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Vor, XXXVI. ‘No, 1839.

Ohe Builder.

Sarunpay, May 4, 1878.

ILLUSTRATIONS.

Plans of the Cold Storage Wharf, Cannon-street, London.—Mr. Archibald D. Dawnay, C.E., and Mr. E. A. Griining, Architect 455

Kramer’s Hotel, Malmé, Sweden.—Mr. Rasmussen, Architect .o........csccssssessneeeeees . : Re " suiaiaa ekkenapiaiiebaieanailcapns o - ton 458

St. Wolfgang’s Church, Rothenburg, Bavaria .......ssscssssessssessssecessesecscsssnsesssceseeseees coaaae socieaes ioaennamaaae aaa

CONTENTS. seale’s Bt Alban’s Abbey..++++e ovecececees peccccceccsecseccace 445 | English Houses at the Paris Exhibition ........cccccsscessee eee 461 Association of Municipal and Sanitary Engineers and Surveyors 468 ward toe enor Gallery ...se+sesreesevseeeeeseeeseeeesees sees = rn el MINE ckun sa ncdmeceticn cacaduecencscies 461 | Liverpool Engineering Society ashadgisaddennledmascedadigic e « 468 The Society of Painters in Water Colo’ = ae di Sanitation: Northampton ase sees 463 | New Public Buildings and other Works at Hove.......seesseees 463 Millais’s "Bride of Lammermoor” ..,+eerssessenereeererseceee = = bade = we PEEOGEE GG. ROGGE ccrctcccocdecscndeccesceesce 464 | Members’ Soirée, Architectural Association .......ceee0+ seoese 468 French Workmen on Wood Carving ec eccecccerceesccessereseess y~ = paris E ibition wate steeierecsee-seeeecseessecseseseeense 464 | Memorials of the Late Sir Gilbert Scott f..c0.seeees cooee 468 Fergusson’s “Temple of the Jews” oes speesccvcceveerssscecses = = an and Op g of Christ Church Cathedral, ‘ | — Labour Question ...0....+seseccsscceces cee eso ree pa aadals eK MME Lc MEME Sse sae cd udaccew uctscudducacaccessacctacads cues a cies 64 | Dr. White ion Coliege ......-+6 aa

= pers, Merny of London: Anaual Meeting and Prize Distri- Improvement of Manchester Infirmary ............ sees 465 | Mistaken Tientity: oon Chestnut .. ° = ‘69 Meee anc -. eu seavesessn soseoqaapeegeceose seesceeesse Architects’ Estimates and Builders’ Tenders........ we 4 Ioan «cots cecum oqeinns saecae erie xcodiedenenens ae Decorative Art in Scotland Surveyorship Items se secessenseeeeeenssenees -cecoee sees 465 | Ventilation ......cecccccscccccccsecsseccecccccocscecs coves 469 Water-Gate, York-stairs Screwing up St. Alban’s Abbey ..........scce-scecsecceccccsece 465 | Builders’ Contracts .......+ssccccceesccsecseacecsovescvescsoess 469 The Cold Storage wh eee eee Competition Designs for the New Infirmary, Bolton ......se..00 466 | Archasclagical Societies ccccccccccvcccccccceccesceccccecccccoose 469 The Wellington Monument ....+.+0.-seersess spot onerseen sees 456 | The Langham Skating-Riuk Site in the Auction Mart . odes “G07 | Bettocl-Benrd BOWGOIS. 20 00.0.0500.sc0csocessecssdeescee sccceecce 469 Report of the Council : Royal Institute of Bri’ Architects.. 456 | Sewage Deposits in the Thames ...............cccce0s see. 467 | The Metropolitan Board of Worksand the London WaterSupply 470 Building at Tottenbam ......se+ceseeressereeees + eo cecccescoeve 456 | The Free Libraries Movement in the Metropolis ...... o GBT | Btslned. Glass ....cccccceccccecccccccccccccccccscsccvcescccecees 470 o's Hotel, Maimd, Sweden ....ccccccsccccccscesecsessesses 458 | The Southport Main Sewerage Works ............00 coos (GE | VeRERTER cece co ccwvcccccecceset cccceces coecceee ce ccessceecese 470 ew Wolfgang’s Church, Rottenburg, Bavaria +..eeeseseeseeesee 453 ° Brickyard Chimuecys ..seccccsccsss: aadenccaseavedecaaagudasada GOT | SURAATIAROR cece vas ccvcceds cocccncaccensecetoceseceectosequeqee 470

Neale’s St. Alban’s Abbey.

ANY words may by chance be wasted by the advocates of philo- sophies of names, or by others, if there should seem a resolu- tion to change the well-known name of St. Alban’s Abbey into St. Alban’s Cathedral. The Shandean theory, — if wildly used,—leads such a controversy, as a matter of course, over perfectly unlimited areas. The odd awk- wardnesses of a time of change would tend to keep up the move- ment. Precedents, such as Bath (Abbey), York and Ripon (Minsters), for instance, — cases not on all fours, but evidently precedents for all that,—would be cited; and other steps would be taken, useless and a little difficult to detail : but it would probably happen in the result that the old name would only succeed in dying very hard. Mr. Neale, who has at last issued his long-expected volume on the Abbey Church * to the subscribers, probably has not the advan- tage of a prophetic spirit. The title of his book was, presumably, no longer under his control when the Act of Parliament showed its fruit, and St. Alban’s obtained its own bishop in June last year, Accident, if accident it be, has, however, provided a better title than the best foresight could have managed. We go out of our course to say that it would be well for the natural preference for apt alliteration and labials to be humoured; and that a strong de- claration in favour of the old name, by any dig- nitary whose official sympathies might other- Wise be supposed to be in favour of the change of name, would find welcome and support.

Bt. Alban’s gains surely upon all who have patience. It might be difficult for any one stand- ing outside the west of the church, and called upon suddenly for reasons, to put briefly and in general phrases its special fascinations. It stands on a hill side, and is old and large. The central tower, especially since the high-pitched Toofs have been parted with, draws into a sort of unity the buildings below it, by means of its elevation and sheer mass. But the parts to the westward of the tower—the largest and

m : , ost seen of all—are in the main merely a large | different mouldings from any which occur in the | north porch or elsewhere in the central ; and the

rectangular solid in the centre, with a smaller

shadows in fact,—no shade, except it may be{wardness of the design of the upper tiers from a cloud resting over some part of the pair | inthe sides of the central porch (plate 7), and of little precipices, which stretch side by side | by many other minor differences of handling. for near upon 300 ft. No roofs are seen to| There wasa touch of humorous knowledge of slope between the walls of nave and aisles. The | the world, as well as of naive self-assertion, at walls, thus practically unvaried in themselves, | the bottom of many of these changes,—mere are not parts of a complete design. Almost the |freaks as some of them seem from our nine- only connexion is supplied by a good degree | teenth-century point of observation. The story of unity of scale, one of the merits of the | of the man who, among much similar conduct, Medieval architects, usually overlooked because |—altered so oddly the stones which he found the unity is obtained so successfully and natu-| prepared to his hand,—in order to make them rally, without dulness and° without parade. | Suit better what he was prepared to place by When allthis has been hinted in the interests of | their side, might serve to point a number of candour and precision, in view of the tendency | Morals,—from becoming respect for predeces- to give praise as by rote for qualities that are | Sors to the identity of some aspects of human absent,—the recognition of those that are | nature for at least thirty generations. All the present may properly follow, in the words of | three porches are incomplete. The northern the latest chronicler, who thus concludes (p. 6) | and southern are only about half their original the slight sketch of the history of the Abbey | size, the solid walls at their west ends being Church prefixed to his book :—“ Every English- | apparently formed of materials that had fallen man must regard St. Alban’s with interest, and | or were ready to fall. The floors are below the more especially every English architect.

Its ground level; they are damp and dark,—so dark antiquity, its vast size, the exquisite proportions | that an illumination by oil lamps was necessary of many parts, the wealth of original detail, | to obtain the details, and to draw real size on attracted me first to its study, and my reverence the spotthe carving of thenorth porch (plate 11). and interest have grown deeper continually, as I | The central porch having manifested a tendency have laboriously sought after the principles of its to lean to the westward, a massive coarsely- designers. An architectural student may well be | moulded archway, with huge splayed jambs, thankful that good fortune has given him a train- | and awkward angular buttresses beyond them, ing by which he may be able to follow through | was built in the fifteenth century in order to the work of his life in the footsteps of the men | oppose sheer mass to any further movement ; of oldentime. An expression of hearty gratitude | and has of course been successful. Parapet to many such old masters in our art is also due | walls of rough red brick, and ugly brick crenel- from me; especially now to those who at St. lations, complete the central porch. A huge Alban’s have left for our learning such monu- nine-light window occupies the space from the ments of their skill and their devotion.” | porch roof upwards, and the parallel lines of Some of the results of this search, which seems | copings to another piece of brick crenellation,— to have extended over a good part of the five |once cemented, but now showing ragged brick- years last past, are given in the sixty illustra- | work for the most part,—cut against the sky. tions, each 22 in. by 15 in., photo-lithographed Sundry recent investigations have furnished with skill from the author’s drawings by Mr. C.| a few new facts. The western filling-in, between F. Kell. By the aid of Plate 3 (the general the great buttresses and the sides of the central plan), and Plates 6 to 11, the nature of a problem porch, having been cut into and the roof removed, may be apprehended, which is now being vigor- two little chambers, each about 4 ft. square, ously pressed on the attention of the public.|have been opened out, which had not hitherto Plates 9, 10, and 11 illustrate the north porch.|been looked for. The east wall of these Plates 6, 7, and 8, the central porch at the west | chambers is the west wall of the church, and end. The southis in size nearly similar to the | contains arches, similar in character to the lower north porch. These were the first works carried portions of the porch adjoining. These arches out in the true Early English style in this build- | are immediately under the circular pateras ing. For peculiarly original character of general | formerly visible, and they are of the same design, perfect proportions, and rich, refined, width as the arches above the pateras, which and varied details, they are works of art among have the strange wavy-moulded filling-in, and the most precious in England. The mouldings which rise nearly to the cill of the great west are given with great beauty of drawing in Plates | window. It will be understood that the 8 and 10 (one-third real size), the jointing being chambers are really the open spaces between carefully marked, and all the projections shown the walls of the central and side porches,

in relation to each other. The arches filling the | blocked in with western walls and roofed over.

east side of the central porch (plate 8), have This discovery has put an end to an opinion, heretofore held, and to some extent justified by

the form of the building. It was held that the

oon each side. There are no visible roofs to | way in which this filling-in finds its way home |three porches might have been connected

He nave, nor pinnacles, nor :turrets, nor strong uttresses to either nave or aisles, no broad

* The Abbey Church of St, Alban, Hertfordshire, Tlus-

by James Neale, F,8,A., Architect, 8, Adelphi-

terrace, WC,

| at the sides, points also to one of those changes

|in the course of construction so frequent in this ‘building. Another hand and a slight change in | joints of the courses of the masonry on the

| Style are evidenced ; as also in the carving, the ‘alterations in the vault ribs,

internally, or that they were intended to be connected at some stage in their erection. The

sides of the central porch do not range with the awk-| tbe joints in the eastern and western walls,

446

THE BUILDER.

[May 4, 1878.

which also differ from each other as to their joint levels. It was therefore suggested by competent observers, that the insertion of the north and south walls might have been the result of change of purpose. The opinion, which of course now seems to have been always perfectly untenable, was really flattering to the designers of the porches; for the arrangement would have been a singularly fine one, both as respects the western walls of the porches, and the view across their interiors. The upper water-tables of buttresses, which formed part of the now exposed north and south faces of the porch walls, and the shapes of the main buttresses of the great west wall, show that every possible artifice was used (as one would have expected), to widen the spaces between the porches at the western ends, so as to detach the porches well from each other. A face of ex- ternal ashlar, a little over 3 ft. west of the face of the jambs of the great west window, with raking stones against its western face,— also recently discovered,—may supply the angle of pitch of the porch roof. Perhaps the walls, at the west of the northern and southern porches, contain some decided evidence with respect to the roofs of those porches. Thus @ proposal to complete the porches involves, at present, interesting conjecture as to the true forms of their western archways, their western gables, and theirroofs. Mr. Neale has theorised as to the west front above the porches on p. 11:

“The three porches had high-pitched roofs. The west wall of the nave above these porches consisted mainly of three tiers of arcading; part of the lowest tier of these arcades still remains. Pw amely, the arches with the shaped filling-in mentioned above.] Above this were six lancet win- dows arranged in pairs, and enclosed by outer moulded arches supported by shafts, similar to the interior arcade on the north side of the nave (plate 4). The arcading at the level of the clearstory pababt ad windows alternating with recessed arches. The whole was surmounted by a gable, probably containing small windows and arches. No triple lancets at the clearstory level could have extended high into the gable. The high-pitched gable of the nave was, no doubt, removed in the fifteenth century, when the low roof superseded the earlier high-pitched roof, and the existing west window of nine lights was inserted. The staircases in the north-west and south-west angles stop, at present, at the level of the clearstory passage, but it is probable that in the thirteenth century they were sur- mounted by turrets.”

There is little to quarrel with in these con- jectures. It may be hinted, however, that there was a sort of gallery to the westward of the main west wall, and that it would be diffi- cult to adduce any conciusive evidence as to the existence of a flat ceiling in the nave, abutting against Trumpington’s west front. An open high- pitched roof might very well have existed there. The western angles of the staircases on the north and south sides are about 5 ft. back from the west wall. These staircases may (or quite equally may not) have been covered with visible roofs. The reasons for keeping them back from the face of the gable were :— (1) apparently, to put them in a convenient position with reference to the interior passages ; (2) to obtain solid unpierced masses of walling at the angle,—interior buttresses which might justify the omission of buttresses projecting northwards from the north, and southwards from the south wall. The very prominent and massive buttresses, projecting from the west wall (6 ft. at their upper portions), unite them- selves to the walling, and a considerable solidity at the angle was thus obtained. From the fore- going we see that,—for reproducing the original design of the parts above the porches, the proper treatment of the west wall and its gable, of the roof behind it, and the turrets flanking it, must be supplied,—if possible, by further investigation, by consideration of probabilities, by analogy of other buildings, and, where these fail, by harmonious original design.

The removal from its present position of the west window, which is necessarily implied, if it becomes possible to press forward the scheme for the creation of a grand west front,—will require some courage. This is the window, of which the mullions and tracery are in a hard stone (said to be a Yorkshire sandstone). The records state that a window was made in the north country during the first abbacy of John de Whethamsted (1420-40), for placing at the west end of the nave. The other two great Perpendicular windows in the building,—at the ends of the transepts, each 24 ft. wide by 28 ft. high (plate 4), were no doubt carried out in Totternhoe stone, which had been up to that

patched with cement, &c. It was possibly thought, when the west wind »w was in contem- plation, that it would be we'l to fill in an open- ing of such considerable siz: with materials of assured strength and durability. The stone has stood well, and is apparently, for the most part, as good as when it was put into the building.

It has been stated on good authority that Sir G. G. Scott was bringing his great powers to bear on the design at the time of his lamented decease; and there is little reason to doubt that, when completed under his direction, the west front of St. Alban’s would have been one of the finest of modern ecclesiastical works.

Mr. Neale has not devoted any of his thirty- six pages of text to better use than the “ general review of the carved ornamentation presented in this volume” (on page 35),—a rapid sketch of floriation from the Transition work of 1160 (plates 30 and 31), and the formal foliage of the earlier parts of the western porches (about 1205) to the carving which had early in the thirteenth century parted with stiff formality, and thence to the use of distinctly natural forms (plates 21, 37, 46, 52, and 58) towards the end of the cen- tury. The drawings of these carvings have rightness, firmness, and lightness of touch. The work shown on plate 21,—naturalistic foliage of the early part of the fourteenth century,—con- sidered “ as near perfection as can be hoped for from human powers” has especially been treated with admirable feeling. Plates 47, 48, 49, 50, and 60 are devoted to carvings of fifteenth- century date from the watching-loft and the chantry on the south of the sanctuary. “ My collections from the church would render pos- sible a complete history of the development of ornament without a break from the middle of the twelfth to the sixteenth century,” points to one of the uses to which fragments have been put. Some one, whom no triteness can appal, may be disposed thereanent to remark on the usefulness of excavations and the opening out of blocked-up openings.

We had almost been beguiled,—by example and the temptation of easy reference,—into sketching a short history of tracery, showing the stages of which St. Alban’s does and does not furnish examples. Fillet, roll, and edge tracery,—to make use of Professor Willis’s attempt to discriminate by means of the finish of the edge of the tracery bar,—are all to be found. The first, as usual, is the most common. The second is rarer, though Mr. Neale has evidently slipped in stating (p. 33) that plate 56, —an excellent drawing of the easternmost window in the south wall of the ante-chapel,— supplies the only example in the church. The inside of the westernmost window in the north aisle, and the window in the south aisle of the sanctuary, are other examples of roll tracery. Edge tracery is only found in the four windows of Decorated date in the south aisle of the nave, shown to a favourite scale of } in. to a foot with mouldings one-third the real size, on plate 22. The proud custodians of the great six-light windows at Hull, that have this sort of tracery bar, might deem Mr. Neale rather unfair in calling the edge (detailed on plate 22), a feather edge. It sounds like an injustice to the robust form of a right angle. The earliest windows with full tracery are in the aisles of the sanctuary (plates 45 and 46). The very noble windows (plate 41) in the clearstories on the north and south sides of the sanctuary, though belonging to a date when tracery was in common use, seem to have been deprived of that ornament by some influence not very easy to point out. The windows in the east wall of the Saint’s Chapel are of somewhat later date (plates 38 and 40), and they have tracery of much beauty. The sanctuary aisles, and the parts adjoining them, supply a succession of good examples (plates 42,43, 53, 54, 55, and 56) of windows with pure circular forms, the so-called Geometrical tracery. Over the design of the clearstory, of the early fourteenth-century bays on the south of the nave (plate 17), the influence of the Early English bays to the westward seems to have been verystrong. The Decorated windows are quite without tracery, although the triforium below them has tracery, where curves of con- trary flexure seem on the point of showing themselves. The lady-chapel windows, with true Curvilinear tracery, are shown on plates 57, 58, and 59, by compass and line drawings,

time mainly used throughout the building for tracery, &c. The south window is now in Bath stone, having been replaced some years ago. |

The original north window still exists, but the’ plate 23. The tracery-bar (plate 57), at the and springing line of the tracery, is 7} in. wide, the

stonework is much decayed externally,

in which improvement would be unnecessary. The wall-arcade in the cloister,—work of about the same date,—makes a very good subject for

——= same size as the mullion, but becomes 6 in,

where the reverse curve joins on. This jg - instance of the delicate refinements in Cypyj linear work, which could be used with effect when some of the difficulties of the earlie, tracery had been eluded,—difficulties fe} 80 keenly by the architects of some fifty Years before. Some of the difficulties, Successes, and failures in tracery design may thus be followed pretty closely at St. Alban’s, which might by chance pass without the notice of architecturg} critics, who “do not feel much interest in the question whether a given piece of architecture is fifty years older or younger than some other people suppose.” The volume docs not gig details of any Perpendicular windows; indeeg the building does not contain specimens of rare merit.

At least a dozen different treatments of the cusp, in section and in the form and in the termi. nation of its horn, may be found, if the screens are looked over, and the Ramryge Chantry allowed to contribute its strange cusps. Similar cusps do not appear to occur elsewhere in the Abbey Church, and their curved ram’s-horn shape might lead some people to believe that, at the beginning of the sixteenth century, for a successful pun on a name, a profusion of effigies of leaping animals (rams) did not suffice, but that every cinquefoil in a monument of con. siderable size must bear witness to the graceful humour of the ruling abbot. The custom of in. serting the cusps, in early tracery, was a weak- ness by no means local. One of the oddest instances of inserted cusps in this volume is in the arcade, on plate 44. No doubt the system was very convenient in such situations; but Mr. Neale is quite justified in stating that “ the system of letting in the cusping is more like that employed in woodwork than in stonework.”

