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DESCRIPTION

OF THE

RESIDENCE

D

JOHN SOANE, ARCHITECT;

WITH

SOME GENERAL REMARKS

ON THE STATE OF ARCHITECTURE IN ENGLAND IN THE NINETEENTH CENTURY,
AND

ON THE QUALIFICATIONS AND DUTIES OF AN ARCHITECT,

ETC. ETC. ETC.

sir);

 

DESCRIPTION

THE HOUSE AND MUSEUM

ON THE

NORTH SIDE OF LINCOLN’S-INN—FIELDS,

THE RESIDENCE OF

JOHN SOANE,

PROFESSOR OF ARCHITECTURE IN THE ROYAL ACADEMY;
ONE OF THE ARCHITECTS ATTACHED TO HIS MAJESTY’S OFFICE OF W'ORKS;
ARCHITECT TO THE BANK OF ENGLAND AND COLLEGE OF SURGEONS;
F.R.S. R.A. F.S.A.
GRAND SUPERINTENDENT OF THE WORKS OF THE UNITED FRATERNITY OF FREE AND ACCEPTED
MASONS OF ENGLAND;

MEMBER OF THE ACADEMIES OF PAINTING, SCULPTURE, AND ARCHITECTURE,
' IN PARMA AND FLORENCE;

 

“ Da naturale incliuazione guidato mi diedine i miei primi anni allo studio dell’ Architettura: e perché sempre fui
di opinione, che gli antichi Romani, come in molt’ altre cose, cosi nel fabricar bene, habbiano di gran lunga avanzato tutti
quelli, che dopo loro sono stati; mi proposi per maestro e guida V itruvio, i1 quale é solo antico scrittore di quest’ arte;
et mi misi alla investigazione delle requuie de gli antichi edificii, 1e quali mal grado del tempo et della crudelté de’ Barhal‘i
ne sono rimase.”——PALLAD10, Proemz'o ai Lettori.

 

LONDON:

PRINTED BY JAMES MOYES, TOOK’S COURT, CHANCERY LANE.

l\I.DCCC.XXX.

 

P. f" Li H
LlE-RAR?

INTRODUCTION.

THE objects of this, Work are chiefly to trace, by
reference to the Figures on the 'Geometrical Plans, the
relative situation of the several Rooms and Communi-
cations in this House and Museum ;—to notice some of
the principal Works of Ancient and Modern Art ;——and,
lastly, to shew, by Graphic Illustrations, the connexion

between Painting, Sculpture, and Architecture.

M788494.

INDEX TO THE PLATES.

 

PLATE 1.
PERSPECTIVE VIEW OF THE ENTRANCE FRONT OF THE HOUSE.

PLATE II. PAGE 1.

PLAN OF THE GROUND FLOOR.

PLATE III. PAGE 3.
VIEW IN THE BREAKFAST-ROOM.

PLATE IV. PAGE 3.
VIEW OF THE RECESS BEHIND THE APOLLO.

PLATE V. PAGE 5.-
PLAN OF THE BASEMENT STORY.

PLATE VI. PAGE 6.
VIEW IN THE PARLOIR OF PADRE GIOVANNI.

PLATE VII. PAGE 8.
VIEW OF THE ROOM ADJOINING THE SEPULCHRAL CHAMBER.

PLATE VIII. PAGE 9.
VIEW OF THE SARCOPHAGUS IN THE CENTRE OF THE SEPULCHRAL CHAMBER.

PLATE IX.
SOME OF THE DETAILS OF THE SARCOPHAGUS.

PLATE X. PAGE 14.
VIEW OF THE PICTUREaROOM.

PLATE XI. PAGE 19.
VIEW OF THE NORTH END OF THE DINING-ROOM.

PLATE XII. PAGE 20.
VIEW OF THE SOUTH END OF THE LIBRARY.

PLATE XIII. PAGE 25.
PLANS OF THE FIRST FLOOR, CHAMBER FLOOR, AND ATTIC.

PLATE XIV. PAGE 21.
VIEW IN THE SHAKESPEARE RECESS.

PLATE XV. PAGE 23.
VIEW IN THE TIVOLI RECESS.

PLATE XVI. PAGE 25.
VIEW OF THE MODELJIOOM.

PLATE XVII. PAGE 46.
DESIGNS FOR THE STATE PAPER OFFICE.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

DESCRIPTION, &c.

IN the front of the House is a small Court enclosed with Iron
Railing. The Gothic Bosses attached to the piers of the first and Plate I.
second Galleries are fragments from ancient buildings, probably about
the end of the twelfth century.

The 'Canephorae, in terra cotta, on each side of the centre gallery on
the chamber floor, are copied from the Caryatides in the front of the
Temple of Pandrosos in Athens. These Statues are nearly opposite
those of Machaon and Podalirius, in the front of the College of Surgeons,
on the South side of the square. A Flight of Stone Steps leads to the
Ground Floor, through the Porch (1), into the Vestibule and Lobby (2). Plate II.
The Vestibule, coloured to imitate porphyry, is separated from the Lobby
by a door enriched with scriptural subjects on glass. The Ceiling of the
Lobby forms a portion of a Dome charged on four points, with a large
Rose in the centre, of the same dimensions as the original in the soflite
of the Portico of the Temple erected by the Emperor Augustus to Mars
the Avenger.

The Lobby (2) adjoins the principal Staircase through which you pass
into the Breakfast—room (3). In the centre of this room rises a spherical
Ceiling, springing from four segment Arches, supported by the same
number of Pilasters, forming a Canopy. In the Dome is an octangular
Lantern, with eight scriptural subjects, surmounted with a bell—light.
The north and south ends of this room are lighted by Skylights, which

Q DESCRIPTION OF THE HOUSE AND MUSEUM.

diffuse strong lights on the several architectural and other works which
decorate the walls. Over the centre of the chimney—piece is an antique
Casket of bronze, found in the ruins of Herculaneum. On each side of
this casket is an antique Leg of an Animal; the one of oriental alabaster,
the other a modern imitation. On each ‘side of the window to the east
are Folding Shutters. Behind those shutters, and on the interior surfaces
thereof, are highly finished Drawings of the Ceiling of the Baths of Livia
in the Imperial Palace, and the Soffite of part of a Room in the Villa
Adriana at Tivoli, &c. The fronts of these shutters, and part of the
walls of the room, are decorated with Prints engraved and coloured from
the remains of a Villa of Antoninus Pius in the Villa Negroni in Rome.
On the south side of this room are several architectural Designs; a Print,
engraved by Charles Turner, A.R.A., from the Picture over the chimney-
piece in the dining-room, painted by the late Sir Thomas Lawrence, P.R.A.
There is also a splendid Print of “ Napoleon le Grand” in his coronation
robes; and a Portrait of Buonaparte in his twenty-ninth year, painted
by a Venetian artist, and esteemed an admirable likeness. AnOther
interesting object is a Pistol that belonged to the Emperor Napoleon.
This beautiful and highly finished weapon was taken from one of the
Beys of Egypt, and presented by the Emperor Alexander to the Emperor
Napoleon on the raft at Tilsit. This pistol Napoleon took with him to
St. Helena, from whence it was brought to England by a French officer,
to Whom it had been presented by Napoleon.* The Views from this
room into the Monument Court and into the Museum, the Mirrors in
the Ceiling, and the Looking Glasses, combined with the variety of out-
line and general arrangement in the design and decoration of this limited
space, present an almost infinite succession of those fancg'fid qflécts which

Plate III. constitute the poetry of Architecture.

‘ See Morning Herald, March 15, 1826.

 

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DESCRIPTION OF THE HOUSE AND MUSEUM. 3

Beyond this room, to the west, is the Corridor (4:), lighted from a sky- Plate 111.
light: looking to the west end of this corridor, there is a view of the
Upper Part of the Catacombs. At the east and west ends are two
Medallions, copied from the Arch of Constantine, representing the allego-
rical morning and evening of the Roman Empire. Under the medallion,
at the West end, are Casts from the Apotheosis of Homer, and from the
last unfinished work of Michael Angelo.

On the south is a Genius in a Triumphal Car, in Mosaic, found in
Adrian’s Villa; also various Antique Bronzes, several Casts of architec-
tural Ornaments of the cinque cento, and of Michael Angelo’s plate.
There are also the Portraits of Mr. and Mrs. Flaxman, presented to me
by that distinguished Sculptor. For the beautiful Model of a dying
Patriot, and the Cast of the Creshna of the Indians, I am indebted to
my esteemed friend the late Thomas Bankes, R.A.

From this corridor (4), on entering the Museum, the first object is a
Cast of the Apollo Belvidere, taken from the antique statue itself,
brought to England by the late Earl of Burlington, by whom it was
placed in his celebrated Villa at Chiswick. It was subsequently given to
the late Mr. John White, who presented it to me.

The Recess (5), behind the Apollo, lighted from a skylight, contains Plate IV.
an Equestrian Statue of His late MAJESTY, by Mr. Turnerelli, several
Busts, &c. Over the Bookcase, in the centre of this recess, is a highly
finished Model, in plaster, of the New Privy Council Offices, the Board
of Trade, &c.

Leaving this recess, you enter that part of the Museum which is
under the Dome (6), lighted from the roof, and marked in its architec-
tural decoration by rich variety of outline, and classical ornaments from
the antique. The view from the Apollo, looking into the Picture-room,
affords a rich assemblage of interesting effects. On the walls of this part

of the Museum are various Casts of Foliage, and other antique Orna—

4 DESCRIPTION OF THE HOUSE AND MUSEUM.

ments; also a Frieze of the cinque cento richly sculptured and gilt.
There are likewise two Basso-relievos, in terra cotta, of the allegorical
morning and evening of the Roman Empire. Between these works is
another Basso-relievo, in terra cotta, brought from Italy by the late Mr.
Adam. To these are to be added a Cast of a colossal bust of Minerva,
the beautiful and richly ornamented marble Cornucopia, found in the
Villa Adriana, &c.

From the opening in the centre of the domical part of the Museum
is a bird’s-eye View into the basement story, shewing the Belzoni Sarco—
phagus, and other works of art surrounding that splendid relic. The
opening here noticed is protected by a continued pedestal, raised above
' the level of the floor. Upon the cornice of this pedestal are Busts, in
marble, of distinguished Romans, intermixed with antique Vases, admi-
rable in design and execution. Under the cornice, on the interior surface
of the pedestal, is the Front of an antique Sarcophagus, with the repre-
sentation of the Rape of Proserpine; a plaster Cast from an antique
frieze in the Medici Garden; another, of the F estoonebetween the pilas-
ters on the outside of the Pantheon, &c. From this part of the Museum,
a view into the Breakfast—room offers some striking effects of light and
shade.

From this part of the Museum (6), you enter another portion thereof,
under the Students’ room (7). The Museum in this part is rather solemn
than gloomy; and the pictorial effects, from the catching lights and
shades, will be duly appreciated by the students and lovers of art. This
portion of the Museum is formed by three aisles. The entrance into the
centre division is distinguished by cinerary Urns, &c.; and the Ceiling,
in compartments, is highly ornamented with Casts from the Antique,
and from Fragments preserved of modern buildings. On the north side
is a Statue of the Ephesian Diana ; and on the south, the deified Escu-
lapius, a small Statue of Venus, &c. The walls of the north and south

 

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DESCRIPTION OF THE HOUSE AND MUSEUM. 5

aisles are decorated with a marble Bocca della verita, Fragments of
antique Mouldings, Friezes, Capitals, and other ancient Works; also
some architectural Models, &c. of designs executed.

From the south side of this part of the Museum you enter the Recess
(8). In this recess, which is lighted from the Monument Court, are three
Models, in cork, of ancient sepulchres discovered at Capua, and in other
parts of Italy. At the east end of the south aisle is an antique Solar
Dial, supported by Atlas:——a similar one is preserved in the British
Museum. The Presses and Bookcases in this part of' the'Museum are
filled with architectural Designs, and Books chiefly relating to the Fine
Arts. 7

Leaving the Recess (8), descending three steps, in the Colonnade (9),
you enter the north aisle of the Museum (10): at the east end of this
aisle is a Staircase leading to the basement story. In the passage (11), at Plate V.
the foot of this staircase, are two beautiful antique Capitals, from the
Villa Adriana, a‘Cast of the Venus di Medici, &c.

On the east side of this passage you enter the Lobby to the Monk’s
Cell and Oratory (12.) In the cell is a Niche for the holy water, and in
the oratory a highly finished Crucifix in wood; also a small Library,
sundry Relics and Missals, and a Glass, remarkable for an inscrip—
tion on it, taken out of a Convent in Flanders during the French
Revolution.

Returning from the Oratory (12), you proceed to the Parloir of Padre
Giovanni (13). The scriptural subjects, represented on glass, are suited
to the destination of the place, and increase its sombre character. The
highly finished representation on copper, over the chimney-piece, of a
Martyred Saint, and the Dutch Engraving, in 1703, from a gold coin in
the possession of the Grand Master of Malta, said to be an exact drqft of
one of the thirty pieces of silver for which Judas betrayed our Saviour,

the other works of intellectual and highly gifted talent, combined with

Plate VI.

6 DESCRIPTION OF THE HOUSE AND MUSEUM.

the Statues in terra cotta, and the numerous Models and Works iof Art,
taken chiefly from ecclesiastical monuments, which decorate the ceiling
and walls of this room,——impress the spectator with reverence for the
Monk. Looking to the north, there is a View into the Oratory, where
the Crucifixion, already noticed, is seen to great advantage. From
Padre Giovanni’s room (13), the Ruins of a Monastery (14) arrest the
attention. The interest created in the mind of the spectator, on Visiting
the abode of the Monk, will not be weakened by wandering among the
ruins of his once noble monastery. The rich Canopy, and other Deco-
rations of this venerable spot, are objects which cannot fail to produce
the most powerful sensations in the minds of the admirers of the piety
of our forefathers, who raised such structures for the worship of the
Almighty Disposer of events. ..
The Tomb of the Monk, composed from the remains of an old
monument placed over the vault of the Bosanquet Family in Laytonstone
Churchyard, adds to the gloomy scenery of this hallowed place, wherein
attention has been given to every minute circumstance. The Pavement,
composed of the tops and bottoms of broken bottles, and pebbles, found
amongst the gravel dug out for the foundation of the Monastery, and
disposed in symmetry of design, furnishes an admirable lesson of simpli—
city and economy, and shews the unremitting assiduity of the pious
Monk. The Stone Structure, at the head of the Monk’s grave, contains
the Remains of Fanny, the favourite companion, the delight, the solace
of his leisure hours, whose Portrait, painted by James Ward, R.A., may
be seen in the dining—room on the ground floor, under the picture of

Love and Beauty, by Sir Joshua Reynolds.

Alas, poor Fanny !

Leaving the ruins of the monastery, the attention is next directed to

a small internal enclosure (15), designated the Monument Court. In

 

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DESCRIPTION OF THE HOUSE AND MUSEUM. 7

the centre of this court is an architectural Pasticcio of about thirty feet
high. This Pasticcio is composed of the pedestal upon which the Cast
of the Belvidere Apollo, now in the Museum, was charged; a marble
Capital of Hindu architecture; a Capital in stone, like those of the
Temple at Tivoli, and of the same dimensions; and another Capital of
Gothic invention. These are surmounted by architectural Groups of
varied forms, composed of fragments from different works, chiefly in
cast iron, placed one upon the other ; the whole terminated with a Pine
Apple.

