
cases

to

time

in

the

majority

be practically

regarded
the them

illustrations

from from

the the

architects' Builder
the of

drawings, only they

order of
to
save owners

are

reproduced
of This the
use

plates in
trouble
them with

originaldrawings
has been the made

lending
concurrence

again.
of the
two

the

architects
cases

of

buildings represented, except

had gone

in

one

or

where

the

architect

abroad,
Other

or

where

his present
are

address

could

not

be ascertained.

illustrations

from from
of

photographs,
drawings
each index In made

from

foreign

architectural
this

journals,
The

or

purposely for
is

publication.
as

source

illustration

acknowledged,
where
used

far

as

possible,in

the

of illustrations.
two
or

three

cases

plan,or

part of

plan,of

modern

buildinghas
which
could

been

to illustrate mistakes
or

in

planning,
has

anything
been

identifythe building

its

author

purposely

avoided.
H.

H.

S.

London, August^ 1897.

CONTENTS.

CHAI'TEK

PACK

I.

The

Present

Position
i
.
.

II.

Church

Architecture
40

III.

St.vie

and

Municip.al

Architeciukk
. ...

96

IV.

Domestic

Architecture

175
... ... ... ...

v.

Street

Architecture .241
...

VI.

Note

.\s

to

the

Influence

ok

Iron
...

269

MODERN

ARCHITECTURE.

CHAPTER

I.

THE

PRESENT

POSITION.

Under for the

the scope
at

term

"

modern

architecture

"

propose of

to

include,
as

of the is of

these

chapters,
moment,
to
or

the

art

architecture

practised

present

during by
in various

the

present
back
to

tion. genera-

There the progress

nothing
modern
our

be

gained

going

review diately imme-

architecture
own,

the
"

generations
revivals
"

preceding
which have

and

the other

of

styles
of the

followed

each is which
a

since
which is

the has

early
been
new

part

present
out, Here
out

century.

That

matter

fairly
to

talked said.

and
we

concerning
are

there task

nothing
before
to
us
"

be

with in

our

existing
or

people
them

carrying
under
ditions con-

works

architecture,
It
have about is
as room

preparing

carry

out,
the

existing
"

conditions.
what best
set
we

is

important
to

to
we

understand
want to

got
it.
lor

do, what

do, and

how

we

can

Now

if there

special
evident
modern

consideration that there

must

of

"

modern

architecture"

such,

it

is

be
and

some

recognizable
to

difference
this in

between

architecture
and it is

ancient,
to

admit

of

separate
what

consideration,
this
;

important
Of
course

realize
all know

exactly
of
one

difference that which

consists. has
been

we

difference

dinned
B

into

us

MODERS

ARCHITECTURE.

relentlessly by
imitates
ancient of will and

modern

critics, viz. that

forms

modern

architecture

adopts
has

belonging
I
am

to
sure

previous styles,and
that the

architecture

did

not not

not
a

importance
;

this distinction
pass
over

been

little At

exaggerated
all events,

but

wc

that

for

the

present.
ancient

it is

not

the

only

difference
it is
no

between doubt It
the is

architecture
which every

and
one can

modern,
most

although

one

readily apprehend.
ancient called
hear and modern

the

principal
in

difference
to

between
may
we

architecture features"
The

regard

what

be

"architectural
more

(a phrase of
differences

which lie
more

shall in
the

just now).
and

other of

conditions

requirements
;

modern less easy

architecture
of

as

pared com-

with

ancient

they

are

apprehension,

but

they

are

very

important

indeed.

In under

the
the

first

place, the
of the

planning
refinements
from

of

building
modern it
was

has

become,

influence

of

civilization, a
in any and the

perfectly different

problem
an

what

former difficult

period of architecture, and

one.

exceedingly complex
architecture In these
was no

In

the

greatest periods of ancient

greatest

buildings were
of the

temples
called

or

churches. the
of

complication
more

plan

was

for, and

plan
the

in fact

little
and
an

than

result

of

the

placing
up the

principal walls
The in
a

supports

required to temple,
not

carry
a

structure.
or

plan,
mediaeval

in

Egyptian
was

in

Byzantine church,

cathedral,
you may of
masses

only intimatelyconnected
in
a

with

the

design
or

"

almost it
"

say,

sense,

that

it

was

the

design,
of the

one

view main

it of

represented
the
erect

the and

position
when in of its
a

and

outline
know

the

structure,
the

you main

style you
the

could

almost

design,

features, from
few

plan.

The

building consisted opening

there
out

comparatively
; and

great compartments
compartments
structure,
as

of each
were

other

such

accessory
to

were,

quite subordinate

the

main

and

THE

PRESENT

POSITIOX.

hardly
mediaeval

interfered cathedral

with
we

its have

effect.

In

connection and its

with

the

the
out

cloister

surrounding
this

subsidiary buildings opening

is the
nearest

of the

cloister

walk, and
to

resemblance But of
a

in ancient this is
a

architecture very open

were

the

modern

system
rooms

of

planning. opening
out

simple
to

treatment,
on one

the

all

corridor

the

air
to

side,

while
as

the various

buildings themselves
dictated,
on a

free
no

extend

just

convenience

site with
care

preciselyrestricted
these
an

boundaries.

There into

was

little
that

to

group

conventual

buildings
design

anything
in
was

could
was

be

called

architectural conventual The

; the

architectural
an

design

the church
sense,

; the
an

buildings were,
cloister itself it
;
was

architectural
element of

only

adjunct.

an

architectural
as

effect,no
such

doubt,
who

though
built it
out

perhaps hardly regarded

the

by those

but

buildings opening chapter

of it (except perhaps the

were

^je:!^^^

house)
the
"

simply
in the

utilitarian ; all
"

architectural

effect

was

centrated con-

great church.

When,
on

in

later

times,
of the

we

come

the

development
palace
into
one

mansion

and which

the

great buildings
architectural
into able remarkmost

constitute but
are
we

design,
many

subdivided
still find In

rooms,

simplicityof plan.
the

of

great houses
various whole

of the

Renaissance
KIG.
I.
"

RENAISSANCE

HOl'SE.

the lieriod the

blocks

which

stitute con-

architectural with
doors

mass

are

merely
apartment
and

subdivided
is entered

internally by
out

walls

in them

one

of

another, and
a

the relation
and

between

plan

exterior

design
it
was

is still of

very

direct

simple

character

(Fig. i).

So

MODERN

ARCHITECTURE.

also with
cases was

the

plan of

the

Greek

and

Roman

house, which

in most

probably
the

almost
was

entirelyan
an

interior

architecture, and
and

in

which

plan

of

exceedingly simple
life of
more

forward straightnot

character,
ordered
and
so as

the

domestic
any

the

time

being

to

demand the

complicated
Almost of
the

subdivision

grouping
which
some

of

apartments.*
the

only plan

ancient
arc

buildings
remains

exhibit
of

complication

internal

the the

of
at

prehistoricGreek
some

houses, such
of such

as

palace
barbarous may have

Tiryns,
nations be
a as

and
the

of

the
; and

palaces
here

semi-

Assyrians
confusion
that many
on no

the

complication
seems

rather been
were

considered

of
rooms

plan

; there

to

perception

were

required, but
system,
such
so

they
one

jumbled
how

together
found

apparent
way about

that

wonders all.

people

their

interiors

at

How
we

different find
and
to

it all is the

nowadays.
as

In the

our

churches, indeed, church,

churches ings buildand old is

still

that

plan,
a

in

mediaeval

completely
have
;

obviously
be
our

part of the
and

design
most

; but

ceased the

largest
over-ridden

important

civil

life has

the
or

religious life ;
domestic,
the

in

civil

architecture,
is
no

whether

public

simplicity of plan requirements.

nonchalant We

longer accepted
no

as

satisfyingpractical
to

are

longer
one room

content to

walk

in
to

the
use

old
one

fashion
as a

from
to

the
our

next,

apartment
is demanded

passage the

another. should be

In

public buildings it
out
so as

that

plan

laid

to

group

It may

he

urged
the

that

such

institutions in the
modem

as

the

Roman but

Thermae
I cannot that I

were

examples
with

of and it.

complicated buildingsplanned
only refer
The
;
on

spirit ;
be

agree

this,

to

point
were

here

lest it should

supposed

had

overlooked
not

Roman the

Thermae

very

large
was

and of

elaborate
the

contrary,

their

planning They
had town-hall

but buildings, simplest kind, and

common

cated compliarranged
of

was

almost

entirely for planning required in

effect.
a

nothing
or

in

with

the

niceties

modem

mansion.

THE

PRESENT

POSITION.

together

conveniently

the

rooms

allotted

to

each

separate
so

departaient, while
those
a

grouping
direct

the

departments
with each

themselves
other
; that
to

that be in

which

have

relation

should

positionfor

convenient

intercommunication

those
or

rooms

which .should be

require special provisions in regard

have
so

light

aspect should

them
as

; that
to

those
away which
so

in which from
are

quiet is
exterior

essential noise
;

placed
of

be

that

the

portions
should be

the

interior

intended

for

public
as

access

well

defined,

that

the
"
"

public should,
Thus far shalt
are

it were, go

be and

actually
no

controlled
"

by

the

plan only

thou

further,"

be

admitted

where

they
the

wanted.

On it must

the be

other

hand, the
so

plan

must
are

also

assist

public;

arranged
the

that

they
wish in
a

led, by obvious
reach,
and arrive under

indications, towards
at

points they
And
to

to

them

easily

and

naturally.
all this has

public building
almost In
with where
on

modern

conditions

be of

arranged,
site.
a

invariably, within
of
to

strictly
we

defined
are

limits
now

large dwelling-house, again,

the the the

not

content

simple
aim sunny of

method
was

the

great

Renaissance
a

mansions,

merely
of the

arrange

suite

of state
even

apartments

side

house
to

(or
have

sometimes
an

ignoring
and

the

question
that
all any number in the

aspect),and
let the
rest

effective
come

hall
as

staircase, and
so

then the

of

the

rooms

they would,
each
owner

bedrooms,
means

perhaps,
of
access.

opened Nowadays

out

of the

other, without

other
of

requires a un-thought-of probably)

suited
; the

details

to

be of

sidered con-

which

were

house-planning
has
to

our

forefathers, or
them the usual and for him and of
:

(more
each

the

architect
or

consider

reception-room
best for

sitting-room
its

must

have
and its from
; the

light

aspect

particular use
be
are

hours

occupation
to

offices

must

separate
to
serve

yet

contiguous
must

the

apartments
and

they
with
a

bedrooms

be

grouped

planned

view

to

domestic

MODERN

ARCHITECTURE.

privacy as

well be

as

convenience

of

access are

; lavatories

and and

their
not

adjuncts must
noticeable,and
A detail
in

placed
forth.

where

they

accessible

yet

so

great deal
in

of this demand has

for the consideration

come

of

practical

planning
to

really only
St

to

head, especially

regard
has

public buildings,
to

within

the
to

present
see

generation.
sort

One

only
of
a

visit

James's
could

Hall be

what

of

planning
or

public building
ago, for what
was

tolerated
to

only thirty
the

forty years
room

intended look
at

be

principal
Town

concert

of

the

capital;

or

the

Birmingham
very
assessor
as

Hall,
in

or

St.
way,

both GeoPrge's Hall, Liverpool, but with

now

fine

buildings
in
a petition com-

their

plans
put

such

as

any
once

would architectural
this

aside
we

at

ineligible. In
year
more

competitions
convenience
in the

see,

in is

fact, that
more

by

year

question of
so

of
most

plan

and and
a

sized, empha-

that

important
now

best-managed
is selected

competitions
except
of under

it seldom the

happens

that

design

at least, that profession,

it is the

best

planned

those
All

submitted.
this

puts the
it

art

of architecture
when the

in

very

different

position
were
ception, con-

from erected

that
on

which
a

occupied

principalbuildings
a

simple plan

which

formed

purely

artistic

untrammelled

by merely practical requirements.

demanded of the architect
structure.

A the

great

deal

is of

now

besides

production

striking and
there will

impressive
even

Generally
modern

speaking, indeed, building,some

of may
case

be,

in the the

complicated
and and
even

principalapartment,
form the

treatment

position
which in this and of
an

which be

will

key

of

the

whole
;

design,

emphasized
not

in the

exterior

design

though

it

infrequently happens
to

that

it is most

convenient in the
centre

economical the

keep

this

large compartment
out

plan,

and

therefore

of

the

of forming possibility

MODERN

ARCHITF.r

run-

shall

be

completed
a

within

that
on

time. from much

In

ancient

days
to

the

building of
; the

cathedral of

dragged
the

generation
less, the

tion generacost

wealth

country
and

was

and
was

delay in the
very
one

preparation
Chaucer

transit

of

building material

great.
of

represents the monk

visits
:
"

begging

for money

at

the
"

houses

he

By God,
sum

we

owe

yit fortie pound

those

for stones

"
"

pretty
is

large

in

days.
of the
in
men

And who

the

correspondence
carried
out
"

which mansions of
how
one

preserved
and

of

some

large
that
shows
a

other

buildings

the his

Renaissance

period
Oxford
on
"

Bodley,

for

instance, about
how
a

library at
thing
be

easily and
week about

placidly the possible door

whole
that

went

letter
none

might

made

where

was
"

originally intended,
"

another

shortly
"

after
an

enclosing
easy,

trace

for
so

"

fair
a man

bay

window

but

all in
a

jog-trot

manner,

that

who

commenced

large house

for himself who

was

might

be

lucky
if not

if he

got

into
was

it in his lifetime.
so

Pugin,
the

nothing

mediaeval,

impressed
seems

with

slow

ment move-

of mediaeval essential when

a

work, that
in of
a

he

to

have

regarded
architecture

it

as

an

element
member

the

revival

of for

mediaeval the be

; and

committee it would up the

erection
"

of
for

Catholic

cathedral

inquired

when

finished,

all

reply

"

Pugin demurely gathered

was

drawings again, saying that

for
a

he

not

going
be

to

start at
once

cathedral
"

people
of

who

imagined
It

that
was

it could
not
now a

built
wise

it

was

matter

generations.
be

very ;

remark but the

at

even

then
of

; it would

palpably
Truro
on

absurd

nothing being

want

funds

prevents
No

Cathedra
the

from

finished
for
to

this

moment.

doubt,
to
a

other

hand, the
extent

rage

rapid building
many
new

is carried

most

pernicious
are run

in

regard
of

London and

buildings, day,
in

which
mere

up

by relays

men

working night

the

desire

THE

PRESENT

POSITION.

to

handle
not

the

rent

at

the

first possible moment

system

under is possible. im-

which

only good
But

architecture, but
the class
in of

good

building
are

these

are

buildings which
for the
at must
mere

carried

out

as

mere

speculations,and
so

which

most

part
we

no

architect, properly

called, is concerned

all, and

need that in

hardly
the which
case

consider of
are

them

seriously.
which be
are

But
not

we

recognize

buildings
to

speculations, and
is in
to

intended
an

good

architecture, there

the
have

present
a

day

impatience
within

of unnecessary
a

delay, a
and stated
we

desire

building completed
a

definite
of

period, which
cannot

is

part of the whole it,and

as we

system
use

modern
to

life ;

escape

from

it is shall

no

pretending
has
an

ignore

it ; and
on

this

fact

again,
of the

see,

important bearing
of the

the

question

present
we

position and
are

function

architect. conditions
in

Again,

met

by absolutely new
in

modern
and

architecture,

not

merely
but

regard

to

complication
which
treatment

of

plan
made

rapidityof execution,
the

in the

demand

is

now

for

complete

and

systematic technical
and be

of

heating,

lighting,ventilation, perhaps
is
one no

drainage.
classed
may
as a

The

latter

subject ought
it in in

longer
every

to

special technicality ;
should of
a

which

architect which the the

and

understand the

detail

himself, and

best

architects
in

day do,

fact, understand.

But of

carrying out,

large building,of heating, and

of

complete
mechanical mechanical
one man

systems

electric

lighting, of
a

of
the any with

ventilation,involves
details should of side of each who which is at and

degree of knowledge
it is

hardly possible that

time in the

possess

the

same

occupied

the
sense.
a

problems
This
one,

planning
of the within

designing

architectural
is also have

modern
the in

architectural

problem
We
"

new

almost

present generation.
our

only
some

recently
contentious

succeeded persons

getting

drains
we

right indeed,
not

maintiin

that

have

managed

lo

MODERN

ARCHITECTURE.

it yet ; rather
of

we

are

still
as

experimenting
merits is
new

with
or

ventilation three different

;

we

are

divided

to

the

of two

systems
electric it
and is in

heating, though
an

there

more

certainty here industry, so

from month
can

and that

lighting is
process

absolutely
their of

new

of who

modification

almost

to

month,

only
it
;

those
at

give it

specialattention
course

keep always

pace

with
case

present,

though

this will not

grooves

be

the

it will settle down

In these
on

into

accepted
then,
an

in time.
must to
some

matters,
the

architect

extent

depend

assistance
oversee
a

of experts,
the

who specialists,
out

plan
in

the

installation He
may

and

carrying
one

of the

work

detail.
in all. the

be himself
one

in specialist

of

them, but hardly

I know whole

practising architect
of I
an

who, I believe, could

as

direct
a

process
;

electrical installation
another details any
one

well

as

professed
and

electrician

know the

who
a

could

probably design
ventilation
whole himself the of these

supervise
But
I do

all
not

of
can

mechanical grasp
to

system.
various

think

the be

or engineering specialities, pretend

the

technical
can

supervisorof
to to master

all of them. of principles is

What
each what

I think
of these result than

architect
of

do
so

is
as

the what
one

branches should be under No

work,

know

required,

obtained, and
the

whether

method
; and

is better if so,

another

special
allow of

circumstances
pure and be

why

it is better.
to

ever architect, how-

elevated
in the in

his

desire

be

an

artist, should
the
to

himself
any He he

to

position of giving
his

up

arrangement
the

department
should proposes of
are

building unreservedly
the the of and
a specialist reasons

specialist.
of what know those

demand
to

from

full statement he should whether the the

at

do, and

for it, and

to

enough
reasons

the

principle
or

the work
to to to

know upon be

good

bad,

insist him
;
so

employment
best. So

of
at

the

system

which be

appears able

to

far,

least, he

should

go

far,

least, he

should

THE

PRESENT

POSITION.

1 1

make and
on

himself that
to

both personally responsible,

of his client. be
a

on

his he

own

account

It is not in

desirable
to

that

should of the

allow work

himself
which
to
see

cipher
under of

regard

any

portion
of of

is the
was

nominally

his

control.
up

I remember wall
means
or a

once

going

operation
out

pushing

the

great church,

which
The

of the
was

by perpendicular,
got

hydraulic jacks.
but successfully, the walls the
mind.
to

operation

through
with

more

less

violentlyand
and orders The of

clumsily,and might
mind.
was

considerable
been

injury to
avoided
no

piers, which
a

have

easily
was

under

directing

But

there of

directing

nominal
contractors

architect
and

afraid of the
his

the

task, and
; and

left it
latter in
was

the

the
to

clerk exhibit
run

works

the
to

obviously
short
was,
a

desirous

energy,

and

show
; the

how

time
and

he

could

this and the

little

job through might

a

result been

walls

piers cracked

which split, exercise

took the
to
no

have

straightened without
and

injury by
The

of

little
even

judgment
in it had

deliberation. for the

of

architect

part

the
was

arrangements
in
course

applicationof
heard which

power, admit

ar)d while
that
he press
to

application was principleon

the

no

knowledge
You the may
art

of the
say that

the

hydraulic nothing
; but

acted. with who

hydraulic
design.
is the

press

has
not

do
one

of
can

architectural learn
what

Perhaps

any

chooses in
a

principleof development
and up how

of power
to

hydraulic

press

in five

minutes;

if he

is

gofng

have
he he
an

building
better

under take be

his
the

charge
to

pushed
know
to

by hydraulic power,
it is

had will

trouble

done, otherwise

hardly

in

position

make

himself

respected

as

architect.
In the connection of

with

this

part of the
the

subject let
of the work he may

us

emphasize
as

necessity

foresighton
any

part

architect
on

to

the

preparation for
which has
to

special

technical

the
not

building
be

be

provided for.

Though

able

to

12

MODERX

ARCHITECTURE.

supervise

it all
to

himself, he
make

should

bear

in mind

what is to

provision
be

it is necessary

for it.

If your
to

building
be told
a

lighted
nesses thick-

it by electric light,

is rather

annoying
to cut

by

the electrical of

engineer
of

that

he

will

have

through
his

number
and and

fireproofflooring to
you left him

get
little

wires

insulators

through, when
have inquiry, for

might, by
all the

forethought
conduits.
steamor

previous
necessity

necessary

The

preparing
that
new

for

heating apparatus,
is
some

water-pipes, or
because is
we a

extracts, ventilating been

at

not

usually overlooked,
;

have
paratively com-

for

time
and

electrical
its

installation
are

matter, The

requirements
an

sometimes

forgotten,
phrase,

"

complete architect," to adopt

upon
to
see

old-fashioned actual
ing workwhen
to

is called

foresee

everything
o;vn

in the
as

of the

building,to
and
to

it in his

mind

it will be is

completed,
make it

realize We

beforehand
come across

all that
various

required
times some-

complete.
want

examples
of very

of architects.

of However

even foresight, we as
"

on

the
at

part

eminent

may architect off"

one,

laugh
in

Lord

Grimthorpe's
sense

pretence

to

pose

an

the

highest

of

the

word, he
within
architect my

certainly

scored
:

the
when

professionin
he

two out

instances

recollection
of the Houses

pointed

that

the
a

of

Parliament,
for the

though

he

knew clock
so

that

great bell would

clock-tower" floors in the had
tower

be

required
no

striking of the
for

in the the

provided
had
to

way

getting it
to

up,

that
a

be

broken

through
out

make

passage of the but had

for it ; the Law

other, when
had

he

pointed
for
are a

that

the

architect

Courts

provided

large clock
driven had

in his tower,

forgotten
space passage have
comes

that

large clocks
the

by weights, which
to
a

require
to

to

and fall, for the

landings
Of
them

be chase

cut

through
in the wall

give

weights.
for

course

should is what heard

been of
not

provided

from

the

first.

That
I have

things realizing

beforehand.

Again,

THE

PRESENT

POSITION.

13

of had

case

of

town

hall for

in the

the

basement
boilers
a

of

which

ample
for

room

been

provided
architect what
would

large

necessary

steam

heating
to

; the

had, in fact,taken
of boilers but he would

good

deal

of trouble and what for

ascertain

kind

be

required
to

space

they

occupy, boilers had

had the

forgotten building

provide

getting
and

these end

large

into
to

when
to

completed, accomplish
is
a

in the

the wall

be of

broken
want to

through
of

it.*

That

is another

instance in

which prevision,

specialstumbling-block
its various Now what is and

regard

modern

architecture, with

complicated practicalrequirements. quit

the

let

us

practicalconsiderations
artistic
makes word side
to

to

turn

towards sentment prewe

usually
which

called the
"

the

of

architecture, the
eye, and

building
"
"

the

which

call

generally its

design

rather

loosely used,
do does
erect
a so

because still we

reallythe design
know consist what
?

includes

the

plan, or
Now,
we

should what

; but

is meant

by it.
allowed

in

this

"

design
or

"

Let
with

it be

that in

might
walls

brick

stone
we

building
should all

plain openings
call
"

the

for
"

and light,

that
we

not

that
what

an

architectural
have
no we

design
to

probably
it into

are

agreed there design

?

to

do

raise would may

tural architecit

Perhaps
think the
:

two

people
process

define be

exactly fairly
the

alike,

but

I
as

average We

pretty

described

follows
some

should
to

begin
purpose

by
and

grouping
their

openings
to

with

reference
;

their

relation
lower If
we

the

interior of roof the

so

arrangement

we

should

emphasize

the

portion
have should and
a

wall,

as

the

base that

supporting the
its
eaves

whole. the
;

constructed that method

overhang by
a

walls,

we

emphasize
another

constructive of

fact

cornice

otherwise,

with

a roofing, widely projecting cornice

In

such

case

it is

not out

merely
for

of

allowing for taking them

question of getting the boilers in repair, or for replacingthem with new

a

at

but tirst,

ones

when

required.

14

MODERN

ARCHITECTURE.

is not

essential since

as

matter

of

mere

design, and

it is

curious the
are

fact that cornice

the

Renaissance

period the buildings in

and
is most

which

has those

the

most

projection
the structure
in
most

emphasized,
not

exactly
;

in which

of the

roof is of

ing overhangmodern

the

roof-construction

buildings
to

the the

Renaissance but
is

type has

nothing whatever
of it. The

do

with

cornice,

quite independent
the Greek
timber roof

Classic

cornice
was

derives

nally origiin

from
stone

Doric with

cornice, which
eaves projecting

the

expression
detail.
an

of

; but

it has

lost its old To

constructive
resume
:

meaning, and
in the process should of

become

purely aesthetic
we

elaborating what
break
up
to

call

tectural archi-

design, we
by
horizontal
up the

the
mark

height of the building

off the stories
of
or

divisions, either

to

break

height
to
we

of

the

wall the

into

sections

contrasted the

proportion, or

emphasize
may

length and
a

of horizontality
manner,
to

building ;
its vertical accessories
an

or

choose, in
can

similar

emphasize
and
as

lines.
to

We

introduce

decorative
the

framework

the

windows,
in

regarding
the itself,
main

separate window

architectural
which go of the
to

design
make
up front the

repetitionsand
We
can

grouping
select in order
one

of

the

design.
because

portion
mark

for

specialdecorative

treatment,
it is of

to

it out
or

from

rest, either
of may which

specialimportance,
contrast

for the sake

And of
we

producing picturesqueness and

take, and

of

effect.

constantly
association
make

do have
use

take,

the

semblance
a

features

by long
or

acquired
of them

specialarchitectural
assist the decorative

meaning

motive, and
the

to
as

expression of

design
comes

; such

features
work

or pilasters

wall-arcades.
is

Finally, there
rather
an

carved
to

and

sculpture, which
than
an

addition
at

architectural in in

design
the

integralportion design depends

as on

of it ;
as

least,its function
on

architectural
to

much

its

position

relation

the

whole

its

own

detail considered

separately.

i6

MODERN

A RCHl

TE

"

again, so
in any
Even

to

speak

"

which

has

never

been

deliberately adopted history.

still
seem

other

period

of the world's
to

architectural

going
each
a

back

the

pre-Renaissance period, we outgrowth

detail Greek.
to
a

find
to

that

style, spontaneous
great
deal of
its
on

as

it

might

be, owed

preceding styl' Sophia, at

Con

Roman

architecture
one

is based

St.

was stantinople,

of the arises

most

originalbuildings ever
of
its construction his

erected,
; yet
are

and where

its great did the

glory
and

directlyout
get

Anthemius
Roman
was

columns
and

from

.^

They

only

Greek

column
a

fied. capitalslightlymodior

Romanesque

rude and

imitation
out

degradation
arose

of

Roman,
but the

of

that

Gothic
its carved but told consist it is and for that in

Gothic
never

shaft, with
have

would capital,

existed We
are

the

Corinthian

column.

architectural the the addition

design
of
"

does

not

features," that
construction

solely
rial, mate-

expression
and that

of

modern

architecture
of its

is futile
constant

and

insincere, because
of
not
"

employment
which
are

architectural
to

features the
tion. construc-

'

necessary who

Yet

those

despise

modern that
and

architecture
FIG.
2.
"

for this reason, architecture

was

will admit
a

DECORATrVE
XORMAN WORK.

ARCADES

mediaeval

genuine
has
are

IN

unsophisticatedstyle.
"i

yVnd

niediaeval the rative deco-

architecture

no

"features"

What,
even

for

instance,
stern

wall-arcades and Norman

(Fig. 2),found
"

in the
"

Romanesque
as a means

architecture, but

features element of such

inserted in the

of of pose pur-

architectural
a

expression,
If the
not

as

an

elaboration
for such
a

design ?
does

employment

features

condemn

mediaeval

architecture, why

is modern

THE

PRESENT

POSITION.

17

architecture
so

to

be
are

condemned
not
mere

for

using
?

similar

means

of effect,
case

long
form of

as

they
of
mere

copyism
column.
this feature with
"

Take
is
a

the
no

again of
far
too

the much We

the

Classic

There
in

doubt

copying of
to
our own new

perfunctorymanner.
should endeavour
we

ought
it in

not

be
own

content

that, we
to

to
"

modify
treat

it for
our

purposes way in

improve
with methods of column
a

it if
the of

can

to

accordance
new

suggestions
But

arising from
in its main

material the

and

building.
and

essentials
on

feature

capitalhas
it
cannot

imposed
be

itself off

architecture

in such
become

manner
an

that element
all styles, find

shaken

or

ignored.
It is within in

It has

of architectural
over a

expression.
world, in all ages

everywhere,in
record.
a

all We

the
what some-

historic
; in

it in

clumsy
and

form in
a

Egypt
Ravenna

highly refined
more a

form

in Greece
at

Rome,

less

refined
;

but
in

picturesque form
but
in and
a

Constantinople and
form in in

grotesque
;
a

still recognizable
and ill-

Hindu
Persia

architecture
; in
a

fantastic

designed form
fancies
form

delicate
; in

playfulform
very

in the

of
and

the

Saracenic
in of

architects
mediaeval the

much
"

changed change
was

proportion

architecture
to

the it
"

arising naturally out

as a

peculiaruse
of

which

put, still,

feature

in

pier,instead

being

itself the

pier
to
a

but
its

under We

all these find it used

a

forms, perfectlyrecognizableas by
manner

origin.
of

the

Renaissance of their
own

architects, as
; for

means

in expression, Roman showed

though they
own

imitated
;

detail, they applied it after their

of conception; they originality
to

fashion the have

old
too

they

used We

classic

materials
come

work in this
mere

out

their

own no

ideas. doubt
;
we

much
far
too ;

short into is
a

respect,
imitation
may

have

fallen

much that

the

of the be

Renaissance
Rut

combinations

fault of

which

amended.

why
out

are

the

architects

nineteenth-century England alone,

of
C

all the

1^

MODERN

ARCHITECTURE.

peoples why
column
tree
are

who
we

have

practised architecture
to

in

all

the
not

centuries touch

"

alone any of
eat

be

told

that

we

shall

the

or

its derivative of it
we

forms

; that

it is the
?

accursed

; that

if

we

shall
we

architecturally die

It is
matter.

question
new

whether

reallyhave preach
basis
as

any much away

choice
as

in

the

The
the

prophets
of architecture
so

may

they like
old

about
and
man

duty

beginning afresh, casting

on

forms,
but As

remodelling
is not made

the

of
new

pure ideas

structure,
at

that

he is
no

can

put forth

will.

already observed,
which
it ;

there

style of

architecture
on

in the

world

has
in

not

been

largely dependent
and less learned
on

that

which

preceded
of each

only

simpler
were

days the
the

architects

generation

dependent only
because and

generation immediately acquainted

with

preceding
else.

them,
travel

they
and
our

were

nothing placed
all
has

But

books

photographs
reach avoid
;
we

have

the
been
we

styles of the
done, and
have
to
we

past within
it is

know

all that

impossible to
of

being influenced
our

by
and

it ;
our

not

the

power

deliberately closing
of the
must

eyes
to

minds

the

impressions
do
not
so.

past, and
be

it is useless

demand

that
we

should
it
or

We

influenced
to

by them,
being
"

whether
so

wish is

; the

deliberate
land odd

effort
in

avoid

in any desire the

way
to

only likely to

designers
and

eccentricity

the
to

produce something
"

unclassable,.in order

gain

praise of
Even in the

originality."
were

if it

is possible,
?

it wise

to

try and
be

isolate

ourselves
to

manner

proposed
of all the

To

do of

so

would

really
and

deprive

ourselves
power
to

result
who

the

thought
us

the their

shaping
minds

of the

generations
and

before

have

given

the

development
The best and
on

refinement

of

expressive
from

architectural
we

detail.
learn

of their which
an

works
we

are

models
if
we

which

may and

much,

may, endless

try, further

refine

improve.

There

is

almost

of design possibility

in the

THE

PRESENT

POSITION.

19

way the

of combination
use

and

grouping
of

in

architecture, without
because with it has

refusing
been used

of

any

special type
the have
are

detail

before. In

Compare
there

case

of architecture

that of literature.
forms of
verse

poetry

been

highly

elaborated
of

invented, which
invented
or

really forms
a

literary design.

Dante

perfected
for his

singularly effective

artificial form three-line

of

versification
in which the

great poem,
third line

consistingof rhyme
with

stanzas, with
a

first and
line of

each

other, and
matured

the

middle
more

the

succeeding
of
stanza

stanza.

Spenser
his
*'

still The
or

elaborate and

form

for

Faerie

Queene."
two

Italian
three
a

English poets
(" orders,"
an

of the

Renaissance

invented call

forms

architect

might

them)
If
we

of
were

the
to

sonnet,

highly artificial type of poetic design.

poetry
the
same

apply
to

to

reasoning which
have
to

has that

been

applied
had
no

architecture,we
use

should

tell poets
or

they

right to
invent

the

Spenserian
or

stanza,
are

the

sonnet

form, but
Yet

must

new

forms,
of

they

not

"original."
written which
a

the

fact

is

that
in

number

sonnets to

have
the old

been

in

modern

times,
are

exact

adherence

form,

nevertheless

perfectly original and

existence. Or take

great

poetry, with

separate

right

of

music,
The
are

an

art

which

has the

closer

analogy
poems

with called

architecture.

form

in which is
a

great musical

"symphonies"
main
was

written

defined strictly which

are

form, with certain

It

features

and

proportions
in the time

always present.
and
so

got into
his
no

shape

of

Haydn, proved

to

great

extent

by
that much

personal genius ;
great
from

but

it has

a satisfactory

form

instrumental

composers
not

have

cared up their

to

depart
of

it,and

yet they have

of Beethoven the
same are

given

originality.
the

The last

symphonies
movement
on

all,with
was
as

the
a

exception
new

of the

last

one

(which
model

experiment),
of

composed

general

those

Mozart,

and

20

MODERX

ARCHITECTURE.

yet they
mistake these
not true

arc

perfectly distinct
one

and

original, and
It does

no

one

could
to

the

composer
too

for the other.

not

do

push
arc-

comparisons
without
use

far ; but And the

he

in

broad

general sense
to

they

significance.
the forms

in

regard
was

architecture,

th(

of

of

past
said

really suggested
"out

b)
use

Mr. of

Lethaby himself, when

past tradition,
I have with Mr.
we

that
up
a

of

the of

critical
our

must

build

tradition
in
co

own."
ance accordbetter

There

the

pleasure of finding myself

; I do
not

npletc

Lethaby
sentence.

think
essence

the
of
use

point could
the

be

put in

one

short

The
"

recommendation

lies in the word

not

"critical," "the
use

critical habit.

of past have

tradition,'
to

the

blind

of form
we

it

as

mere

We

consider
to
are

how

far such in

of
use

detail, for instance, is suitable it, and

can

the
ploying em-

position
;

which

to

the
it
on or

material

we

also, how
of do

far
our

we

improve

modify it,so
it
to

as

to

put

the

stamp
can

own

personality

I believe

every of his

architect

that of the carry used

own

if he

gives thought
Renaissance this finely, of

the

design

building.
carry out,

Some
and

Italian
very the way taken

architects "critical

really did
use

out

of past
but

tradition."

They

tradition
; and

the

Romans,

the}-

applied
of
their

it in their

though

all the

principaldetail"
yet
such others We
;

buildings
as

are

from

antique
Farnese

sources,

buildings
that
are

the be

Riccardi, Piiti,and named,

the
same are

palaces,and

might

certainlyoriginalarchitecture. positionas
by
the Renaissance the

in somewhat
are more or

architects additional

we

less dominated

the

past, with
way

advantage
we

or

disadvantage
great
deal
we more

(whichever
than
not

you

put

it),that
we
"

know

they
made did
we use

did. that
;
we
"

Where critical

have
use

failed, I think, is that

the
much

have

of
too

materials
to
mere

of the

past which

they
What

have

descended

reproducing.
method
of

need of the

is to

give

more

thought

to

our

making

materials

which

THE

PRESENT

POSITION.

21

past
a

generations thing

have from

accumulated

for
them

us.

But all away

that
as

is

quite

different

throwing

useless

lumber. But of the

a

then,

we

are

told, all
structure
own,
was we

'*

style
and

"

in architecture
;

is the result if
we are

influence

of
our

materials

and from

to

have

style of

must

begin again
case

the Gothic

basis

of

structure.

Well, that
;

certainlythe
out

with

tecture archi-

the

style

arose

of

the

fight with

the

difficulties
were

of of

vaulting, coupled with using

small
ones.

the

necessity the
of the
case

builders
means

under
to

stones,
It the
as means was

for want the

mechanical

deal

with
arose

large
out

with

early Greek
of

Doric, which

of far any

structural

expression
the

timber

building, at
not

least, as
feel

the

entablature
convinced

is concerned
as

(I do

myself

by

to

wooden
are

origin of the

column).
of
not account

But

the

theory that
will
not

all
cover

styles
the

merely
ground
or

the

pression ex-

structure

whole

; it will

for

all the

styles of
a

the

world,
a

for

all that
; not

is in

in them. the
sense

Architecture
in which the and
we

is to
use

great
word is the
"

extent

symbolism
"

the

symbol symbol
it is

in of
a

in ecclesiology,

which
a

fish, for example,

more

Christ
kind of
an

but

in

wider

comprehensive
the ideal form which and

sense,

attempt
ideal
than
man,

to
our

symbolize
minds,
an

in

details
a

of

building
deal

in

goes

great
The

further
of the
are

the
or

mere

expression
the
race,

of construction.
on

character
What of the

of

is written

the

building.
halls

the

long
but

avenues,

the

dimiy-lighted columned
of that

Egyptians,
mind

the

symbols

strange
over

unfathomable
the the

Egyptian

which

stands
an

sentinel, as which,
we

it were, with
can

beginnings
recent

of human

history ;
and

enigma

all still

light of

exploration
and

decipherment,
What
are

understand only partially Not

as

realize.
of but
struction con-

its
"

? lotus-shaped capitals

the well

expression
for that
;

slab

would

have

done

the

22

MODERN

AKCHITECrURE.

expression of
which

their taken

delight in

the

lotus
their

flower, and the

manner

in Greek
of

it had

possession of
and grace
wrote

sympathies.
up in the

The

lovo

of refinement
; the

bubbled his wealth rather

Monument love of

Lysicratcs

Roman

and

his

lavish

display on
of
his

the sumptuous
; the

but

over-decorated Arab nature,

entablatures

temples

rich luxuriant the

combining
which

the

love

of colour

with

passion for geometric problems, displayed

in the
a

itself in visible Saracenic. construction All

and

form

type of architecture
more

we

call

this is

great deal

than
we

the

expression
been
told

of

material, upon
In

which

have

that

styleentirelydepends.
we

that

marvellous

building,St. Sophia,
mere

may

see

notable
may

instance

of the

fact that

expression

of construction the
the

fail altogetherto
does

produce style. Internally, mainly

of the
on

style of
visible

St.
and

Sophia
it would

depend
out
no

construction,
system
without

on

complete

carrying
be

domical
even

of

roofing;

and

grand,
was

doubt,

the

detail, though
enhanced
writers

its effect

is,or

in its of

originalstate, immensely carving

of
and colour
; the

by
who
so,

the

luxuriant
it in its

detail

described
at

state pristine

splendour evidently
it is for

thought

all events.
;
worse

But

externally nothing, merely

to

nothing,
it is

tecturally archiand
struction con-

speaking ungainly, exactly

to to
"

than
it is
now

ugly

because
we are

that

unadorned and
want

which

exhorted

return,
for

which
of

is

save

our
"

architectural which
"

souls ;
have the

exactly
it

the

those for
no

features

would
"

given
exterior

expression
St.

and
?

style;
It has
the

what

is the it is dome

style
a

of

of

Sophia
to

style ;
of

piled-up heap of
and of but the

materials arches
not ;

resist

thrust

the

great
does And

it

serves

its purpose

constructionally,
architecture
is

that

make it is

architecture; the
remarkable is
so

all internal. the

that

the in his

contemporary

poet, Paul
the

who Silentiary, of

eloquent
never

descriptionof

interior beauties

the

church,

bestows

24

MODERN

ARCHirECTURE.

everywhere,
this
sense

is for
"

us

mere
"

chimjcra.
we

But
"

though
"

we

cannot

in
an

have

style.
we

may
to

have

style

in

design,as
it is
a

abstract

quality ;

ought

have

it in fact ; but

quality
we

exceedingly
may

difficult to define illustration

from the

in words.

Perhaps
the

here
same

again

get

an

literature,where
want

difference Watson is
no

is felt between
a

style and

of it.

Mr.

William
is
a

poet

with If
we

perfect style; Mr. Alfred

try
to

Austin
the
use

poet with

style.

consider

what
seems

makes
to

difference,we
the best

shall word word

;
or

find that
to

Mr.

Watson

always
so

exactly

express

his

thought,
of the
seems

that

if

we

substituted

another and will the

the

expression
Mr.
will

thought
to
use

would
any in
a

be

spoiled
that

weakened

while that

Austin fit into

should
reason,

words

rhyme,

the

metre. to

So

building
no

with used

quality of
an

style, we
apparent

expect
and

find
an

detail

without of

without
with did
not

evident

consideration
;
we

its find
an

harmony nothing
element
detail and
two

and

agreement
which total

other

details

should

inserted
to

justifyits position by adding

That
means

the

effect.
as

thought

about

every

; in

architecture,
If
we were

in

poetry, styleis the result of thought

care.

to

illustrate

by examples,
other.
The

we

might
Reform
course,

take

London
is
a

Clubs

not

far from

each its be deal

Club
are

(F'to3)

building with
but took there
a

style ;
can

of good qualities,
no

largely borrowed,
of that

doubt

that
with
;

the
his

architect details
not

building
all of

great

of
and

trouble refined

they

are

carefully considered
them much the
west

you

could of
in

alter any
whole.* Thatched

without
end of

disturbing
Pall Mall

the
we

balance may
see,

the the

Facing
House

Club

(Fig.4), an

example

of

design destitute
Reform Club

It is necessary

as

an

example

of

point out clearly that I it happens "style" because

to

am

not

instancing the
in
a

to

be

recognized and ijualityof

classified
in

historic
the

style (Italian Renaissance),

sense,

but

because

it has

the

"style"

abstract

irrespectiveof

any

historic

classification.

26

MODERN

ARCIIITECI

i i"n.

of

with style, like

hack
worse an

profusion of coarsely conceived

unnecessary
excrescence
on

ornament,
the and

which
You result

looks

building.
find the

might
neither And
in the

it about
nor

in

all

kinds

of

ways,

better

than

before.
wc

now,

recalling what
part of
this

have
as

had
to

under the

consideration
under is the

earlier modern

chapter
has
to

conditions

which

architecture function often

now

be

practised, what
as an

positionand
We
and
sense

of the that

architect, considered
the architect
as an

artist ?

hear

very

should
in

be

considered,
the
true
are same

should
as a

consider

himself,
a

artist

exactly only
that
man

sculptor or
on

painter.
of it.

That

is not and
are
a

not

; it

is absurd

the

face
of

Sculpture they
as

painting
or

the

personal
Unless
his and
own

handiwork
are

the
an

artist ;

nothing.
will the with

you

to

consider
a

architect
from

who

hands

erect
own

building
model
"

the

footings to
as

roof,
up
"

with
is

his

hands

every you
a

detail of it
cannot

it goes him
;

which

practically impossible
sculptor
but
a

group

with
not

the
say has

painter
a

and
one,
a

; he

is

on

different

plane

I do

lower

different
of and
we

one.

Well, then, admit

that
in

he

to to

make
realize

drawing
it

his in
are

architectural
order told and
to

conception,
get
his it carried

order

himself
still

out

by
is to

building artisans, produce

art,
as

that

only object
; that

architectural the
art

beauty
the
That

picturesqueness
is to

is his in

of

sculptor
is the

produce
aim

beauty
of
to

the

design
no

of the

figure.
if
an

highest
his
me,

architecture,

doubt,
a

but very
"

architect
view
"

confines of
to

himself
art.
"

that, he
promising uncom-

is

taking

one-sided architect
know
to
a

very

art

said
to

hate
done

drainage
for me."
an

and I
"art
was

ventilation, you

; I like

have mine

all that who

repeated
architect
one,
"

this in his

friend

of
and very

certainly is
ever

his ambitions

if predilections,

there
"

and

reply

was

significant.

He

said,

Well,

THE

PRESENT

POSITION.

27

architecture

seems

to

me

to

be

the
are

art

of

designing

the

best That

possible building,and
appears view that in which
to
me

the
a

drains
more

part of the design^

wholesome
and
as a

to

be

much

sive comprehen-

of the

function

of the
as

architect

designer, than

regards him

only

the

producer
the

of the

picturesque
result

building.
But

again, even
we are

in
now

regard
told

to

purely

artistic

in

architecture,
stands habit
out.

that

it is the architect

himself

who

in of
"

the

way

of

it, by his
and Mr.
;
we

unprincipled
them and
to

and workmen

unnecessary
to

making drawings
We

giving

carry
"

want,"
but

say

Lethaby
want to

his

friends,

not

drawings,
find

buildings
heart
and

have

artist workmen
we

who

will put their

that

soul

into

the

details, and

shall

then
as

modern

architecture is
was

will

become
may

interestingjust
be the

mediaeval

architecture architecture

interesting." It
carried direction
out ;
we

fact

that

mediaeval unfettered

by

the

inspired artisan,
no are

by guidance
and the with

or

have

proof
to

of

this,
mind
so,

however,
inconsistent does in It
one

architectural such
a a

results

achieved

my
were

theory.
which
a

But, supposing it

it

not

follow
will

that

system
what

produced

what

was

desired

age

produce
as an

perfectlydifferent
those

age

requires.
all

is assumed

axiom is is

by

who which

reason

thus, that
an

modern A

architecture
deal

uninteresting;
Then

is
we

exaggeration.
not

good

of of

it

but uninteresting,

are

without if
we

architecture
could all the

real the of
now

interest.

it is assumed Middle

that
should

only
same

revive kind
we

system
interest

of the and in in

Ages,

we

have

in vitality

modern

architecture I doubt
to

revived, which
it very
me

find
not

mediaeval the
which

architecture.

much.
if there
more

We is

are

Middle
the

Ages. history of
all and

It appears architecture

that

one

thing

shows

clearly than
been
carried

another, it is that
out

tecture genuine archi-

has

in

natural

spontaneous

28

MODERN

ARCHITECTURE.

conformity
The
own

with

the

requirements
of

and

habits educated
own

of

its
to

own

time.

idea

of in

forming guilds
the
was

artisans

take

their
it is

part

work, and
the
case on

originate their
mediaeval

details, as
no

maintained

buildings, is
because

doubt and be
as an

intended, by those good faith

; but

who

recommend
never

it,in entire
succeed,
in
a

earnestness

it could
to

it would

artificial effort
matter

put
are

ourselves
not.

position

in

which,
to

of

fact,we

In

the

first

place (to return

from those that

what

I have

been

aiming
of that very the
we

at

in my

opening remarks) day

of.
are

the architectural of any

requirements
previous
should
age

present
know

different

It is demanded

buildings

be

carefully and
warmed,
time
an

scientifically planned, drained,

and
;

lighted,ventilated, and
within
a

that and
to

they should
this end is

be

duced pro-

reasonable
are

elaborate
nonsense

preliminary drawings
to
as

absolute
out
a

necessity. It

dream
a

nowadays temple,
may of have any

of
a

setting
Mediaeval
set natve

building
or

on

the

ground,

Greek

cathedral,
out

Renaissance conditions in do
to

mansion,
not

been such

; the

modern

admit of

process.

Secondly,
of
are

regard

details minute

pure

design
of proper

extreme

refinement
to

detail, and
the

relation

all the
to

parts

the

whole,
of
a

special

characteristics The Middle

the
a

architecture

high
The

civilization.
; what

Ages
their

was

not

period
not

of

high
ours.

civilization

expressed

ideal

could
my

express
one

ideal every

of

to well-designed building,

mind, is
or

in which is

detail,
with

down relation proper

to

the
to

smallest the

moulding
so

ornament,
its

designed
as a

whole,

that that

it takes

place

detail

to to

and

designed
how
"

for such

particular building.
is to be carried in
out

I should
on

like
"

know

any

ideal

the

inspired artisan
most

theory.
sense

Architectural would become the

design

the

fullest

and

complete
see

impossible.
architect
at

Indeed,
all under

it is difficult to

what

part

is left to

THE

PRESENT

POSITION.

29

the about

scheme such

of the

new

reformers.