We must not, however, be led into any new excursion, by the mere desire to shift out of the atmosphere of detail in which fate seems to have enveloped us hitherto. The influence of the Norman structure on the later designs, the relation of solid and void at different dates, and its effect on the general expression, the nature of the vaults, the extent of lighting area, the development of the mouldings for different pur- poses, and their fitness for their positions, are, however, only a few of the items of a list of subjects deserving general review. Mr. Neale would probably have looked upon the dealing with them as part of his task, if the text of his volume had not already attained such a con siderable dimension. ;

For some or for no reason,—perhaps owing to unwillingness to contest the vested rights usually following long possession,—architectural students, who used to be welcomed in goodly numbers at St. Alban’s some years since, are now the theme of regretful tradition. Mr. Neale’s book does not, however, profess to be final or exhaustive; there are consequently, at least, another sixty good drawings to be obtained from the building. The west front, the south- west porch, transverse sections at tho west and east portions of the nave and aisles, the north elevation, the western walls of the tran- septs, the sections across the transepts, the ante-chapel and lady-chape), are only mci dentally noticed; some details of windows, ~~ being only given. The two shrines, the erg doorway leading from the east walk of a cloister into the south aisle of the choir, the stone screen in the nave, the gigantic reredos and its wings, and the two chantries in po sanctuary, the Duke of Gloucester’s tomb, t r remains of chapels on the south of the aisle 0 the sanctuary and saint’s chapel, numerous i : the tiles, the inserted windows, the brasses, 3 painted decorations,—all works placed in ben applied to the previously completed fabric, are some other items of a fair sounding cata- logue of possible spoils. Also the great gateway of the monastery has in it work of a spec merit and character.

The statement (on p. 16), that “the —_ elevation [a remarkable delineation of the Me aa length of the building, plate 4), Pn nie examples of the various periods of architec = from the earliest Norman to the latest ee : dicular,” must, one would say, be intende The specimen of genial rhetorical ong ome original church was brought to ae ai pletion before the last decade of the eleve! ‘al century. The earliest addition to the —. church, which shows externally on the sou r Z to be found in the five bays at the — the nave, due to Trumpington (Abbo

1235). A very long century is therefore unre

at,

May 4, 1878.

THE BUILDER.

447

dhere; and elsewhere, except by the a pk and the fragments of the destroyed cloister, in date about 1160 (capitally shown on jates 30 and 31). This century was occupied Psewhere in England in continuous change, ak to fully developed Norman ; and thereafter, in about half a century, the semicircular arch, the square abacus, and formal carving were for ordinary use slowly parted with, proportions nerally were lightened, and much modelling introduced into the mouldings. When _ these changes had been made, the 1190 work of Bishop Hugh of Lincoln became possible. Another unrepresented interval on this side of the Abbey church is the third of a century, at least, from the completion of Trumpington s work in the nave to the Geometrical window—the only one remaining—in the south aisle of the sanctuary. From the completion of the great cloister, just after the middle of the fourteenth century, to the building of the chapel of St. Saviour, and the Transfiguration, on the south of the Lady Chapel, at the very end of the fifteenth century, no structural additions or alterations of import- ance were undertaken, though some half dozen altered windows on this side attest the wish of the abbots to make changes in the manner of their time. This recital may serve to point out clearly the truth, of which Mr. Neale’s exaggeration is only an unduly forcible statement. The south elevation, of course, furnishes more nearly than any of the other facades the materials for a chart of English Medieval art. But the building was not the scene of unintermitted building, and, therefore, cannot be expected to supply specimens of all the stages of that development which appears,— “when viewed in the order of time, and with the real duration of that time well in mind,—a purely natural piece of evolution.” Here, as elsewhere, the tone of the time had to be caught afresh, whenever new enterprises were under- taken. The Nornian church, the unique work of the west porches, and the perfected archi- tecture of the Early Decorated period, are the three most impressive sections, of work of rare quality at St. Alban’s. Still, it is true (and Mr. Neale is quite justified in pointing to the fact with pardonable pride) that,—the whole of these reservations notwithstanding,—the whole struc- ture, the screens, the woodwork, the altered doorways and windows, taken together,—con- stitute a somewhat disorderly book of reference which, well conned, will convince anybody that the “process [of architectural development] has a quasi-scientific charm in itself,—of course, not lessened by the beauty of the individual objects of the series” (p. 35).

We will take a further opportunity of apprais- ing the volume in some other respects; but it is necessary to mention, in this connexion, that one of its greatest merits is the judicious proportion- ing of the illustrations,—so that some of the best work of each well-marked period is well represented, and so that the impression of this fixed plan is conveyed strongly, though not obtrusively. “ Discrimination,” as initiated by Rickman, and followed up by Sharpe and others, with constantly increasing appreciation of deli- cate shades of difference, takes strong possession of the imagination of all who once thoroughly understand, and use it in practical contact with buildings. Mr. Neale has apparently been possessed by the desire to out-do all his teachers in the thoroughness of his expositions. It may be that he would hardly have done this so well, if he had not been sustained through his long labours by an almost fanatical faith in the — at St. Alban’s, the subject of his studies.

uch a faith would naturally be encouraged as he perceived that power to comprehend his masters, and skill to reproduce his impressions oe ieee to him as he lived in the ence and the constant mem work of the builders at St. Mean Ecos

The Plaint of a Poor Mechanic.—“ A Poor Mechanic” says,—

“Model lodging-houses have just bee i : mn completed in Willow-walk, Panl-street, ps ang which are ar ts to pte to accommodate, and to improve, the working- my cosy But how on earth is a poor mechanic to pay ened ent as 8s. or 9s. a week for two rooms and a scui- id —_ 6s. per week for one room and a scullery, and at all me ed to sell half his furniture to be comfortable ro — ards room to move ? But, if he does not care wich ton? ie 18 compelled to move further out, and put up pare, “inconvenience of living from home, which costs him ar ee for railway fares and living. . . . If Lady jon pad by = ie = the working classes have

) ery for 5s, F

Industrial Dwellings Cunping a pica itad i rec

THE GROSVENOR GALLERY.

Ir the Grosvenor Gallery does not produce so much effect on its visitors as it did last year, this will only be because the novelty of the room, of the style of hanging, and of the class of subjects most prominent, is worn off; for the exhibition itself is certainly, on the whole, superior to that of last year. There is less of sensation art, more of sober and real work of a high class; and the affectations of a certain clique of artists, though sufficiently represented, are not placed so decidedly in the place of honour; they are, in fact, relegated mostly to the east gallery, which, by common consent, being the smaller, is regarded as the secondary room. One piece of very remarkable artistic eccentricity, however, faces the visitor imme- diately on coming up the staircase. This is a picture, the first of a series representing the history of Perseus, by Mr. Burne-Jones. We call it a picture, for it is in a frame in the usual manner; but it is not a painting, at all events. It is a great panel of wood, the upper half taken up with a Latin inscription in metal letters in relief, stating “‘ what it is all about,” the lower part is occupied by four figures, Perseus and the Fates (?), whereof the heads and hands are drawn on the wood very delicately ; the remain- ing portions of the figures, which are concealed by armour and other dress, are formed of metal let into the wood and modelled in slight relief on the surface. By this means the figure of Perseus is represented as clad ina complete and embossed suit of steel armour, and the other figures in a fibrous golden drapery; the metal, which looks like soft brass, being scored and indented all over to give this effect. The design thus becomes a kind of combination of drawing and bas-relief; not that it is in relief, the main surface of the metal not being raised above the plane of the picture, but the effect is nevertheless produced by cutting into the surface and not by painting. With the ex- ception of the bunched-up look of the figure on the right with back to the spectator, the design isa very fine one; the heads are beautifully designed, that of Perseus in particular; and the outline of his figure, which is seen in profile, is very fine, and in every sense “ Classic”’ ; there is nothing stiff about the work, in spite of the apparently intractable method employed. What whim drove the artist to so peculiar a means of representation we are not informed; no doubta collection or series executed in this way would give a very marked decorative character to the apartment in whichit was placed, and if some one wanted that sort of effect he was lucky in finding an artist of so much genius willing to carry it out for him. At the same time we regret the tendency to “whim” which such a proceeding shows ; it will repel many who would otherwise admire a really fine design. We may point out, too, as a practical matter, that the metal will be sure to tarnish, and that there will be great difficulty in keeping its ridge-and-furrow surface free from visible lodgment of dust.

Having passed this strange outpost, we enter the principal gallery, somewhat relieved to find by no means the same standard of eccentricity maintained within. The number of works is about the same as last year, and the system of hanging those of each artist in groups is main- tained as far as possible,—a system we entirely approve. Going round the gallery in order of numbering, we are first struck with the works of that able and rising painter, Mr. Herkomer, whose advance since the comparatively recent time when his work began to b2 much talked of is really remarkable. His portrait of Richard Wagner (2) is one of the most striking and suc- cessful of recent portraits; it was painted, we believe, under considerable difficulties, the musician being impatient of regular “ sittings ”; it is, perhaps, partly owing to this very fact that the artist has succeeded in producing a likeness which seems to give so much of the inner genius of the man, rather than a mere reproduction of his features: as a head it may be called a flattering likeness, but as a represen- tation of the mind of Wagner it is a very fine effort of high-class portraiture. The same artist’s ‘Souvenir de Rembrandt” (4) is a very powerful study of an old woman’s head. Sir Coutts Lindsay contributes three works,— “ An Idyll,” ‘ Golden Fetters,” and the “ Shep- herd’s Farewell”; the last-named pleases us most; it is a composition of two figures, very beautiful in feeling, and graceful, and a little unusual, in design. Next we are arrested by Mr. Gregory’s forcible portrait of “ W. T. Eley,

Esq.” (20), a picture in which there is almost, one may say, an affectation of roughness and unconventionality both in the get-up of the sitter and the style of the picture; but the power and originality of the work cannot be questioned. It is balanced (if we can say “balanced” of two paintings so unlike each other) by Mr. Millais’s very interesting and successful portrait-group of two young ladies, “Twins” (22).

Between these, the centre position of the end wall is occupied by a large landscape by a painter not yet much known to fame, but who bids fair to be further heard of, Mr. Cecil Lawson, whose picture, “In the Minister’s Garden” (21), is described as “a tribute to the memory of Oliver Goldsmith,” we presume with some reference to “ The Deserted Village” : no other connexion occurs to us, at least. This is a very large and elaborate work, painted with great feeling for colour, but wanting rather in aérial effect,—a result, we think, arising from a deficiency of force in the foreground, and of delicacy of gradation in the distance: the whole seems to be too much under the same conditions of aérial tone. This is not nearly so much the case with Mr. Lawson’s other large work, “ In the Valley,—a Pastoral” (58), which is hung near the other end of the room, and is a very fine and poetic work. There are, at any rate, no land- scapes in the gallery of equal pretensions with these, the exhibition being this year, as before, peculiarly weak in landscape.

Mr. Alma Tadema’s five pictures contain much superb painting; not very much beauty. ‘“ Hide and Seek” (26) is a game played by two Roman girls, one of whom hides behind the base of a stele with a terminal head of Jupiter onit; there are beautiful qualities in this little painting. “ Architecture,” ‘ Sculpture,” and “ Painting,” are the respective titles of 27, 28, 29: “Sculpture” being represented by a colossal head filling the picture, at which two men are chipping; “ Paint- ing” by a studio where a nude model is seated before the painter: in “ Architecture” the principal figure is one whom we have before seen as “the architect of the Colosseum” in another small work. On the whole, Mr. Tadema’s Grosvenor work is hardly equal to that of last year. M. Tissot, who comes next, is much better than last year; he has not in- flicted any more allegory upon us, and his paint- ings of London girls are in his best way, especially “‘ Evening,” where a set of people are at an evening reception, a girl in a yellowish dress with a train turning round her like a corkscrew forming the prominent object in the foreground ; “ July” (34), where a young lady is seated on a sofa with her face to the spectator and her back to the light and to an open window, is also ex- ceedingly clever and unusual. This and No. 31, “Spring,” are each labelled “specimen of a portrait’; a rather curious rider to put to the title. Are we to understand that M. Tissot wishes to be an accepted portrait-painter, and that this is his “ bid” ?

Mr. W. B. Richmond is to oil-painting what Mr. Moore is to water-colour; he is the painter of decorative portraits. Of the four here, that of the little girl, “ Elspeth Angela Campbell” (41) is certainly the most charming; and with all its finished execution (the feet to be especially noted) it is quite natural and unaffected. But the most remarkable of the four is perhaps that of “Mrs. Frederick Faner ” (39), a half-length relieved against white marble; the sitter wears a dress producing a rich though quiet harmony ; a butterfly gives the strongest point of colour in the picture. The face is very carefully painted, and it is certainly delightful to see a good like- ness in so charming a setting, although one may be disposed to say that this style of portrait painting is a trifle too artificial for the highest ends of portraiture. Of M. Legros’s pictures we can hardly say there is one equal to “Le Chaudronnier ” of last year; his study in mono- chrome for a “ Saint Sebastian ” does not affect us; “ Le Repas des Pauvres” (44), where some persons of the order indicated sit at a table in a shabby place of entertainment, has a real pathos in it, and a pathos of a kind which has not been much “ worked,” since it is not that of rustic life, but of a life that would fain be above it ; that of the lower section of “ shabby genteel,’ usually regarded as one of the most contemptible sections of humanity, a fact which is just what makes part of the peculiar pathos of the picture. The study of a head (42), painted before the Slade school students, is excellent ; its companion (47) is not equal to it.

This artist and M. Heilbuth keep us in the

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THE BUILDER.

[May 4, 1978,

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domain of the art of -real life; the arch, coquettish, pretty young lady “in the fields,” by the latter artist, is charming; we saw the lady last year in a slightly different attitude, and hardly know which vision is the prettiest: we recognise also some former friends in the scene where “ Roman Orphans” (49) are receiving the attentions of a benevolent Cardinal. But we must come back again to the unreal with Mr. Whistler, whose “harmony in blue and yellow” and “Variation in flesh-colour and green” (52-4), we should call simply “bosh” ; but the “ Noc- turne in blue and silver” (53) is a very pretty realisation of a perfectly possible night effect under certain conditions of atmosphere and artificial lights. But what of the full-size figure over these, the long thin girl who is called “an arrangement in white and black”? Well, it is one of the cleverest things exhibited anywhere this year ; however, people may call it “smeary” painting, the whole form and mécanique of the body, the sway of its contours, behind this veil of ghostly white muslin, is completely felt, and it may be doubted if higher finish would not have interfered with the painter’s object. If Mr. Whistler would only do more of this kind of thing, and less of impossible effects with fantastic titles, he would do better for himself and us. Not that we are deliberately approving even this style of his painting; but if an artist feels moved to it, he is certainly to be excused for following his bent, when he can put such real and original talent into production of the kind.

Mr. G. F. Watts occupies the end of the room with two large works, ‘“ Mischief,’ and “Time and Death.” Concerning the former, we can only say that we fail to evoke any distinct mean- ing out of it, and do not derive any satisfaction from it. The latter is, in its way, a grand work, but it just touches on the very limits of the boundary which separates true ideal art from conventional allegorical representation. It is easy to see the allegorical meaning of the wide- eyed forward gaze of “Time,” but the result is decidedly odd and staring in a picture. Death,a heavily-draped wan figure, droops on his arm, and they appear to be walking through water together. We should need to look at and think of the work more befcre coming to a decided impression as to its intellectual value; but our feeling is that it is not equal to the “ Love and Death” of last year, chiefly because it is less shadowy, and has more of detail and circum- stance; whereas subjects of this kind should always be kept in the regions of vagueness and shadow,—the moment allegory is brought to the light of full day, and illustrated in detail, it is lost, even in poetry, much more in painting. On the whole, we like Mr. Watts’s little “ Sir Gala- had” (68), as well as any of his works that are here.

Coming into the East room, we can only say of Mr. Spencer Stanhope’s pictures what Mr. Burchell said. of the Honourable Miss Skegegs’ and her friends’ conversation. Mr. Leighton’s portrait of a little lady, called “Miss Stewart Hodgson” (94), is very characteristic, and highly finished as to the figure, but surely un- finished as to the rest; else wherefore does the child cast no shadow, and stand almost upon nothing? Miss Evelyn Pickering’s “ Venus and Cupid” (95) is very graceful and sweet; this is a fully-draped Venus, a gracious and benefi- cent nymph, not a deity of passion and folly. So graceful is the long-limbed figure, that we might almost wish rather to see it in the more usual costume of a Venus, but think we have already had that pleasure when the lady appeared in the Dudley Gallery as “ Harmonia.” Passing over certain bétises, we come on a large collection of Mr. Burne-Jones’s works, filling the upper end of the room. Of these it is more easy to speak than of some of his last year’s works. Certainly the first one, “Day” (100), a lean, melancholy, naked figure entering a portal with a torch, is unhappy-looking enough; but in some of the others there is not that strange mingling of beautiful execution with puerile conception which puzzled one in the pictures exhibited last year. Hardly any of these, by the way, seem to be new works. The series of the seasons was painted in 1867-8, and is very fine, spring and summer especially so; fine in colour, and in attitude and design ; and, of course, in alle- gorical figures one can pardon a certain conven- tionality of style. Of the large picture, called “ Laus Veneris,” painted 1873-5, we can only say that we do not, so to speak, see the use of such a conscious reproduction of the art and the feeling of another age quite foreign to our own;

at once. More emphatically may we grant this in regard to the “Chant d’Amour,” a picture magnificently painted, of which one might say that it might, if it were a little “aged,” be passed off for a Giorgione with every chance of success; but it is therein that the very weak- ness of the thing lies; Giorgione did that sort of thing because he himself and his contemporaries loved it; Mr. Burne-Jones repeats it because they loved it, which is quite another affair. Of all the set, we like best the small one of “ Psyche helped out of the River by Shepherd Pan,” after she had tried to drown herself, be- cause here there is really piquant originality and invention; the figure of Psyche is very pretty, and Pan is a real invention, a figure half-serious, half-grotesque, ;and altogether old-world and fabulous, and with yet a sort of (artistic) pro- bability about him too.

To such a mere imitator of early art as Mr. Strudwick it is useless to say anything. Mr. Morris’s large picture called ‘‘ Michaelmas,” is of doubtful interest: a capital and most truthful study of geese in the foreground, but the painting of the landscape is raw and violent in its lights; the same artist’s “‘ Village Coquette” we like better; it is a trifle mannered, too, and the man is too distinctly a reminiscence f Walker. Mr. Boughton’s “ Rivals” is a picture with a point in it. The rivals are two sturdy quarry-workers, with picks in full swing, and apparently competing for the good graces of the young woman in the foreground. Mr. Arm- strong’s ‘Three Female Figures on a Marble Seat, with Orange Blossoms and Marigold” (116: Mr. Armstrong seems to disdain fancy titles) is very graceful as a composition, but we cannot make out what he is about;with his colour of late; it never seems clear or pure. Mr. Walter Crane’s ‘‘ Persephone’”’ would, no doubt, make a very good illustration for chromolitho- graphy for a children’s book of classic stories ; but how any one could deliberately paint in this way on such a scale is inconceivable to us. Mrs. Joplin’s ‘‘ Pity is akin to Love,” and Mr. Leh- mann’s “ Burning Love-letters,” are both very pleasing works, both showing more genuine feeling than their authors usually attain. We passed for the moment, purposely, Mr. Albert Moore’s “ Birds,” to finish with it, as something perfectly pleasant to look at and remember. The title is, of course, merely a distinguishing name for a figure picture: a beautiful girl stands facing us and looking up at some birds, probably (one canary is introduced, at her feet), so that her face appears turned upward, and half in profile; she has on a saffron gown, and a head- dress of very subdued and delicate reddish tint ; she is backed by a delicately diapered hanging, and a plant with white blossoms springs from a vase by her side. In beauty of form, and subtle delicate harmony of colour, this seems to us almost to surpass anything of the kind that Mr. A. Moore has produced ; it is simply perfect, and leaves a deiightful impression on the memory.

THE SOCIETY OF PAINTERS IN WATER-COLOURS.