The walls of this Court are decorated with Fragments of ancient and
modern art :--on the lower part, from the works of Inigo Jones, Robert
Adam, and other distinguished artists. One of the Figures, from the
attic story of Furnival’s Inn, is here preserved, to shew the state of art
when that structure was erected. Upon the east and west parapets are
seen the Winged Mercury ; two small marble Statues, of modern Italian
sculpture; several Torsi, and other pieces of ancient and modern sculp—
ture. The Vase in the centre of the north side of this Court, copied
from the outline of an Etruscan work, is in Coade’s artificial stone, and
was formerly placed over one of the Ionic columns of the Screen in the
front of Carlton House. Those Vases, or jelly glasses, as the Committee
of Taste of that day designated them, were so much ridiculed, as to
cause their speedy removal; and the absurdity of a single row of columns
to support an entablature without any meaning, produced the well-

known pasquinade :

“ Care colonne, que fate qua?”
To which the columns reply, in recitative—
P?

“ Non sappiamo,-in verita.

Most of the objects comprising this assemblage of ancient and modern

Plate VII.

8 DESCRIPTION OF THE HOUSE AND MUSEUM.

art will be advantageously seen from the rooms on the ground floor,
particularly the beautiful circular Frieze of Grecian Sculpture purchased
at Lord Besborough’s sale at Roehampton.

From the Monument Court you enter the Passage (16). In the
south wall of this passage are three perforations: in the middle aperture
is a beautiful model of part of the decoration of Westminster Hall.
At the back of these perforations, in a Recess, is a plaster Cast of
a Chimney-piece, placed in the reign of Queen Elizabeth in one
of the rooms of the ancient palace at Westminster: the original is
now in the Retiring-room of the Judges in the Court of King’s Bench.
Some of the Casts of Gothic Ornaments on the west, north, and south
walls of this Recess, are from the Ruins of Ramsey Abbey, Tintern
Abbey, &c.

The Passage (16), lighted from a Window in a deep recess, leads
into the room (17), which forms the Approach into the Sepulchral
Chamber and Catacombs.

The Ceiling is in compartments, in the form of St. Andrew’s Cross:
the centre is decorated with a large Rose, cast from the original in
York Minster, and the extremities are finished with representations of
pine apples.

On the south side of this room is an architectural Model, in wood,
terminated with a dome: over this model is another, of an antique
Sepulchre, purchased, in 1828, at the sale of Lord Berwick’s property,
in Shropshire. Above these models, and on each side, are Casts from
ornaments in York Minster. On the north side, and over the two
apertures, are architectural Casts; and between them are several
Ornaments in metal, copied from those in the inimitable Iron Gates
in the domains of Hampton Court Palace. The rich pilaster Pannel,
and the beautiful plaster Ornaments on the side of the recess to the

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DESCRIPTION OF THE HOUSE AND MUSEUM. 9

of Carlton House. These specimens of modern plaster work were pre—
served, when that superb structure, with the noble Portico in front,
and one of the most elegant and classical Vestibules in Europe, leading
into a most beautiful and highly decorated Staircase and suite of Royal
Apartments, as rich as art could contrive, were demolished.

The Table in the Recess, containing various beautiful specimens of
marble and granite, was presented to me by a much esteemed friend.

The Sepulchral Chamber (18) is the next object of attention. In
the centre of this room, a few inches above the level of the pavement,
is the Belzoni Sarcophagus, and under it nineteen Fragments of the PlateVIII.
ancient Cover are preserved.

This marvellous effort of human industry and perseverance is sup—
posed to be at least three thousand years old: it is of one piece of
alabaster, between nine and ten feet in length; is considered of pre—
eminent interest, not only as a work of human skill and labour, but
as illustrative of the customs, art, religion, and government of a very
ancient and learned people. The surface of this monument is covered
externally and internally with Hieroglyphics, comprehending a written
language that seems at this time unintelligible.

Plate VIII. gives the idea of the Sarcophagus in its present situa-
tion; and Plate IX. shews many of the details. Fig. 1, the Plan of
the Interior Surface of the bottom of the Sarcophagus; Figs. 2 and 3,
Elevations of the Two Ends; Figs. 4 and 5, the Interior Surface of
the Two ”Ends; Figs. 6 and 7, the Interior Surface of the Two Sides;
Figs. 8 and 9, the Exterior Surface of the Sarcophagus.axe

5* This Sarcophagus is supposed to be the largest specimen known of that beautiful
variety of calcareous stone denominated Antique or Oriental Alabaster.

It was frequently used to form the bust, to which the head, of a different sort and colour
of stone, was adapted: small columns, urns, and vases, were also made of it. The box,
mentioned in the 26th chapter of St. Matthew, was probably constructed of this material:
“ There came unto him a woman, having an alabaster box of precious ointment.”

In the more precise language of modern science, however, the term alabaster is strictly

C

Plate V.

10 DESCRIPTION OF THE HOUSE AND MUSEUM.

This Sarcophagus, discovered'by Belzoni, and coveted by the Russian,
French, and Bavarian Governments, was, at an enormous and incredible
labour and difficulty, transported from the banks of the Nile to those
of the Thames, and deposited with the other results of Belzoni’s
unceasing researches in the British Museum: there it remained a con-
siderable time. The sum asked for this relic of Egyptian magnificence
was two’ thousand pounds, which being considered greater than its
value, the idea of purchasing it for the British Museum, after much
negotiation, was abandoned. Being informed of this circumstance, and
considering this unique monument of inestimable value, I expressed my
readiness to give the sum required. The offer was accepted; and in a
few days, by taking down a large portion of an external wall, I had the
inexpressible pleasure of seeing it safely deposited in the most secure
part of my House: there it now is, and will be, so long as this invaluable
Treasure remains in England.

To the west of this Sepulchral Chamber is a large Recess; and to
the south, the Catacombs (19). Under the arched entrance into the
recess is a large antique Vase of oriental alabaster, and another, in
terra cotta, in exquisite taste. At the east end is another large antique
Vase, in metal. In the centre of the north side is a Cast of a colossal
Bust of Osiris, from the original, in the possession of Samuel Rogers,
Esq. This proud monument of art is supported on a Roman Altar,
bought at Lord Besborough’s sale. On each side of this magnificent
work of Egyptian art is a Candelabrum from the Temple of Bacchus,

fuorz' delle mum di Roma. On these candelabra are Vases. On each

confined to the combination of lime with sulphuric acid, or gypsum, as it is also called, from
which plaster of Paris is prepared; whereas the Belzoni Sarcophagus is worked out of an
astonishingly large mass of the variety of calcareous stone to which the name of arragonite
has been given, because its peculiarities were first discovered in specimens found in the
province of Arragon. It is a combination of lime with carbonic acid, together with a

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DESCRIPTION OF THE HOUSE AND MUSEUM. J 3

side of these examples of ancient art are modern implements, in iron ;—
to the honour of humanity, no longer in use.

On the west of this recess are the Catacombs (19), filled with a
variety of rare and beautiful cinerary Urns and Vases: one of these
depositories of the ashes of the dead is engraved in the works of
Piranesi, and formerly belonged to that distinguished artist. The
two antique Windows, turning on pivots, and presenting sculpture
on each side, are rare works of art, which cannot fail to offer a
rich repast to the lover of antiquity. The Model, in clay, of
Hercules strangling Cerberus, is the work of Mr. Henry Webber,
the sculptor, who, under the auspices of the late Mr. Wedgwood,
has‘so happily improved our taste in the imitation of the antique
Etruscan Vases.

Over the cinerary urn, formerly belonging to Piranesi, already
noticed, is a Terra Cotta of singular merit; it formerly belonged to
Dr. Chauncy, who thus describes it z—“‘ This antique Bas Relief, of
terra cotta clay, baked and hardened, was found in the ruins of the
Emperor Adrian’s Villa, near Rome, together with many others now
in the collection of Charles Townley, Esq. of Westminster.

“ From Mr. Lyde Browne, to whom it was transmitted from Rome,
it passed into the hands of a late eminent collector, Matthew Duane,
Esq. at the sale of whose gems I purchased it.

“ Sculptures of this kind (from the cheapness, probably, of the
materials and the workmanship) were very generally in use among
the Romans; and they often, at least, were not intended (as models
in clay now usually are) as models only, for sculptures to be executed
afterwards in more valuable materials, but were wrought for the
purpose of being used at once as ornaments of houses and tombs.
The general design of this sculpture relates probably to the subject
most frequently alluded to in ancient mythology,——-the creation of all

Plate X.

14: DESCRIPTION OF THE HOUSE AND MUSEUM.

the ruins of Roman Edifices, are several Casts of Friezes, Roses,
Consoles, &c. from Greek and Roman works.

At the west end is an aperture, affording a bird’s—eye view of part of
the Museum. On the wall are six beautiful Figures from the pedestals
of antique tripods, in the collection of his Holiness the Pope; and a
series of Casts of architectural Ornaments, &c.

At the east end are Models in wood of the Five Orders of Archi-
tecture. Over the aperture, at the head of the Staircase, is an antique
Cornice; and on the side thereof is an antique Pilaster Capital, a
Fragment of an Ionic Capital, several Casts of architectural Friezes,
Mouldings, &c.

Returning to the Corridor (20), you enter the Picture Room (22):
the ceiling of this room is most elaborately enriched with Plaster Orna—
ments in compartments, forming arched canopies.

On the north and west side of this room are single folding shutters,
and on the south they are double, With sufficient space between for
pictures, both on the inner face of the shutters and on the wall itself:
by this arrangement a small space is rendered capable of containing
more pictures than a room of much greater extent. Another advantage
of this contrivance is, that of allowing the pictures to be seen in every
possible direction.

The Pedestals on three sides of this room are appropriated to the
reception of Books, chiefly relating to the Fine Arts.

On the east end are three Designs for the decoration of a Theatre;
a Picture of Poultry, by Sir Francis Bourgeois ; Two Drawings of Ruins,
by Clerisseau ; and Milton dictating to his Daughters, by Richard ‘Vest-
all, R.A. On the right and left of this picture is a View, by Canaletti,
of the Rialto and the Piazza San Marco, in Venice, formerly in the
collection of the Earl of Bute. Under these pictures are four Drawings

of Ruins by Clerisseau, and a magnificent View in Venice by Canaletti.

 

 

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DESCRIPTION OF THE HOUSE AND MUSEUM. 15

At the West end of this room is a Portrait of Sir Francis Bourgeois,
R.A.; a Picture of a Persian Lady worshipping the Rising Sun, by
Mrs. Cosway; a Landscape by Zuccarelli; the Landing of Richard II.
at Ravensburg, by William Hamilton, R.A.; a Drawing, by George
Barrett, R.A., of the Trees in Mr. Lock’s Park at Leatherhead; the
Aldobrandini Marriage; the Cheat Detected, by Edward Bird, RA;
and the Italian Count, by Henry Fuseli, R.A. On the interior of
the shutters, on each side the entrance, are Nine Drawings of the
Ruins at Pwstum, by Piranesi; Five by Clerisseau; and Two by
Zucchi.

On the north side, over the bookcases, are Two Drawings of Ruins
at Paestum, by Piranesi; Two Views in India, by William Hodges,
RA; and Two Pictures of an Election, by Hogarth.

Over the bookcases, on the south side, are Two Drawings of the
Ruins of Paestum, by Piranesi; a View of Greenwich Hospital and
the River, taken on the Isle of Dogs, by Augustus Wall‘Callcott, R.A.;
and Two Pictures, completing the series of an Election, by Hogarth,
formerly in the collection of Mr. Garrick.

On the interior surface of the folding shutters, on the north side,
and on the wall behind the same, are Eight Pictures of the Rake’s
Progress, formerly the property of the late Alderman Beckford. Over
these works from Hogarth’s inimitable pencil, is a Landscape, by
Augustus Wall Callcott, R.A.; the original design, by Sir James
Thornhill, of the Ceiling in the Great Hall at Greenwich; the
Interior of an ancient Edifice, by Clerisseau; Kirkstall Abbey, by
J. M. W. Turner, R.A.; and Two Perspective Views of the Interior
of the New Masonic Hall in the Freemasons’ Tavern.

Returning to the south side, on the interior surface of the folding
shutters in front are Four Architectural Designs; under them Archi—

tectural Visions of early fancy, and wild effusions of a mind glowing

18 DESCRIPTION OF THE HOUSE AND MUSEUM.

Drawing of Baronscourt in Ireland, one of the seats of the late Marquess
of Abercorn. Under these drawings are two of Banditti by Mortimer;
the Laughing Audience and the Musical Party, by Hogarth, engraved
by him as tickets of admission to his pictures.

On the'east side is a Drawing by Canaletti ; in the window are three
Heads in ancient glass.

On the west side is a Case, containing Books on Architecture, &c.

On the south end, over the door leading into the study, are two
Etruscan Dishes, and two Models in wood, one of part of the
Bank of England, and the other of the Lodges at Tyringham, the
seat of William Praed, Esq. Under these models are Casts in sul-
phur, in four frames from the works of Nathaniel Marchant, RA.
and ——- Birch, RA.

You next enter the little Study (25). This room receives its light
chiefly from a window looking into the Monument Court. In the ceiling
' are several marble Fragments, a Cast from one of the enrichments in the
frieze of the Temple of Jupiter Tonans, &c. On the north end of this
room is a Drawing of the Mausoleum erected to the memory of Mrs.
Soane, various Bronzes, Antique Friezes, Cornices, &c.

On the east side, the chimney—piece is decorated with three
pieces of ancient Sculpture; on each side the chimney are two small
cinerary Urns, an antique Pilaster Capital, and the front in marble
of a Roman Tile. Upon the chimney—piece are several Egyptian
Divinities, part of a Greek Altar, and other exquisite specimens of
Grecian and Roman Sculpture. On this side of the room is likewise
an antique Aspersoir; two Metal Stirrups, richly sculptured, found
near the Banks of the Boyne; the Walking-Cane of Sir C. VVren—
on the head a small compass, With architectural instruments, and a
five feet rule within, &c. '

On the west side are various fragments of ancient Greek and Roman

 

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DESCRIPTION OF THE HOUSE AND MUSEUM. 19

Sculptures, and Paws of Animals, of extraordinary execution. The large
Fungus over the window, from the rocks of the island of Sumatra, and a
beautiful Cornu Amonis, on the south side of the room, will be appre-
ciated by the lovers of natural history. Over the door leading into the
dining-room is a Cast of the Apotheosis of Homer, the work of Archelaus
of Priene, and which before the French Revolution was in the Colonna
palace. Under this cast are various antique marble Fragments. On
each side of the door is a delicious antique Fragment, in the true
gusto antico, &c. '

From this room you enter the Dining-room and Library (26). The Plate II.
Ceiling of the Dining-room is flat, in compartments, shewing the con- Plate XI.
struction of the floor above :-——among the Scriptural Subjects on glass,
with which the Window in the north end of this room is enriched,
are the Creation of the World and the Day of Judgment: these works
are very ancient, and in excellent preservation. From this window
the Monument Court, with its architectural Pasticcio, and assemblage
of ancient and modern art, and particularly the Frieze, of Grecian
sculpture, are seen to great advantage: the lovers of Grecian art will
be gratified with comparing the outline of this work with the two
natural productions 0n the sides of the window, found in the hollow
of an old ash pollard.

At the north end of the Dining—room, under the window, is a Pedestal
Bookcase, surmounted with a Marble Slab, inlaid with specimens of
Marble,.Granite, and Precious Stones: upon this slab is a large Etruscan
Vase, purchased at the sale of Lord Cawdor’s effects: on each side of
the vase are two others of Marble, of Italian workmanship, formerly
belonging to Richard Cosway, RA. :. to the right and left of these vases
are two beautiful China Jars, given to me by the late Viscount Bridport.
The effect of these works is considerably heightened by the Looking—glass
in the splayed jambs of the window.

