7 
 
 
 
 
 
 
 JR 
 
 
THE UNION 
 
 OF 
 
 ARCHITECTURE, SCULPTURE, AND PAINTING; 
 
 EXEMPLIFIED BY A 
 
 SERIES OF ILLUSTRATIONS, 
 
 WITH 
 
 DESCRIPTIVE ACCOUNTS OF THE HOUSE AND GALLERIES 
 
 OF 
 
 JOHN SOANE, 
 
 PROFESSOR OF ARCHITECTURE IN THE ROYAL ACADEMY — FELLOW OF THE ROYAL SOCIETY AND SOCIETY OF ANTIQUARIES, 
 ARCHITECT TO THE BANK OP ENGLAND, ETC. 
 
 BY JOHN BRITTON, 
 
 F. S.A., F. R,S. L., ETC. 
 
 ’TIS NOT TIME LOST, TO TALK WtTH ANTIQUE LORE, 
 
 AND ALL THE LABOURS OF THE DEAD : FOR THENCE 
 THE MUSING MIND MAY BRING AN AMPLE STORE 
 OF THOUGHTS, THAT WILL HER LABOURS RECOMPENSE. 
 
 THE DEAD HOLD CONVERSE WITH THE SOUL, AND HENCE, 
 
 HE THAT COMMUNETH WITH THEM, DOTH OBTAIN 
 A PARTlAIi CONQUEST OVER TIME. 
 
 BULL’S MUSEUM.” 
 
 LONDON : 
 
 PRINTED FOR THE AUTHOR, BURTON STREET; SOLD BY LONGMAN AND CO. PATERNOSTER ROW 
 J. TAYLOR, 59, HIGH HOLBORN ; AND J. AND A. ARCH, CORNHILL, 
 
 MDCCC XXVfl, 
 
.■■'.A' '.■'. ■'.■ ,v ,, 
 
 C. ann <t. JDH’btttingljam, <2D!)tfii))icfe. 
 
TO 
 
 HIS MOST SACRED MAJESTY 
 
 GEORGE THE FOURTH, 
 
 KING OF GREAT BRITAIN, 
 
 ETC. ETC. ETC. 
 
 SIRE, 
 
 The intimate “ Union of Painting, Sculpture and Architecture,'' like 
 the Union of the three Kingdoms, is calculated to promote the interests, 
 augment the influence, and enhance the powers of all. As in our wisely- 
 framed Constitution, the three degrees of King, Lords, and Commons 
 tend mutually to protect and give energy to each other, so the three 
 Sister Arts, by cordial co-operation, promote the harmony and domi- 
 nion of the whole. Architecture, like the monarch, is, however, the 
 head, and paramount power. In proportion to its merits will be 
 its influence ; and, whilst it generously fosters and provides alike for 
 the wants and the luxuries of the other two, it guarantees its own 
 usefulness and dignity. 
 
 At this auspicious epoch, when peace prevails over Europe, and the 
 Fine Arts of the English School are making rapid advances in the 
 career of fame, it is well known that Your Majesty will graciously 
 encourage every literary and graphic essay that is calculated to do 
 honour to its author and to the country. 
 
VI 
 
 DEDICATION. 
 
 Under Your Majesty's fostering auspices, we may fairly anticipate, 
 that, whilst the Metropolitan and Country Palaces of the Kingdom 
 are rapidly advancing in execution, they will arouse a spirit of emula- 
 tion and good taste, which may tend to exalt the character of its Artists 
 in the estimation of other empires, and place them in proud comparison 
 with the most illustrious names of antiquity. If the talented men of a 
 kingdom be regarded as the satellites of its greatness and glory, they 
 can never shine so resplendently, as when warmed and enlightened by 
 the vivifying powers of royal taste and patronage. 
 
 Sanctioned and commanded by Your Majesty, Mr. Soane designed 
 and erected the splendid Royal Gallery to the House of Lords ; and 
 under the immediate patronage of Your Majesty’s revered Father, 
 the same Architect made a magnificent design for the two Houses of 
 Parliament, which would have been erected, but for the expensive wars 
 which had impoverished the country at the time it received the royal 
 and ministerial sanction. 
 
 With sentiments of respect and duty, 
 
 I subscribe myself, 
 
 YOUR majesty’s 
 
 Obedient Servant and Subject, 
 
 JOHN BRITTON. 
 
 April 23 , 1827 . 
 
PREFACE. 
 
 As the construction and arrangement of the honey-comb manifest the instinctive 
 sagacity of its uneducated builder— as the position and formation of the dwelling of 
 the beaver evince a degree of skill and foresight almost rational— as the geometric 
 symmetry of the spider’s suspended and outstretched web shews the cunning of its 
 wily weaver— so does the house of the Architect, the gallery of the Painter, and the 
 library of the Author, exhibit some prominent characteristic trait of its respective 
 owner. Instead of vainly attempting to prognosticate the ruling passion and 
 character by phrenological bumps, or craniological organs, we shall find a better 
 and surer criterion of judging man, by referring to his domestic habits and 
 associations. “ Tell me your company, and I’ll tell you what you are,” is an old 
 proverb, full of truth and meaning : it is a better motto to a man’s biography than 
 either phrenology, or physiognomy, ever furnished. It is not, however, by his 
 fellow associates only, that we are to estimate the character of an individual : his 
 books, pictures, statues, curiosities, horses, dogs, living animals, and quiescent 
 chattels, are so many outward signs of predilections and partialities. To the Artist 
 and to the Author, works of art and of literature are indispensable ; they are neces- 
 sary monitors, companions, friends. They are the depositories of wisdom; the 
 legacies bequeathed by genius and talent to advance science and perpetuate infor- 
 mation. By these we hold converse with Raffaelle, Michael Angelo, Vitruvius, 
 Shakspeare. We consult them for information : we associate with them for plea- 
 sure. In what they have said, we recognise the progress and effect of their studies : 
 in what they have done, we behold evidences of their own experience engrafted 
 on acquired knowledge. Hence libraries, and collections of works of art, are of 
 inestimable value. They bring to “ our own homes and bosoms” the learning, the 
 talent, and the taste of distant nations and of distant ages. 
 
 National Museums, as well as national libraries, are of incalculable worth. They 
 not only serve to rescue many important and valuable objects from oblivion, but 
 
*;vm 
 
 PREFACE. 
 
 give them a permanent abode, protection, and interest. When we survey the con- 
 tents of the British Museum, for instance, we are both astonished and delighted at 
 the number, variety, and value of the articles there concentrated. In seeing what 
 has thus been done, we cannot be too grateful to the individual who laid the founda- 
 tion who formed the nucleus— which has at length attained such magnitude and 
 
 interest. Before the time of Sir Hans Sloane, i. e. about eighty years ago only, 
 there was no public museum in England ; but that enlightened and zealous collector 
 having expended about fifty thousand pounds in accumulating a mass of natural 
 and artificial articles of rarity and value, directed, by his will, that the same should 
 be offered to the Government for twenty thousand pounds, for the purpose of found- 
 ing a national repository. This offer was fortunately acceded to, and, by the gene- 
 rosity of individuals and the liberality of the nation, the collection has since been 
 augmented to its present extent. It is, however, a singular fact, that the original 
 Museum did not contain one architectural fragment ; no specimen either of Egyp- 
 tian, Grecian, or Roman building : nor does it appear, by the printed list, that it ever 
 included any examples of fine sculpture. It was not, indeed, till very lately that this 
 establishment acquired any architectural specimens. The late Mr. Henry Holland 
 offered it a collection of this class, but it appears that the Trustees did not under- 
 stand or appreciate the value of the articles ; as they were refused. A better taste 
 dawns on our own times ; for the Townley and Elgin marbles, now deposited there, 
 are highly estimable, both as objects of antiquity and of beauty. It does not appear 
 that either Inigo Jones, Sir Christopher Wren, Vanbrugh, or the other architects of 
 that age, thought it necessary to collect real specimens, or fragments of Grecian or 
 Roman architecture. The illustrated publications of W ood and Dawkins, in their 
 “ Ruins of Palmyra and Balbeck,” fob 1753, made the English architect familiar 
 with some noble specimens of Roman art, but the delineations of Grecian works, 
 before the time of Stuart, were imperfectly and unsatisfactorily executed. The 
 valuable exertions of that artist and Revett, in their “ Antiquities of Athens,” gave 
 a new impulse to the architecture of this country, and even to that of France. 
 
 Whatever has been effected by those, and by other architects, is very inconsider- 
 able, when compared with the acquirements and labours of the Gentleman whose 
 museum and collection are briefly noticed, and imperfectly illustrated, in the ensuing 
 pages. With that enthusiasm, which belongs only to real genius, he visited Rome 
 in his youthful days, and having measured and drawn many of its antient build- 
 ings, returned home with his mind enlarged, and his portfolios well stored he also 
 
PREFACE. 
 
 IX 
 
 imported fragments of, and casts from, some of the finest works of art in that classic 
 capital. The collection, once commenced, soon augmented, and has now attained 
 an extent and value, perhaps unrivalled by any private gallery in the universe. 
 Though of a miscellaneous nature, and embracing specimens from nearly all the 
 civilized nations of Europe, the whole has an immediate reference, either to archi- 
 tecture or to some other branch of the fine arts. From Egypt, Greece, and Italy, — 
 from France, Germany, Russia, and Great Britain, selections have been made, and 
 we shall here find evidences of the arts or literature belonging to, or characteristic 
 of, each of those nations. 
 
 Many years’ intimacy with Mr. Soane, and more years’ partiality for architecture 
 in particular, and for the fine arts generally, may be adduced as motives for under- 
 taking the Essay which is at length submitted to public candour and criticism. 
 Aware of the difficulty and delicacy of commenting on the professional designs of a 
 living artist, and a friend — of the seeming impracticability of being strictly impar- 
 tial, and unreservedly candid, I have often questioned my own judgment, scrutinised 
 my own feelings and opinions, and have therefore sought the approving sanction of 
 those confidential friends, in whose kindness and candour I could confide. In this 
 class is Mr. W. H. Leeds, whose lucubrations form a large portion of the ensuing 
 pages ; and who has bestowed much attention on the subject of architecture, by 
 studying it with a devotedness not very common in an amateur, nor, unfortunately 
 so general as could be wished, in the members of the profession. 
 