He

is not

to

trouble

himself
are

things as they
that

drainage
taken order
to

and
out

ventilation, for they

of his He hands
cannot

not

'art," and
devoted
to

will be iiumble

by specialists
work he
can

of

work.

out

plan
no

in

detail, for he
in such

is not
a

make
as
"

drawings,
a

and

do
to

it
be

otherwise,
now.

way be

building

is

expected
with the that

planned

He
is not

is to
to

close details
of do and

relation

man," craftswould in

but cramp the

name

he

sketch

for him, for

the
?

and of

fetter the

free instinct
what
is he
to

craftsman. Stand
about

Then,
while

Heaven,

the
"

building
"

is in

progress, of
"

1 suppose,

inspire the
you
;

craftsman
not

Carve
to

something
suggest

beauty here,
God
your forbid

I pray

I do

sume prewith

what

that
Ha

I should !

interfere

the

joyful
a

freedom delicate how

to
so

of

hand.

and,
in I
as can

by

my

faith,
such
were

methinks
as

little traceried
execute
on.

window
than role

this

angle,

you

know !
"

far better

tell you,
seems

not

amiss

and

Some
; and

such

that

to
come

be

all that
to

is left to the

architect
an

perhaps

even

that and

may he

be

considered

as

ill-judgedinterference,
a

will

be
a

reduced,

according
on

to

suggestion
the

which

was

made

by

poetical satirist
cheques.
No
; if modern

the

subject,to

?imple duty

of

receiving

architecture
of be the

is,as
of
to

we

are

told, so
the

ing, uninterest;

it is not if it were,
cannot
we

because
must

habit

drawing

designs

and,
we

content

remain

for uninteresting,
of modern

fulfil

the

multifarious the

requirements

life

without
as

studying

building first in drawings.

individual
in

And

inasmuch

architecture, in these days of knowledge and

be
a

self-consciousness,
individual

must must

personal
his order

and idea
to

art, the both those of

architect

elaborate

drawing,
it to

for who

his

own

mastery
to

of

it, and
The

in

explain
in

have
but

carrj-

it out.

defect

is not

the

fact

drawing,

in what

30

MODERN

ARCHITECTURE.

is drawn.

When
a

there

was

good
about
a

deal the

of

correspondence

in

the

Builder,
at

little while

ago,

representationof
architect
me a

tecture archiof the

fortunately un-

the

Royal Academy,
and
a man

well-known
wrote

new

school,
so

of

genius,

letter

violent

and

exaggerated
he
at

in

its

expressions that
thanked much
room

I declined

to

publish

it

(for which
which
to

afterwards

mc),
to
at

but

including one
:

remark
wanted

was,

least,very

the
the

point

what

was

make
he

the

architectural
"a

Academy
had said
to
"

interesting
a

was,

said,
"

few

architects." would
have

If he been that

few

more

architects of of
in

there

nothing
the

complain

the

remark.

If I have etc.,
that I
are

urged

practical details
art to

planning, drainage, design,

the the
and

really a
one

part of the
any

of

architectural

no

has

right

despise them,
in the

equally

would

urge
are

that

fancy
to

and
the in

invention

clothing of
design,
to

building
realization

necessary
of

completion
the fullest
not

of the
of

architecture that filled

we

sense

the word. The

It is in
gap

this

sense

have

enough
the

architects.

cannot

be

by

taking merely
and

ordinary
the

materials
accordance

of

academic

architecture
habit
or

using
We

them may
must

correctly
use

in old
to

with
more

and

cedent. preif

materials
mean

less ; but

we

do,

we

use

them

something.
kind

Architectural It
may

design, as
be
so

before double

observed,
sense.

is
a

of
sense

symbolism.
it may

in

In

prosaic
of

symbolize
But
in
a

merely
more

the

interior
sense

arrangement
it may

the moods

building.
of

poetic
"

symbolize

feeling or
As
many

ciation asso-

power, Pater

gloom, gaiety, grace,

remarked Westminster
his in
own

playfulness.
published
architect closes his He

the

late
years

Walter
ago in

in

an

essay the
"

the

Review,
moods
;

in

his

ing buildover use

expresses

he of
or

sadness may

him,
detail

or

wanders
to

the ideas

intricacies of number

things."

his

symbolize

proportion,of contrariety

32

MODERN

ARCHITECTURE.

is to
one

be found
very

anywhere

else

at

present.
of At
in

I may

mention
was

here

characteristic my
own

instance notice.

this the the of

which Paris

brought
of

speciallyunder
1889
there
were

Exhibition for

many

pavilions
others the

grounds

special
of
Patis

exhibits, and
had
one

among

Society
the

Pastellists This outside

see

built for the

to see,

exhibition stood
on

of their works.
terrace

collection the main

I wished

and

exhibition

building one

day looking

if I could

any

direction

FIG.

5.

"

PASTELLISTS

I'.W

ILION,

I'AKIS

EXHIBI;

or

placard about
of I it
a

the

Pastellists'

pavilion.
was

All
no

at

once

I
or

caught
notice of

sight
that the

little way read from

went

off;
where

there I
was,

placard
I had
no

could

but I

doubt

building, and employ

put
an

straight to
to

it. their

knew

the

Pastellists and
an

would
he

architect

design

structure, it.
It
was

I knew

would

some

special character
none

into

oblong
of

building (Fig. 5),with

of

the

gimcrack

and

gingerbread

THE

PRESENT

POSITION.

33

the

ordinary exhibition
a

pavilion,but

with

an

exterior

design

showing
an

light and
and

playful treatment
treated
with

suggestive
features combination
The very

of

piers and directly

and
how somea

arcade, just recallingarchitectural

a

without

imitatingthem,
very

of white colour

subdued

and

sober

greenish tint.
the

and suggested pastels,

one

general

treatment

suggested, as pastel is
but
a

may in

say,

side-dish
It
was

in

architecture, just as
a

side-

dish

painting.
would
have
to

very I

clever think

bit any

of architectural
a

characterization, and
architect In

such

as

hardly

French

produced.
relation
between has the

regard

the

architect
far

and
too

the little
is to

decorative control
a over

artist, if the
the

architect

commonly
of his
to

decorative
own

accessories

building, it

great
mere

extent

his

fault. and the

We

have

distinguish
"

between

the

decorator mural

artist proper

the

sculptor, the ought

this

painter of
As
to

the designer of stained-glass windows. pictures, I

the

ordinary decorator,
all

think

the

architect detail

to

design
actual there
and There from and

himself

the

ordinary
There what
same

decorative

apart

from
"

subjects. pictorial
will be less of

will be two
there

results from

it ; and
in the

is will suit the

building,
the work. than

will be
is the this

designed
from of

as spirit

the

rest

of

nothing doings

which
may

modern be the

interiors called the

suffer

more

what

"decorating firm,"
demand for florid
with

partly

arises

from

fashionable

decoration

(in public buildings especially), coupled

are

the
in Here

hurry people
London,
is
a

in to

get

it done. is
a

The

new

concert-room

the

Queen's Hall,
very

flagrantexample
in

of this.

concert-room

successful

plan, proportions, and

turned it.
;
over

acoustic
a

properties,totallyvulgarized by being
of

to

firm

decorators
far better

to

do

what

they
in

liked

with

It would
it

have
then

been
at

just painted
inoffensive.

plain
But

colours

might

least

have

been

places of

amusement
D

34

MODERN

ARCHITECTURE.

must

be

all

over

gewgaw, insist
on

or

people
his
own

are

not

satisfied.
in

The

architect and teach

should the

having
be

voice
a

this

matter,
and

public

to

content to

with

thoughtful
and

restricted

decoration
for it. decorative I do

suitable

the

building,

purposely

designed
The personage.
to to

artist, properly
not

so

called, is another
can

sort

of

think

the

architect

in

general pretend
him

sketch
work

the

or sculpture,

fresco,or
to

stained-glass subject for

be
a man

out, unless

he

happens
even

of

quite exceptional

genius, and
to

perhaps
the

not

then.

Burges professed,I believe,

but
was

design
pass

sculpture
in
so.

for his

buildings ; Academy
the

it such

as

would
should

muster

the

Royal
And

sculpture-room ?
is that

hardly sculptor
so

think
will

then

result the

the
on

highthose
class

class terms,

not

co-operate
is

with

architect

that
who

the

work
arc

actuallydone
"

by
A

the
carver

nondescript
is
a

of persons without first

a

called the of

carvers."

sculptor
from the

style.
distinct

But

architect
he

should
in

have

had of

idea

what

wanted

the way the

case

high-class
in

decorative

art, and
to

should
idea

have
; and

designed
in has that had
a

architecture his

relation
artist all will

that

special

decorative
programme

friends, if they find that

and be
"

he

distinct of

along,

has

provided
to

for the with

have him
an

special effect
and
to

their work,

always
his About

glad

confer
must

work

in accordance

with

ideal the

only

he

ideal.
to

relation said
idea

of

the

architect

the

workman It is be is at
own

we

have

heard
a

great deal
wholesome
a

not lately,

always wisely.
should he

certainly

most

that

the in

workman

encouraged
work
upon, is
cerned, con-

to

take

personal
as

interest the be

the

building
of

and

that,
he

far

as

practical part
of

his

work
to

should
to

even

consulted, and
way

invited this
or

give
In

his the

opinion
good
old

as

the when

best

doing
was

that.

days,

architecture

pure

and

unadulterated

THE

PRESENT

POSITION.

35

the professionalism,
at to
a

architect

was

kind

of

sultan,

to

be

shipped wor-

distance

by the artisan, who

or a

would
to

hardly
;
even

venture

address
was

question
the

remark

direct

him

the

tractor con-

architect's

respectful servant
of is
a

(as, I believe,
become

in

France But this

he

still

is),instead
attitude

desiring
bad
one,

to

his

master.

distant there

both less

for
of

architect
it
now

and

artisan, and

is,

no

doubt,
be
a

much
more

than

formerly. Still,there
the in workman his work
not
men

might

systematic
an

eflfort to

give

the and the

opportunity of taking understanding

what

interest intelligent

he

is

working

for.

Why
and

should
their and and of all

architect

of

large building get the builders

together, parade the

them
a

complete

plans
of for
the the

before
whole

them,

give

little the

descriptivesketch
reasons

design

intention this
or

of

building, the
the
be
a

employment they
and
are
one

that for? then

over

material, and
It
so

general result which

most

working
not

would often when

popular
which
on

move,

would
over

get the

answer,
a

I have
a

heard
in

and

again
was

asking
:

workman

building
If the

progress
"

who

the
"

architect
the

"Don't

know."

men work-

don't

know

who

architect
?

is, is
other

not

that

perhaps
notion
is

partly the fault

of
to
some

of the

architect

On
new

the

hand, the

of

the

gentlemen
to

of

the
own

school, that the artisan

into
one

be

encouraged
meant,
the is

put his

ideas

the

work,
to

however
or

well snub The

totally absurd.
;

It
to

is

thing
a

neglect god
the and
wants

artisan
must

it is another

make

little
and small

of

him.

architect of the
not

remain should
that him

the

master-mind,
in

mind master-

building
believe
to

rule

things
in

great.
the
have
;

And

I do

the

workman the

the

least

position offered
known,
I and had

by
me,

socialist

architects.

under

some

first-rate

working
them when

foremen
as

always

took

them them

into my

confidence, treated
and

friends,

and

showed

respect

regard, and,

necessary,

36
asked
act to

MODERN

ARCHITECTURE.

their

opinion

on

practicalpoints ;
I could
never

but
out

never

let them wanted

independently,
do
so.

and

find

that

they

Among
is that

other

points
of

which

have

been

much

discussed It has intended

so

lately
said

of the value

architectural artistic

drawing.
of
an

been

that

making
of those
masons

elaborate

drawings
is not

building
on.

is waste
course,

time; that drawing

who
or

architecture; and
be
up

Of

urge

that

building should
it goes

designed partially
will
sider naturallycon-

by

the

bricklayers as
are a

that

drawings
who do
not

superfluous item
so

in the

work. there

Some
is
on no

of
use,

those for

go

far
a

as

that, argue
of similar
to

that

instance, in drawing
; that

range

windows of them

an

elevation

it is

quite

sufficient of the

draw I

one

and very

merely
much the
alter your

mark

the

position
the the

others.

doubt
you

that
to

; for the

object of
it has
been

elevation
in

is to enable
it is

study
to

proportions of
it after range
or

building

since little, When find you that

ex|)ensive
drawn

begun.
you may you

have

out

of

windows

they
; that

look the

closer

together
may

further
more

apart than
or

intended space in

design
to

require
and is to

less

wall

proportion
I do
not
see

the
an

openings
architect
the

their

architectural
of

framing.

how

judge

this

in advance
not

except
done

by drawing
minute
for

out

whole
as

thing,though
to

it need and

be

with
that

finish.

And
reasons

the
more

plans

sections, I hold
is done first the

practical
there the have will
plicated com-

the

drawing
more

less trouble
to

be

afterwards,

especially having
of modern French be

reference which
carry

requirements already
drawing
of very attention
conduces referred
too to.

architecture

been
of

The

perhaps
remembered

elaboration

far ; yet

it must

that their system

with the close

accurate

large-scale geometrical drawing, they give

much
to to

which
very

the

study of projection, certainly

of
a

the

thorough study

design

before

THE

PRESENT

POSITION.

37

it is

carried form in

out.

am

inclined

to

think

that

it is the

more

valuable

of

preliminary study
is

than

sketching

intended
;

building
because

perspective,which
is set

sometimes
a

recommended

perspective,especially in
never

comparatively rapid
it will be
a

trial is

sketch,

out

exactly
If is
we

as

in

and reality,
''

likely to
round,"
because
a

be

deceptive.
rough
can

want

to

study
a

building
But,
be

in the

model
be made say
to

better

than
to

perspective sketch, speaking persuaded

of
do
as

it

accurately
young As

scale.
"

I generally,
to

would

architects

not

despise architectural
finish

drawing.
are

long
of
is

balance

parts
in

and

of

detail

considered

any

importance
be will go.

architectural If
we are

design,architectural
all to become other

drawing
course

to likely

of value.
I

artisans, of

drawing

heard who
"

story the

day of
the

an

eminent of
"

provincialarchitect
another
man,

looked

enviously at
I could
"

drawings
"

saying,
you
was

Ah, I wish
the
"

draw
are

like that !
not too

Well, why
*'

don't

"

said

other my

you

old

to

begin."

Can't,"
with hands That
two

the

reply ;
in
a

father

insisted and any the

that work

I should hardened

begin
my

years
so

builder's

yard,
been

that

they
one

have
side

never

good
of

for the

pencil."

suggests
which has

of

the

question

architectural

education

perhaps

been

overlooked. have
to
"

Lastly, we

face

the

question
a
"

which

has

been
an

so

persistently put lately

"

Is architecture
"

professionor
much
of tin
; it

art

"

One

does

not

like the
a

word

profession
office with

very
rows

suggests
with

something
clients'
a

like

lawyer's

boxes

names,

and

pigeon-holes of
cannot

filed letters. from

a or

But

for all that

modern

architect
he is not adviser

get away

the

hard

fact
he

that

as

architect

only designing
to
an

building,but
to
sum a

is in the in

positionof
to

individual
a

committee money,
as on

regard
of the

the

outlay of
the

often

very

large
to

of

work
as

which

results practical

have

be

considered

well

38

MOD

KPN

ARCIHTFCTUfiE.

artistic ; and arbitrator this

he becomes
the

the

natural

and

in

some

cases

the

legal
AH

between

building-owner
and
some

and
amount

the

contractor.

implies business
An eminent the and before

habits

of business
two
or

ledge. knowyears the

architect, in

paper

read

three

ago

Architectural

Association, found
of

fault with the

elaborate he him what

studious

wording
"

specifications ;
the
matter

tion, specificatelling
would
be

said, was
to

reallyonly
That lead
to
a

letter to of the

contractor

do."

is

view

which

I fear,to likely,
as

good

many

letters to the carried before the

out

lawyer by

wards, after-

long
an

at

least

as

buildings arc
paper ago,
in

contract.

recall

enthusiastic
many years

read which

the

Institute of the
been

of

Architects
described
out

reader he

paper

the

progress had
no

of

house and
owner

which
no

had

carrying
as a

; how

they

contract to

fixed

plan, but
it of
was

new

and into

bright idea
the

occurred

or

architect

worked

building ;
very

the

interest
was

of this method
true

procedure, he
of the

said,was
out

great

; it

the
and

artistic method enthusiasm

of

carrying
author
The

architectural carried

work with

the

apparently sequel
was

it the

sympathies
after,the
to cost

of his audience.

that, some
architect

time
to

client fix
on

brought
him twice the

an

action
sibility responamount

against
which

the
of

endeavour the house

having

made

nearly

the of

the client
and
to
recover

had

expressed originally
some

his intention

ing, spendI

of

the

amount

from fact of

him.
it

forget
been

what

the

result of the the

action

was,

but is
an

the

having

brought, under
Let
no an

circumstances,
be
nature
as

significant.
artist
as an

architect in the

much of

he

there pleases,
not

is

reason

things why certainlyare

themselves
some

artist should
not

be

business-like.

Some
to

artists

; and
an

some

(very

foolishly)appear
temperament
and and

pride
admirable

on

unbusiness-like

practice ; but

of the very of business

;

greatest artists
we

poets have

been

men

need

only

CHAPTER

II.

CHURCH

ARCHITECTURE.

Church

architecture
or

may
a

be

considered

either

from of
a

an

ccclesioThe
as a

logical

from

purely
is

architectural that
which

point
considers

view. church

ecclcsiological building
accordance
to

view erected
a

to

be

for

the

conduct

of ritual

religious
of which
to

worship
is

in

with

special
of
in

creed,
divine
its

the

supposed
the those the

be

fixed
from

by
age

kind
to

ordinance,

and in its
not

be

always
To that

same

age, the in

spirit
service

and

details.

who form
the

thus of

regard building
date and

religious
which

it is

surprising
on

it has
also the

been
to

carried
have

at

an

early

or

earliest

should

appear

kind

of

tive prescrip-

sanctity,

that

particular
appear of

style
to

of

architecture minds and

to

traditionally emphatically
styles
revival
in
to

employed
the

should

their

be

"church
the taint

styl^"
of

architecture,
Thus
it

all
that

other the

have

secularity.
enthusiasm

was

of

an

interest which

in, and
arose

for, the
ago,
was

mediaeval

spirit

Christianity,
an

half

century
of

accompanied
church tecture, archi-

by

equally
and every

enthusiastic
other

revival

mediaeval
was

form

of

architecture

stigmatized

as

pagan. It is
no

part
mind

of

my

business led
to

here this But

to

criticise

the

religious
of
ancient

attitude
forms

of

which

kind
cannot

of

revival

of

church

architecture.
to

we

ignore
The

its

existence,

or

refuse

altogether

take

it

into

account.

ecclcsiological

CHURCH

ARCHITECTURE.

4^

view Mr.

of

architecture

is, in fact,
even

an

exceedingly
far
as

venerable
that

one.

Herbert

Spencer
was

goes

so

to

maintain

the

earliest architect understood the

the

the priest,

religious official who

the
manner

alone the
his

mind
must

of the
be

God,

and

in which
conform
account

primitive temple
wishes: reversion
a

arranged
if it be

in order true,

to

with
for

theory which,
to

may

the

the

original positionshown

in the dictatorial towards

or

attitude

usually assumed
But view is not demands if
we

by
the

the

modern of

clergyman
the

his architect.

admit

existence

historical

ecclesiological
architecture
to

of

the religion,
so

view ecclesiological
as

of church considered
even

unreasoning

it is sometimes and it

be ; it

recognition at all events,

we

affects the

question
shall

whether
a

should of

or an

should
earlier

not

employ,
a

in church

architecture,
we

reproduction
to

style;

question

which

have

refer
our

to

again

later

on.

It is

main in
a

business

here, however,

to

consider

church the of be

architecture
suitable and

purely

architectural of
a

as spirit,

involving
class

effective
In the
or

design

very
sense,

important

buildings.
said that influence in the

purely
of the

architectural architecture

indeed, it may
been

church

temple

has

the

originating
reasons
:

in

most

great styles of the

existence

past, for
of
were a

two

first place, the belief in the whose

deity

who

was

pleased, and
erection sometimes of

support

and
in

protection
his

secured, by the
or even

glorious temples
supposed)
for his under
cost

honour,
in

(as
of

was

abode, aroused
the

the of

minds

the

builders

an

enthusiasm of
mere

influence

which

ordinary

considerations
were

and

of

profitablereturn impelled
in the the
to

for

ture expendifor
a as

ignored,
end than in
were mere

and

people utility ;

were

build

higher
remarked

and

second

place,
erected

the

previous chapter, always

relation
of
a

buildings
and

as

temples
with
a

almost direct

grand

simple character,
and

very

between

plan, construction,

42

MODERN

ARCHITECTURE.

design;
structural

they presented design

led
could be

great
seen

spaces

in

which
at
a

the

uu^.c

and
a

appreciated
structural of
in
a

glance, and
which
with

spaces,
and

moreover,

which
to

involved

in roofing, difficulty

therefore be
most

the

development

system
accordance

by

they
tectural archi-

could

roofed satisfactorily

effect.
were

Egyptian, Greek,

Roman,
The

Byzantine, Gothic,
Romans from drew the all the

all

essentiallytemple styles.
detail for their secular
as

architectural

buildings

temples,

except

where,
detail

in their

tural aqueducts, they relinquishedarchitec-

altogether.
The

The

Hindu
and

style,such
Persians

as

it is, is also

temple style.
but

Assyrians

were

exceptions;
a

they
the

were

semi-barbarous
were

communities

where in

people
in

living in
where
an
a

hovels

ruled

by tyrants living
learned
manner.

palaces, and
spaces

builders
and

had

never

to

roof
The

large
Saracens
not

architectural
more

monumental

formed

important
to

exception.

Their
in

religiondid
honour
; the

encourage

them

erect

important temples
that sense, for the
of
was

of

the

Deity

the

only holy place,in

were

Mecca

mosques
were

generally
held sacred

only

shelter

worshippers.

They they
of
were

against the intrusion

of the observe

unbelievers, but
with

not

the abode

Deity;
that

and

in connection

this

fact it is
its
a

to significant

the

Saracenic of detail,

style, in spite always

remained

exquisite poetic
rather

fancy and
than In
a

grace

decorative

monumental modern has

style.
times, and
become
a

in

this

country

at

all events, because of

we

church
have
to

architecture
no

secondary
as a

matter,

longer

the

same

faith in it
a

necessary memorable

form

homage

or

propitiationof
Mars Hill
"

Deity.
that
He

That

sentence

uttered all

on

"God

made

the
of

whole
heaven neither

world and is

and

things

therein, seeing that

not

is Lord

earth, dwelleth

in

temples
hands,
as

made

with
He

hands,
needed

worshipped
the

with whole

men's

though

anything,''put

CHURCH

ARCHITECTURE.

43

matter

at

once

on

different

basis, and

cut

away

the

ground
the

for

the of

appeal
their

to

the

of humanity through purse-strings

The

medium

superstitions.

beh'ef
on a

in the

spiritual necessityand
revived, it is true,
culminated died

of efficacy in in
out
an

temple-building
of the

great scale

early period
great

and history of Christianity,

the

period
the

of Mediaeval Renaissance
:

church and
even
was

building, and
the
not

again with
of it.

ecclesiological
able

movement

the

nineteenth
is
a

century
amount

really to
about persons of
;

revive

There

certain
a

of

enthusiasm of

church-building,among
but

certain find
any

limited such

number

where

can

we

now

exaltation church

feeling
and its

raised sacred

by

the

contemplation
as we

of

the

material

ornaments

meet

with, for example, in the

about
very

sodies rhapchurch church

of
at
was

contemporary
where
means

writers

Justinian'sgreat lighting
the of the
to

Constantinople, regarded
as a

the of

leading

mind

heavenly

contemplation
"

"

From
even

point ever-widening
that
are

circles

spread
the

down

until the
of
a

last is

reached,
bowls And
cross,

which

curves

around

base

; instead

root,

of silver in the

placed
of the

beneath

the trees, with

their
form

flaming flowers.
of the

centre

this

beauteous the

wood,

the

divine
mortal

pierced with
thousand

printsof
within of many their
on

nails,shines with
their and
. . .

lightfor

eyes. "A

others

the

temple
of

show

gleaming light,
gazes warmed
on

hanging aloft by chains

the with

windings
boat

whoever

lightedtrees,
joy
or

with

crown

circles,feels his heart

with all
care

; and

looking symbol
of

swathed

fire,*or

some

single
from
see

lamp,
mind.
stars

the

the

Divine
a

Christ,

vanishes

the

So

with

wayfarers through point to

on

cloudless watches

night, as
sweet

they

the

from rising

oint ; one ].
a

Hesperus, another's
or

attention
and

is fixed cold

Taurus, and
Wain
; the

third whole the

contemplates Bootes, heaven,

scattered
to

Orion

the

Charles's before
*

with
on

ing glittertheir

stars, opens

them, while
A

night
like
a

seems

smile

hanging lamp shaped

boat.

44

MODERN

ARCHITECTURE.

way.

Thus

through the

spaces

of the great mind

church with

come

rays of

light,

expeUing
We in the

clouds

of care, and

the filling

joy."*
as

can

scarcelyimagine day, by
pattern
we can

any

such

rhapsody

this excited,
corona

present

the

contemplation
in

of church

of
any and

ecclesiastical
more

purchased
into
or

Southampton
Herbert's

Street,

than

enter

George
moral

pleasant
of the
and

naTve

fancies

as

to

the sacred

symbolism
more

various fanciful

or portions of the edifice,

Keble's

still

weak

analogy

"

"

Three In

solemn

parts together twine

;

Harmony's mysteriousline
solemn aisles

Three

approach
ever

the shrine."

If the of the

"three

solemn

aisles idea with

more

"

were

intended

as

an

emblem

Trinity (an
have done

which that
and

architectural
now,
more

history entirely
modern
an

refutes)we
in church

since towards

the

tendency
In of

planning

is

architecturally only.

one-aisled

church, with
are now

small

side

aisles

for passage the

short,

we

planning
a

churches
to

for

convenience

worshippers, with
of
a

due

regard

the

economical
a

expenditure only
with

funds kind

collected

and

administered that
a we

by
them

committee, aspect of

of latent

idea

give
or

the

religious
of architecture,
iron the the

buildings by adopting
even

more

less

mediaeval
structures

style

in

the
are

hideous made
can

temporary
to

called funds for up

churches,
more

which

do be
"

duty
raised.

until We of

the may

permanent
of

edifice

keep
but

pretence
we

building churches
for ourselves does of the
not
"

to

the

glory

God,"

in fact

build
All

them this

by
that

contract.
we are

imply

less built

in religious,

the
or

true

sense

word, than
of Paul the

those

who

St.

Sophia,
"

From

the

poem

Silentiary,as

translated

in

Lethaby's

St.

Sophia."

CHURCH

ARCHITECTURE.

45

Amiens,
deduced
"

or

Lincoln that
on our

the

opposite conclusion,
of
a more

in fact,

might
and in

be less
an

religion is
material the
to

spiritualtype
symbols.
But

dependent
architectural

mere

aids

and

sense

modern

rationalistic the

spirit in

church-

building
almost and the

is much

be of

regretted, since building

a

church
it would

still remains
be

the

only
to

class carry

in which of
mere

possible
art

suitable

out

work

pure

architectural

of

highest kind, untrammelled

If
we

by
pagan
or

utilitarianism.

have the

risen
can

above be

the

idea

(for such

it

essentially
erection

is)that
of
to
a

Deity

pleased
if the

propitiated by
of
us are

the

costly temple, and

at

majority
of the
seem,

now

disposed
in
to
mere

smile

the

childish

nature
we

ideas
on

incorporated
hand,

symbolism, ecclesiological neglected,

loftier
to

the other
the

have
and is

in

our

modern
of

church-building,
art.

broader

symbolism
the

architectural of
on

For

building which
the

be

meeting-place
their minds
trust

human the

beings, with spiritualor

object

of

concentrating
of
to too

higher life,and

expressing
be

their
no

in

an

Almighty
grandeur

Father, it surely ought

and

felt that
not

architectural such

solemnity
is
a

can

be

great ;
to

because

architectural He needed it
own

grandeur

special
recur

honour
to

the

Deity ("as though

anything," to
an

St.

Paul's
and

phrase),

but

because

is

assistance and
us a

to

the
more

elevation

harmonizing
of the

of

our

minds,
lead

adequate expression
common

feelings which
would

to

join

in

worship.
as

If

people

only recognize it,we

churches
a now as

have
in
a

just

much

motive

for that
modern
most

building grand
the
motive is

the

Middle
rational

Ages, only
one.

different

and

more

Our
the

churches

fail of
two

greatness
reasons.

and The

im-

pressiveness, for
*

part, for
the

main

first

In
a

fact, St. Sophia

was

built

at

of, instigation
whose
queen

and
was

from the

funds
most

furnished

by,

rapacious and
woman

unscrupulous tyrant,

infamously

immoral

of her time.

46

MODERN

ARCHITECTURE.

is that

of false

economy,

the
"

insane
two

desire which of

to
arc

have

something

fine and The

yet

to

do
an

it

cheap

aims

incompatible.*
on a

result

is the

almost

entire
even

absence
in

churches churches As rural

be
to

great
and

scale, and

prevalence
and

smaller

of the

thin

skimped
of which
and and
are

construction
are,

poor many

materials. small would

should But
"

question
in

size, there
the

of course, of
a

communities both unnecessary be

erection

great church
the aim

and impossible,

in which

rather
in
our

simplicity
we

quiet picturesquencss of design. sadly

in want from of the

great cities
which of the shall

great
mere

churches scale
and

churches

be

impressive
In
a

grandeur
a

interior.

more city, a sense

there especially, of of
repose,

is in

loftyand
from

spacious church
turmoil of

interior

of

seclusion
no
mere

the

the
on

smaller
a

interests
scale second and
can

which life,

beauty

of treatment

smaller
The

supply

the

place of.
is adverse is the
we

influence

which
churches

to

the of

production

of

really fine
in
a

impressive
Mediaeval
be such

habit

building them
that

imitation church
to to must treat

style.

Until
in

get rid of the idea

Mediaeval

its architectural

character, and
formal

begin

buildings freely and

precedent,
it is

boldly, without impossible

Of late
or

regard
have

architectural

that

they

can

the

highest architectural
no

interest.
made shown in
a one

years

ments improveAs the be is

have

doubt
we

been have

two

respects.

already observed,
three-aisled
modern

disposition to
what
are

modify
to

plan

in

accordance

with in may

supposed
this
made

requirements, though,
a

regard
have

to

point,
of

it

possible that
*

little

too

much

been

it,and

clergyman large, for

it
to

once

wrote

to
was

Pugin
a

to

ask

for

designs for
one

church, which

mast

be

very

the

district

very very

"wished

impress the
to

people
on

and

populous cheap, as

very had

beautiful, for they

they
was

only

limited
and
"

sum

(which he named)
should be and

spend
for

and it,

therefore

he suggested that

the tower
:

spire
sir,

postponed

the present. the

tower

Pugin's reply spire

at

characteristic

Dear

say

30J. more,

have

and

once."

48

MODERN

ARCHITECTURE.

reason

there

is

no

excuse

for it of mediaeval

any

kind

it is

mere

outward altered
common
as

imitation circumstances.
sense come

of

arrangement
that
to
as

updcr
soon
as

entirely logic and

a

It is obvious
to

be

applied
of
any

the

planning
type
of

of

church,

they

are

to

the

planning
form

other

building, the

long

chancel

is doomed.

The suitable

three-aisled

of that

plan
would

is

certainly

not

the

most

plan, or

the

plan

naturally be
be

adopted,

for

congregational worship, though

its

it may

questioned
as

whether in

practical disadvantages
cases,

are

reallyso
for that what
we

great

to

outweigh,
and

all

the

it facility

affords

fine

interior

effect

for

roofing. Supposing, however,

on

decide of

against
are
we

its retention
to turn ?

practicalgrounds,

to

form

plan

FIG. B.

6."

A.

SECTION OF
"

or

THREK-AISLK
A

PLAN. PLAN.

SECTIOX

PASSAGE-

isle"

Reference

has in
one

already

been

made

to

the church
at

plan, frequently
is built

adopted
in passages is most

recent

churches, by which
with
to
narrow

the

cally practias

span, for

aisles
seats.

the
way

side,

used

only

access

the

In

the

in which

this
the the

commonly

managed,
the

the

wall

perpendicularly above
and the the

arcade, between
main exterior

passage-aisles
wall
the

seats, is

really
wall
a

constructive

of

church, the

which
mere

defines
screen

the wall

exterior

of
the

passage-aisle being usually

which
are

masking
The

buttresses of the

carried may

over

this be

aisle

(Fig. 6).

roof

passage-aisle

either

CHURCH

ARCHITECTURE.

49

treated

as or

continuous roof the may

screen

lean-to be

roof, visible
and is

in

the

exterior
a

design,
parapet
way,

the

masked,
wall.

kept
has

flat behind the

crowning
the
narrow

This

perhaps
a

better effect

for

slip

of

lean-to

roof

mean

and, externally,
of the

moreover,

it

inevitablysuggests
with its pression im-

the recollection

ordinary side-aisle proportions,and

of

roof

wider

gives
or

the
a

being

mistake The

failure
sionally occa-

in

proportion.
All

system

adopted (as,for instance, by

Street
at

of formSaints, Clifton),
into the
a

'

ing

the

aisle-roof

series of wall
not
one

gables
above
to

^,^.

;.^*"leu
"-"sage

t"at"...st
mslk.

or

butting against
the arcade

main

(Fig. 7), is
it conveys

be is

recommended

as

far

as

external

effect is concerned,

nor

it,in fact, architecturally

truthful,as
than It
a

the idea of

series of

sidc-chapelsrather
this

continuous
may be

aisle. whether
of

questioned, however,
solution
of the

passage-aisle
church
evasion

system

is the best

problem

suiting the
an

plan
than

to
a

modern

congregational worship.
the

It is rather
to

facingof
three

problem.

It appears

have

been

taken

up

with

the

object of

preserving the
an

traditional
on

architectural side of the

effect central
while

of the

aisles with

arcade

each

compartment,

characteristic
actual

of

the

mediaeval
It cannot the
;

church,

avoiding the
to

three-aisle

plan.
the

be said, after all,

arcade and
are

be

convenient, practically
in the
a

for the
to

piersof
seats

very

much

way

of the economical

access

the

pretence

that it is

more

form

than

the traditional

three-aisle
an

church,
It

which

I have

heard
than

urged
the

in its

favour,

is

illusion.
two

is less economical of the

amount
same

traditional

form, since, for

churches
the
same

width, the passage-aisleplan necessitates

of

walling,with

no

additional

seat-room,
"

and

5"

MODERN

ARCHITECTURE.

with the

the main

additional span roof

cost

of

much

wider
is not

and

heavier

roof

over

(see Fig. 6),which

of the

counterbalanced

by

the

narrower

especially in passage-aisle,
the that

consideration

of the

heavier
the

buttressingrequired to support
then,
the
we

larger roof.
mediaeval be
arc

On church

whole,
on

must

say

modern-

treated
as

passage-aisle principle can

for permanent of
at
must

hardly
If
we

accepted
to

the
a

best modern

form

adoption. specially
time be

develop

form
and

church
the
same

suitable

for

congregational worship,
solemn and

architecturally giving
the
up
our

impressive,

it

rather adherence form

at

by
to

mediaeval

altogether,and

arriving

something entirelydifferent.
this respect there valuable obtained
are
a

In

great
to

many be

suggestions
from the

freely

varied

plansofVVren'schurches,
more

and

especiallyfrom
almost
a

St

Stephen's, Walbrook
which
FIG.

(Fig. 8),
serve as

might
for far
we

8.

"

FL.4NS

OF

ST. MAKY

STEPHEN'S,
W0OI.NOTH.

a
WALBROOK',

model
as

modern
as

church
idea
or

AND

ST.

plan,
there
is
no

general

is concerned be

though by
of

reason

why

should

adopt
in

influenced
much

Wren's which

detail, or
was

the

detail
not

employed

his

churches,
There
moor's

probably

his

personal design.
in Hawkswe

is another

very

admirable Woolnoth
a are

suggestion embodied
(Fig. 8),where
area

plan
cross

of

St.

Mary
with

have

the
or

Greek columns.

plan
Both
in them
on a

central
small their

unimpeded
the

by
forms

piers
of

these
are,

churches, but
main

plan they

employed
to
a

in

features, equally applicable

their great
merit is that for
a

building
an

large scale
floor
area

; and

combine

open

with

the

opportunity

grand

CHURCH

ARCHITECTURE.

51

and the

impressive

architectural

effect. of the

And future

I feel convinced is to be

that
for

type of plan for the church

in the

looked form

rather
a

direction
area
"

of the
say
a

comparatively
Greek either
cross

square

with
arms,
or

large
in

central the

with

shallow basilica

than
the

elongated
church.

plan,

of

the

early

of

Mediaeval It may be for

;

asked,
?

are

ecclesiastical And
to

history and
is
to
a

associations

to

count
one

nothing
the
which
we are

the
it

question depends
the the
creed

able perfectly reason-

but

answer

some

extent

upon

considerations
as

are

beyond
to

province of the
and

architect,

such.
as

If

told

regard
fixed,
ancient

the

ritual of the

Church

unchangeably
that the

once

for of

all, it would
the

follow should Roman hence often form.

less

naturallyenough
be retained. This

form

building
the
and
"

is the
"

positionprofessedlyheld by
the

Catholic
it is

communion

Church

never

changes
the

only logicalthat early

form

the

Catholics basilica

should
to

as prefer,

they

do, the
The

of the

church

medi.neval
are

of ecclesiologists
their all

Anglican
for
the
to

Communion
mediseval

much of

logicalin
which

preference only
dates
*

form

church,
in

after

back while
on

the it thus the

middle fails
to

period
it

the the

historyof Christianity ;
earliest traditions
does
not

and

represent

of the

Church,
traditions

other ritual

hand of

certainly
habit

represent

the

or

the into
it is

Reformed
the

Anglican
of the

Church,
that

however As
a

people
before

have

got

thinking plan

it does. for
a

observed,

essentially
whose
of the

of

church
on

privileged religious order,

the
sacred

members

carried

service, within
upon

enclosure

The

late Mr. "Real

Street

took

himself

to

affirm could

that

no

architect

who
a

diJ

not

htlieve

in the

Presence"
As Street

in the

Sacrament

possiblydesign

chancel

in

the proper
one as

spirit.

always designed chancels

whether and

in the early mediaeval

style,
actual

might dating from institution by

reasonably have
Christ Himself

asked

he regarded the institution of the Sacrament whether the upper he had

the thirteenth

century, took

forgottenthat
of
a

the

place in

room

house.

52

MODERN

ARCHITECTURE.

choir, in which
cannot

the

laity were
any
a

not

supposed

to

participate.
such
the in which
a

It

be

pretended, by
to

logical person,
of the
be service in

that which

plan

is

suitable essentially almost

form
with

people
the of the

take

equal part

minister, and

choristers,who

ought really to
who
are

regarded

as

members
to

congregation
assist the of the

specially competent
the

either
to

lead
the

and
tions devoto

singing
latter
at

of

congregation, or
music
more

express

through
same

too

complicated
beautiful
can

for them

join in,
than
any

and

the

time

and

expressive
arc

ordinary
off
as

congregational singing
were

be,*
an

titioned par-

if

they
for

sacred
and

personages

arrangement
with the

exceedingly
actual In

bad

them,
order
we

wholly

at

variance

theory

of the

of

worship.
to

short, unless

wish go
an

put
back

the
to

sponge

over

the the

Reformation
Medieval

entirely, and plan

of church is

conventualism,
in the

anachronism

present day,
it has been

at aesthetically

all events,

if not

practically. That
been
made
not

felt

to

be

so

in

practicalrespects, has
of
a

obvious very

by

the

fact of the

formation
and

joint Committee, inquire

and into

long since, subject

musical
issued the

of

architects
best

organists,to
of the the
organ

the

whole
to

of the

placing
relation

choir
;
a

in

regard

effect and
a

to

worshippers
chancel

Committee
the
on

which

Report condemning
chamber"

the

position of
unsuitable

choir, and
both

"organ
and side

adjoining it, as
the
a

musical each
as

ritual

considerations, and
nave,
as near

recommending
main

position on

of

the

body

of
not

worshippers
an

possible. Though
*

this is

minor

point,it is
and of the

unimportant
formally composed

That
"

is,the

real

function spiritual
music
; and

of the Anthem the bad

of
taste

of the
habit

"

Service
some

in church

hence

which

has

obtained

in

fashionable
as

London

churches,

the

congregation remaining
;
as a

seated

during
as

the

anthem,

if the

discreditable without
a

to

in a they were congregation who

concert-room

indulge it

to

proceeding, to my the clergj' allow who

mind,
it to

pass

protest.

CHURCH

ARCHITECTURE.

53

one

; and

it may

be

observed I have

that

the

more as

square
most to

and

open

form modern

of

church, which worship, would

suggested
lend
and
to

suitable this

for

also organ

itself choir.

well

proposed

reform

in the

positionof
we

While, however,
considerations
me as

ought

take

into
on

account

such

practical
church

these, in their
be be Far

bearing
to
a

church

planning, let
that

not

for

moment

supposed
from
:

recommend

architecture

should

regarded
from
shelter. it

purely or mainly practical

church
a

point

of

view.
or a

the It is
and
to

is

not

either

an

auditorium
the the

mere

building

consecrated of

to

contemplation
meeting
and of

of

the

higher
souls

side spiritual in
a common

to life,

Christian

join

voice

of the

prayer

to praise,

and fortify

encourage the
to

each

other

in

eternal

fight
could

of be

the
no

higher against
task that
to

lower
be
more

nature.

There
an

surely

ought
lift him

inspiringto
average
a

architect,more
level which

calculated
to

above

the

aim

and

of his art, than

have

the

of designing privilege

building
the of

in its exterior
not

and

interior

effect

(the latter
assist in

more

especially)
shows

should effort

only

harmonize mind and

with, but
to

promoting
holier

of

the
to

human

rise

above

the

material and

and life,

nourish is the

strengthen its higher

all

tions. aspirato

This

opportunity, above
that

others, offered
which
we

the have

architect, to

develop
the

quality of symbolism
element
in the

spoken
He is to

of

as

essential
a

poetry of architecture.
will be
for and

provide
and

building, no
for be

doubt, which
and

conveniently
seeing
ventilated and
"

planned

arranged
which
must

ingress

egress,

hearing,* and
*

warmed efficiently church, however,

best acoustic

The

demand this

for
reason

acoustic
among

in qualities

must

not

be

too

far,for
least, we
a

others, that
the noblest
we

the

conditions, in
and
a or a

poshed a large
this,
is not

are building,

incompatible with
know,
however

architectural

proportion
; and

effect ;

at

little

really know
In the conditions
case

of acoustics of
a

church

primarily
we are

building for hearing in. in placing acoustic justified

concert-room
we

lecture-room

(or

what

believe

to be such) before

54

AfODEIiN

ARCHITECTURE.

wc

have

outgrown

the

idea

that

our

spiritualexaltation
material
will suggest

can

be
;

promoted by insanitaryand
but

uncomfortable
one

conditions that
which and

above

all he and

is to

provide
rather

which that
;

is eternal

universal

than

which

is will

temporary

special

in

architectural

expression
from

which

symbolize
the

the

aspirationof
as

the

worshippers

the material
to
a

to

spiritual,
of their

well

as

their combined
may
count

devotion
not

central

symbol

faith.

It

be

asked, do
for much

Church

tradition,and history,
and
no

association effect of the

hence

in this
count

solemnizing something,
have that

symbolic
doubt, and
are more

building ?

They
many

for

the

feeling which
in
a

people

they
are

emphatically
ancient any the
or

religiousbuilding,when
Mediaeval

they
in
a

in cither built

an

modern

church, than
far
as

church
is

in

other

form

or

style. But, as
Medi.xval
"

general plan
is
at

concerned,
with
a

symbolism
theory
a

of the
of

church
no

variance
on

the

modern

worship

we

longer look
order for

at

service

performed by
those better of the the

privileged hierarchical
not

the

benefit

of

who

do

join in
that

it ; and,
should

as

already observed,
seem

it is far
a

for the

choir

they

what
be
to

they

are,

part

congregation,
of the

than

that

they

should
appear

compelled, by
act
a

retention

Mediaeval
their

plan,to

part which
concerned

is not

reallywithin

function.

If, however, those

any

purely architectural
in such
not
a

considerations,because

audition satisfactory
are

is the
sermon

primary
is
not

object
horse

(or ought

to

building. In a church, sermons and be) the primary object,

is

preached
be

but the
the

it would
to
our

putting

cart

before

the

to spoil the

in order buildingarchitecturally

render

it easier for the

preacher.
really

Besides, there

always
the
as

the

question
"Do

whether know

"acoustic"
of

design
the latter
"

will

produce
Ward

the

intended
to

result. late much

you

anything
was

acoustics

?" said Henry

as

Beecher
"

Richard
as
"

Hunt, when
one

he consulted the
d
answer.

to

new

church. that?"

I know the
;

any

does,"
first d

And

how

much

is
spoken out-

asked

minister. and he
was

Not

the

thing," was

the

reply of the

architect

anxiety about

the acoustic
not

probably right. In this case, it may be observed, the question was quite in order, since the object of the church
the

proposed
Henry

would

have

been

worship

of

God,

but

the

display of

the

oratory

of

Ward

Beecher.

56

MODERN

ARCHITECTURE.

cannot

call

pyramids
arc

architecture) ; temples, there

Parthenon
and

and

in

Greece, where
no

the

principalremains
in

is nevertheless
the

difference

style between Romans,

rather
with
nearer

the their than

Acropolis gateway.
to

The
come

greater variety of
any

seem buildings,

have

other

nation the

to

having
the
to
as

distinctive

style
until
a

for the late

temple

; at

all events,
a

pediment

was

supf"oscd,
of

period,to

be

feature
to

special to Augustus
comment, and

abode build

the

god,
with

and
a

the

permission
was

accorded

his house
kind
were

pediment
honour. whether
in

the

subject of

t"eing a
details The
arose

of the

Divine
same,

But, after all,the

order

the

temple, triumphal arch, or

"

thermai.
one,

notion

of
the

"

church

style
the
never

is,in fact,a

modern

which of

with
who

Mediaeval understood But if there

revival,in spite of the

of spirit
has

opposition
architecture.
a

those

best

Mediaeval
such

been may
we

thing
asked

as

church

style
to

in be

the
one

past,
?

the

question

still be should

"

ought
to

there

Is it desirable

that
or

endeavour
treatment

select any
and mark in

particular type
it out
as

of

detail

architectural
for
a

specially suitable
a

church,

in

order

to

assist

building up
It may be

kind

of

specialassociation
whether
in

in church be
a

architecture?
any

questioned

it would
to

possible to get style;

the
for
a

general
concurrence

concurrence

regard
of the

such

general
churches,

in has existed
a

favour

Mediaeval last

architecture
was

which
in

during
in

generation,

concurrence

adopting
while
be

style already existing, which developing

should look
a new

is
one.

very

different the fact is,

thing from
that may the in

concurrence
a

But

church
to

always
so,
one

like
does

church,
reside

and
so

always
much in

made

do

the

difference

not

adoption
that

of any A

style as
in

in the treatment

of the

building
may

style.

difference
between
same

plan
a

and

general

design
like
a

make
or

all the
even

difference with the

building looking
detail. A

church

not,

class of

rather

interesting

CHURCH

ARCHITECTURE.

57

example

of

this, which
in

was

brought
and
10.

specially under
The

my

own

notice, is illustrated
the

Figs. 9
of
a

former
church

represents

interior,as

executed,

Roman

Catholic

designed

V ""..^^'?^5^"Bk^'

pTim-T-i-

I
FIG.

f\

\i

I.

9.

"

CHURCH

AS

BUILT

(MR. GOLDIe}.

by
when like

well-known
the
a

architect,to which
was

had

objected (in print),

that
it looked that it
more

drawing

publicly exhibited,
a

concert-room

than

church

; at

all events,

might

58

MODERN

ARCHITECTURE.

be

cither. the
; that

To

my

I gratification,

received

a means

courteous

letter from

from
me

architect, saying that

the

he had

by

no

differed

plan

of

the church

been

unavoidably

altered

^1
ChA"C(L

FIG.

lO.

"

THE

SAME

CHURCH

(SEE

FIG.

9)

AS

OKIGIS'ALLY

DESIGNED.

from

the

originaldesign, in
he

consequence
me,

of difficulties
he what
sent
me

about

the

site, which

explained

to

and

the have

original
been.
;

plan
The

and

design (Fig, lo)

are

to

show

it should

details

similar

in

both

designs, in general

character

CHURCH

ARCHITECTURE.

S9

the the the

difference executed
same

lies in the

plan
have In

and

architectural
an

conception.