Plate XII.

20 DESCRIPTION OF THE HOUSE AND MUSEUM.

On the east side, over the chimney—piece, is a Portrait by the late
Sir Thomas Lawrence, P.R.A., almost the last picture painted by that
distinguished and polished gentleman. On each Side of this picture
are Bookcases.

On the west Side, over the side—table, is a Picture of Love and
Beauty, by the late Sir Joshua Reynolds, P.R.A., formerly belonging
to the Marchioness of Thomond, the niece of Sir Joshua. Under this
picture is a Portrait of Fanny, by James Ward, RA.

The Bookcases, forming portions of the south side of this room, are
connected together by a Canopy of three arches, richly decorated.
Upon the Pedestal Bookcase, to the east, is a beautiful Etruscan Vase,
of extraordinary design and preservation, purchased from the collection
of the late Sir Henry Englefield. On the west side, upon the Pedestal
Bookcase, is the Model of a Tomb to the memory of Mrs. Soane;
The Ceiling of the Library, like that of the Dining—room, is in compart-
ments. The Bookcases on the north side are connected together by
three semicircular arches, forming a Canopy similar to that on the south
side of the Dining—room. This Canopy makes the separation between
the Dining-room and Library. The Window at the north end,——the
Bookcases, Vases, Busts, Looking—glasses, Mirrors,—-and, above all, the
inimitable works of two of the most distinguished painters, not only of
this, but perhaps of any age,—-—united with the assemblage of ancient
and modern art in the Monument Court,—-—make a rich background
to the whole, and produce many powerful effects of architectural
scenery.

On the east side of the Library, over the chimney—piece, upon the
cornice of the bookcases, springs a large flat Arch, forming a recess;

and, to connect the symmetry, there are two semicircular Arches, Similar

'to those on the south side of the Dining—room. The west Side corre-

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DESCRIPTION OF THE HOUSE AND MUSEUM. 21

chimney—piece is a large Looking—glass, with some small figures by
Tassie. Upon the shelf forming the top of the bookcases are several
Etruscan Vases, rich in form and decoration: and also a specimen of
Wedgwood’s imitation of Etruscan Pottery.

The west side of the room partakes of the character of the east
side, and the architecture of the south side is in the same style,
with semicircular arches to complete the symmetry of the whole. At
this end of the room are two small Bookcases; and in the front of the
middle pier is a projecting Pedestal or Table, filled With Drawings,
Prints, and Books: upon this pedestal is a Clock, formerly belonging
to His Royal Highness the late Duke of York: behind this clock is
a large Looking-glass. Between the piers, at this end of the room, are
two deep Recesses, surrounded with Bookcases, surmounted with Busts
of Inigo Jones, Shakespeare, Napoleon, and Blucher, and terminated
with two “7indows. The internal surfaces of the shutters to these
windows are faced with Looking—glass: these decorations, com-
bined with the glass behind the clock, when viewed in different
parts of the Dining—room and Library, produce an infinite variety of
scenery.

Passing from the Library and Dining-room into the Staircase (27),
the scenery is kept up by the View through the arches and glazed door
into the Hall: ascending a few steps of the staircase, on the west side
is a Picture of a scene from the Merry Wives of Windsor, painted in
Rome,‘by J. Durno, for the late Alderman Boydell. The next object
is the Shakespeare Recess (28).

In this recess (28) are two Pictures by Henry Howard, R.A.; the Plate le,
one designated the Vision of Shakespeare, the other the last Scene in
King Lear. At the end of this recess is a Cast from the Bust of
Shakespeare in the church of Stratford-upon-Avon; under it is a small
,Drawing of a scene in Macbeth, by Richard VVestall, RA. Behind

Plate XIII.

22 DESCRIPTION OF THE HOUSE AND MUSEUM.

the looking-glass door is a Service of Nankin China, bought at
Captain Wyatt’s sale, at Ealing.

Returning to the Staircase, and passing the Mercury in bronze (29),
given to me by Mr. Alexander Day, as an original work of Giiovanni di
Bologna, and the Bust of Richard Brinsley Sheridan, by the late George
Gerrard, A.R.A., you arrive at the Drawing-room floor (30).

The Ceiling of the front room is flat, in compartments, with archi—
tectural decorations.

At the east end are three Portraits by the late William Owen, RA.
The west end makes an obtuse angle with the south side: to mask
that irregularity it is made circular, which gives variety and convenience
to the room. This room is lighted from the south by three large \Vin-
dows, looking into a covered gallery commanding views of the garden
of Lincoln’s Inn Fields. On the north side are Folding Doors, commu-
nicating with the north Drawing—room ; opposite is a large Window, richly
decorated with architectural ornaments in coloured glass. There are
two smaller Windows, with Pedestal Bookcases beneath. In the piers

between these windows, and on the west end and south side of this room,

are Cases with folding doors, enriched externally and internally with a.

series of Designs for a Royal Palace,-——for the Western Entrance into the
Metropolis,——for the New Law Courts at VVestminster,——the New Council
Offices in Downing Street,—a Sepulchral Chapel to the memory of his
late Royal Highness the Duke of York,——-—a Design for a Mausoleum,
made in 1775,

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and two Views of the Bank of England, shewing
the Exterior and Interior of that great national edifice, &c. &c.
The ceiling of this room is partly groined and partly flat,—a mode of
decoration calculated to give variety and movement to the composition.
a From this room returning to the staircase, the first object that

presents itself is a Bust of “the aspiring youth who fired the Ephesian

   

 

     
   

 

 

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DESCRIPTION or THE HOUSE AND MUSEUM. 23

Dome,”* by Thomas Banks, RA. Next to this monster is a Picture painted
by Francis Danby, R.A., representing a scene in the Merchant of Venice.
The five characters from Shakespeare, by the late John Mortimer, are
beautiful specimens of the taste and discrimination of that great artist.
Mr. Mortimer gave these impressions to his friend Mr. Levick; at whose
death they became the property of his niece, from whom I received them.
The T ivoli Recess (31) is the next object. On the west side of this
recess is a Bust by Francis Chantrey, R.A. On the other part of this
surface there is a geometrical elevation of the little Temple at T ivoli, and Plate XV.
the Entablature in large, made in Rome in 177 8. Over these drawings
are the Diplomas of Associate and Academician of the Royal Academy,
and a Perspective View of a T riumphal Bridge, made from the design
which gained the premium in Architecture, given in the Royal Academy
in 1776, and for which the Author, under the auspices of His late Majesty,
was sent to Italy in 1778. At the north end of this recess is a Bust of
George Dance, R.A. by Charles Rossi, R.A. Over this bust is a plaster
Cast of the Entablature of the Temple at Tivoli. The door pannelled
with looking-glass marks the entrance into a Closet containing a Service
of Worcester China, &c. Returning to the staircase, passing a Model
by the late Thomas Banks, R.A. to commemorate one of the great.
Naval Victories obtained by Earl Howe, you proceed to the Chamber ‘
floor. A small Lobby (33), leads through a recess into a Morning—room
(34), lighted by a window to the south, with a Recess for Flower— Plate XIII.
stands; on the chimney—piece are small Busts of Voltaire, Rousseau, Flg'g'
&c. In this room are two Bookcases, attachedto the walls, formerly
belonging to the Viscountess Bridport, over which is a Portrait of the
late John Mortimer, and a large Collection of Drawings by that cele-
brated painter, the friend of Durno and W heatley, names cherished by
the lovers of art.

* King Richard III.

24 DESCRIPTION OF THE HOUSE AND MUSEUM.

......... Downman, A.R.A., has contributed two Portraits to the
embellishments of this room; and the Picture by Mrs. Pope, the widow
of Francis Wheatley, R.A., does credit to her pencil. The View of
London is a picture of some interest. The highly-finished Drawing,
in pen and ink, of David anointed King by the prophet Samuel, is by
Mr. John Mathews, Architect. This ingenious and indefatigable artist,
having failed in an attempt to gain the gold medal given in the Royal
Academy in 1771, for the best design of a Villa for a Nobleman, felt
the disappointment so poignantly, that he neglected his studies and
passion for Architecture, became dissolute and sottish, and finally ended
his days in a prison !

The Ivory Table in the middle of this room, and the four Chairs in
the Picture Room, came from Seringapatam. The Table, with specimens
of marbles, was made for Mrs. Soane, who latterly passed much of her
time in this room, which communicates with a Bed—chamber (35). The
Gallery on the south side of this room affords Views of the Gardens of
Lincoln‘s Inn Fields, St. Paul’s Cathedral, numerous Churches, and
other Public Buildings. From this chamber you enter the Dressing—
room (36); here are Eight Views in Sicily. From the adjoining
chamber (37), is a bird’s-eye View of the Lantern Lights,—the Fragments
of ancient and modern Art spread over the roofs of the Museum
and Picture Rooms: connected with this room are two large Closets,
with Windows into the Staircase and Whetstone Park. These windows,
glazed with Scriptural Subjects, and those of the other rooms on this
floor, are fine specimens of ancient glass,—-they were taken out of
churches and monasteries during the French Revolution. From the
closet to the south you enter the Passage (88) between the north
and south chambers. On the south side of this passage are Bookcases,
containing Treatises upon Architecture, and other subjects; also a

View into the Model Room: over the door, at the east end, is the

 

 

 

 

 

 

 

 

 

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DESCRIPTION OF THE HOUSE AND MUSEUM. Q5

Skeleton of a Cat, starved to death. This animal was found with a
rat in her mouth, behind the wainscot of an old house in Lothbury,
taken down for the enlargement of the Bank of England.

This passage leads into the Staircase, by which you reach the Attic Plate XIII.
floor. 011 the east side of the landing of the Staircase is the entrance Fig' 3‘
into the Model Room.

This room (40) is lighted from a Lantern Light, and by two Plate XVI.
Windows in the south front, which afford a panoramic effect of some
of the magnificent structures of the Metropolis, and extensive views
of the environs.

In the centre of this room is a Pedestal, containing a considerable
number of Drawings by different Masters, with Books on Art. Upon
this Pedestal is a very large Model of the Ruins of Pompeii, as they
appeared in 1820; also very accurate and interesting Models in cork of
the Temples at Paestum; the little Temple at Tivoli; the Arch of
Constantine, &c. The effect of these Models, to be duly appreciated,
should be seen under the influence of sunshine.

The Architectural Designs of public and private buildings on the
walls and in the recesses of this room, with those already noticed, have
been the labours of a long and active life, enthusiastically devoted to

the theory and practice of Architecture.

In the preceding pages the situation of the several rooms in the
Houseiand Museum having been traced, by reference to the figures on
the several plans,——some of the works of ancient and modern Art in
Painting, Sculpture, and Architecture, having been noticed,~—and the
connexion between the Fine Arts shewn by graphic illustrations;_~_
it remains to speak of the advantages, importance, and utility of
Architecture, the rank this noble science holds among the other arts
of invention; and to point out the qualifications required to form an

E

26 DESCRIPTION OF THE HOUSE AND MUSEUM, &c.

Architect, and to fit him for the honourable discharge of the arduous
duties of his profession.

Architecture consists of three distinct branches, Military, Naval, and
Civil:——MILITARY ARCHITECTURE instructs us to raise Castles and
Forts, to protect us on land;——and NAVAL ARCHITECTURE instructs
us to construct ships, to waft our merchandise from Indus to the
Poles,——to guard our Coasts against insult and invasion,-——to convey the
tremendous thunder of Britain to the most distant parts of the Globe!
——and to protect the Throne of the Monarch and the Cottage of the
Peasant. CIVIL ARCHITECTURE teaches us to erect solemn Temples
for the worship of the great Architect of the Universe,—— gorgeous
Palaces and magnificent Hotels, to enable the Monarch and his Sub-
jects to enjoy the inestimable blessings of social life with the elegant
refinements of polished society. These objects cannot be obtained
without great expense ;——but when the political advantages to a nation
possessing works of magnificence, elegance, and utility, are duly appre-
ciated, the expense of the erection and conservation of such works will
not be considered inconsistent with the most rigid economy.

Modern Rome owes her existence to the splendour of her Religious
Establishments, her superb Palaces, and the stupendous Ruins of Im—
perial Rome.

“Quanta autorita habbia arrecato lo edificare allo imperio e nome
Romano, non accrescero il mio dire, piu che quella che noi per i
sepolchri e per le reliquie dell’ antica magnificenza, sparse per tutto,
veggiamo haverne data cagione che si presti fede, a molte cose dette
dalli historiografi, 1e quali forse altrimente sarebbono parute incredi-
bili—e chi e stato quello infra i grandissimi e prudentissimi principi,
chi tra le prime lor cure, 6 pensieri di perpetuare i1 nome e la
posterita sua, non si sia servito della Architettura.”—L. B. ALBERTI,

2'! Proé'mio.

DESCRIPTION OF THE HOUSE AND MUSEUM, &c. 27

In addition to the foregoing averments, declaratory of the pre-
eminence of Architecture, the Queen of the Fine Arts, When assisted by
her handmaids, Painting and Sculpture, and her allies, Music and Poetry,
over the Arts of Luxury and Refinement,—-be it remembered, that
the degrees of excellence in grammar are expressed by the positive,
comparative, and superlatvive;-—We also say, our King, our Country,
and our Gon;—and of the Fine Arts, Painting, Sculpture, and ARCHI—
TECTURE. .

Vitruvius notices Architecture and Architects in the following words:
“Architectura est scientia pluribus disciplinis et variis eruditionibus
ornata, cujus judicio probantur omnia, quae ab caeteris artibus perfi—
ciuntur, opera. Ea nascitur eX Fabrica et Ratiocinatione. F abrica est
continuata ac trita usus meditatio, quae manibus perficitur e materia
cujuscumque generis opus est ad propositum deformationis.——Ratio—
cinatio autem est, quae res fabricatas solertia ac ratione proportionis
' demonstrare atque explicare potest. Itaque Architecti, qui sine litteris
contenderunt, ut manibus essent exercitati, non potuerunt efficere, ut
haberent pro laboribus auctoritatem. Qui autem ratiocinationibus et
litteris solis confisi fuerunt, umbram, non rem persequuti Videntur. At
qui utrumque perdidicerunt (uti omnibus armis ornati), citiL‘is cum
auctoritate, quod fuit propositum, sunt assequuti. Cum in omnibus
enim rebus, tum maxime etiam in Architectural, haec duo insunt, quod
Significatur, et quod Significat.—Significatur proposita res, de qua
dicitur. Hanc autem Significat demonstratio rationibus doctrinarum
explicataz—Quare videtur utraque parte exercitatum esse debere, qui
se Architectum profitetur. Itaque eum et ingeniosum esse oportet, et
ad disciplinam docilem: neque enim ingenium sine disciplina, aut dis—
ciplina sine ingenio, perfectum artificem potest efficere: et ut Litteratus
sit, peritus Graphidos, eruditus Geometria, et Optices non ignarus,

instructus Arithmetica, Historias complures noverit, Philosophos dili-

28 DESCRIPTION OF THE HOUSE AND MUSEUM, &c~.

genter audiverit, Musicam sciverit, Medicinae non sit ignarus, responsa
Juris consultorum noverit,......: quae our ita sint, has sunt causes.”
M. VITRUVII POLLIONIS dc Architectm'ti, lib. i. cap. 1.