Tur Exhibition this year (the nineteenth) is a good one; its strength is in landscape, how- ever, more than in figures. Mr. Tadema sends only one slight little work, possessing less interest than even slight drawings from his hand usually have. Mrs. Allingham, sending several works marked more or less by her peculiar refinement of colour and feeling, is, nevertheless, not at her best in any of them. Mr. Marks’s drawing of the lover “ with a woful ballad made to his mistress’s eyebrow,” which he is reciting toa half-sympathising, half- satirical, listener, has fine qualities, and is a good specimen of his peculiar humour. Mr. Carl Haag’s very large drawing, one of the largest of modern water-colours, at the top of the room, is vexatious; it is an example of splendid manipulation wasted upon an un- interesting and even repelling subject. It represents “An Ancestor” (72), a very brutal and beefy-looking ancient British (?) chieftain, clad in splendid barbaric trappings, with a helmet with two horns fixed to it by way of decoration. It is simply a study of costume and manipulation; as for its representing “an ancestor,” the face is really of a type that may be too often seen among the well-fed Britons of this comparatively civilised era. Mr. Radford’s drawings continue to show little more than fine

and properties of the rooms in which his mechanical-looking personages are discovered , the least mechanical of them is the “Demis Regard” (98), cast towards the looking-plagg 4 a damsel just moving away from it a who is probably regretting that her ais so thick. Mr. Fred. Tayler’s brightly-colouns but not crude studies of hunting scenes of 4 f¢

generations back show his usual solid talent in drawing of men, dogs, and horses, “ They arg all coming ” (30), a hunting morning inciden is the best; by no means equal, in point of character, though, to one or two of his Works wa saw in the Dudley Gallery lately. There ay some things on the walls which it makes one sad to see ; and among those which did not make us happy was Mr. Wallis’s “In a Sacristy,” especially considering the name attached to i. but it is to the same artist that we owe wha is one of the most powerful things that has been in this room lately,—‘ The Sentinel” (187), —a Moorish figure clad in a gorgeous dress, and get in a framework and background of rich archi. tectural detail; he and an antelope mutually contemplate each other, the innocent-looking animal and its sober colour serving to enhance greatly the force both of character and colour in the figure. Thjs is a drawing to be returned to; a powerful and thoroughly successful thing, More interesting intellectually, but less entirely successful, is Mr. Walter Duncan’s large work, the largest he has exhibited here, “Le Jardin d’Amour” (181). This is a kind of Boccacio Scene, as one may call it, resembling in feeling some other drawings in previous exhibitions; one or two of the figures, the central female figure in pink, for instance, are also repeated from previous works, more completely than is desirable. There is, however, splendid colour in this work, and a great deal of fine drawing, and real, though rather vague, imaginative feeling ; in point and meaning it hardly seems equal to other drawings the artist has con- tributed. We look with great interest to Mr. Walter Duncan as one of the few contributors to the Gallery who seem able to paint ideal figure-subjects, in which something like the poetry of art is represented; we hope he will not fall into mannerism or repetition of himself. Among other smaller figure-subjects Mr. Arthur Hopkins’s “ Boys’ Paradise” (208) contains very clever drawing; and Mr. Norman Tayler's “ Rainy Weather” (144) is an admirable tran- scription of rustic character, notable also for the success with which he has represented the general appearance of the landscape under a heavy rain.

The combination of figures and landscape, where the latter predominates, is represented in some beautiful works by Mr. Tom Lloyd, who, as a new member of the society, claims prece- dence of mention in his own line of production, and who will do something to atone for the obvious mistakes which have been made in some elections of late years, by the results of which the society’s exhibitions are now suffering. Mr. Lloyd is one of the best of the artists whose peculiar tone and feeling in idyllic subjects was most brilliantly represented by Frederick Walker, if that artist, indeed, did not invent it. Of his contributions the best is that entitled “So Tired,’ where a man and woman on the way home have turned to call after and encourage 4 tired child, who follows them crying. There “ melancholy tendency about it, to which the land- scape as well as the figures contribute. It aa fact, part of the essence of this peculiarly mode formof art that the meaning of the landscape mk of the figures is blended so thatneither is comp? without the other. This is equally wel Soe 7 “Shade,” a work of lighter vein. and i though more difficult of execution. Anot! $ name we must also notice as for the first “7 prominent in this exhibition, as far =? he remember, is that of Mr. Cuthbert nas = whose works are of remarkable excel ence. “Yewdale Beck,—a Bright Day 12 beset (35), is a beautiful drawing, full of - aérial effect, and remarkably and minutely to nature. There are others that are very 8 »

. e472 the future and we shall iook with interest to os work by the artist. Among _the Mr. leading contributors to the ag Ba Powell sends a fine work,—The wn gin Breeze” (21), in which, however, his a dealing with sea-water 18 not so rema bert. shown as in some others we have ae His style seems to have been, to a certain 3

1 dified, not altogether for the bette urposely modified, no 8" +, this and in here are bits of water, both in

the beautiful work in the picture may be granted

painting of texture and colour of the furniture

i r “The Squall” (61), which look solid rathe

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May 4, 1878. ]

THE BUILDER.

449

than liquid, which certainly used never to be the case with his work. On the other hand, “The Evening Breeze” is more distinctly a oetic work, perhaps, than most which he has exhibited. Mr. Alfred Fripp is at his very best in “Blackberrying by the Sea” (6), in spite of the mannered execution and artificial colour of the bushes in the foreground, illustrating es which have always been drawbacks in his work; on the other hand, there is an almost magical gleam over part of the scene t the artist has almost succeeded in painting sunlight. His other work, “ Gipsy Common (111) is interesting from its marked individuality, and atone and character different from what we are used to from him. Mr. Thorne Waite is well re- presented, his best work being, perhaps, “The Fen Country in Harvest-time” (1). Mr. J . W. North’s works have the same characteristics we have previously noticed, and begin to look too like receipts; always a white house in the middle distance to give value to the peculiar warm tone of colour which the artist seeks for, and which is very beautiful in itself; always a spotty fore- ground which gives opportunity for much study of detail of flowers, &c., but confuses the eye in regard to the whole: “An English Home in Algiers” (66) shows the beauties and mannerism of the artist equally; it is very clever, but he should look for another point of view of nature before long, at all events. Mr. Albert Goodwin sends a good many small works, all marked by his strong poetic feeling and determination to realise nature from his own point of view; even some of the names to his scenes convey a great deal, and suggest a whole train of associations ; thesolemn sunset effect (51) is called “Requiem”; another is a “ Pastoral Symphony” (63); but there is no cooking nature; it is all genuine open-air art. We doubt if this can be said of Mr. Clarence Whaite, whose ‘‘ Salmon Fishing— Sunset” (182) seems to us a most decidedly in- vented effect: there is fine painting in the foreground; there is a great deal of power of a kind, too, in his ‘“ Thirlmere, the proposed Source of Water Supply to Manchester” (185) ; but it is a forced effect which might just be possible under some very exceptional circumstances, perhaps. We fear from the form of the title that the picture is hung (if not painted) on other than merely artistic grounds; it became, at all events, the centre of much foolish discussion, by visitors, of a topic they did not seem to understand. Why force these social and political squabbles into an exhibition? Mr. Alfred Hunt makes the same mistake in entitling the repetition of his grand work, “ An Ironbound Coast” (which was in last year’s Academy), “ Low Tide on the Scaur, Whitby— a Case for Plimsoll ” (130); thereby at once vulgarising the whole association of the work, which in itself is a noble one, though hardly equal to its original in oil. He sends two other fine drawings from the Whitby neighbourhood. What do the hanging committee mean by placing the work of such an artist as Mr. A. P. Newton so badly ? Considering the vulgarities which are to be seen on the line, it is really wrong tohave a drawing like his “ Beauties of the Moon” (190) hung so high. There is, of course, reason for high position in the case of his larger wo1 Mystery and Immensity” (180), on which we looked with rather mingled feelings. It is a view of the Colosseum by moonlight, the great pniiting obscurely seen in the partial illumina- ion of the moon, and the effect of light further assisted or intensified by the torchlights accom- panying some public ceremony that is going on. : e drawing is a grand and striking one; but . 18a little theatrical, which certainly cannot @ said of Mr. Newton’s work generally. There Joh some powerful and broad drawings by Sir be Sy Nyomi which landscape predominates ; hos ons sto us to have somewhat lost the : Open-air effect which distinguished ome previous landscape work of his, by a preference for certain grey and unreal tones in det ick ee which give a heavy and freedom we s ‘io hae there is great treatment of th watercolour style in the : e landscape. Mr. Boyce (to Jump to the opposite extreme of style) is high] successful in his remarkable manner His ‘Ancient Tithebarne pany: “ e near Bradford-on-Avon hi 4 a beantiful drawing; and in the “Saxon tities 4 the same town (118), there is a beencks a realism without hardness in the ton of old buildings. Other well- » contributors are represented by drawin ns their usual and now almost too well. Wn excellences, Mr, Hale sends something

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strong and powerful in his large drawing of “ A lonely Moor” (151); Mr. A. H. Marsh’s “ After the Storm” is fine (133), and Mr. Collingwood, who has long been in the habit of contributing small studies of Alpine effect, sends this year a larger one than usual, “The Jungfrau at Sun- set”’ (173), giving the idea of a very careful study of tone and effect from nature. Alto- gether, this seems to us one of the best exhibi- tions of the Society that we have seen of late years (which is no scant praise) ; only we wish more attention were given to high-class figure- subjects.

MILLAIS’S “BRIDE OF LAMMERMOOR.”

A YEAR ago we noticed Mr. Millais’s painting from “The Heart of Mid-Lothian,” then exhi- bited in the Gallery at No. 9, King-street. The same Gallery now contains what may be called in some degree a companion picture; the first meeting of Ravenswood and Lucy of Lammer- moor. The moment chosen is that when, after the rescue, Ravenswood has led the fainting girl to the brook to get some water, and she leans heavily on his shoulder still only half recovered; the expression of faintness and recent terror on her features is given with great reality, and at the same time with great reticence and delicacy of treatment and execution ; there is nothing painful or overstrained in it, unmis- takable as the “faint” is; and when we con- sider upon what delicate minutiz of study and execution this kind of realism depends, one must regard this face as a remarkable achieve- ment in painting. Ravenswood is for the moment lost in thought; he gazes forward blankly, without appearing to attend to his fair companion, but as if some forecast of their future fate were before him. His face seems to us a little deficient in refinement, and in that aristocratic character which he is represented as preserving so tenaciously amid his material necessities, to be a realisation of the character; nor is Lucy by any means our Lucy of Lam- mermoor; she is a pretty Scotch girl who has fainted. In this respect the work is not such a success as “ Effie Deans,” in which the girl and her lover seemed the very people of the tale. In regard to execution the Bride of Lam- mermoor is more than up to the artist’s reputa- tion, as regards the figures and their costume especially. Of the face of the girl we have already spoken; but in other respects the group is as remarkable; such a piece of paint- ing as the hand of Ravenswood is rarely seen. The picture will hardly satisfy the ideal sense of those who are most interested in the romance and tragedy of the story; but every one who cares about painting should see it.

FRENCH WORKMEN ON WOOD CARVING.

TuovucH the French working-classes success- fully contrived to send some representatives all the way to Philadelphia during the Centennial Exhibition, an extraordinary delay has been allowed to occur before the public have enjoyed an opportunity of appreciating the advantages resulting from this expensive expedition. It was only last month, for instance, that the report of the sculptors in wood, written by M. Lépine, a working man delegate, was finally published. Apart, however, from this, in our mind, unnecessary and prejudicial delay, it would be difficult to find any other fault. The report before us redounds to the credit of the simple artisan whoisitsauthor. He is evidently one of those artistic workmen who would raise his craft to the dignity of a profession, and con- siders that the cultivation of manual skill must be accompanied with the development of intel- lectual attainments before we can approach perfection in art applied to industry. But few such workmen exist in any country, though a small number suffice to win renown for the market they supply, and to them is due the reputation which French furniture enjoys.

The wood-carvers’ report is divided into three sections. The first is a brief summary of the history of sculpture; the second is a review of the wood-carving seen at the Philadelphia Exhi- bition; and the third part is devoted to the consideration of the social and material condi- tion of the workmen in the United States who belong to thiscraft. In dealing with the history

of wood-carving, the author shows that he has some knowledge of the Roman and Etruscan specimens which have survived the downfall of

the Byzantine Empire. The monuments and tombs of Arles prove that sculpture was attempted in France during the earliest ages, though the first French sculptor mentioned in history lived in the sixth century. He was named Abbon, and acted as manager of the Mint at Limoges. During the Dark Ages sculp- ture was practised principally in the monasteries, where Greek art was roughly imitated by workers who had the merit of not being special- ists. They carved both wood and stone, notably the celebrated Fulcon, who lived in the eleventh century ; while others were architects, engravers, &c. The chefs d’cewvre that were occasionally achieved gave rise to sumptuary laws, which the clergy themselves at first imposed. Saint Bruno, in the eleventh century, issued, for instance, the following rule :—“ We blame, and in future forbid, as opposed to the spirit of humility and rusticity, all paintings, all pictures artistically executed, whether on stone or wood, &c. As for those which already exist, they should be pulled down and taken away if this can be done easily, and without creating any scandal.”

The clergy also sought to suppress all inde- pendent and secular workers. If a layman acquired any skill as a sculptor or wood-carver, the bishops immediately sought to confer on him some ecclesiastical title and office, so that his talents should be devoted exclusively tothe service ofthe church. It was not until the enfranchise- ment of the cities of France, and the formation of trade corporations or guilds that the lay- workers were able to hold their own and finally to introduce sculpture within the homes of the civil population. The hononr of this change is due to the thirteenth century, and then on all sides triumphs of art were achieved in wood, in stone, in ivory, mosaics, marquetry, and such like.

We can, however, only follow M. Lépine very briefly through the different periods of history. The fifteenth century, with its plethora of Italian artists overriding what little national genius might still be mouldering in the country, is well described. .The formation of an independent French school in the sixteenth century is dwelt upon with evident pride, and the Chateau de Gaillon is mentioned as one of its best expres- sions. This marvellous building, though for many years attributed to foreign artists, and quoted as an admirable example of the Renais- sance art, has been proved, by the recent dis- covery of authentic historical documents, to have been conceived by French artists and architects, and executed by French workmen. After seeking thus to restore to his countrymen the credit due to some of the chief works of the Renaissance, M. Lépine attempts to de- monstrate that the school called “de Fontaine- bleau”? was the French modification of the Renaissance style, and that it was only adopted in Tuscany after it had been practised in France. But, on the other hand, he admits that this brilliant reign of art was soon over. Already in the seven- teenth century the artists were obliged to sacri- fice the purity of their style to the caprice and eccentricity of their patrons. This was the beginning of the decadence, though it did not affect public monuments so soon, wood-carving was the first to suffer. Inthe eighteenth cen- tury zesthetic rules were more and more despised. Industrial artists were guilty of the most fan- tastic and extravagant designs. Losing their taste, neglecting their studies, they soon became little better than mere shopmen and tradesmen. This downfall reached its culminating point during the first Empire, when the taste for form seemed almost extinct. An attempt was then made both at Vienna and Venice to revive the art of carving in wood. A new field of study was then opened to the imagination of art- workers, and the first school of modern sculpture was opened at Florence in 1830 by the cele- brated Angelo Barbetti, whose pupils are now the pride of Italy. Since this date wood-carving has gradually improved, and has now reached a degree of perfection which meets the entire approval of the reporter and promises greater things for the future.

The Institution of Civil Engineers. — From a recently printed list of the members of this incorporated society we find that there has been, during the last three months, an increase of fifty-four members, fifty-eight associates, and twenty-seven students; the numbers of these several classes now on the books being 1,033, 1,759, and 520, making, with sixteen honorary members, 3,328 of all classes.

450

THE BUILDER.

[May 4, 1878,

FERGUSSON’S “TEMPLE OF THE JEWS.” *

Mr. James Fercusson’s latest contribution to architectural literature is one to make “the critic” stand aghast. We do not, however, mean to infer that this attitude of mind is induced by any feeling as to inherent improba- bility or extravagance in any of the views set forth by the author. There will be literary and ecclesiological critics quite ready to object to them ab initio on that score, no doubt; literary critics who wili object because the views propounded are to them new or unusual ; ecclesiological and clerical critics, who will take up the cudgels against Mr. Fergusson with all the vigour of odium theologicum, because he interferes with their holy places and things, and has very little respect for some of their super- stitions. Any objection which we may have to register against his conclusions will, at all events, not be based on such grounds. To us it is obvious that Mr. Fergusson’s architectural reasoning, if his premises be granted, is almost invariably as logical as a proposition of Euclid; and we are in the mind that his premises are never unreasonable, and are morally probable. What renders the task of pronouncing a delibe- rate opinion, such as our columns are almost bound to put on record, on the topics of which he treats, or at least, on his method and con- clusions in regard to them, a somewhat formid- able one, is the consideration of the mass of evidence, pro and con., which ought to be sifted and weighed before one can even be in a position to pronounce a decided opinion on the principal points of his argument. And we may say at once that we do not intend to attempt pronouncing such an opinion in the present short notice. A student of architectural history who has worked at his subject with the untiring perse- verance and remarkable insight which the author of this book has long exhibited, has a right to expect that his views should not be in any way definitely adjudicated upon without full consideration ; and this we defer for a week or two, at all events till we can have time to go through the subject more at leisure. But we do not wish to leave Mr. Fergusson’s book a week longer than we can help, without at least recog- nition; and a brief notice of the nature and scope of its contents may serve to introduce it to our readers.

