the convenience of access to the dining-room; but though not under the
same roof with the house, I should fear that not only the smell of the
cooking, but the noise of the offices may reach the dining-room. This
is a common evil, and one which it is essential to avoid. When we come
to discuss the offices more in detail, this point must be well
considered. I approve of the dining-room windows opening on the
flower-garden, as this will also (unless when we are alone) be the
breakfast room, and occasionally the morning room in hot weather;
perhaps, however, to avoid any notion of coldness, only _one_ of the
three windows should go down to the floor and open on the garden.
As regards the kitchen, there must be added some additional offices,
such as scullery, out-door's larder, &c. &c. but as I see space
sufficient for these in the direction of the orangery, this will make
no material alteration in your plan. In addition to the wine and beer
cellars, I think the servants' offices may be well included in the
space under the east and south fronts, particularly as I think it will
be necessary that some sleeping rooms for servants should be obtained
in the attics, and I presume your plan will admit of this without
deranging your elevation; though I am aware something must be
sacrificed in the height of the rooms; but though there may, for the
purpose of protection of the lower part of the house, be a sleeping
room for one or two men-servants, yet I think the women's sleeping
apartments will not be conveniently arranged on the basement story. As
it is important to economize, I should suggest to you that it will not
be necessary to continue the basement story on the west front, and
perhaps not under the interior or large hall. As regards the
arrangement of the sleeping-rooms, if the attics are obtained, I think
those you propose sufficient. If any more should be required, perhaps
the large corridor or hall might be abridged, and at all events the
billiard room may be made into another bed-room, and the billiard table
taken down to the hall: increasing moral habits and the spread of
useful knowledge, prevents our employing so much time as formerly in
mere games of amusement, and I observe that the billiard room is
somewhat going out of fashion, and that where it remains, is rarely
used. I should, however, be sorry to give it up altogether. It is a
very useful and innocent assistant with a dull party on a rainy day, or
during a long evening at Christmas; and occasionally is a good "bore
escape." The dressing-room at the east angle is inaccessible except
through the bedroom, but this is an evil which cannot be in all cases
avoided.
I have thus given you in detail the observations which occur to me on
going over your plan, and except such alterations as occur to you as
necessarily arising out of the rejection of the lake, I would not wish
that any alteration should be made, and I shall be glad to receive
from you the details as to the interior, and your opinion as to the few
alterations I have suggested.
You have not stated to what use you design to put the building at the
top of the north-east end; this, I presume, is to remain open, and so
merely designed as a balance for the tower. Perhaps, however, it may be
put to some use, either as a store or lumber room: I think it adds much
to the picturesque appearance of the whole. Although I have rejected
the lake, I should be sorry to lose the bridge in the approach, but as
the ground in front slopes, a terrace may be well substituted, and
perhaps the bridge may remain as passing over some road, or may form
some part of the arrangement as to the angles of the terrace.
As regards your observations of the position of the house, I agree with
what you state, but when I consult you in detail on the order and
disposition of the grounds, I propose to make some suggestions on the
subject. With respect to the materials, I assume you mean to have light
coloured brick with stone at the angles, and for the moulding. I
presume the additions of painting and sculpture (one of the grounds for
the rejection of the Gothic) will play their proper part in the
interior; as in the exterior, except in respect of the figures in the
tower, no addition is gained from them in the elevation.
Yours, &c.
H. B.
[Decorative illustration]
[Heading illustration]
LETTER X.
THANKS for your letter approving of my design in the principal parts of
the interior; I shall now briefly point out the materials which I would
recommend to be employed for the floors, walls, and ceilings.
For the entrance hall, I propose that the doorcases, chimney-piece, and
the socle or dado should be carried up about four feet high, and should
be of yellowish Derbyshire marble, and the walls in stucco, but made to
show the joints of different courses, and marbled in fresco of a
lighter tint than the rest, while the vaulted ceiling should have the
ribs coloured white and brown upon a pale blue ground; for here in the
lower part of the tower it will, I conceive, be most proper to
indicate as forcibly as possible to the eye, solidity of material and
construction.