......... “ Philosophia vero perficit Architectum animo magno, et uti
non sit arrogans, sed potifts facilis, aequus, et fidelis: sine avaritifi, quod
est maximum: nullum enim opus veré sine fide et castitate fieri potest:
ne sit cupidus, neque in muneribus accipiendis babeat animum occu—
patum; sed cum gravitate suam tueatur dignitatem, bonam famam
habendo: hoec enim Philosophia prmsoribit. Praeterefit, de rerum naturfi
Philosophia explicat.”———M. VITRUVII POLLIONIS, lib. i. cap. 1.

“ Ci‘im ergo tanta haec disciplina sit condecorata, et abundans

eruditionibus variis ac pluribus, non puto posse justé repente se pro—
fiteri Architectos, nisi qui ab mtate puerili his gradibus disoiplinarum»
scandendo, soientifi plurium litterarum et artium nutriti, pervenerint
ad summum templum Architecturae. At fortassé mirum Videbitur
imperitis hominibus, posse naturam tantum numerum doctrinarum per—
discere, et memorifi continere. Cl‘un autem animadverterint, omnes
disciplinas inter se conjunctionem rerum, et communicationem habere,
fieri posse faciliter credetur. Encyclios enim disciplina, uti corpus
unum, eX his membris est composita. Itaque qui ii teneris zetatibus,
eruditionibus variis instruuntur omnibus litteris, agnoscunt easdem
notas, communicationemque omnium disciplinarum: et ea re faciliL‘ls
omnia cognoscunt.”——‘v1. VITRUVII POLLIONIS, lib. i. cap. 1.
..... “ Sed forte nonnulli haec levia judicantes putant eos esse
tantL‘lm sapientes, qui pecunifi, sunt copiosi: itaque plerique ad id pro—
positum contendentes, audacié adhibitfi cum divitiis etiam notitiam sunt
consequuti. Ego autem, Caesar, non ad pecuniam parandam ex arte
dedi studium; sed potii‘ls tenuitatem cum bonfi famfi, quitm abundantiam
cum infamifi sequendam probavi: ideo notities pariim est adsequuta.

M. Vi'rmrvu POLLIONIS, lib. vi. Preefatio.

DESCRIPTION or THE HOUSE AND MUSEUM, &c. 29

“ Neque est mirandum, quid ita pluribus sim ignotus: caeteri
Architecti rogant et ambiunt, ut architectentur; mihi autem a pree—
ceptoribus est traditum, rog'atmn non rogantem, oportere suscipere
curam, quod ingenuus color lnovetur pudore, petendo rem suspiciosam;
nam beneficium dantes, non accipientes ambiuntur. Quid enim putemus
suspicari, qui rogetur de patrimonio sumptus faciendos committere gratiae
petentis, nisi quod praedze compendiique ejus causa judicet faciendum?
Itaque majores primum a genere probatis Opera tradebant architectis,
deinde quaarebant, si honesté essent educati: ingenuo pudori, non
audaciae protervitatis committendum judicantes. Ipsi autem artifices
non erudiebant, nisi suos liberos aut cognates, et eos viros bonos insti-
tuebant, quibus tantarum rerum fidei pecuniw sine dubitatione per-I
mitterentur. Cum autem animadverto, ab indoctis et imperitis tantee
disciplinae magnitudinem jactari, et ab his qui non modo architecturm,
sed omnino ne fabricae quidem notitiam habent, non possum non laudare
patres familias eos, qui litteraturae fiducia confirmati per se aedificantes,
ita judicant, si imperitis sit committendum, ipsos potius digniores
esse ad suam voluntatem, quam ad alienam pecuniae consumere
summam.”

Vitruvius teaches us what Architects should be; and Monsieur
Roland Virloys, recognising the sentiments of Vitruvius, tells us What
Architects now are: “ L’Architecte est celui qui, sachant la théorie
et la pratique de l’Architecture, dessine les projets de toutes sortes
d’édifices, e11 conduit l’exécution, commande a tous les ouvriers, et
en régle la dépense. Les Architectes de ce siecle sont bien différens:
loin d’avoir tous les talens nécessaires pour l’exercice de cet Art, dés
qu’un homme aujourd’hui sait un peu dessiner, il se donne pour
Architecte. Il n’est pas jusqu’aux appareilleurs, Inenuisiers, et autres
ouvriers de cette espéce, qui ont cette témerité: un macon a—t—il

bati (leux ou trois maisons de particuliers, il se décore du nom

30 DESCRIPTION OF THE HOUSE AND MUSEUM, &c.

d’Architeete, et ensuite donne des plans et des projets de maisons a
ceux qui ont 1a bonté de 1’écouter, en leur insinuant qu’ils épargnent
la de’pense, mediocre, mais utile, des honoraires dfis a un Architecte,
tandis que leur but n’est que de se soustraire a la subordination, et,
par ce moyen, d’exercer toutes les tromperies auxquelles les ouvriers

en beitimens ne sont que trop adonnés.”

If the foregoing statement is applicable to England, we may easily believe that
Architects sometimes associate with contractors and their subalterns; if, unfortunately for
Architecture, this be the fact, the statement of Monsieur Virloys is applicable to England,
the practice of Architecture can no longer be considered honourable to its professors, or
advantageous to the employer. 0 Architecture! thou Queen of the Fine Arts,—- my first
love,——- my friend through life, and the prop of my declining years, how art thou fallen,

fallen, fallen !

APPENDIX.

ADAM, Robert, the Architect who designed and executed the Adelphi Buildings . . . . . .
Amateurs and Cognoscenti....................................................
Ambresbury, in Wiltshire, a celebrated work of Inigo Jones . . . . . . . . . . . . . . . . . . . . . . . .
Angelo, Michael, his last work.
Ante—Room —the Approach into the Sepulchral Chamber . . . . . . . . . . . . . . (Plate VII.)

Architecture:

CIVIL ARCHITECTURE consists of three distinct classes—the ANTIQUE, the AN€IENT,
the GOTHIC, in all its different stages of rise, progress, and decline.

ARCHITECTURE, the ANTIQUE, “ est celle qui a été inventée par les Grecs, et dont les
Romains se sont servis jusqu’a la decadence de leur empire. C’est la véritable Architecture,
dans laquelle on trouve de l’harmonie dans les proportions, du gout dans les profils, de la
richessc et de la sagesse clans les ornemens, et, enfin, un accord parfait du tout avec ses
parties.”

ARCHITECTURE, the ANCIENT, “ est celle qui se distingue par la pesanteur excessive de
ses parties, et le mauvais choix de ses ornemens et profils; qui est née en Orient, et a enfanté
la Gothique, dont elle ne differe que par l’artifice de son travail, et l’élégance dans les
proportions : les églises de Saint Marc a Vénise, et de Sainte Sophie a Constantinople, sont
baties suivant l’Architecture ancienne.”

Thus far Mons. Virloys, ci-devant Architecte du Roi dc Prusse.—-A highly talented
amateur Architect, anxious for the improvement of Architecture, thus expresses himself
on the subject :—

“ Comme c’est 1e sort de tous les imitateurs de demeurer au-dessous de leur modele,
lorsqu’ils ne voient pas au-dela, comme en toutes choses l’exécution ne va jamais aussi
loin que l'idée, les successeurs de Vitruve, ne pensant que d’apres lui, bien loin de marcher
en avant vers la perfection, firent plusieurs pas en arriere; et la decadence étant toujours
bien plus rapidc que le progres, l’Architecture avoit déja beaucoup dégénéré sous Constantin,
fondateur 21 Rome des Basiliques du Sauveur et de S. Pierre ; elle n’étoit plus reconnoissable
sous Justinian, qui fit batir Sainte Sophie a Constantinople: elle devint tout-a-fait barbare
dans les si‘ecles suivans.

Page
4

54
41

32

APPENDIX.

“ Sous Charlemagnfi il n’étoit plus question ni de choix dans les formes, ni d’exaetitude
dans les proportions, ni de pureté dans les ornemens. Tout étoit sauvage et abatardi. Trois
siecles aprés, i1 se fit un effort général pour sortir de cet état d’ignorance et de grossiereté:
on n’avoit pratiqué jusques-la qu’une mani‘ere lourde, dont on voit encore 1e mauvais effet
dans nos plus anciennes églises. On passa tout—a-coup a l’extrémité opposée. On
n’employa dans l’art cle bétir que le ton le plus leger, la manierc la plus svelte, la hardiesse
la plus intrépide. Ce furent des edifices artistemcnt percées a jour, des murs en découpure,
en filigramme; on tout paroit excessivement foible, et 01) tout est d’une solidité incom—
prehensible. Cette singuliere Architecture supposoit un oubli total (les anciens ordres Grecs.
C’étoit un systeme tout different, un caractere tout opposé. La seule fantaisie de l’Archi-
tecte déterminoit les formes, les proportions, et les ornemens: pour faire mieux que les
autres, il ne falloit qu’enchérir sur leur hardiesse, et chamarrer l’ouvrage un peu plus.”

Architecture, the Modern, “ est celle qui concilie les proportions antiques par
l’ordonnance avee l'élégance (les formes et la distribution des dedans.

“ Enfin, une revolution inespérée fit renaitre l’Architecturc antique. Les ruines dc
l‘ancienne Rome en avoient heureusement conservé les traces. On les examine; on en
approfondit les rapports; on trouve ee systeme preferable a toute autre. Cette découverte
coincida avec le projet de rebfitir la Basilique de St. Pierre du Vatican. Les Bramanti,
les Paragia, les Sangalle, les Raphael, les Michel Ange, employerent toute la force de
leur génie a égaler dans la construction do (‘01; edifice les mervcilles do l’antiquité. Leur
exemple excita l’émulation, et leur succes f1t loi.

“ La révolution fut assez prompte, malgré les préjugés a vaincre, et les obstacles at
surmonter, tant le vrai beau a dc l’empire sur nos sens! Mais e11 restaurant ainsi l’Archi-
tecture Grecque, il a fallu deux siecles de tentatives et d'essais avant de parvenir a la
remonter au point on elle étoit anciennement.” The learned and judicious amateur adds:
“ Ce bel Art a fait jusqu’au présent peu de progres: jugeons severement les ouvrages de
nos Artistes; ne leur passons aucun défaut; exigeons qu’ils nous rendent raison des
formes, des proportions, des ornemens; ou plutot tachons de leur aplanir les difficultés
(le la théorie; joignons nos réflexions a leur experience, afin que l’espaee qui est entre
nous et la perfection soit parcouru plus aisément et plutot.”

“ Tout n’est pas dit sur l’Architecture: i1 reste un vaste champ aux recherches des gens
de l’art, aux observations des amateurs, aux découvertes (les hommes de genie. . . . . .

“ Les Egyptiens ont esquissé pesannnent, les Grecs l’ont definée avee beaucoup de grace,
les Romains l’ont exécutée avee force et majesté. Les premiers ont étonné par le grandeur
des masses; les seconds ont brillé par la pureté des contours; les derniers, simples imitatéurs
des précédens, n’ont fait que profiter dc leurs inventions, et les adapter a leurs usages.

“ Le génie avoit atteint la perfection (1e peu pres sous le regne d’Alexandre; l’imitation
avoit mis la copie presque al’égalité du modéle sous le regne d’Aug‘uste. Ceux qui inventent
ont trop de difficult’es a vaincre, pour qu’il ne leur éehappe ni imperfection ni défaut.
Ceux qui ne font qu’imiter, prennant 1e bon et 10 mauvais du modele, sans se douter qu’il
soit dans le cas d’étre rectifié, croyent, au contraire, que tout est justifié par l’autorité
dc l’exemple.

* Charlemagne was crowned Emperor in Rome in 800.

APPENDIX. 33

Page
Architecture, the importance, utility, and superiority of that noble science . . . . . . . . . . . 26, 27

 

, observations on the state of, in the Nineteenth Century . . .. . . . . . . . . . . . 49, 50

Architects, the qualifications requisite to form an Architect, and to prepare him for the
discharge of the duties of his situation, according to Vitruvius and others . . .. . . . . . 27

Vitruvius has pointed out the qualifications and requisites to form an Architect.
He particularly inculcates the necessity of philosophy to enlarge the mind of the Artist,
to free him from arrogance, and to make him courteous, just, and faithful; not to be
covetous, or have his mind intent on receiving gifts; and, above all things, to avoid every
symptom of avarice, as no undertaking will be prosperous without the most strict re-
gard to integrity (p. 27). Leon Battista Alberti, treading in the steps of Vitruvius,
thus defines what constitutes an Architect:—“ The mechanic,” says he, “ cannot be
identified with the scientific Artist: he only is entitled to the distinguished appellation
of an Architect, who, from his earliest youth, by long and extensive study, has acquired
abilities to design, and judgment to execute, great and useful works, only to be effected
by a man of science, skilled in the theory and practice of Architecture.”

The sentiments of Vitruvius and Alberti will be duly appreciated, their words treasured
in the mind, and carefully adhered to, by every Architect zealous to support the importance
and dignity of his professional character.

To the text of Vitruvius and Alberti, I shall subjoin, from a modern publication, a few
words :— ~

“ The business of the Architect is to make the designs and estimates, to direct the
works, and to measure and value the different parts: he is the intermediate agent between
the employer, whose honour and interest he is to study, and the mechanic, whose rights he
is to defend. His situation implies great trust; he is responsible for the mistakes,
negligences, and ignorances of those he employs; and, above all, he is to take care that
the workmen’s bills do not exceed his own estimates.” If these are the duties of an
Architect, with what propriety can his situation and that of the builder, or the contractor,
be united, or in any manner he mingled together, without sacrificing the professional
and moral character of the Architect? Homer had his Zoilus, Milton his Lauder and
Salmasia, and Architecture her Martial, who, to avenge himself on some peevish Scamozzi
of his day, exclaims vehemently,

“ Si duri puer ingenii videtur,
Prmconem facias-vel Architectum.”*—Lib. v. Ep, 56.

The recommendation of the witty epigrammatist has perhaps been more followed than
the precepts of Vitruvius: hence the swarm of speculative builders, hungry contractors,
and soi-disant architects, who are too often identified with those Architects who have
united theory and practice with the honourable discharge of their professional engage-

* If a soi-disant Architect of this school had introduced himself, with the labours of his brain, to King David,
Solomon his son, or to the Queen of Sheba, would this Ripley with his rule have received similar honours and commands
to those conferred by Alexander the Great on Dinocrates? See Illacedonian Architect, p. 42.

F

34 APPENDIX.

Page
ments :——- let the young artist, however, who has devoted himself to study, console himself
with the hope, that were such men to present themselves at the court of Alexander, they
would not receive such honours and rewards as were conferred on Dinocrates.

See ZWacedom'an Architect, p. 42.