 The mind is commonly prejudiced in favour of those forms and features of design 
 with which it has acquired familiarity. Hence have arisen schools, systems, styles, 
 or peculiarities which distinguish the scholars of certain masters, and the artists of 
 a particular age or place. These prejudices occasion continual differences of opinion 
 on all the productions of fancy. An article, or form, unequivocally approved, and 
 even highly praised by one person, will be censured by another. There is no 
 criterion of taste. Inigo Jones, Wren, Vanbrugh, and even Batty Langley, have 
 had their panegyrists and their censors : the works of each have been as harshly 
 condemned by some as they have been indiscriminately praised by others. Varied 
 and conflicting criticism will ever follow novelty in art and literature ; and in pro- 
 portion as an artist or author manifests originality and independence of thinking 
 and invention, will he be assailed with critical animadversion and even satire. 
 Although all eagerly seek for novelty, and the want of it is harshly condemned, yet 
 when produced, it is generally assailed as innovation, or as arrogance. The public, 
 
 b 
 
X 
 
 PREFACE. 
 
 i. e. tlie great bulk of mankind, cannot compreliend or properly appreciate it. 
 Every small remove in the high and beaten track of improvement is understood and 
 applauded ; but the man of daring and original genius, who invents something 
 truly new, and even truly fine, will be surrounded by swarms of the wasps and 
 hornets of criticism. Should his nerves and skin be as strong as his genius is 
 original, he may defy the stings of the buzzing tribe ; but it too frequently happens 
 that the bodily as well as the mental feelings of men of genius are, like the sensi- 
 tive leaf, all irritability. Animated and highly excited by hope, and the prospect 
 of fame, they are not merely depressed, but some of them are almost driven to 
 madness by the censure of the public press. The aspiring architect is peculiarly 
 circumstanced, in his professional career : he is required to produce something 
 original, and yet, by the same authority, is required to have classic precedent for 
 all his designs ; he is expected to manifest the genius of the accomplished artist, 
 and also expected to imitate the standard works of either the Grecian, the Roman, 
 or the Christian architects of former ages. Nothing can be more absurd, and 
 nothing can be more hostile to novelty, originality, and merit. It is therefore the 
 duty of every true lover of art, and of every literary character, to oppose this system, 
 — to contend for the independence of genius — to advocate the cause of English 
 professional men, and endeavour to inculcate maxims of wisdom and good taste 
 in their employers. 
 
 Let us briefly narrate the travels, or adventures, of Architeeture. It will embraee, 
 in its annals, the history of eivilization and the revolutions of art. In the olden 
 times it may be said to have grown from infaney to strong, sturdy, and solemn 
 manhood, in Egypt : whence it emigrated to Greece, and there assumed a brighter 
 and more elegant aspect, corresponding with, and congenial to, the climate and 
 country. Thence, attached to the triumphal car of conquest, it was conveyed to the 
 imperial city of Rome, where, after breaking the bonds of thraldom, it became more 
 gay and fanciful. It alternately directed its talents and powers to aqueducts, 
 bridges, temples, theatres, and villas ; was solemn or gay, grand or pretty, as judg- 
 ment or caprice directed. Forsaking its heathen tenets and habits, it travelled over 
 the western part of the world, and seemed to have acquired an inherent caprice and 
 restlessness of eharacter, by a perpetual change of scene. Entering a monastery, it 
 turned Christian, assumed the cowl or the mitre, the pilgrim’s scrip and cockle hat, 
 or the crusader’s shield and lance, as time and place demanded : —raised churches, 
 abbeys, and castles with almost the rapidity of enehantment, and nearly with as 
 
PREFACE. 
 
 XI 
 
 much fancy and variety. Meeting with a tyrannic and murderous monarch in 
 England, it was paralysed for a long series of years, and was shifted about from 
 prisons to hospitals, and thence to workhouses. After being oppressed and degraded, 
 it may be said to have revived in Italy, if not in all its pristine grandeur and purity, 
 at least in a form still retaining much beauty, and in other respects well adapted to 
 the wants and habits of modern times. The system then formed has, with more or 
 less modification, since prevailed in the rest of Europe ; yet, at the present day, 
 Italy, although still attractive both from its remains of antiquity, and from the struc- 
 tures erected by its Buonarottis and Palladios, must yield the palm to transalpine 
 countries. During the present century more has been done for architecture in 
 Eng-land, France, Germany, and Russia, than in the south of Europe. Content 
 with their former treasures and the fame acquired by them, the Italians do not 
 appear very ambitious of fresh laurels in this art; while London, Paris, various 
 cities in Germany, and the two capitals of the Russian empire, daily exhibit new 
 and magnificent structures rising up within them, — edifices uniting classical ele- 
 gance, or richness of detail, with infinitely greater variety of design, than those even 
 of antiquity exhibit. Berlin and Munich may both be specified fol the noble and 
 extensive buildings, either recently completed, or still in progress ; and which will 
 confer lasting honour on the names of Schinkel and Klenze. If, too, we may credit 
 report, a colossal church has been commenced at Moscow on a scale of stupendous, 
 nay, almost incredible magnitude, it being asserted that its height, when completed, 
 will be seven hundred and seventy feet ! 
 
 It cannot be irrelevant to our present subject to make a few remarks on the mutual 
 obligations that art and exalted patronage owe to each other ; and to point out some 
 eminent instances wherein a reciprocity of glory has resulted from the union. 
 Wherever the latter has been exercised with kindness and discrimination, the former 
 has repaid the obligation by conveying part of its own reputation to the patron. 
 The names and characteristics of Pericles and Phidias, of Southampton and Shak- 
 speare, are ever associated ; and whilst the head and heart are delighted and 
 instructed by the mental attributes of the immortal artist and the author, they 
 are equally ready to yield their full share of gratitude to the monarch and to the 
 nobleman who patronize and appreciate genius. 
 
 The art, as well as the science, of architecture, is an exhaustless subject for study 
 and admiration : it is susceptible of perpetual improvement. It has exercised the 
 inventive faculties of men of pre-eminent talents, both in antient and in modern 
 
PREFACE. 
 
 xH 
 
 times ; and it will continue to reward unborn genius by its honours and its fascina- 
 tions. Hence cities have been reared in lands previously desolate, and palaces 
 constructed to adorn them ; whilst churches, castles, and public edifices have pro- 
 gressively risen into notice by the fostering sun of patronage shedding its benign 
 rays on the latent faculties of man. Many sovereigns of Egypt, Greece and Rome 
 have their names enshrined in the annals of history and poetry, more on account of 
 the buildings they erected, and the arts they cherished, than for any conquests they 
 made ; — more by promoting the welfare and happiness of man, than for spreading 
 desolation and misery around his habitation. 
 
 Among the illustrious worthies of antiquity, whose names will descend to distant 
 ages, and be honoured in all, we find the following duly enrolled in the annals of 
 history : — Dido and Solomon, who lived above one thousand years before the time of 
 Jesus Christ — the first raised Carthage, and the second built the most famous 
 temple in the world. To Themistocles, Athens owed its re-edification, after being 
 nearly destroyed by Xerxes ; and Pericles erected its chief sacred edifice, the Par- 
 thenon. The warlike Alexander gave origin and his name to the city of Alexandria. 
 Pyrrhus caused the town of Berenicis to be raised in honour of his consort. The 
 city of Corinth owes its creation to Julius Caesar, who likewise augmented and 
 embellished Paris. Under the dominion and patronage of Herod, the Temple of 
 Jerusalem was rebuilt; and the city and country were at the same time adorned 
 with many stately edifices. The name of Augustus and the magnificence of Rome 
 are intimately associated ; whilst those of Trajan, Hadrian, and Constantine are 
 connected with, and dignified by the remains of noble edifices, now in ruins. Julian 
 was proclaimed emperor at Paris, and afterwards testified his regard to that city by 
 augmenting and embellishing its public edifices and making it the seat of govern- 
 ment. Many other names might be cited to adorn this list. England has hitherto 
 been either indolent or unfortunate in its career of fame : Architecture and the fine 
 arts have been struggling in the trammels of trade, and seem to have worked by the 
 square foot. Charles the First was well disposed towards both, and patronised a 
 Jones, a Rubens, and a Vandyck — names that would reflect honour on any age or 
 country. In that monarch’s reign, London was a tasteless mass of timber huts 
 and dwellings; a calamitous but useful fire nearly consumed the whole, in 1666 . 
 Charles the Second and his Architect, Sir Christopher Wren, were desirous of 
 rebuilding it in a plan and style that would have conferred honour on both ; but 
 the people were not capable of appreciating the advantages of space, symmetry, and 
 
PREFACE. 
 
 xiii 
 
 beauty. A favourable opportunity was lost — for houses, halls, and churches were 
 rapidly and promiscuously raised, regardless of public accommodation or public 
 ornament. Fortunately for the age we live in, the spirit of improvement and taste 
 has deigned to visit London. Every branch of art and science has made rapid 
 advances ; public benefits and comforts are consulted in the streets and squares, 
 whilst luxuries and the refinements of life are promoted within the houses. Archi- 
 tecture, sculpture, and painting are now more encouraged and appreciated than at 
 any other epoch of the English annals : palaces and public works are building 
 to adorn the metropolis ; and it will be the grateful task of future historians, to 
 associate the name of G eorge the Fourth with the advancement of art, science, and 
 literature ; and with the blessings of peace and national prosperity. 
 
 The ensuing pages have been written rather with a view of giving general 
 sketches of the features and contents of Mr. Soane’s house, than of furnishing a 
 catalogue raisonne. At first it was my intention to have attempted such a catalogue, 
 with descriptive notices of the various and numerous articles of art, virtu, and 
 literature with which it is stored ; but a short essay soon impelled me to change 
 that plan for the one now adopted. The former would have extended to at least two 
 large quarto volumes, and thus have been merely a book for reference, and not for 
 reading. It has been my aim to give it the latter character, and impart some degree 
 of interest to the essay, by advocating and asserting the claims of architecture to 
 proper distinction — by shewing its capabilities, and by enforcing the necessity for 
 private gentlemen to study its principles and its powers. That honours and riches 
 have crowned the career of some of its professors, we have proofs ; and that many 
 men of acknowledged talents and worth have been neglected and even ill-treated, 
 we could readily demonstrate : it would not be difficult to point out the causes and 
 to prognosticate the consequences. 
 