In

design
way all

we

only
the

oblong apartment
we

treated

along.

original design
of shadow

have
effect the

the
on

series each

of side

side of the

chapels first,giving depth

the
nave

nave,

and the

then form

the of

expansion
an

of

eastern

portion
dome. what
some

of

into

octagon,
difference of
but

roofed
;

by

This

treatment

makes
the be

all the

in

spite of

would

think
can

secular
taken could
an

character

the
a

detail,the
church
; in

design
no

in this form

for

nothing

other

type
as

of
to

building produce

that

arrangement
of

of
we

plan
reach

and the

section, so
upper end

effect either
a

climax

as

of of

the the

interior, be
two

requisiteor
instructive
and

suitable

; the
as

comparison
the

plans
the
of
a

is

most

example

to

difference

between

utilitarian

the

architecturally
the church-like
the

expressive
But
character

treatment

church
been is

interior.
observed

though
of of the but
a

it

has

that rather
of

building

determined the

by
the

general
I

scheme
cannot

design

than

by

character
of

detail, yet

think
it in
one

that
to

the
make of

purpose
on

the

building, and
should in

the
us

impression
very much

ought
the

the

mind,

influence direction
under

design
of
one

its detail ; not rather

"

the

of the

following

style
the

detail
is
more

than

another,
"

impression
than and may the

that

ecclesiastical after

in

character character
reason

other, but

in the

endeavour the

severity of
And for this

in symbolical significance

detail.

it with

be said

that

the

kind

of decorative is

detail

generally found
to
a

Renaissance

architecture
it lacks
a

unsuitable essentially
seriousness in

religious
purpose.
;
sidering con-

building, because
It is not
so

severity and
Roman

of
case

much number
on

question
of

of association Catholic

this

the

churches
even

which

have
most must

been florid

erected,

the

Continent
many

especially,in
thousands

the

Renaissance

manner,

of

people

6o

MODERN

ARCHITECTURE.

have
as

as

much

association religious with of Gothic. It

with is

this that

style of
the

architecture of detail

others

have

style

which

consists useless

unreal of

conventionalities, of sham
carved

panelling,
clever
in

of

brackets,
but destitute serious

floral

ornament

execution

of

real

design,

is

essentially a style
proper
; to
a

devoid

of

the

and

monumental St.
church

character
as an

religious building.
an

Take

Paul's

example
more

there
or

is less

instance bad

of

grand

interior

spoiled
So

by

and

commonplace

ornamental

detail.* all their

; the

with

Wren's

admirably planned churches,

in

with

interestingvariety
taint have of
not
are

arrangement
somehow
and

and
over

general conception
them,
not

secularity pointed
full of

is

because but

they
because

arches

traceried of

windows,

they

plaster imitation
of

vaulting, of
detract

ill-considered
the
to
a

commonplaces
seriousness
and

ornament,

which

fatally from
proper
at

gravity of
In
not

architectural
we

character
to

place

of

worship.
is,
be

short, what
the

require
of
any

aim

in

church

architecture
to

adoption
"

particular style supposed

solid
and and

by

association
in

ecclesiastical,"but
and

monumental

character

the

construction,
refer to the
ago.

grandeur
of

severity of

style

in

cannot to

the

interior

St.

Paul's

without of the and

expressing the strongest

modern

opinion as
a

unarchitectural essentially That it is gewgaw

in the in

character

reredos
with

erected
and minor

few

years

commonplace
matters

sculpture,are
with
has

appearance, themselves serious

decorated

poor
are

objections,but
the
which
to
an on

these

in

comparison
been the details
to
me

flagrantmanner
with

in which erection
or

architectural has
not

design of

the

building
to

interfered
of

by

an

the the

slightest
plan.
It
mitted com-

relation

the

original architecture
any
man

the

lines of
can

is inconceivable

how
as

professing to
a

be

architect

have

such

solecism

to

interpose
the apse
cut

reredos the back

curved

plan,
an

in front

of

circular semi-

end, leaving between

area,

and

of the reredos

entirelyshapeless
from

which

is

just so
to

much
waste.

space
Not

off from
the of

the church

plan

and

its apparent
to connect

length,and
into

thrown

slightest attempt
if Wren's

is made,

either,

the details of the the middle

at

reredos of
one

with

those fluted

the church, the cornice

of the reredos

cutting
of
no

of the One
can

as pilasters, see

architecture

were

consequence

all.

hardly
batter

the

thing without

wishing

to

plant a

twelve-

pounder

at

the choir gates and

it down.

CHURCH

ARCHITECTURE.

6t

all which of
to
no

the is

detail, with

the

absolute

rejection
or

of

every
and

ornament

merely superficial, pretty,

class of
to

unmeaning,
ornament.

especially
If
we are

the

whole

merely
the

imitative

confine doubt

ourselves that

there reproduction of past styles,

one

is

Gothic

is,in
inasmuch
manner

sense,
as

more

ecclesiastical

style
more

than
severe

Renaissance,
and is in
no

it is characterized in its

by

restrained
reason

decorative
based
on

detail.

But

there

why
to

church

design
and

Renaissance

types
not
as we

regard
treated

plan, section,
the
same

general proportion, should

and

be

with

nobility
It is
and
to
a a

severity
and and

of

detail

find

in in

early Gothic.

grand
severe

appropriate thoughtful
to

symbolism
treatment

general design,
detail, that
architecture and
our we

of
church

must

look

in

order
at
once

evolve

modern

in

harmony

with and

our

practical requirements
to

spiritualaspirations ; by

not

the

employment
to

of
"

any

specialstyle supposed
in the abstract

habit

and

association

be

ecclesiastical." the

Having

thus
of

far considered church

us see

possiblefuture
which
has it

development
should

architecture, and
what
we
can

the

direction what

take, let
done

learn

from
our

been first

already
to
or

in

recent

times. which
are

Confining
either

attention

the

larger churches,
may
our own

professedly
with

cathedrals find

which
in

be architecturally

ranked
in

cathedrals, we
with
our

that

country

and

connection

national Roman

church Catholic
the

the

Mediaeval

feelingis
alone
which

still

prevalent ;
shown
In the rank of the

it is the

community
of

has

any

leaning towards
at

classic in

stylefor large churches.

point
we

Oratory
as a

Brompton,
of the of

which second domed the

scale
an

may

take

cathedral

order,

have
some

example
the

Renaissance
in

type

church, with
exterior
treatment

original features
of

detail
on

(chieflyin
the

dome),

but

which of

whole

presents

nothing

but

the

ordinary

materials

Renaissance

62

MODERN

ARCHITECTURE.

convention.

The will

new

cathedral

at

Westminster,
with
one

if it
more

ever

gets

completed,
and in

probably present something

it than
to
a

vitality
the
a

originalityin regard
to
a

this ;

as

far

as

can

gather
to

intention

design
any which

about

which

there

seems

be
seem

great
that

reluctance this is to be form of

give
church

definite will

information, it would
combine with
a

something
Renaissance

of the
ment treat-

general

Byzantine
It is to be

architecture

in detail. be

hoped

that

severity of style will

will not which

arrived

at, and

that

the

completed

work

present any
bane of

of that
so

ill-considered

exuberance Catholic
with
our

of detail churches

is the

many In

existing Roman
connection is the

of the the

Renaissance
one

type.

national
one

Church, Truro,
the
a

modern

cathedral
work

half-completed plan
of
and

at

frankly Mediaeval
presents
a

both

in

style,though
character

exterior
out

certain

degree
of has
treatment

modern

arising

of the
this and

special
other

handling
churches
on

the

style by
of the

its architect, who

to

in
own

generally contrived
exterior.
Truro
;

stamp
In

his

individuality
the
other than

the

the

interior, on
more

hand, it might be said

a

that church almost

In

is almost

Mediaeval the
in
new

genuine

Mediaeval

in

fact, but
that
we

for
were

look

of

everything,we
century
valuable
to

might

imagine

thirteenthsense a

cathedral.

this

respect
architect.

Truro

is in

one
our

study for the

the

young

If it is to be

object doing

reproduce

Mediaeval
and
no

cathedral, whatever
modern

is worth is
so

is worth

doing well,
with the

building
this of the

thoroughly
in this

imbued

Mediaeval
any And the

spiritas
if

interior,which
same as

respect surpasses
Scott
or

achievement
even we

kind I these

by days by

either
the is
a

Street.
of

think,

do,

that

reproduction
mistake, there
architects
as

Mediaeval

cathedral
to

in be

is this
a

particularbenefit
the interior of

gained
that
to

young

from
must

study of

Truro,
truth

recognizing,
Mediaeval

they

recognize,

its remarkable

the

64
main

MODERN

ARCHITECTURE.

side
a

which aisles,
to
more

were

divided

by

pier at the

cast

end

to

give

start

the eastern

aisle,which

was

thus reduced

to much

better
been

and

manageable proportions than

its full width.

if the aisle had

was

carried
to

round

attention Thirdly,special

given
to
an

the

important point
a

of

designing
; and

the

building so
this view, small

as

realize the scale of

great cathedral

with

at

early period in

the

working

out

of the

design,a

portion

wm\

^r.
APTCR

houSl

"mm^
-MR.

BROOKS

PLAN

FOR

LIVERPOOL

CATHEDRAL.

of

at the junction (I think) of it,

the
a

transept with
rather

the

choir,was
see

set carefully

up

in

perspectiveon
of the

large scale, to
scale and
most

if it

conveyed
The

the
was

impression
whole

intended this sense,

This is
a

of the

building.
the

result

s^isfactory in
design.
a

determined

treatment

of the

important point.
will

It is like could

possibleto design
an

large cathedral magnified,and

no

which
more

only

look

ordinary church
be made.

fatal

mistake

CHURCH

ARCHITECTURE.

65

Mr. modern

Emerson's

design

in
a

the

same

competition
which It

is the
a

only
new

English design
in

for

cathedral

suggests

departure

plan

and

treatment

(Fig. 12).

substitutes

to

FIG.

12.

"

MK.

Emerson's

design

for

Liverpool

catheorau

66

MODERN

ARCHITECTURE.

some

extent
nave

the and

of principle with

the

wide
narrow

central

area

for that

of
as

the

transepts

the the

crossing, which,

Fcrp^usson truly remarked,

Mediaeval cathedral
as

is

weak

point
short
nave

of

the
is

typical
retained,

plan.
the
out

rather
to

perhaps
the

partialconcession
area

ecclesiastical
is the

precedent, but
nave,

octagonal

under carried

dome
as

real

and in
a

the form

domical

roofing is
by
the

an

intersecting vault
with This which
the

suggested
had

Saracenic

domes,
in India.

architect the

probably

been

familiar

design gained
as rightly,

premium
attempt
to

in the
to treat

competition,
a

and

I think
in
a

the

only
suited

modern

cathedral
of

novel

manner,

the
must

feeling and
be and

requirements
that the it

the

modern

service, though
for have

it

admitted

detail

left

room

ment improvein

which refining,

might, however,

received

execution. At
the time of made

this
in

competition shape
had
was, to

an

exceedingly
a

clever

suggestion was
architect, Mr.
but whose

the

of
not

design by
invited

Liverpool
compete,

James Hay,

who

been

to

volunteered of sufficient
is of

design
interest
in

if

I remember

sidered right,con-

be

exhibited that
of

along
it is
a

with

the

others.

It
to

interest with

this

sense,

practical
of

attempt
Gothic
was

grapple
Classic back and of
was

the
The

problem
intended

the
site

assimilation
for the cathedral

and the

forms. Elmes's in the

at

celebrated
close

Classic
to

structure,
the

St. of

George's Hall,
Art

contiguity also
style,and
view
was

group

buildings consistingof
and

Free

Library, circular Reading-room, forming

that, while
of the
in
to
a

Gallery,all
group. preserve the in this in

in

Classic

complete
cathedral

architectural

Mr.
some

Hay's

ought
which

to
was

reminiscence
of

Mediaeval this

style,
the
tecturally, archi-

original form

cathedral

country,

building

particularinstance
general

ought
the

harmonize

its

lines, with

important

Classic

CHURCH

ARCHITECTURE.

67

buildings by which building

element which the be
an on

it would lines

be

almost be
a

surrounded,
and

and

that

Gothic the

would

disturbing
he made

discordant

in

group.

Accordingly,
is here

the
a

design,

of of

illustration
in which Without

given (Fig. 13),as

of

suggestion

manner

this

blending

the

two

elements
one

might
have

achieved.

exactly saying

that

would

-MK.

HAV

DESIGN

FOK

I.:

wished clever union

to

see

it carried and

out,

one a

must

admit
as

that
to

it is

verj'

combination,
of

contains

suggestion
and

the

possible

elements

derived
note

from
of.
new

Gothic

Classic

architecture

which
The

is worth
most

taking

important
at

cathedral

recently commenced
Professor

in is
a

Europe,

that

Berlin, designed
academical

by

Raschdorff,

piece of merely

Renaissance

architecture, and

that

of

68

MODERN

ARCHITECTURE.

very

poor of this

and

commonplace

type (Fig. 14).

two

The
ago.

foundation It exhibits
use

stone

building was
common

laid about this type of

the idea

years

all the

faults Order
this

to

architecture
a

; the

of

large
behind

conveying
the

of

one-story
are

structure,

while if in

wall, cornices, and

openings

treated

as

FIG.

14.

"

NEW

CATHEDRAI,,

BERLIN

(PROFESSOR

RASCHDORFF).

two

Stories which
to

; and

the
no or

illogical packing together

constructional
to
or

of

conventional relation
appears

details either
to

have other

architectonic central
mass

each

the whole.
a

The

dome of

rise out

of the centre
to

of

flat-roofed,cubical
or

building,
details

without

anything

visiblysupport

lead

up

to

it. The

CHURCH

ARCHITECTURE.

69

(F'g^15) show
even a

neither

the

slightestarchitectural
and grace of

invention,
in

nor

perception of

refinement

proportion

the

useof

conventional
worst

features. about the is

The whole
the

point

design, perhaps,
of the

treatment

nation termi-

of the
is made in
a

dome, which
to
a on

to

appear

nate termitrade balus-

with flat,

round
centre

it,
which
"

the
a

of

stands
a

large

lantern

tion construc-

which

would

be

possible im-

except

by

the

employment
across

of iron

girders
of

the
to

opening
the
a

the

dome This

carry

lantern.
very
un-

would

be
way the

monumental
;
even

of building
KIG.

15.

"

DETAIL,

BEKLIN

LATHEDRAU

but
worse

real

fact

is

than
up
are

that, for the

to

constructional lantern,

dome

is in

reality

to

be

carried

the base

of the the

but
as

its lines in the

masked

by

balustrade,
that

accompanying
is the
a mere

section, so
ornamental
of the
not
was

the balustrade
stuck
on

screen

to

extrados
to

the
eye

dome,
of
a

to

give the impression

which exist. does

struction con-

and

could

not

The

architect

selected
and could
a
1 1 r

and

commissioned is the best way

by the
that of
a

emperor,

if this
furnish
"

-'

fig.

16.
AND

SKCTIOS

OF

DOME cathedral

LANTERN,
design.

Germany design
for

bebun

in the

great metropolitan cathedral, it is

70

MODERN

ARCHITECTURE.

sad

indication

of

the

low
in

state

of architectural

genius plan
of

and the
it
a

architectural

perception
the

that

country.

The
some

building (Fig. 17), on

shows
a

other of
a

hand, is of
cathedral
was a

interest, as
in
a

special treatment

plan
to

reference

to

special object. The

and

building
to

not

be

cathedral
for

pure

simple
the

; it

was

include
or a

cathedral

church of the

general

worship, a
of
use.

memorial

church

mausoleum

royal family
for

HohenzoUern In the

line, and
A
is the

baptistery church
B the

parochial
and

plan,

cathedral,
seen

mausoleum,
to

the

baptistery.

It will be

that, contrary

all

precedent

f IC.

17.

"

PLAN,

BERLIN

CA

in
at

church

planning, the
to

longer
side

axis of

of the
on

the

cathedral

interior main of

is

rightangles
to

the

long

exterior

design, the
instead
two
axes

entrance

the the
to

cathedral

being
The

thus

the

flank

at at

the

end

of

building.
each

interior, in fact, has

or

right angles
is

other, one
to

other

of

which

may the

be

the

principalaxis, according being

used.

the

purpose

for which

building
of
a

It may

be
to

presumed
the

that

on

the occasion

royal funeral
would
church
enter

procession
at

mausoleum and

chapel,
cross

the

cortege

the

baptistery door,
on

the

baptistery
up
to

and

the

cathedral

the

central

line

leading

the

72

AfODERN

A RCUI

TECTURE.

for the character result there is

of

detail which

belonging
is

to

the

orginalstyles.

The

something
modern

cold, hard, and

and

formal, in which

is neither

grace

finish

nor

ancient

picturcsque-

FIG.

l8.

"

BASILICA

AT

TOURS

(m. LALOUx).

ness.

This

is

aptly illustrated
details and
are

in

M.

Laloux'

Basilica
a

at

Tours

(Fig. 1 8)
effect

; the

heavy
do

and
not

ungraceful,from
serve

modern

point of view,
of

yet

they

to

recall
to

any

of the

the

ancient

style.

One

has

only

remember

CHURCH

ARCHITECTURE.

73

the the

totallydifferent
American

kind

of

effect
treatment

obtained of is

by
details

Richardson,
founded
be
on

architect, in the
to

Byzantine work,
to

recognize that
in modern
to

the

defect

reallyto

traced

qualities inherent
is

French

architectural of any real

taste

and

which training, with the

opposed
of
In

the evolution tian Chris-

sympathy

character

early

architecture.

Vaudremer's of Notre

quasi-Romanesque
Dame
at

church

Auteuil
is of French
a

ever, (Fig. 19), how-

there
an

of detail, simplicity
the

absence

usually

too

minent proin

"cleverness" of

church
which
moreover

architecture
deserves the whether admirable

this

type,
and
panile, cam-

recognition; design
we

for think

the

it altogether is
questionably un-

or

not,

original,though
junction
beneath crude The with it is
manner.

its

the

square

tower
a

managed
of

in rather

plan

the

cathedral

at

Marseilles,by Vaudoyer
commenced
as

(Fig. 20),
is of teresting inthe been

about
an

i860,

example
what has

application
called

of

the of

"passage-aisle" principle
to
a

planning

cathedral
of the
nave

fig.

19."

chfrch

at

alteiil

(vaudrbmek).

the
as we

wide

expansion
from

plan
is
a

emerge

the

fine

point,

and

it will

be is

observed

that, by
to

adopting

the

narrow

aisle, the
chei'et at the

architect
same

enabled

carry

the

aisle round

the

width,

74

MODERN

ARCHITECTURE.

instead this

of

adopting
The

Mr.

Brooks's

plan

of

halving

its width appearance far from

at

fa9ade,with French (as indeed, though on

point

its very

North-Italian
not

soil,it is

very

that

"

"

"

"

c
.

"*

"
^4

FIG

20.

"

MARSEILLES

CATHEDRAL

(VAUIK"VE"].

part

of

Europe),
the windows

is

pleasing
of the
towers ;

and of

harmonious
statues

composition
in

in

and itself, with the

effect

series and

niches, ranging
whole

of the very

binding
is
a

the

tion composiand

together,is

good

there

satisfactory breadth

CHURCH

ARCHITECTURE.

75

simplicity about
fatal
defect of

the
want

design,
of

too

; but

unfortunately

it has

the
over-

scale.

The

simplicityhas

been

Fin.

21.

"

"la

TRINIXe,"

PARIS

vBALLl).

done
towers

; the

large scale

of

the
naive

arches

in

the

upper

stage of the

and especially,

the

treatment

of

this

portion,dwarf

76
the

MODERN

ARCHITECTURE.

scale, and

it

gives

at

first glance the instead be of

impression merely suggesting

La
a

of

tolerablylarge parish church,

front.
front In this respect it may of
Ballu's

cathedral with
at

compared instructively
of
"

the
Paris

well-known

church

Trinit": of

"

(Fig. 2i),which
of

strikingly illustrates
to
a

the

value This

multiplicity fa9ade
shows

parts in giving scale

modern French

building.
at

fine

the

architect

his

best

in the

applicationof
ture, architecbut
cognize re-

Renaissance
and

style to
the student

church
cannot

how

infinitely superior is
the
of conventional the Berlin
"

this

design

to

classic

banalities

cathedral
a

design,
Gothic

"

La

Trinite framed

is, in fact,
out

design

of

sance Renais-

details ; each is treated

stage in the design

there
is
no

separately;
of

thrusting
stories ; the the
even

Orders the incident the

through
of
each

two

indicating
side of wall
a

slope of
tower,

roof,on
the

by

raking
one

and

balustrade,
west

reminds

of

Gothic French

front.

Another

modern

Renaissance known
fig.
22.
"

church,

less

familiarly
is Baltard's the end of is

to

English students,

st.

augustin,

paris

(b.^ltard).

St.
the

Augustin (Fig. 22), at

Boulevard for
two
an

Malesherbes.

This

church

very the

cleverlydesigned ground
what between is

irregularly shaped
diverging streets,
"

site ; site

it

fills up

the

expanding
it does lower
not

towards

the ritualistically It will be

seen

east

end view

"

(though
how
the

look
of

eastward).
the
nave

in the line

portion

walls
how

follows

the
are

of the

streets,

widening outwards,

and

well

they

connected

with

the

CHURCH

ARCHITECTURE.

77

central the
an

feature

by

the

two

turrets

which is
to

flank

and

lead

up

to ;

dome.

Internallythe
Order
one
or

treatment

strikingand
the
wall the in

unexpected
the

internal

is
two

seen

attached
; it then

shape
becomes
axis

of

for pilasters
a

bays
the walls

leaves

wall and the

central

colonnade
nave,

following
the
outer

line

parallelwith
behind

of

the

expanding
in

it, following the

of the
a

boundaries weak
and

of the

site.

Unfortunately
many

the details
ways

roof

are

but unsatisfactory,

this is

remarkable

FIG.

23."

CLASSIC

CHUKCH

ON

MEDl.tVAL

LINES

(SEDDINC).

church

design,
out

and
new

is worth ideas

the

attention

of

those

who

are

looking
In churches

for
"

in church
as

architecture.

England
"

except,
had

before
such

observed, experiments
of
recent

in Roman with

Catholic
Renaissance

we

have
for

no

architecture

modern
was

churches
on

date. the

One late
In

very

interesting one

made,
for

paper

only, by

J.

D.

Sedding,
the very

in

design
of the

St.

Cardiff Dyfrig's,
in the
a

(Fig. 23).
facade
is

this

treatment

towers

western

certainly
buttresses

poor

but the

applicationof

Classic

form

for the

78

MODERN

ARCIII

TECTUUE.

at

the

side

is very
at

clever Maria

(it is perhaps suggested

della

by

the

scroll
a

buttresses modern with

a

Sta.

Salute)

; and

the form

interior, as

application of
curved
for
an a

the

ancient

basilica flat one,

of church, but
not

ceilinginstead
modern

of

was

unsuitable
was

design
met
a

church. refusal
a on

Unfortunately
the

this

proposal
to

by

absolute

part of thecpmmittce
one was

adopt
same

Classic

design,and design
classical

Mediaeval the

substituted. Church
of

The

architect's Redeemer
of
so

for

interior

of
is
a

the

the

Holy cation appli-

at Clerkenwell

(Fig. 24)
to
a

still more

successful
in

elements

church

interior, and,
that with
it

fact, is

originaland
us as

picturesque in
"Classic"
"

treatment

hardly suggests
we

itself to associate

word
the

which
in the

generally
and of the

the

employment
form. their

of

Order the

orthodox

recognized "generally
columns,
suggests
In

Here

peculiar treatment
stone at

with

rings

of darker-coloured different from the

intervals,

something quite
the horizontal
more

usual

classic order.

spite of

line of the entablature, the

allied
treatment to

general effect
Renaissance

produced
associations

is much
;
a

Mediaeval of the

than

to

and

the

plan,
manner,

which
as we

gradually
advanci

widens, in
into the
to

most

natural

and

unaffected

church, is admirably effective,and

a

such

as

is of

specially building.
modern

suited

church may

interior

and this of survey

a

to
as

no

other
one

class the

Altogether, we suggestions for

In of the date

regard
treatment
a

of
church.

best

the

small of

main, however,
will

modern

English
the

churches
most

recent

show
of
some

our

architects Mediaeval

still for

part
in
"

under midst
arrest

the

influence

the

revival, though,
here
and there under

the will four

of this

cult,

"

modern may group

touches them

attention.
:

One
with

roughly
with
towers

heads without

churches either and

spires ;

churches

; churches

feature, but, in the

with

main, of conservative
features
or

Gothic

type ;

churches

special

characteristics

8o

MODERN

ARCHITECTURE.

which

put them
be

out

of

the

usual

classification. in

As

general
has

rule, it will
become

found

that

the

spire church,
property
of

recent

years,

almost

entirely the
of
in
not

the
the the

ultra-conservativ"
occurrence

Gothic

revivalist

the
a

old

school, and

of

lofty stone

spire
will
a

church
say

design
be

of

present
to

day

will

generally (I
of

always)

found

be

the of

paniment accom-

weak

and

merely

imitative

revival

orthodox

jNTHTCHET

[MK. CAROe).

Gothic
more

features

and

details.* architects
of the

The
are

reason

is
to

partly that
try
more some

our new

original church
of the in the find

anxious
; but

treatment

finish
demission

tower

the

important
we

influence

of the
massiveness

spire probably
and

is that

have

begun
*

to

out

that

of solidity
have which

construction

I do

not
a

include finish to
of

among
a

spire churches
tower

ihose

which
in

merely
the

small
a

timber

spirelet as
masonry

masonry

only
the

those
tower.

spire is

solid

structure

equal importance

with

CHURCH

ARCHITECTURE.

8i

and

breadth

of

scale

in

detail

are

more

important
than
the
a

elements
mere

in

the realizing imitation would

out
on

spiritof
its
to

Mediaeval

architecture that

cheap
which
laid the

of

prominent features,and
be
and

money

have
a

expended
monumental
movement

on

spire

is much in

better

solid

structure

the

body
of the

of

church
structure

; and

this

in

favour

of

of style and solidity

towers

evidentlyinfluences

the

design

of most

KIG.

26.

"

TOWEK,

KOSSLll

^MEiSKS.

DOl'CLAS

AND

tUKDHAM).

in the

the

cases

where We
see

that

feature

is

prominent
in

element
towers

in
as

design.
by
Leonard
Fordham
a

this well
at at

exemplified
and

such

those Mr. and

Mr.

Caroe Stokes
at

Stanstead-Montfitchet

(Fig. 25), by
Messrs. the the

Maidenhead,
etc.

by
In

Douglas
last-named

Rossett,

(Fig. 26).
is
"

example
of the

certain

specialcharacter
in
one

given by

development
loftier arches
G

buttresses

direction

only

that of the

82

MODERN

ARCHITECTURE.

opening
additional The called
in in

on

nave

and

chancel,

an

incident
to

which

gives

an

effect of calculated
a

sturdiness
at
as

the structure. church has for

a

necessity for

tower

all
the

to

modern

been
tower

question, inasmuch
with
a

practicalexcuse
a

connection

church and

is

as

place to people

hang
;
"

bells
so

in

to

mark

the time
tower

of service
is

call the the

thereto

that

in

Italy the
and in

actually called
the
tower
was

campanile, the
to
"

bcll-place,"
Christian
whence

this
what
to

respect
the prayer

originallywas
to

the

church the

minaret
was

the

mosque To

the

place
be

call

sounded.

this

must

added

the

which superstitions
to

gradually
were

clustered
as

around

bells,accordin^^
to

which

their sounds

regarded
etc.

efficacious

drive

away stition super-

evil

to disperse storms, spirits,

as

It is

urged

that and

this the

to

the value
in

of bells of

having vanished,
some

general
of

possession

households
unnecessary the
tower

kind

of

reliable

timekeeper
the has
;

rendering
hour of

them

as

signal of the
was

approach
hold

worship,

which

built

to

them clock

become
a

superfluous.
does
nor

There

is the

excuse
a

of

the
and the

but

clock

not

necessarilyrequire
church All

large
or

monumental
most

tower,

is the

the only necessarily

suitable

place
must

for be

fixing a public clock.

allowed
in
our

this
A idea it ;
"

is true

; but

something
so

for

association.
with the

tower

has
a

been

long
there
of

associated
seems

minds

of and

church, that

something
may live be
too
a a

wanting
nuisance
to

without
in
a

though
to
some

peal

bells who sound

town

at

least

people
and

close

it
"

in

the

country

it is not

so,

the

of

large peal of swinging bells

a

is not in

only pleasing from

itself when
not too

old
near,
an

association, it is
a

sound

pleasing
to
no

kind

of wild

music

reducible

rule, and
else

representing
can

effect

and peculiarto itself,

I
am

which

nothing

precisely
bell-music,
up
;

replace.
in

decidedly
at

of

opinion, therefore,
is
a

that

country

churches

all events,

thing

worth

keeping

CHURCH

ARCHITECTURE.

83

and

with
in
an as

it

comes

the

raison

d'etre

for

the
an

tower,

which,
and

over, more-

extended
a

landscape,
The the

is both

agreeable
to

useful
is
a

feature
valid of may
a

landmark.

objection
tower

bells

in

cities
a

one,

and

therefore ornamental
or

church

becomes

in

city more

merely
church.

addition

for

architectural
to

effect,which
the

be valuable

not

architecturally, according
without
tower
or

position
seems

of the

The
town

church form.

spire,then,
without church
and
a a

a essentially seems

Any

country
a

church
town

tower

to

want

something
for
a

; whereas

may

have

only opportunity
built be
seen

single western
in
a

facade
which
cannot

be
tower

otherwise
cannot at

up,
to

or

it may

be

position in
at

advantage
There

close
are

hand, and

be the

seen

all
of

further
a

off.
is
a

cases,

therefore, where
to
ever
a

omission

tower

positiveadvantage
this
can

city church, architecturally

to

speaking
country
Where
a

; but

hardly

be said

be

the

case

on

site. the of
some

tower,

when

there
in may
a

is one,

should
to

be

placed, is
and
a

matter

importance
It

regard both
be

convenience either the

in

architectural

expression.
the
west west

placed

side

position near

end, in end,
or

side

position near
is
a

east

end,
the
of it

centrallyat
crossing.
should
a reason

the

(if there

transept) over
lower
to

In

the first and

an

third

positionsthe
in order in

portion

form and the

entrance

porch,

give the

tower

make

it mark
west-end For

something position the

the third
more

the

plan

or

in the may
at

case

of

central

lower

portion

be

made side

the

baptistery.
the
east

position mentioned,
difficult to when
one

the

towards
on

end, it is
there
are

find

an

adequate
is, when
the
us

motive motive
a

the

plan,but

occasions
very

the architectural
; that

for

this

position is
on

strong

church

is built

ground
of

sloping rapidly
effect

towards

east. to

Every
place

consideration
the
tower
as

architectural

then lower

impels

far

as

possibletowards

the

level of the

84

MODERN

ARCHITECTURE.

site,so

as

to

get

for

it all

the

effect

of

height,all
would
no

the vertical

h'ne, that

is

possible,and
there
at
even

this if the

consideration

justifyits

being placed
for
in

plan
to

afforded the

special reason
that position,
in

emphasis
the
centre

that
the

point.
west

As

western

of

front, which

gives a design
suitable for
a

which
a

dignity and
church in
at.
a

symmetry
side

predominate,
more

is most

for

large

; the

positionis
rather

suitable

smaller effect

building,
is aimed either

which The

picturesque
central

than
the

symmetrical

position over
or

crossing is
one

suitable
one

for for

very

large church
and

for
a

small

with church
much

span

only

nave

transept
central
a

In

three-aisled
looks
too

of like

comparatively
an

small

size the the

tower

attempt

to

give
will the the
be

building
the

cathedral-like
must

dignity beyond
be
as a

what

its scale
or

bear, and

tower

either
so

poor

and

lightone

must crossing-piers

be

large

to

inconveniently block
There
may the

floor. floor

In

very

large
to

church

this is different.
for
no

space

enough
the

spare

adequate piers,and
doubt other that
a

central
to
a

position of
on
a

tower

gives
than

greater

dignity

church
is line

large

scale

any

though position,
you
cannot

there

always
of the

the
tower

slight disadvantage

bring
the
case

the
of
to
a

visiblydown
aisles
can
one

to

the is
no

ground.
structural
as

In

small

church tower,

without
which
as

there
be

objection
paratively com-

central

then

made

massive,

speaking,
inconvenience
to
on

pleases, without
the

causing
of

any able
;

plan, with angle

advantage
down
to

also

being

bring
a

the

exterior but

lines

the

ground

if desired may avail

and
to

small
a

solid-looking tower
of

thus
to

constructed
a

give
the

look
In end

dignity and
case

breadth
tower

really small
free

church
side
or

(Fig. 27).
at
west

the

of

the

standing
seen

by

the
at

of the

church,

and

(on three
effect

sides

least)
the

from
manner

the

ground line,a great part

in which decorative

of the and

depends
are

upon

features

windows

grouped

CHURCH

ARCHITECTURE.

85

and

distributed.

It

may which

be

said
to

that

there
a

are

really only
in from
this

two

effective either
to treat to

on principles

design

tower

respect,

treat

it
an

as

richlydecorated

erection

the
a

base,

or

it

as

almost A

entirelyplain erection typical Somersetshire

tower,
tower

carrying
church

tive decoraor a

upper

stage.
the

tower,

design
of

like

Victoria A

produces
carried
up

effect
to
a

from

general

ness rich-

treatment.

considerable

height

FIG.

27

SLINDEN

CHURCH

(mk.

1 a-:;

".

""

with

sternly plain character,

if

and

carrying
effective

at

the

top

freely
;

enriched
moreover,

stage, is nearly always

it is
a

by

contrast

and,

tower

to

carry is

bells, there

is

logical
lift

meaning
the

in this of

treatment

which

satisfyingto
necessary the air.

the

mind, the
to

plain portion
feeble

the
to
a

walls

being

the

support

belfry stage
than
a

lofty position in
which is has
no

Nothing
aim,
too
as

is

more

tower

decided
in

it were,

and

especially one
towers are,

which
a

divided

half, as
base

many
an

modern

by

plain portion near

the

and

equal height

86

MODERN

ARCHITECTURE.

of decorative

treatment

above.

The

effect of

both

portions,the
want

plain
and

and

the

enriched, is nearly nullified by the

which such the
a

of

point

intention Before

system
of

of

design

shows.* be

quitting
device

subject
on

towers,

it may
met

suggested
in
a

that
cases

the in

common

Italian

soil,and
of
is

with

few

English

Mediaeval
from

examples,
the

building
worth the

the

tower

entirely disengaged

church,

attention

FIG.

a8."

ST.

ANDKEW's,

WILLESOEN

(mR.

JAMES

BKOOKS].

of modern

architects
of very treated the

and fine
as

church

builders.

It is

an

arrangement
the
its

susceptible
tower

architectural
a

eflfect, admitting of
all-round
or

being

complete
by
an

design,

and

connection

with

church

arcade for

gallery may
without
and
even

afford fering inter-

all the

communication
with the

necessary

convenience tower,

complete design
architectural
instance
of my of

of the

adding

new

point
To
"

in the
actual
"

effect and
a

composition.
building,would
to

give an
invidious
own

this, from

modern

be

what

is

called from

; most

architectural

readers

will be able

supply instances

their

observation.

88

MODERN

ARCHJTECTURE.

monumental
in which
arc run

construction, is
the wall each

good deal assisted

by

the

manner

planes
other
of

of

different

portions
as

of

the

structure

into the

without

breaks,

is

seen

in the
out

way of
one

in

which
of the

west

porch
the

St. Andrew's

is

developed
the

faces

of the

octagon

turrets, and the them.

gabled

buttresses
a

which from often

support
the

gable
below but

of

transept
This
is

rise without
a

break

wall-plane
now,

method

of

design
modern

imitated

Mr. of

Brooks

invented been

it for

churches, and

his

manner

building has
until The

slowly developed
be said almost well-

through
to

long
the

series

of of
a

examples style.

it may
Mr.

merit

name

late Sloane
of

Sedding's

known and

front

to
more

Holy Trinity Church,

abnormal church
in of
a

Street, is another
exterior
treatment
; it to

rather

example
an

the

of the be
out

towerless
of in

; it is

effective
Mr.

street

front
be

would
have fected peris
one

place
search he and

rural
a

site.

Sedding
he

may

said

been

style, which

would

perhaps
here

have

had of his best

lived
most

longer.
connected

The

front of

Holy Trinity

designs,though
arches
seem over

it may

be
and

doubted the
rest

whether

the

segmental
in them be

the
to

doorways belong
in
to

spandrel
of the

decoration

quite
that of the

the and
are

design.

It may the

observed
lines

both

this

Mr.

Brooks's
in the

design
west

sloping
It is
not

aisle in

roofs

retained of this this

front.
has

surprising that
been
more

large churches
made
to

type the
of
a

attempt
the aisle weak
a

often be of
no

mask that

slope

roof;
line

there

can

question
there

it makes

very For it.

for

front
a

any scale

architectural is
no

importance. objection
The
to

rural

church

on

small

interiors and of

of
Mr.

Mr.

Brooks's

Church

of

the

Good Park
which

Shepherd (Fig. 31)

have of been

(Fig. 30)
are

Stokes's
some

St. Clare's, Sefton

of
a

good examples of
in recent times

the

suggestions
of

made

towards

novelty

treatment

Gothic

CHURCH

ARCHITECTURE.

89

materials
caps
or

in

the

interior defined

of

church. the

Mr.

Brooks's

pier
the

out with-

any

impost, with

of groin-ribs

vaulting

KIG.

30.

"

CHlfRCH

OF

THE

GOOD

SHEFHERD,

HAMPSTEAD

(mB. JAMES

BROOKS).

developing
precedent
treatment

out

of

the

face

of

the

pier, is
its

not

indeed
the of
a

without

in for

Mediaeval
the whole

work,

but
and

application as
vault

general
modern

pier

system

FIG.

31.

"

ST.

Clare's

chlrch,

liveriool

,mr.

leonarl

stokes).

CHURCH

ARCHITECTURE.

9"

church of the

is

unusual,

and

it carries of

out

happily

the
"

characteristics avoidance effect Stokes's

of

exterior

architecture

his of

churches

carved

detail, and
of

production
method

architectural
Mr. the

by

the

opposition
is
an

different
of
one

planes of surface.
of

design

example
of surface

treating

"passage-aisle"
by
sition oppoa

interior ; and

this

design also produces

than

its effect rather

planes
which

by

decorative

detail,though it is
for the tion introducorthodox

kind

of of

design

offers

ample opportunity
The

decoration
has

if desired.

vaulting-shaftof
most

Gothic
of the

supplied
base dies of

the

hint

for the

characteristic
which rises

detail from

the

interior, the

mullion-shaped
the into which which

feature

circular

pier, the
the
cove

plinth mouldings
formed
the

stopping
of the

against it, and

course

by

the

over-sailing

of

masonry

carries

wooden

cornice
to

roof.
in
a

It is this feature
manner

gives its character

the

the

design,

which

is worth

study
as

of

the young been

has

architect. out,
it

The
is of

passage-aisle plan, though, quite

a

has

pointed
the

mistake very

to

fancy
one

it

economical,
for the

advantage
it.

being

suggestive
are no

architect, for the precise

for in

reason

that

there

Mediaeval of notice with

;

precedents
timber
as

treating
this

The

simplicityof point
and of

treatment

the

roof
it

interior

is another

worth

plain
but

factory, is,it is quite satisof the substructure.

harmonizes
a

the

treatment

The is
to
a

good effect point

out.

treated solidly
taken that
a

perfectlyplain timber
revivalists carved
is
no a

roof

which Not is
a

it has

Mediaeval

good while
decorated
course

find

but

sumptuously
there

and

timber
it must

roof
be
;

splendid thing, but

on
a

middle
or a

done

grand
more

and

liberal in effect

scale,
than

let thin

alone and

altogether
economical

nothing
ornamental

is

feeble
The

roof.
stone

revival
as

by
the
shown

Mr.

Fellowes
for
a

Prynne
church

of
at

the

built-up
of

reredos,
the

in is

design

Staines,

which

interior

(Fig. 32),

92

MODERN

ARCHITECTURE.

is

an

important suggestion
; it

in

modern-mediaeval monumental
as

church cflTcct by
or

tecture archi-

tends certainly

towards material
as

making
It is

the

screen
a

of

the

same

the

walls

piers.
not
a

just

question whether,
the

employed

here,
the

it docs

tend,
church

by the large size of

which interior,
an

openings, to
or

dwarf metal

scale of with

ordinary wooden

screen,
on

its small hand

pared prethe

detail,tends
to

the other scheme

enhance.

The Mr.

by
interior

Seddin;; for
of in
to

decoration

Holy
which
work

Trinity
various

Church,
artists
were

together
"

for

combined
at

effect bases

bronze the

statues

the

of the in

a piers,

fresco

frieze in

triforium, mosaic
the

designs
one

spandrels,etc., was
and
ever

of the boldest

most

tuous sump-

schemes
for the

proposed
of
a

decoration

modern

church, though

it is doubtful, it will
out.
ever

unfortunately, if really
be carried of

The
wards to-

endeavour
a

the

architect
eclecticism
was

complete

of

FIG.

32.

"

BUILT

ROOD

SCREEN

(mR.

FELLOWES

detail, however,
carried
too

certainly

PRYNNE).

far in this church,

Renaissance position disexotic

where

the

pulpit,for instance,
and

of

completely
of who in donor
room

design,

has

the

appearance

being
had church

an

work
it in

presented by
Italy, and
to

some

wealthy
to

purchased
out

allowed
his

find and

the

of
one

complaisance

generosity

good

intentions.

No

CHURCH

ARCHITECTURE.

93

would

suspect

that

it was, goes be

in

fact, designed for the

position.
true

Architectural
can originality

style
Gothic

for

something,
the

after

all, and

hardly

attained
in

by merely throwing together

same

Classic

and

details

building, to

see

what

they

will make.
one

Any

who

compares

the those

best

recent

churches

of

Gothic Gothic

type in this country revival,

there
of the
cannot

with
to

of what

the
a

earlier

days

of the

fail
works

notice
of

far closer

approximation
the real

is,in the
Mediaeval
has

these

latter

days,

to

spirit

architecture

which for the

furnished
our

the model
modern

majority of
At

churches.
the

the

time
was

when in full
was

Gothic
the
to

revival

swing,
made

endeavour

imitate

exactly

the
"

details
a

of the

original style
no

detail for which be

found

precedent
indeed ble inadmissiand

could

was

considered
"

almost
in and
a

but

thin with

cheap
racter chathese
root
KIG. CAKKISON

manner,

little perception
33.
"

of
which

the

essential behind
at

CUUKCH,

STUTTCAKT

(PkOFESSOK

DOIXINCEK).

lay
was

details, and present

the

of

Gothic
very
same

architecture. from the

In

the

day
in

we

have

departed
at
more

much time

archaeological
works
of
our

precedent
best

detail, while
show far than of

the

architects

of the
ever

spiritwhich
attained

prevailed
their in
more

in

Mediaeval
"correct" it may is worth be

building

was

by

predecessors
said

the

last

generation. And,

fact,
that

that
at

the

only

modern-mediaeval has been

architecture

anything

all is what

produced by English

94

MODERN

ARCHITECTURE.

architects.

The
as

Americans far
as

do do

not

touch
seem

Mediaeval
to

architecture still in
in

much,
orthodox

and

they

they
To

be

the this
rc-

and

imitative

stage.

the

French
I
to

efforts

direction

have the

already
curious

fcrred, and
that
in the

fact
was

country

which

thecradleof

the great Mediaeval

now

styleit
and

is

less is

understood,

there

less

sympathy
else. Gothic
more

with
In has

it, than

anywhere
modern

Germany

preserved something
form of the

of the in

originalthan
more

France, but
of the

it is

void de-

of spirit
even

the

original
earlier
vival. re-

style
churches

than of If
we

the

the take

English
such

designs

"

ring-kirche,

wiesbaden

FIG.

35."

PLAN

OF

RING-KIRCHE,

(professor

OTZEN).

WIESBADEN.

as

those

of

Professor

Bollinger's Garrison

Church

at

Stuttgart

CHAPTER

III.

STATE

AND

MUNICIPAL

ARCHITECTURE.

The

class

of

buildings
are

comprised
which functions which in
most
are

under built
under

the
out

general
of

term

"

State
and

Architecture"
for

those

public

funds

carrying
the

on

public

the modern

conditions countries

determined

by
more

Government,
or

represents therefore,
as

less

the

will

of

the

people.
be such

It

is to

be

expected,
as

that
in

these the

conditions

should

expressed,

far
As

may erected

be,

architectural of

style
great
a more

of

buildings.
they

being
may

for indeed

purposes

public

importance,

claim,
monumental their of

and

require,
than

dignified,
for

stately,
persons, the

and and

treatment

buildings
should appear rather

private
to

tectural archinational

style
habits and

bear of

impress
taste.

tendencies is

than

individual
on a

Municipal
scale hall is The and and
to

architecture

only
smaller the

State
area

architecture
of interests

smaller
town

representing
borough
hall
should what

the
the

the
town

legislative
a

palace
to

is

to

nation.

have the

relation
as

the

local

character

tecture archi-

of
the character

borough,
and

the

legislative
tendencies in

palace
of the

should nation.
town

express
The

architectural

treatment

of

public
be national the

building
decided interests.

any the A of the

particular question public

town

may it for in of

even

to

large
local

extent

by

whether

sents repre-

or

library,
should,
character

instance,
its the tectural archilocal

carried

out

by

Corporation
be

treatment,

governed

by

the

STATE

AND

MUNICIPAL

ARCHITECTURE.

97

materials which
ever,

and

tastes.

post office erected

of
a

in the

same

town,

but

represents the work

be

government

department,may,howto
as

quite suitablybuilt
to
a

without

reference

local
most

tastes, but suitable

situated.

in subordination

general styleadopted
whatever done
town

the

for that This

class

of is

building,in

it may
own

be

is what

actuallybeing
of

with

our

post offices in
evolved

England, though unfortunately the style of

us

treatment

characteristic has been

a on

post office is
the smaller

very

poor

one.

This
with

is the

what London better

or

done,

municipal scale,
form

School

Board

schools, but
;

fortunately under
a

much

architectural
of

direction
of

they

very

good example, public buildings

a

collection
same

examples,
with

the the

treatment
same

of

of the

class,and

under

authority, on
detail ; School favourable

uniform
assert

principle, though
themselves
and in each in this

sufficient
as

variety of
London
very

they

district

the
a

Board

ings, buildof*

respect

form

example
has

architecture
local
at
one

influenced
their

by

official conditions founded

on

combined which

with
been

character, as
time
may Palaces

style is

one

speciallycharacteristic
for the
seat

of London. follows: of the

"

We
1. 2.
are

State buildings as classify

sovereign
of

or

head

State. which laws

The

main

Government,

the

building in
law

made. 3.

Civil and

criminal

courts,

in which

is administered

or

enforced.
4.

Offices
out

for

the

housing
business.

of

State

departments

and

the

carrying
5.
6. 7. All

of State

State-supported educational State-supported places of

Public these in
a

establishments.
amusement.

monuments

and

other

minor

works.
be
structures

classes

except
form

the
in

first may

considered
; the
H

as

repeated

secondary

municipal

town

98
hall

MODERN

ARCHITECTURE.

answering
and

more

or

less
to

to

the
assize

legislativepalace,
courts, and
so on as

the

sessions the "writ The

in

police courts
classes; the

the

with State

other

word

"Municipal"
said

being
have

but

small." first-named the modern class

can

hardly

be

to

any
cannot

ence existnow

world.
money
are as

Hereditary they please opposed

for
a

rulers
to

appropriate public
themselves
;
on

erect to

palaces
lavish

for
penditure ex-

republics

mostly

any

architectural there
is

display
now
a

State

residence, and
check built

even

in monarchies
on

very
a

strong

economical

kept
a

any

expenditure
out
on

for such of his

a

purpose. purse and

palace

by

sovereign for himself

architecture

privy

is, of
may

course,

only
as

domestic
such

large scale,
that
a

be

treated

architecturally.
There
is is to
no

doubt, however,
maintained
to
as

if the

government
we owe

of it both

this
to

country
our

be
and

monarchy,
of
our a

sovereign
the

the

dignity
of

capital city
town

to

consider
for

seriously

propriety
of the

erecting
and

palace
of

the
our

sovereign worthy
only
modern

greatness

wealth

the
than

nation,
a

palace
If this of such

in London should

being little better

be

national

discredit.
treatment

ever

undertaken,
to

the

architectural

palace ought
is to be
a

be

governed

by
home

two

siderations. con-

Firstly,it
and
severe

home,
in
to

though
aspect

of State,

should

therefore appearance

be

attractive proper it is to be be
an

and

without

the

official

business

buildings
of
and
a

erected of
so as

by

the

State

secondly,
therefore
to

the

home

succession

sovereigns,and
not
to too

should

planned
of its

designed
taste,
nor

appear

represent

merely
character

individual
own

with

any

strongly marked largeness and

with

day
would

about

it, but

with

that

breadth
and

of
manners

style which

sufficiently
generations.

harmonize Some

the

tastes

of successive may be

of the

here qualities

required,it

admitted,

are

STATE

AND

MUNICIPAL

ARCHITECTURE.

99

to

be

found

in

Buckingham
else, but

Palace

it looks

like
an

palace
should
in
a

and
mean

like
one

nothing
; and

unfortunately
time

like the
to

exceedingly
housed

it

certainlyseems
our

that
not

country
be

consider
more

whether
and

sovereigns ought dignified manner.

adequate
interior the
rooms

If it is considered
are no

that better

the than

are

adequate (and they

lead
to
one

doubt

exterior

would
be

to

expect),at
a new

least the national

more

resources

might

equal
to

putting

and

effective

and

stately facade
The

the

building.
or

LegislativePalace
of the nation The of A

Parliament in

House
to
a

is the

symbol

of

the greatness and

is

regard
of

wealth, artistic taste,

new

political power.
outcome

building
some

parliament triumph,
as

house
seen

usually the impulse

great national
war

recently in Germany.
the
to

successful of

almost

always gives
for

the erection
because readiness
seems

large public buildings,partly

on a

glory, partly
there is
more

prosperity seems
to to

firmer

basis, and
Our
own

invest be

capitalin buildings.
an

country,
in modern

however,
times for

rather

exception
Our

in this respect,

at

all

events.
no

great

position

after tration illus-

Waterloo,

instance, received
the
;
name

special architectural
a

beyond
four years

tacked then
as we

to

grand
not

bridge
in

commenced

earlier
war

but

did

succeed

getting
Houses
ones

an

enormous

indemnity
we owe

the
to

Germans the
we

did. that
very had

Our the
near

of
were

Parliament
burned down

mainly
even

fact
were

old

and the

then

missing the

opportunity, for
to

Office
them
to

of
an

Works

actually received
manner,

struction inwhen

rebuild

in
one

ordinary
or

utilitarian

it
was

fortunatelyoccurred
an

two

influential

people

that

this

opportunity
were

for
us

doing something by
the serious size and has

great.