The volume on the Temples of the Jews is divided into three main sections,—on the early temples, on the temple of Herod, and on the Christian and Saracenic buildings in the Haram area. In the first section the authorities on the subject are summed up, and their respective merits as to liability discussed; the subject of Jewish measures is considered in a separate chapter; and the author then enters syste- matically upon his task of tracing out the peculiarities and varieties of the temple plan, from the first tabernacle to the last temple pre- ceding that of Herod. Much of this part of the subject deals with matter which by most per- sons will be set down as purely conjectural, and which to a greater or less extent must be so; but the author, at all events, claims to have worked it out with a completeness of method which has not hitherto been attempted. ‘No one,” as he says in his introductory chapter, “has gone through all the temples from the Tabernacle to the destruction of the last by Titus, protracting each peculiarity as it arose, and superimposing each addition and alteration upon the same plan. No one, while doing this, has attempted, in modern times, to co-ordinate the Bible, the historians, and the Talmud, so as to get a consistent answer out of their frequently discordant testimonies.” This system of inves- tigation, carried out with great elaboration, lays the foundation for the restoration of the Temple of Herod, built 19 B.C., and within which many of the events recorded in the New Testament actually took place. Towards the solution of the problems here dealt with a mass of evidence, ancient and modern, is brought together, the cumulative force of which is, of course, far greater than any portion of it can be when taken separately. The attempt to restore the archi- tectural design of the Temple must, of course, necessarily be much more conjectural than the plan, so far as general appearance, height, and many of the details are concerned; but the attempt is, at any rate, of the greatest interest, and, moreover, leads to some very curious and

“The Temples of the Jews, and the other Buildings in

suggestive comparisons with existing remains in Palestine and Syria, which exhibit character- istics such as would no doubt have also belonged to the temple architecture, from which some of them even probably arose. The question of the size and site of the temple has a direct bearing on the problem treated of in the third section, he buildings in the Haram area and the ques- ion of the identity of the Mosque of Omar with the original Church of the Restoration (Anas- tasis); since it is only upon a theory which limits the extent of the Temple enclosure to a portion of the hill that the localisation of the sacred sites in this position can be possible. The latter portion of the book, which deals with the buildings in the Haram inclosure, is in some respects the most interesting of all, as it leads to the consideration of one of the most curious problems in architectural history, and illustrates remarkably the ability and perse- verance of the author in estimating the arch- ological significance of minute differences and peculiarities in architectural style, and com- bining isolated deductions from a logical whole. Even if his theory of the meaning and origin of the “Mosque of Omar” should never come tobe received without question, the whole history of the controversy, which originated entirely with Mr. Fergusson, is so interesting and remarkable an example of reasoning deduced from architec- tural style alone, independent of, and even in contradiction to, general belief and tradition, that we will conclude these few remarks by briefly recapitulating the matter, preparatory to considering it a little more critically just now. Some of those who have only been interested in the latter phases of what may be called the Holy Sepulchre controversy, perhaps even forget how it really originated. It had been, from what may be called time immemorial, a gene- rally accepted belief that the Church of the Holy Sepulchre, whatever might be thought of some of the wonders and superstitions connected with it, did mark the real site of the sepulchre of Christ, over which Constantine was known to have built achurch. The fact of the erection of such a church in such a position by Constantine is matter of history, and has never been doubted; and though the present church contains not a trace of architecture of his period, this was con- sidered to be sufficiently accounted for by the burning of the church, from motives of fanaticism, on two different occasions which are recorded ; by the Persians in the seventh and by the Mahommedans in the twelfth century; it being in each case rebuilt, so it was supposed, on the same site; and as it was believed that Constan- tine would have had undoubted information as to the true sepulchre, it was always considered that this was the traditionally-correct site which might be accepted by Christians as such. Mr. Fergusson’s “ first misgivings of the faith ’”’ arose from no consideration of ecclesiology or church history, but from a purely architectural source of difficulty, stated in the introduction to his earlier work on Jerusalem. In his first Indian studies he had been struck by the fact of finding Mahommedan buildings “imported full-grown into India,’’ and turned for the links in the chain of development, towards Egypt and Syria, when his attention was arrested by the remark- able fact that an octagonal building should be called and accepted as the Mosque of Omar, and attributed to a Mahommedan builder. As every one knows, the traditional Mosque plan is a short wide building with the wall opposite the entrance as much extended as possible, and as nearly as possible at right angles to the direction of Mecca, so that the faithful may have room to pray towards the holy place. What then could be the explanation of this build- ing called a mosque, but differing so en- tirely in plan from the true mosque? Had it been called the Tomb of Omar, he observes, or of any one else, he would probably have in- quired no further; with the superficial know- ledge he had of its details, its form would have corresponded very tolerably with its destination ; but the more intimate he became with the style, the more he was puzzled to find out what could have induced Omar or Abd-el-Malek to build a mosque in this form. There was obviously something to be explained ; and the explanation that flashed on Mr. Fergusson’s mind was that here was the site and part of the remains of Constantine’s church, cased externally with a Mahommedan covering, and finished with a Mahommedan dome. The capitals of the internal colonnade are more classical in form than any that could have possibly been produced

bition of the Royal Academy to be opened, comprise about 140 architectural : To meet the views of the council our review for a week, when we 8

—=—=<_£__= plan of the building, and the peculiarity of the

continuous moulded architrave carrieg from column to column, find their Counterpart jp undoubted Constantinian buildings at Rom, But in that case, how were we to account fy the long-supposed site of the tomb, under the walls of the church of the Holy Sepulchre, o, the other side of the valley and within thy city ? Mr. Fergusson’s explanation is that when the Christians were driven into a corner, as i were, under Saracenic domination, and had no access to the Temple mount which was entire} in the hands of the Infidel, they found it neogs. sary to have their Holy Sepulchre,—their centr, of adoration,—where they could reach it; to please their own minds by a kind of pious fraud op themselves, or perhaps a fraud of the hierarchica} leaders of the body upon the less-informed amo the Christians. Dire was the wrathof themoden churchmen who had long believed implicitly in the site of the Holy Sepulchre, and written semi-devotional books on the topography of Jerusalem, to find their faith thus set at naught, No doubt the assumption of a change in the site in the Middle Ages would be a very gra. tuitous one, if there were not the architectural problem pressing so hard on the other side, But while, on the other hand, such a piece of pious jugglery or credulity is as intelligible as possible, the existence of the Dome of the Rock is quite unintelligible, so far, except on Mr. Fergusson’s theory. He has, however, lain under the disadvantage, as he himself com. plains, of arguing with opponents who could not understand the force of the evidence of archi. tectural style and history ; who imagined that a Mahommedan architect might have built a Classic structure just aS a modern architect builds a thirteenth-century church ; not realising the fact that such imitations are a modern fashion only.

But if the style of the arcade of the Dome of the Rock by itself is so strongly suggestive of classical Christian architecture, it becomes ten times more so when in its vicinity is a portal, the “ Golden Guteway,” the very first glance at which at once recals Spa- latro, which is Christian by the symbols carved on its capitals, neo-Greek in its ornamental details, Roman in the reminiscences suggested by its general treatment (so far as the original portions of it are left). And when it is his. torically admitted that Constantine built a church over the site of the sepulchre, and on the lines of a Pagan temple previously erected on the site (which temple would probably bea circular one); when it is also known that he built a basilica near it, with a gateway which was much admired ; and when we find, in close cot- tiguity, a circular building and a gateway, con taining remains precisely in accordance with what we know certainly of the architectural style of Constantine’s other buildings, and when there is absolutely no explanation offered a8 to how these semi-classic architectural remains came to be here amid Mahommedan buildings, ot what they were, one is inclined to think that it is hardly necessary to go further. We do not here touch upon more recent discoveries I regard to these buildings which seem greatly to strengthen Mr. Fergusson’s position; sn upon topographical difficulties which seem

tend in the other direction : these points we may be able to gointo later. But with Mr. gg the unquestionable fact remains, that he has accounted for these two structures, one else has done so; and whatever be th mate judgment of the cagalile of forming a judgment on such a = his publications on the subject ought, at least, to do lasting service, apar information contained in them, he before the mind of English topographers fact, which still seems to be new an ing to them ; ives of architecture, the dates and history z which are known, are fixed points in the argu ment; the architectural style cannot fit the traditions ; the traditions to the architecture; and it is on understood and admitted that any P discussion can take place.

and that no e ulti-

minority who alone are

t from the mass of in bringing

d bewilder-

that in such questions ancient

be made to must give way ly when this 18 rofitable

_—The 110th Exhi- The Royal Academy of Arts, now about

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the Haram Area, at Jerusalem, By James Fergusson, esq., D.C.L., F.R.S., &. London: pm Murray, 1878,

by a post-Mahommedan architect; the general

the exhibition at some length.

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THE BUILDER.

451

May 4, 1878. ]

MR. HENRY BAKER.

We regret to announce the death, at the age of 75, of Mr. Henry Baker, of 108, Gower-street, an esteemed Fellow of the Institute of British Architects, and, in point of official age, the father of the district surveyors. Mr. Baker, up to the date of his decease, on the 26th ult., was District Surveyor of the important and exten- sive parish of St. Pancras, an appointment which he had held for the long period of fifty- three years. In our volume for 1874, under the heading “ Official Longevity,’ we gave some notes of the appointment of Mr. Baker, and pointed out that 100 years had then just elapsed since the passing of the first Metropolitan Build- ing Act, under which district surveyors were originally appointed; and that singular as it might appear during the whole of that long

riod, there had been no death vacancy in the district surveyorship of that parish. Mr. Baker’s predecessor, Mr. John Crunden, held the office fifty years, and then retired. His district included Paddington and Chelsea besides St. Pancras, then villages supposed to be to the district surveyor of the value of 201. a year each. Circumstances have altered since those days, and when we consider that the parish of St. Pancras at the present time extends north and south from Highgate to Oxford-street, and east and west from Gray’s-inn-road to Tottenham- court-road, we have some idea of the immense amount of supervision such a parish required from Mr. Baker, and which we believe it ever had from him. We understand that it is now contemplated by the Metropolitan Board of Works, in whom the appointment rests, to sub- divide the parish into three districts, for the purposes of the Building Acts.

Mr. Baker was educated under Mr. Samuel Ware, who was then surveyor to his Grace the Duke of Portland’s Marylebone estates, — an appointment which Mr. Baker, from his long experience and sound judgment of metropolitan property, himself was chosen to fill in 1864, and has held to the present time. Mr. Baker, perhaps, was not so much known as an archi- tect as a surveyor; still, in former days, he exhibited drawings in the Royal Academy with approbation, and amongst his works we may mention the building called “The Corner,” formerly belonging to Messrs. Overend, Gurney, & Co.; the English, Scottish, and Austraiian Chartered Bank, in Cornhill; the London and Westminster Bank, High Holborn (gained in competition) ; St. Pancras Almshouses, at Mait- land Park, Haverstock-hill; Messrs. Spalding & Hodge’s paper warehouse, in Drury-lane; the chancel of Wargrave Church, &ec.

Besides the appointments to which we have already alluded, Mr. Baker was surveyor to St. John’s College, Cambridge, estate, at Kentish- town; surveyor to the Paxton estate, in Totten- ham-court-road, comprising the plots on which the premises of Messrs. Maple and of Messrs. Shoolbred, and the University Hospital, are built; and surveyor to the Glossop estate, in Oxford-street. He was for many years on the Council of the Art-Union of London, and a member of the District Surveyors’ Association, taking a kindly interest in everything connected with the profession, and was much respected for his amiable and genial qualities by every one who knew him.

Mr. Baker was on Thursday interred at High- gate Cemetery, where, besides his own sorrowing amily, many of his professional brethren gathered around the grave to pay this token of respect to his memory.

foeuildings for Torpedo Work. — The — arrangements in connexion with the

ames Defences are now complete. The station 18 at Shornemead Fort. The buildings —- magazine stores, connecting - shed, a e, and tanks, and a jetty has been con- ri on piles and carried out far enough © river to enable the torpedo launches to . ark and disembark at any hour. The build. . the jetty have been carried out under at rigs of the Commanding Royal Engi- Pie ol. Grain, R.E., by Mr. Geo. R. Cobham,

: ractor to H.M. War Department. The tor- - “iy will be moored when required in various ot of the river, sinkers being attached by ow Each torpedo will be connected by an

‘ ric cable with one of a series of bells, so ine : ship touching a torpedo it will be ened Y known in the operating-room. The

Pedoes are exploded from the shore,

THE ART-UNION OF LONDON. ANNUAL MEETING AND PRIZE DISTRIBUTION.

Tue forty-second annual meeting of the Art- Union of London was held on Tuesday last, in the Lyceum Theatre (by the kindness of Mrs. Bateman). The Right Hon. Lord Houghton, president, had been announced to preside, but was unavoidably precluded from attending by other pressing engagements. In this emergency, the chair was taken by Mr. George Godwin, one of the vice-presidents.

Mr. Francis Bennoch, F.S.A., read the Report of the Council, of which we print the more salient portions :—

The great depression of trade in most parts of the world, and the partial or total cessation of work in many places in England, led to the anticipation of a very con- siderable decline in the amount of subscriptions for the year just closed. Still the Council are able to report Stated of 13,643/. 14s. To the local honorary secretaries and agents the thanks of the Society are especially due this year, since the difficulty of obtaining subscriptions has been unusually great.

The Council have recently had an opportunity of pur- chasing a fine plate, engraved by Mr. J Pat. Robinson, one of the first of Tnglish Ine-engravers. The original of the plate is a portrait of Anne, wife of the Earl of Bedford, raised to the title of Duke in the reign of Charles II., and mother of the celebrated Lord William Russell, who died on the scaffold. Vandyke painted the picture from which the plate was abated: and a more lovely subject never occupied his brush. The original was in the gallery of Lord Egremont, at Petworth, and there a room was fitted up for Mr. Robinson, who, towards the latter part of his life, devoted many months to this plate. It was, indeed, a labour of love, and one of his most brilliant and successful works, A certain number of proofs will be distributed as prizes to-day.

In reference to engravings, it may be mentioned that, in an exhibition held last year, in Birmingham, of plates by — of that locality, by far the most conspicuous, and those to which the highest prices were attached, were subjects engraved for the Art-Union, by Messrs. Brandard, Radclyffe, Sharpe, Willmore, and others. Many of the proofs were quoted at prices three, four, and five times the amount at which they had been issued from this Society.

The following is a brief summary of the receipts and expenditure ; a detailed account will, as usual, be printed in the report :—

Amount of Subscriptions ..................00000. £13,643 14 0

Allotted for prizes ............ £6,312 0 0

Set apart towards providing works of art for accumu- lated payments...............

For print of the year, alma- nack, exhibition, report, &e., and reserve ............ 3,735 19 3

72710 0

10,775 9 3 2,868 4 9

£13,643 14 0

The amount to be expended on prizes will be thus allotted :— Mr. Povcen's drawing, ‘‘The Return of the Life Boat,” 2102,

Agents’ commission and charges, adver- tisements, printing, postage, &c..........

MOIR odor cesces owasiweccteeeenas £200

2 works at 150 each, 3 ” 100 ” 6 ” 75 ” 6 ” 60 ” 6 ” 50 ,, 12 > 45 ” 12 9? 40 ” 12 ” 35 ,, 14 ” 30 ,, 14; 25 5, 18 9? 20 ” 20 5 15 ,, 10 3,

1 Bronze Group, “‘ America.”’ 2 Bronze Statuettes, ‘‘ The Warriors.” 10 China.Tazzas, 20 Bronze “‘ Diver”’ Tazzas. 100 Framed Proofs, ‘‘ Countess of Bed/ vd.” 30 Silver Medals of Maclise.

These, with prizes given to unsuccessful members of ten years’ standing, will make the total number of prizes 620.

In reference to the presentation work for the comin year, the Council, finding that there is a steady donna amongst the subscribers for books of illustrations, such as ‘The Ancient Mariner” and “The Norman Conquest,” think that the time has come round for giving a work of that kind, and they have arranged for the production of a volume of illustrations of Lord Byron’s poem of “ Lara,” by Mr. C. B. Birch. This poem was chosen for illustration on account of its presenting a large amount of dramatic incident within the limits best suited for a work of this character. Thus facilitating the aim of making a series of designs which should, as far as possible, tell their own tale. In addition to this, great advantages are offered by the costume and architecture of the probable period suggested.

Since our last meeting a very remarkable addition has been made to the large number of picture-galleries in London, by the establishment of the Grosvenor Gallery, in New Bond-street, built by Sir Coutts Lindsay, at a large outlay. In the first gathering of works here in May last there was evinced a leaning towards a special type of art, of which the most remarkable exponents were Mr. Burne Jones, Mr. Holman Hunt, Mr. Spencer Stanhope, and Mr. Whistler ; though, in other modes, too, were works by Messrs. Watts, Poynter, Tadema, Tissot, and others, the founder himself, Sir Coutts Lindsay, occupying no un- worthy place.

The Exhibition of Water-colour Drawings, lately closed, was a vigorous step towards carrying out the leading notion of the institution. It would be difficult to collect works more interesting than the groups of drawings by early English artists in water-colours; and the specimens,

strongly contrasting in style, and more interesting as evidences of power and simplicity of execution, of the original sketches and studies of the great old masters.

n Thursday, September 6th, Liverpool was en féte on the occasion of opening the Walker Art-Gallery,

This

noble structure, containing ample accommodation for works of painting and sculpture, was built, and presented to the city, by Mr. Alderman A. B. Walker, who, in deliverin over the edifice for the benefit of the community, expressec a hope that the establishment of'a permanent gallery would enable the town to secure a large number of valuable works and collections that otherwise would find a home elsewhere. It is to be hoped that those who possess the means may be induced to emulate this generous example in other of our provincial towns.

Another step in the same direction has been taken by the Town Council of Nottingham. By the liberality of the Duke of Newcastle they one been enabled to acquire, on very moderate terms, a lease of 500 years of the site of Nottingham Castle. And here anoble building, standing in its own grounds, but close to the town, will be erected at an estimated cost of more than 26,000/., and the town will be in possession of one of the finest art-galleries, considered in relation to situation, size, lighting, and general suita- bility, to be found in the United Kingdom, outside the metropolis, . ‘

Yet again, another instance, An influential committee has been formed in Manchester to obtain suitable premises, in a central part of the town, for an art-museum, to hold a carefully-made collection of paintings, drawings, engravings, and other works, and (wnich is a very important feature) to provide for the delivery of short and familiar addresses on the objects exhibited in the museum; the central prin- ciple being, that knowledge shall be used by those who have it, for the good of those who have less. The originator of this movement was Mr. Horsfall, of Altrincham, who, in a powerfully-written pamphlet, points out what the influence of art on the life of a — might be. He re- marks, “If art is to influence the life of people at all, it must take as its subject-matter things which interest the people,—things about which they think and feel, or can be aon to think and feel. It must tell them something which they care to know. It must do this, whether it tries simply to amuse them, or has the higher aim of teaching them. It must show them their best thoughts and hopes in their most beautiful form, so that they muy be helped to think, and feel, and hope on a higher level. In Italy, during the fifteenth, sixteenth, and seventeenth centuries, the church was as much a part of the homes of the people as the public-house is now. Art, then, had not to be sought in a comfortless gallery ; it was there where men spent their best hours, the hours that gave them the assurance that, in the manifold troubles of their lives, they were not left friendless, and gave them, too, the pro- mise that a glad life free from all troubles should surely ceme.”” Cannot something be done to supply, in modern and Protestant times, somewhat of that which the churches were at the period above named ? :

In connexion with the Manchester Art-Museum, it has been announced that it is intended, for the information of visitors, to tellin words, as briefly as possible, that which each work tells in form and colour, and to explain the process of art of which it is the product. The mention of this proposal leads to a thought in connexion with the priceless treasures contained in our National Gallery and British Museum. Great as their value is, as the chief art- training schools of the metropolis, one. eannot but reflect how much of their influence for good is lost, through the want of a regularly organised staff of able professors to guide and assist the progress of the art-students who fre- quent them. .

In the report of 1877, the Council announced that they had arranged with Mr. John Bell, the sculptor, to make for the Art-Union a reduced copy of his fine group “ America,” which stands at the north-west corner of the Albert Memorial in Hyde Park. A most satisfactory re- duction was supplied by Mr. Bell, and has been very _ cessfully produced in bronze by Mr. Hatfield, and some o the casts will be amongst the prizes to be allotted to-day. One of these groups has been sent to the Paris Universal Exhibition. The Society also sends, at the special request of the Prince of Wales, the bronze statuette of ‘‘ Carac- tacus,” from the original by Mr. Foley. A few hours hence will witness the opening of this Great Exhibition. Ten years ago the Champ-de-Mars was occupied by - industrial temple of iron and glass, Paris entertained the sovereigns and princes of the Continent. It was the crown- ing triumph of the Empire—and the Empire was Peace. War came, and revolution followed, and France emerged from the bitter trial under the crushing weight of an enormous war-indemnity. In Paris many of her finest and most cherished edifices were in ruins, and it was prophesied that many years must elapse before she could recover in any degree from her depth of misery. But what do we now behold ? The greater part of her public buildings have been restored, or are now in course of restoration ; and, on the same Champ-de-Mars, Paris again invites the world to visit a vast Exhibition, unsurpassed in the annals of similar undertakings. The Palace of the Trocadero, built on a large space of ground, rising in a steep ascent from the river, opposite the Champ-de-Mars, one of the finest sites conceivable, is not intended, like the Exhibition proper, to be only a temporary structure, but it is to be essentially the palace of the people, and a temple —— arts, and, to the Parisians, very much what the Crysta Palace was intended to be to 4ondoners; but with this exception, that the Trocadero is reached in a few minutes by tram-car from the centre of Paris. The zeal, energy, and perseverance which have, in so short a time, called these enormous erections into existence, is truly mar- vellous. It is believed-that the products of very few of the leading British manufacturers will be absent from this great gathering. In every branch of art we promise to be well represented, and, it is to be hoped, show that the various facilities which have, of late years, been placed at our com- mand, have not been placed in vain. : P

In comparing the position of this country with that o Continental nations, it must never be lost sight of that, while they show a steady development of art-training for centuries, the regular existence of anything like a school of art in England only dates from little more than a hundred years ago. The appearance amongst us of Ifolbein, Vandyke, Rubens, and Sir Peter Lely must be regarded merely as momentary meteors appearing In our art-sky. With Hogarth only began to burn anything like a steady lamp of art in England; and very recent indeed has been the effort to feed and sustain the flame by any systematic aid.

At this moment a large number of art-schools is at work in all parts of the kingdom, and there is no manufactory of any importance where the artist is not as regularly employed as the artisan, ;

Are we to suppose that no good result has arisen from this remarkable change? This would argue that the present derives no benefit from the past; that the old teaching of experience has died out; that labour leads to fnothing; that men are so wilfully blind to their own

interests, that they will do nothing to cultivate the ground ‘ to which they must look for the harvest,

452

THE BUILDER.