In the second or inner hall, which we enter from the preceding one, and
beyond which is obtained a view of the staircase, as seen through the
columns placed on a stylobate, serving as a screen to the stairs, the
walls might be marbled of a light greenish tint, intermixed in the
socle with brown lines. The columns and entablature should be white;
and the ceiling panelled in wainscot, with coffers or compartments
containing ornaments in relief on a green ground. As regards this part
of the interior, I would remark that should such be deemed preferable,
there would be no objection to filling in the upper part of the screen
(that is, the openings between the columns) with glass. While this
would prevent all draught from the staircase, and in some degree
intercept sound also, it would not in anywise affect the general
design; but rather might be made to conduce to it, by adopting some
ornamental pattern, of course in a corresponding style. Both in this
and the preceding vestibule, the floor should be paved with marble or
coloured stone, as should also that of the corridors; but the large
hall should have a parquetted wood flooring, because that room will
occasionally be made use of for dancing. In this last, the walls should
be wainscoted and panelled with oak, to the height of about seven feet;
and the doorway which forms the entrance to the suite of sitting-rooms
should be distinguished by richness of carved decoration in the same
material. I further recommend the application of embellishment of
inlaid woods or marquetrie of different colours, for the cornice or
upper mouldings of this wainscoting, so as to produce a rich border or
band along the walls, above which there will remain space for pictures
in frames, (inclining forwards) and even if these paintings are of no
very great value in themselves as works of art, they will be of use as
contributing to the general design, and add greatly to its effect. The
upper part of the walls might be painted in fresco in imitation of grey
marble streaked with red, which last mentioned colour should be that of
the coffers in the wainscoted ceiling.
The ante-room or first room of the suite being smaller than the others,
should have a coved ceiling, in order to diminish its apparent height;
and this might be painted with Arabesque ornaments on a white ground,
somewhat after the manner of several of the ceilings of Julio Romano in
the Villa _Lanti_. The walls of this and of the two adjoining rooms
should be hung with silk or other stuff of a quiet sober hue, so as to
give the greatest relief to the pictures, I taking it for granted that
you would be inclined to place here the principal part of such pictures
as you may possess.
Though the ceilings of the two drawing-rooms should not be much
ornamented, yet they may be relieved by the introduction of gilding in
parts. For all these rooms I propose that the doors, &c. should be
white with gilt mouldings. In the library, the ribs or bands of the
vaulted ceiling should be gilt upon a white ground; and as regards the
bookcases or shelves for books, they ought to be of some light coloured
wood, highly polished, and not go higher than the corbels or consoles
from which the vaulting springs, in order that there may be sufficient
space for busts, vases, and other ornaments of that kind upon the
cornices; and this will avoid the inconvenience of having the upper
shelves quite out of reach, except with the help of high library
steps--always inconvenient. For the lunettes or arched spaces between
the corbels, I have not proposed any particular decoration, as they
might be filled up by reliefs and casts let into the wall.
The dining room with the arcs-doubleaux and compartments of its vaulted
ceiling afford scope for fresco painting of a superior style; and the
pencil of our friend Eastlake, who has already shown so much classical
talent in decorating the dining-room in London, might render this one
of the most striking and charming apartments of its kind in England. It
is true that fresco is so little practised in your country, and
consequently its process so imperfectly understood, that he would
probably have to encounter some difficulties at the outset; but I
flatter myself I could be of considerable assistance to him, as regards
the practical details, having already succeeded in introducing that
mode of painting in spite of most unfavourable circumstances. I would
advise that the pictures should be confined to the ceiling and the
lunettes, and that the walls should be merely stuccoed, as being upon
the whole more in accordance with the destination of the room itself,
and affording a quieter background to the company seated around the
dinner-table; at the same time that the frescoes in the upper part of
the room would thereby show to greater advantage. You will observe that
the fresco requires a bold broad style, and has an advantage over oil,
as it is very effective even when not seen by a strong or favourable
light. Should somewhat more of decoration be thought advisable, I would
suggest the adoption of glass-mosaic in narrow upright pannels at
intervals. Of this species of embellishment, which was much used by the
Romans, and after, much in vogue throughout Italy during the middle
ages, for pulpits, monuments, &c. I have lately introduced an
application in a room fitted up by myself, the effect of which is
allowed to be singularly striking and good.
