We now beg to draw attention to what we consider will be found the most
important feature in this number, inasmuch as it is the commencement
of the task with which we have charged ourselves to enter upon the
investigation and elucidation of the character and principles of Gothic
Architecture.
We use this unhappy term, Gothic, for no other reason than that as we
address ourselves mainly to the workmen, and as the style of architecture
so designated (originally in opprobrium) has now and for long obtained
the appellation in a popular sense, we feel unwilling to depart from it
until a thoroughly correct epithet shall have been devised and accepted
amongst us; that we are justified in this decision, or rather indecision,
we think may be shewn by the various opinions of parties who may be said
to rank as the authorities on such points. Mr. Pugin is anxious that it
should be called “Pointed, or Christian Architecture.” Mr. Whewell and
others have lately been pleading for a title which the prevalence of
vertical lines and principles of construction, as in contradistinction
to the horizontal character of Greek architecture, appear to them to
justify; others again have contended for the term “English Architecture.”
Now, without committing ourselves to an opinion of our own, we think
there is sufficient ground for hesitating as to the adoption of this
or that novelty, notwithstanding our strong objection to the inapt and
absurd term “Gothic.”
Our task will be formidable, as to the length of time it will occupy,
the pains-taking it will require, the expense it will entail upon us,
and, above all, the system with which it must be conducted. But what
good thing is to be accomplished without some one or more of all these?
We only hope to be cheered on by the approving smiles and the patient
co-operation of those for whom we undertake it.
And how do we commence this task, so as to give promise that a system
may be observed, without which the best efforts in other respects are
likely to fail? It will not do to enter upon it at random, or without
due preparation, both on our own part and that of our readers. We shall,
therefore, proceed to state our object in selecting the illustration we
have done as the heading of this paper.
Let the carpenters look to it, and let them look on it with pride—nay,
let them look on it as we have done, with reverence. Let them remember
that this was the work of great spirits of their department. It
is a master-piece, and we have chosen it on this account, as we
shall continue, for some weeks to come, to make choice of similar
master-pieces, in the masons’ department. Oh! we have such glorious
examples at our hands. And then, again, as to ornamental brickwork, and
brass and latten work, and that gorgeous coloured glazing, and such
mastery in the carvers’ and sculptors’ art; these we choose, to fire the
breasts of our readers. We would excite them by such glowing description
of the land of promise into which we propose to lead them, that the
future steps, however irksome or laborious, may be trodden with a light
and gladsome foot. For the present, then, and as we have said, for weeks
to come, we shall select the instances of varied excellence in roofs,
vaults, arching, in traceried windows, doorways, screens, in elaborate
specimens of “bench carpentry,” such as stalls, pulpits, railings,
tabernacle and screen work, in monumental brasses and other memorials of
sepulture, in moulded and enriched brickwork; the encaustic and coloured
pavements, the staining in glass, and generally all such matter in the
province of the artificer as may be regarded with the admiring eye of the
discerning practitioner.
Borrowing a similitude from what we are otherwise bound to deprecate, we
would speak of these as the trophies of our predecessors in campaigns of
glory, bidding every good soldier in this day of later, though of similar
service, to burn with ardour until he may have successfully emulated the
doings of his ancestry.
Yes, every carpenter should feel proud of a calling which enrols him in
the ranks of a craft whose arms are emblazoned and charged with insignia
such as these; but we promise the same evidences of distinction to every
department of the building fraternity.
This Westminster-Hall roof, spanning over an area of 74 feet wide and
270 feet in length, rearing its ridge to the height of 90 feet, exhibits
in its application a proof of the progress of working upon a principle
which is, in the present day, somewhat too much decried. Originally that
Hall was otherwise covered in; doubtless, in the same manner as the halls
at Norwich and York; that is, with a roof supported by pillars; but the
decay, or perhaps destruction by fire, of the original roof, gave scope
to the genius of advanced science, which, disdaining to merely restore,
applied this noble emendation,—with such happy effect, however, as not
only to reconcile us to a departure from the original models, but to lead
us to applaud the “_innovator_.”
The illustration we have given has been made pictorial rather than simply
geometrical; because, as we have already observed, our object now is not
to enter into a critical examination, which would with such a subject
be beginning at the wrong end, but to give a comprehensive glimpse of
that end to which we must by another process patiently steer. This plan
will enable us, too, to give much more effect to our future instruction,
inasmuch as it will enable a greater number of readers to become our
companions in the paths of study and research. After we have occupied
what appears on all hands to be a sufficient number of our series in
illustrations of this class, we shall commence with the simple rudiments
of Gothic art, citing first from the most ancient specimens the various
features of the edifices of the period, and accompanying it by a glossary
of terms and such matter of description as will give the series the
character of a workman’s hand-book or manual.