[May 4, 1879

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Even no menely commercial spirit it must be evident that, if we are to hold our own in the markets of the world, we must not neglect that training, without which we cannot hope to compete with the earnest and devoted spirit in which some of the nations of Europe show an enthusiastic determination to excel in the production of all that is beautifully conceived and well wrought out.

In spite of the opinion of some, who are not unworthy of consideration, we will not allow that England is likely to be passed by in the race for pre-eminence in taste, and in the power of embodying beauty and grace in manufacture. We cling to the belief that she will go on conquering, and to conquer, in that battle-field where the enemies to be overcome sre ignorance, and apathy, and sloth; and pray- yo | that Heaven may avert from our beloved country any other kind of war, we conclude in the last words of the Report of 1861,—May peace be preserved, and the Fine Arts flourish.

Mr. Godwin, in moving the adoption of the report, said:—It is now my province to move the adoption of the report. I shall not detain you at any great length, but there are one or two matters referred to in the report to which some further reference may be desirable. I think you will all consider it matter of congratu- lation that the amount subscribed,—recollecting the condition in which the world has been for some time past, through the ambition of rulers and the intrigues of statesmen,—should have reached the sum of nearly 14,0001. The report refers,—and the Council of the Art-Union have reason to be proud of the fact,—to the gradual establishment and opening of art-galleries in the provinces. Year after year, in our reports and at these meetings, reference has been made to the discredit attaching to this country from the fact of the absence of such galleries, while they are present in all the important towns of the Continent. You have heard from the report,—you probably knew before,—that Man- chester, Liverpool, and Nottingham have made or are making at this moment remarkable efforts to establish galleries which will be of the greatest advantage to those towns and their

inhabitants. At Nottingham there will be, I have reason to believe, a loan collection opened within a very short time which will prove a source of the greatest delight and instruction to thousands of people who up to this time have had little opportunity of seeing the finest works of art. Another point referred to in the report is the utilisation to a greater extent than is now the case of our national collections; and I am sure all of you will endorse the desire of the Council that the British Museum, South Ken- sington Museum, and other national establish- ments of the kind, should be made of more use by the presence there of gentlemen able to point out all that is admirable in and capable of being learned from the collections. Above all, I think we should anxiously impress upon those who have the power of providing a remedy that the numerous students who attend at the British Museum and at South Kensington deserve some looking after. There should, I venture to observe, be appointed, and properly paid, artists to aid the students in their studies, which they now carry on under the greatest difficulties, without any assistance or sugges- tions from those capable of aiding them. This is not the moment to urge upon the Government, embroiled as they are, the adoption of this course ; but should we escape war,—as we all heartily hope and pray may be the case, so we escape it with honour,—I do hope the Govern- ment will take more important steps for the promotion of art than they have yet done, for, to tell the truth, to my mind they do very little now, #nd they certainly ought to do a great deal more. Artists want opportunities ; opportuni- ties sometimes make artists. Our public build- ings should, as we have again and again said in our reports, and as I personully have often urged, be artistically decorated, if only to find occupation or to give commissions to the rising artists of the country. If it were my wish to detain you, and you were willing to listen, I

might dwell on what has been done by the Art-

Union in years past, for it seems to me to be

very important that the history of the associa-

tion should at times be referred to, so that those who now support it and are in it should be reminded of how it was established and how it has grown. I will not do this now, important as I consider it to be, but I would remind those who find it necessary at times, not to defend, but to advocate the claims of the Art-Union of London, that, apart from the pleasure which it has given to thousands of persons in every part of the world, it has raised half a million of money which has been spent upon art; it has kept alive the art of line-engraving; it has revived the art of producing bronzes; and it has alone maintained the art of medal die-

achievements, and should be recollected by those who at times have to reply to those who are apt to speak somewhat slightingly of the Art-Union. This used to be the case with some of the leading artists, but [donot think it is so now, because many of those who are now leading artists, if they look back to their early days, will be compelled to remember the help they received through the Art-Union of London, either by the purchase of some one of their pictures, or the gaining of some premium or prize offered by the society, and which incidents were among the first in aiding them to attain their present position. There are many members of the Royal Academy who are never unready to acknowledge this. Of those artists, however, who have been positively saved from ruin the world never hears. A few weeks ago, the death of the chief master of one of the principal art-schools in Ireland reminded me of a striking incident of that kind. He came to me a great many years ago, when artists were not so well paid as they are now, and said, “Your association has saved me from a great sin. None of my pictures were sold; I felt utterly ruined and depressed, and if it had not been that a member of your Council had re- commended to one of your prizeholders the pur- chase of a picture of mine I should certainly have destroyed myself.” He obtained his ap- pointment very shortly after. Many such stories might be told. We have spoken of the past, but I will now betray a confidence, and tell you one or two facts as to the future. When yougo to the Royal Academy exhibition next week you will see a remarkable series of paintings by Mr. Frith, R.A., which may probably be called “The Road to Ruin.” There are some five of them, and I have little doubt that they will form a most attractive feature of the exhibition. The Council of the Art-Union of London have pur- chased the right to engrave those pictures, so that the whole five will one of these days be presented to each subscriber of a guinea. If this is achieved,—it will of course take some years, —if these five remarkable works are given to every subscriber, and a due amount left for prizes out of the annual guinea, I main- tain that it will be one of the most wonderful resulis of co-operation that has ever been seen. We have also some works in preparation on national subjects by Mr. E. M. Ward, R.A., Mr. Cope, R.A., and many others; so I think you will say that the future is as promising as the past has been satisfactory. I move that the report be received and adopted, and ask Mr. Grote, member of the Council, to second it.

Mr. Arthur Grote.—I second the adoption of the report. The motion having been put, was carried nem. con. Mr. Francis Bennoch said:—Our success, as the report has mentioned, depends to a large extent upon the loyalty and exertions of our various agents, but it as largely depends upon the untiring efforts of the honorary secretaries, and therefore I have very great pleasure in moving “That the warmest thanks of this meeting be given to Mr. Lewis Pocock and Mr. Edmund EK. Antrobus, honorary secretaries, for their continued efforts for the prosperity of this society.” Some of us know that from the beginning Mr. Pocock has been one of our most valuable officers. He is one of the only two now remaining who originally founded this society. The efforts and achievements of the Art-Union of London have been so well explained by Mr. Godwin, that I need not say anything on the same subject; but I have one little incident to relate which will be interesting to you, as it shows how far and wide the influence of our Art-Union is known and appreciated—pene- trating, I may almost say, even into the very centre of savagery itself. Afriend of mine, now making surveys in New Zealand, entered the hut or cabin of a Maori chief, and great was his surprise and delight to find adorning the walls of the humble abode our two great engravings of Nelson and Wellington. To find our pictures appreciated by a man of that sort gave my friend a thrill of satisfaction no less than that expe- rienced by myself when I received his letter. This and like results we may largely attribute to the civilising and Christianising influence of the labours of the late Bishop Selwyn, who carried with him not only the doctrines he was bound to teach, but that kindly sympathy which won for him the affection, confidence, and deep regard of even the savage tribes themselves. Sir Walter Stirling. —It gives me great

account of the esteem in which I Personal} hold the gentlemen named in it, but becange a their efforts on behalf of this society, which it is quite clear must entail upon them an enormons amount of labour.

The resolution having being carried Unani, mously,

Mr. Pocock said,—I thank you very heartily both on behalf of myself and for Mr. Antrobyy who is, I am sorry to say, unable to be here to, day. There is one omission in the resolution however, to which I should like to refer, Th name of our friend Mr. Watson, the Secretary ought to have been included in it. Perhaps way will allow me further to propose,—“ That thig meeting offers its best thanks to Mrs, Bateman for kindly granting the use of her theatre for this meeting ; and to Mr. Loveday and Mr. Mather for the arrangements they have made.”

Mr. E. M. Ward, R.A.—I have much pleasure in seconding that.

The Chairman.—I am sure you will aj cordially join in this expression of thanks to Mrs, Bateman for her handsome donation to the Art-Union of London in granting us for this meeting the free use of her theatre,—a theatre which is really hallowed now in the minds of earnest playgoers.

The resolution was carried by acclamation.

On the motion of the Chairman, it was unani. mously resolved,—“ That the thanks of the meeting and a copy of the print be given to Miss Vacher and Miss Peregrine for their kind assistance in drawing the prizes, and to the scrutineers and auditors.”

The drawing for prizes was then proceeded with, Mr. E. M. Ward, R.A., succeeding Mr. Godwin in the chair after a time. We appenda list of the principal prize-holders, amongst whom, as will be seen, there are many colonial and foreign subscribers :—

A Painting, by Edward Duncan,“ The Return of the life Boat,” value 200 guineas.— White, Sam, Norwich.

2001.—Moore, Dr. M., Coventry.

1501.—Hopkins, Mrs., Belmont-street ; Evans, E., Neath.

100/.—Dale, H., Peckham-grove; Eady, Dr., Crawley; M‘Kenzie, A., Wairnka.

75l.—Forbes, J., Dundee; Harding, Jno., Stone ; Snyder, H. F., Williamport ; Laurento, O., Robe; Moody, C,, South Australia ; Moore, W., Pershore.

601.—Chewings, J., Koringa; Christie, W., Walsall; Gaunt, Mrs. W. H., Old Thornville ; Hudson, J., Leeds; Pidgeon, Miss, Reading ; Sewell, J., Buenos Ayres.

501.—C. W. Q., Barcelona; Freeman, W. P., Shaw; Green, Jos., Maidstone; Hammond, A. 0., Greenwich ; Kino, J. C., Fenchurch-street ; Lillywhite, A., Onslow- road, 45l.—De Keyser, P., Blackfriars; Furze, H., Forest hill; Gamboa, F., Jersey; Gibbs, W. C., Oatland ; Houghton, Mrs., a er Jenkins, H. M., Hanover. square; Johnston, T., Kelso; Mecars, Capt., a crescent; M‘Millan, J., Adelaide-road; Murray, . Warwick-lane ; Pilcher, J. D., Gordon-square ; W ood, T., Leeds.

“400. Allen & Son, a Bennett, Dr., one dish-square; Brown, Dr. H., Godalming; C. s Barcelona; Crossman, Mrs., Camden-square ; Earl, J. Ashford; Habershon, W., Bloomsbury-square ; - T. B., Brixton; Kelsey, J., Hackney; Larnoch, J. a Belfast, Victoria; Reid, W., Edinburgh; Taylor, £.,

sall.

W35l.—Botterill, Mrs., Upper Thames-street ; — J. L., South Milford; Fisher, Mrs., Streatham + M. B., Wakefield; Montgomerie, J. R., oe Orris, Mrs., Norwich; Parker, T. T. Lytham ; ge W., Perth, South Australia; Rutter, J. 8., Ric % Saxon, W., Stockwell; kn pin —, Bromley-common; n, R. H. S., St. Columb. gio ; Van Oleaver, J., Clapham ; Gelder, N., Knaresborough Hammond, Mrs., Colchester; Hanam, Dr., em Hawkes, W. C., Cloudesley-square ; Johnson, EB a square; Keenan, J., Bradford ; M‘Donald, 3 Redhill; cargill; Mountain, T., Grimsby ; Pick, T. A., Wem, Pooler, R. F., Brixton; Smith, J., Swaffham, — W. G., Hobart-town; Wolfe, J. W., Upper Montagusmey 251. Barratt, E., Bishop Stortford ew ai sall, Portland; Dennis, F., Nottingham ; Griffin, sien anlee Hall, E., Narracoorte; Harrison, G. 0O., As eed Line; Henderson, J., Stansbury; Hills, B., Pail way Hodgson, J. B., Stockton ; Houghton, — 3, Clearing-house; Howells, P. A., Adelaide; TD.

Oxford-street; Saunders, P., Dundee; Porter, +: Ae ind, Dr. E., Shrewsbury ; Bourne, Le i= I ham; Butler, E. B., Hobart Town ; Cooper, si “Tslington fax; Craig, D., Christchurch; Easton, 5. vs iey Leber Hope J.. Clare, S.A. ; Humphreys, E., Bie Lewitt C, wood, J., Darwen; Lewis, Miss, Port Rewitt; 2 Sutton ae Bor: ate Tl "6 E ‘Montrose; Sar ster; 5a ver, Lr. Wey @ he ; gent, A, Manes; Walker. J., Railway Clearing hows ight, C., Toronto. ; adins: 15 pase dey W. H., Brixton; Berryman, S.. Be B., Bostock, T., Burslem ; Bryce, C., = Pano of Dod- re o aocle Piet ~— 5 Sst ‘Ninian’s, Ashton; aton, . 8., St. 2 : Herne 'We 3, ‘Old Broad-street ; Humps" Bttrick Sevenoaks ; Ison, W., Bexley; aoneigeag W. Ly Lenden, W., Railway Clearing-house ; se "R., Ade Thistle-grove ; Rowe, E., Plymouth; ao Stockdale, B., laide; Snelgrove, A. G., London Hospital; Sv tam, -;

Robe, §.A.; Tidy, H. T., Sittingbourne ;

7 aiding =n J., Melton ; Anchor, Wn Tow Blow, J., Greenwich ; Cameron, 4k. F’ J.. Duncsnnon- Clark, A., Charlotte-street ; ee, N., More- street; Coates, Miss, Greymouth ; Norider

- 35 ny i tonhampton; Cook, W. B., Stirling; ve,

engraving. These of themselves are no slight

pleasure to second that resolution, not only on

Lower Sydenham ; ox, 8. G., Leicester ; C. -

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May 4, 1878.]

THE BUILDER.

453

—

P _. Silchester-road, W.; Ellis, W. J., Mel- ame sa *W., Kennington Park-road; Hall, F. neaene ‘th: Harland, S., Leeds; Holdsworth, J., Sand- Plymorroward M. R., oy Langaard, F., Bilbao ; eat ee c., Smyrna; Mills, J. C., New-street, 8. W. ; = Geo. W., Greymouth ; Palmer, W. T., Clifton How, i ‘y.. Junior Naval and Military Club; Post, vee Cincinnati ; Prescott, Sir George, Clarges-street, | ae W., Angaston ; Turner, C., 77, Park-street, W.; Welburn, —, Veryan. 5

A Bronze Group, “« America,

—Noon, A., Adelaide. renin 7 oy Statuette, “‘ The Warrior,” after the original by A. Thornycroft.—Francis, J., Portmadoc ; Terry, Major W St. Cross, Winchester.

A China Tazza.—Breakey, W., Quebec; Burrell, H., 18, Edith-road, Peckham ; oles, J. F., 2, Beer erent, Strand; Crofton, Mrs., Westbourne-terrace ; Gale, W. F., Caterham ; Elasby, B. B., 18, Gloucester-road, Kew: Harvey, W. F., Chartham ; Heydemann, P., 3, Steele’s- road, Haverstock-hill ; Richards, G., Worthing; Russell, A., Quebec.

A bronze

»” from the original by Mr.

“ Diver” Tazza.—Burne, W. L., Bank_of England it Dines, J. C., 15, Clipstone-street, S.W.; Derby Right Hon. the Earl of, St. James’s-square ; Fother- ill R.. Bedale; Gelder, W., Knaresborou h; Grey, R., Grater.iane; Hale, B., Holly-hill, Hartfiel ; Hopps, J. Ripon; Jimenez, R., Puerto; Maling, Dr., Sunderland ; Mallinson, T., Welshpool; Moules, George, Sutton ; Purvis, T. T., Railway learing-house ; Ridley, J., Union Banks Stack, J., Adelaide; Stiles, W., Wells-street, W. ; Stribling, C., Bury-street, W.C.; Wildman, R., Settle; Wilkinson, Mrs. R. G., Mitcham, 8.A.; Yolland, J. G.,

Barnet.

DECORATIVE ART IN SCOTLAND.*

Axzout the end of the sixteenth century there was born in the city of Aberdeen one who was destined to occupy @ high niche in the temple of art fame, and was known in after years as the Scottish Van Dyke. Jameson’s early train- ing in art was effected on the Continent, and he rapidly acquired great skill and reputation in his native country. When Charles I. visited Scot- land, the Edinburgh Council requested Jame- son’s presence in the capital, for the purpose of painting his Majesty’s portrait. The King and Queen both acquiesced in the proposal, and the result was a great success, and was highly ap- proved of by the royal pair. This eminent artist was chiefly engaged in portrait-painting, although there is evidence in a few of his works that, had there been encouragement in the more decorative spirit, hé would have gladly employed his pencil in its exposition. One of the known works wherein he exhibited this ten- dency is preserved in Taymouth Castle, being a beautiful example of illuminated scroll-work and colour, depicting the genealogical tree of the Glenorchy family ; and another is a composition exhibiting a perspective view of our own city, where he introduces an allegorical figure of Neptune in the foreground. Indeed, Jameson’s artistic success has not been surpassed in the history of art in Scotland. This is a circum- stance which causes a little surprise; not that his works did not merit all the commendation that they received. But when we take into account the state of society, and the absence of everything pertaining to art, we are struck at the appreciation of his abilities and the ample reward accorded him, as is proved by the extent of the fortune he left. From this excellent painter there arose many followers, but it would appear that none of them attained anything like the reputation secured by their master, and, with very few exceptions, failed even to pre- serve their names from oblivion. Nevertheless, however much we may regret the absence of any biographical sketch of those painters, it would not fit our present purpose, nor be of tfuch advantage to us, as there is no evidence of decorative art having been practised at the Period, nor for many yearsafter. And although many names appeared from time to time whose works seem to have met the requirements of the age, it was not until about fifty years after the + a Van Dyke had passed away, that one 7 : ore a name which is specially memorable a an Ramsay, nameson of the cele- gh author of the “ Gentle Shepherd.” He seat of singular talent, and is justly and “mae y spoken of as the restorer of the which : ed from the affectation of manner i _. een introduced by Sir Peter Lely, Shea 4 ernie rip egg os of ladies’ portraits grown to a gre er — is followers, and had the rtd pos agg Ss, more particularly in fens sant € drapery, which, although iuedes be self expressed repose, was repre-

restless and flowing. bony _ now reached an epoch in the art artists 5 our country, in which our native re no longer to have a merely local Lb rot. Thomas Bonnar. From an address entitled

ast of Art in Scotland,” delivered at the inaugural of the Association of Master Painters in Scot nd,

standing, but their fame is to be known and esteemed throughout the world of art. Among the first to achieve this high honour was Alexander Runciman, in whose works we espe-

| cially discern the true spirit of decorative art.

He was born in Edinburgh in the year 1736. Through the enlightened liberality of the baronet of Penicuik, Sir James Clerk, he was enabled to prosecute his studies in Rome. During Runciman’s sojourn in the Eternal City he became deeply imbued with the spirit of art, which breathed upon him from the roofs and walls of the churches and palaces there and in Venice, and he inhaled those inspirations that enabled him on his return to recompense his noble patron by designing and executing in oil, on the ceiling of the drawing-room at Penicuik House, one of the most remarkable productions of decorative art in Great Britain, and to this day it continues unrivalled for splendid pictorial conception and vigorous and expressive treat- ment. The subjects are. taken from Ossian’s poems, and from this circumstance the roow is named Ossian’s Hall. There are several other proofs of Runciman’s decorative skill in the same house. The dome of the staircase, for instance, is an excellent specimen of purely ornamental art, while in the outside porch the ceiling is painted in exquisite bas-reliefs. St. Patrick’s Roman Catholic Chapel, in this city, also possesses an important work, placed over the altar. He also introduced an artistic, and at the same time constructive, system of deco- rative art that so appropriately wrought in with the style of the interior arrangements of the public rooms of that period, the walls of which were invariaBly panelled. With the assistance of many talented decorators whose names have been lost to us, he was largely employed in adorning these apartments with painted panels placed over the doors and mantelpieces, repre- senting landscape views of our country which, I may here suggest, in all probability, formed the basis of that special phase of art, that in our time has arrived at such excellence, and by which our artists have justly gained such high repute. Runciman and his scholars likewise executed fanciful architectural groups in light and shade on panels. Many specimens of these have been brought to light through the action of the City Improvement Trust, the course of whose operations had rendered it necessary to demolish numbers of houses in the old parts of the town. There can be no doubt of the fact that we must look on Runciman as the truly foremost representative of the decorative ele- ment in what had been a very prosaic craft, and the reviver of that desire for the employment of decoration in our homes which has happily- now been accepted and received with public approbation. Runciman had also the distinction conferred on him of being the first native artist officially appointed by the Board of Trustees for the Encouragement of Manufactures, &c., in Scotland, to the position of Master of the Academy for Drawing in 1772. He died in 1785, and was succeeded in this office by the celebrated David Allan, who achieved so many brilliant triumphs in the field of art.