Architecture, the Five Orders of. See Palladio .. .. 14,44
Architects, Ephesian law respecting the responsibility of :

“ NOB1L1 GRIECORUM et ampla civitate Ephesi lex vetusta dicitur a majoribus dura
conditione, sed jura esse non iniquo constituta; nam Architectus cum publicum opus
curandum recipit, pollicetur quanto sumptus id futurum, tradita aestimatione, magistratui
bona ejus obligantur, donec opus sit perfectum. Eo autem absoluto, cum ad dictum
impensa respondet, decretis et honoribus ornatur: item si non amplius quam quarta in
opere consumitur, ad aestimationem est adjicienda, et de publico praestatur, neque ulla
poena tenetur: cum vero amplius quam quarta in opere consumitur, ex ejus bonis ad
perficiendum pecunia exigitur. Utinam Dii immortales fecissent, quod ea lex etiam
populo Romano, non modo publicis, sed etiam privatis aedificiis esset constituta! namque
non sine poena grassarentur imperiti, sed qui summa doctrinarum subtilitate essent
prudentes, sine dubitatione profiterentur Architecturam, neque patres familiarum induce-
rentur ad infinitas sumptuum profusiones, et ut ex bonis ejicerentur: ipsique Architecti,
poenee timore coacti diligentius modum impensarum ratiocinantes explicarent, uti patres
familiarum ad id, quod praeparavissent, seu paulo amplius adjicientes, aedificia expedirent.
Nam qui quadringenta ad opus possunt parare, si adjiciant centum habendo spem
perfectionis, delectationibus tenentur; qui autem adjectione dimidio aut ampliore sumptu
onerantur, amissa spe, et impensa abjecta, fractis rebus et animis, desistere c0guntur.”—
VIT. lib. x. Praafatio.

Athens,Temple ofPandrosos.................................................. l
BankofEngland 10,22
Bankes, Thomas, R.A., a Bust of the young Nero—the Creshna of the Indians—the
dying Patriot,—and the Model, considered one of the most esteemed Designs of that
great Artist, of a Monument for the Daughter of Sir Brook Boothby . . . . . . . . . . . . 3
Barret, George, R.A., portrait of, by Gainsborough .. . . . . . . . . . . . . . . . . . . . . . . . . . . . .15, 23
Beauharnois, Madame, afterwards the Empress Josephine, her first interview with Napoleon 43
Belzoni Sarcophagus, Description and View of . . . . . . ..... . (Plates VIII. and IX.) 9

Besides the details of the hieroglyphics in Plate IX., I have a collection of about a
hundred drawings of all the hieroglyphics on the exterior and interior, arranged as they
appear on the different parts of the sarcophagus. Had the valuable life of Dr. Young been
spared, these drawings would, I think, have merited his notice ; I trust, however, they will
facilitate the researches of Monsieur Champollion and others, engaged in the gigantic
attempt of deciphering the language of the ancient Egyptians.

Bologna, Giovanni di, Bronze Statue ofMercury ‘22

APPENDIX. 35

Page

Bud,Edward,RA 15

Bourgeois, Sir Francis, R.A. Portraitof, 8L0. 15

Breakfast—Room, Description and View . . . . . . . . . . .. . . . . . .. . . . . . .. . . . . . . (Plate III.) 1
Brettingham, Matthew,——— an Architectural Design made in Rome.

Bonaparte, Portrait of, and description of the circumstances under which it was painted : 2

“ Stimamo Sig" Borghini, “ Verona, 17 M’arzo, 1797.

“ Ecco i1 ritratto del illustre Bonaparte, che spero sara di gradimento tanto alla Dama,
che a lei caro amico, che mi a procura 1’ onor di questa tanto piacevole commissione. Tutti
quelli che lo gan visto me lusingano a segno di farmi credere ch’ e1 potra passar per la somi—
glianza: loro Sig. di Milano potran egualmente verificarlo e dar giudizio. Se 1a brevita del
tempo non me 1’ avesse impedito, avria tentato di far cosa piu degno del sogetto e del suo
impegno. In quanto a1 vestiario, no go fatto ne piu ne manco che di marcar 1a forma del
busto. Un fracco con collaro e fodera bianca, con una spaletta su la banda sinistra, gira
1’ uniforme della giornata, che, secondo i man detto, era 1’ abito di campagna. Forse a
Milano i 1’ avira visto con 1’ uniforme da Generale. E1 di 14, a mezza mattina, I’ arrive con
un seguito (1i due cento e pii‘i cavalli in questa citta, dove se sparse voce ch’ e1 partiva sub-
bito per Bassano : mi risolsi dunque di scriverghe una letterina per pregarlo a volerme dar
la permission (1’ andar a parlarghe, e ghe mandai i1 plicco de Madama 1a Generale, dicen-
doghe che no me saria mosso di casa senza un suo ordine. Poco doppo, un suo ajiutante
venne, assieme a un gentilhomo di questa citta, con 1’ invito del Generale che mi faceva
l’ onor di pregarme d’ andar a pranzo con esso. L’ uffiziale mi consiglio a voler prender
meco i1 toccalapis, per prender 1a somiglianza alla meglio, perclie nol mi poteva dar di
piu di mez’ ora avanti e doppo pranzo: ghe risposi che tanto potevo farlo in tela che in
la carta, purche e1 mi dasse due corte sedate, una avanti, 1’ altra doppo i1 pranzo: di
fatti, fatta portar la mia cassetta, con tela e con colori, andai con quei Signori dal Generale
Bonaparte, i1 quale me accolse con gran compitezza e bonta, e mi disse che ghe dispiaceva
che la sua partenza imminente no ghe permetteva di f'ar giustizia alla mia abilita, ne alla
persona che domandava il suo ritratto: ma che trattandosi di sodisfar ai comandi d’ una
Dama, per la quale il gaveva grandissima stima, el voleva forzar i1 tempo a Far possibile
1’ impossibile: e pregatomi a voler impiegar i pochi minuti che ghe restavan avanti i1
pranzo, scomencai subbito coi colori, alla prima, il ritratto che ella vede. A due ore e un
quarto doppo mezzo di avevo sbozzata 1a testa e la figura: a tre ore i1 pranzo fu finito, e
da capo mi misi a depenzer con molto brio perche mi parse chei fosse molto contenti del za
fatto lavoro. Sicome avevo usa del oglio seccante assai, trovai ch’ e1 color della testa
scomencava a tirar, di maniera a poderghe lavorar sopra senza inconvenienza, di modo
che in poco pin (1’ un ora mi riuss’i di fissar la fisonomia correttamente, con 1’ aria sua
pensante, che savevo esser un tratto del suo carattere. Alla fine venne l’ ora della
partenza; e fattome coraggio, ghe domandai i1 permesso di seguitarlo a Vicenza ho a
Bassano, per dar quatro tocchi alla testa, coi quali averia ultima e dato un aria (1e finito
alla medesima: la risposta fu, che niente era pin facile ch’ e1 'si f'ermasse a l’ uno
ho a 1’ altro di questi loghi, e che potevo partire con esso nel suo legno, a che potevo
esser certo della maggior sicurezza, tanto nel andar, che nel ritorno. Partissimo, ma

86 APPENDIX.

Page
arrivati a San Bonifazio, fra le basse da Caldiaro e Montebello, un fracasso da, alto
alto, m’ averia fatto tremar i1 cuore se no fussi sta in cossi bona compagnia. Due
corrieri, due. uffiziali, con 15 dragoni venivano mandati dal Generale Massena che giera a
Bassano con dei dispacci importanti per il Generale Bonaparte. Smontassimo, e pochi
minuti doppo i1 Generale mi fece dir che podevo andar a dormir sin a1 giorno grande,
stanti ch’ el ghaveva molto lavoro da fare prima di partire, e che doppo fatta colazion il
m’ averia data 1’ ultima seduta. Al levar del sole mi alzai, stanco per no aver dormito un
momento a motivo del strepito dei cavalli che andavan via 6 Che venivan continuamente.
Preparai tutto, alla meglio, e andato nella sala, la trovai molti ufiiziali che facevan colazion
alla moda del paese: poco doppo andai a far 10 stesso, e trovai i1 Generale molto affabile
e molto allegro. Stavo per cominciar il mio lavoro quando arrivb una staffetta con un
ufliziale e dieci dragoni a cavallo. De novo i1 Generale se misse a scrivere, e a spedir dei
corrieri con dei ufliziali. Alla fin feci quanto le circostanze me pcrmisero da far, 6 verso
mezzodi mi congedai. Il Generale aveva ordina un legno per condurme :1 Verona con
4 homini a cavallo di scorta. Questa e, in succinto, 1a storia della mia campagna coi
Signori Francesi, i quali non ostante ch’ ei no oltrapassava 220 homini, facevan tremar a
guardarli. Ma e tempo di finir la mia narrazion, e di pregarla, caro amico, a voler com-
patir se no gho t'atto meglio, ho credu necessario di dirghe tutta la storia accio possiate
far le mie scuse con la Dama, e con quelli chi s’aspettavan di pin e di meglio, da un
pittor Veneziano.

El Signor Pio Patuzzo vi viverisce caramente, e Spera di revederve un giorno a Verona.
H0 avute molte visite stamatina di vari amici che avevan saputa la mia partenza, senza aver
indovinato il motivo della medesima. Fra due mesi andero a Bologna dove mi fermaro
tutta 1’ estate, e poi seguiro il mio viaggio di Roma, &c. Se 1e circostanze lo permettessero
vorrei vedere volontieri la gran citta di Milano, dove il piacer e desiderio di abbracciarve
aumentarebbe i1 placer di una tale spedizione, e sarebbe uno dei pin forti motivi per intra—
prenderla.

“ E pieno del pi1‘1 alto rispetto e della pin cordiale sincera amicizia, rimango,

“ Di lei stimamo amico, umilmo e devotm0 servo,

“ FRANC. COMA.

“ P.P. In quanto al pagamento, la prego a voler dir alla Dama sua amica, che non
volio, ni posso intenderne a parlare, l’ onore ch’ ei m’ a fatto vale pin di cento dei
me spazozzi.”

Bonaparte, Pistol presented to Napoleon 2

“ A MYSTERIOUS PISTOL—A decent ~ looking old woman was brought before
Mr. Conant by a beadle, who found her offering a superbly mounted pistol for sale
to some gentlemen in the street; the beadle took her into custody on suspicion of having
stolen it; there being, in his opinion, no honest relationship between an old woman and a
pistol, especially such a pistol as this, for it was of great length, the entire stock and barrel
were encased with magnificently embossed silver, and a tablet, on the lower part of the barrel,
was engraved with the words ‘ l’Empereur Napoleon,’ or rather ‘ napoleon ;’ but perhaps that

APPENDIX.

37'

Page

might be a mistake of the engraver; for the old woman, in explanation, declared to the
magistrate, that it was‘the identical pistol which the Emperor Alexander presented to
the Emperor Napoleon at the treaty of Tilsit; that the Emperor Napoleon afterwards
presented it to a gentleman in St. Helena; that, after Napoleon’s death, the said gentle-
man brought it to this country, and disposed of it to Mr. Dry, a pawnbroker, in St. Mar-
tin’s Lane; and that the said Mr. Dry had intrusted her to find a customer for it among
the nobility and gentry at the west end of the town. Thus commissioned, she had left it at
the Duke of Devonshire’s for two or three days, and, his Grace declining to purchase, she
was bringing it away, and shewing it to some gentlemen in the street, when the beadle
thought proper to take her into custody. In consequence of this statement, the magistrate
sent to Mr. Dry, the pawnbroker; and one of his shopmen attended and confirmed the
old woman’s statement. They received the pistol in exchange for other goods, about
three months ago, he said, from a gentleman who affirmed that it had been given him in
St. Helena by Napoleon, and that it had been presented to Napoleon by the Emperor
Alexander. In explanation of their having intrusted it to this old woman to sell, the
shopman said, she had been known to Mr. Dry for a great number of years, and that she
was in the habit of going about to the houses of the nobility, with curious articles for sale.
Upon this explanation, the magistrate ordered the pistol to be restored; at the same time
recommending the old woman to get into some other line of business, lest she should incur
the penalty attached to the offence of hawking goods without a license.”

Morning Herald, 15th Blarch, 1826.

Burch, Edward, R.A. Engraver to His late Majesty for Medals and Seals in Stone . . . .

18

Burlington, the Earl of, his Villa at Chiswick, Cast of the Apollo, 8L0. .. . . .. . . . . . . . . . 3, 50

Burlington House, the Colonnade described ..... . ............................. . . 50
Callcott, Augustus \Vall, R.A ............................................. . . . . . . 15
Canaletti,——Villas in Venice, the Rialto Piazza di San Marco, 8Lc. ..... . . . .. . . . . . . . . 14
Carlton House, Colonnade in Front of, Sec. . . . . . . . . ...... . . . . ....... . .......... 8
Catacombs ........................... . ...... . . . . . . .................. . 10
Chambers, Sir William—Drawing of the Fontana di Trevi,—His late Majesty’s State
Carriage, —— the Original Designs for Somerset House, with numerous Details——
Plans of a Mausoleum for the Royal Family, 8m. Sic.
Chantrey, Francis, R.A.,—— Bust of an Artist, by .. . . . . . . . . . ...... . . . . . . ......... 13, 23
Chauncy, Dr.,—a Terra Cotta alluding to the Creation of all Things ........... . . . . . ll
Clerisseau........................ ....... ............ .. . ...... 15
Colonnade,theCorinthian..................... . . ........ . .. . 12

Competition: .

That I am no enemy to fair and open competition, will be seen by referring to one of
my Lectures, read to the students at the Royal Academy :—“ It is by the rising generation
of artists that Architecture must be emancipated from its present thraldom. It is by the
young artists, who have shewn so much promise and true feeling for art in their designs

38 APPENDIX.

for the Royal Academy, and the Society for the Encouragement of Arts, in the Adelphi,
and also in the annual exhibition, that the bad taste of the present day can be checked, and
Architecture regenerated. Aided by the liberal grant of public money for the erection
of churches and chapels, Architecture may be now restored to its former importance; for,
if the comparatively small sum expended in building churches and chapels in the reign of
Queen Anne called forth the talents of the Architects of that day, and produced the
churches of St. Martin in the Fields; St. George’s, Bloomsbury; St. George’s, Hanover
Square; St. John’s, Westminster; St. Paul’s, Deptford; and others,~—what may not be
expected from the young artists of this country, if His Majesty's trustees, appointed to
control and direct the application of the money voted by Parliament, require, by public
advertisement or otherwise, designs for churches, chapels, and suitable habitations for their
officiating ministers,——all the drawings of each class made to the same scale, finished in
Indian ink, without any colour whatever?

“ If the designs thus made he submitted to His Majesty’s trustees for building
churches, and then exposed to public inspection, and afterwards referred to a Committee of
Artists, to determine on the relative merits of the different productions, not by ballot, but
by opinions given in writing, explanatory of the reasons which lead to their decisions :—if
the designs be then again open to public inspection, and the successful artist intrusted
with the superintendence and execution of his design,—-if this or some more effectual
ordeal be pursued, it will call forth the best exertions and energies of the rising artists,“
our ecclesiastical edifices will then combine all the playfulness and rich variety of the
ancient Gothic structures, and all the purity and elegant fancy of Grecian Architecture.
With such examples before us, under the auspices of His Majesty, the Augustan age of
Architecture will be revived. and we may boldly exclaim—

“ The time, not distant far, shall come,
When England’s tasteful youth no more
Shall wander to Italia’s classic shore ;
No more to foreign climes need roam,
In search of models, better found at home.”

Commons,theHouseof,Reportto ..... . ........... .....
Corinthian Order, origin of the Capital ...... .. .. .. .. .. .. .. .. .. .............. ..
Corridor between the Museum and Picture Room.... .. ..... ..
Cosway,R1chard,RA ......

, Mrs.,-—-a Persian Lady worshipping the rising Sun . . .. . . . . . . . . . . . . . . . . . . .

Cozens,—various Drawings by.

Dance, George, R.A.,—Monstrosities at Brighton—Dress of the Ladies for next Year——
Architectural Hints and Crudities— Portrait in Pencil of a young Artist.

————, Nathaniel, —- Appius and Virginia, a Drawing from the Picture painted by that
distinguished Artist at Rome.