The remaining drawing shows the large corridor on the upper floor.
I need hardly remark that these designs are only intended to convey an
idea of the general character and style of the different rooms, as
submitted to you for consideration. Much yet remains to be definitively
settled, there being a variety of circumstances with which I am at
present but imperfectly acquainted; nor can I possibly say what
modifications of the plan I should advise, until I know wherein you
consider it objectionable, or wherein it fails to meet your precise
wishes. Some objections I may probably be able to combat; others may
possibly, by leading me to consider the points in difference afresh,
enable me to hit upon variations that may not immediately occur to me.
Much will depend upon your collection of works of art, which is as yet
but imperfectly known to me; much also upon my meeting with clever
workmen, capable, not only of entering into my ideas, and executing
without further trouble any piece of decoration that may be required,
but also, as has not seldom happened to me, of suggesting valuable
hints during the progress of the work. So far indeed am I from wishing
you to decide at once in favour of what I propose, I am most of all
solicitous that you should as completely comprehend not only the
general scheme, but the contemplated effect of every part. Undoubtedly
it is very pleasant to an architect to meet with an employer disposed
to give him _carte-blanche_ and permission to follow out his own ideas
unrestrictedly; yet it is still more delightful to meet with one who,
instead of merely passively acquiescing, assents from conviction after
deliberate study of the ideas submitted to him, and from the lively
interest he takes in them.
If I have ventured to propose marble, gilding, fresco painting, and
glass-mosaic, do not be alarmed at the seeming extravagance, or imagine
that any great expense will be incurred. In architecture the most
durable materials are the most economical, and they carry with them a
nobleness of appearance not attainable by even lavish ornaments, costly
at first, yet of a perishable nature. Consider what large sums are
expended in the course of a few years in keeping up houses that have to
be repaired or refitted up from time to time as regards all but their
bare walls, in consequence either of the materials getting soiled and
shabby, or of the changes of fashion, which having been the only
guidance in matters of taste at first, must continue to be consulted
and conformed to, otherwise the whole looks out of date; whereas, that
which is originally beautiful, independently of any particular fashion
of the day, will so remain, let the caprice of fashion change as it
will. I do really believe there are many rooms that would have cost
their owners less, had they been entirely lined with marble, and
otherwise ornamented with fresco painting and mosaic, than they have
done in consequence of being furbished up every now and then by
decorators and paper-hangers, and often in very questionable taste,
while after all, the effect for the time is at the best of an inferior
kind.
Besides by economy and a little dexterity of management even materials
may be obtained at a comparatively moderate cost: works in _Carrara_
marble, for instance, may be executed in Italy from designs sent over
for that purpose, at about half the price, including freight and duty,
which they would cost in England. The only inconvenience is that they
cannot be furnished so promptly, it being requisite that the orders for
them should be given some time beforehand. You will perhaps recollect
the circumstance I have stated in respect to this matter in my
"ARCHITECTURA DOMESTICA."