David Allan was born in this city, but received the rudiments of his art-education in Glasgow, in an academy founded by Robert and Andrew Foulis. He subsequently studied in Rome, where, in open competition, he carried away the gold medal of the Academy of Saint Luke for the best historical composition, the subject being the origin of painting. This picture may be seen atthe present time in our National Gallery.

The influence of the school, so successfully presided over by Allan and his predecessor Runciman, ultimately became, in the hands of Sir William Allan, the nucleus from which arose the Royal Scottish Academy. The latter, like his predecessors, raised himself by sheer force of genins, to the exalted position of president of that Academy which he had so ably assisted to establish.

The style introduced by Runciman continued to be greatly patronised throughout the country, and employed the youthful efforts of such men as David Allan, Sir William Allan, Stansfield, Ewbank, Fenwick, Roberts, J. Wilson, Kidd, Cooper, Gibb, Balmar, Nichol, and Bonnar, nearly all of whom began their career in the painting establishments of this city. And not a few of the heads of these painting-shops have become noted for their artistic skill,—such names as Ceulson, the brothers Norrie, Sommer- ville, and Clelland, all of whom were good artists, and were well versed in the technical

knowledge of decorative art. It is assuredly

gratifying to be able to associate such names with our craft,—names that are renowned throughout the length and breadth of the land, and which have gained a position in the very highest rank of the art profession.

However pleasant it may be to contemplate these results, we may, without the risk of being accused of grumbling, ponder for an instant over the questions which they suggest,—or, more correctly speaking, the one question into which they resolve themselves,—namely, what would have been the issue had there been a general demand for the works of the mural decorator. To my mind the answer is clear, and carries no uncertain sound in its ring, and may be con- veyed in these words :—“ Had there been a steady and apparently extending desire for the higher and more artistic forms of decorative art, nearly all these illustrious names would have remained in our ranks, and would have shed the lustre of their presence over our craft, and by their in- valuable direction and aid the mural art of the country might have obtained an eminence equal in dignity and position to that of any country in Europe.”

The consequences of this lack of encourage- ment on the part of the public showed them- selves in many ways, but there was one in par- ticular which had the ’greatest effect in retard- ing the advance of our special art, and, unfortunately, it still, to some extent, prevails,— that is, as soon as an individual connected with our trade imagines that he discerns in himself a capacity for the exposition of what is called the higher sphere of art, he immediately puts aside those things which he affects to look upon as beneath him. I presume we are all of us familiar with instances of that kind. The aspiration may doubtless exhibit commendable ambition, but the capabilities are not always equal to the occasion, and the end is disaster, in place of the anticipated triumph ; for, it is not an external acquirement which may be learned by rote. True artis an innate faculty, and it is not often that nature bestows on the world men with the genius of John Philip, of Aberdeen, or David Scott, of this town, whose names will always be associated from the circumstance of their being the greatest colourists which this century has produced in Britain. And again we have Horatio Macculloch, of Glasgow, who inaugurated his artistic career by employing his pencil on the embellishments of those floating palaces for which the Clyde is celebrated. And although it is a natural and laudable thing for every man to strive for what is high and honourable,. I think there is so much that is meritorious to be gained in the field which we cultivate, that it is quite unnecessary to seek for fresh pastures. No doubt there are difficulties to encounter and obstacles to be thrown down, and prejudices to be overcome, but the re- ward of success would sufficiently repay the effort. And that success would consist in raising decorative art to its proper place, and defining its functions as a pure and legitimate form of “art thought” which would inspire its exponents with an earnest desire to acquire the necessary knowledge of its technicalities, and the skill to employ that knowledge so as to ensure appro- bation, and the courage to face undauntedly that mercenary spirit so powerful in these days, which attempts to change it,—no matter how- ever genuine the nature of the art may be,— into a medium of merely fashionable traffic, enslaved by certain hard and fast precepts pro- mulgated by a few who have arrogated to them- selves that imaginary privilege.

The results of such coercion are invariably fatal, and they pass the way of all things that are dominated by the tyrant fashion. It is very much to be regretted that the tendency of the present day seems to lie in that direction. I can think of nothing better fitted to withstand the wave which threatens to break down, or at least retard the rising art spirit of the country, than the united action of this and similar associations in denouncing and discouraging all that is of a clap-trap and upholstery propensity.

It is a subject for congratulation to find at the present time that the decorative profession, although holding a position which has not hitherto been fully understood, and notwith- standing the arduous studies essential for the attainment of even a humble standing in its ranks,—it is, Irepeat, gratifying to find so many earnest workers in our ranks; and all who will take the trouble to observe closely, can easily perceive that the day is not far distant when the study of decorative art will be considered a

qualification in its possessor which shall com-

we ee Nee eat

454

THE BUILDER.

[May 4, 1878,

mand the respect of the community. It already includes amongst its patrons many of the upper classes, a number of whom are enthusiastic in its praise, and are by their activity in its favour popularising our beautiful art, and inciting that numerous class, who in all matters,—taste included,—join their voice in the cry that has gone forth, obedient to the injunctions of those who, according to their judgment, are qualified to define what is to be regarded as acceptable.

It is with great satisfaction that we mark the advancement of our art, and I have every con- fidence that with the liberal encouragement of the public (when contrasted with the struggles of our brethren forty years ago) which we enjoy, combined with the enlightened system of technical education in vogue, the spread of the principles of art by the machinery of our schools of design, and with the rich and varied examples open to our study in the galleries of South Kensington, and within the walls of our own Industrial Museum, we ought to have every reliance in the future of our art to excel, or at all events to compare favouraby in design and beauty of form, with the productions of other lands, although they have enjoyed for centuries the advantages which are only now being brought within our reach. For it cannot be doubted but that the extension of mural art, in addition to the want of patronage, was greatly retarded by our domestic proclivities making us slow to comprehend or accept decorative art in its higher development. This might have been otherwise had our manners and customs been similar to those of France and Germany, where for a long period art has been generously patronised, even in the smallest towns, which possess in abundance theatres, concert-halls, cafés, &c., the most important of the former being generally supported by the Government. As a rule, these places are decorated with con- siderable artistic effect ; the question of expense is evidently a matter of secondary import, the main object being a desire to make them attractive and agreeable places of entertain- ment. It is beyond question that they serve, although it may be unconsciously, to educate public taste, by making it familiar with objects of beauty and refinement. And not only is this end realised, but this class of work has also the merit of furnishing employment to a large number of decorators ; and for this cause alone the encouragement extended by Go- vernment may be looked upon from an art point of view as of great public and national advantage.

That the employment of mural decoration as a medium for the embellishment of our churches and public buildings, as well as our private man- sions, should only be, and is best inculcated by, a gradual but appreciative process, is too appa- rent a fact to admit of enlarging upon. It should have that facile power of beauty which willenable it to create an atmosphere of art that will imperceptibly blend itself with the national esthetic tastes, and that so firmly that it will ultimately become an essential mode of the art and expression of the every-day life of the community.

But let us not 'assume, as some people would have us to believe, that this happy accomplish- ment of our wishes is ready to spring into exist- ence all at once, although it is undoubted that the germs of art have been widely sown, and have now become deeply rooted in our midst. They require but the warmth of patronage for their growth and enduring development. And on us, an association of decorators, lies the onus, nay, the imperative duty, to guide, cherish, and protect, in every manner possible, this object of our solicitude, to beware that it sinks not into a mere soulless mass of reproductions devoid of life or meaning. Let steady, earnest study be our motto; and let us always endeavour to engraft on our works the stamp of individuality, which is the prominent feature of true art; for on our success or failure in this depends the decision whether we shall be accepted or rejected for the position we so ardently aspire to occupy as the exponents of the expressiveness of the decorative art of Scotland. We must not be discouraged if immediate success does not reward our efforts, but should rather be animated by an increasing desire to master that subtle quality of beauty which so materially assists us in promoting, as far as in us lies, —individually and collectively,—the refine. ment and elevation of that high idealistic state of society, by and for which we live and

WATER-GATE, YORK-STAIRS.

Sir,—A correspondent, in your last number, has called attention again to the discreditable condition in which for so long a time this beautiful work of Inigo Jones has been allowed to remain. I conclude that it is likely to remain as it is until it is thoroughly agreed that the right position for it has been found; and I am afraid that the suggestion of your correspondent will not advance the matter. But I venture to think that the favourable moment has at last come for raising it from its half-buried con- dition, and placing it—not far from its original site—in a position most suitable with regard to its history, where it will be well placed for the display of its own beauty, and where it must contribute to the effect of the objects with which it will be associated. There is but one spot that fully meets all these requirements. It is imme- diately opposite the steps on the Embankment upon which Cleopatra’s Needle is about to be @aised. Thus York-gate (as I think it should be called) would again be at the head of York Stairs; but instead of being an outlet in an embattled wall, as in the time of Charles II., when the Duke of Buckingham used to pass through it to his barge, it will serve to break the monotony of a long line of iron railing, and form a picturesque entrance to the garden. The object, however, it would most serve in placing it here, is the balance and contrast it would afford to the obelisk. This would again throw its shadow upon a gateway; and one of the many associations from which it has been torn would be restored toit. Perhaps the two objects would combine with the best effect from the river; but to those passing along the Embank- ment, where there are at present not too many objects of interest to attract attention, the graceful old gateway, embedded in foliage on the one hand, and the mysterious Needle, with its attendant sphinxes looking calmly into the water, on the other, will together give an im- pression which few even of Cook’s tourists may have retained from anything they have seen abroad. A. P.

THE COLD STORAGE WHARF.

THE extensive premises under the Cannon- street Station of the South-Eastern Railway, reaching from Thames-street down to the river, and which were formerly occupied by Messrs. Macfarlane, founders, have been recently taken on lease by the Cold Storage Wharf (Limited), and converted, at considerable outlay, into a market-hall, refrigerating storage, and general and bonded vaults.

The situation is very central, being in the heart of the City, and it possesses four landing stages at the riverside, with ample cartage way. The storage capacity is nearly 500,000 cubic feet, and the area 27,000 square feet. The refrigerating chambers are capable of holding more than a week’s supply of meat for the whole metropolis ; and, besides meat, it is pur- posed to store poultry, fish, fruit, and other perishable foods, one-third of the building being fitted up for this branch of business.

The perfect development of the foreign meat trade has been greatly retarded, and the profits considerably reduced below a remunerative point, from want of proper storage, where con- signments could be kept in good condition for the markets; but it is hoped that the principle adopted and jast now put into operation by this company will meet that requirement. Although the system of cold storage is by no means an experiment, having been in use in America for some time, it has involved long and careful deliberation as to the best means of applying and establishing a system suitable to the build- ing of a capacity sufficient to meet the require- ments of the metropolis.

On considering the matter of food supply in the light of the fact that during 1877, 104,371,394 lb. of fresh meat, valued 2,046,6701.,. were imported into this country from America, and 200,420 cases from Australia, the import- ance of any urdertaking for securing the delivery of the meat fresh and good to the consumer will become more than ever manifest, and should such a result be successfully and permanently obtained, the prices will of necessity fall much below what are now necessarily charged.

The following is a description of the scheme, which has been designed by Mr. Archibald D. Dawnay, C.E., and Mr. E. A. Griining, architect,

work.

and carried out under their direction by Mr.

Garrud, builder, and Messrs. Russell & Co engineers, Hatcham. ”

Four of the arches,—5, 6, 7, and 8 on plan — are entirely isolated and made airtight ; the entrance to them is from a passage also shut off at each end, so as to limit the quantity of air admitted at the opening of any chamber, Tho doors are of double thickness, in double-rebated and grooved frames, lined with rubber stops and fastened with heavy iron self-tightening latches. A double glazed opening shows 4 thermometer and hygrometer hung inside, 4 vacuum gauge is also inserted with an insidg funnel, as a precaution should accident arise to any of the valves, and stop the passage of air The interior of the ground floor of each chamber is fitted up with hooks and bars, upon which to hang quarters of meat; the upper floor ig also prepared for storing baskets and crates of perishable foods.

An arch contiguous to No. 8, termed the “ coil-chamber,” is fitted up with four coils of 6 in. by +4 in. cast-iron pipes connected with bonnet bends, and strapped to a gridiron of rolled joists at varying heights from the floor, These pipes are laid to a transverse fall of 1 foot, and to an alternate rise and fall longi. tudinally of 1 in., and graduated so that any condensation of moisture in the air in its pas. sage through the pipes may run to the lowest end, and thence into a cast-iron syphon pot which is attached to each coil; these pots are luted with water to prevent air being drawn. The lower end of each coil is fitted with a funnel, and passed through the chamber wall, and bolted to an iron receiver of sufficient size for four inlets. The receiver is prepared for holding charcoal trays and chemically saturated wool so as to purify the air when necessary before passing into the coils.

Under the coils a grid is fixed for supporting the ice, which is laid in sufficient quantities to cool the entire pipe surface; arrangements are also made by means of tanks, so that the coils can be wholly immersed in a friezing mixture other than ice. The upper end of each coil is con. veyed to the corresponding cooling chambers, into which it projects with a funnel.

Outside of the chambers, and running parallel with them, is laid a 9-in. exhaust main, to which is connected a draw-off pipe from each chamber, having at its extreme end a funnel projecting above the floor.

At one end of the main a Waller and Beale’s exhauster is fixed, capable of drawing 15,000 cubic feet of air per hour, and which is driven by a horizontal 10-horse high-pressure engine. The boiler is an ordinary short ‘ Cornish,” fitted with a steam injector and other usual appliances. A series of valves are placed in various situa- tions along the pipes and coils, so that one or more chambers may be worked together of singly; or two coils may be worked into any one chamber if greater cold is requisite.

The coil-chamber being filled with ice, or the tanks with mixture, it is closed up, and the valves for the chamber to be worked being opened, and the exhauster set in motion, 4 partial vacuum is first produced, and then the air is admitted into the receiver, and passes through the coil and ascending pipe into ” upper and thence into the lower floors of the cooling-chamber, and is drawn out by the pipe attached to the exhaust main.

A pipe velocity of 3 ft. per second, and ¢ . to a discharge of 3,000 cubic feet per hour, w! reduce the temperature of a chamber to 38 “a few hours, or, otherwise, in proportion to : 8 cubical capacity and the temperature of chamber at the time of closing, and also to the temperature of the food stored. oe

The machinery is kept at work day and night. Each coil contains about 300 ft. of pipe. | number of trials have been made under varying circumstances, all of which have substantiate the hypothesis of the engimeer. — ‘4

In addition to the storage this company ? inaugurating its own service of home = foreign refrigerating rail cars and vessels : cars are now being designed by Mr. Deeee and they will ir all probability be built by ® English wagon company.

qual

Duston.—One of the windows in the chancel

of Duston Church has just — ited . ry of the ? stained glass to the memory of Dallington

Henry Billington Whitworth, n Hall... The window represents the roenpanees 0 our Blessed Lord and Saviour, and was execu

by Messrs. Heaton, Butler, & Bayne.

|

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455

——<——=

SECTION

May 4, 1878. ]

THE COLD STORAGE WHARF,

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SECTION AB STREET, LONDON.——Mr. ArcHiBsatp D. Dawnay, CE. anp Mr. E. A. Grunine, ARCHITECT. aAae&neGeaektinnune eeu een6@ S628 4122499 AES eS sHiyss

456

THE BUILDER.

[May 4, 1878.

—=— THE WELLINGTON MONUMENT.

Ir is with feelings of deep regret—we may say with a sort of despair—that we turn away from the contemplation of the Wellington memorial now that it is at last opened to public view. Every one who knew anything about the work and its author knew that in it, so far as the sculptured figures at least are concerned, we had at last one great work in modern English memorial sculpture. This is literally thrown away. One, of course, knew very well that the recess called the Consistory Court in St. Paul’s Cathedral could not possibly be a good position for a work of sueh dimensions as this; but only the inspection of it now that the whole (except the terminal figure) is erected and the scaffolds and screens removed, could give any idea of the enormity of the mistake that has been made. There is absolutely no place from which to see the figures which are artistically the chief glory of the design. From the ends and from the south side, whence the light is thrown on them, it is only possible to see them absurdly fore- shortened, and the south view of the figures in any case is not the principal one; they front the other way. From the north side, no doubt, we can get a more distant view of them, but how? As silhouettes against the light of the aisle window! It is inconceivable that anything so stupid could have been done as deliberately to build up a great and costly monument in such a place, without (apparently) once reflecting that sculpture cannot possibly be seen when between the eye and the light. It is the last and most deplorable instance of the inevitable fate which seems to await all effort at anything great in sculptural and monumental art in this country. Here is a work to which a gifted man gave the best years of his life, into which he put all that was best in him, and it is placed where all his genius and all his labour are thrown away. But for having seen “‘ Valour and Cowardice ” in the octagon hall of the Royal Academy, we should not have had an idea what grand qualities there are in it; as it is we see the sele of the foot of “Cowardice,” and the cheek and chin of “ Valour,” and voila tout! What there may be to admire in the other group we can hardly say, for it is impossible to see it.

The architectural pedestal presents more room for criticism than we had anticipated. The general idea is admirable; but the details are of doubtful excellence (sculptors’ architectural detail, we must say, very rarely is good). The twisted bits of rope (apparently) which separate the panels in the bronze dado, have a bad appearance, and seem quite unmeaning; the cherub’s heads in the frieze have a rather un- happy look, as if squeezed between architrave and cornice; and the ornament of foliage, &c., on the upper moulding of the sur-base of the podium, though very beautiful and delicate work in itself, seems out of place, giving a broken and ragged line where continuity and strength are specially required. The capitals of the columns are beautiful, however, in design and workmanship ; and there are novelty and good effect in the diaper over the surface of the columns.

No defects of detail of this kind, however, would affect the power and force of the principal sculptural groups, which are thus condemned to be lost to all real appreciation. The position is simply deplorable, and the fact ought at once to be faced that a hopeless mistake has been made, that a great work has been hidden “under a bushel,” and that the only course is to take the whole down with due care and erect it where justice can be done to it.

In regard to the terminal figure, at present:

forbidden, we may add that we entirely coincide with those who think that the monument is truncated and incomplete in tout ensemble with- out it. The idea of placing the Kving figure of the Duke over the recumbent effigy was not quite happy, perhaps; an allegorical figure of Fame, or War, or something of that nature, would have been better; but Stevens’s model of the figure is complete, and it will be better to take it as it is than invent another of a different idea; indeed, any other course would be wrong. But, in the first place, the monument must be moved from its present position ; until that is done, it is nonsense to discuss the ques- tion of {adding the equestrian statue, as that would only be to throw away another fine piece of sculpture. '

REPORT OF THE COUNCIL. ROYAL INSTITUTE OF BRITISH ARCHITECTS.

THE report which will be read at the annual general meeting on the 6th of May will include the following paragraphs :—“ An increase of business has been happily supplemented by an increase in the number of members. The Council have, however, to announce with regret the resignation of nine Fellows and four Associates. Death has also carried off eleven professional members. At the same time the increase in the number of Fellows does not afford an equal augmentation in the number of members, for eleven of the new Fellows have come from the class of Associates. Neverthe- less, the annual number of professional members is 638, made up of 3827 Fellows and 311 Associates. Of these 638 there are about 215 who are non-metropolitan members ;* and it may be useful to compare that number with the figures of former years. In 1876 there were about 606 members of both classes, and of them more than 200 were non-metropolitan ; in 1874 there were about 576 members of both classes, and of them more than 180 were non-metropolitan. Since the reorganisation of the Institute, fifty- four gentlemen have been elected Fellows or Associates, and, of these, eighteen are non- metropolitan, making exactly one-third,—which is about the same proportion as that existing before the equalisation of the annual subscrip- tions. Since the issue of the last report, twenty- five Fellows, twenty-four Associates, and seventy-two Honorary Associates have been elected, making a total (exclusive of Hon. Fellows, Hon. Members, and Foreign Corre- spondents) of 710 subscribing members, against 628 in October, 1877, and about 606 in 1876.”