Take, for instance, the subject of Roofs as now brought before us. We
have in this draught or picture, a kind of summing up of that which it
will be our duty to go through in detail, as to style, construction, and
workmanship. In Masonry, though the end may be one of those embodied
marvels of the imagination, the almost over-wrought canopy of a stone
ceiling or roof; and which end, as in the case of this week’s carpentry,
we may present to view; yet the beginning of our studies will be some
rude effort of a Saxon chisel, and their continuation, to trace through
the various eras the change and progress, until we arrive, skilled as
masters, to analyze and fully understand the intricacies of science and
art involved in these objects of our setting out.
By this we hope to give a thoroughly practical character and value to our
pages, and that this will be in nowise diminished, if we shew ourselves
now and then susceptible of emotions of almost ecstatic delight, while we
contemplate those almost superhuman efforts of the skill of the mid-æval
architects and workmen.
In concluding the present chapter, we beg to state that we have copied
the drawing at its head from the beautiful work known as Britton and
Brayley’s Westminster.
Reviews.
_First Additional Supplement to the Encyclopædia of Cottage, Farm, and
Villa Architecture and Furniture._ By J. C. LOUDON, F.L.S., &c. London:
Longman and Co.
It was said by the _Times_, of the Encyclopædia to which this is a
supplement, that “no single work had ever effected so much in improving
the arrangement and the external appearance of country dwellings,
generally,” and nothing that was ever said by that influential journal
had in it greater truth. We scruple not to go out of our way to subscribe
in full to this opinion. And we say more, that no man living has ever
laboured more assiduously, generously, and usefully, to effect every
practical improvement in the building art, than our good and worthy
friend Mr. Loudon.
And why should we scruple or be ashamed to confess the strength of our
partialities for one of whom we entertain such an opinion? It may be
said,—but no! we will not do any man the injustice to suppose that he
will say any thing in disparagement of our motives, and certainly none
will be so ungrateful as to undervalue the honest disinterestedness of
our friend. See him, read his works, and if any one after that retires
with a feeling of less reverential respect than our own, we will give him
license to bate us for a partiality of an over-measured and unfair amount.
What if he has put at our service in the Precursor Number and in this
review the choice of those pleasing illustrations that adorn his works?
We point to these as additional proofs of his title to the respect and
esteem of our readers. He was influenced, we know full well, by that
same generous purpose which has sustained him through life, which has
made him to triumph over physical difficulties and to stand now a living,
and to be a memorable instance of the supremacy of mental over material
power. He will pardon us, if in the honest excess of our gratitude on
personal grounds, but much more in our humble capacity as of the “craft”
for whom he has so well laboured—a gratitude which took possession of our
minds through the reading of his works long before we knew him—he will
pardon us, if, unrestrained by a sense of the little pain we may cause
him on the one hand, we thus tender to him that which we are assured,
will on the other be acceptable—our honest and undisguised, but feeble
expression of grateful esteem.
As we profess to teach not so much by criticisms, which after all can
have but little weight, or at any rate little more than the opinion
of an individual, and when delivered with an air of authority that the
test of inquiry would dissipate, only make criticism ridiculous, and
confirms error; as we teach not so much by criticisms as by joining
in the commendations of generally acknowledged good; and as every one
who has travelled on the North Midland Railway has acknowledged, that
the station-buildings on that line have more of the picturesque and
attractive than any thing of the kind on our other railways, we have a
pleasure in transferring from Mr. Loudon’s Supplement the accompanying
elevation of “a cottage in the style of the Ambergate Railway Station,”
by Mr. Francis Thompson, who was also the architect of that station,
and it will readily be admitted that there is a meritoriousness which
entitles this design to the regard which that gentleman’s other works
have obtained.
[Illustration]
The next selection which we make is a design, by Mr. E. B. Lamb, of “the
Keeper’s Lodge at Bluberhouses,” which, it appears, was built, with
some slight variations, for Sir F. R. Russell, Bart., on his estate of
Thirkleby Park, Thirsk, Yorkshire.
[Illustration]
In Mr. Loudon’s text there are some judicious remarks on the elevations;
the construction is also described, and plans likewise given, as indeed
with all the designs, both of this supplement and its parent or precursor
volume. The supplement alone contains nearly 300 engravings.