As to gilding--oil-gilding is cheaper than water-gilding; which last
has only the advantage of looking more brilliant than the former at
first. Fresco painting, again is less expensive than any mode of
painting in oil; for it necessarily demands far greater rapidity of
execution, and the effect being produced at once, instead of the work
proceeding through all the different stages from dead colouring to the
last finishing. How very poor a succedaneum for fresco painting is
Gobelius tapestry! in which latter the execution is entirely
mechanical, giving a mere soulless plodding transcript of the original,
while as some of the colours fade sooner than the rest, the whole
becomes in a short time quite inharmonious. I am moreover convinced
that there are many able artists now living, who would execute designs
in fresco for the same price that is paid for designs in tapestry; so
that durability being considered, the saving accruing from the former
would be considerable. Nor is it the least important consideration of
all, that art itself would be extensively benefited by the adoption of
such practice. I at least am thoroughly convinced, that a single room
painted in fresco by an able artist would do more for the advancement
of sound art in England than a score of commissions for oil-pictures,
or than a hundred so called illustrated editions of popular works, with
wood cuts. Pre-eminently gifted as is England with a true feeling for
colouring, there is no doubt but that her school would be able to
impart a fresh vigour to fresco painting, and would set a bright
example to the continent in this branch of the art. Yours, &c.
A. C.
N.B. Some further observations of M. de Chateauneuf's, in defence
of his views regarding the fit style of architecture for a modern
house, and also his design for the interior, have been omitted: I
regret this, and so, I think, will the reader; the additions,
however, would have made the work too expensive. The plates at the
end will give a clear idea of the general plan and the elevation,
and the last plate contains the proposed alteration of the tower,
and omitting the lake. _Editor._
[Heading illustration]
LETTER XI.
TO CHARLES LOCK EASTLAKE, ESQ. R.A. ETC.
MY DEAR SIR,
AT length I write to claim the performance of your promise, viz. that
you would give me your advice as regards the decoration of the house
designed by M. de Chateauneuf, the drawings and plans for which you
have seen. After some discussion, and a struggle on my part in favour
of the Elizabethan, the Perpendicular-gothic, or whatever the style is
to be designated, M. de Chateauneuf has triumphed, and the Italian, or
revived antique, (essentially the Grecian,) has been finally agreed on.
You are aware how strongly I feel that one of the best modes of
advancing the fine arts, is by paying greater attention to the interior
decorations of our houses, than has hitherto been the fashion in
England. The best proof of your own opinion on this subject, is the
kindness with which you devoted much time and labour to the designing
and executing for me the Pompeian room so deservedly admired.
Entertaining this view on the subject of ornament, makes me the more
anxious to take all possible pains in selecting the style of
decoration, so as the house should prove that its owner is a lover of
art, and that it should, as far as is compatible with a reasonable
economy, be considered in some degree as a pattern of what might be
accomplished in the matter of decoration. I never think on the subject
without calling to mind the principles laid down for the ornamenting a
country house, in Mr. Rogers's "Invitation to a Friend:" indeed,
looking to his intimate knowledge of the whole circle of fine arts, and
lastly, the specimen of refined taste which his own town house
exhibits, my _beau ideal_ is a house decorated under his direction; but
as this cannot be obtained, I trust that you, who possess so much of
his spirit and refinement, will, as far as may be compatible with your
engagements, afford me the benefit of your assistance. Although the
subject of decoration, both as regards houses and public buildings, has
been hitherto much neglected in this country, I think now every one is
becoming fully alive to its importance. The establishment of the
Government School of Design, in which, for the first time in England,
the art of design, as applied to decoration, is systematically
taught;--the opportunity afforded by the building of the Houses of
Parliament;--the Committee of the House of Commons, which has already
reported on the subject of their decoration;--and the Royal commission
entrusted with the further consideration of the subject,--cannot fail
to produce within a few years a great alteration in the views and taste
of the public. I may here observe, that the School of Design, and the
training of young workmen, will mainly tend to assist those who may be
inclined to give up the ornamenting their saloons and halls with cheap
printed papers, by producing persons who will be able, at a moderate
cost, to execute the original designs of eminent artists, or to copy
the great works of antiquity. Hitherto, except when foreigners were
introduced, it has been scarcely possible to obtain the assistance of
workmen capable of executing anything beyond the commonest and simplest
scrolls or straight lines; or if such assistance were obtained, it
could only be procured at a cost which put any extensive scale of
decoration beyond the reach of any but the affluent.