Danby, Francis, R.A.—A Scene in the Merchant of Venice . . . . . . . . . . . . . . . . . . . . . . .

Page

44
12
19
15

23

APPENDIX. 39

Page
Day, Alexander 22
Designs for Public and Private Buildings, dedicated by permission to His Majesty, who
was graciously pleased to accept a Copy of the Work, as appears from the following
extracts :—

“ I have just had the honour of presenting to His Majesty the book you transmitted to
me, containing plans of several most interesting and magnificent buildings, with the original
drawings, and which work His Majesty had desired, at your request, might be dedicated to
him when published.

“ I have received His Majesty’s commands to assure you, that he accepts this mark of
attention with very high gratification, and particularly as coming from a person who has so
successfully cultivated an art of which His Majesty is a great admirer, and which it has
always been his anxious wish to encourage and promote.”

When the Emperor Alexander was in England, I had the honour to be presented to His
Imperial Majesty in the Bank, who, after expressing great approbation of that building, was
pleased to command me to attend at the Pultney Hotel with drawings of that great national
structure. I took this opportunity of presenting other designs, which his Imperial Majesty
accepted : and as these designs made part of those presented to my own Sovereign in 1827,
a copy of the entire work was transmitted to the Emperor Nicholas, who was pleased to
express his approbation through His Excellency Prince Lieven, in the following terms :——

“ MONSIEUR, “ Ashburnham House, ce 4 Mai, 1829.

“ JE m’empresse de vous faire parvenir, au nom de l’Empereur, mon auguste maitre,
........................ que sa Majesté Impériale a bien voulu m’ordonner de vous
remettre, comme un témoignage de la haute approbation dont elle a honoré l’ouvrage '
d’Architecture que vous lui avez ofl‘ert.

“ Je profite de cette occasion pour vous prier de recevoir, Monsieur, l’assurance de ma’

tres-parfaite consideration.

“ LIEVEN.”
“ A M. Soane, (3‘6. <30. QC."

I had the honour to address a letter to the Prince Polignac, requesting His Excellency
to transmit a copy of my designs to his most Christian Majesty, to which I received the
following answer 1-—

“ Tunbridge 'Wells, 28 Afar}, 1829.

“ J’AI recu, Monsieur, 1a lettre que vous m’avez addressee, le 25 de ce mois, et qui
accompagnait deux exemplaires d’un 0uvrage dont vous désirez faire hommage a sa Majesté
tres-Chrétienne. J’ai a vous remercier de celui de ces exemplaires que vous me destinez.
Je ne doute nullement, d’apres l’inspection que j’ai faite de son contenu, et qui m’a beau-
coup intéressé, que Sa Majesté ne regoive cet hommage avec plaisir. Aussi, ai-je donné
des ordres pour qu’en mon absence de Londres votre 0uvrage soit transmis au Roi sans
retard.

“ Recevez, Monsieur, mes remercimens de cette double attention, et croyez que je me

40 APPENDIX.

Page

ferai un plaisir, aussitét que ma santé sera entierement rétablie, de visiter, comme vous m’y
engagez, la belle galerie qui orne la maison que vous habitez.
“ Recevez, Monsieur, l’assurance de ma consideration tres-distinguée.

. “ LE PRINCE DE POLIGNAC.
“ To John Soane, Esq. meoln’s Inn Fields.”

The sudden return of the Prince de Polignac to Paris deprived me of the honour
intended to be conferred by the opportunity of shewing my collection to His Excellency.

Design for a Triumphal Bridge :

This Design, one of those presented to the Emperor Alexander, was submitted in 17 77
to His late Majesty, who was most graciously pleased to express his approbation in very
flattering terms, and also to enable me to pursue my studies in Italy, where those friendships
and connexions were formed which raised me from the situation of a clerk, at an annual
salary of sixty pounds, to the advantages of an extensive practice of a liberal and
honourable profession. To these circumstances I owe all the success of a long profes-
sional career, for which I can never be sufficiently grateful to the ROYAL PATRON of

my youth.

Dining-Room and Library.. .. .. .. .. .. .. (Plates XI. and XII.)
Diuocrates, the Macedonian Architect ..
Downman, John, A.R.A., Portrait of John Soane, Jun. and his Grandmother . . .. . . . .. .
Dressing-Room, or Ante-Room, leading into the Studio. . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Durno, I.,——Scene in the Merry Wives of Windsor . . . . ...... . . . . . . . . .. . . . . . . . . . .
Eastlake, Charles Locke, R.A.,—Cave of Despair:

“ That darksorn cave they enter, where they find
That cursed man, low sitting on the ground,
Musing full sadly in his sullen mind ;

His griesy locks, long growen, and unbound,
Disordred hung about his shoulders round,

And hid his face; through which his hollow eyne
Lookt deadly dull, and stared as astound ;

His rawbone cheeks, through penury and pine,
Where shrunk into his jaws, as he did never dine.”

Vide Spenser’s Faery Queene, Book I. Canto IX. Line 35.

Flaxman, John, R.A.,—— Portrait of Mrs. Soane in Pencil, and Medallion of himself and
Wife .'I...I.'..I.....'.l...l....I..“..".....'C.........C....‘....D...

Fontleroy, Henry,-—(Pennant’s London Illustrated)—and his Address to the Judges
previously to their passing on him the awful sentence of death. --

19
42
24
17
21

APPENDIX.

41

Page

Fuseli, Henry,R.A.,——Ezzélin, Count of Ravenna, musing over the body of Meduna, slain
by him for infidelity during his absence in the Holy Land.—See Fuseli’s edition of
Lavater

Gainsborough, —, R.A.,— Portrait of an Artist, a Drawing.

Gandy, Joseph Michael, A.R.A.,—Perspective Views and Groups, made from my Designs.

Garrard, George, A.R.A.,—Bustoer. Sheridan .. .. .. .. .. .. .. .. .. ..

Gothic Architecture, ——- Observations made on that subject in 1788. — See “ Plans, Ele-
vations, and Sections of Buildings,” published in 1788, by Messrs. Taylor, Holborn,
and dedicated, by permission, to His late Majesty.

Hamilton, William, RAIJ, 16

Hodges, William, R.A., —— Views in India ................... . ............... . ......
Hogarth, William,——the Rake’s Progress and the Election . . . . . . . . . . . . . . . . . . . . . . . .
House—Description of the House and Museum, and View of the Front . . . . (Plate I.)
Howard, Henry, R.A., —- Scene in King Lear, and Vision of Shakespeare . . . . . . . . . . . .

“ The poet’s eye in a fine frenzy rolling,
Doth glance from heaven to earth, from earth to heaven;
And, as imagination bodies forth
The forms of things unknown, the poet’s pen
Turns them to shapes, and gives to airy nothing
A local habitatlon and a name.”—flIid. Night’s Dream, Act v. Scene 1.

Hunneman, — Portrait of a young Artist by, painted in 1776.
Jackson, John, R.A., ——- two Portraits.

Jones, Inigo,

This great Architect made his countrymen acquainted with the beauty and importance
of Classical Architecture. Among his works may be noticed Ambresbury House, in ‘Vilt-
shire; Coleshill, in Oxfordshire; one of the Prebendal Houses in Dean’s Yard, West-
minster; the W'ater Gate at York Stairs; and the Church of St. Paul, Covent Garden,
which chef d’aeuvre of art affords a most luminous commentary on the text of Vitruvius;
and before the pantiles on Inigo’s roof were replaced with slates, and his unadorned
Cupola supplanted by another of an incongruous appearance, this temple was considered
as a perfect model of good taste. So highly did Kent, the painter, value the exterior
of this monument, that he caused a structure to be erected in the plantations at Clare-
mont, similar in its proportion: being, however, on a smaller scale, the whole assumes a
clumsy and unartist—like appearance. To have produced the same effect as in the original,
the columns should have been diminished in proportion to their height, and have formed
the scale for the other parts of the workf“

To form a true idea of the genius and mighty mind of this great Artist, we must

‘* Columns must be diminished in proportion to their respective heights—V”.

G

15
15

1
21

42 APPENDIX.

examine his designs for a Royal Residence,-—a design very superior to the Palace of
Diocletian at Spalatro, and the Imperial Palace of the Caesars in Rome, as far as can
be judged from the ruins of those stupendous fabrics. Inigo Jones’s design is a parallelo-
gram of above one thousand feet by about seven hundred and fifty feet, comprising seven
large courts, one of which was to have been decorated with Persians and Caryatides.
This extraordinary flight of a mighty genius would have done honour to Ctesiphon or
Vitruvius. By reference to the designs, it will be seen that the Banqueting House
made a very inconsiderable part indeed of the Palace. If, then, the exterior and interior
of the Banqueting House have so justly elicited universal admiration, how must we
regret that civil dissensions prevented the completion of this great work, which would
have presented such a splendid union of Architecture, Painting, and Sculpture, as would
have been the glory of this country and the admiration of all Europe.

Kent, William, Painter, Architect, and Father of Modern Gardening . . . . . ..... . . . . 4]
Lawrence, Sir Thomas, P.R.A. . . . . . . . ....... . ..... . . ..... . . . . ............... . .
Library and Dining-Room . . ..... . . . . . . . ........ . . . . . . . . . . (Plates XI. and XII.)

Macedonian Architect, Dinocrates, the :

This great Artist, confident in his knowledge and genius, and being desirous of
obtaining the commendation of Alexander, left Macedon and repaired to the army. He
carried with him letters from his relations and friends in his own country, to the nobles of
the first rank, that he might thereby more easily gain access: being favourably received,
he requested to be immediately presented to Alexander; they gave him many promises, but
made delays, pretending to wait till a proper opportunity should offer. Dinocrates suspect-
ing that he was derided, sought the remedy from himself: he was very large of stature, had
an agreeable countenance, and a dignity in his form and deportment. Trusting to these gifts
of nature, he clothed himself in the habit of an hostf“ anointed his body with oil, crowned
his head with boughs of poplar, put a lion’s skin over his left shoulder, and, holding one
of the claws in his right hand, approached the tribunal where the king was administering
justice. The novelty of the appearance attracting the notice of the people, occasioned
Alexander also to see him, who, wondering at the sight, commanded way to be given,
that he might approach. Alexander then demanded who he was: Dinocrates replied,
“ I am a Macedonian Architect, who come to thee with ideas and designs worthy of
the greatness of thy fame; I have formed a design to cut Mount Athos into the
statue of a man, in whose left hand shall be a large city, and in his right a basin,
which shall receive all the rivers of the mountain, and again discharge them into the
sea.” Alexander, delighted with the idea, immediately inquired if the country adjacent
would produce sufficient food for the sustenance of the inhabitants: when he understood
that provision must be conveyed thither by sea, he replied, “Dinocrates, I discern the
excellence of thy design, and am pleased with it; but I consider, that whoever should

Page

, 49
20
20

* In the text of Vitruvius the words are, “Vestamenta posuit ut hospitio,” which the Marquis Galiani renders

“ dispose i proprij abiti all’ albergo.”

Instead of the words “ an host,” would not “ a stranger,” be nearer the meaning of Vitruvius?

APPENDIX. 43

Pa e
establish a colony in such a place, would hereafter be justly blamed; for, as a new-born g
infant cannot be nourished, or gradually reared to the different stages of life, without
the milk of the nurse, so neither can a city be peopled, nor can it thrive, without fertile
land and plenty of provision: however, as I approve the design, though I disapprove the
place, I will have thee attend me, that elsewhere I may employ thee.” From that time
Dinocrates remained withthe king, and attended him into Egypt, where, under the
auspices of Alexander, he built the city of Alexandria. —VITRUVIUS, book x. Proem.

Marchant, Nathaniel, R.A., Medallist to His late Majesty . . . . . . . . . . . . . . . . . . . . . . . . 18

Medailles, Regne de Napoleon, formerly in the possession of the Empress Josephine :

Journée du 13 Vindémiaire, an IV (5 Octobre, 1795). Napoleon fait la connaissance
de filadame de Beauizarmis.

Peu apres le siege de Toulon, Bonaparte ayant quitté l’armée, se retira a Paris, dans une
petite maison qu’il possédait a la rue Chanteraine. La il vivait depuis plus d’un an isolé
des afl'aires politiques et tout-a-fait oublié, lorsque le 10 Vindémiaire, an IV (2 Octobre,
1795), les sections de la capitale s’étant insurgées contre la convention, on se rappela alors
(le lui; on le nomma commandant en second de l’armée de l’intérieur.

Le 13 Vindémiaire il se mit a la téte des troupes, dispersa les sections révoltées, et sauva
ainsi la convention et le gouvernement républicain.

Cependant le désarmement des sections avait éte‘ ordonné et execute avec la plus severe
rigueur.

Un matin on introduisit chez le general Bonaparte un enfant de 12 a 13 ans qui venait
réclamer l’épée de son pere, général de la république, mort sur l’echafaud: cet enfant était
Eugene Beauharnois. L’épée lui fut rendue; sa mere voulut remercier le général; et c’est a
cette circonstance que Bonaparte dut la connaissance de la femme douée des plus hautes
qualités du coeur et de l’esprit, des sentimens les plus nobles et les plus généreux, de tant
de vertus, de douceur et d’amabilité, qui bientot devint sa compagne; qui, sur le tréne,
comme dans la disgrace, ne cessa d'étre, jusqu’a son dernier souffle, son plus sur et meilleur
ami. Long-tems elle fut pour lui comme un genie tutelaire, la confidente de ses pensées
les plus intimes, le plus solide et le plus sage de ses conseils, et toujours le plus jaloux et
le plus grand admirateur de la gloire du héros de la France.

Model-Room, Architectural Designs, Ste. . . . . . . . . . . . . . . . . . . . . .. . ..... (Plate XVI.) 25
Monaster'y,Ruinsof'a .......
Monk the, his Cell, Oratory, and Parloir . . . . . . . . . . . . . . .. . . . . . . . . . . . . (Plate VI.)
————-, hisTomb, and that ofhis favourite, Fanny
Monument Court, Architectural Pasticcio, 8Lc.. .. .. .. .. .. . 6, 20
Mortimer, John, Painter,—Academical Studies, Portraits, and other Drawings . . . . . . . . 23
Museum, Description and View of (Plate IV.) 4

Owen,William,R.A.,—Three Portraits.. 22

44 APPENDIX.

Palladio,

This truly classical Architect, after describing his early devotion to Architecture, his
veneration for Vitruvius, and attention to the mighty edifices of ancient Rome, describes
five orders of Columns—the Tuscan, Doric, Ionic, Corinthian, and Composite, or Roman:
Vitruvius speaks of four—the Tuscan, Doric, and Corinthian. The capital of this order,
so beautiful and so perfect in all its parts, is thus given in the text of Vitruvius. “ A
Corinthian maid, just marriageable, being seized with a disorder, died: after her inter-
ment, her nurse collected, and disposed in a basket, the trinkets which pleased her when
alive, carried it to the tomb, placed it on the top, and, that it might endure the longer
in the open air, covered it with a tile. The basket chanced to be placed over the root
of an acanthus, which, being thus depressed in the middle, the leaves and stalks in
the spring season issued outwards, and grew round the sides of the basket; and, being
pressed by the weight of the angles of the tile, were made to convolve at the extremities,
like volutes. At that time Callimachus happening to pass by the tomb, took notice
of the basket, and being pleased with the delicacy of the foliage growing around it,
as well as the novelty of the form, made some columns near Corinth according to this
mode, and from thence established the symmetry and determined the proportions of
the Corinthian order.”