The
and

Law

Courts

forced

upon

inconvenience scattered
been very

delay

resulting from
the old
courts.

the
In

inadequate

position of
backward

general,this country

loo

MODERN

ARCHITECTURE.

to

spend

any of

money,

or

at

all events

any of

adequate
a

amount,

on

the

erection

public buildings worthy

grandeur
a

great

nation, for the

sake

of architectural The

and

display.
is
an

building of
the

national
most

legislative palace
of

opportunity
this at
to

for is
out
a

indulgingin
building in
of account, of

grandiose type

plan, for
in

least left the

which and

economical

considerations

ought

be

ingenious
the
most

contrivances
the

planning, with
be
to

object
for

making
and

of

ground,
space

should

considered
be

unnecessary
a

out

of

place ; ample

ought
on

allowed

centralized The
the

and

symmetrical planning expression

built in the and

the

most

stately
also

lines.
convey

architectural

treatment

should
; every

of expenditure impression of liberality

portion

should
manner

be
;

designed anything
to

and

most

solid
an

and

monumental
an

less than

this,on

such

occasion, is
of the

open

discredit

the

nation. have
it ;

And

the character

architectural

design
national
any

should
about soil.
our

something
which

distinctly and
could
not

recognizably
be

something
other

well

found

on

other Whatever

failures

in

public buildings,it
we

may

be

said
out

that

in

our

own

Legislative
The

Palace

have

well

carried

these
is

conditions.
so

plan (the general disposition of

that
it is

which
an

well of

known

hardly

necessary

to

give

illustration
central and

it) is
as

grand
neutral

though ground

simple

architectural
two

idea, the
chambers essential

hall their of in

the

connecting the
is what

corridors. the

This

plan
its

makes
in

the this

greatness
shown

building,and
fact that every of

importance
national

respect is
house

the the

parliament
one,

built
this

since, with

exception
or

the very

German

has

followed the basis

arrangement,

something
idea
as

nearly

like

it,as

of the

plan.
to

The

to

nationality of style was Committee,

since

evidently present
limited

the
to

minds
two

of

the

they

the

competitors

styles,both

exclusively English,

STATE

AND

MUNICIPAL

ARCHITECTURE.

loi

viz.

Tudor

Gothic
not

and

Elizabethan.
been
a

do

not

say

that

the had that

; but

result allowed

might
their

have

better
hand

if they architecturally
in

architect
not at

free been time

regard
in

to

nor style,

nationalitymight
the
some

have

expressed
was

other

ways

prevailing idea
the committee
two most

that

that

building must
to

be

in

recognized "style,"and
showed
a

be

correct

according
to

that which

style,
were

and the

clear

perception as

distinctlyand style
The

unmistakably
has
all doubt

English phases
criticised
as

of

architectural
too

exterior detail
no

been
over

having
it been
"

much

fritter of small
in the

it,and
modern

had

designed
the the
to

present
in of
a

day,

the

feeling for
have

effect of

contrast

architectural certain
of
amount treatment

design
of
of

would

led to surface

introduction
contrast
must

plain
the

wall

with

the

richness

other

portions.
of detail

It
is

be

remembered,
of

however, that universal

the

richness

the

characteristic that the

style
was

which

was

prescribed, and,
with
a

moreover,

treatment

in accordance

principle
view
was
an

and definitely

consciously adopted degree

of elaboration that

by

Barry, whose
was

this

"

^that

no

of detail
it
were

injuriousto

architectural
out

design, provided
portion
now

consistently carried
dictum would be

in

every

of it

building.
a

This

questioned
not

; but

was

definite
or

principlewith Barry, and

taste.

the

result
treatment

of

thoughtlessness
of the

vulgarity of
has in

In

the

general

exterior

he effect

combined
a

dignity with
unusual

variety and
In

picturesquenessof
two towers at the

very

degree.
he and the

placing the
a

extreme
an

ends

of the

building

gives from
extent,
one as

distant

point
an

of view

indication
treatment

of its size
to

and
a

in

giving

entirelydistinct
ceremonial

them,
the

decorative the other the

upper
use as

and
a

tower

marking
with
an

royal

entrance,

utilitarian clock
the

tower,

enlarged
a

stage

at

portion for

clock, he

showed

true

perception

of the

of architectural

design

to

express

distinction

I02

MODERN

ARCHITECTURE.

of function.

And

while of
to

treatingthe
a

towers

with

this distinctive
he the

character, instead

in

symmetrical
any

manner,

nevertheless

placed

them

so

as

avoid

interference

with

symmetrical
stateliThe
land

of disposition
ness

the

river

front, which
is proper

presents
to

that
a

formal

of treatment
between Houses

that

such
the river

building.
side and the

distinction
side of the

the treatment
of I

of
is

Parliament think

remarkable On
the

point in the
land
side the

design, commonly
boundaries stood broken Hall. the the
the in the up

overlooked.
the

of the
way into

and site,
of
two
a

of interposition

Westminster
and the front

Hall,
was

symmetrical
distinct there

treatment,
divided

portions
was

by

Westminster
of

On

the

riverside
no

the
to
a

continuous

straightline
treatment,

river

bank, with
was

obstacles

symmetrical

and

facade
river.
are

therefore
treatments

given
are

to symmetrical design, parallel

Both

justified by
The

the

character

of the
over

the

site,and
is

in accordance

v/ith it. the

main

point

of

plan
it,
the
to

finely accentuated
contrasts
so

by

erection gracefulspire-like
the may
masse,

which
towers.

with effectively

heavier be made

masses

of

The

one

criticism

that
en

in the

regard position

the

exterior

design, considered
Houses

is that

of

the actual

of

Parliament, the debating chambers,

or

is not would But in

externally emphasized
have certainly been
more

indicated.

The had

exterior

design
done.

complete
of

this

been
an

spite
sense

of the

this,the

Houses

Parliament

is in in the

architectural and
one

finest national
and
; it is
most
a

legislative palace
original architectural
which the that

world,

of the
or

best

conceptions,
country

ancient well be

modern and
to

building of
be

might
in

proud,
appear In Herr taken

it is to be
so

regretted

Englishmen

general

very

little aware Houses

the actual main

of its merits.
of

the

Hungarian
which

Parliament
idea
are

at

Budapest, by
is

Steindl, in
from

of

the

plan

obviously

the Barry's,

houses

prominently emphasized

I04

MODERN

ARCHITECTURE.

on

the

exterior,and
and its

the

whole dome than

design (Fig. 36), with

in
our

its absolute

symmetry
and

large

the

centre,

is

more

grandiose
place common-

ambitious
and

in intention

building,but
taste

how

vulgar

is its architectural Houses

in

comparison.
at

In the

design

for the

Japanese

of Parliament

Tokio

(Fig. 37;,

rfli!

niTiii

ii"^

%ift
FIG.

"L

"^"4

37."

JAPANESE

HOUSES

OF

fARIJAMENT

(ENOE
D.
E. F.

AND

BOECKMANN).

A.

B. C.

Hall. Salles des Pas Perdus. House of Lords.

Central

House of Commons. Libraries.

Dining-rooms.

by

Messrs. main

Ende

and

Boeckmann, octagon
the the
two

of

Berlin,
hall and

we

again
the

find

Barry's

idea, the
left to

central

corridors here

leading right and

we

houses, adopted
indicated manner;

; and

also

find the
in
a

position of
ugly
mere

chambers

in indeed

the

roofing,
whole

but

most

and

commonplace
of

the

design

is

piece

drawing-board

platitude. Among

STATE

AND

MUNICIPAL

ARCHITECTURE.

105

other

modern

designs
as

for

legislativeor
is
a

State of

houses

of
in the

secondary class

to

size

there
were

good

deal

interest
a

competition designs which

produced recently by

number

iii in
'

if

ff

firr Tx i

KIC.

38

COMPETITION

DESIGN

FOR

STATE

HOISE,

MINNESOTA

(MR. FLACG"

of

American
many

architects
of

for

the
were

proposed published
of
were

State
in

house

for

Minnesota,
architectural
based upon

which
The The

the

American

journals. Barry's idea.

majority designs

these

showed

plans
on

nearly

all based

io6

MODERN

ARCHITECTURE.

classical

models, and
in

all, as

far Some

as

I have of them with

a

seen arc

them, strictly
amples interesting ex-

symmetrical
of
and

treatment.

classic

materials
one

treated

good
is

deal

of

fancy
Krncst

originality. The
a

is that given (Fig.l"^)

by

Mr.

FJagg.
effective
at

well-known
in

American the

architect, and
the two

original and
council
rooms

plan, though
extremities

separation of building

opposite
to

of

the

is open

to

objection

in

regard
The

convenience
most

of communication.

important legislativepalace
at

of

recent

years, of have the

a

however, is that just completed

Berlin, and
a

in

view

theory already expressed,

certain national is
a

that

such

building should
German
the
extent

character rather

about

it, the
of

House
to

of

Parliament this may

curious

instance

which in
a

be

done is not

unconsciously (to originallynative

building
to

all

appearance), and
soil. In

stylewhich
plan,
the

the
is

regard

to

Berlin
in

(Fig. 39)
with form
a

grandiose

and

strictly
in

symmetrical
corridors
in and

arrangement,
which
to

those such

ample
an

dimensions

staircases

important element
of this class.
with the The wide main

giving

internal of

dignity
the

building
central

front

portion
of

plan,
and

the

octagon

corridors
motive
to

running right and

Barry's plan,

left,so
had

far repeats
there would

again
two

been

Chambers
have of been
course

provide for, the

further
; but

rese;nblance
as

probably
one

carried

there

is

only

Chamber,
rear

this hall.

occupies
The

the

central

position,in
style point
is is
a

the

of version

the

entrance

architectural

German
the

of

Italian

Renaissance. the

The

worst

about

design
the

is

undoubtedly
sidering (conin the

principal cupola,
its

which
meanest

probably
central

ugliest and
to

scale)the

feature form

be

found
with

any
convex

great

modern is

building. ugly
and

The

square in

of roof

hips
the

clumsy
of the main

itself;its only merit

apartment.
The

is that

it marks

situation

introduction

io8

MODERN

ARCHITECTUftE.

of

an

iron of

roof

with

largestone
the

lantern
and

on

the top of it deprives

it both

unity

of structural

design

monumental the
main

character.

The
show

angle pavilions of
some

building, above
power
are,
as on

cornice,

originality and

of

detail, but
the other

they
far

are

absolutely useless heavy

The
and massive of

erections, and
to

hand,

too

be

accepted
of the the

mere

decorative

additions. exhibits the

design

the

lower
use

portion

of

the
as

facade
an

conventional without
any

academic

Order

ornament

only,
building
in

reference This

to

actual is
to

division

of

the

into stories.

treatment

be of

found, of
Renaissance

course,

many

striking
but
been

and
not

remarkable the often

less
an

works

architecture,
that it. it has

it is
made

architectural
is
no excuse

mistake, and
for
in

before
are

repeating
and the

The

details

generally
all

very
cannot

deficient
be

taste

refinement.

Yet, with
of the

this, it

denied

that, with
is
a

exception
and

unhappy
about
of

central

cupola, there
The

certain
in

character

power

the

building.

manner

which

the with

large
the
lower

Order

half-columns of

is connected the

or

incorporated
arcades and of

intervening portions
windows under
the

design
"

the

the
the

abutting right
upper
to
remove

upon

the

columns,
butted

string
"

windows

boldly
usual
the

against
of
assume

them

does in
or a

something
decorative
the of

the
and

appearance
columns

uselessness
more

Order,
of

makes

less

function

structural all

piers or
over

buttresses.

The forms of
a

profusion
kind of

military emblems
quite
a

the

building
the
; and

decoration
founded
on

in

keeping

with

character the

an

empire carving
entrance
coarse

great

military success huge panels

decorative
the main

introduced,
under
in

as

in the

which

flank
it is deal

the

portico (Fig, 40), although

characterized

undoubtedly
of what is
a

style,is

by
In
a

great

may

be

called

ostentatious

vigour.
of

short, the
strong

building
in arms,

highly

characteristic

production

nation

exceedingly

STATE

AND

MUNICIPAL

ARCHITECTURE.

109

and self-assertive,
a

exceedingly
at
once

deficient

in

artistic

taste

it is

national

building which
to

stamps

itself as
The
as

German
interior

the

core.

treatment

of the view

building,
the
more

illustrated
Hall

in

the

of
shows

main
of and

Entrance

(Fig. 41),

refinement monumental

without

losing
In

dignity
this

character.

latter

respect it may
with the

be instructively

compared
Vienna
a

thin

wiry Gothic

of the

Town

Hall

staircase
real Gothic
out

(Fig. 42),

without

of particle
as

and feeling, of cast-iron.

"

looking
Villa
House that be
"

if it The

were

made

Town

Hall

or

Hotel

de

is to is to

the
the

city what
State, but

the

Parliament
not

it does
treatment

follow

its

architectural
The
town

should
of
a as

similar.
may very

hall

large city
a

suitably be

treated
;

stately
if
an

and

symmetrical
is

building

but

irregular and
there preferred,
so

picturesque
no

treatment

be

in this, unsuitability the

long

as

the is

prevalent style of
not town at

city
it. is

architecture

variance hall

with

The
a

fact is that deal

architecture
the

good

governed
association.
to
a

by

influence Mediaeval influenced

FIG. 40."
CARVED HOUSES OF

of
town

historical hall habits and the has

The
extent

great

FANEl,
PAK-

the

and

predilections of
modern

modern

BERLIN

LIAMBNT.

citizens ideal
of

architects.
town

The
was a

Mediaeval
block of

hall

compact
tower

and attached

very
to

simply planned

building,with

high

FIG.

41."

ENTRANCE

HALL,

BERLIN

HOUSES

OF

PARLIAMENT.

112

MODERN

ARCHITECTURE.

being
towers

the
to

only people
our

who

keep

up

the This

habit
is

of
not

building useless quite

the
a

public buildings.
corporation
old Mediaeval
have

case, town

for the hall

Hamburg
on

only recently
a

built

quite
the

the the

lines, with
it

centre

tower

and

spirelet ;
retain

and old
town

French
so

themselves,
far

may

be

observed,
and
metrical sym-

model

that the
or

nearly
form
on

all their
a

suburban

provincial

halls with
a

take

of
the

high-roofed
centre

block the survival retain

may de
a

turret

flkhe

of

the

ridge,

of the

Mediaeval
but

bell tower

; and
on

occasionally they
a

the be

actual observed

tower,
that
turret

generally only
the
is not

small
is

scale.
no

It

though
or

peal

of

bells

longer
; it has

rigueur, the

flkhe
the

therefore
the

useless
town
case

practicalvalue
distance, and
town

in

marking

position of
to

hall from of
a

guiding
for
of
an a no

the visitor

it.
a

In

the
and

first-

class tower,
be is

hall

large city, even

use

large

monumental
a

although

except

for the

display of
the and

clock, may
Tower

in justifiable
as justifiable,

architectural ceremonial

sense,
to

just as
mark

Victoria

tower

give dignity to

the

state

entrance.
as

Although,

has

been

already observed,
what
there

the

town

hall

is

architecturally to the borough

the

the
are

legislative palace
conditions is
a

is to
are

nation, in
the

regard
town

to

plan
The
town

which

special to
of
are

hall.
;

legislative palace
hall

place
the

for

privileged entry only

offices for
the and

the

building
in

consists

largely public
must

transaction
to

of

business

which

concerned,
free and

those

parts

of And

the the

building they
town

have among

convenient persons,
a

access.

hall
town

shelters,

other
a

functionary
in its

called from

the

clerk, who
of any tionary funcis the
munication com-

holds

position different
to

nature

that His

be

found business between

in

the of the

palace. legislative

office of

centre

of the

the

borough,
and

and the

the

medium

public

municipal

authorities.

STATE

AND

MUNICIPAL

ARCHITECTURE.

113

His

public office ought

easy
are

therefore the

to

be

so

placed

as

to

be

not one.

only
There

of
few

access

to

but public,
in

obvious

to

every

town

halls
the

England

that

are
one

well of
our

planned largest
in

in this
towns

respect.
I remember

In

municipal
to
"

offices of

having
it
was

enquire for the

third
to

town

clerk's office, the

corner,

and

being told
next

the

door be
no

round

the

corridor."
It should
"

There be
so

ought

necessityto public cannot

far
as

search
miss
are

for it at all.

placed that
the
town

the As

it ; it is their concerned difficulties the the

general enquiry
be
on

office."

they
there

it should
as

ground
clerk, as
easy and

floor, but
the

are

to

this.

The

chief official of
access

requiresto corporation,
mayor, who and
as

have

convenient

to

is

the the

central
mayor

representativeof
is the

municipal
of

authority;
be be
town

dispenser
almost of

official

and hospitality,
on

his

reception-rooms must
or

necessity
must

the

upper

floor

piano nobile, his private room

also be in close

there

also, and

should

contiguitywith
town

the

clerk's
to

private office. But,

be

at all

events, if the
floor of the
to

clerk's

office has

sought
be

on

the and the

upper

its building,

position should
soon as can

central

conspicuous
main business

the

visitor

as

he

has

ascended
no

staircase, so
not not
sure

that

there

be

mistake

about

it.

am

that
met

the

convenience

of all persons
town

concerned

might
on

be

best

by
and the

having

the

clerk's the

public office
office
on

the

ground
of his

floor

immediately facing
town

principalbusiness
and

entrance,

while

clerk's
or

own

private
and

that first

confidential
a

clerk

secretary might

be

the

floor,with
the

special
room.

stair of This would

communication,
not
more

in

contiguityto
the

mayor's

would be

be

quite

so

convenient
to

for the
of

clerks, but

it

convenient have

majority
of

the

rate-paying
I
are

who public,

perhaps
as a

the

first
the

right to consideration, and

architects
who

suggest

it

point worth
halls.

attention

planning town

114

MODERN

ARCHITECTURE.

The
to

function

of the town

hall

varies

somewhat

in

proportion
in
a sense

its size and

the size and

importance
of
a

of the

borough,
In
a

which
town

also affects its scheme

hall
on

planning.
room

small

town

the

usually
the

includes of
a

large

for

public meetings,
mayor,

which,
the
or

occasion

reception by the
and
must

becomes be In
more

principal entertaining
less
a

room,

therefore

in connection size the

with

the

mayor's apartments.
or

towns

of

larger

public
and

hall the of

halls

for

meeting

will
will
a

be b(

provided expanded
scale.

for elsewhere, into

a

mayor's department reception-rooms

on

large
case

suite the
to

grand

In the

former

principalstaircase
be
to

of the

building
;

will almost but it will be

always

have

the

general working
for the those and
exit
an

staircase
section

necessary
at
a
a

also

provide
staircase
emergency crush

inferior

of the

audience

public entertainment,
separate
sufficient
;

occupying
it will

the
be

cheap

place?, by
to

also
to

necessary
any

provide
or

doors audience

avoid

dangerous
once.

inconvenient

from

leaving
is
no

all at

In
room,
to

the

larger class
guests
the
same

of
a

town

hall,where

there

assembly
presumed
as

the all of

at

mayor's
or

reception
least be do
to

will

be

be

rank,
alone
a

at

be

treated

such, and
;
as

the
as

grand

staircase
at

will

used
not

for

their
all
no

entrance
at

and
at

people
end

such
a

reception
or

leave
is
comes

once,

the

of

concert

lecture, there
then and

necessity
in the

for

special

exit the

provision. grand
entrance

But

there

question whether
be used of
as

grand
for the
be
set

staircase

should
business
an

the

general

main

entrance

ordinary
apart
as

the

building, or

whether
the

it should

entrance

for state served

to

occasions, and
other
on

everyday

business

of the is is

building

by
be

entrances

and

staircases. main

There staircase

something kept

said

both

sides.

If the the

for state
of the

occasions, some
interior

part
in

of

architectural
use.

impresOn
the

siveness

is wasted

its

everyday

STATE

AND

MUNICIPAL

ARCHITECTURE.

115

other is to

hand, if the main

make its best
too

staircase effect
on

is to
state

be

really fine
must

one,

and

occasions, it
and
can

almost
to

inevitably be
suitable for

costly in
business

its materials it
to

decoration
never,

be

daily
be

and traffic,

under the
a

those

circumstances,
of
a

kept properly
My
own

fit

be

seen

on

occasion first-class

grand function.

opinion

is that

for

irmr
h

t^ ^

" "

",

**--ft

Fig.
A.

43."

plan

of

principal

flook, des

hOtbl

de

vitxx,

paris.

H. C. D. E.

Salle lies Fetes. Salle a Manger. Salons de Reception. Council Chamber. Grand Staircase.

F.
G.

Salon General

Cariatides. Secretary.
Rooms. des Travaux.

Various President

Offices. of Council.

H. K. L.

Prefer. Committee Directeur

Librarj'.
Buffet.

Open

Courts.

town

hall
a

the

grand

staircase
and

ought

to to

be

really

fine for

one

of

palatial appearance,
separate
In cither

ought
entrances

be
and

reserved

state

occasions,

business
case

staircases
and

being

provided.
which
must

the
must

cloak-rooms be
coats
on

retiring-rooms
so

be
can

provided

the
or

ground-floor,
before
been

that

the visitors
the

get rid of their

a

wraps

ascending
overlooked.

staircase,

point which

has

sometimes

ii6

MODERN

ARCHITECTURE.

And

the

cloak-rooms

for those

ladies for It
young
seems

should

not
a

be

close

to

or

immediately nearly always

architects
or

opposite

gentlemen,
to

point

which many
proper

is

overlooked.

be

supposed by
that

those (especially
way
to treat

in

planning)

the

natural

ladies' and
"

gentlemen's cloak-rooms
side of the
entrance

is

to

place them

symmetrically

on

each

hall,

S.

44.

"

SALLE

DES

CAKIATIDES,

h6tEL

DE

VILLE,

for what

instance, with
should be
so

the be

doors

facing
The
door

each of

other, which
the

is
room

exactly
should of

not

done. that

ladies' the
this

always

placed
room

it is not it is very

visible seldom

from that

door

the
to.

gentlemen's

; but

is attended

Among
and in many

the

larger class
the
most

of

modern

town

halls, the
Hotel

largest,
de Ville

ways

remarkable,

is the

STATE

AND

MUNICIPAL

ARCHITECTURE.

117

at

Paris, both

for

its exterior is

architectural
a

effect and hall

its

stately
and

plan (Fig. 43).

ceremonial.
The

This

emphatically
of the
"

town

for state
is

larger portion
the

principalfloor
des

occupied

by the reception-rooms,
and which corridors
in

great
with

Salle

Fetes," the galleries

State
treated

connection is

it,and
which

the
is

staircase, to
in
a

ample

space

given, and

most

KIG.

45."

MUNICIPAL

BUILDINGS,

HAMBURG

(llERR GKOTJAN).

grandiose
stairs with

manner,

consisting of
in

two

straight flightsof
between
in

wide

ascending
return
"

opposite

directions

retaining walls,
*'

loggias above,

meeting
the side

the

central
to

Salle
"

des

Cariatides
des

(Fig. 44), forming

has

ante-room at

the end.

Salle
It is

Fetes,"which

also
the

statelyaccess
of the de old

each

unfortunate
block

that, with
is
a

exception

exterior

of the
is

central
a

(which

copy

of the

Hotel

there Ville),

good

ii8

MODERN

ARCHITECTURE.

deal

in

the

details that

is not

in very the have

pure

taste,

and

that

the

pictorialdecorations,
day
have
of

in which

first French been

painters of
out

the
no

found
scheme

employment,
or

carried

with
own

unity

style,each

artist

pursuing

his

bent

FIG.

46."

MUNICIPAL

BUILDINGS,

SHEFFIELD

(mR. MOCNTFOBd).

independently
it is
a

of

the

others

but, in spite of these

drawbacks,

building
town

of which

any

city

may

well has
or

be been

proud.
made

The

Hamburg
is
a

hall, to which
the

reference

before,

good example of
with

purely symmetrical
centre

statelyMediaeval
The

model,

the

tower

in the

(Fig. 45).

plan, though

I20

MODERN

AkCHlTECTURE.

such
our

building,or
of

to
"

answer

the
towers

criticisms
"

of
town

the

French

as

to

introduction

useless

in

our

halls and The

other

structures.

treatment

of

the

in buildin;^ and

detail
;

is

rich

effective
the

the main

central
front The

portion of
in

is shown

Fig. 48.
ings, build-

Bath

municipal Brydon
add

by Mr. 49),
is
a

(Fig.
old
valent pre-

very
to

successful
to
an

attempt
civic

building

in
-

the

eighteenth century
style of
on

the each

city by
side
a

ditions ad-

which,
certain

while

presenting

of individuality nevertheless
with which that
so

character,
far monize har-

the

old building
the be
centre

forms

they might
to

posed supa

have the

formed

portion

of

sign. original de-

The

front, in form, is
a

its very

completed
well-balanced the
on

composition,

two

griaccfulcupolas
end ing pavilions formcontrast
to
'

the
an

effective
in

FIG.

48.
"

CENTRAL BUILDINGS

PORTION

OF

SHEFFIELD

MLNICITAL

tfjC and

dOmC the

thC

CCtttre at

(mR. MOUNTFORD).

'

quadrant

each

end

of

the

new

building, with

the

sculptured

bas-reliefs

(the

STATE

AND

MUNICIPAL

ARCHITECTURE.

121

work feature

of

an

eminent the

sculptor,Mr.
and

Lawson),
in

forms
it

an

original
and

in

design,

assists

giving

distinction

individuality.
The abortive

competition
is worth

for

the

once-proposed Edinburgh
the

municipal buildings design

site,on
to
a was never

referringto, though
out,
as

premiated
of

carried Street level

the

exceptional nature

the

the much

High
lower

level
in

in

front, and
afforded

sloping very
an

rapidly
for

the

rear,

opportunity

picturesque treatment

which

the authors

of the

premiated design,

FIG.

49."

MUNICIPAL

BUILDINGS,

BATH

(.MK. BRVDOX).

Messrs. their
of any

Leeming,

made

very round features

good
to

use

of,carrying the Order

without

of

front

elevation

the of

back
same

the
on

addition
the lower have

architectural of
on

the

kind the Order of

be is

portion
appeared

the the The

back

elevation, where
of
an

would

top

immense

height
it
must

plain walling
confessed,
the is

(Fig. 50).
under
one

detailed

treatment,
the

commonplace
these
;

enough,
very
one

but

general
was

idea
an

fine,and

plan,

difficult conditions,
of

exceptionally good
submitted
The
are

in

fact,

the

finest

plans

ever

in

modern of

architectural
two

competition (Fig. 51).

of the

side

tions elevato

others

competition

designs

given

122

MODERN

ARCHITECTURE.

show

the

distinction with the

between

the

treatment

of

design

in

accordance

special suggestions

of the

site,and

the

FIG.

50."

FIRST

PREMIATED

DESIGN

FOR

EDINBURGH

MUNICIPAL

BUIU"INGS

BACK

ELEVATION

(MESSRS. LEEMING).

neglect

of

these.

Fig. 52
the mullioned

is from windows

the

author's
and

competition

design, in which

wall-tracery which

STATE

AND

MUNICIPAL

ARCHITECTURE.

123

formed
carried
at

the

prominent
above

feature

in

the

High

Street

front

are

straightout angle by
staircase
a

the

descending
tower

line of
was on

steps, stopped
to

the

massive the

which
*

contain

the

main where

from

lower

level

the

principle that,
of
a

the

ground

falls

rapidly,anything
not

in the

shape

tower

should

rise from

the

lower,

from

the line

higher level,so
is

that

the the

greatest possible height of

mass

vertical
as

obtained, while
the

of

the

tower

appears,

it

were,

to

support

building

k.

"

"

XrZs jHlGH-LLVELb=d
COURT-YARD

-"

"c

i*-^

KIG.

51."

MESSKS.

LEEMING's

I'LAN

FOK

EUISBUKGH

MLNICIi-AL

BLILiJlNGS.

risingup
would is the

the

slope.
most

This

angle, moreover,
seen

was

the
distance.

one

which

have side may

been

prominently
of
more

from

Fig. 53

elevation be

another

of

the in

competition designs,
detail
that in than my
case own

which rather
author and
*

thought
but effort,

pleasing
be
seen

bizarre has

it will the
same

this
of

the

entirely ignored
the
the

special suggestion
architectural
intended
to

the
at
a

slope,
lower
shaft
to

has
The

merely added
circular mechanical
turret
at

features
form

angle

was

down-pull

supply the

ventilation.

134

MODERN

ARCHITECTURE.

and

lower

level away

as an

the

ground

sinks, which
of

seems an

to

mc

to

be
and

throwing
As

opportunity
combination. of
the

producing
of

unusual

strikingarchitectural
an

example

planning

town

hall

of

comrtTiTioit

IttSlOftoptJ^
TNvnieiiPALi
m/iuDiiiGau

FIG.

52.

"

COMPETITION

DESIGN ELEVATION

FOR

EDINBURGH

MUNICIPAL

BUILDINGS

SIDE

(bY

THE

AUTHOR).

the

smaller
new

class, with
Oxford
to town

an

assembly

room

included,

the

plan
one

of the
of It the has

hall,by Mr.
among

Hare

(Figs. 54, 55),is

erected
an

best the

be

found of

recently
erected
on

town

halls.

disadvantage
site,which

being
no

irregularand
its lines
to

hemmed-in

has

doubt

compelled

be

STATE

AND

MUNICIPAL

ARCHITECTURE.

"25

more

than irregularinternally
it is
a

they

would in

otherwise

have
a

been, great
of

but deal

remarkably well-treated plan

the

showing itself,
and

of

ingenuity in
and

grouping
committee

of

rooms

arrangement
the
town

stairs,passages, chamber,
rooms,
are

entrances. room,

On

the

first floor

council clerk's

mayor's
all

room,
a

and

grouped together en suite,with

own

special entrance
of the of staircase.

lobby
Thus

of their these

from
rooms,

off the

main

landing
the

four

which

constitute

area

municipal

West

lifvrihon

FIG.

53.

"

COMI'ETITION

DESIGN

FOR

EDINBURGH

Ml'NICIPAl.

BUILDINGS.

business,
from the

are

closely

connected

and

at

the
can

same

time thrown

shut open and

to

off
to

main
in

staircase, so
connection

that the with the

latter

be

public use
smaller the

large rneeting-room allowing

the

the
make

assembly-room,
on course

without
the

public

slightest intrusion
The
with from
same

official portions strictly

of
rooms

the

building.
connected necessary,

is

pursued

with
can can

the

group be

of

the

sessions

court, which

also also be

reached, if

the main

staircase, but

shut entirely

126

MODERN

ARCHITECTURE

off from concerned

their have

it

by
in

and singledoor, the justices

the
court
or

the

public and

others each

reaching
entrances

the

jury
The

rooms

having

separate
also
a

from
entrance

the street. from the

town

clerk's offices
The
manner

separate

street.

in

FIG.

54.

OXFORD

TOWS

HALL

GROUND

PLAX.

which the

the

oblique angle landing

of the

formed

by

the

large hall

is masked
state

on

main

principalstairs,which
of
recesses

is the

centre

of the

by building,
hall
are

the

series

in which
a

the

doors

of the

large

placed, thus

giving

symmetrical

architectural

128

MODERN

ARCHITECTURE.

leading
whole
and

to

special
is well

staircases

for

them, is equally good.

of architectural
is

The
;

plan
the

worth

the attention

students

exterior

architectural
to

design (Fig.56)

picturesque and
of the
we

and effective, The

suitable hotels

the architectural ville

or
"

character
"

city.
should
of

smaller

dc

Mairies

(what
been

call late
the

district
years
most

town-halls),of

which

many

have of

erected among
are

for the different meritorious

modern

arrondissements French

Paris, are

buildings, and

good

FIG.

56.

"

OXFORD

MUNICIPAL

BUILDINGS

(mR. HAKE).

examples
by
many

of

the

minor

form

of

municipal building.
is
a

Though

different
most

architects, there
them free in French

considerable
treatment.

similarity
They
a

between
are

of in
a

style

and

general

mostly
of

Renaissance

style,with
of

certain and

variety
other
turret, the

skyline obtained
almost of

by

the

introduction
with
or

dormers

features, and
either
on

invariably
the
roof their

the

central in the their

or fleclie

the
serves

ridge
to

rising

centre

of

front, which
One

mark

position
erected

and
ones,

special
Mairie

character.

of

the

most

recently by
M.

the

of

the

Xth

Arrondissement,

Rouyer,

is

good

typical

STATE

AND

MUNICIPAL

ARCHITECTURE.

129

specimen

of the

class of

building (Fig. 57),

out
on

The

plan,as

in this

58),is usually laid case(Fig.

very

but generally simple lines,

FIG.

57.

"

MAIKIE

OF

Xlh

AKR0SDISSEM2NT,

I'AKIS

(.M. KCUYER).

with

view In the

to

the

most

dignifiedand
the

symmetrical
most

internal

effect.

French

Mairie

largest and

important
K

"30

MODERN

ARCHITECTURE.

apartment
French law

is

as usually,

in this case,
an

the "Salle

du

Mariage,
the
or

"

the

requiring

official ceremony be
a

before
ceremony

municipal
not.

authorities, whether
French have

there

church the

The

rightly adopted

practice

of

rendering
to
as

the
civil

apartment
celebration
and in

devoted
of

this

marriage
as

dignified
only
but

attractive

not possible,

its architectural

treatment, of

by

the

addition

corative high-class deare

paintings,which
the
some

often
amon^'

result of of
the

competition
foremost

painters ot
persons

the

day.
have
or

In any

England,

^^"X

who
***

conscienobjection,
to
an

ji."^
'*

'

'

^V

tious

otherwise,

ccclesihave
no

"

astical

marriage ceremony,
but the

alternative
FIG

the

"dusty
if
do

lieus pur-

58."

FLAN

OP

MAIRIE
PARIS.

OF

Xth

"

of

registrar's ofifice. they

not

ARRONUISSEMENT,

A wish
as a

French

couple,
at

Religion
handmaid. Two
or

to

sanctify their marriage, can

of

least

have

Art

three French the

the

premiated
de

competition designs
are

for

another
as

small

Hotel

Ville, at Valence,
of the

of

interest,

exhibiting
kind.

French

method

treating small
second,

buildings of
fourth

this

Fig.

59
in

represents
this

third, and
which
to

premiated premiated
most

designs
one

competition, of
on

the my mind

fourth the
may

(the
and

lowest

the

page)
the

has

character

originality of
with
two
or

three.

These

usefullybe compared
same

three

English designs
Town
Hall

of

the

class

"

Mr.

Mountford's
has
more

Battersea

(Fig. 60), an
the
French

elevation

which

of

picturesque feelingthan
less of

designs just named,

though perhaps

dignity; Mr. Brydon's

STATE

AND

MUNICIPAL

ARCHITECTURE.

i3"

Chelsea

Vestry Hall,
; and

very

pleasingly
be admitted

balanced that
the

composition
details
are

(Fig.6i), though
imitative entirely
the

it must

elevation

of

the for

competition design
the Oxford Town

Hall,

by

Mr.

Ricardo proves,

(Fig.
at

62), which
all events,

that
are

tectural archinot,

forms
as some

people
us,

would

persuade
worked
it

entirely
and that
to

out,
still
a

is

possible
street
a

produce
for which
new

front

such shall and

as

building
be

entirely
as

original picturesque planning

on a

well

in

effect. The
Law

of

Courts,
one

large
most

scale,is
difficult
can

of the

problems
put
before

that
an

be

architect, because
the number of be

of

of different

classes have
so
1

people

who for be
"

to

provided
shall
ii-

that
4.

they
from
c

fig.

59."

competition PROVIN'CIAL

design

foe DE

fkench

h6tEL

ViLLE.

kept
each

gettmg
way,

other's

and

that

each

shall

find

his

way

without

132

MODERS'

ARCHITECTURE.

difficultyto
must

his
their

proper

destination
entrance

in and

the

building. Judges
and
rooms

have

separate

corridor

in

:m

I IG.

60."

bATTEKSEA

TOWN

HALL

(MR.

MOUNTKORIyy.

immediate

connection

with

the

Bench

in their and

respective courts

barristers,solicitors,jurymen,

witnesses,

public spectators

FIG.

61.

"

CHELSEA

VESTRY

HALL

(.MR. BRYIX)n).

have each

all to other's

be

facilitated

in

their

movements
seem

and

kept
that
a

out

of

way.

it might Architecturally,

large

STATE

AND

MUNICIPAL

ARCHITECTURE.

133

group

of Law
to

Courts

afforded
some

good opportunity for seeking

and
were

to

give

the

building
its

special character
;

expression
there
a

in

keeping
national kind
London them visited but did

with
Law

object

and

perhaps,
the actual

great
of this for the make who

Courts
now

competition over
made. In

again, some

attempt

would Law

be

competition
to
a

Courts, the
like
a

general
as

idea

seemed As

be

to

look
the

as

cathedral of
?

possible.
"

judge
Mr.

said

exhibition
are

the
"

designs,
One

I
"

see

many

fine towers,

where show

the
tower

courts

design really a
______

that raison

by

Seddon
"

"

which

had

d'etre

great
,]

__

jfffj

IW

JliBI

MM*

"

"

In
m

iin

Him

itiiii

ft

HU

'hh
Ni

NH

t Ji m

"

KIG.

62."

COMPETITION

DESIGN

FOR

OXFOKU

TOWN

HAU.

(Ufl. HALSEV

BICARtO).

"

Record

Tower

"

of

stern

and these

grim

architecture, rising

to

an

immense
been and
a

height, which

in

days of lifts would

way

really have
records
;

perfectlyfeasible
idea
as a

and which

convenient held afar the

the
was

of

storing
of
one.

the

of

lower

records
a

the

kingdom
As the
to

showing
actual

visible

object from
has main
a

fine

the

building which
it is in the

been
as

ultimate
a

result of result
as

petition, com-

unfortunate
one.

the

Houses in

of

Parliament
"

was

fortunate
"

The
to

finest have

feature been
a

the

interior pas

the
a

great hall

which

ought

sa//e des
in

perdus,
of

general meeting-ground
the

for those

concerned

the

business

courts,

is rendered

absolutely useless

by being

"34

MODERN

ARCHITECTURE.

placed
which these the

on

different

level from with

the courts,
persons
to

the corridors

around

are

always

crowded

jostlingeach
had
the wider is full of

other
space

in of

narrow

limits, who
to meet

ought
in. is that The
one

have

great hall

building
of the

unlighted or
The

corridors, and ill-lighted

to

most

puzzling buildings
erected.
courts
once

find one's

way

about

has

ever

been

themselves, when
are

tained, at-

not

by
either
or

any in

means

so

faulty
acoustics

regard

to
as

tilation ven-

they have
But
the in

been

said

to

be.

only
the

really good planning

of is the

point
the
access

ment arrangeto

the the

public

galleries
that
was

in

4p

'atSi

courts, and from

copied
The
suscitation re-

Mr.Waterhouse.
is
an

style

unwieldy
of

early

diaeval Methe of

architecture,

only
which
UJO_
FIG.

decided
is its and it

merit monumental

^OF'
COURTS

largeness
detail.

solidity of
has

63. (MESSRS.
"

PLAN ASTON

OF

BIRMINGHAM WEBB
AND

LAW

But

for
on

INGRESS

BKLL).

long time
the

past

palled
once

the

Mediaevalist, and
to

whole

building,

as

an
"
"

architect
a

observed
inconvenient

me,

is

"

the

grave

of modern

Gothic

costly and

anachronism. the

One

of is

best-planned buildings in England, Birmingham

and Law in

on

the other
an

hand,

the

Courts its

(Fig. 63 ),

interior with
a

perfectly simple

logical

arrangement,

but

136

AfODERN

ARCHITECTURE.

paramount
offers formal
some

importance.
fine effects of
other the

The

interior, however,
to

undoubtedly
the cold and
At

(Fig, 65), superior

exterior

what
to
new

appearance

appeared

promise.
Law

Brussels, on
was

the

hand,

the

building

of

Courts creation and

made
a new

the occasion, the architectural idea

;

unwonted
a

occasion, for the

which

of

building
few

for boldness
in is

of conception originality

finds

parallels indeed
times. It

modern
on

based

Classic
treated in

materials,
a manner

but

quite
of
ventional con-

different

from

that

revived

Classic

the
own

architect

brought
and
on

his

fancy
to

tion imaginathe
a

bear

task,

and

produced
is
so

building
the modern

which

unlike
of

commonplaces

architecture, that the view

of the it

(Fig. 66) gives

of of
some

one

idea

mythical
or

structure

romance

of

prehistoric times.
FIG.

Lucky
that he

65." INTERIOR,

LEIPSIC

LAW

COURTS.

for

M.

Poelaert

lived under
to

Government
Had he and the been

that could
an

appreciate and
architect he

allow would

scope

his

genius.
been

English
was

only

have
In

snubbed
to

told he

wasting public money.

or

addition

palace general legislative

requires
on a

parliament
of

house, every

government

certain of

number the
as

separate

buildings
into
are

for

carrying

the is

business

leading departments
in this

which
under

its work the

divided, such
term
"

country
Offices
"

classified

general

Government

STATE

AND

MUNICIPAL

ARCHITECTURE.

'37

and the

such

buildings
of

form the for

commonly capital.
As

an

important
such

element

in have
sponsible re-

architecture

departments
and
as

frequently
has

occasion of each
to

inter-communication,
is

the

head who of

department
divide his time

usually a
between

cabinet
the

minister,

therefore

special offices
would
as one

the

department
of architectural
to

and

the

house of
of
to

of

considerations legislature,

both
seem

effect and
treatment

practicalconvenience
government
other
offices

dictate of

the

the

great

group

buildings,near

each

and,

collectively.

KIG.

66."

BRUSSELS

I.AW

COfRTS

(pOELAEKt)-

near

to
one

the

seat

of

and legislature,

designed
No

in

subordination

to

great architectural
carried scheme.
each

scheme. out,
or

Government,
to

however,
out, such

has, I believe,ever
a

attempted

carry the

comprehensive enlargement
out

Generally speaking,
is called
to

rebuilding

or

of

department
relation

for

separately, and
office

it is carried

without

the

other is

buildings,
to

either

or architecturally

otherwise.
of this

There

something

be

said,no
the

doubt, in favour
over a

piecemeal system.
of

It distributes it enables

expenditure

larger period

time, and

138
each block

MODERN

ARCHITECTURE.

of offices to becomes
be

be

rebuilt

at

the

juncture when
the
new

more

accommodation
can

necessary,

and The

when

ments requireof
a

accuratelyestimated.
the

drawing
carried
out

out
as

great

scheme until

for

whole, however,
is

to

be

required
to
a

completed,
more

and always possible,

would

lead the

final
of

result much
unconnected time
to
a

worthy
on own

of

great capital than

sites
we as

erection

buildings
In
our

such
case,

can

be
a

obtained

from
up ago,
centrated con-

time.

had

such

plan

drawn

by

great
to
on

architect,Sir
which
a

Charles

Barry,

about Offices

fiftyyears
were

according

all the

Government Whitehall

to

be

site between

and

Parliament
in
one

Street,

Great of the

George

Street, and
up

St.

James's Park,

great range

buildings divided buildings round

into

courtyards
that
at

connected

by archways,
to
a

each

courtyard being devoted

so

special
an

department.
architectural and been it is
a

It is seldom scheme
thousand
over

fine and

comprehensive
any

is

put

the

disposal of
an never

government,
should have

pities that
can now

opportunity
recur.

passed
our

which

Since

then, the
the

history of
of

Government

Offices
and

has

been

mostly
small
has
are

history
The

planning great
was a

things
one,

executing
the progress

ones.

beginning
since then.

poor Home

and and

been

downward
on a

The
in

Foreign
site, and
;

Offices
can

designed
of
a

liberal

scale

regard

to

boast

fine

and is due

spacious
feeble
and

internal

courtyard

but

the

external

architecture
without of
as

and yet pretentious in style,

to

designed
With
are

reference

the the

interior
upper

requirements.
windows
lower

the

idea

giving large
on a

dignity

to

story, the
the the
and

treated
of

semi-circular level
with

openings, but
the

portion
range

these

is
rooms

floor, and

whole

of

upper

is for

consequently
the War and the

comfortless

The ill-lighted.
ended
were

competition
The
for

Admiralty
two

Offices

in
at

fiasco.

ings buildand

for

Departments

first

competed

STATE

AND

MUNICIPAL

ARCHITECTURE.

139

designed

together :
are

and

rightly. They
relation

represent

two

ments departin which

which
it is

in close

with
the

each

other, and
both

occasionally necessary
should hold
was

that

officials of
the
account
same

ments departThe ful beautitectural archi-

joint council
selected

under
on

roof.
of the

premiated design drawings

scenery
was

mainly
it

submitted,
in which from
no

although
a

was

clothed

with

columnar

order, supporting nothing,

no

projected
and

the

building, having
function
was

relation
to

to

the
the

structure,

practical
The
for

except

darken small

adjacent

windows. small
in the
mere

interior

planned
in
a

with

yards, court-

far too
and have

effect

even

much the

lower

building,

which,
become

high

proportions
as

of

building, would
realized
was

funnels,
model

many

persons

for

the

first time

when
was

of the
to
as

proposed
the

design
War

exhibited.

Finally,it
even

decided

build
to

Admiralty
the
was

only (without
Office of
was

any
to

consideration

where
process

mately ulti-

be

placed),and

the

adopted only

ing economiz-

the

original design by robbing

it

it of the rich

architectural

merit

possessed

"

that

of

certain

though
to

superficial
of

decorative
result any is
a

effect,cutting it down
tame

also in

regard

scale, till the

and

mean-looking

building,totallydestitute
should the

of the home

dignity and
of the

impressiveness which
administration of

characterize naval
to

the
power

naval

greatest
in

in the

world, placed (not unappropriated

regard
never

its

architectural from
any

character) on

back
a

site where

it is

seen

main

thoroughfare

"

standing
taste

discredit

both

to

the

and liberality Since then

on

the architectural
we

of final

England. Report
of the

have

had

the

Special
ment Improve-

Committee

what
but

is called in

the

"

Parliament
most
new

Street

Scheme,"
considered it is
now

which' for the

on

really the proposed

the

important
War

point

is the

site
to

Offices, which
the

proposed

build

ground,

of which

greater

I40

MODERN

ARCHITECTURE.

portion

is

now

vacant, of
"

nearly opposite
one

the

Horse

Guards,

and

called, in
once

memory

of

the

demolished House
to
now

buildings
As
a

which
matter

stood convenience

there, the
of is

Carrington

Site."

of

position, in
one

regard
sites

proximity

to

the the The floor

Admiralty, this
Report
with
to

of

the

best

available, but
failure.
of

is

preparation for
the

another
went

architectural

Surveyor
area

of

Office of

of Works

into calculations there

was

the

object
on

showing

that

space of

enough
the War

and

spare

this
was

site for all the

this

requirements
?

Office ; but

how

result obtained

In the

first
and

place,by irregular

carrying

the

building boundary

line

right up

to

the

oblique

lines of the

of the

the site,thereby entirelysacrificing which

as

grandiose
the
in
was

and

imposing
of such
were a a

character

ought
"

to

distinguish
the

War

Offices if it

country

this

treating
the in

building,

fact,as
to

monster

hotel

in which

main
to

object
get
ing covera

utilize

every

available

foot

of

ground
; and

order

commercial
the and

return

for the

expenditure
so

secondly, by
to

interior

part of the site

closely as largest of

leave

only small

insignificant courtyards, the

effect,and
the
as

which

is insufficient
are

for architectural
even on

smaller

of which
mere

able objectionwells

sanitary grounds,

they will be
It is
a

within
any

the

loftybuildings surrounding
architectural
can

them.

impossible that
as a

adequate
War such

treatment

of such
on

building

national
under

Office

be

realized

such what

limited be

site,and
an

conditions

; it is

already

may

called

organized

failure. One
to

point
been

in

regard

to

the the said

planning
common

of such
consent

buildings
of those
we

seems

have

decided may the

by
be

most

concerned,
obtained viz and
:

which from

to

be

the for

only

benefit

have

large competitions
should
for be

Government
from the

Offices,
outer

that that

corridors

directlylighted light

air,
not

courtyards

light should

corridors

and

STATE

AND

MUNICIPAL

ARCHITECTURE.