 Architecture, as an art, has not been treated fairly and liberally in this country. 
 In the Royal Academy it has been, and still is, slighted : by public bodies it is 
 regarded as a trade, and put up to speculatory competition. In the erection of a 
 fine metropolitan street, as well as in the designs for many new churches, it has been 
 crippled or sacrificed to mis-judged economy. Some of the great public edifices of 
 
XIV 
 
 the country are abridged of their fair proportions,” or deprived of their finer orna- 
 ments from this motive or pretext — and thus the taste of the architect is impeached^ 
 and the English character traduced. These considerations, and the daily evidence 
 before our eyes of failures and degradations in this noble art, show the necessity 
 of speedily founding an 
 
 ARCHITECTURAL ACADEMY, 
 
 wherein the elements, the art, and the science of Architecture might be taught — 
 where able professors might be supported and rewarded — wherein models, casts, 
 drawings, books, &c. might be preserved, — where emulation and talent would be 
 placed in laudable competition, and find their proper level and reward ; — and where 
 diplomatic honours should be conferred on ability, and be its passport to the world. 
 On this subject I have employed much reflection, and for the furtherance of it have 
 matured a plan which it is my intention, at no distant time, to lay before the public. 
 For whilst societies are established for the promotion and protection of mechanics, 
 — of painters, sculptors, and of authors, — and at a time when a new University is 
 advancing to adorn and benefit the metropolis, by improving literature and science, 
 it is almost indispensable that Architecture should enforce her claims and establish 
 her character. If the professional man, the sincere patron, and the zealous ama- 
 teur, will promptly and cordially unite in the cause, it may easily and speedily be 
 carried into effect. The chief obstacles to encounter are jealousy and theory . for 
 there is no good without alloy. The Architect must forego all temporary views of 
 his own, and concede to a public object and a public benefit : indeed, every person 
 who cannot dispossess himself of private and sinister motives, and enter upon the 
 subject zealously and impartially, will be unfitted for management, and will rather 
 retard than advance the progress of a plan which is calculated to place Architecture, 
 and its enlightened professors in their proper station among the highest class of 
 the Arts and Artists of the country. Wishing to render this plan as efficient and 
 unobjectionable as possible, it will give me much pleasure to receive the sugges- 
 tions or co-operative assistance of any professional or private gentleman who may 
 be inclined to communicate on the subject. 
 
 J. BRITTON, 
 
 17 , BURTON STREET, LONDON. 
 
XV 
 
 ANALYTICAL CONTENTS OF THE VOLUME. 
 
 Title with Vignette — Views of Vases. 
 
 Dedication, to the King. 
 
 Preface, embracing remarks on intellectual as- 
 sociations and characteristics — Museums 
 and architectural collections — Qualifications 
 for writing this volume — Causes of prejudice 
 — Originality liable to severe criticism, par- 
 ticularly in an Architect — Travels of Archi- 
 tecture — Art and patronage — Honours con- 
 ferred on Architects of antient times — Expla- 
 nation of the present work — Architectural 
 Academy, p. vii to xiv. 
 
 Chap. I. Remarks on design, arrangement, deco- 
 ration ; principally as relating to interior 
 architecture and its embellishments — painted 
 glass, mirrors, and ornaments, p. 1 to 23. 
 
 Chap. II. Description of the general arrangement 
 of Mr. Soane’s house, with brief remarks on 
 the fitting up and decoration of the different 
 
 apartments, referring to the accompanying 
 illustrations, p. 24 to 30. 
 
 Chap. III. Detailed descriptions of the different 
 apartments, viz. the Vestibule and Staircase — 
 Eating-room and Library — Breakfast-room, 
 Passage, — Cabinet, Museum, — Vestibule to, 
 and Picture Cabinet, — Dressing-room, and 
 Study : — In the Basement — the Monk’s Par- 
 lour and Cemetery ; Corridor, Sarcophagus- 
 room, Drawing-rooms, with reference to the 
 sections and perspective views, p. 30 to 48. 
 
 Chap. IV. Brief essay on the contents of the 
 house, classed under the respective heads 
 of — 1. Egyptian Antiquities; 2. Grecian; 
 3. Roman ; 4. Pictures and Drawings ; 
 
 and 5. Books. Mr. Soane’s style of 
 
 design illustrated in the National Debt Re- 
 demption Office — and Royal Gallery, House 
 of Lords. 
 
 A LIST OF ENGRAVINGS, WITH REFERENCES AND NOTICES. 
 
 The reader is solicited to figure tlie Plates according to the ensuing List — as there are errors in the engraved numbers. 
 
 Plate I. Plan of the Ground Floor, and of 
 the two adjoining houses, pointing out the 
 relative situations and forms of the different 
 apartments. A cursory view of this plan will 
 indicate the variety, picturesque arrange- 
 ment, apparent complexity, but symmetry of 
 the whole floor, a. a. Porch and arcade pro- 
 jecting before the house; b. Vestibule; c. 
 Arched recess; d. Staircase, lighted from 
 above ; E. E. Eating-room, forming part of f f, 
 which may be called the principal library ; 
 G. Breakfast-room ; H. Cabinet study, with 
 fragments of Grecian architecture, bronzes, 
 &c. ; J. Dressing-room, with windows to two 
 courts ; k. Closets, or passage to Museum, 
 R, which is beneath the clerk’s office, and 
 communicates with a more lofty part of the 
 Museum, q. This is open from the base- 
 ment floor to a domical lanthorn light. At 
 p. is a cast of the statue of Apollo, to the left 
 of which are three recesses with glazed book- 
 cases, filled with an illustrated Pennant and 
 other valuable hooks, o. A passage gallery, 
 filled with various vases, casts, fragments, 
 &c. with a coved sky-light, and an opening 
 in the floor, to the catacomb beneath. At 
 M. and N. are closets w ith bookcases, models, 
 &c. s. Vestibule, filled with architectural 
 fragments and casts. T. Picture Gallery, with 
 
 folding screens on three sides, a lanthorn light 
 in a highly enriched ceiling, and opening by 
 two pairs of large screens, or doors, to a lofty 
 gallery, u, and window filled with stained 
 glass, V. At w, X, and l, are two courts, 
 that to the east adorned with ruins of arches 
 and architectural ornaments from the dilapi- 
 dated palace of Westminster, fonning a sort 
 of monk’s cemetery, whilst that at l is en- 
 riched with several fragments of Grecian and 
 Roman architecture. At T. is a door-way to 
 a back street, and stairs to the basement 
 floor, which will be described in noticing 
 Plate VIII. z. Is a Picture Gallery, with 
 sky-lights, a suspended ceiling, and bay win- 
 dow, now forming part of the house No. 12. 
 
 Plate II. Elevations of the four sides of the 
 Library and Eating-room, forming one 
 apartment, and adorned with pictures, vases, 
 book-cases, &c. 
 
 Plate III. Sections and elevations of two sides 
 of the Breakfast-room, shewing the form 
 and design of its domical ceiling, with cen- 
 tral Ian thorn-light and two coved sky-lights 
 at the ends ; also the manner in which it is 
 fitted up. The junction of this apartment 
 with the Museum is displayed in 
 
 Plate IV. (erroneously figured VII.) which gives 
 a section of that part marked q in the plan. 
 
XVI 
 
 LIST OF ENGRAVINGS. 
 
 and shews the style of design and adornment 
 of this very unique place. The scenery and 
 characteristic features of this room, or series 
 of rooms, are represented in the four follow- 
 ing prints. 
 
 Plate V. A view from the basement floor, in 
 which the sarcophagus is placed, with seve- 
 ral fragments arranged around. 
 
 Plate VI. A view from one angle, looking to- 
 wards the Breakfast-room, and representing a 
 series of marble vases, fixed on a balustrade, 
 and numerous ai’chitectural and sculptured 
 fragments attached to the walls. 
 
 Plate VII. A plan of the Sarcophagus-room, a, 
 with elevations of its four sides, delineating 
 the several antique ornaments with which it 
 is adorned ; B, the eastern side; c, the west- 
 ern ; D, northern ; and e, southern. 
 
 Plate VIII. Section of the whole Museum, from 
 east to west, with the basement floor, the 
 office above that part at m, the staircase from 
 the basement to the ground floor, and ano- 
 ther flight of stairs to the office. N shews the 
 elevation and section of the Picture Gallery, 
 with an apartment called the Monk’s Room, 
 beneath. The plan beneath displays the 
 arrangement of this floor : A. The Sarcopha- 
 gus-room, as shewn in Plate VII. ; b. A sort 
 of Catacomb, in which are placed several 
 marble cinerary urns, some of which are deli- 
 neated in Plate XVIII. ; c. Recess; d. Wine 
 Cellar, but shewn in the annexed section as 
 a sort of catacomb ; E. Stairs ; F. Monk’s 
 room ; G. Corridor, in which, and in that at 
 the bottom of the stairs, are many fragments 
 of ecclesiastical architecture; H. Vestibule to 
 court, or monk’s cemetery, at J ; at k. is a 
 court-yard, and L an anti-room communi- 
 cating to kitchen, &c. It will be seen that 
 the plan is half the scale of the section, in 
 order to bring it into the same plate. 
 
 Plate IX. Vestibule to the Picture Gallery, 
 marked s. in the Ground Plan. One end is 
 occupied by casts of parts of a capital and 
 entablature, from the ruined Temple of Ju- 
 piter Stator, at Rome, whilst the sides are 
 adorned with several other interesting and 
 valuable casts from, and fragments of, archi- 
 tectural members. 
 
 Plates X. XI. and XII. are intended to convey 
 some idea of the design, arrangement, and 
 decoration of the Picture Gallery, which I 
 believe is truly original, and is richly stored 
 with valuable works of art. 
 
 Plates XIII. and XIV. are representations of the 
 Monk’s-room, the first shewing the eastern 
 
 side and part of the gallery above ; and the 
 second, the northern and western ends. The 
 latter is coloured in imitation of the effect of 
 the scene itself, and displays many objects of 
 antique art, a model of one side of the Bank, 
 &c. 
 
 Plate XV. View of the Egyptian Sarcophagus. 
 
 Plate XVI. Elevations of the two sides, interior 
 and exterior, and of the two ends, with a view 
 of the interior surface of the bottom. 
 
 Plate XVII. Six antique marble Cinerary Urns, 
 adorned with beautiful specimens of sculp- 
 ture. 
 
 Plate XVIII. Eight antique marble Cinerary 
 Urns, with inscriptions, &c. 
 
 WOOD CUTS. 
 
 No. I. Views of antique fictile Vases, grouped, in 
 title-page. 
 
 No. II. View of a piece of Roman sculpture, on 
 one side of a Sarcophagus, p. 1. 
 
 No. III. Representation of an antient Grecian 
 Sepulchre, or funeral chamber, p. 25. 
 
 No. IV. Small bronze Idols, of Egyptian and 
 other nations, p. 32. 
 