Vitruvius, it is true, speaks of four orders; but, perhaps, when it is considered that
each order must have a positive and perceptible character in all the component parts,
peculiar to itself, it is scarcely possible to imagine more than three—the Doric, having
the proportions and strength of the male figure; the Ionic, the gracefulness of the

, matron; and the Corinthian, the delicacy of the virgin. In fact, after a lapse of
almost two thousand years, the ingenuity of man has not been able to increase the
number of the orders of Architecture; nay,—-all his inventive faculties have not added
even another moulding to those left us by the Greeks.

Panini,—Two DrawingsofRuins,inOvalFrames...............................
PatronsandProtectorsoftheFineArts.....................................'..33
Picture-Room (PlateX)
Piranesi,—-— the Original Drawings of Paestum, from whence the Engravings were made 11
Plan ofthe Ground Floor ofthe House and Museum..............‘..... (Plate 11.)
—-—-oftheBasementStory ........................................(PlateV.)
—— ofthe First, or Drawing-Room Floor .. (Plate XIII.)
———oftheChamberFloor........................................(P1ateXIII.)
-——oftheAttics, ..............................................(PlateXIII.)
Plans, Geometrical :

The architect of the old school considers the combination of external symmetry and
good taste with internal accommodation and convenience, to be among the great difficulties
he has to encounter; but those of the new establishment tell us that the facade only is
worthy the attention of the more enlightened professor.

Page

17
, 55
14
, l5

1

. APPENDIX.

An ingenious French writer on Architecture says: —“ S’il y a quelque chose qui soit
de l’invention de l’Architecte, c’est le Plan de l’édifice. C’est la qu’il peut manifester un
génie créateur, par des combinaisons toujours nouvelles et toujours également justes. Cette
partie de l’Art qui (loit le plus contribuer a sa reputation et au succes de son travail, est
celle dans laquelle on a fait jusqu’a présent le moins de progrész—Combien d’édifices
remplis d’incommodités et de désagrémens? En est-i1 ou l’on trouve toute la commodite et
tout l’agrément possible ?-—-—ou terrein soit employé et mis a profit avec une sagesse qui ne
laisse rien a désirer ! —01\ la distribution sortant du trivial et du commun, donne pleinement
le nécessaire, écarte tous les embarras, rassemble toutes les délices? Peu de batimens ont
ce mérite, parceque peu d’Architectes ont 1e talent de bien combiner leurs Plans. Qu’ils ne
disent point que s’ils péchent par cet endroit, c’est qu’ils n’ont pas toujours le champ libre.
On n’est point injuste a leur égard. Les désavantages d’un terrein assujetti n’échappent
point a leurs juges; et pour peu qu'on y trouve de commodité et d’agrément, c’est un
mérite qu’on exalte et dont on leur sgait un gré infini. D’ailleurs, combien d’édifices 01‘1 ils
ont le champ trés libre, et ou leurs Plans donnent non—seulement clans le trivial et le
commun, mais dans l’incommode et le désagréable.”

See Journals printed at Amsterdam, Nov. 1765.

Pope, Mrs., —-— a small Portrait. This Lady’s forte is particularly Flower Painting, in
which she excels

PursuitsofLiterature........................................................

45

Page

24
16

Qualifications and Duties of an Architect, and what Architects now are . . . . . . . . . . . . 27, 29

Recess, the Shakespeare (Plate XIV.)
——-—-,theTivoli (Plate XV.)
Reynolds, SirJoshua, P.R.A.
Rogers, Samuel, Esq.
Rossi, Charles, R.A.,—Bust ofGeorge Dance, R.A... .. .. .. .... . . .. .. .. ..
Rubens painted the Ceiling of the Banqueting House at Whitehall, containing about
four hundred square yards, for which he was paid four thousand pounds, or ten
pounds per yard.*“
Saib, Tippoo, Chairs and Table, formerly in the palace of . . . . . . . . . . . . . . . . . . . . . . . . . .
Sarcophagus, the Belzoni (Plates VIII.and IX.)
Sepulchral Chamber ................................ . ........... . ...............
Soane, Mrs.,—— Description of her Morning-Room ..................... . . . .- .........
Somerville, Mrs., — a Drawing of an Acanthus, from nature.

Staircase, Pictures and other Works of Art on the Walls of the . . . . . . . . .. . . . . . . . . . . l

21
23
20
10
23

24

‘24

,21

*3 This great work was repaired in 1777, by John Baptist Cipriani, whose charges for the same were :—

For painting and repairing the large centre picture in the ceiling of Whitehall Chapel, £105 ;—-—eleaning and

other

assistance, £40 ;—u1tramarine used to ditto, £10;—liuing and stopping the two pictures on each side the centre;
colour, oil, turpentine, ochre, varnish, &c., and tools of sundry sorts, £28,— the whole amount, 0):}: HUNDRED AND

IZIGHTY-TIIREE POUNDS.

46 APPENDIX.

Page
State Paper Office:
Perspective View of my Design: (PLATE xvn. FIG. 1.)
Extracts from Estimates, (Era—Miscellaneous Services for the Year 1830.

“ Colonel Stephenson was desired to require from the three attached Architects, plans
and estimates of a State Paper Office, so constructed as to guard against all dangers from
fire, and to submit them for the consideration of this Board. Those plans and estimates
Mr. Goulburn now lays before their Lordships.

“ It appears to my Lords, that the plans and designs submitted by Mr. Soane are the
most appropriate for a building of this description: and they are pleased, therefore, to
direct that the building may be erected under the superintendence of Mr. Soane, in con-
formity with his plans and designs approved of.

“ Whitehall, Treasury Chambers, 26th Feb.1830.”

The geometrical drawing, No. 2, shews another design subsequently made, and is here
contrasted with the exterior of Whitehall Chapel, it being presumed that that justly admired
work of Inigo Jones suggested the idea of this new plan.

The fronts of Whitehall Chapel and of the State Paper Office are, in their superficies, of
very unequal quantities; they are, notwithstanding, in this design, subdivided into an almost
equal number of parts. The precepts of Vitruvius, and the practice of the successful restorers
of Classical Architecture, under the auspices of the Leos and Medicis, teach us, that the
mass and destination of every building determine the dimensions and number of the com-
ponent parts of the edifice; hence it follows, that if two superficies, similar in quantity
to those of Whitehall Chapel and the State Paper Office, are compounded of the same
number of parts and divisions, the effect of the one will be grand in character, and finely
proportioned in all its parts, whilst the other will be comparatively trivial in character,
and defective in the relative proportions of the parts with the whole, and of the parts
among themselves.*6

On the theory and importance of proportions, the very essence of every architectural
composition, a learned writer of the French Academy thus expresses himself :-——“ Les
proportions sont si essentielles en Architecture, qu’un batiment bien proportioné, n’eut-il
d’ailleurs d’autre mérite que le bel appareil des matériaux, fera toujours de l’effet, tandis
que l’ornement prodigué a un edifice sans proportions ne sgauroit réussir. Sans la con-
noisance des proportions on peut étre appareilleur‘ habile, décorateur ingénieux, on ne sera
jamais véritablement Architecte. Cette connoissance a son application a une infinite de
choses. La masse de l’édifice, ses subdivisions dans l’intérieur et dans les dehors, le choix
de l’ordonnance relativement au genre et au caractere, l’accord des parties avec le tout, et
les parties entr’elles; tous ces objets font du ressort de la science des proportions; chacun
d’eux démande une attention particuliere de la part de l’Architecte attentif a bien propor-
tioner son ouvrage. Il doit méditer et combiner beaucoup, pour que rien n’altere ce bel
assortiment, cette douce harmonic, cet ensemble juste, sans lesquels les matériaux les plus
riches ne présenteront jamais un ordre de choses d’oii il résulte un efi‘et satisfaisant.”

State of Architecture in England in the Nineteenth Century . . . . . . . . . . . . . . . . . . . . 49
Student’s Room .......... . ........ . ........ . . . . ................................ 13

* See Observations on St. Paul's Church, Covent Garden, and the copy on a smaller scale in the plantations at
Clarcmont, pp. 41 and 42.

 

 

 

 

 

 

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APPENDIX. 47

Page

Studio .............. .. .................. ........................... 18
Sussex, His Royal Highness the Duke of:

The New Masonic Hall being completed, the Most Worshipful Grand Master inspected
the same; and the Grand Secretary communicated to me the approbation of His Royal
Highness in a letter, of which the following is a copy : —

“ Freemason's Hall, 6th Feb. 1830.
“ W. BROTHER,

“ Ihave received the command of the M. W. Grand Master, His Royal Highness
the Duke of Sussex, to express to you the great satisfaction His Royal Highness felt upon
inspecting the New Masonic Hall on the 27th of last month; and His Royal Highness
feels assured that all will experience the same satisfaction when the room shall be opened
for the use of the fraternity. .

“ It was the intention of His Royal Highness to have called in Lincoln’s Inn Fields,
to have communicated to you personally his feelings upon the subject; but he has been
labouring under the effects of a cold, which renders it proper for his Royal Highness to
remain at home during this very severe weather.

“ I have the honour to be,
“ Sir,
“ Your very obedient Servant and faithful Brother,

“ WILLIAM H. WHITE, G. S.
“ To John Soane, Esq., Grand Superintendent of the Works,” évc.

Theory and Practice exemplified:

Deux sculpteurs concoururent pour placer une statue sur le faite d'un temple; leur
ouvrage fait, ils l’exposerent chacun sur la place publique, pour que le peuple décidat lequel
étoit digne d’étre admis. La statue de l’nn, proprement exécutée, plut généralement par la
grace de ses contours; celle de l’autre, heurtée, creusée, grossiere, ne présentoit que des
contours informes, et alloit étre rejettée, lorsque l’artiste demanda qu’avant de juger, on
élevat ces statues dans l’endroit pour lequel elles avoient été faites; 0n lui accorda sa
demande. Les statues ne furent pas plutot élevées que la premiere perdit tout son éclat—
on en distinguoit a peine les traits; et la seconde, qui avoit semblé si informe de pres, parut
de ce lieu élevé dessinée avec élégance et correction: on reconnut l’habileté de l’artiste et
ce fut celle-la qui remporta 1e prix.

This ancient anecdote applies to Architecture as forcibly as to Sculpture.

Thornhill, SirJames .. l5
Thorpe, John, ——-Architectural Designs of, made in the reign of Queen Elizabeth.
Turner, Joseph Mallard William, R.A. ........... . ........................... . . . . . l5

48 APPENDIX.

Page
Turner, Charles,the Engraver,A.R.A.....................,...................... 2

“ Warren Street Fitzroy Square, Feb. 16, 1830.
“ DEAR. SIR,

“ Allow me to enclose a few specimens, shewing the progress of the Plate
from your Portrait, which I have had the pleasure to engrave after that admirable picture
painted by my late friend and patron, Sir Thomas Lawrence. This was the last print which
Isubmitted to the judgment of that great artist, on Saturday, January '2, 1830, when he
observed, “ I thank you for the trouble you have taken: pray make the sky and that part
under a little lighter; by so doing you will get more point in your print, which will greatly
assist the effect. When done, let me see it on the 12th, and I hope Mr. Soane will be as
well pleased with it then as I am now.” Such were the remarks Sir Thomas Lawrence
made on my Engraving; but I regret to say, I was deprived of ever shewing it again.

Should you think these efforts worthy of your notice, and honour me by your
acceptance, I shall feel greatly obliged, and it will confer a favour on,

“ Dear Sir,
“ Your most obedient and very humble servant,

“ C. TURNER, the Engraver.
“ To John Soane, Esq. R.A. (Sc. é'c. é'c. Lincoln’s Inn Square.”

Turnerelli, Peter, Sculptor, —— Equestrian Statue of His late Majesty ................ 3
Van Assen,—— Portrait of Fanny and her Mistress, and two Satirical Compositions, 8L0.

Verrio painted the Staircase, 8L0. at Windsor Castle, and the Staircase at Hampton Court
Palace, and was paid eight shillings per foot, or three pounds twelve shillings per

yard.
Vitruvius, the age in which he flourished, 8w. ............ . . . . . . . ..... . . . . ...... . 51
Walpole, Horace, Lord Orford, ——his Visit to Burlington House, —Description of the

Colonnade ................. . ............. . ............................ 50
Ward, James, R.A., — Portrait of Fanny ...................... I ................... . 20
VVatteau, —— Les Noces .............. . . . . . ................................... 17
\Vebber, Henry, Sculptor .................................................... ll
\Vestall, Richard, R.A. .......................................................... 21
VVestrnacott, Richard, R.A., —Statue of a Nymph .............................. 17

Westminster, one of the Prebendal Houses, a Temple in the Corinthian style, &c. by
Inigo Jones .............. ........ .. ...... . ..... . ................... 41

\Vren, Sir Christopher, — a Volume of the Original Designs of, his Watch and Cane, Ste. 18
York, His Royal Highness the Duke of . . . . . . . . ................... . ..... . ...... 21
Zuccarelli,——aLandscapepaintedby ....... 15

Zucchi,——RuinsofAncient Buildings ... 15

APPENDIX. 49

IT has been observed, in a Report made to the House of Commons in 1824, that
“ This vast metropolis presents a much smaller number of Public Buildings which can
be denominated grand or ornamental, than its extent and opulence would induce a stranger
to expect,” and that all this arises “ not so much from cost having been spared, as from good
taste having been wanting; —from large works having been committed to the care of persons
who accidentally happened at the time to be attached as surveyors to the several departments ;
and from the want, in all our Public Buildings, of a general and superintending eye to
pervade, direct, and control the whole.” It has also been noticed, “ That in a period distin-
guished by its progress in improvements, it becomes a matter of wonder no less than of
regret, that Architecture has not kept pace with our other advances towards perfection, and
that we are still obliged to look for examples of excellence in this Art either to times past,
or to other countries rather than to our own.”

Can this be matter of surprise, when so many of our best exemplars—~have either
been entirely destroyed, or disfigured by Modern Improvements;——Ely House, Bedford
House, Ormond House, and other splendid mansions of our ancient nobility, have been
demolished, to make way for narrow streets of monotonous houses. The same fate has
attended not only Bedford House, but also many other works of Inigo Jones and other
great masters, composed in the marked character of Grecian and Italian Architecture.
Coleshill House, to the honour of Sir Mark Pleydel and his descendants, remains
nearly in the same state in which it was left by the great Architect who constructed it;
whilst Ambresbury House, another inimitable work of Inigo Jones, of which I had
accurate drawings and details made a few years ago, is now dilapidated beyond the
power of reparation.

The Banqueting House at Whitehall is no longer what it was:—the continuation of
the front northwards destroys the beauty of the Exterior; and the elegant simplicity of
the Interior has been sacrificed. The picturesque and unique staircase—the classical
drawing-room in one of the prebendal houses adjoining Westminster Abbey Church—
and the beautiful Doric Temple in the cortile of the same residence,*—noble examples
of the genius, taste, and inventive powers of Inigo J0nes,—are seldom visited, except by

foreign Artists, who duly appreciate such classical works.

* In a descriptive publication of Holkham Hall, and the buildings in the plantations of that classical villa,
among the plates is one of this temple, with the name of “ Matthew Brettingham, Arch.” at the bottom; and the
same name is also affixed to each of the other plates. How the designs of Kent, which I have seen a hundred
times in Kent's original drawings, came to be published under another name, and without the slightest mention of
the real architect, is beyond comprehension.-—See Anecdotes 9;“ Painting in England, vol. iv. p. 243. Published in
1777, from the M88. of George Vertue.