141

rooms,

i.e.the

corridors and
one

should the
rooms

be

carried

round outward.

the

interior When

of
one

the

courtyards,
on

look inferior
a

considers,

the

hand,
out

the
on

sanitary condition

of of in

working-rooms

looking

closed

quadrangle (even
condition
on

tolerably large size),and

such the
a

the
or

stagnant

of the the other effect of

window

air

quadrangle

in hot and

still weather, and,

mean

hand,

inconvenience corridors

the half

and

depressing
one

long by
the

interior borrowed

only
is

lighted by

end
to

or

lights,it
to

certainly something
I believe

have

got

authorities
that be
to

arrive,as
corridors

they have,
ranges
can we

at

tacit conclusion
are no more

internal

between

of

rooms

to

favoured.
the

Beyond

this, what
treatment

say

generally depend
to

in ?

regard
The the of
tion rela-

architectural

of

Government
of
course

Offices

detailed

arrangement
of each

of

plan

will
in

on

requirements
rooms,
to

department
to

regard

the

number their

the

classes other.
to

of officials
In

be
to

provided for, and

the

each

regard

architectural
is to without

treatment

there

seem

be

two

possible principles. One

impressive
manner,

treat

such

buildings
to to

in

dignifiedand
any

ing attempt-

give

them

specialcharacter
offices
on a

other

than

what This

belongs
would
no

building national
have been

palatialscale.
of

doubt combined

the

character
it been

Barry's
out, and

immense

group

of

offices,had
far
as

carried

this will

probably
blocks
if
our

be,

as

it goes,

the

manner

in which
to

all the be

separate
out,
know

of offices usual the the that but any Yet

required

from

time

time bear

will

carried shall

architectural Home War the there

one

conventions is the is the

rule.

We

that

Office Office

building facing building facing

is the in

Parliament
the

Street, that Guards,

at

Horse

and

Admiralty
will of them be

Office

building facing nothing

architectural
one

all ;
make

nothing
more

their for be.

style to
than
more

suitable

purpose Hoat far

the

other.

how

diff"erent

this

might

interesting

142

MODERN

ARCHITECTURE.

would made
less

such
to

if there buildings be architecturally,

were

an

attempt
more or

treat

each

of them

in

manner

suitable

to

and

suggestive of
might
an

its purpose. be made

What between

characteristic
the

architectural
for
a a

distinction Office and

buildings
Office and

War

Admiralty
of them
to

Office,a
an

Home

Foreign
ception con-

Office, if each

presented
express
more
was

original architectural
or

intended purpose the four for which

less
!

the For

nature

of
out

the of

the

building

erected it is

three
too

great

departments

named

now

late ; but

....

U!

as

-IfT-

"-

t-

"^

C.

"

I.

^^

:s

FIG.

67.

"

PLAN

OF

IMPERIAL

INSTITfTE

(mK. COLLCUTT).

something
a

out
so

of the

commonplace
so

might surely

be

done
as a

with

building

suggestive and
usual

special in

its purpose

War

Office,in place of the

and window

architectural

platitudes of pilasters

pediments.*
would have
as

There
as a

been

no

in treating Barry's largescheme impossibility

courts
were

in such have
to
one

manner,

far

the

interior
of

concerned. the interior

a

The courts,

exterior each

would

demanded

unity palatial
have

design ;

but

devoted

class of offices,would without

been

susceptibleof

distinctive

treatment,

separately,

interferingwith

the unity of the whole.

144

MODERN

ARCHITECTURE.

with

blank

wall
a

opposite to

them.

This

is not

planning

at

all ;

this is The

throwing

plan together hap-hazard.

erected,
can

Imperial Institute, as
it is
an

hardly
one,

be
as

called such

great building,but

eminently

refined

and

is

FIG.

69."

HALL,

IMPERIAL

INSTITUTE

(mR. C0IXCCTT"

worth every
are

the

attention
seems

of
to

architectural
have been the

students.

The
;

effect

of

moulding
refined
the

considered

all its details

in character hall and

; and

treatment

of the
is novel and

timber

roof

over

staircase

(Fig. 69)

dignified.

STATE

AND

MUNICIPAL

ARCHITECTURE.

U5

The

tower
a

is

perhaps
of
taste

rather

narrow

in
to

and proportions,

looks

as

if,as
The

matter

scale, it ought
for towers,
in the and

be

rather
on

larger than
before,
was

it is. rather

English

commented

markedly
an

illustrated

competition.
very

Mr.

Jackson designed
rather
on

exceedingly lofty
lines the

graceful tower,

the

general

of

German
were

Mediaeval
to

H6tel-de-Ville

towers,

though
free Bell device

details
Messrs. the

be and

classic.

Webb
rather
an

adopted
of

bold

planting
tower

entirely tion posidoubt

separate
in
a

in of

central

front
which
a

their
would

buildings,
no

feature
had

have

strikingappearance,
be rather
a

I
any

though
to

it would

cult diffi-

justifysuch
no

separate

erection, serving whatever,

practicalpurpose
even

nor

defining
The

point
is worth the

in

the this

plan.
tower

design 70)
for
manner

itself of

(Fig.

attention, however,
and

ingenious
in which stories the

effective features
as

the
are,

of

the

upper

it were, of

stink from

main
are

lines

the up

FIG.

70.

"

CENTRE

OF

DESIGN ASTON

FOR
WEBB

IMPERIAL
ASU

INSTITL'TE INCKESS

angles,
of the
to

which

carried

(MESSKS. bell).

straight to
wall

the

pinnacles surrounding the lantern,the four

back
as

faces
so as

being gradually set

buttresses
out

the

tower

ascends,

develop
to

of the

angles.
was

The

initial mistake for

a

in

regard
to seat

the

Imperial Institute
a

its

which, site,
too

building
from

represent the colonies,is

of and legislature

great deal

far away

the
This

from

the other

Government

offices.
L

146

MODERN

ARCHITECTURE.

mistake

has

no

doubt

led

to

its

being

comparative
not

failure

as

regards
of

its main

objects, though design, except

for the

this does

aflTectthe

question
an

architectural
excuse

perhaps
of

in

furnishing
tower,

ditional adthe

introduction
be

the

whereby
distance.

positionof
Post
of

the

building can

recognized
form
a

from

and

telegraph

offices

not
as

unimportant
the

ment departa

State

architecture, in which,
should characterize towns,
to
same
arc

already observed,
all

certain

unity of style
erected and
in

buildings which,
under
one

though
function difference

different intended with

the

State
same

department,

all

exercise

exactly
routine the

the
; the

in accordance

the

general
of

only

lying
with

in

different of

sizes each

sponding buildings, corre-

the Office

demands of the

locality.

The
seem

central
to

or

General
some

Post

capitalcity,only, may
as

claim

special
Office

treatment

distinctive
In
our

from
own

the
case

provincial
the of

branches, besides
Post
at

its

superior size.

original
the old

St. Martins-le-Grand
no

was

building

dull classic

school, with
and

in suitability
at

its external

appearance

for its purpose, The second

little attempt of

specialinterior arrangement.
(with
the
to

auxiliary block
that

offices

design

of which there

it is believed is

Fergusson

had

something
a

do), though
and office,
has unusual the

nothing
a

in it

speciallysuggestive of
academical solid and

post

though
merit tectural archiand renders
ornate

it is in

piece of purely
:

architecture,

its kind

it has
are

dignified appearance,
in
a

features there it
more

combined and the

satisfactorymanner,
it which of the
more

is

restraint

severityof style about judgment

classic than many

agreeable to

and

pretentious modern
block
of

buildings
official
as

of the

day.

In

the

third

buildings, a
and lines this
are

purely
such

erection, although the

so

general
the other
an

scale

to

match,

to

speak, with
are

block, all
the
new

dignity and
none

seventy
of the

of treatment

at

end

building has

good

of qualities

the

STATE

AND

MUNICIPAL

ARCHITECTURE.

147

older
to

one.

The

Office
it the

of Works
on

designer, whoever
him
was

he the

be,
new

seems

have

felt
from he

incumbent
old
one

to

make able
to

block

different

; he

not

make

anything
it would
two

better, so
worth of
the

made of
to

something
young
note

worse.

Here
to

again
these

be

while

students the

compare in

blocks

building, and why

it

differences
older

detail, and

try

to

discover

is

that

the

block,
has

though

presenting

remarkable, nothing architecturally

and something satisfying and how which it is that is

dignified quality
intended The
block less in of

in

its

general

appearance, in the
new

this

has
as

evaporated
a

block,
one.

obviously
the

pendant
and

to

the

older

florid

ill-balanced
at

style which

characterizes
is

new

building

St.

Martin's-le-Grand
new

unfortunately no
towns

characteristic all the

of the

local

post offices in different

the architectural

England,
of in

production
All these

of

genius of the
and
place common-

Office

Works.

buildings are
bad

showy

style, exhibiting quite out

; in one

decorative the

treatment

and
of

character

of
town

keeping

with

practicalobjects
are

the

buildings
annoyance

after another
to

they

being erected, an
who
to

everywhere
artistic of the be and

that
;

proportion
yet
it
never

of the inhabitants
seems

have

any

perception
Office

to

occur
can

the
or

authorities

of Works in

that

anything

better

be

ought
the

to

produced

national

Post-Office
out

architecture

than
What

weak

tawdry buildingsgot
architectural
not
an

by

their surveyor.
a

is wanted
as

in the

design

of such

class

of

buildings
this

is post-offices

decorative obvious
on

treatment,

especially of

mechanical
that
are

type, but
to

for practical suitability

the tasks
of
severe

be

carried

in
can

them, with
be and

that
to

degree
such
a

architectural without

character

which

imparted

building,

overlaying
in

it with

useless

unmeaning
out
a

architectural(.?)
of
own

detail ; and

complacently turning
with
no

series

place common-

buildings

other

assistance

than

its

official

148

MODEHN

ARCHITECTURE.

the Office staff, We

want

of Works

is not

doing

its

duty

to

the
;

country.
let the tasks
for in and

something
of the Office be

better of

than

official be

architecture in

surveyors which

Works

employed
the
in

the

they
of

can

really serviceable,
the

negotiation

purchase
new

sites,and
"

surveying

necessary which

preparation for
well be done

buildings

all that

is useful
we

work
want

may

officially ; but
what
can

for architecture

something
with
an

higher
The

than

be

done

by

official surveyors
to

upper-class
French
"

draughtsman
Government

engaged recognize

put

in

the
a

ornament.
"

this ;

they put
an

Poste

et

Telegraphe

building buildings

into which

the

hands
arc

of

eminent

architect, and
than
The
at ours, most

they get
far
more

less

pretentious

but

considering their object. purposelike,

of
was

remarkable

set

drawings
that

in the

architectural the
a

room

the

Paris for

Salon
*'

of

1896
des

which

delineated

central

dep6t

Materiel

Postes
no

and

Telegraphes,"
to

building,with great plain practical

but what have it was, and which
as our

pretension
of

be

anything
would
"

Office

Works
"

probably
; but

condemned
won

not

sufficiently architectural
M. Let

that

design
of the

for its author,

at

Scellier
the

de

Gisors, the gold medal

of Works send and
over see

year

the

Salon.
most
a

Office

to

the

next

Salon will

their

florid

post-office design,
medal
for that !

if the

jury

give

them

gold

Somewhat central
character

analogous
are

to

are post-offices

police depots
of but
a

or

offices, which
and of
a

also

State

buildings

practical
which
are

for

practicaland
deal been of

prosaic purpose,
in this respect the

capable
In London who
new was

good
have the

characteristic

architectural
; Mr.

treatment.

we

fortunate

Matthews,

at

Home up, the

Office
instead
sense

when

question
be

of

erecting the
out
to

building came
mill, had
the

of
to

letting it
make
the

turned

of

the
was

official esteemed

good

as inquiries

who him

best

architect

of

day,

and

to

invite

to

STATE

AND

MUNICIPAL

ARCHITECTURE.

149

design
and I

the

building.
a

It is both
stern

picturesquebuilding

in its way,

also

has the

certain

character

its object, befitting though

think

upper

part

is rather

unnecessarily

bedizened

with

finials and

some

other of

ornaments

belonging
it Still,
is
a

to

conventionally
which
is
a

accepted style

the

past.

building

credit

to

London between
treatment

architecture. characteristic
is not

In and

regard

to

this

subject, the
tectural archi-

difference

non-characteristic

badly illustrated

by

the

two at

designs
Vienna,
street

Figs. 7
by

and

72.

The

first is the Central

Police well be

OflSce
a

Herr

Friinkl, which
or an

might just

as

large

mansion

apartment-house.

The

other

is the

originally

15"

MODERN

ARCHITECTL

Rl:.

accepted design
York,
be
a

for

the

Ninth One

Precinct

Police

Station

at

New it to
for
a

by

Mr.

Du

Fais.
at

might

not

necessarilyguess
not
a

police station, but

or an

all events

it could
or

be

taken
;

private house,

apartment-house,
and

hotel
a

it has
stern

distinctlyofficial
character, suitable
In
a

appearance,
to

that

of

somewhat

its purpose.

the

case

of the London
to

stations fire-engine

there

has

been

praiseworthy attempt

give

to

these

buildings a specialand
the the
and
or

recognizablecharacter, by employment
same

generally of
of materials castellated character

class
a

of

certain

fortress-like
; but

in design failed
want
a

they

have

in

effect of

chiefly through

simplicity,through
and

too

broken-up style of

pretentious
A
its

treatment.

fire-

engine station, with

doors
many
FIG.

large
in
look, out-

for the
cases

engines, and
its tower

for

72.

"

DESIGN YORK

KOK

TOLICE DU

STATION,

NEW

is,or

should
kind

be,
of

very

(MR.

FAIS).

suggestive
to

building emphatic
the of

the

architect, but
been
lost

in

our

London
an

stations
to

these

points have
whole

through only

attempt
to

over-emphasize
and
want

elevation, which

leads

weakness

character. For
we

what look

can

be

called strictly abroad the than

at

State

educational
for
our

buildings

must not
as

rather

home,

great schools
to

are

controlled

by

State, but

it is convenient

class them

here,

they

cannot

be is

classed
the

properly with

privateor
the

domestic

architecture.

It

fact, however,

that

architecture

152

MODERN

ARCmi

the

formality
a

and

forbidding aspect
not

of
at

the

French

Lycce.
I took

I noticed
for
a

huge erection
which

long

since
on

Leeds, which

factory, but
Grade
one

I learned
a

inquiry was

the "Central
to

Higher

School;"
reflected

building absolutely horrible

this
was

thc

sight,when

that

to

be

the

home

for great
be

part of the day of

hundreds

of

children, who

would

taught

Vn^

""

H""
J

Plah

do

^^wfjvas

LtAor.

FIG.

73."

MODERN

FRENCH

'*

LVC^E-

thus

to

associate

the

idea

of

education of

with

the

architecture

of

cotton-mill.

An
in

important part

education, though
minds

little with

recognized,consists
associations
to

familiarizing the
with the what school is

of the

young

connected

pleasant, beautiful, healthful

an

mind

and
in

body
this

; and

building maybe
To familiarize

important
children, in

element

part of education.

STATE

AND

MUNICIPAL

ARCHITECTURE.

153

the

most

with impressionable period of life,

uglinessand
minds with and

baldness
the
to

in the of
a

buildings which
to

they

connect
a

in their

idea
lose what

education, is
most

give

education of

repellent aspect, cultivating a

taste

important opportunity
and in

for lives. for

is

gracious
want

beautiful
the

in the

surroundings
class
this

of their

The
and

great

English
is

middle

is the is not in
to

love be

appreciation
at

of what
are

beautiful, and
from

wondered

if

they

educated

childhood

ugly buildings.

FIG.

74.

"

THE

NORTHAMPTON

INSTITUTE,

LONDON

(mR. MOUNTFORD).

Fortunately,
institutes

in

some

of has

our

new

polytechnic
lost

and
and

technical
in
the

this

point

not

been

sight of,

the
new

Northampton
Technical
same

Institute, by
and Museum the

Mr.

Mountford
addition for

(Fig. 74),

School

Liverpool, by

the

architect, and
Gibson well
and

West
we

Ham

Technical
or

Institute, by have, buildings

and

Messrs.
not

Russell,
for

have,
purpose,

shall but

only
In

planned
highest

their

fine

striking

in their

architectural
our

treatment.

class

of

educational

buildings

we

have

154

MODE

FN

ARCHITECTURE.

generally kept
the in

up

semi-domestic
the
two

character of

in the

architecture,

mainly perhaps through

old

influence

long association, since

most

buildings

in

our

great Universities,
in quite perfect,
as

of

which

point of
and

architectural repose of

style arc

their combined tecture, archi-

dignity

character,
on us
a

types

of

scholastic for
;

have architectural

impressed
treatment

sympathy
a

this and

type
the
new

of

for
at

such Oxford have

purpose and

buildings by
at

Mr.
and

Jackson
Newnham

by

Mr.

Champneys
up
are

Cambridge

very

well
at

kept
Oxford

the

feeling

of the old architecture.

Some

of those In
one

perhaps,
we

indeed,

little too
have
to

imitative. revise
There
our

respect, however,
habit of of

shall
and

probably

traditional

school

collegebuilding.
is
so

is certainly no
a

method

building which

pleasing in
an

itself for
open
; but

school

or

college as
it,and
most

the

quadrangle,
none

especiallywith
is
so a

cloister round it is
a

perhaps
form

that of
are

comfortable

not

the

healthy
of

plan
to

for

building

where

considerable
The

number
is

inmates less

be
in the

crowded

together.
of

objection
men are

perhaps
so

important
; but

where university buildings, collection

are

not

crowded
in
a

for

the

great

number

of

boys

large school,
than
men

who
are

almost
the

necessarily more
is certain

closely
that
for
a

crowded closed

at
not

universities,it
best

quadrangle
the

is

the

form

of among

building
the

preserving
This and

highest

conditions influenced selected

at

of
the in

health

inmates.

consideration

plan by

Messrs. for
the

Aston
new

Webb Christ's

Ingress Bell,
schools
recent

competition
This is the

Hospital plan
of

Horsham.
in this

most

important example

school
will

times

country,
influence
on

and

its

probably
of

have

considerable schools.
In

the

future

planning
houses
each

English public
and
a

this

plan

the
of

different

for masters
treated in
a as

their

respective complement

boys

are

separate
with

building,the

whole

set

being arranged

slight curve,

STATE

AND

MUNICIPAL

ARCHITECTURE.

155

plenty
total

of

space

between of the

them school
are

for

the

circulation

of air,and
at at

the

numbers in the whole

collected

together
stand

intervals the
centre

only

great hall
group.

or

in the be

chapel, which
easy
to
see
some

of the

It may

minor

objections

-n

"

"

n"

rr

"

"

"

"

rr-

c
.

-rfi

"

O-

75.

"

1I..\N

OF

BOAKOING
WBBB

HOl'SE,
ANU

NEW

CHKISt's

HOSPITAL

(MESSRS.

ASTOS

INGRESS

BSIX).

to

this scheme

on

the

score
a

of convenience
school

; but

that

it is

far

healthier
of in

type of plan for

any

numbering
all the the

several members

hundreds

boys, than
one

plan

of

compacting

together
up

building,is unquestionable, and

breaking

of the

X56

MODERN

ARCHITECTURE.

boys
way

into of

isolated

groups

has

probably advantages plans

of

also the

in

the

regulation and
as a

discipline. The
of master's

separate

houses,
and how house

combination

residence

with
seen

boys' study (Fig. 75)

from
next

dormitories, arc
well
the

worth
entrances

attention.
are

It will be

boys'
while

kept quite apart

the

the the

entrance,
entrance

the

walls
are

of

boys'

studies without

private
to

of the
to

house the

left almost

windows,

avoid
manner

the

entrance

house

being
at

overlooked the them

end

by
of the the

them.
room

The
are

in which
so as

the
to

private studies
between

attached,

get space

for

south

light (so essential

In of
an

to

health), .should also be noticed.

have

France immense has

we

recently
fame

seen

nearly
the

the
new

completion
Sorbonne, Nenot,
to

educational

establishment,
to

which which

brought great
the in

its architect, M.
in

and

illustrates

different
France

feeling
as

regard
with

modern

collegiate buildings
Here
we

compared
of

England.
a

are

struck

by
we

the

absence

anything
As
be
a

like far
as

specially
its architectural

as style, collegiate

feel it in
goes, it

England.
as

expression
for
a

might
this
is

well be

H6tel-de-Ville about the

an

large city.
however,
such
as we

There that
never

is

to

said
out

new

Sorbonne,
ambition in
are

it

carried for
a

with

artistic this class

rise to

building
decorative of many

of

England.
the

The

accessory the

sculpture and
artists

paintings
and the

work

of
of

first French
into It

the

day,

results

mainly
this way of
a

competitions
entered.
one

which
is

other indeed
say
seems

first-class that
we

sculptors and
rise
a

painters
in

seldom

to

England;
the modern

might
mind

almost

"never."
to connect

In

general
idea

French

still
of
as

the

refined

classic
for

type

architecture well
as

v/ith

the

expression study.
the "Faculte

of

buildings
for
de

scientific
the
at

for

literary
of

Take,

example,

beautifully refined
Paris, by
M. Ginain

fagade

Medicine"

(Fig. yS).

STATE

AND

MUNICIPAL

ARCHITECTURE.

157

This

may
at

be

thought
with

very what

artificial and
scholastic

conventional

design

but,
out.

all events, Before

we

refinement let
us

it is carried of
our own

criticise

its

genre,
on

think

recently erected
with its

Medical

College
aspect and

the

Thames

Embankment,
reticent

commonplace

detail,and

be

KIG.

76.
"

"

THE

BUILDINGS

OF

THE

FACILT6

DE

MioICINE,**

PARIS

(m. CINAI.n).

In

the
than

United

States

also

the
in

tendency

is to

follow
as

classical
in the

rather Alumni

Mediaeval
at

models

collegiate structures,
Messrs.
Lamb

Hall

Dartmouth
some

College,by
recent

and this

Rich class

(Fig. 77), though

are

American

buildings of
of

influenced short

also

by
or

the

neo-Byzantine type
and round

architecture,
and carved

with

piers

columns

arches

158

MODERN

ARCHITECTURE.

"cushion" may

introduced capitals,

by Richardson,

and

in part,

one

say, invented

by

him. establishments
; for
we

Among
to

State-supported educational
Museums
as mere

ought

reckon
masses

and

Art

Galleries of

though regarded by
their real intent their
is real
to
on a

the

places

amusement,

educational, and

"^^^
^",^^^,^,""^ig^,^^

value

is

dependent
extent

considerable
manner
are

the
tents conas

in which

their
so

arranged
for

to

be

available In the

serious and

study.

planning
of
are,

arrangement
museums

public
in

there
classes
"

fact,
to

two

of visitors
the
to

be

considered
"
.

general
be allowed
museum

"

who public,
to

are

perambulate
pick
up and

the

and

whatever
recreation
a

of

instruction

they
way,

can

get in
the
to
more

desultory
students
amples ex-

and

real

who

wish

study the

closely
but

and

FIG.

77.

"

ALIMNI

HALL,

DARTMOUTH

COLLEGE,

U-S-A.

(MESSRS.

LAMB

AND

KICH).

systematically;
be

it may any

questioned
with
these
a

whether

museum

has

actually been

carried of

out

definite classes

attempt

to

provide for the requirements

attempt
to

both

of visitors. Waterhouse
there of
was

The in
to

do

this

was

made,

however,

by Mr.
where

planning
have
cases

the
on

Natural either

History Museum,
side be

been,

of the
seen

great
the

hall, a

series

bays

with

which

could

by

ordinary visitors from

i6o

MODERN

ARCHITECTURE.

about The the

the

interior, too, which

harmonizes the
was

with
and

its

contcnth.

failure is in the

provision for
building
;
to

health

convenience

of

working

stafif. The
in is these

erected
as a

by

generation
of
a tiquities, an-

unpractical
it

matters

but,

great

museum

impossible

deny

that

there

is

certain

architectural The
other

fitness about consideration

a

it.

which
or

seems

to

lead

architects, not type

of

unnaturally,towards
architecture
fact

classic

horizontal essentially and

consists of in

for
museum

museums
or a on

is

practicalone,
two

in the

that
to

library(for the
the
same

classes

buildings
general
for
a

stand

some

extent
a

footing) means
space

building
desirable wall
and

in which and

great deal
of
;
a

of wall

is wanted
a

the

arrangement
for

placing
them

objects,and style in
which

in which there

top lightis
solid
the

seeing

is much

little visible

window,

therefore, is in keeping with

For in another
reason

practicalobjects of
windows
are

the

building.*
;

ordinary
we are

little
be

required

when

such

building
and

supposed
it be
a

to

entirelyoccupied diverting our

want

with

its contents,
to

do

not

require windows
a

attention walls
to

the

outer

world.

If

we library,

the

range

books
seem

against, and

top lightto study by.

of and
a museum or

These

conditions
a or

to

point
low

to

the

treatment

libraryas
that civic

building

of

tions, propor-

without
tower
or

any
turret

of

ceremonial the

expression
shown
was

which

a a

implies.
for
a

Thus free

design

in
not

Fig. 78,
carried

competition design
is

library which
not
a

out,

obviously,from
kind
; it is
a

its appearance,
town

library or
town.
at

anything
M.
*

of the

small

hall the

for

country Museum,

Ginain's
I

admirable

building

for

Galliera
"

am

not, of course, of
a museums

the architecture chooses

to

adopt
the

known
not

building which something

on

it has

for revived classic advocating the employment of mere only pointing out that revived classic, if the architect for this class of style,has a certain practicalsuitability modern and for most other that, at all events, buildings,
"

"

general lines

of classic

architecture

may

well be

aimed

at.

STATE

AND

MUNICIPAL

ARCHITECTURE.

i6i

Paris

(Fig. 79),
;

is

quite

an

art

museum

in
at

appearance

and

character

and

the
and
a

Virginia Library

Chicago,
is
a

by

Messrs.
which

Shepley, Rutan,
suggests
to

Coolidge (Fig. 80),

a

building
these

either

library or building
at

museum.

Both
kind the in
rooms,

belong side-light
therefore
exterior

the

class

of for

of
some

this of
an

which
and the
art

is

required
come

least

windows

into

play

as

essential exhibit

part of
works of

design.

Where

it is desired
to

to

or

ology archae-

by top-light,or
arrange for the
a

reading-room
use

top-lightonly, and
whole

wall the

for

book has
he

storage,
then
can

architect how walls

to

consider

render

the

ciently suffi-

decorative
windows
;

without the

probably by
of

judicioususe
sculpture
or

symbolical
ment, orna-

carved there
to

though
be the
no

need
cover

attempt
surface

wall

with
a

corative devery
lOJttimk).

adjuncts ;
little sculpture or
well

^uiuiiON

Ncrr

i"Xi-liKasiM"

lis

carving,
a

placed
and

and

with
to

meaning,
the

will suffice to
; and

give architectural
rest, the
a source mere

point

interest

exterior surface

for the
wall

preponderance
architectural
the of

of

untouched

of
as

is itself
an

of of

expression,conveying
and

it does

intimation The of
treatment

purpose the

arrangement
of
the

of the
of
a

building.
Institute

exterior

gallery

the
not

Painters

in of

Water

Colours, in
But in

Pall

Mall, is
be

unpleasing example
that there
are

this.

general

it may

said

not

many

i62

MODERN

ARCHITECTURE.

cases

in

which

the architect

will find himself

in the dilemma,

in

'CTT^pn
PIG.

79."

MlSiB

CALUCITA,

PAKIS

(M.

CIMA1N".

designing

library or
windows

museum,

of

having
there

to
are

deal few

with such

walls build-

entirelywithout

externally ;

-.;kc,n;a

l;l;,-i;-'.,

lhicago

^messks.

sheilev,

kl

ings
render

in
an

which

some

portions
for

at

least

of

the

contents

do

not

arrangement

desirable. side-lighting
amusement
we

Of

State-supported places of

have

practically

STATE

AND

MUNICIPAL

ARCHITECTURE.

163

none

in this
a

country, where
character

government
our

in

these
and

matters

is not halls
are

of
at
as are

paternal

; but

theatres
must

public

least

State-regulated, and
under

we

class architecturally

them

public buildings
to
are a

this head. subsidized

On

the

Continent, theatres
; in
some cases

great

extent

by the
in the

State

they
in

reallyState
and

property, but
in

majority

of

instances built
and

Germany,

I believe

France

also, they

are

.srsms"*^

S2S5SS^SSfe?SS^=^,

V:^^^

wur'ilf'

niwsfT:,.

IG.

ijl.

"

1"1KK\

\K!-"

^\l,

I-.KMKK}.

partly supported
result of this is
to

out

of
seen

public
in

funds.
much of the

The
more

most

noticeable

be

the

dignified and
compared
is
a

monumental

architectural built
in
;

character The

theatres,as
House the
an

with known

those

England.
the Paris
was

Paris

Opera

wellrecent

instance house

Opera
the

Comique,
subject
which of

most

French

(Fig. 81),
first

architectural first architects

competition

of the

importance, into

the

i64
of

MODERN

ARCHITECTURE.

the

day entered,

and

which

was

entrusted
same

to

one

of

them
case

as

the

result of the
In

competition.
one

The

is

usually the

in

Germany.

England
for with
a a

never

hears
or

of any

tural large architec-

competition being
theatre
a

theatre,
the

of

any and

first-class architect

concerned
; to

designing
hears

carrying
of

out

of
on

be the

theatre

architect
who
one

is,in fact,a kind

of
as

stigma

man,

and

people
names

playing
other there
as

this part

are

mostly
or

those
in

whose
one.

are

unknown
is
no

in any that

connection,
would be
a

even

this

There

doubt

great difference

in this respect
in

were

theatres

much

supported
As
a

by

the

State
in

this
is

country

as a

they

are

abroad.

it is,a

theatre

England

merely
an

business

speculation by
in their
out

cate, syndithe
as

v/ho whole

generally

have

architect
is to

pocket, and
a

business
as

of the

architect
order that

carry

building
money shall

quickly
as soon

possible (in

it may

begin earning
which for),

as

possibleafter the
of

site is

paid

provide
stairs
to

the

requisitenumber
with the
to

exits

and
in

sufficiently spacious regard

to

comply
present
obstacles
have
now

building by-laws
incombustible

theatres, and
the freedom
the

shall
from

construction way of

and

sight (in the

learned is
"

columns,
as a

etc.)which

public

to to
"

demand take
are care

right. Beyond
itself; a
the with few

this, the

architecture

left
swags loose

of
on

conventional
"

pilastersand
firm" it in

stuck the

outside, a
a

decorating
to

is turned the
newest

in

interior
a

contract

decorate is all

fashion in the class for

by
matter.

certain

day,

and

that

the

part that
Yet
more

Art
there

has is
no

of secular and

building which
characteristic fact that the in
a

in itself offers architectural auditorium

curve

suggestion
than
a

effective
The

treatment

theatre.

is the

for practical reasons, necessarily,

planned
and

for

seating,

should

be

recognized
the

expressed

in which

the
we

exterior should

design

of this

portion of

building,by doing

STATE

AND

MUNICIPAL

ARCHITECTURE.

165

secure

both

the

fine
at

effect
once

of

sweep

of

curved and

lines

on

the of

exterior, and
the in

also
Yet

stamp

the
would

character

purpose

building.
the

this

(as

one

suppose)
theatre in this has

obvious been
; I

point entirely
do
not

architectural
in almost

treatment

of

ignored
at

all theatres remember any

built

country

this

moment

instances

of it,except and
a

the

little

Shakspeare Royal
at
a

Theatre

at

Stratford-on-Avon,

the

old

Theatre
had
most

Liverpool,
certain for

of

Georgian

date

building
house
tried

which

formerly
aspirants
in

celebrity as
in

being
the

the

where their

acceptance

London

theatres

wings

and preliminary flights, It

must

obtained

/////r/wrt/wr of provincial

criticism. admitted

be
terior ex-

that

this

Fi^a

expression of
auditorium
is in

the

entirely
new

ignored
French

the

Opera Comique
"

building

the

result,as
of
a
50
Hli""L%

already observed,

petition greatarchitectural com-

"

which
as

might,
be
as a

FIG.

82.
Of

"

fROPOSEO
AUDITOKIUM

ST.

PETEKSBUKG

OPEKA VAN

HOl'SE

: PLA!"

(PROFESSOK

SCHKOETEB).

in

fact,

well

concert

hall,as
to

far

its

general design
selected and

is

concerned, and
of the

which

is known

have is

been
a

mainly

for convenience

plan,

though
which

there
is not

refinement
in In
our

balance
theatres

about

design
tectural archi-

found

English

designed by
scheme for
a

nonentities.

the

largest recent
Schroeter
of

modern
new

theatre,
opera

the

design by
at

Von

for the

the

proposed
of
to

house in

St.

Petersburg (part
sweep
to

plan
is made

which

is

given

Fig. 82),this

of the auditorium whole exterior

give the

prevailing character portion,in

a

the

of

the

auditorium
a

manner

that, whenever

it is carried

out, will have

i66

MODERN

ARCHITECTURE.

very

fine and

dignified architectural
modern and its effect
theatre

effect. the
now

Another

suggestion
sity neces-

offered for
not

by

the

lies in

recognized
which

numerous

ample
on

staircases, a feature
architectural Another

should

be

without

the

design

; this is also

illustrated

in Schroeter's

plan.

marked

source

of archi-

V%"1i"^

".

"

FIG.

83.

"

LESSING

THBATRE,

BEKLIN

: FRONT

ELEVATION

(jUBSSRS. VON

DKR

HCDE

AND

HEXMCKE).

tectural
essential

effect

and

contrast,
in

little
and

recognized,
construction

consists

in

the the

difference

function
and

between former

stage portion of the house

constructed

the auditorium
and

; the

being
of
the

for
and with

the
a

fixing
clear

the
space

mechanical
above

working
the

scenery,

vertical

stage;

68

MODERN

ARCHITECTURE.

is

recognized and
mark
as a

expressed by shape
solid
and
mass

the

curvilinear and

attic and

cornice,
block
is

which
treated
more

its

position;
of the far

the

stage

plain

building contrasting with

The and

the

ornate

treatment

of been

auditorium.
more

architectural

expression might
if

have could
"

powerful
themselves Renaissance
up
to

picturesque
clear of the
;

the

architects conventional

have

shaken
"

merely
but the

properties
intended,

of

architecture
a

design
and

is well

and

certain

point

successful The

praiseworthy.
house

opera

planned by Wagner

at

Bayreuth presents,

FIG.

85.
"

INTERIOR

OK

liAVRELTH

OPERA

HOfSE.

in

its

interior

plan
There

and
are no

section,
boxes
or

a or

new

suggestion

of

great
of

importance.
which
must

(the galleries
inimical
rises of
to

existence

always
a

be

more

less

the
one

acoustic

properties of plane
flanked
from

house)

; the

auditorium the back

which

in

inclined

the

stage-frontto
the eye

the

house
an

(Fig. 85),

by

pilastersat
the the
house

sides up
to

form

architectural
and
;

perspective leading
between and

the

proscenium opening,
and exits in
are

which
whole been

lateral
is

entrances

arranged

the

kept
that

very

plain

character, Wagner
scenes

having

of would

opinion
gain
in

the

decorative brilliantly

in house

his operas

effect

by having nothing

in

the

STATE

AND

MUNICIPAL

ARCHITECTURE.

169

itself which the

eye
was

could led up

compete
to

with
scene

the
on

stage
the

decorations,
with

so

that
to

the

stage
the been

nothing
treatment

distract
becomes
the

it in

the

foreground.
reverse

Thus has

interior

here

the

of

what

recommended
becomes the

for

exterior of

treatment;
the

the the

auditorium

plain
not

portion

house,

stage
For

the

brilliant
which

portion ; (on
a a

but architecturally,

scenically.
much for is the
to

opera,
on

large
of of the

scale)depends
and interior,

so

its effect
most

glitterand

kind

supernatural splendour,this
we owe a

suitable
for drama does

treatment

debt for
"

Wagner

pointing
"

this the

out

for

house

designed

legitimate
treatment

(to
seem

use

ventional con-

phrase)this
as

subdued
the be

not

necessary,

the

presentation
itself may

on

stage

more

approaches realism,
treated

and

the
the

house

decoratively

without
value be of said
a

injuring Wagner's
that the

stage effect.
for

But

whilst

recognizing the
interior,it
an

suggestion
exterior
concern

treating the
theatre
which

must

of
; a

his

is,in

architectural
to

sense,

wretched

remark
manner

it is necessary in which

make

inconsequence
enthusiasts, who
their
a

of

the

foolish

Wagnerian
is done

think extolled

everything perfection that

this booth
on a

by
were

idol, have
remarkable

large scale,as

if it

architectural
It may of the
see

design.*
be

observed, however, that

accessories St.

such
to

sumptuous
auditorium
and

ment treatas we

approaches and

the

in

the

design
of the the

for the

Petersburg theatre,
itself

such

an

arrangement
we see

auditorium

purely
never

for the be
of

best effect
out

as

in

Bayreuth theatre,
by
which

could

carried

in
of his
it

The

contrivance
a

Wagner

sunk than

the band

out

in sight,

the section
It suited how

his theatre, is form could

even an own

point rather
and

of musical

architectural of the
no

importance.
he

of

Opera
done

his view

of the

functions there
on

orchestra, and

showed whether

be

when

required ; but
or

is

necessity for
musical rather than

it,and
and hear

it be For

improvement

not
see

depends
the band

individual
an

taste

opinion.

my

part, I prefer to
an

at

opera,

the sounds

come,

muffled, from partially

invisible well.

I70

MODERN

ARCHITECTURE.

theatres

built, as

our

English
shows
or

theatres

arc,

solely as

money pay

the speculation, And should without which

built

first

requirement
that

of which

is that

it should

this consideration
be in
a

the

question whether

theatres
not

greater
on

lesser

degree State-supported, is
treatment

its influence
can

the architectural it

of the theatre,
as a

hardly
a

be all that

might

be

as

long

theatre

is

solely as

commercial

adventure.
will be

It is

hardly likelythat
in

this condition That

in the

of

things, however,
must
"

changed
"

England.
would of that

every

institution

pay
a

its way

is

persuasion rooted
to
a

national be

mind,

and

State

subvention
an

theatre

probably
"

regarded almost
"

universallyas
which the
a we

example
an

paternal Government
there do.
go
to

of

have

such of

abhorrence.
new

But

is

one

thing

which be

promoters

theatre
;

might might
and
at

They
a

might

little less instead

greedy
a

of time

they
for

first-class architect
time

of to

theatre
a

specialist,
and in

least leave
out

for the careful

treatment

study
of the
a

of

design,
a

carrying
artistic

the

decorative
of

interior

really

instead spirit,

leaving
find that
in work sins
out

it to

decoration

contractor.

And
in

they might perhaps

time

part of what
and

they
as

would well
as

lose in is

they
For
one

would

save

material theatre
no

credit.

of the

crying
and the

of
;

our

architecture
time

its tawdriness

both

inside
to

because in
an

is left to fore there-

give

any this

consideration is made up

design

artistic

sense,

for

by

useless

and

hastily executed
The lead

carving
of

outside, and
an

gewgaw who is
an

decoration artist

inside.

employment
to
a

architect

would

probably
; the

plainer

though
on

better-considered
would

treatment

money

generally spent
would discover

vulgar profusion
a
" "

be

saved
a a

people
of

that

gorgeous
art

interior
we

is not

necessary

concomitant

of

theatrical architecture
and

; and

might

have

chance

seeing theatre

characterized taste, instead

by picturesqueand
of

expressivequalities
present, almost

refined

being,

as

it is at

STATE

AND

MUNICIPAL

ARCHITECTURE.

171

synonymous

with

the

idea

of

architectural

tawdriness

and

vulgarity.
There
is another
as

class

of

erection

which, though
nevertheless architecture
one

sometimes
comes, ;
or

regarded

purely engineering work,

under the
a a

ought

to

come,

head

of

State

namely, purely
so

bridges.

The

object of
but it is

bridge,it
kind of

is true, is in

sense

utilitarian ; architectural
an

erection

capable
so a

of

much

beauty,

and

which

has,

moreover,

important
be

effect

on

the architectural

picturesqueness of
treatment

city,for good
to

or

that its architectural ill, consideration

as

ought always problem.

been

taken the

into modern In
we

part of the
this

Unfortunately

tendency, in
last century, build
or

respect, has
in the

decidedly retrograde.
of the

the

and

early part
were

present
of

century,

could

bridges which
;
as

really works
works It
was as

architectural

grandeur
Waterloo
do

beauty

witness
Kew

such

London doubt

Bridge,
easier of
to

Bridge, and
at
a

Bridge. bridges
were

no

this

period

when

entirelybuilt
was

stone.

Their
and

monumental what in alone

to

character, at
the union of

all events,

then and the

ensured
massive arches

with the the

necessarily solid
grand
be
curves

structure

and piers, spaces

a

the

of
over,

by
possible imbe
a

which

could

bridged bridge
this has

it is almost shall altered tended

not

construct

large

stone

which
been

fine and
modern towards

impressive object.
system
the
are use

All

since
so

the

of

engineering construction
of iron and

has

much If the

steel

in

bridge-building.
mass

piers also
away the of with spans

of

steel,the
even

broad

effect of
built and

is

entirelydone
and

; and

if the

piers are

of masonry

only

of

steel,the
as a

homogeneous
whole, is gone.
modern

monumental
more

character

the

structure, become

Still

unfortunately, they
as

it has
stone

the

practiceof
aim
at

engineers, where
them
"

use

piers, to
the

making
of

handsome,"
often

they
in the

imagine, by

introduction

florid

ornament,

172

MODERN

ARCHITECTURE.

worst

taste, the

effect of of

which the

is to work.

still further In the

and

diminish
stone

the

monumental little ornament London character in this

and

character
was

old

bridges
in

generally introduced, bridges,was

the situation. the
stern

that

little, as
and
severe

Waterloo
to

of The

restrained
contrast

suitable

is remarkable

respect between

yet

effective of

simplicity of
Bridge,
but
a

London
with

Bridge

and

the

tawdry granite

ornament

Blackfriars

its absurd

stumpy
The

columns

carrying nothing
modern the

small

balcony.
know
shown the

French,
what
"

in
to

their
do

steel

bridges,at
this, as
at
as

all events

better
in

with

piers

than

they

have

the

Pont
are

Mirabeau,"

recently erected
far

Paris, where
their basis

granite piers
treatment

kept perfectlyplain as
concerned,
different but
one are

architectural for
a

is

made each the Council with

as

the

fine

a allegorical figure,

for
of

pier
day,
is
a

face, designed
M.
now

by
The

one

of

the of

finest the

sculptors

Injalbert.
anxious

engineer replace
in

London

County
a

to

Vauxhall its
so

Bridge,
details, by
that

structure
a

great

deal

of

character
as

bridge
who

like

Blackfriars
and

Bridge
care

possible;
the

unless

those of

stand underhave

about
to
across

artistic

treatment
we

bridges
have

influence

enough
carried

prevent
the has

this,
Thames.

shall

another

monstrosity
A which still the

worse

mistake

been
to

made
a

with

the

Tower

Bridge,
which in its

public imagine
and

be

very

fine

thing, but

architects
external
towers

artists
a

regard

with and

loathing, as tawdry

being,
the

appearance,

gigantic
a

sham,

stone

being really only by it,while

massive which any

skin

concealing
are

the

steelwork, and
to

actually carried
the

they

made

to

appear

support
of if the

suspension
would

chains down

carrying the
the this
an

end

sections
at
once

bridge,

pull
on

masonry

they

reallyhad
out, at

drag

it.

All

foolish that

work
the

was

carried steel-

immense

expense,

from

idea

naked

STATE

AND

MUNICIPAL

ARCHITECTURE.

173

work

would

have
eye

been of

shocking
would with

to

the

eye

of

taste

; whereas

in

reality the being

its
own.

taste

have
a

preferred it,as infinitely

constructive
been

at

least

genuine
the

and

certain

beauty frankly as

of
a

Either

bridge
masonry

should
towers

have

built have

steel

bridge, or

the

should

been

genuine

monumental and done the in

to

structures

actually carrying
This
could

the

high-level bridge
been

suspension
the
way

chains.

have which

perfectlywell
the
course

shown

in the

sketch

forms
are

piece frontis-

this book.
to

The
of the

suspension

chains

of

really
form
to

attached
a

the bar

ends

which high-levelbridge-girders,
;

tension

between and

them therefore

they
should be

could
not

not

be

attached
to

the

stonework,
of the

appear

be

the

ends

high-levelgirders could
roller-beds
to
on

carried

through
and the

the

stone

towers, chains
masonry
one,

resting on

the

masonry, without

suspension
within
an

visibly attached
at

them

entering
have
been

the

all.

The have

structure

would

then

honest
and

and

would

been

monumental

both

in appearance

in actual

construction.

The
stone

question whether
is

the
an

substitution
and
one

of

steel

girders for

arches it should

reallysuch

economic

structural
that

advantage
a

that
more

necessarilybe adopted, is
than
of it has spans,

is worth is true less

little
it

consideration of the
of
use

received.
and in
as a

It

that

admits

longer

consequently
wide is river

ruption interis is

the of
so

waterway,
much in
a

though

this
;

point
but
it

often
economic that and

not

importance
limited
sense

pretended
cost

only
a

; the

initial
the

is less is

than

of it

stone

bridge, but
constant

the

life of and

steel work
whereas

limited,
a

requires

painting
all

repair;
will

well-

built
and

and prove

well-founded
a

granite bridge
events
to

almost

last for ever,

a

saving
been

at

future

generations,
who

point

which
steel

has

rather economic

overlooked

by

those

recommend

bridges on

grounds.

174

MODERN

ARCHITECTURE,

At

all

events, of

it

is

certain

that,

whatever

be

the

method

and

material

construction,
its influence

large
the

bridge
architectural

is

so

important
effect of
a

national

work,
great,
well
as

and

on

city

is

so

that

its

artistic

design
structure

ought
;

always
in

to

be

considered

as

its

practical
under

and,

fact,
of

public
an

bridges
and

ought
an

to

be

designed
so

the

joint
as

advice

engineer
to

architect,

long
.x'sthetic

at

least

engineers
such
a

continue

entirely
beneath

neglect
their

the

clement

in

work,

as

matter

consideration.

176

MODERN

ARCHITECTURE.

House
from

architecture
it has been

is in

very

dilTerent

thing

now,

however,

what

any

other

period. Among
came

dwellings
the
modern
were

of ancient
one

times, the Roman

sense

house and

nearest

to

in the

that
as

comfort
far
as

architectural but much

effect
more

to

be combined
was

in it in

possible;
to

attention
is

paid, even
case

small

houses,

architectural
to

effect than

usually the
decoration

now,
on

especiallyin regard
the
were

interior

dignity and
as

; and

other

hand

the

antique
from

notions
ours.

to

privacy
Roman

and
house

comfort
was as
a

widely
of open

different

The rather
true

kind
we now

in compartments affair, the word.

than that

in

rooms

understand of the
women's
men

It is from
a

the

entire

separation

quarters
constituted

the

part of
kind
of

the

house

occupied by
which in is not

the

special
for

privacy

sought

for

now,

and

called
to

special arrangements
this, because
in domestic that there

planning.
progress

It is worth

while had
with

notice

the

whole

of civilization has
away

the

effect,
idea of

architecture,of doing
must

by degrees
made

the

be Even

special provision
down
mere

for the

seclusion the

womankind.
"

to

the

last

century
to

lady's
; it
was

boudoir"

was

no

ornamental
have
an

adjunct

the

plan
to

necessary

for

her

to

unassailable

retreat

retire

to

after dinner, while that

whose and in such action within

the

gentlemen
manners a

got
as

drunk. Scott

We

may the
own

notice novels

descriptionsof
takes
own

gives in
his
or

place

at

period
from

little before recollection

while the the

time,

his pass

knowledge
of their

description,
are

the

ladies
or

most

time

alone

men

ing huntwait is

drinking.

Now

they
for them
more

hunt

with

men,,
a

and

they
which

in the

drawing-room
more

after dinner, for

All these

period

becoming

and habits affect

brief.
one

gradual
that

ments improvethey
In
are

in social

(for no
the

will
of

question

improvements)

planning
we

dwelling-houses.
for
more

the

sleeping apartments,

it is true,

ask

seclusion

than

DOMESTIC

ARCHITECTURE.

177

before each

"

in the

Middle
the

Ages
same

men room

and
;

women,

even

strangers
modern
;

to

other, sleptin
there
to to

but

in the

living they
The
are

apartments
common

is much
sexes,

less and
sex

demand there
out

for seclusion
is
no

both

occasion way.

for

special
sole
men,

planning
remnant

keep

the

one

of

the

other's

of the there

old
the

separation is
women

the
come

smoking-room
if they
to

for the

and
come

even

may

like,and
it well

often
out

do

; but

it is nevertheless
rooms,

desirable consideration dislike

may

have of the
or

of the
of the

way

of

other

in may

members of the

family or guests
the smell her

who

smoke,
say that

feelingsof
likes
not

lady
of

of

the

house, who

while
she

she does

the wish

cigars very
to

well in its proper smell

of smoke.

place,

drawing-room
Yet there
are

many there is

modern specially
more

requirements in
attached
to

house-

planning, and
everything
been the
case

importance
and

having
ever

quite
in

comfortable

convenient

than

has

previous times.
may be

The

following
of
:
"

taken

as

summing
regard

up
to

the

principal
and

requirements
arrangement
All

modern

house, in

comfort

the

apartments principal

must

be

placed
in

so

as

to

have
of

the best

aspect for lightand

will be
most

warmth, according Sometimes,

best

to

the
case

time of

day they

in

use.

the be

the
for

drawing-room
the sake of

the especially,
a

aspect
view

may

sacrificed windows
a

getting

fine specially

from

the

; but
room

this is generally a doubtful that is

is
more

good.
a

for Sunlight, especially

to

be

occupied
in

for

considerable
to

portion
and

of

the

day,
than

important
finest prospect
room

relation

health
The

cheerfulness

the

without
to

it.

drawing-room,
in consequence and

however,
of crepancy disThe

is the

most

open the is

modifications
of
at

between

claims

aspect
the

prospect.

morning-room,

which

occupied

coldest

part of the day,

N

T78

MODERN

ARCHITECTURE.

and

(if it
nor

be

used

as

breakfast-room;
become
to

at

time

when

neither should
cast

house

inmates
an

have

thoroughly
sun,

warmed,

always

have

aspect
smaller
same

the

morning

between

and

south-east.