 No. V. View of a Sepulchral Monument, designed 
 by Mr. Soane, and raised to the memory of 
 Mrs. Soane, in a burial-ground near the Old 
 Church of St. Pancras, Middlesex, end of 
 volume. 
 
 Illustrations of The National Debt Redemption 
 Office, Old Jewry ; and of Royal Gallery to the 
 House of Lords, Designs by Mr. Soane, and 
 introduced into this Volume to exemplify and 
 confirm the opinions and comments that have 
 been made in some of its pages. 
 
 NATIONAL DEBT OFFICE. 
 
 Plate I. Ground Plan, No. I., and plans of the 
 Dome-room, Nos. II. and III. a. and r. Porch 
 and area; b. Hall and outer office; c. Dome- 
 room ; D. E. F. Offices ; g. Lobby ; h. Stairs ; 
 I. Closet ; a. a. Stairs and hall to dwelling- 
 house; b. Court; c. Office. 
 
 Plate II. Section through dome-room, c ; lobby, 
 G ; office, b ; and porch, a. 
 
 Plate III. View of Dome-room, looking to office. 
 
 ROYAL GALLERY, HOUSE OF LORDS. 
 
 Plate I. Section from north to .south, shewing 
 the western side, also the forms of the lan- 
 thorn-lights, the highly enriched ceiling &c. 
 
 Plate II. Perspective view of the interior, look- 
 ing towards the north. 
 
THE UNION 
 
 OF 
 
 ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 CHAPTER I. 
 
 REMARKS ON DESIGN, ARRANGEMENT, AND DECORATION ; PRINCIPALLY AS RELATING TO INTERIOR 
 ARCHITECTURE, AND ITS EMBELLISHMENTS PAINTED GLASS, MIRRORS, ORNAMENTS, ETC. 
 
 Domestic Architecture, althougli seldom so imposing and interesting to the 
 imagination of the amateur and general observer, as that of public edifices, whether 
 of classical antiquity, the middle ages, or more recent periods, which are impres- 
 sive mostly from their magnitude, interesting from historical associations, or im- 
 portant from their destination, — is nevertheless capable of being rendered far more 
 attractive than it hitherto has been ; and affords more varied scope for the imagi- 
 nation, the ingenuity, and taste of the Architect, than almost any other branch of 
 his profession. In larger works he often plans ad libitum ; but here he is fre- 
 quently trammelled by circumstances, that, while they present obstacles, ought to 
 stimulate his invention ; for, difficulties and accidental local peculiarities will often 
 suggest to the man of real talent numberless happy contrivances with playful 
 effects, and a beautiful adaptation of ornament to convenience, and convenience to 
 ornament, more pleasing than mere splendour. Less fettered by classical prece- 
 
 B 
 
2 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 dent, he is here at liberty to adapt, select, and combine such forms and decorations 
 as may best suit his immediate purpose, and bring into play his own conceptions. 
 Comfort, convenience, taste, are all to be consulted and provided for ; and although 
 in the erection of private residences he may seldom have opportunities of intro- 
 ducing the grander features of his art, he will always have it in his power to 
 display its minuter and more delicate elegancies, and also to evince ingenuity and 
 judgment in construction. Even homeliness does not exclude beauty of contour or 
 of proportion, as will be evident to every one who has seen any of those tasteful 
 domestic utensils of antiquity, which, simple as they are, form the most valuable 
 treasures of our museums, and have scarcely ever been exceeded by the most costly 
 productions of modern art. 
 
 The House and Collection attempted to be illustrated in the present volume, are 
 not only interesting for the copious and valuable stores of art they contain, — but the 
 former is a useful example in itself, as exhibiting how much may be accomplished 
 upon a comparatively small scale ; whilst the latter may be regarded, in its antique 
 sculpture, vases, bronzes, architectural casts, models, and drawings, the treasures of 
 the pencil, the collection of books and manuscripts on the fine arts, as almost 
 unrivalled in extent. If in the first respect, this mansion may proudly challenge 
 some of the finest cabinets and museums in Europe, in the second it may be termed 
 unique , — a singular proof of what architecture is capable of producing by its own 
 native resources, and how far it is adapted not only to overcome obstacles and 
 defects, but actually to convert them into beauties ; and to produce the most 
 enchanting scenes, within limits apparently inadequate, and under circumstances 
 certainly not the most propitious. 
 
 We have undoubtedly, in this country, many noble mansions, fitted up with all 
 the costly decorations that opulence can command, and possessing almost every 
 embellishment that the most luxurious fancy could devise ; yet in point of interior 
 architecture, they present, with very few exceptions, little that is original or striking, 
 imposing or picturesque; and that which they do display is generally confined to 
 their vestibules and stair-cases. In the apartments themselves, architecture holds but 
 a subordinate rank : to rich hangings and draperies, with expensive and fashionable 
 furniture, they are chiefly indebted for their effect. Vivid colours rather than 
 beautiful forms, manufactures rather than art, constitute their attractions. The 
 upholsterer and decorateur have evidently contributed more to their fascinations 
 than the architect. 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 3 
 
 Till lately, interior architecture, which is certainly of the very first importance in 
 a country where the climate compels us to seek our social enjoyments and. relaxations 
 within our dwellings, has not been sufficiently attended to by the higher class 
 of architects, nor has it formed the subject of any graphic work. Architects 
 appear almost to have considered that they had accomplished every thing when 
 they had produced a suite of spacious and well proportioned rooms, and designed 
 . the chimney-pieces, the ceilings, and the cornices ; in short, when they had followed 
 approved rules. To step beyond this, — to impart originality of character, to create 
 new effects, or to produce novel combinations, — has not been often attempted. Mere 
 mechanical routine seemed, in fact, to be the ultima Thule of their ambition and their 
 talents ; the charmed circle, beyond which they could not pass. Even in those 
 mansions, too, where a higher style of architectural effect has been aimed at, the 
 result has seldom been peculiarly successful, or marked by the creations of genius 
 and taste. The embellishments were in general either too heavy and cumbrous, or 
 too frivolous and unmeaning to satisfy a classical eye : there was too much of mere 
 fashion and too little of study and of art. 
 
 Nor was the deficiency remedied by calling in the aid of the decorative painter, 
 as he rather counteracted than assisted architectural beauty. Walls covered with 
 landscape, so as to give to a room the appearance of an uninclosed space, is rather 
 too much of an extravagant conceit to satisfy a correct taste. Neither is painted 
 architecture, which, to produce any tolerable effect, ought to be viewed from a 
 single point, a much more pardonable solecism. It evinces far more of ambitious 
 economy than of real beauty, as it chiefly tends to remind the spectator of what 
 has not been accomplished 
 
 It may be observed also, that Painted Ceilings, which from the nature of their 
 situation are thrown into shade and obscurity, are hardly less objectionable; although 
 
 * This kind of scenic decoration might, however, in some cases be judiciously and effectively 
 employed ; for instance, in the embellishment of a small court, where it might fomi an agreeable 
 substitute for a real view, as seen through a window ; for then the spectator must remain at a proper 
 distance. A painted landscape, or architectural scene, might also, with propriety, be introduced at 
 the extremity of a long corridor, especially if seen through a real arch or colonnade, with a railing or 
 ballustrade to prevent so close an approach as to destroy the illusion. It is almost needless to remark, 
 that such a picture should be on a semicircular wall, and painted on the principle of a panorama, 
 strongly lighted from above, while the spot whence it is to be viewed should be in comparative 
 obscurity. A dioramic picture, too, in such a situation, would produce a very powerful and pleasing 
 illusion. Such an application of painting, d la diorama, might be worth adopting. 
 
4 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 it must be admitted that they do not strike the eye so conspicuously as paintings on 
 the walls of an apartment Pope, in his Epistle to Lord Burlington says, 
 
 “ On painted ceilings you devoutly stare, 
 
 Where sprawl the saints of Verrio or Laguerre, 
 
 Or gdden clouds in fair expansion lie. 
 
 And bring all Paradise before your eye.” 
 
 Paintings in this situation might be effectively represented on an upper ceiling, 
 viewed through an aperture in the lower one, and between the two should be 
 concealed windows. But ceilings of this description can be little better than 
 splendid absurdities ; for as they give an apartment the appearance of being roof- 
 less, they can be employed with propriety only under particular circumstances, 
 and are badly adapted for candle-light. A chandelier suspended from a brilliant, 
 sunny sky, or held up by a motionless-fLymg eagle, is certainly not very appro- 
 priate. The compositions, too, we are accustomed to see selected for this species 
 of decorative painting, are generally very amenable to criticism to say nothing 
 of combatants and horses sprawling about in clouds, as if falling on the heads 
 of the spectators, or of crowded and confused groups, which tend as much to 
 weary as to please the eye. It is obvious that figures should be very sparingly 
 introduced in such situations ; and after all, decorations of this kind serve rather to 
 impart a certain air of magnificence, than to afford gratification by their intrinsic 
 beauty. In fact, whatever tends to destroy the architectural character of an apart- 
 ment, must be pronounced contrary to correct taste. It would be far better, there- 
 fore, that in their general design at least, and apparent construction, ceilings should 
 invariably present architectural forms. Even in this respect, the architects of the 
 Italian school do not appear to have been pre-eminently successful, for their designs 
 exhibit more of richness than of elegance. Large oval compartments, in particular, 
 have something in them heavy and unpleasing ; besides which, they are not easily 
 reconcilable with any imaginable principle of construction. Arched ceilings with 
 circular or oval compartments always look bad, from the distorted effects of the 
 lines, as seen in perspective. In every style of architecture, the internal roof, or 
 
 * “ Le volte piene di pitture riescono tetre anche di giomo, e la notte non sono mai illuminabili per 
 quanti gran lumi vi si mettono.” Milizia, “ Principi di Architettura Civile.” In a banqueting or ball 
 room, a transparent ceiling, effectively lighted by gas, could not fail to be a very striking piece of 
 decoration. In the house of the Earl of St. Germain, St. James’s Square, Mr. Soane has erected a 
 dining-room which is lighted by gas, concealed in the dome. 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 5 
 
 ceiling, forms a very conspicuous and important feature; it is therefore highly 
 desirable that, both in its leading lines and details, it should accord with the 
 character of the architecture, and tend to improve its effect. 
 