“The Council turn with confidence to their financial statement. On previous occasions it has been often agreeable for them to observe that the amount received in subscriptions for the twelve months under examination has exceeded the estimate published at the be- ginning of that year; it has been sometimes necessary to report an excess of actual dis- bursements over the sum provided in that estimate. Thus, in 1876, while the actual expenses exceeded by 1801. the sum estimated, the amount received in subscriptions exceeded by 601. the sum named in the estimate for that year. Though the total disbursements of 1877, estimated at 1,9341., have been exceeded to the amount of 601. 18s. 8d., the excess is more than explained by the honorarium for special services in 1876-77 voted to the last secretary, and the special outlay for fittings and furniture incurred for the Architectural Examination. The Council are glad also to state that the actual revenue from subscriptions at the close of 1877 has exceeded by 1871. 15s. the estimate made twelve months before.”

“Tt will be in the recollection of members that a clause in the Charing Cross and Victoria Embankment Approach Act involved the Council in official and friendly intercourse with the Metropolitan Board of Works, thus :—‘ That the architectural elevations of all buildings to be erected under this Act, fronting the new ap- proach to the Thames Embankment or fronting any street to be made under this Act, shall be submitted by the Board to the consideration of the Council of the Royal Institute of British Architects previously to the commencement of any such buildings.” The Council, therefore, in compliance with the clause, examined the several designs which have been submitted to them ; have expressed an opinion thereon; and have suggested alterations. Furthermore, a deputa- tion from them has attended a committee of the Metropolitan Board for the purpose of dis- cussing questions with reference to the new avenue. The deputation was received with the utmost courtesy, and the Council have been im- pressed with the conviction that their opinion upon the elevations of buildings to be erected in Northumberland-avenue has already received and will receive due attention from the Metro- politan Board.

Another matter connected with that Board has lately interested the Council. On receipt of the Bill which had been introduced into Par- liament for the amendment of the Metropolis Management and Building Acts, the Council, having carefully considered the provisions of

* “Ttis difficult to draw the line rigidly between the town members and those residing at a Listance. For in- stance, a member at Croydon or Reigate is called a town member. Members having offices both in London and the provinces are counted as town members.”

the Bill, felt it their duty to re Metropolitan Board Pree chiedinns a. the that was proposed. These reprosentatnn adopted after a few verbal amendments } ae, Council, were submitted to the Metro Ang Board, and an examination of the Bil ™ amended by the Select Committee of the Hi Ma of Commons, leaves no doubt but that —_ tically some of the most prominent modifen tions desired by that Council have been en, ref The valid objection to that clause in the onie Jed. Bill by which the Board could from tien time make, alter, vary, and amend such b 4 laws as they might deem expedient, has — limited by the insertion of a proviso that ( ; the amended Bill, clause 15) ‘A bye-law we under this section* shall not, nor shall nan alteration therein or repeal thereof, be confirmed by the principal Secretaries of State until the expiration of two months after a copy of the bye-law, together with notice of the intention to apply for confirmation of the same, has been published by the Board once at least in each of two consecutive weeks in two or more news. papers circulating in the metropolis, and copies = —_ _—— ug Sy have been delivered at the office of the Royal Institut iti Architects,’ &c. oa

The conditions originally proposed with refer. ence to the deposit of plans have been consider. ably modified, and now affect only public buildings and other structures to which the rules of the Building Act do not apply.

The somewhat arbitrary powers which by the original Bill it was proposed to confer on the Board, enabling them to pull down any building begun to be erected contrary to the provisions of the Act or the bye-laws made thereunder, have been lessened by the introduction of a paragraph giving power of appeal before a Justice of the Peace, by whom alone an order in writing authorising the Board so to act can be made.

Another clausé of the original Bill which gave power to the Board to sell the land as well as the materials, in cases where the materials of a dangerous structure were not of sufficient value to pay expenses, has been modified, in the Amended Bill, to the effect that, ‘no part of the land whereon such structure stands or stood shall be built upon until the balance due to the Board is paid.’ These results encourage the Council to hope that, in future, intended legis. lation with reference to buildings in the metro- polis will not be initiated without matters of technical import being early brought under their consideration.

The suggested Bill to prevent the acceptance of illicit commissions has also engaged the attention of the Council. While anxious that right be done, they have not swerved from the position maintained by the President in the correspondence which took place in 1876-77 in the public journals. The rules of the Institute and the obligations accepted by every member, not to mention the recognised code of honour among gentlemen, afford a guarantee against the malpractices of men who call themselves architects without valid title to an honourable name. Nevertheless, in spite of that conviction, the Council are prepared to co-operate with the Legislature in order to prevent and exterminate what critics have justly termed ‘fraud by fiduciary agents.’”

BUILDING AT TOTTENHAM.

At the last meeting of the Tottenham Local Board, Sir Charles Reed called the uttention . the Board to the new houses now in course 0° erection in Seven Sisters-road, which = being run up with great rapidity during the wet weather,‘and the floors of which were & rd few inches above the level of the ground. . De Page, in reply, said that the houses = built on abed of concrete, and that — 12 in. between this bed of concrete am fans flooring, but that it would certainly have - desirable to have had the floors raised . sl inches higher. Mr. Stacey, & ne So Board, fully endorsed the remarks of Sir Gat!

ing built, Reed as to the new houses now being adding that those members of the Board walked about the parish were perfectly on to see the manner in which the ini ae laid down and the materials made “e* o only in the neighbourhood of Seven

road, but of Page-green, the Crescent, and other parts of the parish.

* Affecting sites and foundations.

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THE BUILDER.

{May 4, 1878,

ed

KRAMER’S HOTEL, MALMO, SWEDEN.

Tuts building is an important factor in the imposing aspect presented by the Stortorget, at Malm, which vies in the estimation of travellers with the most fashionable resorts of great cities. This hotel, the work of the architect Rasmussen, . with its facade embellished with turrets, form- ing by itself a whole quarter on the northern side of Stortorget, is so organised as to satisfy all the requirements of the present age. It contains 100 bedrooms, besides dining-rooms, with all their appurtenances. A festival-hall will be erected in the northern wing of the hotel, with an entrance from Adelgatan. The building includes a number of good shops.

ST. WOLFGANG’S CHURCH, ROTHENBURG, BAVARIA.

Tue church of St. Wolfgang, in Rothenburg, the subject of our illustration, is a very inte- resting example of the clever way in which Medizval architects overcame the difficulties offered by the site or situation of their build- ings. Few modern architects would have ventured upon the erection of a church in such & position as that occupied by the one we are about to describe.

The Church of St. Wolfgang consists of a nave, which is in plan nearly a perfect square, and a long narrow chancel terminating in a shallow apse. There is a small fléche on the roof near the west end, and three vaulted

recesses opening into the nave on the south side. The peculiarities of the site necessitated this treatment of plan. The nave had to be crowded in between the city wall on the north side and a street on the south, whereas its termination westward was determined by the city-gate. The spaces formed by the embrasures between the internal buttresses of the city- walls gave the space for the vaulted recesses to which we have previously referred. Thus a serviceable and very practicable nave was erected, but then came the difficulty how to fit a chancel on to this nave; for as the street, which bounded the church on the south, turned off rapidly in a northern direction at the east end of the nave, it was evident that the chancel could not extend so far south as the nave, and must thus be narrower than the nave. If, however, the chancel-arch were placed in the centre of-the east end of the nave the chancel, would be painfully narrow and quite unsuited to the dignity and importance required for such a building by the ceremonial of the Roman Catholic Church. If, on the other hand, the north wall of the chancel were to continue in a line with that of the nave and the south wall of the chancel kept within that of the nave, it is obvious that the chancel would be “all on one side.’ As, however, the Medizval architects were eminently practical men, it was decided to sacrifice symmetry to convenience, and a glance at our illustration will show how cleverly the difficulty of arranging this lop-sided plan has been overcome. By placing the chancel in its present position, another advantage was also to be derived, for its eastern termination was able

to be continued as far as a semicircular bastion which was built into, and thus form the apse. A considerable difficulty presented itself to the builders in the lighting of this church. No light could be gained at the west end because it abutted against the city gate. The whole of the north side was against the city wall, and the eastern apse was formed in the bastion of the wall; so the only quarter from which light could be obtained was the south. The beautiful effect of the light in this church suggests to us that, where practicable, it might be well to have windows only on one side of a church. The treatment of the vaulting is very remarkable, 3 not only the cross-ribs, but also the diagonals, are treated as arches, which do not follow the same curve as the soffit of the vaulting. Like many other churches in this part of Germany, St. Wolfgang’s retains its ancient altars and reredoses. The latter are beautiful examples of German carved woodwork of the fifteenth cen- tury, richly painted and gilt, but now in 46a

state of mutilation. ; '

There is a small sacristy arranged in one 0 the embrasures on the north side of the chancel. Over the little door which leads into it from the church is some decarative painting, consisting of inscribed scrolls interwoven with the leaves d branches of the thistle. a this interesting church has been closed for

it is i f neglect and many years, it is Ina sad state of eae decay, but we would rather see it = <n oot

tion than subjected to such an U inartistic restoration as that which has been recently carried out at the noble ch

St. James, in the same town.

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May 4, 1878. ]

May 4, 1878. ]

——

ENGLISH HOUSES AT THE PARIS EXHIBITION.

Tur following is an official account of what has been done in this direction :—

“The total length of the English space fronting the central avenue being upwards o 540 ft., it was deemed advisable to sub-divide the fagade into five portions, and to separate each of these from one another by gardens. By this means it has been possible to give to each of the five houses a distinctive character,

and to relieve the monotony of a long, un-|4

broken frontage. The first house, on entering the central avenue from the grand vestibule, has been erected by Mr. W. H. Lascelles, of 121, Bunhill-row, from the design of Mr. R. Norman Shaw, R.A. It is in the Queen Anne style of architecture, and is constructed of a patented imitation of red brickwork, the inven- tion of the exhibitor, Mr. Lascelles, faced with thin slabs of Portland cement concrete, with smaller slabs of red concrete, the size of bricks ; these slabs are screwed on to a timber frame- work. The furniture and decorations of this house have been supplied by Messrs. Jackson & Graham, of 37, Oxford-street; the wall-papers by Messrs. Jeffrey & Co., Essex-road, Islington ; and the whole has been offered by these firms to his Royal Highness the President for the use of the Commission. The second house, the pavilion of his Royal Highness the Prince of Wales, has been erected by the Royal Com- missioners from the designs of their architect, Mr. Gilbert R. Redgrave, for the President of the Royal Commission. This house is in the Elizabethan style, and has been constructed of rubble stonework, faced with coloured plaster in imitation of red brickwork, with Bath stone dressings. The entrance-gates of this pavilion and the garden-gates, as also the railings on either side of it, have been supplied by Messrs. Barnard, Bishop, & Barnard, of Norwich. The interior fittings and decorations, together with the furniture, have been supplied by Messrs. Gillow & Co., with whom are associated some English exhibitors, whose offers to con- tribute a part of their exhibition have been accepted. The whole of the designs for the in- terior of the house have been prepared by Messrs. Gillow & Co., 176, Oxford-street, from drawings by their artists, Messrs. Henry and Hay. The third house, being a fagade of red brick and terra-cotta, manufactured by Messrs. Doulton & Co., of Lambeth, and exhibited by them, is the design of Messrs. Tarring & Wilkinson ; the fur- niture and decorations have been executed by Messrs. Shoolbred & Co., of Tottenham-court- road, and placed by them at the disposal of his Royal Highness the president. The fourth house of the series, erected by Messrs. William Cubitt & Co., of 258, Gray’s-inn-road, from the designs of Mr. Gilbert Redgrave, the architect of the Royal Commission, and offered by them to the Prince of Wales for the use of the Commission, has been placed at the disposal of the Dominion of Canada. The house is built of pitch-pine framework, enriched with carving, and filled in with plaster-panels—a style of construction known as half-timbered work, and very much employed in England from the fifteenth to the seventeenth century. The entrance-gates, in wrought iron-work, which enclose the garden between this house and the end one, have been made by Messrs. William Cubitt & Co. for Lord Crewe’s park from the design of Mr. E. Barry, R.A. The furniture of this house has been pro- vided by Canadian manufacturers ; the carpets are supplied as part of their exhibition by Messrs. John Brinton, of Kidderminster; and wall-papers by Messrs. Jeffrey & Co., Essex- road, Islington. The fifth house, erected by Messrs. Collinson & Lock, of Fleet-street, was designed by Mr. T. E. Colcutt. It is in the style of an English country-house of the reign of King William III. The framework is of timber. The furniture and internal decorations of this house are manufactured and exhibited by Messrs. Col- linson & Lock.”

Interesting as most of these buildings are from their designers’ point of view, it is to be regretted that they do not include any attempt at the highest sort of work.

New Bridge in Paris.—A new iron foot- bridge over the Seine, erected with the object of connecting the quarter of Passy with that of Javal, was opened on the 14th ult. M. Barté

was the engineer who had charge of the works,

THE BUILDER.

FACTORY CHIMNEY CONSTRUCTION.*

REFERENCE to the various authorities who have written upon chimney construction will show that there is a wide difference of opinion as to the proper dimensions for chimneys. Mr.

f| Robert Armstrong, in the appendix to his

“ Chimneys, Furnaces, and Fireplaces,” says,—

‘Tt may be set down as an axiom that a steam-engine chimney cannot be too large, if only provided with adamper, although ninety-nine in one hundred at the present time fised) are decidedly too small, They are unable to create a sufficient draught of air through the furnace, conse- uently, a smoky flame is produced, instead of a flame with little or no smoke.”

On the other hand, Mr. Peter Carmichael, in a paper on “Factory Chimneys,” read before the Institution of Engineers in Scotland in 1865, says his experience is that—

“* Most factory chimneys are too van for the work they have to do,—not too high (they can hardly be that), but too wide, especially at the top. In our [Messrs, Baxter Brothers, flax-mills, Dundee] practice, invariably as more boilers and furnaces have been added to a chimney, the draught has been improved; and it is obvious that if the opening in the chimney be too large compared with the whole of the openings in the dampers passing into it, the draught will be reduced. Hence it is very noticeable in many chimneys, which are large in proportion to the number of furnaces they serve or the coals consumed, or where a new chimney is put up to serve for prospective additional furnaces, the smoke issuing from such has a very lazy ascent, and they are generally blackened a long way down from the top by the smoke, for when a breeze is ——- the smoke, instead of ascending, falls down the leeward side of the chimney, and clings to it like a ragged black flag.’

Mr. Robert Wilson, in his “ Boiler and Factory Chimneys,” published in 1877, also cautions us against too large a flue. He says,—

“*Tt is usually considered that the larger the area of the chimney the better the draught ; but this is not always the case with lofty chimneys, where the gases can cool down too rapidly in a chimney of large section, and it has been found in several instances that when chimneys are very large for the number of boilers they serve, or for the quantity of coals burnt, as when a oe is built to serve for future additions to the boiler-power, the draught is improved by the better maintenance of temperature as additional boilers are set to work. When the area of the chimney is much larger than the aggregate area of the flues debouching upon it, the diminution of friction and the expansion of the hot gases into a large area are favourable for the improvement of the draught. But the velocity of the ascent of the heated gases may be very much diminished, and in extreme cases where the ascending current does not fill the chimney, so to speak, downward currents of air will be produced, especially with the wind in certain directions, to the im- pairment of the draught.”

Temperature of Escaping Gases.—Mr. Peter Carmichael recorded observations made from time to time for several years on the tem- perature of the escaping products of combus- tion in the flues and at the bottom of the chimneys, and also took notes of the force of the draught, both of which are important elements in considering the value of a chimney for doing its work properly, and he gives the results as follow :—

‘* The temperature is obtained by using small strips of the following metals,—zinc, which melts at 700°; toa 600° ; bismuth, 500°; and tin, 440°. Small bits of each of these, about lin. long and 3 in. broad, are pierced with a hole, for passing a wire through, and suspended in the flues behind the damper, or at the bottom of the chimney, and the time noted when they are melted. From these observa- tions, frequently repeated, and tried under various circum- stances, it has been found that the temperature is nearly uniform at 600° behind the dampers: 400° melts at once, 500° generally in less than a minute, 600° melts when the fires are in good condition, and 700° does not melt. So unvarying are these results under different circumstances, that I assume 600° at the bottom of our chimneys as a standard of temperature of escaping products,”

Foundations.— The. Edinburgh Gasworks chimney exerts a pressure on the foundations of 8 tons 2 cwt. per square foot. If a good natural bottom is not to be obtained, an artificial founda- tion must be made, either by concreting or driving piles. The former is generally sufficient. At the spot upon which the structure is to be raised the different strata immediately beneath the surface must be examined by boring until some definite stratum be reached. By a re- ference to the depth of this bed some idea of the extent of excavation is arrived at. In all cases the foundation must be equally re- sistant, that is, all parts of it must be capable of bearing the same amount of pressure. If this be not attended to, unequal settlement is sure to result. In all cases the “made earth” must be removed. If the stratum immediately beneath be of clay, gravel, chalk, or other firm bed, and is found to be sufficiently thick for a solid bearing, the excavation may be finished and the foundation laid in. In the neighbour- hood of London the substratum is generally “made earth,” beneath which, at variable depths, not often exceeding 12 ft., a good bottom is usually met with, when, to save brickwork, con- crete may be thrown in until only encugh depth:

* From a Pee by Mr. R. M. Bancroft, C.E., recently Civil and Mechanical Engineers’ Society.

read before

461

is left from the surface to cover the footings of the chimney. A good example of the value of concrete is afforded by a chimney that was built by Mr. Clegg at Fulham, in 1829. The foundation was a quicksand. After the excava- tion was got out to a depth of 15 ft., an iron rod sank, with little more than its own weight, 15 ft. more ; it was, in fact, as bad a foundation as could possibly occur.

The Townsend Chimney, Port Dundas, Glasgow. —The total height of this chimney from founda- tion to top of coping is 468 ft., and from ground level to summit 454 ft. The history of its con- struction, and of its threatened failure when nearly completed, is fraught with much interest. The chimney was designed and built by Mr. Robert Corbett, for Mr. Joseph Townsend, Crawford-street Chemical Works, Port Dundas. No piles were used in the foundation, which is on “blue till” or clay, which is as solid and compact as rock. The foundation consists of thirty courses of brick on edge, the lowest course being 50 ft., and the topmost course 32 ft. diameter. The foundation was commenced on July 30, 1857, and finished on August 20 of the same year. The erection of the shaft was con- tinued until November 11, 1857 (excepting from September 3 to October 5, during which period operations were suspended). This closed the first season. The second season commenced on June 10, 1858, and closed on October 16 in the same year, the stalk at the latter date being 228 fi. in height. The third and last season commenced on June 3, 1859, and the coping was laid on October 6 of the same year ; but the work was suspended from September 15 to October 5, in consequence of the chimney swaying. During this interval it was restored by twelve cuttings with saws on the opposite side of the inclination, as detailed hereafter. The inside lining or cone is of 9-in. fire-brick, and about 60 ft. in height, built distinct from the chimney proper, with air-space between, and covered on top to prevent dust from falling in, but built with open work in the four upper courses, so as to allow of air passing into the chimney. The size of the bricks used in the construction of the chimney was 10 in. by 4 in. by 34 in.; and the number consumed was as follows :—

Common bricks in chimney ................+6 1,142,532 Composition and firebricks in cone......... 157,468 Total ...... 1,300,000

The bricklayers’ time was:—In 1857, 316 days of ten hours each; in 1858, 431} days of ten hours each; and in 1859, 4234 days of ten hours each, giving a total of 1,171 days’ time occupied in building the chimney, which gives on an average 1,110 bricks built per day of ten hours by each bricklayer. . Besides the above number of bricks used in the chimney, there were also 100,000 used in constructing flues, &c. The total number of bricks laid in chimney and flues was 1,400,000, the weight of which, at five tons per thousand, is 7,000 tons. The cope is of vitrified till, purpose-made, about 9 in. wide by 3 in. thick, flanged over the wall of the chimney, and jointed with Portland cement. The top of the chimney was struck by lightning some time since, which displaced and threw to the ground some pieces of coping, and upon inspection only one of the flanges was found to be broken. Iron hoops were built in at a distance from the surface of 9 in. at the bottom, and 44 in. at the top, and at intervals of 25 ft. inheight. The thickness of the wall of the chimney varies as follows, commencing, of course, at the ground level :—

1st section, 30 ft. in height, 5ft. 7 in, thick. 2nd ” 39 2 ot 8rd ,, 10, 4th ” 2»

Pe

6th ,, 7th ,, Sth ,, %h ,, 10th ,,

33 2

Total 454 ft. from ground line,

The height originally contemplated for the chimney was 450 ft.; but when about 350 ft. up it was proposed to add about 35 ft. to the original height, making the total height 485 ft. : hence the increased height of the tenth and eleventh seciigns. But on the completion of the eleventh section this idea was abandoned, and therefore only 20 ft. of the last thickness were added. The chimney was not built by contract, but by day wages, as Mr. Townsend

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SHESSssssss

was not quite certain to what height he would

462

THE BUILDER.