H

50 APPENDIX.

Lord Burlington’s villa at Chiswick, and General Wade’s house in Cork Street,
another of Lord Burlington’s justly admired works, are now so changed as to convey very
faint ideas of what they originally were.

Burlington House, with the Colonnade in the court, and the noble entrance from
Piccadilly, were a few years since condemned to be pulled down, and streets of houses
erected on the site; fortunately, no speculative builder could be found wild enough to
take the ground at the rent required. Of this mansion, which would have done honour
to Italy, Lord Orford thus speaks: “We have few examples in Architecture more
antique and imposing than that Colonnadez—I cannot help mentioning the effect it had
on myself. I had not only never seen it, but had never heard of it. When, soon after
my return from Italy, I was invited to a ball at Burlington House, as I passed under
the gate by night it could not strike me. At day-break, looking out of the window to
see the sun rise, I was surprised with the vision of the Colonnade that fronted me. It
seemed one of those edifices in fairy tales that are raised by Genii in a night’s time.”

During the lives of Lord Burlington, and the royal and noble persons of that period,
Architecture was so successfully studied and encouraged, that the progress of this noble Art
towards perfection, in Great Britain, was as great as it had ever been in any age or country
since the era of the Romans; it continued to flourish some time after the death of Lord
Burlingtonz—but from that epoch, Architecture has gradually declined; and now, instead
of keeping pace with our neighbours on the Continent, we are at least a century behind
them. The name of Vitruvius is seldom heard; his works, respected by the ancient
Romans, and the admiration and study of the Artists of France and Italy, are neglected
by us, and considered as mere dreams of dotage. The Treatise of Vitruvius is the only.
work of the Ancients which has reached us on Architecture. The age in which this pro—
found writer lived, and the Emperor to whom his deep researches into Art are dedicated,
have produced much controversy: perhaps these questions will be most satisfactorily decided
by referring to his description of the Orders of Architecture, and to the remains of the great
works of the Greeks and Romans, from whom he professes to have drawn his principles of
Architecture. Vitruvius says, Corinthian columns have the same proportions as the Ionic;
and that above the columns are placed, indiscriminately, either the trig/yphs and mutules
of the cornice, and the guttcc in the epistylium, as in the Doric Order; or otherwise, after
the Ionic manner, the zophorus is ornamented, and dentils are placed in the cornice;—
thus, by taking those parts from the Doric and Iom'c, and uniting them with a different
capital, the third, or Corinthian Order, is produced; for, continues Vitruvius, that Order

has above the column no cornice or other ornament peculiar to itself.

APPENDIX. 51

"‘ COLUMNIE Corinthiae, praeter capitula, omnes symmetrias habent, uti Ionicae:
sed capitulorum altitudines etficiunt eas pro rata excelsiores et graciliores,
quod Ionici capituli altitudo tertia pars est crassitudinis columnae, Corinthii
tota crassitudo scapi. Igitur quod duae partes e crassitudine columnarum
capitulis Corinthiorum adjiciuntur, efficiunt excelsitate speciem earum graci-
liorem. Caetera membra, quae supra columnas imponuntur, aut é Doricis
symmetriis, aut Ionicis moribus, in Corinthiis columnis collocantur: quod
ipsum Corinthium genus propriam coronarum, reliquorumque ornamentorum
non habuerit institutionem, sed aut e triglyphorum rationibus mutuli in
coronis, et in epistyliis guttaa Dorico more disponuntur: aut ex Ionicis
institutis 20phori scalpturis ornati cum denticulis, et coronis distribuuntur:
—-ita e generibus duobus, capitulo interposito, tertium genus in operibus est
procreatum. E columnarum enim formationibus trium generum f'actae sunt

nominationes, Dorica, Ionica, Corinthia.”

This description is conformable to the Corinthian Order of the Choragic Monument
of Lysicrates; the Stoa, at Athens; the Tombs of Scipio, at Tarragona, in Spain, and of
Theron, at Agrigcntum; the Triumphal Arch at Aoste, in Piedmont; and the little Temple
at Tivoli : besides these examples, we have also the Portico 0F Octavia in Rome, erected by
Augustus in honour of his sister. - In this we have an example of the Corinthian Order in
the early part of the reign of Augustus, which, like the foregoing examples, corresponds with
the text of Vitruviu's ;—~subsequently, in the same reign, we have examples, in the portico and
in the interior of the Pantheon, erected by M. Agrippa, the son-in-law of Augustus,* in the
Temples of Jupiter Stator, Jupiter Tonans, Mars the Avenger, and in many other superb
works of the Augustan age, wherein all the proportions and ornamenls are peculiar to this
Order, and totally (life/rut from the other Orders in every respect—If Vitruvius, who
speaks of his great age when he was recommended to the favour and protection of the
Emperor byhis august sister, had witnessed the great alterations in the character of the
Corinthian Order-in the works just noticed, can it be imagined that he would have
described it as having above the column no cornice or other ornament peculiar to itself? or
would he have neglected such an occasion to express his admiration ofthe great improvements
in Architecture under the auspices of the Emperor and his son—in-law? These circumstances
seem to me at least conclusive as to the age in which Vitruvius lived, as well as to the

Emperor to whom he dedicated his immortal Treatise on Architecture.

”3 M. Agrippa married Julia, the daughter of Augustus and the widow of Marcellus.

Vitruvius,
lib. iv. cap. 1.

52 APPENDIX.

That Architecture has not kept pace with our other advances towards perfection, and
that we are still obliged to 100k for examples of excellence in this Art, either to times that
are past, or to other COuntries, rather than to our own, is a most melancholy fact, not to
be controverted; but the causes that have reduced the Queen of the Fine Arts to her
present degraded state, will be found rather in the bad fancy of those arbiters of taste
who, from their rank and situatidn, compel the Architect to incorporate their sometimes
crude conceptions into his best-digested composition; and what is worse, frequently oblige
him to make, during the progress of the work, such alterations as change the character,
and destroy the symmetry, simplicity, and unity of the edifices. These, and similar
circumstances, paralyse the best energies of the artist’s mind, render him indifferent, elicit
the disapprobation of the public, and, finally, cause the humiliating condition of the
Architect, and the annihilation of Classical Architecture.

This state of things has divided Architects into five classes, namely :— the Heaven-born

Architect — Chinese — Middle Ages— Dilettante —— and lastly, the Classical Architect.

1. THE HEAVEN-BORN ARCHITECT:
THE PICTORIAL ARCHITECT, OR THE ARCHITECT A-LA-MODE.

Architects of this class have many advantages. In the construction of the Temple
of Diana, at Ephesus, the Architect found himself surrounded with difficulties, which he
considered insurmountable; fortunately, the Goddess appeared to him, and directed him
how to extricate himself. The Heaven-born Architect of modern times has the same
facilities to reach fame and fortune; his Designs have been made from the hints and
ideas of Lady Patronesses: can it, then, be matter of surprise, that the Fagades of
edifices, composed and raised under such auspices, should be considered by enlightened

connoisseurs and distinguished amateurs as perfect models of good tasted“

a“ One of these illuminati, in a place where the insulted individual could not reply, deprecating the bad taste
of the exterior of the New Law Courts at Westminster, says :—“ It is odious and obvious; and instead of the
present facade, which ofiers itself to the eyes of the horrified observer as a scarecrow, I would have four or five
large windows opened, supported by magnificent buttresses: such a facade would serve as a model, and be an
honour to the country.” The Committee of Taste rejected this magnificent idea, and thereby prevented the
aspirant the gratification of realising his lofty conception, for the amusement of Lady Patronesses, the advancement
of his own fame and fortune, and the improvement of the national taste.

Vitruvius says (p. 29): “ Caeteri Architecti rogant et ambiunt ut architectentur,” Ste. Our Heaven—born
Architect, and his professional colleague, pursue the same courseg—their “pictorial sketches of designs after
the Gothic fashion, for improving the exterior of the New Law Courts,” having, as they state, “ been submitted
to His Majesty at different times, who had been pleased to express great approbation of them, for their beauty
and correct taste.”

APPENDIX. 53

Variety is the life and soul of the Heaven-born Architect. A distinguished genius
of this favoured class tells the public that he had erected a mansion, whose exterior was
of Grecian and Roman Architecture, and the interior according to the modern Gothic
fashion; and to render the whole a model of good taste, the furniture partook of the
character of the Egyptian, Gothic, and Chinese. Another distinguished genius of this
class takes a bolder flight;——this gentleman tells us, “ Each front of a building should
present a different style of Architecture—the Egyptian, the Roman, the Saxon, and the
Gothic, may be thus combined together in the same exterior: and if each of the fronts
were viewed from the end of a long avenue of trees, it would produce a most pleasing
effect, conveying the idea of four distinct pavilions. The originality, the variety, and
richness of such a novel composition must give general satisfaction to persons of the most
refined taste.” Certainly,——but at the same time how mortifying it must be to such
distinguished geniuses to be informed, that all this profusion of fancy—this variety—this
fecundity of invention—this novelty—this taste, has been surpassed by the wonderful per-
formances of the Prince Palagonia, in the decoration and furniture of his palace at La Bagaria
and in Palermo, so fully described by Mr. Brydone, in his Letters on Sicily: —marvellous
though this effort of the inventive powers of the Prince Palagonia may be,———all he has
created would be mere moonshine, when compared with a pick-nick Edifice, erected under
the control and with the combined efforts of the Four Orders of Architects—d la moderne!

Vitruvius has enumerated'the qualifications of an Architect,—and the catalogue is
formidable enough to deter a man of a moderate share of modesty and abilities from attempting
to pursue its study. What surprising geniuses —-- what prodigies, then, must those be
who are born Architects! How much above every other order of men must geniuses of

this kind be, who emerge at once complete Architects.

II. THE CHINESE ARCHITECT.

Novelty and variety, those sirens, form the principal attractions of Chinese Architecture;
but as our taste is too often determined by fashion and caprice, uncontrolled by fixed
principles, or settled ideas of beauty, —the character of our Architecture is constantly
changing,——what we approve to-day we dislike to-morrow. We hear little now of the
charming effects of Chinese Architecture, which, about fifty years ago, was all the rage.
All the bon-ton—that is, all the world of that day—declared in favour of Chinese fancies,

Chinese decorations:—our gardens, our houses, our furniture, were entirely Chinese, from

54 APPENDIX;

the lofty Pagoda in the gardens at Kew to the decoration of the key-hole of a lady’s
escritoire, until. the passion for the Adametic, and the heroic epistle to the writer of an

essay on Oriental Gardening, drove the Chinese completely out of the field.

III. THE ARCHITECT OF THE MIDDLE AGES.

This class professes to be animated by good feeling and zeal to improve the national
taste: it is, therefore, reasonable to expect from their labours the revival of good Archi-
tecture from its present degraded state : —-as yet little has been done. The Architects of
this class sometimes mistake the shadow for the substance; they speak in raptures of the
Golden Dome of the Invalids, and the Gilded Railing of the Carousal, as models for our
imitation, while they leave the magnificent Historic Pillar in the Place de Vendéme
unnoticed. In a national point of view, the latter must be considered a most happy
thought; let us improve upon this idea. The gratitude of the Country requires the erection
of a National Monument to perpetuate the splendid Victories gained by the naval and military
Heroes of the United Kingdom during the late successful struggles; the circumstances
attending those great events furnish subjects for the decoration of a Monument, as much
superior to the great work of Napoleon as a legitimate monarch is to a proud usurper.

It was, I believe, contemplated to devote Three Hundred Thousand Pounds for this purpose.

IV. THE DILETTANTE ARCHITECT.

This class of Architects, not less zealous to improve the national taste, profess themselves
attached to what they consider really beautiful in the Grecian, Roman, Saxon, and Gothic
Architecture. If, in this class, say the amateurs and cognoscenti of the present day, “ we
shall be fortunate enough to meet with such a rare combination if talents as might exhibit
marks of original invention, united to a thorough knowledge of the principles by which the
great masters of Ancient Art conducted their works, we might” under the auspices of the
noble patrons and protectors of good Architecture, “ expect to see symmetry, proportions,
and dignity, given to our public buildings, and an honourable competition successfully
maintained with all that is admirable and pre-eminent, either in Ancient or llfodern
Architecture.” And further, we shall then hope to see Grecian Architecture,——which is
now confined to facades of four or six columns, surmounted with a pediment, or attic,

or both together, with the front eked out by misplaced antae,—-—restored to its ancient glory.

APPENDIX. 55

The noble patrons and protectors of good Architecture have tried the effect of their
controlling authority over the designs of the Architect, in buildings lately erected; but, if
public opinion is of any value, the interference 0f our amateurs and cognoscenti have not
tended more to increase the knowledge of the Architect, than did the address of the pedant
to improve the military tact of the great Carthaginian commander.

“ Nec mihi opus est Graeco aliquo doctore, qui mihi pervulgata praecepta decantet, cum
ipse nunquam forum, nunquam ullum judicium, aspexerit; ut Peripateticus ille dicitur
Phormio: cum Annibal Carthagine expulsus Ephesum ad Antiochum venisset exul; proque
e0, quod ejus nomen erat magna apud omnes gloria, invitatus esset ab hospitibus suis, ut
'eum, quem dixi, si vellet, audiret; cumque se non nolle dixisset, locutus esse dicitur homo
copiosus aliquot horas de imperatoris ofiicio, et de omni re militari. Tum, cum caeteri, qui
illum audierant, vehementer essent delectati, quaerebant ab Annibale, quidnam ipse de illo
philosopho judicaret. Hic Poenus non optime Greece, sed tamen libere, respondisse fertur,
multos se deliros senes saepe vidisse; sed qui magis, quam Phormio, deliraret, vidisse
neminem. Neque mehercule injuria: quid enim aut arrogantius, aut loquacius fieri potuit,
quam Annibali, qui tot annos de imperio cum populo Romano, omnium gentium victore,
certasset, Greecum hominem, qui nunquam hostem, nunquam castra vidisset, nunquam
.denique minimam partem ullius publici muneris attigisset, praecepta de re militari dare?
Hoc mihi facere omnes isti, qui de arte dicendi praecipiunt, videntur. Quod enim ipsi

experti non sunt, id docent caeteros.——-CIC. de Orat.

V. THE CLASSICAL ARCHITECT.

This class consists of the Professional Architects of the old school—men who having
devoted, with unceasing ardour, their lives to the study of Architecture, endeavouring to
combine in their works, the solemn, grand, and terrific character of the Egyptian—~the
elegant refinements of the Grecian—the vastness and magnificence of the Roman——
with the fanciful variety and picturesque effects of the best works of the Middle Ages,—
have now the mortification to see the degraded state of their Art, and to lament the
preference given to the works of barbarous ages. They, however, indulge the fond and
pleasing hope that some Bruneleschi will arise, by whom, under the aUSpices of His
Majesty, Architecture will be restored to its ancient glory and importance, and London
and Westminster made worthy to be compared to Athens in the time of Pericles, and

Rome in the time of Augustus. Let us hope the period is not far distant when, from

56 APPENDIX.

the well-known taste of the Sovereign for whatever is durable and magnificent, and from
the general spirit of improvement in every part of the United Kingdom, our houses, with
their plaster outsides, will be converted into grand hotels, with facades of solid stone,

worthy the metropolis of this mighty empire.
Much more might be said respecting the state of Architecture in England, in the

nineteenth century, and on the situation in which Architects are now placed, but “ le temps

dévoilera bien des choses; alors on saura pourquoi je me tais.”—-R0USSEAU.

THE END.

LONDON 1
J. moves, room’s cover, CHANCERY LANE.

 

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