 That this province of the art should hitherto have been so much neglected, is the 
 more to be regretted, as it is so extensive and diversified, — susceptible of such 
 exhaustless combinations, and affording such ample scope for the display of inge- 
 nuity and taste, whether with regard to the arrangement of plan and contrivance, or 
 to embellishment. Less fettered here by classical precedent, the tasteful architect 
 will create a thousand nameless beauties and graces that mere glare and splendour 
 can never bestow ; and will at the same time take advantage, to the utmost, of the 
 particular circumstances attending any individual structure. The latitude which 
 this department of architecture affords, while it operates unfavourably to those 
 who must fall into numberless blunders as soon as they are emancipated from the 
 guidance of others, is a positive advantage to the man of talent, who will avail him- 
 self of it to enrich the art by new creations, and thus add to its resources. Rules 
 can be considered merely as the grammar and syntax of architecture : of themselves 
 they are utterly incapable of producing any great master-piece. They may indeed 
 tell us what to avoid, and perhaps what ought to be aimed at, but beyond this they 
 can effect little ; they can never inform us how new and original combinations of 
 elementary forms will be produced. Neither is it desirable that they should ; for 
 then art would lose its essence and name, and become only a matter of calculation, 
 in which the merely mechanical artizan and the man of genius would be reduced to 
 the same level. Arts of poetry never yet made a real poet ; so is it with regard to 
 architecture : we can never lay down any precise and unalterable rules, never pre- 
 scribe any definite limits. It is incumbent on the architect to study incessantly 
 those rich stores of materials which antiquity has bequeathed to him, and thoroughly 
 to imbue himself with their spirit ; but it does not follow that he is to stop here. 
 He ought rather to consider such materials merely as the vocabulary of the language 
 he is to employ ; how best to turn to advantage the riches he has thus acquired, 
 must be left to his own taste and impulse. Astronomers can foretell the appearance 
 of a comet, but who is able to predict that of genius, until it emanates from the 
 mind where it lies dormant? 
 
 We cannot desire a more convincing and irrefragable illustration of the propriety 
 of the preceding observations than the building we are about to describe ; for within 
 a space hardly exceeding that of a common-sized house, the architect has contrived 
 
6 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 to produce a succession of rich, varied, and striking architectural scenery; and has 
 made every thing contribute to convenience, to elegance, and to artistical effects, 
 even without havings called in the aid of those more ambitious embellishments, on 
 which, perhaps, too much reliance is generally placed. A small back court has 
 here been converted into a repository for architectural fragments and other remains 
 of art; and on the site of a cellar has been formed a sort of monks’ cabinet — 
 one of the most delightful retreats that can be conceived, and which may justly 
 be compared to those places of enchantment of which we read in Eastern tales, 
 where passing through a cavern, the wanderer suddenly finds himself within some 
 secluded fairy bower, dazzled and fascinated by the wonders that burst upon 
 his sight. We perceive here not merely the imaginative architect, but the poet; 
 and are at a loss which most to admire, the originality, or the beauty,' — the mystery 
 or the intricacy, of the conception. 
 
 We shall not be accused of advancing too much, when we assert that it has been 
 reserved for Mr. Soane to create a new epoch in the domestic architecture of this 
 country ; and to show, by the embellishments and arrangements of his own house, 
 of what novel, varied, and beautiful effects the art is susceptible, and what tasteful 
 combinations it admits ; — how much depends not merely upon decoration, but on the 
 adaptation of the various features, the contrivance displayed throughout, and on the 
 feeling that imparts originality to what would otherwise be only common-place. 
 We here discover, in every part, that invention without which no man was ever a 
 great master in any branch of art. In examining what has been here effected, we 
 shall find much for which he has had no authority in the works of his predecessors ; 
 and not a little that may appear to contradict established rules, — that is, mere arbi- 
 trary rules ; but we shall perceive that he has uniformly been guided by those 
 principles which ought ever to direct the artist : — rules serve him only as a chart ; 
 principles must be the compass and the star to guide him across the illimitable 
 expanse into which genius alone can safely venture. Unless the architect knows 
 how to avail himself of the thousand accidental circumstances that must inevitably 
 modify his designs ; if he possesses not the talent that will enable him to bestow 
 individuality of character upon the structure on which he is employed, and to elicit 
 new beauties from unforeseen occurrences, he must relinquish his pretensions to the 
 honourable appellation of artist. 
 
 From its alliance with mere mechanical execution, and from its originating solely 
 in our natural exigencies, it has happened unfortunately for Architecture, that it has 
 
HOUSE AND MUSEUM OF JOHN SOANE* 
 
 7 
 
 been considered as not having the clearest and most accurately defined title to be 
 classed among the Fine Arts. It must be allowed, too, that the practice of many of 
 its professors would seem to countenance such a notion. Yet, although certainly 
 not like sculpture and painting, an imitative art, it is capable of producing the most 
 powerful effects, of stimulating the mind in a very high degree, and of exciting a 
 real enthusiasm, till the eye is never wearied of contemplating its charms, but every 
 time discovers a fresh grace, a beauty before unperceived. It is not very easy to 
 analyze the emotions it produces, or the pleasure it affords, and to resolve them into 
 elementary sensations ; neither is it requisite to attempt it on the present occasion. 
 Architecture is an art that does not disclose her charms at once, or even at all to 
 the ordinary observer : she will not be won unwooed ; and much study is necessary 
 before we can fairly appreciate her beauties. But there are few pursuits more 
 fascinating, or that either present more diversified attractions, or demand a greater 
 variety of talent on the part of those who cultivate it. From the manner in which 
 the term is popularly applied, it should appear that little more is understood by 
 it than the application of the different orders; as if it were indebted solely to 
 these for its powers of pleasing. 
 
 Without exactly adopting the opinion of Vitruvius as to the qualifications neces- 
 sary to form an architect, — who, it must be admitted, has enumerated many that can 
 hardly be deemed requisite in modern times, we may safely assume, that not any one 
 of the liberal arts calls for more varied attainments in him who would excel in it : 
 a foreign critic has well characterized it as the most comprehensive of all the arts. 
 Archaeology is certainly most indispensably connected with it, in order to familiarize 
 the student with the models of antiquity, and to enable him to catch their spirit, 
 and to emulate their principles of composition, whether generally, or with respect to 
 details ; and we may venture to affirm, that the more thoroughly the artist understands 
 these, the less liable will he be to copy their beauties servilely, and to apply them 
 indiscriminately ; as he will at once be able to judge how far they ought to be modi- 
 fied, according to the peculiar circumstances of his own design. It is for want of 
 this that we behold so many structures in which a pedantic adherence to particular 
 examples show that they who adopt them have not been able to think in the spirit 
 of those whom they profess to imitate. Can we therefore reasonably wonder that 
 their productions are totally devoid of the better portion of art, sentiment, and 
 feeling. Architecture has, like literature, its verbal critics, — persons who can 
 measure profiles and quote authorities, yet are unable to elicit a single new idea of 
 
8 
 
 UNION or ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 any value, and have as little pretensions to be classed with the masters of the art, as 
 a dictionary-maker has to be ranked with Shakspeare. Such persons have rarely 
 even the tact of applying’ with any propriety the beauties which they borrow — or 
 rather, they mix up with them so much incongruous and base matter as totally to 
 counteract their effect, and destroy their value. It would be not a difficult, though 
 perhaps a somewhat invidious task, to point out numerous instances of this want of 
 feeling which has produced so many hybrid specimens in the style popularly desig- 
 nated as Grecian, but which might with nearly equal propriety be characterized as 
 Chinese. These unfortunate pretenders give us the mere caput mortuum, after 
 suffering all the finer particles,— the spirit, to evaporate; they complacently exhibit 
 a mangled corse, instead of the living body endued with life and grace ; or, like 
 another Frankenstein, they compose a loathsome monster of heterogeneous parts, 
 and then wonder that we do not admire its proportions ; a monster doubly hideous, 
 by reminding us of what it is not. Such were the abominations of Borromini and 
 his school, where Architecture, instead of exhibiting herself in her own native, 
 majestic mien, was compelled to distort herself into the most antic postures, and to 
 assume the most hideous and absurd grimaces. In that and similar schools, the 
 principles of architectural variety seem to have been completely misunderstood, so 
 that their efforts to attain it produced only grotesque monotony, monotony without 
 simplicity, — the monotony of “ confusion worse confounded.” It is to be hoped 
 that a purer and better aera of art is now approaching : and this will be essentially 
 promoted by the study of Grecian models, provided we do not suffer our admira- 
 tion of the originals to betray us into mechanical imitation, — the most fatal obstacle 
 to all that is genuine or great in art. 
 
 It is almost unnecessary to point out very particularly the intimate relation which 
 has ever existed between Sculpture and Architecture, or the manner in which they 
 mutually tend to foster and embellish each other. The former may be considered 
 as the interpreter of the latter, as that which enables it to express itself more 
 distinctly than is otherwise in its power. It is by the aid of sculpture that the 
 architect gives a precise and definite character to his building, points out at once 
 its specific destination, and stamps on it the impress most suitable to his views. 
 Architecture may indeed convey the general sentiment intended to be expressed, 
 but sculpture imparts to it greater energy and eloquence, and renders it, if the 
 expression may be allowed, a speaking art. 
 
 We may very properly consider architecture as the parent and elder art, for whose 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 9 
 
 embellisliment the others have been created ; and it is so notorious, that the higher 
 branches of painting require its assistance to enable it to display itself with effect : 
 hence one reason generally assigned for the partial reception of large pictures in 
 this country, is, that our apartments are ill calculated to receive or display them. 
 Without the sheltering aid of architecture, neither of the other two arts can be 
 expected to make any great advances ; besides, too, as'" sculpture is almost solely 
 employed in embellishing and heightening the attractions of architecture, wherever 
 the latter is but little cultivated or encouraged, the former cannot be expected to 
 flourish for want of opportunities of being displayed. We shall invariably find, 
 that in proportion as architecture has declined, so has the sister art ; for it is easier 
 for the former to exist without the embellishment of the latter, than for the latter 
 without the aid and protection of the former. So closely are they connected, that a 
 pure and refined taste in the one leads to similar refinement in the other. This alli- 
 ance between the two arts is so intimate, that as far as regards embellishment, they 
 may almost be considered as, in fact, one, or merely branches of the same. Thus we 
 may divide sculpture into architectural and imitative ; comprehending under the 
 first of these terms, all those decorative members which are composed either of 
 geometrical forms, or of forms borrowed from vegetable nature; and under the 
 other, that which has for its object the imitation of the human figure. The inex- 
 haustible variety and exquisite taste displayed in the architectural sculpture of 
 Greece offer to our study materials for every purpose of decoration, and of every 
 character, from the most simple to the most luxuriant, — from the boldest to the most 
 delicate. Yet it is not desirable that the artist should confine himself to these : he 
 will not only be able to form new combinations, but may occasionally, provided it 
 be done sparingly and cautiously, introduce embellishments from his own designs. 
 Innovation, however, is a very hazardous point, and one that requires consummate 
 judgment and the most refined taste. It may not inaptly be termed the touchstone 
 of an architect’s ability ; for it is exceedingly difficult to hit upon the due medium 
 between servility and timidity on the one hand, or caprice and rashness on the other. 
 In this, as in many other things, much depends upon success : if the architect 
 be fortunate in his attempts, he enriches his art and adds to its powers ; if he fails, 
 he has done worse than nothing, and exposes himself to derision. Innovators are 
 like usurpers : they either become the founders of new dynasties, or are hurled as 
 rebels from the eminence to which they aspired. 
 
