THE QUEEN ANNE STYLE--OLD DOORWAYS.
The so-called “Queen Anne style” has within the past few years displayed
itself in every shape of extravagance, running riot, as it were, in
fantastic freaks of brick. Entirely new quarters, as in the regions
close to Sloane Street, have sprung up, entirely covered with these
singular edifices. They seem to be dark, uncomfortable tenements, with
peaks and gables of the most elaborate kind, and are certain to require
constant repairs.
Considering that England has been the country of bricks, it is
astonishing that so little is known of the principles of brick-building,
which the modern development seems to defy. In foreign countries nothing
can be more satisfactory than the treatment of this material, always
used in a way that will best set it off. The effect of brick is produced
by the display of broad surface, and by the exhibition of masses of
brick, as in towers. Being of one geometrical size and pattern bricks
have little cohesion; whereas stones, of irregular sizes and patterns,
can be blended into masses difficult to separate or dissolve. All these
florid gables are certain to disintegrate; and, further, owing to the
system of laying bricks in masses of mortar, the process of
disintegration is made more certain. The lumps of mortar soon dry up and
powder away, and the bricks do little more than rest upon one another.
Bricks or tiles are very friable and brittle, and any bold cutting or
carving, though it may look stout and effective at first, will certainly
decay and drop off in fragments, owing to the lodgment of wet in the
cracks, etc. Any one that studies the old brickwork will discover that
the mouldings, pilasters, etc., are of the most delicate character and
in low relief, so as to attract rain or decaying dirt as little as
possible.
The rather piquant Hans Place used to be one of the most retired and
picturesque inclosures in London. In shape it is an octagon, the houses
thin, narrow, and compact, well suited to the person known to
auctioneers as “the bachelor of position,” or the old maid of snug
resources. The little “Square,” with its low railing, ancient trees and
flowers, had a monastic air. The place was completely shut out and shut
in also. At this moment it is being regularly and gradually rebuilt,
and the uniform narrowness of the space filled by each house gives
opportunity for a Bruges-like picturesqueness of design and variety.
Rents have gone up amazingly, as the houses have gone up; and the
“bachelors of position” have given place to families of a more opulent
class. A very striking entrance to the little square has been made from
Lennox Gardens, between two stately mansions with towers which
correspond in design. In a few years the whole will have been
reconstructed, and for variety of pattern and contrast there will be few
things more effective in London.
The use of terra-cotta has certainly been carried to an excess. It is
now used as a building material, like stone or brick, instead of as mere
“dressing” or ornament. Owing to its warping in the “baking” the
jointing is bad and irregular, and cracks speedily show themselves. Even
the decorative portions, garlands, boys, etc., seem never in the airy
spirit of the material, and are too elaborate and “undercut.” Some years
ago there was a fashion of profusely carving the brick, _in situ_, in
rich and florid relief, for which the material is too frail and
perishable.
It is pleasant, however, to find that a “brick style” is now being
gradually evolved, much more suitably adapted to the material and its
purposes. In the long terraces now rising on the numerous ruthless
clearances are to be seen specimens treated after genuine delicate
principles, that is, masses of surface, with bold, simple, and light
projections, instead of the toy, or cardboard, surfaces hitherto in
fashion. This new evolution is probably not intentional, and has worked
itself out on fixed principles.
Indeed, a diligent pilgrim through London will discover many modern,
pleasing houses of brick and terra-cotta, which, if somewhat _bizarre_,
have striking merit of design. A remarkable group of this kind of
edifice will be found at Courtfield Gardens, near Earl’s Court. These
mansions are of original and even fantastic design, being built of a
yellow terra-cotta, and running wild in richness of decoration and
general treatment. The porches, doorways, windows are all irregular: the
work is costly and beautiful; even the steps in front are inlaid with
marbles and mosaics. The visitor is taken by surprise. It is pleasant to
find that the beautiful type of Bruges houses, models of endurance and
grace, has been “discovered” by our architects. So simple and yet so
varied is this pattern that a large volume has been published, depicting
all the most notable examples.
Charles Lamb complained of the gradual destruction of the antique
fountains that were being abolished in his time; and in our day the
lover of old London picturesqueness has to bewail the steady and certain
destruction that is going on around him year by year. Old gateways, old
churches, old houses, with, of course, their old doorways, are fast
disappearing. The old doorways, of which there are very many in London,
with their attendant lamps and railings, would not have held their place
so long but for their fine, solid workmanship needing no repair. They
add distinction and perhaps additional money value to the houses
themselves.
In Grosvenor Street, where there are many fine old mansions, there are
some effective doorways which exhibit the depths, lights and shadows,
and the effective air of having a door’s duty to do; while the richness
of the carving in the two little “girders” that support the mouldings
are wonderfully pleasing. Here we find an unpretending but most
effective doorway, at No. 50, quiet and pleasing, with a fanciful
carving of a Lion’s head; No. 48 is also worthy of notice.
[Illustration: DOORWAY, 70, GROSVENOR STREET.]
In the same street there is one charming house, No. 70, of rich, warm,
tinted brick; and, though grimed enough, yet still with a dignity of its
own. It boasts a graceful doorway, though it suffers from the window
next to it being turned into a second door. Another porch in the same
street, and worthy of a glance, from its unpretending yet effective
grace, is that of No. 73, which is compact, small, yet deep, with a
little carving, which is sufficient; even the lamps lend effect. In Old
Burlington Street, at No. 30, is to be found a plain and simple doorway,
very singularly effective and well proportioned. The great noblemen’s
mansions in Grosvenor Square have all received ponderous portico
decorations; but the little doors they shelter betray the original form
of entrance. One of the most odious, and at the same time favourite, of
these shapes is the conversion of the whole portico into a chamber or
box, by which shift a sort of mean hall is gained, but there is no
shelter.