In

houses, where
aspect
will

the be

dining-room
as

is used
to
a

for all meals, the

the
sun

desirable,so
while

get

at

breakfast
times
sun

time, in winter
of the

especially;
as

sunny

aspect for other

which
is bad

day,
the

such

south

and

south-west,
of the

brings
; in

the

into it at
room

middle
be warmed

and

end

day,

winter
summer
sun

the

will

enough
sun

by lunch
at

time, and
or

in

the
at

intrusion

of the

southern
are

lunch
the

the

western

dinner, when
their

people

seated
to

round

table both
room

and
in in

cannot

shift
of

places,is apt light.

move

be

disagreeable
is
a

respect
which
more

heat

and
can

The
about
too

drawing-room
and much
a

people

choose
sun

their less

positions
consequence of

freely,and
there, though

therefore
too

is of in

little makes

dull

room,

spite

beauty

of

prospect.
be

The
so

drawing-room,
as

however,
ways, and

ought,
in

where
case

to possible,

placed

to to

look

two

that
and of

it should
more

be
or

generally
less. Two be

easy
rooms

accommodate

aspect
in

prospect
which law

there

are

the

house
to

the of
the

aspect
Medes

should
and

considered The

fixed

according
should and

the look

Persians. the
best

kitchen

always north,
there
constant

both be

for

light in cooking
there in

because

will

always

warmth in
summer

enough
the the

winter, with
should

the

and large fire, coolest whatever directions and

aspect

obviously always
the look

be

the

possible.
be
;

And

nursery

should of

south,
in the every The off

the

preferable
of

character
is
more

outlook for

other

plenty
of

sunlight
children

important

health mother

growth
and doctor

young

than

anything
that. and

else ;

will tell the

have
to

architect
be

servants'
the

quarters

kept separate
house,
but

shut

from

residential

part of

the

nevertheless

DOMESTIC

ARCHITECTURE.

179

conveniently
must

near

at

hand, and
them
or

separate stairs and

go

lines of route
so as

be

provided for

to

about

their

work,

not

to

clash

with

the household
and for

with

guests.
must not

Lavatories convenient

water-closets
and

be

arranged

so

as

to

be
are

access

yet
made

prominent.
this
matter

There in

unfortunately as
private regard
and need
seems

bad
as we

blunders

about find
so

large
In

houses
to
to

frequently
be

in

public buildings.
that and the
entrance

decency they should

them is concealed
to

placed

exit

from
to
our

general view,
or

that them.
as

nobody
This
to
on

be

known

be

going

coming

from

self-evident, considering
but
there is
an

English
want

notions

priety, pro-

extraordinary

of

perception

this

point very
as

often

in the

planning
never

of

houses, things being arranged

the

if the

architect
We may

had find
the

realized

working
by

of
an

his

plan

at

all.

town

house, planned
as a

eminent
out

architect, in
of
use one corner

which of

hall is used
a

billiard-room, and
to

it opens

w.c,

supposed
first

be

speciallyfor

the
; or

of ladies

(that for gentlemen

mansion necessary

being provided elsewhere)

the

another where
out
one

(a country
of these
corner

of

importance
was

this

time)

apartments

arranged
architect

opening
(a
the very

of

one

of

the

billiard-room, the

eminent

one) having apparently entirely overlooked

the

fact
room,

that, though
ladies the may
come

billiard-room
there
case

is
to

in
or

the
to

main

men's
at

either

play
on

look

on

the

game

result
was

in this

being that
within
advent and

one

occasion

an

unfortunate the

guest

blockaded

this apartment
of

for half
in

evening

by
Such

the
are

unexpected
the absurd

his

hostess

the

billiard-room.
which may be

indecorous such

situations of There
cut
a

provided

for

by planning
actualities A

apartments
life. be

house is the

without

the realizing

of

everyday

sanitary
much
a as

question also. possible from

water-closet

should
of the

off

as

the

remainder

house.

I have

seen

plan.

i8o

MODERN

ARCHITECTURE.

very

recently,of
a

large mansion,
was

in

which, in
out out

two

of

the

best

bedrooms,
off

water-closet

formed

of

corner

partitioned
graceful perfectlydismore

from

the

bedroom,

and
even

opening
in be
an

of

it
"

arrangement,
a

inferior

house, much
in

in

large

mansion.

It

may

question whether,
many baths persons and
to

mansions

of

large size, and

where

there

are

provide for,

all the
not
as

water-closets

(along
a

with

lavatories) should
from That for
of
one

be
is

grouped
required
the

in in

tower

disconnected partially

the

house,
is of

workhouses,

asylums,

etc.

which form

admittedly
building
most
so

most

sanitary arrangement
a

inhabited for

by

considerable Such
have
a

number
tower to
on

persons

is the

sanitary
that

another.
could

could it
on

be
one

planned
the floor,
women-

men-servants
on

access

gentlemen
servants
on

another

floor, ladies
The

another,
be
to

and

another.
too

would difficulty
or

prevent

the
too

erection

being

prominent
; but

proclaiming

its

object
a

clearlyfrom
management.

outside In

this

is not

insuperable
in

with

little
to
over

any

case

it is

always desirable,in contiguitywith

in the admitted

order
or

simplify drainage, to get

each
every house

water-closets

other, even
other should
bath
sense.

though
On

they
the

may

be

completely separated
not
even

in

other

hand,

smallest of
bining com-

the and

barbarous

arrangement
in
one room.

be

water-closet

Such

thing ought
two

to

be
new

unheard

of in the

present day

yet I have

seen

plans
sinned

of

houses, very
manner.

recently, both

by architects, which

in this

Drainage
known
as

must

be

without methods

flaw.

Everything
the

that

is
to

now

to

the

best

of

drainage
to

is accessible

the
be

student treated
in
a

in books of in

speciallydevoted
here, only
are

subject ;
be borne

it cannot in mind

detail

it should their
can

that
and air

house

where

people

passing
of

whole

lives, night
the

day, the complete removal

all that

contaminate

DOMESTIC

ARCHITECTURE.

i8i

and
case

be

danger

to

health

is

even

more

important
do
not

than

in

the

of

public buildings
meet

where
for for

people
a

live,and
No
amount

where of

they generally only picturesqueness

will

short

time.
in

atone

defects
come

the

drains.

In

the

country the additional

is to be

question will
that
can

in of how

the
to

drainage
into

disposed
of
a

of ; but

hardly
we

be
are

said here

come

the

subject
in the

architecture, which
or

considering,

whether
tank
water
at

town

country
drain

house.

An

automatic flushed

flushing
waste

head

of

the

system, and
a

by the

from
In
a

sinks, wash
house

basins, etc., is
the
a

highly desirable
water

addition.
a

country

supply
the

of

will

be

special
will house. roofs

consideration, sometimes
necessitate Rainwater
a

considerable
in upper

and difficulty,

storage

cistern

part of the

should off

also be
"

stored, the

first

washings of the

being
If
room

run

by

separator."
is

country

house

lighted by

electric station

an light,

accumulator
course

is

required.

The

generating

will

of

be

separate outbuilding.
Rooms
when for the should
season

be
is

capable
such

of

ventilation
cannot

by special
be

means

that

windows

kept
should

open

long.

Clients
to

seldom

demand it.

this, but
are

they
best of

be

encouraged

think

of

Sitting-rooms
air from
or

ventilated

by the admission
or over a

of warmed

the

back

the

fireplace
can

ventilating by
the

coil

radiator.

Bedrooms

be sash

ventilated with
a

simple arrangement
at
are

of
In

the
summer,

raised
for

lower
a

closing board
windows be used.

the
the

foot
best

private
no

house, open
other
need

form

of

ventilation,and

What The which

house
are

architectural
is
a

expression
of

are

we

to

give

to

all this ?
some

collection
for

comparatively
or

small

rooms,
as

of

required
some as

residence
rooms

reception, some
for

sleeping
work of

apartments,

service

carrying

on

the

82

MODERN

ARCHITECTURE.

the
the

house hall

"

cooking, cleaning,etc.
will have staircase,
a

; and

one

section
of its own

of the
as a

house,

and

function
to

general

passage-way

and

common

centre

the

remainder.
are

Whatever

the
in
a

general
house
on

architectural which

treatment,

there
be

three

departments recognizably

plan
the

should

always
:

and distinctly

marked and

exterior

design
If the

the

entrance
comes

door, the staircase,

up
to

the

sitting-rooms.
have than
the
a

staircase

the

exterior it
out
as

wall, it should something

and that
more

special window
mere
room on

which
a

marks
of

;
a

window

different

size

shape
it is

from

rest

and

different

level,and

showing
and

independent
the well

of floors.
a

If the feature

.staircase is central
above

lighted
position
to

from
as

top,
as

lantern
it
mean

should
a

mark

its

give
is
a

dignity internally;
way

flat

skylight
in
paratively com-

such
to

staircase interior
humble
or one

of

finishing it,whether
the house
is
a

regard

exterior.
and be

Even

where

the
no

sitting-rooms small
in difficulty

and

tending, unpre-

there

should
a

distinguishing their
and

position from
to

certain

degree

of

emphasis
size
or

dignity given
architectural

their

windows,

either

by

larger

by

embellishment.
As
two
or

to

the

general
systems

treatment
or

of

the

whole
may in

building, there
be
one

are

three

which principles various block been

"

employed,
of

(i)
the

We
or

may

include

all the

apartments
the
a

symmetrical

nearly symmetrical
era,

favourite
deal
on

method

Georgian
through (2) We

which

has of

good

revived any

more lately,

the may

influence

association

than

other

grounds.

separate
the

the residential

portion,the superiorportions
them
two

visibly from
distinct the of
"

service of

portion, making
treatment.

separate and
we can

blocks

contrasted appear

Or
like the

(3)

make

whole
a

building
of

outwardly
of
"

putting together

number

various the
"

apartments

different

shapes

and

sizes

what

is called

picturesque type

of house.

If this latter

84

MODERN

ARCHITECTURE.

of

the

mansion,
in which

however,

is that
more

just
than is

mentioned

; it must

be

house be

something
for. The
of

ordinary private life

is to

provided
called of

distinction the of

important
In
a

as

the afTecting

architectural
so

treatment

building.
the inevitable
was

mansion
more as

properly practical
we

the the

segregation

offices
;

and

portions
have class

building
to

seems

though,
so.

shall the

occasion
"

notice, this
may
a

not

always

Under

house

"

we

include certain of
at

those

dwellings in
of

which

ness, spacious-

comfort, and
without
the

degree

dignityarc
"

sought for, but

"

element
aims

state.
on

The
a

cottage

is

the

class

of

dwelling which
or

comfort which
is the

small

scale,without
rather

dignity playful

spaciousness,and
treatment

in

picturesque and
suitable.
we separately,

architectural Before

most

considering each
concern

class of

may of

note

some

points
studied
omission houses

which

all
to

them. of the

The

plan

each

is to

be

in relation

the

points
of

compass.

The

frequent
of

of any

indication for
of

the compass
a

direction, in plans of
indication this north
an

prepared
want

is publication,

curious
to

the

frequent
architects.
is
as

thought
of
a

in

regard
without
a

subject

among

plan
as a

house

the
;

point inserted
condition
of the

incomplete judging
the

plan
has

without been

scale

essential
The

for

plan

omitted. windows
of small

placing
same a

drawing-room
so

and

dining-room
in

with

the

frontage,
mistake
the
same
"

frequently seen
reasons

the

plans

houses, is
not
to

for way and

are

already given.
suits

They ought
not

front

; what

the

one

does avoided
are an

suit the other.

in

Long
or

corridors
;

passages
waste
a

should
room

be and

the

house of
or

cottage

they
;

of

indication
be allowable of
at

defective
even

planning

in

state
one

mansion

they

may

admirable is that the

in

effect ; should should

of the characteristics

the
its

mansion

plan

have
not

superfluous space
overlook the entrance

disposal. Sitting-rooms
or

door

the

approach

to

it,at

DOMESTIC

ARCHITECTURE.

185
indeed
up be
to

all
owners

events

not

prominently
house
to
or

; it

may

useful
door

to

the

of the

to

see
"

who
at

is

coming
"

the it is

in time

to to

decide visitors
are

whether
to

be

home
up
to

or

not, but
door

embarrassing

drive

walk

the

with

the

feelingthat
transit.
In

they
every

being studied
of

and

criticised
to

during

the

class

house, from
be

mansion in relation

cottage, the architectural

the
site ; not and

design
regard regard
the main

should
to to

studied

to

merely

in in
to
are

the

practical questions
in the
most

of

level

gradient, but
in and

placing it
features
the

effective As far
as

manner

relation
texture

of the

site.

colour
to

concerned,
harmonize

building materials
with
the

indigenous
If
a

the
is to and

district be
seen

will
in

best

landscape.

house

combination
of line ; the

with

trees, study simplicity, mass,

contrast

horizontality
compete
; in
a

building should
In
a

with

the

trees, not
is demanded
:

with

them.

low low

situation, a loftyhouse
and

lofty situation, a
stands
lower
on a

design solid-looking

and

if the

house

slope,the highest portion of

of the rock-like the

it should should
as

rise from be

the

end and

slope.
in

Seaside

houses
to
an

essentially
power
to

solid

character,
of
storm

appear

having
situation. well

withstand American

assaults

in

exposed

Some

architects

appear

to

understand
a

this very

Architectural
on

expression
of the
aim
at

in

dwelling-house
except
in
a

depends

most

the

treatment
one

windows,
a more

large mansion, by
a

where

may

grandiose
architectural columnar
an

effect

more

prominently
smaller
houses
one

marked
a or

and

decisive
use

treatment.
on a

In

playful
other is
a

of
of

features

small

scale, in

portion
very

interior, is often
fashion
now,

effective this

by
kind

contrast, of
resource

and

favourite

though
an

is sometimes

apt

to

look

rather

like

tion. affecta-

Variation
use

of
more

colour, tone,
different

and

texture

produced by
different
and

the

of

two

or

materials of

for

parts of

the

walling, is

great

source

individual

picturesque

86

AfODKRN

ARCniTECTURK.

expression
attention.
as

in

house, and
introduction which tiles,

one

which of

does

not

receive

sufficient

The

highly
are

coloured
so

materials, such
of in what

ornamental de

the French
is detestable
;

fond
a

they

call inaisons
a

campagne,
worst
taste

in
more

country

house, and
subdued
two

sign

of

the
of

but

the

quiet

and

distinction

colour

produced
often
way

by
a

the
very

use,

for instance, of effect.

is
a

different timber

stones, may
in the

have

pleasing

Ilalfmere

work,

in which is

it is
never

generally used, really a

timber brick form

affectation

; the

construction
to

one,

but
to

only

timber

applied

the

outside

of

stone
a

or

walls

imitate

of

building
used

which where
or

was

formerly
was

timber
to

easier
at

cheaper
or

get

than
ployment em-

stone

brick.
on

Its

the
is

face

of
an

wall, for show,

only

anachronism. archaeological

Everything
of
be avoided in
or

like pretentiousness effect

a

is

to

dwellingsmall.
A

house, large
mansion
IG.

may in

be

dignified,

S6."

I,I;T

KNTIOIS

HOISE.

costly
in its
or

material, sumptuous
but
not

largeness
as

and

massiveness
attract

of

structure, A

pretentious

if his

strivingto
manner

notice.

gentleman's
be
what some-

private house, like

reserved
and house

and

conversation, should
towards

modest,
is
on one

reticent

strangers.
is is
a

Solid
another.

dignity
Fig. 86, example
as a

in
a

thing, pretentiousness
lake
shore and
at

house
a

the

Chicago,

typical
studied

of

pretentious house,

may

usefully be

warning.

DOMESTIC

ARCHITECTURE.

187

The
his

curt

and essay
to

pithy apophthegm
"On
"

with
"

which

Bacon
are

commences

famous
not

Building"
"

"Houses
in
a

built

to

live
and

in, and
as a

look

on

is true

enough
of

broad

sense,

protest against the

architectural
the
a

neglect
"

practicalplanning
much
mansions the

in

favour for
in

of

mere

effect

protest very
great

called
for

his
and of in with
must

day, when
state
was

building
of

of

mainly

show

kind

passion
to

in which each the

leading

families

the

time

endeavoured

out-vie
on

other, and

sometimes,

their
no

extravagant

outlay
means

building,
it up.

left themselves
the maxim

adequate
taken
cum

for

keeping

Yet
to

be of

grano,
we

especially in regard
have

that
"

largest

class

dwelling
and
no

which

distinguished as
of

the the

mansion." first
sideration, con-

Convenience

commodiousness
"

plan
of

are

doubt

the
class is

proper
are,
to
a

basis
some

the

whole. built
"

But
to

houses

of

the

highest
be. of
a

extent, kind think

an

look
for

on,"
the

or

should

It

rather
residence
not to

poor
to

of

ambition

founder
in

great

only, of
effort
to

interior

comfort

the

house, and

make
and

produce
(which
In

something
is the for of
was

qf architectural
from

grandeur

effectiveness
on

quite

different

pretentiousness)
and his

the

exterior. the

glorious days of Vanbrugh

external

compeers
for

passion
suites else

dignity
was

and

palatial effect, and

carried
to

grand

reception-rooms,
sacrificed
to

excess,

and

everything
even

it.

At and

Blenheim

the

chapel
scale.

balances

the is
a a

kitchen

in the

plan

elevation.
on a

Seaton

Delaval Here

(Fig. ^ty)
we

characteristic colonnaded

example

smaller

have

large

courtyard, the
stable
mass

colonnade

masking
leading
up

the
to

servants'
a

wing

and

wing

on

either
with the
a

hand,

great rusticated
the
entrance

of

building
on

lofty flightof steps

floor
at

to

door, enclosing
two
sees

ground
recesses

only

two

great
and

halls
one

and

rooms,

with

turret

the be

angles,

hardly

how

the

bedrooms

above

could

arranged.

1 88

MODERN

ARCHITECTURE.

except
structure

with

entire

disregard

to

the

architectural

hncs

of is

the

; and

yet it is impossibleto

deny

that

there

some-

FIG.

87."

SEATON

DELAVAL

(vANBRLGh).

(fROM

DRAWING

BY

MR.

J.

W.

TWIST.)

thing exceedingly imposing

in

this

powerful

mass

of

building,

DOMESTIC

ARCHITECTURE.

189
the
entrance seat
name

with

its

great flight of

steps
the

up

to

;
an

something
old

which

seems

worthy
of the have any

of

residential
romantic
verse

of

family,
house,
Dalton his

worthy
which

too

high-sounding figured in
other of
we

of

the
"

might
or

Scott's
proper lost

as

aptly
which in
at to

as

Tower,"

the
not

names

adorn

minstrelsy.*
mansion in

Have

something
of effort least
a

the

modern

losing sight of
power?

this

kind

architectural combine
such

dignity and
grandeur
of

Is it not

possible at
with

of architectural

expression
this
in

greater convenience

plan

Bacon passages

evidently
in his

had
on

his

mind

in

some

further

Essay

Building.
to
a

The very with

question

of servants'
:
"

quarters

he

indeed

appears stand
to

dismiss

summarily
some

As

for

let them offices,

to

at

distance,

low
be

galleries presumed
necessary

pass he

from

them
the

the
"

palace itself."
"

It may

that

used

word
a

offices

as

comprising
he does

all the

practical portions of
to

building,though
the

refer afterwards
in the open

the

possibilityof
as an

servants'

dining-room being
the
use

basement,
staircase dinner
a

objection against
in

of

central the

area,

"for

that

case

you
steam

shall

have

servants'

after
a

your

own,

for the

of it will

come

up

as

in

tunnel,"
some

remark
house
at

probably prompted
of the Seaton

by personal experience
The

in

great

period.
Delaval be

arrangement
answers

of

the

servants'

quarters

exactly thought
house.

to

Bacon's

recommendation,
distant for

but

it would
in
a

most

inconveniently
come

service

modern

To Bacon's

to

the

residential
way it is
to

part

of the

mansion,

however.
with

idea

of

the
;

harmonize

convenience of

effect

is worth

quoting
system

not

only

characteristic

his

day,

but

it is the

"

And

as

I rode

by

Dalton

Tower,

Beneath
A

the turrets
on

high,

maiden Was

the castle wall

singingmerrily."

190

MODERN

ARCHITECirRi

on

which
to

many
our own

great

houses
:

have

reallybeen

laid

out, almost

down

day

I "First, therefore, you

say, you
a

cannot

have

perfectpalace,except
is

have

two

several

sides ;
a

side for the for the

I

banquet, as
:

si"oken of in
one

the book
and
not

of Esther, and other

side

household understand
to
on as

the

for feasts sides

to

triumphs,the

for

dwelling.

these be

be

only returns, but

tower stately

parts of the

front, and
to

uniform sides of

without,
a

partitioned though severally within,and

and in the midst of

be

both it

great

the front, that

were

jointththem

togetheron
And
one

either hand."
on
room

he

goes

to

say

that

on

the

one
on

side

he

would

have side the

wc

only
hall

goodly

forty feet high, and

a

the other

and

chapel,and
on,

winter lower

and

summer

parlour ;
here should balance
a

and

gather,
feet

further

that

the

rooms

be
a

sixteen

high.
block

He
on

evidently intends, therefore, to

one

one-storied block
one on

side
two

of

the

centre,

with

two-storied
treated up into This it would
"

the other, the

in
one

sides

being uniformly
side divided small
sense,
ones.

the
several

side

large hall,the though

still
modern

other
not

ments, apartnever

very

would
be

the satisfy

architectural the main that

but

perfectly
to

to adopt possible

features
should the

of Bacon's

plan, and

treat

the other
as

two

sides

so

they

balance architecturally
such
a

each

without

displaying on
an

exterior

rigiduniformity uniformity and

crux

would

constitute

architectural

falsehood. demands of

It is in

reconcilingthe opposing
however,
; for

convenience,
mansion form

that
the
to

the

great architectural
most stately,

of

the

consists

highest,most
be attained

dignified
or

of mansion

is not

without

more

less be

symmetrical
reminded
house
seems

treatment.
at

That
The

is

just what

people require to
in
an
"

of

present.

element

of stateliness

great

in

danger of being
a an

lost ; it is almost

assumed

thing
system,

that

such

house

is

now

planned

on

the
of

rambling
as

"

making

irregularconglomeration

parts which,

192

MODERN

ARCHITECTURE.

evidently contains, grouped

bedrooms
bedrooms of the house the
;

around

the

new

the staircase,
the

best

the

left-hand architecture carried

is

wing contains
matches in its

inferior
That

; but

exterior
treatment

exactly. purity.

is the

symmetrical
where
a a

out

It has
it is

its merits

grandiose effect
sham way
not

speciallydesired, but
one

certainly rather
to

of

designing, and
been

is inclined balance
treatment

ask

whether
masses

it would of the the old

"

have

possible to varying
house
of

the

general

two

wings, while portion

their will
one

in detail.
remnant

In of
to

central

of the

be

seen

the

nonchalant
we can no

system

making
it with

room

passage

another

longer

allow

bedrooms,
a

but
room,

the billiard-room

is here corridor

passagein
two.

cutting

the
is

This, however,
consequence. An is that

of

little

practical

instructive
on

and Mr.

interesting plan
E.

which
an

J. May

has

remodelled
one

old

house

in Dumfriesshire, mansions

of the

old
a

Scottish

contained block of

within

single rectangular
some

walling,with

low

buildings out-

symmetrically flanking
Fig. 89 shows,
fig.

it.

on

small

scale, the
the modern
tions the addi-

89.

"

jakdine

hall

original house remodelling of

of the

Fig. 90
Here
as a

(original

state).

it

also

are

made them
to

on

each

side

old

house the the

centre,
has

but

by

treating
enabled
the
rooms

partly as
their

returned

wings
far
as

architect varied

been

vary

dispositionas
the

purposes

of
of

require,without
;

destroying exceedingly

the

symmetrical design
architecture been of have

the
old
to

front house have

and

with
as

formal

the

retained

the centre,

it would
a

impossible
of

introduced

anything

but

symmetrical

treatment

DOMESTIC

ARCHITECTURE.

193

the

additions
to

to

the

main

front.

The of

architect freedom

has, however,
which I have

ventured

give just that

degree

"OUTH

Cl.tVATIOn

-5"e-

KIG.

90."

JARDISE

HALL,
SHADED

AS

REMODELLED BLACK SHOW

THE

(mR. E. J. MAV). ADDITIONS.)

(tHE

PORTIONS

194

MODERN

ARCHITECTURE.

already suggested might

different destinations
a

be the

adopted
rooms on

in

such

cases,

where

the

of

either the

side of the
"

centr*.

required it,in
room on

different

grouping

of

windows

the

diningform its

the

right having three

while

large windows, which

in

principallight; portion on bay

window the

the

drawing-room,
derives
on

the

corresponding light from

two

left

wing,
west,
;

which has

its main front similar

the
of

facing

the is
a

only

windows of

smaller
in the
a

dimensions
upper windows

and
on

there each

degree general
It may best

variation
of

side, yet the

character be observed

symmetrical
the
main

front

is

preserved. sufficiently
south
to

that

light looking
; but

is not
see

the

light for
be

dining-room
otherwise
room

it is not
as

easy

how

it could

arranged
of the One the
has the the is
a

in this case,
a

putting

the
for

at fireplace
a

the

end

is not

good arrangement
alterations
was, at

large dining-room.
"to

object
awkward
been

of

the

admittedly,

get

rid

of

flightof steps
the old

the

principal entrance."
the

This

done

the greater portion of by transferring

steps

to

in interior,
"

hall, with

six

steps connecting this with

in front

new

lower

hall,"which
is
an

is built out, and

of which

This porte-coclih-e.

"improvement"
in

demanded,

apparently,
a

by
yet

modern
one

ideas
cannot

of comfort

arrivingand
as

alightingat
Seaton

house

help remarking here,

more

at

Delaval, how
exterior whether

much

finer and
up
to

imposing
entrance

is the

effect of the
a

flight
the

of

steps

the in

; and

it is of the

question

momentary steps
under

gain
cover,

the is

comfort

visitor,by getting the

for

entirely
and

compensation

destroying
awkward fortune

their architectural
excrescence,
to
2i

effect

introducing that
Those
who have

always
the

porte-cochhe.
old and

good
with

possess up

an

dignified-lookingmansion
may

its

flight
before

of steps

to

the

entrance

well

be

asked
the

to

pause of be
a

they spoil the

rather

effect

of

the

house for
"

for

sake It may

modern,
said that

exaggerated, demand

cover."

DOMESTIC

ARCHITECTURE.

195

the

drawing-room
from

and

dining-room,
other. This house
one

in

this

plan, are probably

at

great
been

distance
otherwise
even as

each

would
been
an

have
one,

arranged
it is, this
in
a

had is

the

entirelynew points
The which

but,
be

just
of this

of

those

may

admitted
1 10

house

size

and
to

class.

promenade
door

of

feet from

the
at

drawing-room
least
serves

the show

dining-room
the

is not

and ineffective, the

is
no

to

guests
out

the

extent

of

house. doubt

The
a

opening
of

of

bedrooms

direct

of this

corridor
upon
one

serious

defect,one
an

of those

things forced

by

the

rigid lines
to

old-fashioned, symmetrical house.

close
to

The

entry
at
as

the

new

bedroom,
a

the

dining-room
And
one

door, might
add
to

least have
there it is the

been

little less marked.

state

may

that,

long

corridor
worth

from

drawing-room
to

diningthe

room,

would

have

been

while

have axial
when

placed
line of
both

dining-room
corridor,
were
so

fireplacerecess
as

centrallywith
a

the

the

to

secure

complete

vista

doors

opened.
This, which
is
an

addition

to

formal
some

mansion,
the of

exhibits

both which

some

of

the

fine
to

points
the
;
a

and

of

disadvantages
formal
and

are

incidental of

employment

the

symmetrical type
seems

plan
to

type which, in entirelynew

almost
of
a

houses,

for

the
now

present
built
"

be

discarded
new

; we

rarely see
except
of

anything
the due
"

in

the

shape

mansion,
be

rambling

type.

Yet

it would
to

surely plan
a

possible, with
of
out

thought

and

consideration,
without

mansion

the

symmetrical type
main corridor
a

getting

bedrooms
or

opening making
; and
a

of the

of the

entertaining rooms,
in

back-stairs
urge loom heir-

balance that

sculpture gallery
who
can

the

elevation
a

I would
to
more

those
for

afford

to

build
turn most

great house,

be

an

generations, should

their

thoughts

towards

the
of

of realizingthis possibility

dignified and

statelytype
fitness.

domestic

architecture, without

sacrificinginternal

196

MODERN

ARCHITECTURE.

propriety,and
and it is well As
an

convenience. worth

certainlythink
I

it may

be

done

trying.
at

example,
of
a

least, of the attempt,

mansion
a

give

the

plan

and in

elevation sketch

proposed
which

of this

character

(Fig. 91),
at

form

only,in
elevation
more an
or

statelysymmetry
a manner as

is aimed the

while

treatingthe
arrangement
mask for

in such

to express

internal

less,and
which

not

leave
not

it

mere

architectural
to

interior of but
on

does
on

correspond
side of

it.
centre

The
is
; the

general

mass

the the the

facade
treatment

each of the

the

symmetrical, dining-room
with
an

details the
on

is distinct
entrance

right,facing
the
in

towards

front,

easterly aspect,
on

drawing-room
the

the

left

having
two

its back hence

it, and
rise

facing
to
a

opposite
distinct

direction
treatment.

; the

giving
it is

perfectly
not

The

central elliptical

hall

is

the

most

convenient sake
a

of
a

shapes

on

plan, but
The

employed
and

here

for the

of

specialeffect.
block
the
at

servants'
to

quarters
state

offices form
and
rooms

separate
with whole

right
;

angles
and
are

the

block,
bath
one

connected of
or

it at

angle

the

latrines

and
in of

the

establishment
near

all combined

tower two

turret

placed
up

the

entering re-

angle
groups

the

blocks, divided
on

into

separate

with

separate
of
a

entrance

each

floor. whole

The of the

existence

large central
a

hall, risingthe

height

building, is
it is

almost
or

sine

qud
not

non

in

the

symmetrical
and be

type of mansion
as

; it may to ;

may
to

contain
latter
a

the
very

ing stairs,accord-

proposed
or

give
but,

these

spacious
may

grandiose
said the
that

effect
a

not

unless in

this is the
a

object,it
staircase
to
a

hall
more

containing
suitable
to
a

itself

general

is,on

whole,

public building expression

the
and

than of

private
in

mansion, both

as

matter

of

convenience

planning.
is meant
to

In

public building
to
one

grand

staircase
can

generally
so

lead

special point,and

be

arranged

FIG.

91."

PROPOSED

mansion;

UV

THE

All IN

HOR.

(SVMMETKILAL

SVsTEM

WITH

MODIFICATION

DETAIL.)
basement.

1. 2.

from kitchen. Servlng-lift Gallery of billiard-room. Gun-room. Butler's Glass pantry. and china.

6. 7. 8. 9.
lo.

Lifts from Stores. Workroom.

11. 12.

Cloaks,

etc.

3.
4. 5-

13.
14.

Housekeeper,
Hall porter.

stair?. Bachelors' stairsMen-servants' stairs. Women-servants' Collected flues.

15.

198
without rather
much intended
to
a

MODERX

RCUl

TEC

Tf '/?/"*.

difficulty ; in
to

private dwcUinii
which is

the

staircase

is

lead of

to

gallerygiving
to
access

all-round

cation communi-

number
more

rooms

equally required,
arc

and

this is
out

easy

to

arrange

for if the where

stairs themselves there

is
room

kept

of the

main

hall, unless

for

V^"KKHAMHAU
AL-reMATums
v"'

KKM
"Niiwn"""'.,

V,

OHnilNDFUHJHiWN.

FIG.

92.

"

PUN

OF

U'ICKHAM

HAC.L

(mK. MILLAR!)).
(J. Hreakfast-rooni.
K. S.

A. B.
C. D.

Drawing-room. Librarj-. Dining-room.

Garden entrance. Billiard-room.

H.

Trade Kitchen

entrance.

E.
F.

K. L. M. N.
O. P.

(top lifcht). (do.). Scullery

Ser\'ants' hall.

Hall. Main
Own

entrance.
room.

T.
V. W.

Housekeeper.
Stores. Butler.

Conservatorj-.
Terrace.

Smoking-room. G. Dairy (top light).

complete loggia
that
scale
can

all

round
case

the
in the

stairs
very

on

the

upper

floor ;

and

only

be

the

largestor actuallypalatial
the character
of
a

of

mansion, which

almost

takes

public
of

building.
As
an

example
to
an

of

the

"rambling"
of moderate

plan

in

the

case

additions

existing

house

size, but

enlarged

200

MODERN

ARCHITECTURE

plan,
curved

in

which

fine
the

effect

is

produced

by

the in

sweep
two

of

the

portion of
this

garden
has

front
a

ending
little too of

the

turrets,
ance appearentrance.

though
of The

portion
the

perhaps

much

the

being

main

entrance

instead the
of

the

garden
the

point is, however,

a

that

architects effect with

have

succeeded

in

combining
of

certain

stateliness

rambling type

plan.

FIG.

94.

"

"cKAGSIDE"

(mR.

NORMAN

SHAW,

R.A.)-

The
Norman

well-known Shaw for

house, "Cragside"
Lord of may has
a

(Fig. 94),
forms
one

built
of

by

Mr.
most

Armstrong,
school of be

the

typical examples
architecture
which who

modern said
to

English
have
many

domestic invented
It for

almost had
in

been

by

Mr.

Shaw,
a

this

respect

imitators.

represents

style of

domestic

architecture

which

depends

DOMESTIC

ARCHITECTURE.

20

its

effect and
a

mainly
on

on

irregular picturesque grouping

arrangement
of the windows
it may
a

of
as

the
seen

masses,

the
"

; and
to

in such

house
a

as

Cragside

"

be

said

represent the

applicationto
which where

large mansion

of

style of architectural
to
a

design
cottage
of the
ment treat-

might
the

be

equally applicable
great merit
here is the
a

small

house

or

only possible architectural

The

effect would

be that

picturesque.

of the

style of

architectural of the
in

represented
in shown
ornament

entire

absence

horrible
a

quality of pretentiousness;
measure

merit
reserve

which
or

consists
straint re-

great

the in

architectural the

design

; no

adventitious
no

being introduced,
but the be

and

crowning
kind of

features merit may

simple roofing.
more

This

perhaps
with
in

fully realized
another
is
a

by

comparison
house
shown

the

bit of

modern
rather

Fig. 95,
of the which

which

typical specimen dwelling ;

to
a

modern
one

pretentious
would

house

expect

find
of

inhabited late the that the

by
nouvcaux

nouvean

ric/ie, except
have
grown
sciously con-

that
so

riches

knowing

they will

sometimes

adopt
of domestic

quiet and
of

unassuming style
FIG.

95.
THE

"

THE noHV"au

Tl'KKETS

architecture,which
taste
an

they
older in

have

covered OK dis-

rickt.

represents the
will desire
in Portland
to

class of

society, justas they

than
a

rent

small In

house

Mayfair

rather the

bior

one

Place.

this

example, however,
volumes. the The

Mansard

roof

and

the
"

metal
"

crestingsspeak
has also

style represented

by
and

Cragside
however

undoubtedly
the

quality of homeliness,
of it
a

if it is desired

that

prominent
be

characteristic of

ing, dwellis

large, should
Yet
to
a one

that

homeliness,

here

doubtless
is

attained.
in

cannot

help feelingthat something

a

lost

applying

great

house

style which

would

be

202

MODERN

RCllITECTURE.

equally applicableto only

there the cottage
may be

cottage
and

"

which, in
As

fact, appears

to

be

developed

enlarged.

already observed,

dignity and
are

nobilityof good

effect without
not

ness. pretentiousdignity
in and the

There

other

but qualities,

nobility,
modern
as

picturesque
even cx"

represented
so

in

good
as
"

an

ample
and
same

Cragside," by
the

others eminent We

tect. archi-

have

got
late back from
;

used
but

to

it of
turn

just
a

for

moment

Cragside
Delaval.
may the The say,

to

Seaton
one

Surely
"

How

are
"

mighty
modern

fallen !

example
more

is,no

doubt, the

comfortably planned
house,
matter

but of

in

the

tural architecit is

dignity
simply
crushed

by
I

comparison.
maintain
FIG.

And Seaton
"

that is not
; and

96."

HOCSK

NEAR

DRESDEN'.

Delaval
"

tentious pre-

it has

much of

higher quality
"

it is

grand

surely

the
to

loss of this element be

grandeur in great

houses

is

something

deplored.

DOMESTIC

ARCHITECTURE.

203

Leaving
some

the

"

mansion
methods

"

for

the

"

house," let
which

us

look

at

of

the

various

of treatment of

modern

tecture archi-

suggests
We much

in the
our

larger class
continental
we are

ordinary dwelling-house.
are on

shall
more

find that
naive

neighbours
the
matter

the whole
we

than

in

of

plan, while

KIG.

97.

"

MOUKKN-ANTIyUE
BOILEAU AND

KKKNCH

CHAtEAI'

(MM.

KOOLET).

show and

in

the

same

respect
than

less

variety

%
;P!
'

inventiveness houses in tend

the

Americans.

German

to

be almost

always

pretentious
often
A

architectural
in

style, but planning. (Fig.

exceedingly simple
residence
at

suburban
is
an

Dresden both
naive

96)
Look
ment

example
the

of

qualities.
"

at

curiously
all

arrange-

of the

rooms,

opening
of

into

each

other also

and

out

of

the
the

square
two

central

hall,out

which

open

unconcernedly
doors.
all ;

lavatories,in the sight of all the

of

sitting-room

The
to

treatment

aspect
on

is

the the

most

singular of
and

according

the

compass

the

plan

dining-room

music-room

face

204

MODERN

ARCHITECTURE.

north, the
and modern
entrance

two

other south.

principal sitting-roomscast, Fig.

97

the

kitchen
of
a a

gives
old

the

view

and

plan

French
to

ch^iteau

in the

chateau

style,and
no

with

plan which,
a

English
taken

eyes, off

seems

simply
modern

plan
house.

at

all,with

long

passage

the of

outside
a

of the house
wc

Fig. 9X,
sometimes with

however,

part of the
that in

plan

quite recently
can

erected, shows

large English
show
an

houses
as

many

mistakes

apparently plan.
the the of

ingeniously
The
dows win-

elaborated

servants'

hall
to

overlook front
room

approach
The
in

the

door. is ruined

drawingefifcct

b)'
A,

the

protrusion into

it of the
at

projecting promontory making

room a narrow

neck

in the

just opposite
;

the

bay

FIG.

98."

PIECE

OF

BAD

HOUSE-PLANNING.

window

the

lavatory opens
hall
door

1.

2.

3.

awkward angle jutting into Drawing-room ; opposite bay-window. room Dining-room. and w. to dining-room door c. ; close Lavatory and staircase and openly facing hall and drawing-room door. Hall. Vestibule.
;

nakedly
to

out

of the

close
and ing-room drawis
a

the

dining-room

immediately

facing the

4. 5.

door.
overlooking approach
to to

Fig. 99

hall Servants' door. ; only 7. Kitchen door ; guest before dinner dinner.
6. 8. 9.

front

modern which
to

American
I
a

house,
been it is of the
student

of

route

who
runs

lavatory dining-room pa_"t hands has been washing carrying in against servants

have

not

able
sidered con-

door. Front Butler's pantrj'.

get

plan
be
one

to

best
may

of

the

late

R.
to

Morris
consider
so

Hunt's within

houses, and
himself
a

the

find
this

it useful house
or some

what
or

it is which

makes

look

strangely like

school

charitable
It
two

tion, institu-

establishment arcaded

of kindred between

nature.

is

perhaps

mainly

that

portico

the

symmetrical

DOMESTIC

ARCHITECTURE.

205

wings
the

which is
"

gives
not

it this like

"charitable

institution"
a

character;
house. Mr.

entry

the

entry

to

private
a

Belcher's
of what and
to

Endalls
be

Manor" the
has such

(Fig. 100)

is

very

good example
house in

may

called what

ultra-rambling style of
been
a

design, regard
to

illustrates the

previously
of solid

remarked
a

necessity,in
the
rest

case,

having
mass

solid

feature
tower

dominate

; without

the

of brick

this

FIG.

99.

"

AN

AMEKICAN

MANSION on

(iHE
of
a

LATE

K.

SI.

HLNT).

(House

putting

semblance

public building;.)

house
an

would

seem

all

tumbling

to

pieces,but
for
of

the

tower

forms

anchorage
kind
of

and

central
a

abutment collection

the

lighter portions.
of
is

This

treatment,

cottage-like slices
on a

building, partiallyhalf-timbered, resting

much I
a

solid

centre,

in

favour

at

present, and

is

undoubtedly
the

but picturesque,

cannot

help thinking that

worn

after

fashion

of

it
an

has

got

little

it will be

recognized

that

it is rather

artificial

and

cooked

form

of

picturesqueness.

2o6

MODERN

ARCHITECTURE.

Some

examples

of houses
is

on

smaller
a

scale
one

may

be
manner
"

here of

mentioned, each

of which

typical of

class, of
these
may be

treatingthe dwelling. architecturally

Wood,"
represents
a

Of

Fig. loi,
called

Bullers the old

return

to

what

English type
of of has
treatment

of country
;
a

house, notable
Mr. and Ernest of
in

for its

extreme

simplicity
the architect

type

which

Newton,
others

the

example

given here,

many

equally good,
in

been

chiefly instrumental

reviving, and

regard

to

KIG.

lOO."

THE

"

PICTURESIJLE

"

TVI'E

"

END

ALLS

MANOR*'

(mR. J!F,IXHF-R).

which the
are

he

has

found

many

imitators.
are

With

the

exception
any of

of

strongly commonly
have

defined called
"

there cornice,, architectural

not

hardly
"

what
;

features of
in
not

in

these

houses

they
of

the

appearance

only

homely
fact
so

simplicity but object, in

to
on

economical

construction,
houses
at

though
is money

the

Mr.

Newton's
economy
as

all

events,

much

secure

to

spend
more

whatever

is available

objects

which

he

considers

important

than

outside

architectural

2o8

MODERN

AliCHITECTURE.

economical architectural
than of

considerations, it also
shibboleth, followed
conviction.
its turn kind
a

tends

to

become

kind

of

for the
In of

sake such

of

fashion this

rather
very
not

architectural in

cases

simplicitybecomes
of the
most

kind

affectation, though

disagreeable
of
not

; an

the exaggerated simplicity,

affectation architect should

is

being

affected

; insomuch

that
one

an

eminent

professed to
have

feel it a
to to

compliment "only
extreme
a

that

of his houses house." This

been

taken

be
an

builder's
"

pursuing simplicity
the
to
a

voluntarily throwing
grace

away

chances

of

imparting
and

architectural the
way

and

ment refine-

dwelling ;
time.

it will go

of other

fashions,

in its

own

Anthony
his conviction

Trollope

has

left

on

record, in
be

one

of

his

novels,
stone-

that, whatever
on

might
had
is
some

said

against

mullioned
no

windows

the

score

of convenience
so

(or inconvenience),
much

other

form
of

of

domestic
And

window there

promoted
in

the The

happiness
advantage
and the
rest
as seen

life.

truth
an

this.

of the from
over

mullioned
the

window

in

architectural
the

sense,

exterior, is that window,

of thus

it continues

line

of

wall-plane
of the

the

connecting
the the
; it

it with
a

the
mere

architecture, instead

leaving
from value

window

blank
in

expressionless opening.
sense

Seen of

interior,it has

another

the shelter

same

kind
no

gives

sense

of

seclusion The

and

which

other

form

of

window
so

gives.
as

supposed
and and

inconvenience

of

it exists

only
sash

long
window,

the
with

clumsy
lines is

barbarous

arrangement
in
as a

of

the

weights working
to.
mass

hollow this
is

built-up wooden
considered
rear a

casing^
necessary

adhered

As

long
of wooden

expedient,the
forms
an

casing
excrescence

in the

of each the
seem

mullion

ugly
out

and

unsightly light
and

behind
the

mullion,

blocking
and

the

making
This

mullion

clumsy "boxings"

heavy

from

the

interior.

engineering

of

DOMESTIC

ARCHITECTURE.

209

and

"

casings

"

for the

weights

to

work
to

in is

one

of the

building house-

which superstitions with of

ought
others.

be

eradicated, whether
a

mullioned

windows
and behind
to

or

It introduces with

quantity

unnecessary

flimsy cradling of wood,

it
" "

inaccessible

hollow whole
are

spaces

inaccessible which the harbour idea

except
dirt

by
and

taking the
insects, and
struction. sanitarycon-

thing quite
at

pieces

variance

with

of solid If

and

It is
are

totally unnecessary.
are

sliding sashes vertically

of

speciallydesired, there
this bandbox
in the

other

means

working them, weights. hinges,

without
But

apparatus
casement

of hollow
windows

casings and opening

on

present day

FIG.

102.

"

TUTOK's

HOISK,

OXKOKU

(mR.

T.

G.

JACKSON,

K.A.).

and

hung

in

solid
any

frames,
other
with

can

be

made
window

as

water-tightand
the

weather-tight as and-pulley
a

form

of

; and
to

weightas

window

its boxes
and be

ought

be

abandoned

thing totally unstructural

Figs.
102

unarchitectural. taken
as

and called

103

may

favourable

examples
the
a

of

what

may

be

the sophisticated and respectively

house. and

phisticated unso-

types of mullioned
Mr.
T. G.

The

former,

house

by
is

Jackson, is
on

solid

rather

highly
is

finished
there

house
a

design,

based

Elizabethan

precedents, though
it. This
a

modern sufficiently

touch

about

house

for

college
P

2IO

MODERN

RClIITECrURE.

tutor, and
with little and the

the

manner

in which
and
or

the

study
is

is put in communication

drawing-room,
in

yet entirelycut
passage,
a a

off from

it,by the
the

connecting lobby
a

nice

point

in

plan,
house,

makes,
103,

natural
E.

way,

picturesque feature
is
an

in the exterior.
an

Fig.

by

Mr.

J. May,
the
on

addition

to

old

Kirklevington Grange,
additions

older the in
a

portions contiguous
This is
an

to

the

being

shaded

plan.
of

exceedingl"
stone

quiet-looking house
and
Was

erected

pre-eminently design

district,

with often

pleasing simplicityboth
fashion
in old

and

plan.
the

As

the

English country houses,

garden

HKL

will

:Sii

"

KIG.

103.

"

KIRKLEVISCTOX e.

CKAMCF.

(mk.

J. may).

entrance

opens and

right into
door which
;
an

the

dining-room, though

with

little
rural it is

porch

inner

arrangement
better
not

characteristic be

of

but simplicity, ascertained

of it.
a

had

employed
and

unless

beforehand

that

the client between in

a

understands

approves is

The
not

little ante-room often introduced

drawing
house
on so

and

dining-room
a

feature

small

scale, but

is

an certainly

agreeable addition.
is
a

Fjg.
houses,
in
a

104

specimen
of which

of

an

interestingtype
been erected in who

of
one

modern

good by

many
an

have

district
it
a

Scotland

architect

(Mr.

R.

S.

Lorimer)

made

DOMESTIC

ARCHITECTURE.

specialobject to
and

follow
as

the the
are

style of
proper
any

the
way

old houses
to

of the houses

district,
for
a

suggests

this

design

district in which
The
one same

there

of building. special peculiarities old house, with

out

illustrated
manner

is,in fact,partly an
;

additions

in the
ones

but

he

has

carried

other

entirelynew
of several
attracted

on
were

the

same

principle.

When in

illustrations the

of
a

these

published together
of

Builder^ they
among

good

deal

attention

and
; and

admiration

the

more

artistic

section

of

architects
is
a

they certainly served

to

emphasize

strongly what
that of

very the

important point buildings

in

in rural architecture, viz. with what

may

keeping

harmony

be

FIG.

I04-"

SCCnXH

HOUSE

IN

LX)CAL

STVLE

(uK. LOKIMEJt).

called
be

the

architectural
too

character I think
was a was

of the

district
too

this may Still,

pushed
the

far, and

pushed

far in this instance,

and
to

though
there

experiment
very much
to

very the

interesting one, feeling which

on a

I for

one

sympathized
are

with
be

led other

it.