 Yet we may venture to affirm that hardly any one who has thoroughly studied 
 
 c 
 
10 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 the remains of ancient art, and imbued himself with its spirit, will fall into any very 
 great extravagance ; as he will perceive how far he can proceed with safety, and to 
 what extent he can with propriety adopt the Horatian precept, “ quidlibet audendi.” 
 Had Emblyn known any thing of the fundamental principles of the art he professed, 
 he would never, we are sure, have made such a preposterous essay to invent a new 
 order, as that which has conferred on him, as far as he is now remembered, an 
 unfortunate celebrity. A studious ambition of novelty, merely as such, ought to 
 be particularly guarded against by the architect : at least, before he carries such 
 designs into execution, he should study them long and attentively ; and take care 
 that they be well matured, so as not to have the appearance of being crude, undi- 
 gested essays. But the judicious artist will adopt such novel forms and combinations 
 only as seem to be naturally suggested by the peculiar characteristics of his design ; 
 and these features he will so amalgamate with the rest, as to present nothing inhar- 
 monious or discordant. It is therefore indispensable that the architect should 
 study profoundly whatever relates to embellishment, and obtain an intimate acquaint- 
 ance with those beautiful and tasteful forms which are preserved in the various 
 remains of antiquity. Where these remains cannot be referred to, and studied, 
 nothing less than casts, or models, will serve to supply their places. Drawings, 
 however accurate, are inadequate to impart the necessary information. Hence 
 such a collection, as that of Mr. Soane’s, is of the first importance and of the 
 greatest interest. 
 
 Among the numerous circumstances that demand an architect’s attention, one of 
 the most essential, though unfortunately not generally considered as such, is the 
 study of chiaroscuro ; especially if he aims, as we conceive he ought to do, at 
 picturesque effect, — if he aspires to the title oi pittor-architetto^ . Bold contrasts of 
 light and shade will often produce more than ornament. It is this that gives a spirit 
 and energy to architecture, without which the most elegant forms and the most 
 beautiful proportions affect us but feebly. The system hitherto adopted has cer- 
 tainly not been propitious to this very important consideration, whether with regard 
 
 * Many have affected to doubt whether an attention to picturesque effect he not rather a fault 
 than otherwise in an architect, on the ground that it may induce him to sacrifice to this quality other 
 and more important considerations. But the authority and practice of the antients may satisfy us in 
 this respect, as their finest edifices prove how much attention they bestowed on the subject: and 
 surely they were not our inferiors in construction. We admit that it is not easy always to combine 
 picturesque effect with convenience, or to surmount the obstacles which oppose it ; but it should be 
 remembered that it is the triumph of art to overcome difficulties, and to achieve that which inferior 
 minds dare not attempt. 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 11 
 
 to exterior or interior designs. So little, indeed, does it appear to have engaged 
 the attention of professional men, that they hardly seem to have had any idea of it, 
 as if it were something entirely foreign from the art : hence that flatness and insipidity 
 which we so frequently meet with in their works. We ought not, therefore, to be 
 surprised at the little popularity which architecture has hitherto obtained among us, 
 when we see how negligent architects themselves have been in duly estimating 
 their art, or ascertaining the extent of its powers. Enslaved by a system of vulgar, 
 common-place routine, few have ever ventured to quit the beaten track, but seem to 
 think that when they had copied one of the orders with tolerable fidelity no matter 
 how applied, — they had accomplished every thing. Architecture, thus treated, may 
 be compared to a child swathed and compressed into deformity by injudicious nurses, 
 and deprived of the use of its limbs. It is time to break through these trammels, 
 and to entertain more liberal notions ; and it is but a just compliment to the talents 
 of the Professor of Architecture, to add, that he has done more for the advancement 
 of the art, both by his own practice and by precepts, than almost any other of his 
 contemporaries or predecessors in England. The liberal views which he has taken 
 of his profession, and his unwearied zeal in promoting its interests, ought to secure 
 to him the approbation of all who are attached to this delightful and fascinating 
 pursuit; while his own edifices successfully illustrate his theory, and show the 
 novel, varied, and picturesque effects of which architecture is susceptible. 
 
 We ought not to confound the architect with the builder : the latter is too generally 
 a mere mechanic, but in the former we expect to find the artist, — one whose works 
 are impressed with the indubitable stamp of genius and of taste ; who “ snatches a 
 grace beyond the rules of art,” and can impart even to the simplest forms a high 
 degree of elegance and beauty, and that indescribable quality which is beyond the 
 reach of rules. The aphorism, poeta nascitur non Jit” is to a great degree appli- 
 cable to him who would attain eminence in the art of which we are speaking ; which, 
 although it certainly requires much severe and dry elementary study, demands also 
 no little share of genius and feeling : not to admit this is to deny that it is art. It 
 would be unreasonable to expect that every builder should be an architect, in this 
 high import of the term ; yet even the mere builder may at least display science 
 and even taste, however humble the work on which he is employed. Even if 
 devoid of all ornament or pretension, a structure may please by its proportions and 
 graceful simplicity. The most homely utensils of the ancients possess a beauty 
 of form unrivalled, — nay, unapproached, by the costliest productions of later periods. 
 
12 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 — a beauty wliich confers on them a value beyond that of the most precious metals ; 
 and it is but just to remark, that of late years, since these relics of antiquity have 
 been studied with proper attention, our taste in furniture and all the ornamental 
 arts has very visibly improved. 
 
 To some it will probably appear that too much importance is attached by us to 
 these refinements : yet surely whatever tends to inspire a love of elegance, and to 
 attract from mere sensual pursuits, is not a matter of utter indifference ; neither is a 
 cultivated taste incompatible with economy j on the contrary, lavish finery and 
 meretricious gaudiness will ever predominate — cceter is paribus ~m an inverse ratio 
 to delicacy of taste. This is not the luxury that ought to excite the invective of the 
 moralist. At the present day, the man of fortune takes a pleasure in collecting 
 around him the treasures of art, in embellishing his home with whatever can render 
 it delightful : is he therefore less praiseworthy than his ancestors, most of whom 
 were content to pass their existence in coarse, if not actually vicious, indulgence ? 
 
 We trust that this digression, from our more immediate subject, will not be con- 
 sidered altogether irrelevant or impertinent, as we are of opinion that nothing 
 contributes more to form a taste for the beautiful, in general, than the study of 
 architecture ; and we are anxious to show that, considered apart from its techni- 
 calities, it is a pursuit every way worthy the man of a liberal education. Were it 
 more generally cultivated by non-professional men, it would be to their advantage, as 
 they would then employ architects of superior talent only, and we should not witness 
 so many tasteless yet expensive structures. It would also be highly beneficial to the 
 profession itself, as the architect would not have to encounter the prejudices and 
 obstinacy of domineering ignorance, while, at the same time, professional abilities 
 would be better appreciated by the public. We have attempted to point out above, 
 the importance of studying the effect of light and shade, upon which so much of 
 the beauty of architecture depends, and which contributes so essentially to variety 
 of -surface and to picturesque character. 
 
 Intimately connected with this branch of study, is that which relates to the 
 arrangement of Columns^ which is susceptible of a diversity and novelty that hardly 
 seems to have been contemplated. Many beautiful and striking examples of what 
 may be accomplished by this means are to be seen in the Bank of England. The 
 noith front exhibits some very bold and novel features of this description j and the 
 wings of the south front are of a particularly rich and striking character. Nothing 
 can be more picturesque than the play of light and shade in these colonnades, in 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 13 
 
 which the reflected light, thrown on the columns, relieves the latter in the most 
 delicate manner. This mode of placing columns slightly advanced from the wall 
 of a building, forms an agreeable variety in architectural composition, of an inter- 
 mediate character between engaged columns and a corridor, or portico. This 
 branch of architectural composition appears to have been very inadequately studied, 
 although it is that on which originality must chiefly depend. Who may calculate 
 all the varied combinations arising from arrangement and plan alone, setting aside 
 those which are produced by decoration and detail, and the other elements of design ? 
 In fact, so far is it from being barren or limited in this respect, that architecture 
 may be termed the most fertile of all the fine arts ; and the changes of which it is 
 susceptible must be computed not by thousands, but by millions ! 
 
 Interior arrano-ement is a department of art that affords a boundless scope for the 
 display of ingenuity and talent, for invention and contrivance. It is here that the 
 architect is called upon to unite exterior symmetry with domestic convenience : to 
 surmount the various obstacles that he must necessarily encounter, and to convert 
 difficulties, which seem to thwart his aim, into beauties, and render them subservient 
 both to artistical effect and to interior comforts. By skilful arrangement of plan, he 
 will be able to form beautiful vistas, and views that unexpectedly burst upon the 
 spectator, so as to fascinate him with delight ; — to give an appearance of greater 
 extent to the building, and to produce that species of complexity which destroys all 
 monotony *. Instead of disclosing the whole beauties of the interior at once, the artist 
 ought rather so to distribute the various divisions, as to present a succession of apart- 
 ments gradually increasing in effect, to contrast them judiciously, and occasionally 
 to admit distant glimpses of remoter parts, in such a manner as shall forcibly affect 
 the imagination. That Mr. Soane has profoundly studied this part of his art, must 
 be acknowledged by every one who has examined either the building here illustrated, 
 or the interior of the JBcink. In the former, the effect which he has attained, in this 
 respect, is almost unrivalled ; from the first step to the last, the visitor is struck with 
 some ingenious contrivance, some beautiful display, some unexpected scene. Which- 
 ever way he turns, he discovers a picture varying at every step. The light and 
 shade is so artfully arranged, to produce the most piquant contrasts, that what has 
 
 * In many large countiy mansions, we find a succession of rooms, communicating with each other, 
 presenting, when all the doors are open, merely a long vista, and exhibiting in themselves a repeti- 
 tion of nearly the same forms, designs, and character. Nothing can be more insipid and tiresome. 
 The architect appears to have never thought about effects, nor cared about fame. 
 