As regards the style and mode of execution of the proposed decorations,
I should, of course, wish to be guided by your judgment. Whether it may
be expedient merely to copy or adapt from known examples, such as the
baths of Titus, and the paintings of Pompeii, or from the great masters
of modern times, such as the designs of Raphael and Giulio Romano;--or
whether an entirely new style, founded on a study of the general
principles of art as applied to decoration, should be attempted, is for
you to determine. Again, it may be a question, whether in different
rooms a different course should be pursued, for the sake of variety.
Respecting the vehicle, whether encaustic, fresco, or oil, or all
three, should be used, must be determined by you.
You will observe there is the outer hall, and staircase, the inner
hall, the library, the two drawing rooms, and the dining room, all
requiring your attention.
The library, I should wish to be devoted as far as possible to art,
especially as the books it will contain relate principally to painting
and sculpture.
I remain yours very sincerely,
H. B.
* * * * *
P. S.--I should state that this application is made to you, with the
perfect assent, nay, indeed, at the request of M. de Chateauneuf, who
is desirous that his design should have the benefit of your advice, as
regards its ornament: the specimen given in M. de Chateauneuf's work on
Domestic Architecture, of the embellishment of the house executed by
him at Hamburgh, and indeed some observations he has sent to me,
sufficiently prove that he is in nowise deficient in this important
branch of an architect's duty.
[Decorative illustration]
[Decorative illustration along left margin]
LETTER XII.
MY DEAR SIR,
I SHOULD willingly refer you to abler advisers if M. de Chateauneuf's
house were as real as it deserves to be; but although the conditions
which you and the architect have proposed to yourselves have led to
very definite arrangements in the structure itself, a pleasing
uncertainty may be assumed to exist with regard to the decorations: in
a word, I can scarcely shrink from a responsibility as ideal as the
subject of our speculation.
I am sorry you have again referred to a certain "Pompeian" room;
believe me, too much has been said of what you know was a rough
experiment, to see the effect of a particular kind of decoration for
small rooms, and which, as regards its details, can only deserve
attention from the skill with which Mr. Harvey executed the animals
that are introduced.
The word "decoration," however appropriate to fantastic ornaments, and
in some degree to insulated figures, has, as you know, been considered
vilifying when applied to works that are addressed to the mind. But, as
we have no other term, we must consent to use it in both meanings. It
is, indeed, important to remember, that no works of art, however
elevated, can dispense with the appeal, the impressive or winning
appeal, to the eye. Thus much for our definition of terms.
As a general principle in decoration, I would recommend that the eye
should be solely or chiefly addressed where a passing glance only can
be given to the work, and that the attention should be more taxed where
leisure and surrounding circumstances permit or invite contemplation.
The reverse of this would be manifestly wrong; but the recommendation
itself is not to be understood too literally. Every display has its
legitimate exuberance: the "over and above" in decoration can only be
that of quality, for mere taste is supposed to define all that relates
to quantity. As common poetic description sometimes exalts its subject
less by accumulation than by supposing costly materials where mean ones
would do, so in art the augmenting excellence ascends from sense to
thought. If, therefore, the intention to afford mental pleasure is very
apparent even in situations where this may appear superfluous and in a
manner thrown away, the impression must of itself be elevating. But the
indispensable condition is, that a gradation should still be
maintained; that higher excellence should still be in reserve. What
must be the character of works of art to which Raphael's Corridor in
the Vatican forms the mere approach? The answer is given by the
perfection of the works in the Stanze. All that is to be insisted on,
therefore, is a due gradation in conformity with the principle first
proposed. In the remarks that follow, I cannot strictly follow the plan
of the house, but must often generalize; the observations submitted, if
tenable at all, will, however, be easily applicable to your purpose.