In Henrietta Street, Cavendish Square, are to be found some doorways of
distinct patterns, examples, also, of architectural merit. They are of
stone, and treated as stone should be, with boldness and simplicity.
There is a grace in the device--two sprays crossed, a bold head, the
arrangement of the lines being in the Renaissance fashion. These
meritorious bits of art are Nos. 11 and 12, the latter disfigured by
being painted raspberry colour.
Crossing now the line which separates trade from fashion, viz., Oxford
Circus, we shall see what doorways are to be found in a promenade
Citywards. Off Portland Street, in little-known Mortimer Street, are two
notable houses, Nos. 70 and 72. These are treated from top to bottom in
a rich style of “embroidery” that recalls some old Bruges house. Sir
Paul Pindar’s House is justly admired: but these have almost an equal
claim to admiration. There are borders, and “devices,” and ’scutcheons,
and a general air of grace and elegance. Like all such tasteful
structures, they appear to be in sound condition. What is the history of
these two houses? We search in vain the folios of the untiring Smith and
his fellows. The doorway of one has a richly-carved, semi-circular
border runner, but broken and raised over the centre to admit of a panel
decorated with sprays. These attract little attention, and will probably
be soon swept away, but they are certainly remarkable enough. Passing
into Holborn, and halting not far from the well-known restaurant of that
name, we find a curiously retired little street, almost a _cul de sac_,
and known as Featherstone Buildings. Here will be seen no less than
seventeen richly-carved doorways, each with its canopy and pilasters and
deeply-embayed mouldings and recesses, all, too, in excellent
preservation. A curious contrast this to the homely character of the
owners or lodgers. Next we pass to a better-known street, Great Ormond
Street, which had almost a sort of reputation for its ornaments; but,
unhappily, the demolisher has been at work of late, and but little is
left. There is one elaborate doorway of an imposing sort, that of the
office of the Royal Standard Benefit Society, lofty, arched, and
supported on columns, a very elaborate and handsome piece of work.
Opposite these is one really graceful and beautiful, No. 17, all
embroidered, with a sort of lace-work carving down, and well-wrought
“ears” supporting the canopy. No. 8 is also worth attention. Only a few
years ago there were several remarkable houses here, notable for their
railings, lamps, etc., but they have been levelled.
[Illustration: DOORWAY, PAINTER STAINERS’ HALL.]
Passing down to the rear of the new Law Courts, to Carey Street, there
was standing a few years ago a very remarkable house that might have
been transported from Normandy. There was, indeed, nothing resembling
it in London. It was a corner one, with a high wavy roof, bold massive
eaves and gables, its upper storey hanging over the street and supported
on a pillar. Its doorway was surprisingly elegant, and nothing could
exceed the grace and freedom of the carving of the two boys who
supported it. But it was carted away, no doubt disposed of as a work of
art, and the house was soon after levelled.
[Illustration: EXTINGUISHERS, BERKELEY SQUARE.]
Pursuing our rambles as far as Cannon Street, we turn into Laurence
Pountney Hill, and there are surprised at the sight of an imposing
coupled doorway, treated in a masterly style; the date, 1703, showing us
that this style of work was in vogue at the beginning of last century.
It will be noted in favour of this sort of work, what a rich variety of
treatment has been offered the specimens we have been considering.
Passing yet lower down into Queen Victoria Street, we find among a
number of levelled houses that old building known as the Painter
Stainers’ Hall, with a pleasing and effective doorway, set off by
carving of garlands and flowers, with the shield and arms of the company
in the centre. Finally, making our way to College Hill, we find
ourselves in front of what is called “Whittington’s House,” which is
remarkable for its arched doorway, treated in a florid and original
fashion. The circular window over it adds a point and character to the
design.
[Illustration: OLD DOORWAY, WHITTINGTON’S HOUSE.]
In Hatton Garden there are many doorways of different types. Grecian
triangular pediments supported on bold Ionic columns, and forming bold
porches. The rusticated style, too, is found here in abundance. Nos. 81
and 102 are worth looking at.
Wandering down the wharves at Lambeth, and hard by the hideous iron
bridge, where we expect to find marble yards and trusses of hay and
mounds of coal, we come on a magnificent doorway, richly carved and of
the shell pattern; carved, also, are its pilasters. This work seems as
sound as it was on the day it was set up. In Essex Street, Strand, on
the right hand as we go down, we shall find some half a dozen doorways
of merit, each of a different pattern and offering curious variety of
treatment. In the City, close to Tower Hill, and in Seething Lane, and
in quiet St. Catherine’s Court, we shall find some really imposing
doorways, some grouped and thus made more effective. So also in Broad
Street, off New Oxford Street. In Soho, once a fashionable quarter, in
Gerrard Street and in Dean Street, there are some fine examples. There
are some hundreds, in short, to be discovered in London; and they are
well worth searching for.
At No. 8, Grosvenor Square, will be noted some airy and elegant
treatment of old-fashioned iron railings, and which have been but little
restored. It is not, moreover, limited to the doorway, but extends along
the area. There are many doorways in London where a bit of “flourish”
connects the brick wall next the door with the iron railing of the area
with not unpleasing effect. In Greek Street, Soho, there are many of a
solid kind, and we have mentioned how rich the adjoining Dean Street is
in such entrances. These all speak of stately mansions to correspond,
fine stairs, and spacious halls.[27]