14 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 been primarily adopted from necessity, appears to have been the result of study and 
 luxurious refinement. Parts thrown into shade, serve to set off more forcibly the 
 brilliancy of others : parts inevitably contracted tend to add to the idea of expanse ; 
 recesses are employed to enshrine beautiful works of art ; windows are so disposed 
 as to admit lengthened perspectives through courts and through other rooms. 
 
 It is remarkable how little attention appears to have been bestowed upon that 
 particular part of internal arrangement, which regards variety in the size and foi'ms 
 of rooms. Hence an extensive suite of apartments, however imposing in other 
 respects, is generally monotonous and fatiguing ; nearly the same proportions and 
 arrangement prevailing in each. On this subject, Milizia very judiciously remarks : 
 
 quasi tutte le nostre abitazioni sono di forme assai comuni, e senza invenzione ; 
 sono condannate a forme quadrate e rettangole. Un palazzo non e che un rettan- 
 golo, i suoi cortili rettangoli, sale rettangole, ed un centinaio di camere, di camerini, 
 di gabinetti tutto rettangolarmento, e di far morire di noja. Si potrebbe benissimo 
 approfittarsi di qualunque figura regolare, curva, retta, e mistilinea, si nel tutto 
 come nelle parti della distribuzione interna, e si avrebbe quella varieta che tanto ci 
 diletta.” Semicircular tribunes, or recesses, produce an agreeable diversity of plan, 
 and have a very beautiful effect, whether with or without columns. Another point 
 that deserves great consideration is so to contrive the principal rooms, that each shall 
 present a striking view when seen from that adjoining. 
 
 In ordinary dwellings, it will be sufficient that each room be in itself well propor- 
 tioned and well lighted ; but in houses of higher pretensions, where we look for 
 the display of that which merits the name of art, it is also of importance that the 
 respective apartments should either relieve and contrast, or enhance the effect of 
 each other ; — that the imagination be called into play ; — and that the whole offer 
 to the eye a masterly arrangement and picturesque combination^'. Unless this 
 be done, we must forego all the enchantment — all the poetry of the art, and be 
 
 * The forms and proportions of rooms afford considerable opportunity for the display of invention 
 and contrivance. Circular and octagonal plans may be made very beautiful ; and apartments thus con- 
 structed admit of great variety of character, not only from their style of decoration, but from their 
 greater or lesser extent ; from the manner in which they are lighted ; from the form of the ceilings, 
 and from their height being more or less than their diameters. Even triangular plans, the acute 
 angles being cut off so as to render them unequal hexagons, may in some circumstances be adopted 
 with a good effect, especially if the lesser sides be filled up with mirrors. It might naturally be ima- 
 gined that the segment of a circle must be any thing but an agreeable shape for a room, yet the library 
 at Ickworth, the seat of the Marquis of Bristol, which is of this form, the ends being cut off, as it were, 
 by columns, is a most elegant and pleasing apartment. 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 15 
 
 content to indulge no warmer feeling than that of complacent approbation. It is in 
 the power of architecture to create a thousand beauties far more fascinating than mere 
 sumptuous embellishment : in this respect, pure taste maybe termed genuine economy, 
 since even when restricted to the simplest forms, and to the most limited means, it is 
 capable of affording more delight than the glare of costly but inelegant splendour. 
 
 We should contract the province of the architect very much, if we suppose 
 that when he has erected the bare walls of a building, his studies and labours 
 ought to terminate. Instead of this, another and very wide field then opens itself. 
 In addition to those decorations which are more immediately architectural, he should 
 be prepared to direct, at least, all that is connected with the embellishment and 
 fitting up of the apartments ; should be able to give a determined and appropriate 
 character to each, according to its particular destination ; and should thoroughly 
 understand the theory of Colours, so as to combine them harmoniously, or by judi- 
 cious contrast to produce many piquant and novel effects ; and as no precise and 
 invariable rules can be given on these points, he must here be guided by delicacy 
 of taste and nicety of tact. In the selection of colours and tints, whether for the 
 walls, columns, draperies, ceilings, &c. there is room for endless variety; and by 
 skilful management in this respect, by various shades of the same colour, great rich- 
 ness may be attained with a pleasing chasteness, and unity without monotony. 
 Even where strong contrasts of colour are admitted, there must be some principle of 
 harmony adopted, or the result will be any thing but pleasing. Masses of dark 
 colour may occasionally be employed to produce an effect equivalent to that of posi- 
 tive shadow The colours and materials of doors, and the various modes of 
 pannelling and decorating them, form essential considerations for interior decoration ; 
 and afford an opportunity for the architect to diversify these features according to 
 the particular character of the several apartments. In vestibules, corridors, and 
 galleries, bronzed doors have a classical appearance. These, again, may be either 
 
 * The application of coloured marbles, either real or artificial, admit of endless variety, and of 
 every degree of character, from the most simple to the richest. It is here that the architect may be 
 said to come into competition with the painter, and may, like him, please the eye by a masterly com- 
 bination of tints. In external architecture, it must be granted, that colours are totally inadmissible ; 
 but assuredly not in interiors. Gilding and bronze may also be reckoned as two of the colours 
 peculiar to the architect’s palette : to the fonner of these, Milizia appears to object ; but wherefore, it 
 is not easy to say. Surely there is sufficient authority for its use by the antients, to satisfy the most 
 rigorous, — not to say pedantic, — of their admirers. The use of colours may be veiy tastelessly 
 employed, and, by unskilful persons, degenerate into mere gaudiness ; but so, by the same reasons. 
 
16 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 pannelled, or merely studded : tlie doors to the picture gallery and vestibule, in this 
 house, are of the latter description, and must be allowed to constitute tasteful 
 features in internal architecture. 
 
 As our climate and our ideas of comfort necessarily preclude the use of bare 
 Floors, our architects have rarely turned their attention to this part of a room, with 
 the view of rendering it ornamental ; but have been content with admiring, without 
 copying, the tasteful and luxurious species of decoration, of which the ancients have 
 left us examples in their mosaic pavements, although the texture of carpeting is well 
 calculated to give the peculiar character of surface of mosaic work. If this be wholly 
 disregarded, it would be far better were the general surface to be of one plain neutral 
 tint, best adapted to accord with, and set off, the other colours of the room, inclosed 
 with a vsdde mosaic border, and having a rich central compartment. In this case, 
 the compartments on the carpet might correspond in their general outline and figure 
 with those on the cieling : and these latter, again, might occasionally be painted, 
 either in cameku or otherwise, so as still further to accord and harmonize with the 
 decorations of the floor. Not that it is by any means advisable they should per- 
 fectly correspond, but merely that there should be, — at least in some cases, — such 
 general similarity of design as to contribute to harmony of character; especially 
 whenever a certain unity of style has been aimed at in every other feature. 
 Should this ever be done, we might again see faithful copies of those exquisite 
 specimens of antique decoration adorning the splendid apartments of our mansions, 
 and bestowing on them a truly classical air ; nor would it be more derogatory to an 
 architect to give designs for such a purpose, than for the embellishment of a ceiling. 
 The most valuable productions of Raphael’s pencil were originally designed as 
 patterns for tapestry-weavers. 
 
 However much we must confess ourselves inferior to the ancients, to whom we 
 are indebted for many elegant ornaments which we are proud to adopt, we have in 
 other respects decided advantages over them, and are thus enabled to bestow on our 
 
 every architectural beauty may be misapplied : we speak only of what may be effected by the man of 
 real taste. As to Milizia, it should be observed, he occasionally indulges in some capricious opinions : 
 he denounces, for instance, the use of gilded picture frames ! Yet unless he would have merely such 
 paintings as are depicted on the wall itself (which practice he also condemns), we do not see how 
 gilding can be dispensed with. These ornaments, like all others, may be in either good or bad taste : 
 they should, as far as possible, accord in some degree with the general character of the apartments in 
 which they are placed. If the architecture and furniture present purely Greek forms, the frames 
 should be of an analogous character and style of contour, ornament, &c. 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 17 
 
 apartments a degree of luxurious clieerfulness and splendour with which the Greeks 
 and Romans were totally unacquainted. 
 
 By the means of glass, we repel the inclemency of the elements, may be said to 
 render our walls transparent, and can enjoy the distant prospect from our fire-sides. 
 By the aid of mirrors we multiply the costly embellishments that surround us, extend 
 the apparent dimensions of our rooms, and create the most magical effects. What 
 would the possessor of the most splendid palace of antiquity say, could he witness 
 this species of luxury, of which he had not even an idea? — what, the former lords 
 of Eastern treasure and magnificence, could they behold our chandeliers blazing 
 from the ceilings, like so many pendant pyramids of diamonds ? 
 
 Little advantage has hitherto been taken by our modern architects, of Stained 
 Glass, as if it were an absolute incongruity in classical design : we ought therefore 
 to thank Mr. Soane for having, by his successful adaptation of this truly valuable 
 accessory, done much to remove such a prejudice, and for showing how it may be 
 applied so as to create many picturesque effects. We are thus enabled to diffuse a 
 sunny glow over halls and galleries that would otherwise have too chilling an 
 appearance ; — to rival the amber hue of a warm evening atmosphere ; or to mitigate 
 the sultry heats of summer, by tinging the light with a cool gray tint ; or, lastly, by 
 a luxuriant combination of colours, to shed the voluptuous charm of a mingled 
 splendour on the scene around us. We do not mean to say that stained glass is so 
 well calculated for sitting rooms as plain plate glass : but for vestibules, corridors, 
 stair-cases, and rooms lighted from above, it forms a most beautiful decoration ; and 
 is more especially desirable whenever the windows open towards unsightly objects. 
 From having been accustomed to behold it employed only in our ancient religious 
 and baronial edifices, we are apt to consider it as inapplicable to modern buildings : 
 and so it certainly would be, were we to adopt the same class of embellishment, — 
 to introduce heraldic blazonments, figures of saints, and monkish legends. When 
 employed in lanthorn and sky-lights, or in side windows immediately beneath a 
 ceiling, it will be sufficient if the glass be simply stained of such a hue as shall 
 appear most suitable to the situation ; but in other cases, the windows might either 
 be of merely an ornamental pattern, Etruscan or Grecian, from ancient paterae and 
 vases, or might exhibit small groups in the style of antique bassi-relievi, or camai’eux, 
 upon a semi-opaque ground of somewhat a darker hue than the figures. It would 
 be advisable also in this instance, that either the squares of glass should be of con- 
 
 D 
 
18 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 siderable dimensions, or that the frame should be so delicate as not to interrupt the 
 continuity of the design. Arabesques, or mosaic patterns might be employed thus 
 ■with excellent effect, so as rather to heighten than destroy the classical air of an 
 apartment, and in that case there might be as much variety of splendid colours as 
 in Gothic windows. In a sky-light made to resemble either a flat or arched ceiling 
 with caissons, stained glass might be used for the ground of each of these pannels, 
 with an architectural rosette, either of a stone-colour, or so tinged as to have nearly 
 the appearance of being gilt. A ceiling of this description, to a vestibule or stair- 
 case, would have a very classical and singular effect, as the apartment would be 
 lighted without presenting any appearance of window whatever. A dome, too, 
 lighted by windows so placed as to be entirely concealed, produces a striking effect. 
 All rooms in which columns are employed should, if possible, be lighted from above ; 
 and although sky-lights are rarely ever introduced, except in galleries built expressly 
 to receive sculpture or paintings, or corridors and stair- cases where side windows 
 cannot be obtained, they contribute in a very high degree to picturesque effect. 
 Hence we find that architects have produced more imposing architectural scenery in 
 stair-cases and apartments thus lighted, than in any other. 
 