But One

two

points

remembered

the

side.

is,that
more

when

building houses
refined
of the
to

for

generation which
and the
manner

is much

civilized and the builders

called upon

in its habits

of

life than
is

were

old

houses
that

in

same

district, one
to

hardly
that the

ignore
which

distinction, and
the

consider
two

type of house
ago, and

suited their

inhabitants
and

of, say,

centuries

expressed

taste

is their life,

equally

313

MODERN

ARCHITECTURE.

to

suit

those

who

go

to

live in

the

same

district in
all the

the

present
in

day.
the
same

Secondly,
who methods and

the

family

likeness

between
arose

houses

district in the built them of their

own

pre-railway era

from
to

the

fact that materials selves them-

those and

were

confined practically district ;

the
among

own

they

worked
and had of

in their

traditional other

manner,
a

little means

of

communication have

with

districts ; With such

state
a

things

which

railways
extra

entirely altered.
we

moderate

degree
as we

of

expense
a

can

now

bring
the

materials

prefer,

from
of

long

distance.
arc

Where

available
is
no

building object
foolish
in

materials

the

district
; where
we

there satisfactory,
are

looking
to

further the
the and

they
can

not, it

seems

rather

ignore
more

fact that materials

the

get better
district
can

materials
be

by

rail.

the Still,
the

of the of

used, satisfactorily
of

better

study

the

prevalent character
be made

the architecture the

of

the

district should
new

always

before with it much

the
extent
as

building, and
far
as

style

of the

building harmonized
allow
;
a

altered

stances circumBut this

point

sometimes
to

neglected.
of absolute

may
or

be

done of

without
the

going

adoption
Let he the has

imitation

style of
he
;

the
not

existing old
overlooked
also

buildings.
them,
whether that
he

architect felt
their

show

that

has

influence upon

let

him

study

cannot

improve
them. One movement"
what house is
"

them,

without

architecturallylosing

touch

with

result in

of

what

has

been has

called been than

the

"Queen
to

Anne revive

architecture
a

the
a

tendency

reallyrather
that which
rooms are

Georgian
a

Queen

Anne

type

of

forms

plain rectangular block,

so as

within
a

which

the

arranged

to

present

externally
of the

symmetrical
divisions

range

of

windows, with
One
on a

no

indication

interior

of the Norman

house.

very
corner

large
site in

house

of

this

type, built
is familiar

by Mr.

Shaw

Queen's Gate,

DOMESTIC

ARCHITECTURE.

213

to

most

Londoners,
may well be

and

is
a on

fine

example
prim
system,
as

of

its class. about

no a

There

is what house

called
out

certain
this

dignity
and
a

large
doubt

carried

it is

speciallysuitable
line,and
sites.

for

town

houses,
the

forming

straightstreet
of
town

fallingin well
So far
must
as

with is any

usual

rectangular plan
for this

there

preference
from

type
a

in country

houses, it

arise

mainly

association
reasons,

with
become

period

of

English
to
us

life which late of

or

has, for various

interesting
against the
One

of

years,

partly perhaps
to

from in

re-action

neglect

dislike

it earlier

the

century.
of this type

good

however, quality,
"

the

real

Georgian
very

houses

possessed

they
very

were

almost

always
in

solidly and
detail, and
no

built, substantially attempt except

of its
as

and
this

well of

finished

every have

to

revive

class

house
To

can

any

success

under

such
as
a

conditions.

regard
one

this

plain-looking class
an

house

possibly cheap
merit of and the
mean

is where

therefore the

illusion well

architectural

only
old

exists

solidityas
house

the
more

simplicity
miserable thin
old best

examples
than
a

is emulated.

Nothing

is

cheaply
finished is well

built

of this
In find
on

type, with
of
of

walls

and

coarsely
houses,
as

details.

many
some

the
the

Georgian
and
most

known,
wood-work

we

highly
its humble

finished

record, simple and

invention
or

practicalin
except
of
a

character, and type, but

devoid

of

fancy,
and

from satisfactory

its careful
an

conscientious of
a

execution.

Fig. 105 gives, however,

attempt
at
some

instance

pleasing modern
of

variety in

this

Georgian
and

type
a

house, by the
more

employment
and in the

of contrasted

materials
to

little

richness is usual
near

prominence
actual

given

the

entrance

doorway
is
a

than

Georgian examples.
Mr.
an

This Hall.

house lower

built

Haslemere,
of the of walls grey

designed by externally

G.

A.

The

portion
upper

is of the

orange-red

brick, the

portion

rough-cast ;

string-course

214

MODERN

ARCHITECTURE.

dividing the
is is

two

portions
neutral

is of

oak.
In

The the
from

exterior

wood-work central
view.
to

painted

dark
a

green. concealed the

The
as a

plan
from

the

hall This

lighted from
well
be
to

skylight
in

exterior hall

portion is
must

arranged

; but

passage kitchen
this is

kitchen would

deficient
be
assume

light.
there

also fire-place
a

appear
\vc

but badly lighted,

that is

one-story
If the

addition,
studio
has

may

roof-light.

north

the morning-room light(which is essential), has conscquen

has

north

lightalso, and

tly a dull aspect for

sitting-room.

FIG.

105."

HOl"K

AT

haslemeke
\.

(mr.

c.

hall).

But

the

appearance broken

of the

house

is

pleasing, though the formal

which
appears
to

regularity is really the

into the

by the
of in

bay window,
the
to

be

bay
front of

window view

drawing-room
show its

brought
treatment.*
staircase
on

round The
are

order

windows

morning-room,
; but

larder, and

back

all

preciselysimilar
design followed.
all
and

this is almost the uniform there

inevitable range
can

the upper

scheme

of

To

of be
not

the
no

windows,
The
to
on

presumably
*

bedrooms,

objection.
should
be

The

plan

the view, it will be of the door.

observed, do
not

correspond ; according
seen

the the

plan, the rightof

flat window

studio, and

the bay window,

the entrance

3l6

MODERN
.

/ RCIIITEC

TURK.

kitchen
room

region,

arc

hung
the
on

the

wrong when

way,

so

as

to

expose

the of

fully
to

from

outside the

opened.

They
furthest and

ought,
from

course,

be
open
are

hung
on

side of the

doorway
the
time

the

wall,and
of
a

to

the

wall,otherwise
with that
every
even

privacy
the door

comfort

room

interfered
of

is

opened.
has
seem

This his

is
eyes

kind open

thing
In

the

speculating
architects
to

builder

to, yet there

to

are

eminent referred wide the

to

who
seen

entirelyblind
when the

it.

the door

plan
is
at

it will be
any
one

that

dining-room

open,
entrance

standing
would
sec

door

right

the

back line

of
on

the the

room

(see the dotted

In

plan).

the

library
too
near

the the

fire-place,
door,
which window cook be looks
at

though
behind better.

is is is

it

as

it

opens,

The
so

kitchen the
must

placed
kitchen
own

that
range

the
her

in

light, and
which will

it

nearly
for

west,
the
KIG.

be

pleasant
up

cook
summer

when

dishing
evenings,

dinner

X06."
OFENING

KAl'LTV WRONG

FLANNINg:

DOORS ETC.

WAY, D E.

on

with in.

the
All way

A.

Front

door.

Dining-room.
Kitchen.

15.
C.

Library. Drawing-room.

sunset

pouring directly
little

these
"

points ought

as

to

the

room

will mind's

actually
eye of

work the

"

in

occupation
in

to

be
rooms

present
; but

to

the

architect
are

planning

the

it is evident The

that
of

they often
Ashorne
some

not

plan

Hill
very of the In
a

(Fig. 107),by
good points

Mr.

Goldie, is

an

interesting one,
the

with

about

in it, especially
a

planning
hall

and

design

large open
mansion
on

hall, of which
the

view
a

is introduced central
on

(Fig. 108).
a

largest scale
is almost
a

symmetrical

and

stately plan

sine

DOMESTIC

ARCHITECTURE.

217

qua

noil

in

more

moderate-sized
be introduced need

house

the

large hall, though

necessary

it may
to
a

very

well

and, in fact,is almost

not

thoroughly good house,

"

be
a

so

formally and
informal
of

centrally
and in less
two

planned

it

can

be

introduced The

in

more

centralized

manner.

arrangement

this
side

house

wings,

kitchen

and

offices'
the

wing

to

one

of

the

centre

(terminated
room

in front
at

by

billiard-room)

and

an

entertainingthe
manner

wing
to

the

other

side, is commendable,

and

of

access

the

drawing-room
is
trived prettilycon-

from

the

hall

; the

contrast

between
and
"

the

drawing-room
"

the
tive effecseems

octagonal
; the

saloon

is

dining-room
in

rather
rest

small
the be The

scale
and

for the
must

of

house,
rather

surely light.
entrance

deficient of

in

placing centrally

the

between the

the

of flankingprojections
as

wings,

in

kind in is
a

of

yard, courtto

is

good
it the

regard

effect,but
whether
to

question
KIG

107.

"

KLAN

OF

ASHOKNE

HILL

(mR. COLOIE).

entrance

ought
overlooked
and
room

be

so

directly

from still
for in like
to
more

the
a

billiard-

room

and

drawing-room
the

windows, (or any

question
Windows

whether
to at

drawing-room
on

habitation) ought
case.

have
the

windows end
a

opposite
one

sides

any
; in

and

at

side

if you

fact
a

(as before
prospect in

observed),
two
so

drawing-room
where

ahvays ought
but
not

have

tions, directhat

possible;
can see

windows
the
room,

at

oppositesides,

people

outside

through

which

destroys privacy,

2l8

MODEK.X
.

I UCUl

J J.CJ

i:UI.
.

besides would business

making
seem,

chillyroom
windows view of

in

winter.
on

On the

every
entrance

ground,
had
a

it
no

those The

looking
the
hall

there. and

(Fig. io8)

.shows be

very

pleasing
the
mere

picturesque

interior ;
of the

it may

perhaps
be
it

tioned ques-

whether
across

the balustrade

landing should
from

returned

lowest

of stairs, as flight
of

the the

view

evidently making
a

is, for

uniformity

design, with

result of

FIG.

loS.

"

THE

HALL,

ASHORNE

HILL.

low

headway

at
"

the

foot
"

of stairs
a

the
out

stairs.
of
a

This
staircase for

is

one

of

the

"difficulties in

leading

hall ; there
the the stairs
to
or

rshould,wherever
"commence

be possible,

lofty opening
necessary
a

under, where
above

it is not

to

return

floor

landing

them.

There the

is

disagreeable cramped
the
house exit
at

feeling,
foot
is

especiallyin descending
made, Rutan,
until
as

when stairs, American

a

the

in and

Fig.

109

(from an

by

Messrs. low

Shepley,
so

Coolidge),through
near

comparatively
of

arch,
cannot

that

getting

the

bottom

the

stairs

one

get

DOMESTIC

ARCHITECTURE.

219

clear view but

there

through.
is the
a

There
of

may

be

plenty
A

of

headway

really,
of
as

sensation stairs

being cramped
a

and, in going up,

stair

entering
The

through
over

hole.

should

as

far

possible have

free space

it. years,

Americans,
in

in recent the

have

shown of

great deal

of

inventiveness have

regard to
also

planning

dwelling-houses,

and

suggested
of

some

forms

architectural
have
a

ment treat-

which

certain The
came

novelty
late very

and

interest.

Mr.
near own

Richardson

developing
;

style
and

of his Robert
two
era

perhaps
are

he

Adam

the

only
have
near

architects

of the claim

modern
to
so

who

can

achieved

anything
a

inventing
cases,
was

style.
course,
on

In
the

both

of

style

based each
his

old them

materials,
evolved of

but from

of

treatment
a

the

^K;.

.o9.-staircask

wuh

cKAM.tD

hkauway.

old

materials

very

recognizablemanner
on a a

of his

own.

son's Richard-

style was
with
a

based

study
and

of

coupled Byzantine detail,

treatment revert to

preferencefor
in

plain
a

massive
to

of masonry, what he may

showing,
called
to

fact, rather

tendency
of
or

be

the

primitive elements
blankness of

building.
to
a so

When

wished
to
lieve re-

give special expression

the
mere

emphasis

pier,and
by
half the
a

walling,he
two, of width

did

insertion
dozen in

of
a

small group,
*

sturdy colonnettes, one,

three, or
to

according
treatment

to

the
in the

pier
but
a

be

treated.*
Trust

This

The

is shown

illustration of the

American

Company's
manner.

offices, Fig. 135, page

257

; not

by Richardson,

direct imitation

of his

220

MODFRN

A RCllI

I /

'

/Y Vv' A'.

was

his weak
a

point, for

it became which

mannerism,
so

and

one

easily
that
revert

imitated,
has
to
on

compliment
become
a

it received
But

extensively
his
a

it

already
modern

commonplace.
of

tendency
house
has

to

primitiveconditions
American
many

building has

left

very

decided
come

mark
to

house

architecture. architects

be

regarded by

American

(and presumably
of this

by
that

their

clients, considering the number

of houses

type

FIG.

IIO."

UOI/'SE,

CONMECTICL'T

(MK"

S.

BKOWM).
\.

Drawing-room. B. Reception-room.
A.

C. D.

Sitting-room. Library. E. Hall.

jjiiuui^i.^jm.
Kitchen.

G.

have
into

been
as

built)as
many

superior shed, strongly

as are

built

and

divided

compartments
like what

necessary,

but

defiantly

ignoring
detail

everything
and
a

is

usually
the

called

architectural
the

; walls

roof

only, taking
but arise is
an

form
of this

suggested by
any

planning

of the

compartments,
what may

devoid from

architectural

expression except
I

grouping.
of this may

Fig.
of

lo,

house

in

Connecticut,
There
are,

example
true,
what

type
be

American

house.

it is

called

DOMESTIC

ARCHITECTURE.

221

columns
"

to

carry
"

the

flat roof

of
are

the

porch, but
the

they

are

not

classical

order
;

columns,

they

only

primitive element
a

of the
on

column

pier of

circular
are

section

with

square

template

the

top.
up
as

The

chimneys
as

mere

vertical

blocks

of masonry think the

carried
two

far

is considered

necessary

(I

should

adjacent
found
to

t(3 the

central The

roof

ridge, and height

is not

below and

its

level,will

be the

smoke).
must

excessive

steep pitch of
the
not

roofs, it

be

admitted,
a

practicalfrom people
could

modern

point of view, and

timber and be

recalls low could

period

when

frame

securely for
when

pitches, without
not
cover a

danger of

its
so

ing, spreadas

they

low-pitched roof
respect
in

to

adequately rain-proof.
is sentimental and

In

this

the other

design

of

this

house

archaeological ;
of this American
back
cannot

respects it is
are

practical. Numbers
now

of houses
in

defiantly plain type

architectural this of

being

illustrated

the the
if
we

journals.
tecture archi-

The

feeling which
seems

is at

of

type
new

house

to

be, that

invent the

architectural that
own

detail
an

we

may

at

least refuse
of detail may

to

copy

old,

and
our

in time tectural archibe the

original form
ideas

be

developed
this is

as

develop.
no one can

Whether

really likely to
we

case

is what

predict.

What

can,

perhaps,

agree

upon
to

is,that this type of plainhousebuilding is

the

at least

preferable

unthinking
On
be the other

employment
hand,

of

conventional that
of

architectural architecture
life and and

detail. should
taste

if it is admitted

the
own

visible

expression
type

of

the

mode

the
like barn-

of its

day,
a

is this

of

absolutely plain

architecture
who modern

real
most

expression of the home

luxurious
and

life of the
"

people
"

constitute
societies

the
?

the
an

most

particular
?

of

Is it not

reallyrather
American influence

artificial pose house

of

Another
is that the

specialtype
has
"

in recent from
"

architecture
is called in

which the

arisen old

the

what

States

colonial

architecture.

The

early colonists

222

MOD

I: l"\
.

I RCm

I J.Cl

Ui:

carried

with

them

the

architectural

tendencies it out
on

derived the
to
new

from soil
it
"

English Jacobean architecture, but

with
a new a

carried

certain character.
at

simplicityand Fig.
1 1 1

naivete
one

which

seemed
"

give

is

of the modern

genuine
house,
has

old

colonial shows
some

houses

Charleston,
in which

and

the

P'ig.112,
been
to

the

manner

this type
columns

of architecture of the

extent

revived.
;

The
as

portico
too

are

probably
for

of

wood proper

they

are,

will
a

be

observed,
column,

attenuated in the
sense.

the

treatment

of

stone

either

practicalor
But

classical
of the

part

influence

of the old
has
even

colonial
been where revival
to

architecture

bring about,
there of
is
no

actual

the
towards

style, a
what

tendency
may
use

be of the

called

playful
order,

columnar
and

in and

porches
other
is mOdcm

verandahs

such rather

situations,

which
^O
K,C.
IZZ.-OLD COLONIAL

peculiar
AmCriCatt
This

HOtSE.

CHAKLESTON.

.-S.A.

house has

architecture.

recently been
have
to

imitated

now

and

then

by English architects,
It is rather features of curious

who
thus

got the trick from

find
this

the

Americans. of
us

modified back
the

form
to

the

English

Renaissance One
is the

coming

again
modern in the

from

American
houses the

shores.
of this of

in peculiarity

American

type
the

predilectionevinced
form
no,

plans
The

for

adoption
to

circular
in

for but

sitting-rooms.
are

tendency
in which

this is shown whole for

a

Fig.

there
are

other

plans
circles.

the
a

of the
room

principalrooms

complete

Such

plan

224

MODERN

.\RCIIl

I LCI

A7..

drawing-room.
spaces drawn

There but

are

no

doors
are

or

walls

at

all

dividing
can

the be

into
across

rooms,

there

heavy

curtains
to
room.

which

any
a

of

them
as

when
to

it is desired
a

seclude When the house

either this is
an

of the
is not open

spaces

little, so
whole form

form

separate

required the
space in the

of the of
a

livingportion of
so

cross,

that

an

effect of
an

ness spacious-

is realized

which

cannot

be

attained

in

ordinary-sized
Of
course

home
a

with
on

the this

living-rooms permanently divided. plan requiressome

distributed otherwise

house

heating apparatus,
it would
be in

chilly
the

winter,

but
all

suggestion, at
is
"^ one

events,

worth

'^fF

^AHIS6

^^cp"^S

mind.

Another from
houses among

example
American

is
as a

given (Fig. good

stance in-

HC.

113.

"ST.

MAKGAKEt's

113),
HOrSE,
G. T.

GKKMAN

TOWS,

f.S.A.

(MR.

PEARSOS). to

of
a

tectural specialarchiof
a

expression being imparted

character.
a

house

special
with
a

This
at

is

"

St.

Margaret's House," Pennsylvania.

; it
was

in connection is
to

church

Germantown,
for
a

This

evidently
be

residential
as a

house

Sisterhood

therefore

treated
;

domestic

building,a residence, as
central

the
tower

greater part of it is
with has
at

but

by

the the

feature, the
the
not

low

small the
same

turrets

between

gabled wings,
institution
of

architect
an

time

expressed clearlythat
house, but
the the
an

this is
some

ordinary private dwelling

;

kind
this

something

is added

to

residential architectural The French

of
a

character, and
treatment. seem,

is very

clearlyexpressed

in

nowadays
house

at

least,to
the

have

no

medium
what

in

the way

country

between

chateau

and

they

DOMESTIC

ARCHITECTURE.

2*5

fondly regard
pagne.
seen worse

as

the of

"picturesque" type
sheer of bad
taste

of

inaison has
a

de
ever

cam-

In

the
than

way this

nothing
ideal

been

kind

French
are

of

country villa,
year in in the

drawings

of

number

of which of
to

to

be

seen

every
"

architectural
the

department
to

the

Paris

Salon
repose

houses
and

which

object seemed
to
cover

be

destroy all

all

dignity of
decoration
and

aspect, and
in

the whole

buildingwith
brickwork,

gew-gaw

ironwork

and

tiles,coloured

barge boards,

fig.

"

"

114.

"

fken'ch

maison

de

campagne

(mii.d form).

finials.
moderate than

The

illustration in

Fig.
many

14

is from
are

one

of
more

the

more

of these

designs ;
Germans

of them
as

far The

rampant
the

this.

The

are

just

bad.
its what

villa from

neighbourhood
board
over

of Vienna centre,

(Fig. 115),with
idea is of this

portentous barge-

the

gives some

they
some

are

capable

of in this respect, that

are

though

again

nothing to

examples
When suburban Q
we

to

be

seen

in German of

architectural

papers.

compare

this kind

thing with

the type of Viennese

226

MODERN

ARCHITECTURE.

villa of the

fifty years
taste

ago,

shown German

in

I i^'.

ii6,

one

must was,
at

admit

that

formal

of the

of

that

day

all events, the

may
taste

better for called

than what the

be

"spikey"
of the

picturesque
present
that bad

day.
not

Indeed,
at

is

all
a

design

for house

small
near

suburban
a

giving one great city,

idea ^^ of

the
FIC.
1

something
of
in
CltV

16."

VIENNESE

SUUlhriAN

VII

I.A

(^^

,1

'

S'.'t.

DoHsh

architecture, combined

with

playfulexpression slightly
central ^ from the and
not

the

portion, arising
treatment

of

the

plan
and

of the from
any

windows,
sary unneceson

details tacked

to

it.
ample ex-

Fig.

117 of
a

is

better

modern

German
attention and

and villa,

is worth

for its
FIG.

ingenious
the

tive effecmanner

117.

"

VILLA,

plan, and
in which

the

BEETHOVEN-STRASSE,
BERLIN.

central

tion, por-

containing theroom,

music-

is

emphasized
left

on

the

exterior, the
It may like the and

wings being
be added

plain for
the

contrast.

that
are

Germans,

Americans,

often
of
a

ingenious

originating in regard
suggestions
may

to

the

planning
out

houses, and
book

valuable
of

often

be

picked

of

German

plans,

DOMESTIC

ARCHITECTURE.

227

though
to

the

arrangement
ideas of home
; in

of

the

rooms

is sometimes

not
are

suited

English
bad
to

life. The

French

architects rather convey

as

mostly
the
idea

very that number

planners
their
of

fact, their houses

minds
are

any

plan
there

will
and of

do,
the view.

so

long

the

requisite
treatment

rooms

architectural

satisfactoryfrom
learn

their

point
to

They
we

have

much

to

from
to

us

in

regard
from

house

planning, and
under
not
a

have

certainly

nothing
In
'"

learn

them.
the intend
"

classifying dwellings
and
"

types

of

"mansion,"
latter term

house,"

cottage,"

did

by

the

what
a

is most

commonly
man
"

called
rather

cottage
to

humble
the be

dwelling
smallest

for

labouring
informal

but of In

meant

imply
can

and
as a

most

type
house.

dwelling
a

which" of

regarded

gentleman's pretend
and house
to

dwelling
an

this

class, which
a

cannot

dignity,there

is

excuse

for
than

adopting
would
be

more

naive
to
a

picturesque style of building

of the normal be
now seems

proper

standard
combined

of

size, but

picturesqueness
We
see

of

outline small
the
as

should

with
in

simplicity.
and
some

many

houses

published
to

books,
up the

built, in which
so

attempt
to

be

to
a

cut

design
in

into

many

parts
find
out
a

give the
of very

idea

of

large
a

house

miniature.
turret
an

We
turns

number
to

little

rooms,

staircase

which

be

only

about

four which

feet
we

in

diameter,
we can

arched
walk
a

entrance

doorway, stooping.
house,
and and

through
This

find

hardly
in

without

is the ends

greatest
in

mistake the

building
look
a

cottage

only

making
In

dwelling
to

ridiculous,
small
more

all falsifying

idea of scale

regard

it. of

As

house,
than

it demands
a

simplicityof grouping, fewness

house. the The
rooms

parts,
a

larger

essential should

characteristic
be of
a so

of

cottage
"

house
will be

is not

that
no

very

small
"

they

smaller,
are

doubt, than
of them.

those The

large

house

but

that

there

fewer

plan

and

design (Fig. 118) by

Mr.

228

MODERN

ARCHITECTURE.

Horsley

is

very It

good
will

type
be

of

real that
is
one

cottage
these
of

house,
are

very very

suitably treated.
small

observed
house

not

sitting-rooms,but
and The house
is

the

few the

parts, and
rather of and
a

simply
low.

compactly planned,*
last

and

probably
suitable

rooms

point
of

very
sense

characteristic
and retreat, is
can an

cottage
is
to
a

; it conveys
means

of of

repose

it

rational be

economy

material, which
so

object
done

sought

for

in

cottage house,

far

as

it

be

without
structure.
no more

indulging in flimsy
That
be vice should in
a

allowed in
a

cottage
We
meet

than with

palace.
adays now-

books

giving designs
small

charming
and
ances assur-

for

cottages

houses, with
that

they

can

be

built
sums

for

wonderfully
if
we

small
any

; but

visit

of

these
have
we

cheap
been

cottages
carried find

which

out,
fig.

shall

probably
house
one

il8.

"

design

for

a c

cottage

residenc

(mr.
A.

g.

horsley).
C.
D.

that every
across

the whole time the any

shakes walks

B.

Dining-room. Drawing-room.

Study.
Kitchen.

upper

floors. ture, architecto

Simplicity should
as

be

the

characteristic The this

of

cottage

regards
good
be
to

detail

also.
and

design already
kind
of semi-rustic

referred

is

very

example,
pointed
the
time. A

treatment,

It in

must

out, however,
; the cook

that
at

the the

kitchen

fireplace is
be

in

the

wrong
in
a

place
own one

regard

window

would fireplace

standing

her

light all the

is available).

kitchen

fireplace requiresa sidelight(unless where

top

DOMESTIC

ARCHITECTURE.

229

with

the
not

upper de

portions of the

walls

is suitable tiled, may be

enough,
masonic

though

rigueur.
with

cottage house

purely

in treatment,

good

solid

walls, without
Mr.

derogating
a

from

its
;

cottage

character. the

Fig. 1 19, by
cottage

Collcutt,is
is
a

good example
and

it preserves

character, and

compact
and

well-

arranged plan, considering the awkward

shape

proportions

KIG.

119."

COTTAGE

RESIDENCE

(mk. COLLCUTT).

of the whole circumstances.

of of

block, which
It may every in
a

were

probably
observed and

determined careful
into its

by

external

be

that
door

arrangement

plan, and
great

getting

room

right place,is
for
pressed com-

importance
purposes into
so are

cottage

house, where
so

apartments
and

various

necessarily
a

close

together
American
in interiors the

small

space.

In

regard
a

to

architectural
of

character, the
resource

architects
treatment
a

show

good deal

and originality
120,

of cottage houses.

Fig.

showing

two

from

small

230

MODERN

ARCHITECTURE.

house without

by

Mr.

Arthur

Little,is
or

good example
the
rooms

in have

this respect

beinfT small
character.

cramped,
121,
an

distinctlya
a

cottage

Fig.

exterior

view

of
an

cottage

at

Narragansett Pier, by
characteristic of the
treatment

Mr. of
a

Bruce

Price, shows
seaside of

exceedingly simplicity
and combine the
to

small

house. the

The

design,
with

the

bold

character

masonry, all

verandah

its

sturdy quasi-Doric columns, produce

of

that

expression
which
a

strength
to

is

proper

seaside

house.
be is
more

This

quality will
if this Mr.

apparent
with

compared

Horsley's cottage
before referred
to.

design
The
an

latter is inland
as

emphatically
country

cottage,

Mr.
a

Price's
sea-coast

is

cally emphatibuilding.

We

have

been
the

sidering con-

mainly

de-

gJA^
FIG.
120.
"

sign
or

of

country
such in
as,

houses,
if
not

of

INTERIORS U.S.A.

IN

HOUSE,
ARTHUR

MANCHESTER-OX-

SEA,

actually
are

the

country,
to

(mR.

LITTLE).

supposed
Town may of

stand

free,and
which

to

be

capable
of
a

of

all-round

treatment.
a

houses
be

form

part

line

fronting
the

street

better
tecture. archiwithin the
are

considered,

under architecturally, houses of the

heading

street

Town their
same own

larger class, which

to

stand under

enclosed

land, may
far
as

be considered

be

much

conditions, as

plan

and

architectural

treatment

233

MODERN

ARCHITECTURE

is
a

street

house

rather

than
in the

town

mansion
Bois
one

proper.

Fi^-

123,

free-standinghouse
kind
of domestic

Avenue which

de

Boulogne, Paris, is
may

architecture

tolerate

in

the

"n^.

JM**'

FIG.

122.

TOW.N L.\TE

HOUSK,
R. M.

NEW

YORK

(the

HL'ST).

suburban

roads
;

of

but city,
one

which
not

would call

be this
a

intolerable
very

in the
or

country
pure form

but, then,
of

would

pleasing

architecture,even

in the

city. Generally speaking,

DOMESTIC

ARCHITECTURE.

233

one

may of
a

say

that

the

best

and

most

refined
as

architectural
in
a

ment treatas

separate mansion
or

will look
Street
matter

well

park

in

suburban
sense,

city
course

road.

architecture, in the (see Chapter V.).

come

restricted

is of

another
head

Under

the

of

town

mansions in

the

modern

and
houses.

rapidly multiplying class of houses

These
of
a

flats, or

apartment

demand

special treatment,
pation. occuwe

entirelydifferent

from

that

mansion
In

in

one

the

latter

have

to

emphasize
and the

certain
dows win-

"^

portions
as

certain

superior and
of the

residential house house

; in

portions
the

apartment
is
on a sidential re-

the

whole

block,

nearly
dows win-

equal footing ;
of look

the

offices

mostly
courts

into internal
the

externally
should what small
there it

building
itself
as

express

is,a

collection Hence
excuse

of

residences.

is very

little
of

for
or

grouping
otherwise

windows

133

HOUSE,
PARIS

A\'ENUE

eOlS

DE

BOULOGNE,

(11. rOIXET).

emphasizing
of the and

certain

portions

building beyond

the

rest

broad

simplicityof
is

treatment

(generally) equal spacing

true

of windows

required,to tendency
has

give the
in

expression
and

of

the

building.
is too

On

the
a

Continent, both
to

France

Germany,
like

there

great

make

these

buildings look

large hotels, and

as

this

been

imitated

occasionallyin London,

in the

block

234

MODERN

ARCHITECTURE.

of of

buildings
a

near

Albert The

Gate, which
Americans
of apartment

suggests
are

at
more

once

the direct

idea
and

monster

hotel.

much houses. Putnam

"

realistic in their
an

treatment

Fig. 124 gives

and

illustration

of

one,

designed by
"

Mr.
;

called

by
of

the
seen,

incongruous
is in
exact

title of

Haddon with
same

Hall the

the

design, it
and

will be

accordance
at

nature

purpose

the

building, and

the

time

is

not

ineffective
some

tecturally, archiof

and

variety

surface
and

has

been

got by combining
the

emphasizing
no

bay windows,
the
best
an

which
room

doubt each

represent
suite.
at

in

Fig. 125,
St.
a

apartment
Mr. A.

house

Louis

(by

Swasey),

shows

different
zontally hori-

system, treating the

rather than

building

with vertically,
; the

equally spaced
treatment

windows the lower

the

plain
in

of

portion
upper
seems

comparison
uncalled effective
a

with

for

(though

it is

no

doubt
it suggests called does with

as architecturally),

piano nobile (as

Italian

it

was

in
not
hall"

the

palazzi) which

exist.
use

Possibly, however,
made
in
an

FIG.

124.-

"haddon

mansions

the free
there

of lifts in that

America,
be
a

(mr.

Putnam).

may in

country

preference they
would

for

the

upper

rooms

apartment
case

house, and

command

higher
be

rents

; in that

the architectural

treatment

would
near

justifiable.
Albert
Hall

Mr.

Norman
an

Shaw's

block

of

mansions
treatment

the this

shows

exceedingly
some

good

of

class
is

of

building, in
not

which

degree of

architectural

variety

obtained,

by unduly

emphasizing

DOMESTIC

ARCHITECTURE.

!35

any

of

the

residences

above

the

rest, in

the
of

treatment

of

the wall

windows,
line back arched
the

etc., but

by the
one

simple expedient
or an

setting the
a

in slightly which

two

places,and

forming

shallow

recess

forms the

incident, gives shadow,

Mr.

and
of

breaks flats in
same

uniformity

of

front.
a

Brydon's

block of

Bloomsbury
kind, is
a

(Fig. 126), with good example

treatment

still
of
a

simpler design
and

the

very

reasonable

characteristic All these else ;

architectural

of

an

apartment
houses and

house. like

buildings

look

like

apartment

nothing

FIG.

IJ5.

"

APARTMENT

HOLSf,

ST.

LOL'IS,

I'.S.A.

(mR.

A.

S\VA"EV).

while
a

Fig.

127,

an

apartment
difference
treatment

house

at

Budapest, at

once

suggests

hotel.

The

main

lies in the
at

advertising

appearance

of the and
custom

architectural
;
a

the

angle, with
notice in

its florid order

to
never

Order
attract

cupola
;
an

hotel

has

to

attract

apartment
of
that
a

house
a

is

home,
It

and
must
a

should
be

have

that

appearance
course,

making
an

show.

remembered of similar

also, of

apartment
is
a

house

is

collection few

tenements,

while

hotel

collection

of

suites, a number

256

MODERN

ARCHITECTURE.

of

bedrooms,
as

and

several

large
the

rooms

for

general

use

by

the

visitors be

dining-room, reading-room,
; so

etc., etc., which

treatment

require to
required
is

accentuated

that

architectural

quite distinct
and which
so

from

that which

of

an

apartment
the
more

house.

But

it is the

advertisingelement
is the
cause

makes

essential

distinction,
the
most to

of hotel

architecture

being
the

for

part

and abominably bad, florid,

vulgar ;

hotel

has

FIG.

126.

"

APARTMENT

HOUSE,

BLOOMSBURY

(mR. BRYDOn).

catch

the

eyes

of

to visitors,

make

itself do

prominent,
this
time
as a

and

it is

supposed
bedizened
or

that
with will

nothing
ornament,
be
are

is

so

likely to
at

building
be

which of

the

same

must

cheap,
"

the
as

cost

out

proportion
built in
as

to

the
a

expected hurry
as

returns

and

hotels
same

always
as

great
to

possible,
money

for the

reason

theatres,in

order

begin making

DOMESTIC

ARCHITECTURE.

237

at

the

first possible moment,

there

is stock

no

time

for

anything

like

architectural
can

design
up

kind

of

pattern is followed
is

which

be

run

without

thought.
than the the

There average

nothing
"

more

offensive but it
to

in modern
must

architecture admitted that

grand hotel,"

be

promoters
the average

of these

buildings seem
and
tastes

have those

gauged
who form

pretty well
the

perceptions

of

majority
one

of their customers. class of

town

There
may be

is,however,

other

mansion

which

grouped
and

with which

sidences, re-

is and

generally
treated
as

situated
an

all-round
the

building,
This
a

viz.

Club.
as

may

be
for

regarded
many but

house
for

instead for
and of

of

one,

day
sisting con-

residence

only,

entirely
rooms

large
use,

for of

general being

stead in-

divided,
tween be-

like

private house, entertaining

rooms

and

bedrooms,
rooms.

and

other
FIG.

127

APAKTMt.M

HOL

SE,

BLUAPEST.

smaller

The characteristic architectural

;

adequate
club been
most
seems

and
a

treatment
at

of

large
it has with
is

tolerably simple problem successfully attained

of To

all events, is the

an

more

often classes

than

case

other

buildings.
for money

begin with,
club

architect
; it is
a

generally not
based the
on a

stinted

in

building a

usually

large subscribed
made
a

capital;
to

it is not, like

hotel, under
the

necessityof being
at

pay

large

return
a

on

outlay
richness

and,

the

same

time, it is

building

in which

certain

238

MOD

KRN

ARC///

TKCmR

F.

and

sumptuousncss
various

of

treatment
arc

are

called

for.

In

the

second

place, the
the
out

stories
rooms

practicallyall
caretaking
an

of

equal dignity ;
can

few
of

necessary

for
to

and

storage
rest

be

got

sight,or
A

relegated

attic,*the
a

is all which
a

palatial
men

architecture.
moderate in which is
means

club, in short, is
have the

building
of

in

of

opportunity
which the

livingin

palace, and expression

and

all

the
are

rooms

with of

architectural

concerned

rooms

nearly equal spaciousness

portance. imlast

This
is the
most

important
in

element the
treatment

ing suggest-

architectural of
a

club.
very

It

is illustrated

well
such

if
a

we

compare
as

design

the

Metropolitan
New with

Club,

York
the

(Fig. 128), previously

apartment
St.
Both

illustrated house
FIG.

at

Louis
arc

128.

"

"metropolitan"

club,

new

yokk.

(Fig. 125), large

square

buildings

with
but

strongly
no one

marked could

cornice

and take

equally spaced Fig.

and 128 for
an

windows,
apartment
on

possibly
are

house,

the
nor

windows

too
one

large
take of the
to

widely spaced
for
a

every
on

story ;
of

could
small

any

Fig. T25
windows.
appear
*

club,
while
and

account

the the

scale of
a

But

it of

is
a

almost

duty

club

sumptuous
kitchens

palatial dignity, it
on

is

equally
there
is
a

The

are

now

sometimes

put
but

the in that

top floor of
case

club,

and

good deal in favour be top-lighted.

of the arrangement,

they

would

almost

certainly

240

MODERX

ARCHITECTURE.

neighbourhood
taverns,

and

elsewhere

are

essentially
natural consequence,

huge

political
they
arc

and

architecturally,
from
of

by

hardly
architectural
club-house

distinguishable
merit

hotels.

They certainly,
not

arc

not

without

their

kind,
should

but

they
as

are

not

architecture,
in

and

be

taken

models

for

anything
word,
viz.

the

shape
residence

of

club-house

in

the

old

meaning

of

the

day

for

select

social

circle.

CHAPTER
STREET ARCHITECTURE.

V.

Street

architecture, in the

proper

and

limited

meaning
as

of

the

word, is the result of the necessityof planting buildings

as

closely
definite

possibletogether in
value
of

towns,

to

save

space

and

in consequence

of the
and

land, coupled with

lines of

the

necessityof having
between
of the

continuous

communication

buildings.
tecturally archiin the

Street

architecture have

consists

therefore

buildings
no

which

only a
of

front and

back, and
the

sides

(except
of the

favoured
and

instances fronts

of the
which

buildings at
form
a

corners

streets),
of

the

continuous and
mass.

series of

facades

buildings in
characteristic

different

occupations
one

for different
This

purposes,

but

structurallyunited
of

into

long

is the

essential
it
a

street

architecture, and

this is what

makes

special architectural
In and the ancient

problem.
walled cities
a

crowded
on

street

architecture

very

narrow

streets

were

forced
their

the

inhabitants
numbers

by

the the
any

necessity
limits

of

providing
walls,
looted
a

for

increasing
the In
at
a on

within liable

of the
to

house

outside

walls modern
events

being
un

day
there

be
more

by

marauders.

walled

cities

is
;
we

in regard elasticity,
not
on

all

to

width
can

of roadway
extend to

are

belted
unbuilt

in with

fortification

; we

new

street

to

land,

giving
attack
is
as

proper
us

notice
the desire
R

the

district surveyor, rather than from

and

the

marauders Yet

from
a

centre to

without.

there

strong

get

242

MODERN

ARCmi

IXl

L Rh.

into the

modern walled
to cut

city, by peaceful means,

cities

as

there

was

to

get
the

into
same

old

by

assault

not,

indeed,
but
;

for
to

purpose,
out

the throats
in

of the inhabitants,
way

make between

money

of them the
is

the
rate

lawful

of business of
new

and

this
town

and there the

to

natural

of increase
demand
to

population
close

within
which

the

always
owner

that

for
his

dwellings
besides

induces
in order

building

place

houses

together

profitablyutilize
of Hence this

every

foot

of

ground,
been and

effectingthe
walls.
rows

economy

substituting party-walls for external

phenomenon, only
what said
as

as

has

said, of backs, and

of

ings buildthe

which fronts deal

consist

of

fronts
"

of

which A

constitute

is called
to

street

architecture." the houses

;

good

might
do
not

be
come

the

backs the

of

also, though

they

into strictly

present subject
a

they

are

not

necessarilymarshalled
as

along such
have
a

rigidlydefined
more

building line
and

the

fronts,and

they
them,

rather
cases,

private
the

divided
walls

character

given
or

to

in most
on

by
It may

division be

of

gardens
in mistakes
treatment

yards abutting
to

them.

ever, observed, howof the

regard

this

part of the subject,that

made
in

one

greatest
is the
sideration, con-

commonly
of them while
as

regard
front be
a as

to

street

houses
were

if the backs

street

alone

worth

the

may

plain

and

ugly
there in

as

you

please.

More
can

is particularly be

this
the

mistake
name

when
a

is anything the
rear

that of the

dignifiedby
the

of

garden
of

house,
itself goes which
to

for then
any far
to

obstinate
scheme

refusal in

the

building
with

to

lend

decorative
waste

combination
In

the

garden
houses

the

opportunity.
amount

building
behind

street

have
of the

any back

decent of the

of
as

land
well the

them,

let

people think
not

house

as

the
any

front, and degree

remark of

denude

it in order
treatment

to

concentrate
can

on

front

decorative before
we

which
to
our

be

afforded.

One
the

other
street

go

round

professed subject,

front ;

STREET

ARCHITECTURE.

243

there

is

room

for

very and

characteristic back. of The

variety
back

in

the

style
as

of

treatment

of the
more

front

of the

house,

we can

have be

said, has

the

look

separation and
therefore will
; it is less

privacy
admit of upon

than
a

possible

in

the

front, and
treatment

more

playful and
to

individual

called

to

form con-

any

general style or
more

character

pervading

the

whole

row

of houses

; it is
to

the

tenant's
may than

private piece reasonably

the front.*
we

of house be

wall, the
with

background
more

his from

garden, and
constraint
back

treated

freedom So

much
to

for the the

a

of the

house, which

may series

now

leave,
houses
to

and

come

street

front. there
come are

In

regard

to

the

of

making
considered

up

street
we

certain

general questions
and
"

be

before

to

particulars ;
vexed into
one one

the

most
a

tant imporseries

question

of all is the

much combined
own

should

of

buildings of
each where be
a

one

class be
its
a

general design, or
?

free to receive

separate

treatment

Of
a

course,
row

building
of another
occurs

of

special class
can

is inserted be
no

into
so

of If
a

buildings
bank front
we

class, there
a row

doubt

far. of

amid
to

of which

dwelling-houses, or
is the bank from

ordinary special
the back

shops,
"

expect
notices house
"

know

its

Browning
a

this kind
:

of distinclion

between

the

front

face

and

face of

Venetian

Row Know

home

Must

we

row

home

Too

surely

I where the

its front

's

demurely
mating,

Over Window Door

All's But

Guidecca

piled ;
window

just witii
on

door
set

exactly waiting,
face of
a

the

child
a

behind

it, where's
and

trace

Of
And In No O'er

the starchness
formal

reserve,
a

lines without child's

curve.

the
two

same

? playing-face
one

windows

look
sea-water

way

the small them."

thread

Below

In

Gondola.

244

MODF.RX
.

/ Ac"///

11.(11

Kl:
.

appearance.
same
or

But and

in the

case

of
to

row

of

houses

of

about
own

the
way,

size
to

rental, are

they

be

treated
"

each

in its

be

combined
are

into what

is called
to
a

terrace," in

which

the
? I
;

separate houses
Much think but is
a

subordinated
on

uniform

general design

has the it is
a

been
terrace

said

both

sides ; and,
too

generally speaking,
scorned
at

idea

is rather

much and

present
There that

question of the character

refinement
or

plan

of the site.

delicate

in

Greek

ornament,
on

which of

ordains
a

the

painted
take

carved

ornament

the
to

surface
in

moulding
with
same

should of the of
out

lines somewhat
of profile squares the

similar

and

keeping
the

that kind

sectional

moulding.
I say

Apply
that in

to principle

and
of

streets.

formally laid
formal
its lines and
true

square
A

the

design

the laid
a

houses
out

should

be

grouped.
and

geometrically
it be

square,
or

with
an

whether parallel, formal

strict square

oblong,
give
come

is

an

artificial and

creation, and
formal

requires, to
When
you

it its full
to

effect,artificial and
an

buildings.

such

open and

space

as

Nottingham place
that wider
at

Market-place,
one

for
the

instance, that other, there

element
are

long
indeed

effective you

end

than

feel
the

the

irregular and
picturesque and
one

picturesque

dominates

site, and
and what
out

irregularhouses
to

quite in keeping,
in
a

might expect
stateliness
in the
to

find there.
is the

But

large formally
sh ould

laid
be

square
out

prevailing

element, and
it ; otherwise The
mere

carried the

buildings surrounding
it out may
to

why

take

trouble blocks there

lay

formally
be
an

at

all ?

grouping

of the

of houses

element
it. The

of architectural

effect,when

is little else

give

architecture

of

Belgrave Square
a

is not and the

remarkable

in itself ; and

yet there there, from

is

always
the
at
manner

certain in

fine

stately effect
corner

noticeable
are

which
of

houses

placed
square.

separate and
With
a

an

angle
less

forty-five degrees style

of

with

the

finer

and

commonplace

architecture

this

STREET

ARCHITECTURE.

345

manner

of

laying out

square

would

be

exceedingly statelyand
the

effective. The
same

principleapplies to
a

certain is
a

extent

to
one

tecture archiout

of

street.

Where

street

wide up
to

laid

and perfectly straight,

especiallyif it
termination
of in favour

leads
to

any

important
is
not
a

building as
good
deal

an

architectural
be
a

the it of
as

vista, there
one

to

said
mere

designing
houses

whole,
same

necessarilyin
which
of

repetitionof
in It
a

the

design,
of blocks
we can

is

always dull,but

symmetrical arrangement
must

contrasting design.
a

be

remembered the A
houses

that in

always give
varied this
is

certain of
seen

individualityto
the
in

detail, by
of

treatment

entrances,
two

etc.

good

illustration Mr.

to

be

the

houses built
be

designed by

Knight
under

(Fig. 129),houses
one

designed

and
to

together,probably
related
to

ownership,
an

and

appearing

each
most

other, but
cases

yet with
houses
cast

variety interesting
such mould circumstances
;

of character.
are

In

two

under
one

treated
of
course

as identically,

if for

in

the
said

client that

may

have

wished

this, but
same.

it cannot

be

the

architectural
to

interest
was

is the

This

method

of who
and in

giving variety

houses

quite
avenues

understood of of and

by

those Street
doors

built the otherwise

dull brick

the the

Harley
entrance

Wimpole
such

Street

type.
the
to

The
old

details

streets, where allowed In the

mere

doorways
are

their

framework and
a

have

been

remain,

very
street

agreeably
doors
were

varied. artistically
are

present day the

if

in
cast

terrace

generally
;

as repetitions,

they

in

mould
even

but

this
a

degree

of

slavish

repetitionis
ment treat-

quite

unnecessary, is aimed
at.

where

generally symmetrical

What
to

applies to geometrically planned

laid
out
curves

squares

also

applies

geometrically

in poor

streets.

The

architecture
as

of

Regent's Quadrant

is very

in

but itself,

the

street

246

MODERN

ARCHITECTURE.

was

laid

out

in

geometrical
which

curve,

the
was

symmetrical
right
The

ment treat-

of

the

buildings
had

line been

it

if the in itself,
sweep of it

style
curve

and

material

only
defined

better.
a a

the

against the
better
seen

sky, which
and

has

fine effect continuous

even

as

is,is
line

much

by

horizontal

FIG.

129."

VARIED

TREATMENT

OF

STREET

HOUSES

IK

ONE

OWNERSHIi
,

ir.

r.

'."

KNIGHT).

and been

symmetrical
if the

treatment

of the been

buildings than

it would

have

sky-line

had

formed

by irregulargables

of

varying height. Regent

Street,
when

built,

was

regarded

as

piece

of

248
interest
in

MODERN

ARCHITECTURE.

in detail
we

; and
so

perhaps

there

is

no

branch

of architecture
on

which

may in

decidedly compliment
years
we
more as

ourselves class of

an

improvement
street

recent

in the

better

London and

houses.
Road

When with
some

compare
recent

Grosvenor
streets not

Place
very

Cromwell

far from

them, the difference

In
streets

is indeed and

immense business

and

very

gratifying.
is,on
the
; for

of
a

shops

buildings there

other these
on so

hand,
are

decided

call for

variety ; especiallyin shops

one

buildings each
a

separate
in
a

of

which

is for the
or

ing carry-

of

specialbusiness
is every and

special material
the
very
uses a

production,
of

that

there

suggestion,in
individual
row

the

ments, tene-

for varied
we

treatment.

In
devoted
one

business
to
a

street

may

have

long

of

shops

each

different
a

trade, among
another
an

which insurance

will be

interspersedin
another
a

place
of

bank,

in

office, in
so
on.

block

offices
to

for

professional men,
such
a

and

It is

quite impossible
any
;
a

regard
groups

street

as

suitably treated
in

by

arrangement

of

of

tenements

symmetrical
thing
a

blocks

variety
blank
and

is

absolutely

essential, or
sham.

the whole result is

of for

becomes

meaningless closely

The

number

of
at

buildings
the

shouldered

together,each
one

which

(except

street

corners) presents
each
comes

face

only
and

architectural

treatment,
"

while here

claims
in

distinct

individual
can

treatment
we

and way

the

what : first, difficulty

and of the

do

in the

of architectural
a narrow

effect

expression

with

one

front
can

only
we

"

sometimes

strip

building ; secondly, how

architectural
In
treatment

do

this without
tenement

clashing with
?

of the

next-door

regard
rather
to

to

this
too

latter
to

point, street
take
care

architecture of

has

been
are

allowed
accustomed

much their

itself.

Architects
off
on

design
as a

own

street
so

block, marked width,

side of it.

the

drawing-paper regard
to

space is to

of

much each

without Hence
we

much
see

what

is,or

be,

on

STREET

ARCHITECTURE.

249

cornices the
cut

and

string-courses run
which have when either

across

front,
oft"

to

be
to

short

they

come

the

vertical
or

boundary-line
returned
upon

of

the

property,

selves. themlooks
is that
a

Either awkward.
street

arrangement
result often

The

of
too

buildings of
much
were as

various

character

looks
of

if each

vertical
of
a

strip larger
had

front

portion just so
was room

design,out
been
the
cut
as

of which

much
to

there

fit into
seems

space
to

available obviate
in any

for

it.