The next design is also by Mr. Lamb, and is one out of a number of “small
villas in the Gothic style,” originally intended to be built near
Gravesend. We have not space to transfer Mr. Loudon’s critique, and are
precluded by the rule we have laid down from any observations of our own.
[Illustration]
In a future number it is our intention to return to this subject, and,
in connection with the question of the improvement of labourers’ and
workmen’s dwelling houses, several plans for which are now before us, we
shall have the assistance of Mr. Loudon’s matured lucubrations, as given
in the Encyclopædia and the Supplement.
Architectural College.
An Architectural College was founded in London, on Advent Eve, 1842,
for the cultivation of the various branches of the art, under the
denomination of the “_Free-Masons of the Church, for the Recovery,
Maintenance, and Furtherance of the True Principles and Practice of
Architecture_.”
It appears that the objects contemplated in the foundation of
this Institution are the rediscovery of the ancient principles of
architecture; the sanction of good principles of building, and the
condemnation of bad ones; the exercise of scientific and experienced
judgment in the choice and use of the most proper materials; the
infusion, maintenance, and advancement of science throughout
architecture; and, eventually, by developing the powers of the College
upon a just and beneficial footing, to reform the whole practice of
architecture, to raise it from its present vituperated condition, and to
bring around it the same unquestioned honour which is at present enjoyed
by almost every other profession.
It is proposed, by having numerous professors, contributors, and
co-labourers, to acquire a great body of practical information; and
that, whenever any knowledge of value shall be obtained by the College,
the same shall be immediately communicated to each of its members,
without waiting for the production of a whole volume, and before the
subject-matter shall have lost any of its professional interest.
By the appointment of a “_Professor of Architectural Dynamics_,” the
gravitation of materials will be taught to the student in practical
architecture: thence in all designs the present mystery, in which the
quantity of materials merely absolutely requisite to cause a building
to hold firmly together, may be ended; architectural designs may in
future be made on certain principles of stability, and therefore on
principles of natural and philosophical taste; and through the economy
of discharging from buildings all lumber, as is the case with all living
members of the creation, the architect will be enabled to restore to his
work, frequently without extra expense, the carving and other exquisite
beauties for which ancient architecture has in every age been celebrated.
By the appointment of a “_Professor of Architectural Jurisprudence_,” it
is judged that the practical profession of architecture will be rendered
more sure, through the acquirement of fixed and certain rules relative to
contracts, rights of property, dilapidations, and other legal matters.
By having a “_Professor of Architectural Chemistry_,” it is confidently
expected that a more certain method will be assured to the practitioner
in the choice of proper and durable materials.
By the appointment of the various other professors and officers, it is
judged that the very best information will be obtained upon all material
matters connected with the science and the practice of architecture,
and that a degree of perfection will be thus induced, and will thus mix
itself with the practice and execution of the art in a manner which is
not now very often the case.
As a first labour of the College, it is proposed that the present
unsatisfactory division and nomenclature of pointed architecture shall be
remedied, and that all the publications of the society upon that subject
shall be issued according to such classification and nomenclature. Not
indeed that the perfecting of so desirable a project can be expected
at once; but such a nomenclature can be laid down as shall immediately
distinguish the different members of the art, which are as numerous as
those of heraldry; and these can be superseded by more primitive or more
simple and energetic terms, as they shall be recovered from ancient
contracts and other documents, or shall be invented by more judicious
and mature consideration. But to prevent doubt or future mistake, it is
proposed that a cut of each intended object shall be executed, and that
a reference shall be made to where exemplars of it are to be found, and
also to its chronology.
Further, it is proposed to render this College still more useful, by
joining with it a charitable foundation, for the behoof of those and
their families over whom it shall please Providence, after a life devoted
to the service and practice of architecture and its dependant arts, that
need shall fall.
This institution, the scope of which is most extensive, is silently, but
rapidly forming, and has already connected with it many of the chief men
of the literature and science of architecture: few of those whose names
will be found amid the subjoined list have not distinguished themselves
by the authorship of some eminent architectural work, and many of them
are well known in the sciences and arts connected with architecture. A
power, an order, and a propriety previously unknown in the profession
since the fall of pointed architecture in the sixteenth century, are
being worked out, by having every man at his post, and with ability to
fill that post well.
Twelve meetings of the College are appointed to take place in every year,
and four have already been held.