[ May 4, 1878, ———

————EE —— carry it, or what deviation might be made in course of construction from the proposed plan. Three different dimensions were calculated by the builder ; those carried out were the greatest of the three. The builder calculates the cost of the chimney and cone (exclusive of iron hoops in the chimney and flues) at from 5,500/. to 6,0001. Mr. Townsend estimates the cost of the whole, including flues, iron hoops, machinery, and scaffolding, at 8,0001. On September 9, 1859, the chimney was struck by a gale from the north-east, which caused it to sway; but the builder does not attribute the action to the gale alone, but to the pressure of the whole pile on the scaffolding, which was so constructed as not to yield to any pressure caused by a slight settling-down. The additional pressure thrown by the wind to the lee-side of the stalk (the mortar of which was not solidified) was conse- quently too great for the scaffolding to bear, and caused the splice of one of the uprights to give way by abrasion, making the fibres of the wood to work into each other. The ends of the planks forming the scaffolding were placed about 5 ft. or 6 ft. apart vertically, and were tightly built into the masonry; but had a little space been left over each, the stalk would have subsided uniformly, and would possibly have withstood the gale. The builder observed theerror, but toolate. He thinks the deflection commenced at from 100 ft. to 150 ft. from the ground, so that the foundation and heaviest portion remained firm. Had not the process of sawing been com- menced promptly and continued vigorously, in all likelihood the chimney would have fallen. Even during the earlier part of the process of sawing, Mr. Townsend observed the deflection increasing, but as the sawing progressed he observed that the deflection got a check, and the chimney came-to gradually. The chimney was 7 ft. 9 in. out of the perpendicular, and several feet less in height than before it swayed ; but when brought back it regained its original height, at which time it was not completed by 5ft. Mr. Townsend made his observations during the sawing-back by taking up his position in a room of the works near by the chimney, where he had a full view of it, and fixing the ends of two pieces of twine to a beam above, he formed them into two plummet-lines in a line with the stalk, and by these alone he directed the adjustment of the colossal mass. The sawing-back was performed by Mr. Townsend’s own men, ten men working in relays, four at a time sawing, and two pour- ing water on the saws. This work was done from the inside on the original scaffolding, which, of course, had not been removed. Holes were first punched through the sides to admit the saws, which were wrought alternately in each direction at the same joint on the opposite inclination, so that the chimney was brought back in a slightly oscillating manner. This was done at twelve different heights fromthe ground line, viz., 41 ft., 81 ft., 121 ft., 151 ft., 171 ft., 189 ft., 209 ft., 228 ft., 240 ft., 255 ft., 277 ft., and 326 ft. The men discovered when they were gaining by the saws getting tightened with the superincumbent weight. It took six men to do this work, at a cost of 4001. Prior to the sawing operations, they had taken out and altered the bolts of the scaffolding, so as to relieve the pressure on it. This was done to meet the want of a little spare space over the ends of the planks built into the chimney, as before stated. The stack is protected from lightning by two copper wire conductors, } in. thick, opposite each other allthe way up, joined to one pike fixed to the chimney, but standing above it, at the top. It was erected by a “Steeple Jack” of Manchester, after the chimney had been put straight. The chimney has been several times struck by lightning, and slightly damaged. It is intended to put three more pikes ut the top, and take the conductor round the chimney from pike to pike, to give a better opportunity for absorption of the electric fluid. St. Rollox Chemical Works Chimney, Glasgow. This (Messrs. Charles Tennant & Co.’s) chimney, projected by the late Dr. W. J. Macquorn Rankine, designed by Mr. L. D. B. Gordon, and built by the late Mr. McIntyre, ranks second in height. The following are its dimensions :—

Height from foundation to top ......... 455 ft. 6 in.

as ground line to top ......... 436 ft. 6 in.

Outside diameter at foundation ......... 50 ft. O in.

ae ‘5 at ground-line......... 40 ft. 0 in.

pes x PROD distesssescucpests 13 ft. 6 in. It has an inner cone of the following dimensions: Height of cone from foundation to top............ 263 ft. 0 in Height of inner cone from ground-line to top... 243 ft. 0 in’

Inner cone inside diameter at foundation......... 12 ft. 0 in’ Inner cone inside diameter at top .............0... 13 ft. 6 in’

The use of the inner cone is to protect the prin- cipal stalk from various kinds of gases. No piles were driven in the foundation, it being founded on a bed of concrete 15 ft. thick on top of the rock, the upper surface of the concrete, the better to resist any downward pressure, being finished at right angles to the line of prin- cipal shaft, which inclines inwards for a con- siderable height. The outline of the chimney is taken from the Eddystone light-house, and is of the natural form which a chain would assume in being stretched from a height to a point on the ground beyond that of its upper end.

The Highest Chimney-Stack in England is the large chimney at Messrs. Dobson & Barlow’s, Kay-street Machine Works, Bolton. It is con- nected with seven boilers, besides ventilating flues, furnaces, &c. It was completed in November, 1842, and was then intended to serve chemical works. Shortly afterwards, the ground occupied by the chemical works was absorbed by Messrs. Dobson & Barlow’s works, and consequently the chimney came into their possession. The following are some of its principal dimensions :—Total height from ground level, 367 ft. 6 in. The shaft is octagonal on plan, and measures 14 ft. on either side, or 112 ft. in girth, at the bottom. The thickness of brickwork at the bottom is 8 ft., and the thickness at top is 1 ft. 6 in. The shaft measures 5 ft. 6 in. on every side, or a total of 44 ft.in girth, at the top. 800,000 bricks, and 120 tons of stone, were consumed in its erection. The cap, with cornices and mouldings, absorbed 30 tons of stone and cement.

The Edinburgh Gasworks Chimney is 341 ft. 6 in. high from foundation to top, or 329 ft. high frora the ground line. The stone foundation is 40 ft. 6 in. square, and 6 ft. 6in.deep. The stone pedestal is 71 ft. high, 30 ft. square at the ground line, and 27 ft. 9 in. square at the top. The brick shaft is 264 ft. high, 26 ft. 3 in. diameter at the bottom, and 15 ft. diameter at the top. The main brick shaft is diminished in five steps, of the following successive heights:—

Height. Thickness. Ist bottom portion 35 ft. ......... 35 in. 2nd portion BOM. scciscnss 30 in 3rd, ~) eee 25 in, 4th ,, Ao een 20 in. bth =, "pee 15 in

Chimney at Barmen, Prussia. — Messrs. Wesenfeld & Co.’s chimney, at the chemical factory, Barmen, is 345 ft. high from the foun- dation to the top, and 331 ft. high from the ground level. The foundation was made of large flat quarry stones, with terras mortar, consisting of one part lime, one part river sand, one part terras, which latter is a kind of puzzolana. The pedestal is 20 ft. square by 40 ft. high by seven bricks thick. The octagonal shaft is 291 ft. high, with an exterior diameter of 17 ft. at the base, by five bricks thick; this diameter is reduced 2} in. every 10 ft., so that at the top of the shaft itis two bricks thick. According to the original design, it was only intended to build it 260 ft. high, but as the building was proceed- ing in a very satisfactory manner, it was con- sidered safe to increase the height without alter- ing the dimensions of the base, and it has been calculated that in the lowest part of the shaft the brickwork sustains a pressure of 21,335 lb. per square foot, or 148 lb. per square inch. A few months after completion the chimney got out of the straight, and had to be put right in a similar manner to that adopted in connexion with the Port Dundas chimney. The chimney was built with great care, the mortar being prepared every morning, the proportions used for the pedestal being one of lime to two of river-sand. Cement mortar was used on rainy days, mixed in the proportions of one of cement to two of river-sand, cement exclusively being used for the crown. The joints of the brickwork were flushed up with cement. The three masons who did the whole work daily changed their positions on the chimney, so as to equalise any unevenness in the masonry that might be caused by imperceptible differences in the manipulations of the different individuals. At distances of 50 ft. single layers of brickwork were painted black outside, to afterwards facili- tate an estimate of the height of any point of the chimney above-ground. The chimney was built from the inside, without a scaffold, the materials being hoisted by a steam-engine put up tempo- rarily near the place of construction. The mo- tion was transmitted by three rollers or drums. The frame which supported the upper drum was moved higher up after the completion of every three or four layers of brickwork, and was, at

\the same time, turned horizontally from one side

of the octagon to the next one, to equalise tha effect of the pressure of the frame on the masonry. The holes made in the masonry to support the frame were filled up with brick ‘ang mortar immediately after the removal of the frame to a higher level. The construction of the chimney was thus successfully completed jn October, 1867. The structure was then perfectly vertical, but in the spring of 1868, remarkable for vehement and long-continued gales and storms, it suddenly assumed an inclined position towards the north-east. The injurious action of the south-west wind was probably favoured by the bold projections of the structure, by the yet subsisting softness of the mortar, and by the large size and the shape of the ornamental crown or cap. This crown caught the wind, and thereby caused it to act as on alonglever. The chimney was thus bent, and the mortar not being perfectly dry, the brickwork did not yet possess the necessary elasticity to return to itg original shape. The deflection seemed to in. crease, and threatened an overthrow. As be. fore mentioned, some layers of bricks in the chimney, at distances of 50 ft. from each other, were painted black outside. The height of these black lines above the pedestal being known, these lines were, by means of a theodolite, pro. jected on a plank situated on the pedestal of the chimney, to find the deviation from the vertical line at those different heights. It was thus ascertained that the chimney, at a height of 251 ft., was 45 in. out of the perpendicular; at the height of 210 ft., 30 in.; at the height of 160 ft., 16 in. ; and at the height of 110 ft., 5in. The pedestal stood perpendicular. As the deviation was still increasing, and as it would have done too serious an injury to the business of the establishment to set the chimney tempo- rarily out of use, it was necessary that imme. diate action should be taken in the matter. The ordinary method of straightening chimneys was at first resorted to. A hole was made through the whole thickness of the masonry on that side of the chimney which required lowering, at a distance of 4 ft. above the top of the pedestal. Into this hole a saw was introduced, with which a horizontal cut through one half of the chimney was attempted. But as the thickness of the wall was considerable, and the bricks hard, and as the saw could be manipulated from one of its extremities only, the effect of sawing after two hours’ work was scarcely perceptible. The hole through the chimney having been made without trouble, the difficulty experienced in sawing led to the idea of gradually removing a whole layer of bricks, replacing it by a thinner layer, thus to produce the desired slit. Before, however, this operation was performed, the experiment was made with an old inclined chimney 120 ft. high. When the method hud there proved prac- ticable and successful, it was concluded to treat the new chimney in the same way. A layer of bricks was broken out by means of pointed cast- steel jbars from 1 ft. 6 in. to 5 ft. in length. Purpose-made flat shovels, with long handles, were used to lay those bricks which had to be placed near the inside of the chimney. A space of 5 in. was left each time between the newly- laid bricks and the old ones of the next division, to break out the latter with greater facility. The width of each single division was 2 ft. to 2ft. 6 in. The masonry was sufficiently dry above not to give way when a layer of that width was removed below it. The act of settling by oscillations lasted from eighteen to thirty- six hours, corresponding to the width of the slit, which was different in the different cuts per- formed, in a similar way at different heights of the same chimney. The oscillations were the greater and the livelier the higher up the cut was which produced them. At the highest cut, 100 ft. from the top, the oscillations were su! that the mason became frightened, and left the place; the slit became alternately wider and narrower by } of an inch. The facts before mentioned seem to prove the elasticity of the whole structure. Four cuts were made into this chimney, the first one 4 ft. above the pedestal, greatest width # in.; the second, 100 ft. above the pedestal, greatest width, 14 in.; the third, 140 ft. above the pedestal, greatest width, 1} in. ; the fourth, 140 ft. above the pedestal, greatest width, 1 in. After the completion of — operations, the chimney continued during vice weeks to settle slightly in the direction oppos! to its former inclination, the brickwork on the side being now subjected to a higher pressure than before. This circumstance had to be = fully considered beforehand, or else the 6

would be made too wide, and produce an in-

coe = Gy eee nen ee ee Oe ee eg er ee ee ee ee eee ee

a Oo

th cer

May 4, 1878. ]

THE BUILDER.

463

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Sa

clination of the chimney in the opposite direc- tion. A severe storm, which occurred on the 6th and 7th of December, 1868, and which threw over several chimneys in the neigh- pourhood, did not affect the above. The yesult of the straightening operation before described is perfectly satisfactory, and the structure is now stronger and _ steadier than ever. I have yet to speak of the means by which the upper parts of the chimney were made accessible to perform the upper cuts. This was done on a new and interesting plan. Standing on the lowest plat- form, the masons made a number of holes all on the same level, 4 ft. above the platform, into the exterior wall of the chimney. They stuck iron bars into these holes, and fixed boards to them, so as to form another platform. Standing, then, on the latter, they made another one 4 ft. higher up in the same way, and so forth. Every second platform was again removed, so that the remaining platforms were 8 ft. apart. They were then connected by ladders to make the ascent possible and easy. This method is, how- ever, only practicable when the chimney has a considerable diameter, and when the mortar is sufficiently dry not to give way under the one- side pressure of the bars and platforms, which would make the arrangement loose and unsafe. In December, 1868, another chimney (at Duis- burg) was straightened by the method last described ; but as the diameter of the chimney was not so large as that of the Barmen chimney, and as the mortar was yet soft, a wooden scaffold was erected around the chimney, to get at the upper points which required cutting. The breaking out and replacing of the bricks could not be done there in divisions wider than from 5 in. to 10 in., otherwise the upper masonry, not being dry, would have settled down. When the chimney was straight, a further settling towards the side of the cut was prevented by driving iron wedges covered with mortar intothe slit. It is needless to add that great care must be used in the method of straighteuing chimneys here described ; for, without precaution, it may end in a fatal manner, as in a case at Oldham, where, owing to the reckless manner in which the work was done, one man lost his life.*

PROGRESS OF SANITATION. NORTHAMPTON.

Ata meeting of the Association of Sanitary Inspectors, held in Northampton, on the 15th ult, Mr. Edwin Chadwick, C.B., read a paper, inwhich he said that in the present state of sanitation there was much important experience and observation, both of what would not do, as well as what would, to be collected outside their own immediate district from other parts of the kingdom. He admitted that he was not in a position to be able to systematise the results of such experience and observation, and that he could only offer a few incomplete remarks as one deeply interested in the subject. It was now thirty-seven years since he directed an inquiry into the sanitary condition of the town and county of Northampton, together with other towns and counties, on data obtained from the Registrar-General’s department. The death-rate for the whole of the department was then 22 per 1,000 of the population, and of the town 25 per 1,000. He decided upon the condition of the town and county by those which appeared to be the most unhealthy districts. In Hardingstone, Wellingborough, and Brixworth, it was 20 in 1,000, while in the less unhealthy urban and rural districts it was 17, and even 15, per 1,000, and he might cite others in which it was not = more than half of what it was for the = of the county. The best general test of ary conditions was the death-rate of chil- — one year, as their conditions were, Xe a degree, affected by occupation and a = and denoted an intelligent care of died ie. Of children born, one in seven the — the year of birth. In Westmoreland mi a 1-rate was one in eleven, and in Corn- fey Devon it was one in ten; while the of the tom epidemic diseases amidst the whole double mopelniion of this county were nearly _ bai gl hs counties just named. From certain te Fe er indications it was perfectly that hag 10s Conversant with sanitary science sdminin & knowledge of it permeated the local s'rative organisations, they would have

n, a8 now, among the first to direct force

* To be continued,

with which to protect the population against destructive epidemics. What were the indica- tions, then, to guide the direction of the defen- sive force? Whilst in the district of Harding- stone 39 in 10,000 died of foul-air diseases, 44 died of them in Northampton; and similarly the numbers were 55 and 76 respectively of those who died of diseases of the respiratory organs. What, at the lowest estimate, was the cost of life, force, and money of those insanitary conditions? In Northampton, in life it was upwards of 130 persons yearly; in the cost of excessive sickness it was nearly 4,000 cases per annum; while in the loss of labour, from premature working disability, is must have been upwards of 22,000 persons per annum, or 26,0001. in the townof Northampton alone. In the county labour was less productive; but, putting down 7s. 6d. per week as the average of the earnings of each male and female, there was a loss of 35,0001.; and from all preventible diseases in the entire county, it was more than 74,0001. That was the money loss; but what was the loss of domestic happiness, from the insanitary con- dition under which more than 47 per cent., nearly half the children born in the town, were in their graves by their fifth year? Since then it appeared that there had been scattered and unsystematised efforts in sanitation, and possibly much misdirected energy expended, if they might judge of that from the small amount of progress which had been made in the reduction of the death-rate in the county to 19 in 1,000. He had said that the best test of sanitary pro- gress was the infantile death-rate. In the town that would appear to have been increased, for while in 1847 it was 24 per cent. of the children under one year, in 1876, it was 29 per cent. That [probably was an exceptional year. For the same years, however, 47 and 45 per cent. respectively of children under five vears died. The progress they were making, therefore, must be a most melancholy one, when of all children born one-half would be in their graves before their sixth year. Whilst in the district of Up- pingham, according to a table made out by Mr. Haviland, one in 11, in Northampton one in five, of the children born died within their fifth year; and whilst in the former place the death-rate from zymotic diseases was 1°54 of the population, in Northampton it was 4°53. Even measured by the standard taken from the district of Sul- grave, their progress was slow. In that the death-rate was 13:1 in 1,000, which included deaths from preventible diseases; but, taking it at that, there were 1,422 preventible deaths every year, involving, according to his estimate, if they also considered preventible sickness and premature working disability, a money loss on the part of the wage-earning classes of 140,0001. He asked them to picture to themselves such a loss of human life if it were occasioned by an invading enemy, and proceeded to re- mark that at first there was no curative service in connexion with local administration worthy of the name, while the area of the parish was too small to bear the expense of a preventive service, and that even when, with the extended area of the union, a curative service was obtained, it was of a very rudi- mentary character. What they had to do now was to face round, and put the provisional service on a comparatively preventive footing, to give it, instead of a comparatively useless curative action, an aggressive preventive action. In what direction must that preventive force be first applied? In the first place, to the cottage and to the homestead, in removing the source of disease, in examining sewage-sodden soils and polluted well-water, and enforcing such regula- tions as had been attended with marked success in common lodging-houses. Other objective points were, first, as to children having a con- tinued and vigilant inspection of common schools, where, very often, filthy-skinned and dirty-clothed children were mixed together in a confined space; and next, as to adults, placing all workshops and factories under similag in- inspection, the object of which should be the conservation of force against overwork, as well as from deterioration by disease. Under proper arrangements the visits of the sanitary inspector would be commonly welcomed by the employer as well as by the employed in workshops. But, beyond these special objective points, there were, and must be, with insanitary conditions, cases of sickness and death from foul-air diseases which should be immediately looked to and the causes removed. In Glasgow there had been a reduction in the death-rate of 9 ia 1,000, and