It
I

possible
suggest
where
to
on

this.
street

would

that
it is any

building
architect
comes

impossible for
control
of
over

the

have
each

what
real

side

it,the
be

design
somewhat

of

the

front the
so

should

kept

ivtthin

bounding
to

lines of the
at

perty, pro-

as

leave

each
as a

side neutral

"
a

"

III

"

"

little width

of blank
one

wall
call

ground,
walls may of
meet

as

may
two

it,where

the

the
as

contiguous planes, without

details
to

fronts
any

flat

projectingarchitectural
with each

clash
see

other.
in been is shown
a

Occasionally we
this in

instances

which

point
view.
1

has

evidently

kept
in

An
a

example
for

Fig.

30,

sign de(mKSSRS.

street

shop front by Messrs.

FIG.

130.

"

SHOP

FKONT AND

Batterbury

and

Huxley

and

the

BATTERBUKY

HUXLEV).

250

MODERN

ARCllll

LLiUkL.

same

object
a

is achieved very

in

rather

different

manner

in

Fig.

131,

simple though by
Mr.
any

characteristic
which

piece
is
so

of

street

tecture archiat

Hargreaves Raffles,
other it.

treated it

the

angles that

design might
We
see

butt

against design

without
which
a

with interfering

instances

occasionallyin

complete
made in
once

has

been

which

is effective

enough
it is at
no

but itself, obvious

in

which that

two

such

designs could

be

placed
each

side

by

side

without the 132,

interferingwith
the
street

effect of
a

other.

Fig.
in

good
Mr.
hibited ex-

design

itself, by
was

Bedingficld, which
at the
two
or

Royal Academy
years

three
not

ago,

would
of any

evidently
similar
next
turrets to

admit

design being
it ; the
two

erected

angle
collision
The be served obown

coming
look

into absurd.
to

would

general principle
is
t^m.
FIG.

to

treat

your in

design
I3"-STREET
FRONT

freely
but

and

your
eX-

(MR.

HARCKEAVES

q^^

Way,

WithOUt the limit of

be

tending
site,where
with it would the be

it to

the

liable

to

interfere

with,

or

interfered

by,
The

adjoining building.
of the method of

question

terminating
or

the
on

upper the

portion
of
a

of

street

building,depending
one

more

less

method eflfect of

roofing,is

of the

most

important

in

regard

to

the

STREET

ARCHITECTURE.

251

street

; and

here
street to

we

are

concerned with
the

more

with

the

general effect
Whether
street

of
one

the

whole

than be

particularbuilding.
with
a

building is
of
so

terminated

gable facing the

is

not
as

much all What

"

consequence
are

whether

to

be

so

treated.
*'

is become We

called
a

sky-line
of

has

kind

shibboleth.

mire ad-

exceedingly, and
as

justly
goes,
lines out-

far

as

appearance

the

effect of the
of

varying
and

lofty

often in old

highly
Dutch

enriched and

gables

German
is

streets.

But
at
a

the

effect
"

purchased
almost

heavy
a

we

may
"

say
cost.
means

prohibitive practical
A series increased of

gables

practical
roofs the

difficulty in water-tight
water

keeping
and

getting
; and

off them

it means,
a

moreover,
amount

either
of wasted in the

large
empty
"

and roofs which

space

and you
at
or
fig.

empty
cannot

spaces

habitually get
are

132.

"

design

rok

street

front

(mr. bedingfield).

inspect

apt
"

to

be
means

tary insanismall
and and

spaces

or

it

uncomfortable

rooms

in the The

attics,with

low
is

side-walls

partially sloping ceilings.

sad
as

gabled
say
so,

street

picturesque,but unpractical; and,

that if
we

it is to street

am

afraid

want

to

have

the

best

252

MODERN

ARCHITECTURE.

buildingfor practicalpurposes,
at

wc

must

be

content

to

let it go,

least

as

general ordinance.
the

A
; and

gable
an

here

and

there, if you
be

like,to break
in this

straightline
the

architect

may

guided
and

partly by
of

consideration
in which

of he has

the
to

general aspect
build. If it
may

construction

of the street

mostly
say,
a

consists
"

low-pitched
is
no

roofs in my

and

straight lines,he
up may
:
"

Well, there

harm

running
he

my

one

gable for
met

little variety." Even argument

for you,

here, however,

be

by

the well

that but

he

is

setting a
we

bad

example
it ?
"

It is all very there

suppose has

all did
been

And

is another

point which
yet, and
much but
at

hardly
I
am

taken

seriously into consideration

to

which variance
it is
our

almost
our

afraid ideas
our

mention,
street

it

seems

so

with

usual

of the
modern iron and

picturesque ;
of

I think and

likelythat, with
new

habits

fireproof

building
of

facilities with convenience

press
as

concrete, the idea

to
town

the

usefulness
and and
more

and

of
on

flat roofs mind

houses

will

more

itself
a

the

of

the

reflecting

architect

(so far
of the

such

public. thing exists)the reflecting

and
;

Only

think

usefulness flat

in pleasurableness,

crowded air and

city, of
prospect

impervious
you
or

roofs

the

opportunities
chances
you
rooms

of

may

get from
on

them

; the

of may

having
have

little lutely abso-

gardens
no

conservatories
room

them, which
; the

for

elsewhere them.

attic

of
it that

good
the say,

height,
flat roof
"

with has
goes be
a

flat

under ceilings in

I look
"

upon

future
all
our

city

architecture.

Then,"

people
need

there

sky-line." Well,
same we

the

buildings
break

not

therefore
square

all

the
and

height ;
may
one

we

may

the

sky-line by
is much

masses,

get

to

like it better
in

; there

in habit.

And be

there

is

compensation

the

rich in

effect which
this
as case

might
be

got

by
of
an

decorative

balustrades, which
The
or

would

things
now

real

practicaluse.
sham

balustrade
survival
to

generally used
a

is

architectural

hide

sloping roof,

STREET

ARCHITECTURE.

253

which

consequently
a

no

one

ever

goes

on,

except

the
be
a

man

to

repair
feature In
to
our

broken

slate. useful
to

With

the

flat roof

it would

genuine

with

purpose, methods
front the

justifyingits existence.
of

regard

the

giving expression
may

and
two

interest
distinct

strip of

street

there

be

said

to

be

classes

of treatment, the
latter

modelled for of

surface

and

the

flat

ment, treat-

depending spacing

effect the

upon

material, colour
;

(more
modelled for

or

less),and
architectural

openings
be
not
a

the

former

on

features.

It may do

question
run

whether

cities,especiallysmoky
too

cities, we
from do

into

modelled width
narrow

surfaces of
street at

much.

Apart
to

this with
to

consideration, the
matter.

has

something

the be in
a

In

street,

all events,

projectionsare

avoided, and
wide
street

especially
a

widely projecting cornices, though projectingcornice

Building Act question of
the
matter.
a

boldly
London The
on

is

source

of very

fine

and effect,

the

is wide In

quite inadequate
versus narrow narrow

in its allowances
streets

for this.

has

another

bearing
of the is in be

street
ever

the

upper

portion
seen

front
most

of

building

can

hardly
our

be
is the

well

what
and

prominently
a case

under

notice
the
can

ground story,
treatment
seen.

such
; not
see

it is here

that
it in

decorative
never

should

up

above,

where

be

We
have where

sometimes

street

buildings
to

narrow

streets

which

evidently
an seems

been

designed
richness
and has

look

well the

on

the

drawing-board, portion of
in is its the

increasing
natural,
it is all
with

towards the best

a

upper
; but

design
in

effect
street

place
too

the

street

lost.
ornament
some

Often

front these
its very the

far

much

covered

in (especially of its effect from

days

of

terra-cotta),which
A

loses

profusion.
would work

greater
of the

reticence

in the

main
a

portion of higher
the
class

building

allow

ture expendion

for

of decorative
it
can

concentrated

the

portion of

front

where

be

reallyseen.

254

MODERN

ARCHITECTURE.

In

what

have

called
treatment

the

"

modelled

"

type
of the

of

front

th"-

effect is got
and

by

the
the

and
are

moulding

wall

spaces

and piers,
; in the

windows

merely openings
windows,

framed

within

these and chief either

flat type of front the themselves the

in their

shape, size,
the in is

spacing, are
means

prominent

features, and
Hut

of the and

imparting
great
source

architectural of of

expression.
in A

case

architectural features

expression
accordance

arrangement
the
group in

concentration of the

with

actual
of

requirements
offices, have
to

building.
each

house,
own

shop,

in

general

their

requirement
windows. the demand

regard
The

the

proportions and
with difficulty

positionsof
for

the

great
is of

shops is, of

course,

which
amount
our

made

by

the

shopkeeper

the

greatest
has
as

possible
led
to

glass
a

in the

ground-floor front, which

past, being
built There
so

all
to

shops, for
on

long

time of

to

appear

stand of
a

great sheets

plate glass.

are,

however, signs
have front loss
of

certain

degree
to

of re-action
see

against this

; tradesmen

apparently begun
may,
a

that

reallygood
compensate

architectural
for is

by

its

superior

appearance,

the

small

the necessity for portion of light,

which
we

perhaps, after
seen

all,more
successful

imaginary designs
has

than for

real.

Accordingly
carried
out
an

have
in

some

shops
formed which
under

lately

which with

the
a

shop

window

been arch

by
this

opening
wall
or

arched

genuine structural being forming

either
a

carries the

above

it, the
is

door

included
narrow

arch,

(which
it.
manner

better)
real

separate

arch

abutting
in

on

The

only
arises

difficultyin treating a
the
to

shop
a

front

this

from side

necessity
form take
an

of

getting

wide pier sufficiently

to

on

each

adequate
it that

abutment constructed

the in

arch

;
manner

and, in fact,we
sometimes
ings, dwell-

may

shops
for

this
on

depend practically
which is
not

their

abutment

the A

adjoining
iron

quite satisfactory.

visible

girder.

256

MODERN

RCHiriiCTURE.

of

fortress-like few
a

strength buildings

which
show
to

should all the

have

belong

to

bank.

Very
which
seems

bank bank be

expression
; in
most
cases

of

security
the
aim

building ought
confined
to

to

rendering

them

dignified and

costly

FIG.

134.

CITY

BANK,

LUDGATE

HILL

(mK. COLLCUTT).

looking,
is thus

and thrown this

fine
away.

suggestion
The

for

powerful
may the be

architectural

effect
paring com-

point
that of

illustrated

by

design

with

United

States

Trust

STREET

ARCHTTECTURE.

257

Company
and

in

New

York of

(Fig. 135), which

suited

shows
to

severity
purposes

massiveness
a

design completely

the

of such

building.
said
that
we

It is sometimes the

have

lost

great deal

in

losing
with

characteristic

signs and

symbols

formerly

associated

km;.

;5.

"

rNlIKli

SIAIES

TKLST

CJ.

UKhH-t-

shops
whether
too

belonging
any like
a

to

various
to

trades them

but would

it may
not

be appear

doubted
a

attempt
a

revive

little
and

much

conscious

aesthetic
a

"pose."

It

belonged
the

to

originatedin

period

when

large proportion of

population

258
could read.

MODERN

ARCHITECTURE.

not

We

are

accustomed
not

now

to
are

state

thing

plainly in writing,and
up

I do

think
one.

people
What
the

likelyto give
would would
to

that

method

for the

symbolical
be
more

perhaps
be
more

to

purpose

to

persuade
attention

tradespeople
to

pay

the
up

tasteful
of

and
names

decoraand hideous

^^

^^^^A \ J^ "P^ .....M^t^^PI

tive

writing
and

their
up

trades,

give having
over

the

practice of
stuck
the
street

monster

letters
to

up

all

their
of

buildings,
scale

destruction
and of any

the

of

the

architectural

ter charac-

which A

the

building may
house

possess. far
as

street

is,as
is

tectural archia a

expression
country
house

concerned,
into

compressed
slice of
same

single vertical
is in

building,and
considerations
of
taining enter-

subject to
regard
to

the

the

distinction from
rooms

rooms

of

less

consequence, of what may the

and be

the

predominance
a

called

domestic

feeling in
Mr. R. A.

design.
and

Fig. 136, by

Briggs,

Fig.
are

137,

by

Mr.

Reginald examples
can

Blomfield,
of
street

both

good
which
fig.

houses,
but

be houses. in

taken
In the

for

nothing

136.

"

house a.

front

dwelling
manner

the

former, the
of the

(mr.

r.

briggs).

which

flatness of the

front
in the
an

is relieved second

by

the

slightly curved

lines

windows form

floor,without

projecting them
good

to sufficiently

obtrusive

feature, is

point.

Fig. 138, by

Messrs.

STREET

ARCHITECTURE.

259

Wimperis

and

Arber,
to
a

is

an

attempt

to

give

rather in that

more

statelyaspect
and
me

street

house the
or

; it is successful

sense, to

may
to
a

have

been
a

what

client

wanted,

but

it appears

suggest

small

club,

something
; the

of that
of

kind, rather
the

than

private dwelling
it that
at

house
seems

formality

pilasters

gives
rather

effect,and
with

variance

the

character

of this
matter

domestic
may of

building,
be
or

though only
of
a

perhaps
association

personal feeling. Generally

an

speaking, however,
sized
at
a

ordinaryshould

street

house

aim

quiet picturesqueness rather

at
a

than

formal

and

tional conven-

architectural
The

character.
of

question
course,

style

does

not,

of

affect

street
more

architecture
than any

especially,
other kind
ideas of
we

tecture, architertain en-

whatever about
"

what

are
"

called
;

architectural
use

features details
is

and

the of

of ages
or as

from

styles
as
kig.

past

applicable
to

137."

house,
R. T.

buckingham

gate

much

little
as

(mr.

blomfield).

street

architecture

to

any

other
as

class the

of

buildings.
of

There

is,
the

however, windows,
of
the main
a

one

question
is of
some

to

method
in

grouping
to

which
street

importance
that
be

regard
vertical

the

sion expres-

building, and
should
as

is, the
as

question

whether
to

piers
either

treated
as

features
the

be

emphasized,

pilasters or

arch

and piers,

windows

26o

MODERN

ARCHITECTURE.

grouped
as a

between

them

or

whether

the

wall

should

be

treated where

flat wall

all in the former of

a

same

plane,pierced

with

windows

required.
average

The

is the

strongest construction
is very

(unless the
but

thickness fitness is
the

the

wall

considerable),
The

its

aesthetic of

very
as

different blocks

matter.

separate

ment treat-

piers

running verticallythrough design, as

of offices American in

the

Fig.

39,

block

by

an

eminent

architect

(Mr. G.
the
tical ver-

B. Post),emphasizes lines of
whether
not

the is
on

front, and
desirable the
tions proporracter chato
or

this

depends
of the

front, the
it is desired
nature

which

give
the

to

it,and
of

the the

of

lines

adjoining
the latter
in their of the

buildings.
are

Where horizontal

mainly
an

tendency,
vertical
may of

emphasis
in the
a new

line be

ture strucmeans

powerful
But

gaining

effect.

the the

question depends
purpose
FIG.

also

on

for which

the
The

building
separate
of wall

138."

HOUSE AND

FRONT

(.MESSRS. WIMPERIS ARBER).

is

intended. and in
a

treatment

emphasis
curtain
"

the

vertical

piers, with
tends
on

the

windows

only
to

the
"

between
a

them,

the
the

whole

give
is
at

business

look,
the

warehouse

look,
domestic
that

to

front;
at

it

variance there
can

with

impression of
be any

character;
a

all events
is

hardly
a

doubt

such

treatment

unsuitable

to

street

STREET

ARCHITECTURE.

261

dwelling
not

house. warehouse this

On

the

other

hand, in the
is

case

of

building,
narrow

of the

class, which
vertical may
tuation accen-

necessarilytall

and

in

proportion,
of with the

piers good

be
to

ployed em-

effect
to

give

unity
in

of

design
front of

the

whole,

as

the

the

Glasgow (Fig.

Athenaeum

by
But in in

Mr.

Burnet
or

140).

shops
of

business
to

buildings
have
a

which

it is desired

great deal

lighton

each

floor, without

losing

constructive
or

solidity in
the

appearance of

in

fact,
up each
a

principle
built of visible

carrying
between
so as

strong
range the is

pier

windows,
support
the

to

form

of

the
one

whole,
in
an

exactly

right

architectural
Norman
"

sense.

When

Mr.
called

Shaw's
Zealand

city front,
Chambers
was
"

New

(Fig.

141), was

first built, it
persons
as a

derided absurd
and the it sign dethe
trance en-

by
and
must

some

most

eccentric be of

building ;
that
in

admitted
the
centre

portion

of

ground

story, containing the

doorway,

there

is

tous gratuiis

eccentricity which
open
to

quite

LNIOX

Tkl-Sl g. b.

to.

-s

Ul

ILDINCS

(mk.

post).

criticism. of the of

But

the

general

design

front, so
the

far from

being eccentric,
; two

is

reallya
brick

frank

expression

practical construction

solid

piers

262

MODERN

A RCm

ILL

J URE.

are

built the

up

to

support

and

buttress
can

the

front, and
with
at

between

them The

window

openings
been

be in
a

played
good

pleasure.
ings, buildthat

principlehas

adopted

many it is

business
not
so

only
it is and

often

adopted

thoroughly openly
the
very and

expressed
In

so

in characteristically
some

design. lofty
in

of

the

office

buildings now
however,
some

erected

America,
best

of the have
in the

American for

architects their effect

a

sought

simple piercingof
with successive
as

loftytower
dows, of win-

ranges 142,

in

Fig.

the building Bruce

designed
Price

by

Mr.

for the

American
This

Surety
ment, treat-

Company.
in

simple
of

buildings
and

such

great
have it
were

scale
a

height, would
effect if
masonic

very all

powerful
genuine
The

architecture.

knowledge,
apparent
is

however,
masonry

that exterior

the

only
an

veneering

concealing

terior in-

construction
-FKONT
OF

robs of steel,
to

GLASGOW

ATHES^L'M

such

structure,

my

mind,
it is

(MR.

J.

J. BURNET).

of

all its
to

impressiveness;
all true

vicious

method
and and

of

building, contrary
be

architectural

principle ;
architects

it is to

hoped

that before
may

long the Americans,

come

building-owners alike,

to

recognize

264

MODERN

ARCHITECT

I 'HE.

generally by
of turret is
or

carry

injj^ up
at

the

building so
As this from

as

to

form

some

kind

cupola

that

point.
seen

portion of keeping
fitness

the

building
it is

generally prominently

several in

points of view,
with

quite

tectural archi-

that

it should
but

be

thus be

emphasized,
questioned

it

may the

whether
ing mak-

frequent practice of
the
entrance at

the
one.

angleThe be
the

is

altogether a good
should
appear

angle

to

ing strongest portion of the build; to

make
it is it

large entrance

door weaken
recent

in

constructivelyto
In
one

of the

best
in

street

buildings

Manchester

the has is

architect, Mr.
set
an ample ex-

Heathcote,
which

worth

tion, atten-

by
of the

treating this portion

as a

design
masonrj'

mass

of

solid

(Fig.143).
of

The

.'iJllilJlJLjil^aE satisfactoryeffect
be the better

this may

appreciated
the
a

by

comparing
treated London
FIG.

it with of

weakly

angle
city

well-known

building (Fig. angle

a on

142

AMERICAN

SURETY BRUCE

CO.'s

BUILDING

144), where ground

story
the

the is

the

(mR.

price).

large plate
the

glass window,
is
on a

looking
and above

still weaker
a

from

fact

that

plan

curve,

that this

heavy

solid

sculptured panel hangs

The
two

immediately

empty

space.

together

form

STREET

ARCHITECTURE.

265

an

object lesson, as
attention The

to

the

treatment

of

angles, which

is

worth

the

of architectural of material

students.
for
street

question

architecture

is

partly an

FIG.

143.

"

STRONG

ANGLE.

HG.

144.

"

WEAK

ANGLK.

artistic, partly
now,
we

practical

one.

We

live

under

Building Acts
fronts which for
us

and

the

richlycarved

and

picturesque timber
some

admire

in the

old quarters of

cities

are

tabooed

266

MODERN

ARCH

1 1 EC!

IRE.

by

the

law. is too

I do

not

think
a

wc

ou^ht
in

to

complain
used

of in
a

this

timber
masses.

dangerous quite true

up
a

material
that
an

cities,when

lar^c
brick

It is

oak

story-post within
midst of

building will
a

hold

floor make
is then
street

longer, in the
the
a

than fire,
and it will is the

cast-iron
another

column

; but

whole
mass

front of

of oak

be

matter;
material
recommend

it for

fuel.
at

Brick

favourite much
and well
to

architecture

present
of

It

has

it
"

warmth

of colour, richness
of
a

texture,

it resists
; but

the
a

disintegratingeffects
soot

town

atmospherethe
new

it is

great
a

and

dirt collector, and

brick time.

streets

will have have

in

very

different the

aspect
use

in

fiftyyears'
and be

People
materials the

been

preaching
the

of

glazed

washable
worse

cities,but
in
some

remedy
even

would
if the

perhaps
cost

than

disease

respects,
of
a

be

not

prohibitive.
from
in

Imagine
end many which I

the look

street

all
used

polish
with

and

glaze

end
a

to

Terra-cotta
recent

has

been

great
one

effect

good

street
us

and buildings,
to

it is the
extent

material, perhaps,
the

enables

emulate

to

some

richly decorated
a

timber

fronts

of

old

work, though
and
want

it is rather reticence it and

;

temptation
who

to

over-ornamentation
to

of

people
to

take
it in.

it

seem

to

be

run

away
a

with weak

by

unable

hold

I confess

that towards

I still have stone, best

as

and

perhaps
the
most

over-conservative

leaning
materials be of

after
of

all

dignified of
for towns

all

for the

class and
not

buildings, only
too to to

it must usefulness The

carefullyselected
cement,
cement

carved
seems

much. be

The

properly treated,

overlooked. often

all-over
bad

house, pretending
was an

be

stone, and
But
as

hiding

brickwork,
of
cement

abomination.
a

the
a

partial employment
means

on

brick

building,
be

of

getting

contrast

of

tone

and
not

surface, may
been
more

of

very

good

and effect,

I wonder

it has

often

tried. with

The

employment

of coloured

materials

glazed

surfaces

STREET

ARCHITECTURE.

zfyj

has
to

been
our

advocated But

as

means

of

giving

new

beauty of colour
ence Differ-

streets.

who in

is to

harmonize

the

colourists?

of

colour
or

natural
a

materials,

those

of

dead

surface,even
at

if inharmonious
tones

first, soon
But built of

down
a

by
whole

weather.
street

in

highly
ever

coloured able washwhat should

glazed

materials,
and
ever

new,
we

chromatic
have be and !

discords There would

have
drawn of

to

colour
a

by-laws
test

up,

colour
to

vision
veyors sur-

applied

the
were

district
to

who them. coloured The

enforce

application
in
more

of

material
or

small

panels
;

points

is

ble feasihas

for
an

instance,
occasional

there

been

ment experi-

made the trade mosaic

names

latelyin designing
of

shops
in

and

other

places
work. and

decorative
is
a

That

good
be

precedent,
more

might well

followed. Decorative

designof a high
of

class,in the way

symbolical
SCULPTUKK

(MK.

BEK"Si''OkD

FlTfij-

figure subjects,accompanied by
decorative
to

accessories, is perhaps
street

to

be
a

regarded
part of it.

as

an

addition

architecture,rather

than

There

263

MODERN

ARCH

1 1 EC

I URE.

have

been

few

attempts
no

of

this
on

kind, but
of this
to

they
the
kind

have
of

not

bccii

followed

up,

partly
work

doubt this

account

cost

obtaining;
were

good

artistic

of

class. add
very

If much the that this in

of

thing
of

really well
streets,
does

done
the

it would few
own

the
; it

interest is
a

the
one

for

of

us,

not

for and

many of
we a

thing

for
is

one's

pleasure
that for
in

few

sympathizers.
be

It

pretended

doing people
lower

should streets,

supplying
that
is
carea

artistic delusion

enjoyment
;

the and the

our

but

the

middle

class
art

English

public
the
less

nothing
would there

about
care

it, and
for it. like

better
the

the

cmpl6yed
for flat of

they
work

Of

materials
;

decorative

is

nothing
or a

mosaic in

it is itself.
is

kind Tiles

tecture, pictorial archito

to

built

picture,
and

have,
suitable
us more

my
a

mind,
town

too

much

glitter,
and
even

graffito
all
cannot

hardly give
a

atmosphere,
flat face tints
of the
;

after

well

than
raises

two

the
too

effort much

to

produce
the stone,
best

third

tint

the

work

from
in which
a

ground.
marble,
of
all
or

But form of
and

sculpture,
ideal

whether

bron/x-,
with

is

the

decoration almost
in

blends

ture architecwere

becomes

part

of

it ; and

if there
and

less

money
on
our

expended
street two

carving

imitation be
a

gothic
more

classic
in

capitals

fronts, there
which would

would

to

spend

modelling
to

figure

or

give
the
is the

much

higher
of
a

interest in
two

the

building.
of which been the

Fig.
Mr.

145

represents
Pite

front

house

London,

Beresford

architect,
as

in which

figures

have of

very

successfully
which

introduced
a

the

principal
of the

ornament

front, and
interest

forms may thus

good
be added

example
to street

kind

of

artistic

which

architecture.

CHAPTER

VI.

NOTE

AS

TO

INFLUENCE

OF

IRON.

A
some

WORD

or

two

should
of

be

said

in

regard
are

to

the

influence
to

which

modern architectural

forms

building

material

supposed

exercise

on

style and
the whole has
or

design. history of
what may In

Throughout building
stone,
in material
one

architecture
be

the

principal
as

been

broadly

classified

form

another.

Egyptian
sandstorie
was

architecture
was

the

prominent
In In
"

material architecture

was

granite,though
the

also used. marble.

as

Greek

building
it
was

material
we

mostly

Mediaeval
a

architecture

what

generally recognize
The
on

stone,"

softer

and

more

pliable material.
a

qualitiesof
tectural the archibroad The

these

several

materials
of the
as

exercised

certain
so

influence
much of the
on

style
of and
carve

buildings
on

; not

the

racteristi chahard
to

style

the

character

detail. it is

unyielding quality of granite, in

ornamental detail
or freely,

which
any

impossible
or relief,

with

great

any

free

play
of

of

surface, led naturally to the architecture, in which

surfaces
was

styleof
the
; and

detail

istic charactercontour

Egyptian
or concave

broad
any

of

convex

retained surface

ornamental in incised

detail consisted
lines outline less

only

of very which The

shallow
did
not

modelling
with

and
of

groovings
the

interfere

the the

general
a

surface.

marble

employed

by

Greeks,
of in

hard

material, but
of elaborate

still of carved

great
ornament

tenacity, allowed
such
as we see

the the

execution

27"

MODERN

ARCHITECTURE.

typical

forms

of

the

Corinthian
of

capital,but

gave

opportunity
and for
of

also for the execution

a

exceedingly delicate
in

ornament,

great

degree of
that

refinement
in Greek

the

and profiles
we

sections
and

mouldings, so

mouldings
contour
more

find thin
to

delicate

edges left, preserving

which, if executed
have In

their

down

the

present

day,
would

in

softer and

granular material,
action
more

long

ago

worn

away

by
the

the

mere

of

the

weather.

Mediaeval

architecture of

use

of this led

granular material, by
a

in the
and

shape

ordinary stone,
to
a

and insensibly,

natural
; carved

intuitive

process,

very

different
more

style of
massive rounded
as

detail in

ornament

became assumed

broader bolder
contours

and
and

style, and

mouldings

more

sections, thin
to

edges
The

and

delicate
Romans
was

being
marble

avoided
in

liable

perish.
carved very
more a

employed
derived
of from

decorative took

and

work, which
similar
ornate
to

Greek

detail,and

forms
and

those

Greek

work,

only

less

refined

and

elaborate.
of

But* the

Romans
to

also
the

employed
Greeks,
which
an

structive con-

system
the
core

building unknown
of their

in

making

and

mass on

buildings of

concrete,

in fact, is, immense

stones
or

rubble

walling
of
small

small of

scale, consisting of
solid of
one

number

pieces
in
a

material very

"

broken

pebbles
bound

imbedded

matrix into and

strong

cement,
mass

which
; and

the

whole

together
a

homogeneous enduring
mass

leaving
faced
in

thus

created
more

solid

of such

wall, they
as

it with
the

precious building materials,

architectural
a veneer on

marble,
and

which
thus

visible

design
a core

was

expressed,

which
The
a

formed

only

of concrete.
at

Renaissance

architects

of

Italy, having
not

their command abundance

substance of
at

great variety of beautiful

to

marbles, but
these for

in such

as

justifythem
as

in

using
did be

the

structural be

the

walls,

the

Greeks
was

(for it
in

must

remembered
as

that

Athens

marble

to

had

such

plenty

to

constitute

it

272

MODERN

ARCHITECTURE.

foundations

where

the

ground
with
more

in

its

natural
us

state to

factory is unsatisconstruct,
at

; in combination
a

iron

it enables

moderate

cost, floors of than in the

our

indestructible

and
;

monumental
it may,
on as

character

old

timbcr-joistcd floors
have
to
some

and

suggested
of roofs
in
our

previous chapter,
the
use

effect

the of

line skyflat
struction. con-

architecture of

by leading sloping
will
ones

the

employment
in timber

place
But

employed
be

its

probably
to

limited, except

in

purely engineering structures,

do
not

these

functions, practical

which

aff"ect the visible architectural

is

design
"

of

building.
"

There extensive
one

another

material,

however

iron

which
a

in

its

constructional
is

employment
a

is

entirely

modern
may be

; which

susceptibleof
treatment,
and of

certain and
which
a

degree of
in

what

called
has

architectural
so

engineering
as

works

taken whole

large

important engineering

place
the
works.

to

revolutionize method the

have
some
are

the

science and
a

and

whole

of

designing

constructingengineering
structure
as

Before would

days
been tectural archi-

of steel, such

the

Forth
now

Bridge

absolutely impossible.
critics

And

it is

argued by
as

that
of

such the

great
modern the

bridges

these that
to

the
are

real the

architectural nineteenth

works

period ;
was

they
the

to

century
that
consists modern

what
our

cathedral of
a

thirteenth
modern the
new

century

; and

only hope
in
our

genuine
and from

life in

architecture
utmost

recognizing

utilizing to
its the
use a

this of

material, and
based
on

evolving
the

style

architecture

qualities of

modern

material.
The but It the is true

premiss
deduction that

in

the from

argument
it is open

states to
a

an

unquestionable
deal
are

fact

great

of

question.
the

the

steel

bridges
of
era.

of the

engineer
era,
as

great

characteristic
were

structures

the

present
It
is
true

the that

cathedrals

of

the

Mediaeval

also

the

grreat

NOTE

AS

TO

THE

INFLUEXCE

OF

IRON.

273

intellectual invention that value

an

triumphs
not

of the

present

era

have But
or

been
does

in

scientific
not

and

in artistic creation.
same

that has

prove kind of

science
; it

is the

thing
the the

as

art,

the

same

only
the
prove

shows And

that

present is

scientific rather like the of

than Forth
age
;
an

artistic
are

epoch.

fact that

structures

Bridge
does
it
not

most

characteristic the
Forth

large structures
is
an

the

that that

Bridge

architectural

work
not

only

proves

this is
The

an essentially

engineering and
argument

architectural the

epoch.
use

fallacyof
"

the

consists
is taken

in
to

ambiguous
for any

of the word
structure

which architecture," the

stand

great

; whereas
or an

conception of
The The

tecture archi-

implies the
was a

aesthetic
with

artistic element. artistic

cathedral

structure

built

object.
it is
enter

engineer's
kind
;

steel

bridge
is in

is not

or necessarily usuallyanything

of the

its aim

general merely

and utilitarian, aim

not

till we

get
of

beyond

the

merely

utilitarian
true

that
sense

we

the domain word.

in the architecture,
I would what

and

fullest
young

of the

therefore will

caution

architects

against believing
them
"

they
of

sometimes any

find

preached
and
as

to

that

their lies

chance
in their

producing

reallytrue using iron

was

livingarchitecture
of the
stands
stone
a

recognizingand
day, just as
of

the characteristic material Iron

of

material
and
a

of their
stone

marble

the

Greek,
on

that

the

Mediaeval
any

architect.

quite

different
that and it is that

footing from
an

of the varieties

material, in
natural
treatment
one

artificially prepared material, not requirespainting or

the weather
monumental
to

; to

it

other
; and

such

surface
is
more

enable

it to withstand

(what
in

important
or,
so

than far
the
to
as

that all)
we

it is
any
a

not
reason

either

appearance
once

have

believe, in reality. I
structure

asked
it
"

engineer of
last ; and
means

great

steel

how
"

long
with
and

he

expected
care

he

cautiously replied that

with continual

proper

(which

scraping

painting, and
T

274

MODERN

ARCHITECTURE.

examining
not
a

and

he replacingof rivets) But

did

not

sec

why
a

it should life for the

last five centuries.

five centuries of the

is but
stone

short

really
"'

monumental
as

structure

order, using
class natural of

word

stone,"
can

before,
to

to

include with
in

all the their

materials
state

which

be

used

build

and

without

any Had

preparation beyond cutting blocks

the Parthenon
not

into the

required
been

shapes.

suffered be
"

violence
"

and

early despoiled (as they

thousand
In say
on

of its roof, it would the

practicable building
after
more

stage)

at

this moment, of existence. of

than

two

three addition

hundred
to

years

this

question
visible
can

monumental

structural

character, there
structure
as

is that of appearance. for the

It is

impossible that
of iron the
same
we

any steel and

designed

employment
possess of the

or

its

principal materials
of

ever

grandeur
have

breadth
and

effect

of

stone

building
new

proportions
to

dimensions.
must

With

whatever

materials
art

deal,
is

architecture beautiful
more

still remain

the

of

producing
involves
a

what

and

expressive in building,which
mere

great deal
That while
this

than

the

question of
is

economic
from

structure.

is

tacitlyrecognized
in the

obvious

the

fact

that has

(as

observed been viz. the who for the for

or

preceding chapter) steel building

in

recently
for

largely large outlay

are

introduced

America

for
an

class

of

structures,
return

blocks
is the

of

in which offices,

economic

principal object,the proud

of

Americans steel-framed to, have

and

themselves,
structures not

rather

of

their

lofty

city buildings

the

class
use

just referred
the
same

shown

slightestdispositionto

methods

materials

churches, town privatedwelling-houses,

any

halls,public libraries,

of

the

buildings
are

in

which of

dignity and importance

Let
;

beauty
and
we

of architectural should
of

effect find
"

considered
in
"

it the

same

our

own

country.

any

architect
of

advanced

views

on

this

question

of the

employment

iron

NOTE

AS

TO

THE

INFLUENCE

OF

IRON.

275

propose

to

client

to

erect

his

private approved

mansion,
concrete

in

his

own

park,

of

the

most

modern

and

and

iron

construction,
would

and

there

can

be

no

doubt

what

answer

he

get.
The idea that
iron is
to

revolutionize

modern

architecture

hold

therefore

to

be

complete
between

fallacy,

based

on

bad

reasoning
architecture.

and

on

confusion

engineering
the
art

and

Architecture

still

remains

of

producing
or

beautiful

and

expressive
and
whenever

structures, it

not

economic

merely
aim,
of it

utilitarian

ones

relinquishes
full
and
true

that

will

cease

to

be

architecture

in

the

sense

the

word,

and

there

will

be

an

end

of

it

as

an

art.

INDEX

G. 204, Acoustic

Horsley"
205,
"

22S

R.
;

M.
T. F. G.

Hunt-S4,

231,

232

Jackson,
Knight"
Lamb
;

qualities
the
new

in
:

churches 139, 141

53,

54

R.A.

14s,

154,209;
Laloux
;
"

G.
;

Admiralty,
Alumni

245,
:

246
157

72

and W.

Hal),

Dartmouth,

U.S.A.

157,

Rich"
R.

Leeming"
20, 15, Loiimer"

121-123 27
;

Lethaby"
230; R.
"

A,
211

Little
;

American

apartment
cottage
houses
:

houses 229,

234

"

S.
192,

210, W.

E.

230 274
219-224
:

J.
"

May 198,

193, E.
W.

210;

Millard

"

high buildings
house
taste

262,
:

199; 130, Newton

;

Mountford;

119,

architecture in
as

120,

132,
"

153

Xenot" 207
R.A.
;
"

156
Otzen 62,
"

house-planning
an

222,

223

Ernest 94, 95 T.

206,

Architect
and

artist

26
:

J.

L.
"

Pearson,
224
;

63
"

decorative
surveyor
:
:

artist 39 34,
or

33

G.

Pearson

Beresford

I'ite
; ;

and and Architects

267,268;
35
whose
"

Poelaert" G. 230,
"

136, 137
"

P.-Hett Bruce

workman referred
:"

to

works
"

are

233 Price

;
"

B.

Post

260,

261
;

231,
92
;

262,

264

Fellowcs

illustrated themius"

Robert
author
"

Adam

219 122,

An124,

Prynne
"

91,
;

Pugiu"
68;
"73,

8,

46
"

nam Put250
;

16;
197
;

(the)"

234

Hargreaves 67,

Raffles Ricardo

"96, Harry
and
"

Ballu loi, 249

76

Haltard"
;

76

Raschdorfl" 133;

"

131,

39,

102,
;

13S

Batterbury
250
199
; ; ;

Richardson

158,
"

219;

E.
129
"

Huxley"
;

Bedingfield"
Burmester
"

R.

Robson

251

Beeston

and

Scellier
III;

-151 ; Rouyer de Gi^ors" 148; D.

"

128,
Schmidt

J.
R.
and

Belcher" T.

205,

206; 258,
;

Bernier"

163
;

J.
Seddon

Bedding"
133; 255,
Norman

77,

88,

92

J
.

Hlomficld"
"

259
and
"

Bodley Ro,juct
:
"

P.

Shaw, 263
161,
M.
;

R.A.

(jarner
;
"

63
A.

Boileau

200,

212, and
"

261,
"

Shepley,
162,
218
;

"203 Brooks
"

R.

Briggs
74,

258
;
"

Jas.

Rutan,
Steindl
"

Coolidge
103
"

63,
1.
M.

86-S9 Brydon
Burges"

S.
120,

Brown
121,

102,

H.

Stephenson
;

220;

223

L.

Stokes
A.

81,

88, 90
234,

Street

130,
Caroe

235," 236;
"

34;

W.
"

I).

"49,
\V.

51;
Twist"
"

Swasey"
Vaudremer

235;

J.
188;
\'on

bi

Basil

Champneys
142, 93,
;

85,
225,

188;
73
and
;

Vanbrugh"
"

187,
73
;

154; 229,
and Elmes and 106

T.

E.
;

CoUcutt"

144,
;

Vaudoyer
der Von Hude

256

DoUinger"
"

94 Fais
"

Douglas
"

Hennicke

"

166,
;

167
"

Fordham
"

81

Du

150;
;
"

Schroeter"
;

165,
R.
;

166
A."

Wallot 134, Webb I54.

66

W.
"

Emerson 104
;
"

65

Ende 105,
;

107
Aston

A.

Waterhouse,
Webb
"

158
and

Boeckmann
;

E. ;

Flagg
257

87
134,
Arber"

Aston

Frankl" and

149

Gibson" 153

son Gib-

Ingress

Bell"
and 60 and

I45. 259,

X5S
;

Russell 162
;

; Ginain"
"

156,
216,
Hall

Wimperis
"39. Architects Architectural 50.

260

Wren

157, 217 "213,

;

160,

E.

Goldie

57,
A. 124,

Grotjan"
214; l^Iav
"

117,
H. T.

I19
Hare"
;

G,

specialists :
association,
process of:

10
:

128;

the 13-15
T

38

las.

66,

67

Heathcote"

264

design,

278

L\DE.\.

Architectural

drawing

36, 37
:
:

Churches, claisiBcation
('hurch-likc charactef Church of

of

78
:

features : 2, 16 Architecture and literature modern

,

19 I, 28 37, 39 30

Holy

in design : 59 Redeemer, ClerkenweU

"-'"'

conditions
;

of

78

and
,

music

19
:

pUnniog :
"Charcb
been
:

at

art profession or an the Koyal Academy

47, 50^ 54, "tvlc'*! 401 " sboaUl i oner 55; without
town^
:

'H
w'

nc

.'

Ashorne

Hall:

216, 217, 218

177,

56
178,
Churches

A8|"ect of dwelling-houses : 184 Autcuil, church at : 73

87

CitjrBanktLodgatcir
ClMiic cotemn as an Clokkfooms in pobiiv
116 Clnba
: 237-340 Clnb-hoose architecture
"

1C5.

Bacon, hit "Euaj

190 Dank

in
street

Lonikia arcbitccnuUerial

on

building": 189,

S39" "40
Coloured
ture
:

materials

in

buildings : 256 for Government Barry's scheme

Offices

265, a66
as

Concrete 271

138,141
Basilica at Tours : 72 Bath municipal buildings : Battersea Hells Town Hall : 130 in churches: 82; in
: 1 1 1
:

an

architectural

12a

ings public build-

licrlin Cathedral Houses Blackfnars Blenheim Board

:

67-71, 76
: :

Connecticut,house in : 220 Corner buildingsin streets : 263, 264 Cottage architecture : 227-230 Cottage defined : 227 Cottace by Mr. Horsley : 228 ; by Mr.
" "

Collcutt

of Parliament Courts 172

:

106-109

229 church
20i,

Covehithe, ruined

Law Birmingham

at, 55
202

1 34

Bridge :
187

"Cragside":

200,

Bloomsburj-,flats in
151 Bodley'slibrary : 8
:

235

schools

Dandet,
:

on

French

Lyccc

Bridges

171-174 British Museum : 159, 160 Venetian a Browning, on

:

Decorative artist Domestic

:

accessories

: 151 in street architecture

267, 268
:

house-front

34
:

243 Brussels

Decorating firms
Law Courts

33 of
:

Budapest, Houses
104
;

136, 137 of Parliament at

:

condiliotu architecture,
wrong way
:

175

102-

Doors Drains
:

opening

16

at, 235, 237 Building materials,ancient and modem

apartment

house

part of the design : 27

of:

269-271
Built rood
"

screen
"

: :

Bullers Wood

91 206

of : 28, 29 Drawings, necessity Dwelling-houses,classification 184

183,

Ecclesiastical
Ecole des

tradition 151,
Arts
:

54, 55

Beaux-

31

Carvers Cathedral

and
:

: sculptors

34

Edinburgh municipal buildings: design

by Messrs. Leeming, 121, 122 ; by the author, 122, 123 ; another competition design, 123 Educational buildings : 1 51-162
"

62 ; Westminster, Truro, 62,63; Berlin,67-71, 76; Liverpool (proposed), 63-67 ; Marseilles, 73, 74 Chancel, the : 47, 48, 5 1 French Chateau, modern : 204
: Vestry 131 Hospital(proposednew): 154-156

Endall's
between

"

Manor and

205, 206

Chelsea Christ's

Hall

Engineering
:

architecture, confusion
275

273,

28o

LXDEX.

"

Paatage-aisle plan
50. 9"
on

"

of churches:

48

Mairies, French
"*

128-130
:

Pater, Walter,
186 ideal
"

arcbilcctare

30
use

Mnijons
:

de

French Can-.pagnc,"
;

Pediments

over

windows,
"

etc.,
:

""( :

Mansions of:

183, 184, 187

Bacon's

"S

190; fornial : 191, 192, 195; plan of, by author : 1 96, 197 ; "rambling" in towns: type of: 195, 198, 199; Cathedral for
street
:

Picturesque
treatment

type of
o!

house

183

Picri,
Plan

in street house and

archi"'-'"f'

259, 260
of Kcnaiktance modern
: :

Marseilles Materials 266

71. 74 architecture

Planning,
:

3 ancient

coi"-

265,

trasted

3-4

Mcdiii^val church for modern Medical

plan

47 ; churches
:

an :

nism anachro-

53

Colletjc,London : 157 Metropolitan Club, New York : 238 Minnesota State House, design for : 105,
106 Mullioned

of '-v : 4-6, 112public Il6;ofdom" : 5, 6, 176.^" 180; ofcburcii^^. 56-59 47 31, Police stations : 1 48- 1 50 Pont Mirabeau
Paris
: :

172

Post-office architecture Pretentious character

146-148
:

in booses
on

186

windows,

merits

of

208, 209
pared com-

Prevision, necessityof
:

tect part of archi-

Municipal and State : 96, 109 Museums : 158-161

architecture

12

Public

school
on

Pugin

planning : 154-156 cheap churches : 46

Queen's Hall, London Narragnnsett,seaside cottage

Natural
New
at
:

33

230

History Museum,
Chambers church
:
:

London:
261
:

158
k

Zealand

North

Waliham,

at

55

Northampton
A^citz'taux
200

Institute

riches and

153 architecture house

Rapid building:
:

8 Mr. Seddon's

Record for: Reform

Tower,
133 Club
St.

design

Nursery, proper

aspect of:

178

Renaissance

: 24 houses

:
:

Reredos,
O

Paul's

3 60
:

Ring Kirche,
Roman thermx and
140,

Wiesbaden
:

94, 95
:

Office of works
"'

:
"

99,

147 States
: :

Roughcast example

plasteron
:

exteriors

215

Old
221,

Colonial
222 ;

style, United
American

Royal Academy

30

modern

223

Opera Comique,
House,

Paris
St.

163
:

Bayreuth : Oratory, the, Bronipton : Organ chamber 52

Oxford

Petersburg 16S, 169

:

165

St. Andrews,
St.

Willesden Paris
:

61

Augusiin,

St. Clare, Sefton

: 86, 87 76 Park, Liverpool : 88,

Town

Hall:

124-128;
:

design

90
St.

for,by Mr.

Ricardo

131 St.

Dyfrig's, Cardiff", Sedding's design

-77
:

lor:

George's, Worcester
: on

87
Hill
:

St. Mary Woolnoth St. Paul, address Palaces

50 Mars

42, 45
22,

98, 99 Parthenon : 56. 274 Pastellists' Pavilion, Paris

:

St. Paul's

60
43

St.
:

Sophia, Constantinople : 16,

32, 2,Z

44

INDEX.

iZl

St,

Stephen's,Walbrook

50
117

Cariatides, Paris : du Manage : 130 Saracenic style not monumental

Salle des Sash 268 Seaside Beaton houses
Delaval
:
:

Technical
:

school, Liverpool, 153;

153 House 42 Club
:

West

42

Ham,
:

windows
as an

209 accessory
to

Temple styles :
architecture Thatched Theatre Theatres

Sculpture

24

185, 230,

231
A
von
:

Royal, Liverpool : 165 : 163-171 ; artistic treatment

roofs to churches
:

187-189, 202 Shakspeare Theatre, St rat ford-on-

of, 170
Timber Tower 9!
172, 173 position of, in churches
:

165
Sheffield Town
:

Bridge

Hall 254,

119,

120

Shop

fronts

255
:

86 ; function
111,
112

signs: 257, 258 ^" Site in relation to house

Sorbonne,
the Mr.
: new
:

: 83, 84, public buildings, positionof, in public buikU

of, in

185
on

ings, 123
Town

156
origin of
:

clerk, provision for,in planning

113 hall
:

Spencer,
architect

Herbert,
41
to

112,

and

legislative palace
;

pared com-

Spires and
Staircases
State

towers

churches

80-83
in 120;

96
:

in public buildings, 114; : dwelling-houses, 196, 198, 2i8, 219

halls of

109-131

of Sheffield, 119,

architecture
versus

classified

97 173
:

128;
mansion

of Oxfonl, Kath, 120; 124design for, by Mr. Ricardo,

Steel

granitefor bridges :
to
a

Steps, effect of,at entrance

194 Stone 271,
Street
as a

131 ; of Battersea, 130 mansions : 23 1, 232 Tradition, critical use of

20

building material
:

266, 269:

Trinite, church
:

of, Paris, 75, 76

as

274 arciiitecture
treatment

Trollope, opinion
defined, 241
of
:

to

mullioned

dows win-

tectural archi;
;

205
:

243,
:

244

Truro provement im-

Cathetlral

8, 62, 63
York
:

of, in London
fronts
:

248,
of

249

247 interference
fronts
;
:

shop
with 250
;

Co.'s oflices,New Tutor's house, Oxford

Trust

257

209,

210

design

contiguous
:

question of gables :
their advantages
flat
treatment

251

flat

roofs,
:

of

252 ; motlelletl and fronts compared

N'alencc,designs for Hfltel de Ville

130. "3i Vauxhall Bridge Victoria Tower
: :

at

253.

254 house, architectural

expressionof
:

172
112
:

258, 259
Street (G. E.), on chancels Style in architecture : 21, church Keble's
in

51 23, 24 ;
in

VirginiaLibrary,Chicago
W

161, 162

architecture, 46

Symbolism,
:

George
44

Herbert's

and

War
21,

Oflices

39-141
:

architecture: house
:

30,

31;

in

Wagner
Wickham Windows

Theatre Hall
"

168, 169
of

church and

architecture, 53, 61

Symmetrical

planning,advantages
190,

not

to

198, 199 be at opposite sides

drawbacks

192, 195,

196

: sitting-room

217

PRINTED

BY

WILLIAM

CLOWES

AND

SONS,

LIMITED,

LONDON

AND

BECCLES.