 It should be remarked, too, that rooms of this description serve to afford an agree- 
 able diversity in the interior of a building ; and besides being preferable to any 
 other for a display of works of art, are, from their seclusion, well adapted for libraries 
 and for the purposes of study. 
 
 It would lead us far beyond the limits we have assigned ourselves were we to 
 attempt to enumerate the almost infinite variety of forms of which ceilings are sus- 
 ceptible : many ingenious inventions of this kind will be found in Mr. Soane’s own 
 residence, whilst other buildings, either executed or designed by him, display great 
 imagination and judgment in their domes and lanthorn lights. The Bank of Eng- 
 land presents some very beautiful examples of this kind, as does also the new gallery 
 to the House of Lords, which, together with the adjoining stair-case, forms one of 
 the most splendid and imposing architectural scenes in this country. Sir William 
 Chambers, on the contrary, appears to have been far from successful, either in the 
 general design, or the embellishment of these features. It is to be wished that 
 churches were more generally lighted from the roof, even if not entirely so, for 
 according to the present mode, the number of scattered and cross lights very much 
 impair that solemn and dignified character which such edifices ought to possess ; 
 and side windows are also objectionable, as the number of these apertures tend very 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 19 
 
 much to lessen the classical air of a design, externally ; particularly when several 
 small windows, like loop-holes, are cut through massy walls. 
 
 We have now to make a few remarks on Mirrors, upon the judicious position 
 and application of which, so much depends in interior decoration. When of large 
 dimensions, and advantageously placed, so as to reflect some striking object in an 
 apartment, they impart to it considerable splendour. Mirrors opposite each other 
 produce this effect in a very eminent degree, and for this purpose octagon rooms are 
 admirably adapted, and in that case four of the sides should be either partially or 
 entirely occupied by them. When there are only two windows in a room, and the 
 pier between them is considerably wider than the apertures, it may be occupied by 
 a large mirror of the same dimensions as the windows, and fitted up in the same 
 manner with draperies, &c. This arrangement will be the more desirable, should 
 there happen to be a door immediately opposite. Percier has given the design of 
 a gallery, the end wall of which consists almost entirely of mirrors placed between 
 the columns. The magnificent saloon in the Palazzo Serra, at Genoa, has vast 
 mirrors fitted into arches, with half columns, and half chandeliers suspended against 
 them, which thus have the appearance of being entirely round. Looking-glass 
 fixed in the pannels of pilasters is rather a defect than a beauty, inasmuch as it 
 gives the appearance of vacuity to what ought to seem solid. 
 
 Mirrors may occasionally be placed with very good effect at a considerable 
 height; for instance, in the semicircular part of an arcade, so as to convey the 
 appearance of its being perforated. At the extremity of a long gallery, if there be 
 neither door nor window, a large mirror may be fixed within a door-case, with 
 folds before it, to enclose it occasionally by way of protection. It is almost unne- 
 cessary to remark, that mirrors, to produce real grandeur, should be of spacious 
 dimensions : but small slips may be often applied with pleasing effect. It was 
 formerly the fashion to have large oval mirrors, but no form can be more objection- 
 able ; they are almost as ugly as windows of the same shape. 
 
 We have already hinted at the beauty attainable in Vestibules and Stair-cases, 
 and at the strictly architectural character which they so readily assume : the per- 
 spective afforded by the former is almost always picturesque, but more especially 
 whenever they are relieved by occasional breaks and openings where the light 
 streams in, while the other parts are in shadow. There is one subject connected 
 with the interior arrangement of a building, which, although in the highest degree 
 available for the purposes of architectural and picturesque effect, has been almost 
 
20 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 entirely overlooked — w^e mean inner courts or cortiles. Tliis is the more extraordi- 
 nary, because they may be considered as forming, in fact, an essential portion of the 
 interior, and capable of being rendered very beautiful and ornamental appendages, 
 instead of presenting blank and dismal walls. The elegancies of architecture would 
 certainly not be misapplied here, as viewed from the windows looking towards 
 them, they would be constantly before the eye. It is in this part of his dwelling 
 that the man of taste might form a beautiful classical scene from the purest specimens 
 of antient edifices, or from some tasteful original design. When he decorates the 
 front of his house, he builds rather for others than for himself; but here he might 
 introduce the riches of architecture for his own gratification. In this respect again, 
 Mr. Soane has done much for the improvement of our domestic architecture, having 
 exhibited some very beautiful examples of what may be accomplished in this way. 
 The different cortiles at the Bank must be admired by every person who has beheld 
 them ; and in his own house, within a very limited space indeed, he has contrived 
 to display no little taste ; not that he has attempted to give that small court any 
 regular architectural character, but merely by making it a repository for antique 
 fragments, sculptural ornaments, &c. The hint, however, is a most valuable one, 
 and deserves to be adopted and extended by other architects. Circular and semi- 
 circular plans are extremely well adapted for this purpose, whether with peristyles 
 and open corridors, or without ; for even the simplest embellishment — a single 
 feature, provided it be beautiful and striking, will be sufficient to impart a consider- 
 able degree of interest and picturesque effect ; particularly if aided by a bold 
 contrast of light and shade, as will generally be the case in such parts of a building, 
 whenever the sun glances in. In some cases, an area of this kind may be covered 
 with a glazed roof, leaving apertures near the top for ventilation. If the situation 
 be such as to admit a garden beyond the court, an open colonnade will have a 
 highly pleasing effect, and this may be so managed as to conceal the actual size of 
 the garden itself, and convey the idea of greater extent. Many agreeable and 
 picturesque scenes might be formed in a similar manner, by having recourse to a 
 painted perspective, seen either through a colonnade, arch, or other aperture : and 
 if depicted on a curved wall, after the manner of a panorama, and well lighted 
 from above, would present almost a magic degree of illusion : whether the subject 
 represented were landscape scenery, or an architectural interior. In other instances, 
 the walls of the cortile itself might with great propriety be decorated with painting 
 in chiaro-scuro. These hints will, we hope, not be considered as entirely irrelevant : 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 21 
 
 at least it is desirable that a part of a structure so well adapted to become an orna- 
 mental classical appendage to a town mansion, should display some little regard to 
 taste, as by this means the back apartments of a house might be rendered even 
 preferable to the others ; which is rarely the case at present, for when they look into 
 what is by courtesy termed a garden, it exhibits — at least during by far the greater 
 portion of the year, little more than damp walks and stinted vegetation. 
 
 Wherever there is an opportunity of introducing it, a Conservatory forms a very 
 pleasing object at the back of a house ; and in point of architecture may be rendered 
 highly ornamental : its propinquity to the rooms fronting it, would admit much 
 delicacy of detail, as it would be sufficiently conspicuous. 
 
 Although some of the foregoing remarks relate to what is not immediately and 
 indispensably connected with interior decoration, in the strict application of the 
 term, they may all be considered as applying to it ; they will at least serve to point 
 out what a wide field is open to the artist in this apparently narrow and restricted 
 branch of his profession ; and of what varied and picturesque effects it is suscep- 
 tible. 
 
 Another very extensive and important subject — one that, in fact, would demand 
 an entire volume to treat it as its copiousness requires, and years of study to enable 
 any one to discuss it with the attention it deserves, and to illustrate theory by example, 
 — is that of Ornament. In this particular, Mr. Soane has evinced great ability, 
 and has done much to enrich this department of architecture, by his masterly and 
 tasteful adaptation of embellishments borrowed from the antique, and also by beau- 
 tiful inventions of his own ; he has also for the most part so employed them as to 
 combine a high degree of richness with classical simplicity. The skilful and artist- 
 like manner in which he relieves unbroken masses by decorative features, and thus 
 contrives to vary the outline of his buildings ; whilst the use he has made of vases, 
 tablets, scrolls, and honey-suckle ornaments, give to his designs a superior pictu- 
 resque value. Nor are his internal ornaments less characterized by originality, both 
 of composition and of application. Some critics, we are aware, may be of opinion that 
 in this respect he has occasionally allowed himself too much license : to this we 
 reply, that we do not perceive why architecture, which is purely an art of invention, 
 should be more fettered and restricted in this respect than any other. There was a 
 time when each beauty it possesses was an innovation, — when whatever is now 
 sanctioned by the authority of ages, was a deviation from preceding practice. W e 
 certainly would not argue for the abuse of this liberty : nay, we would rather say 
 
22 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 that the utmost caution and discretion ought to be exercised with regard to this 
 privilege. We will further grant, that modern architects have indulged in it too 
 much, and thereby deteriorated and impoverished, instead of improving and enrich- 
 ing the art, but this only proves that they invented badly ; without any regard to 
 the principles of taste, without due study of the antique, without judgment, and 
 without feeling. Hence their attempts have exhibited a character totally opposite 
 to the style with which they have sought to combine them ; and by the juxta-position 
 with classical forms, the disparity has been rendered more striking. 
 
 It might almost seem impertinent to remark, did not so many examples prove that 
 such a caution is not supererogatory, that ornaments, unless beautiful in themselves, 
 are worse than none ; since, instead of affording the pleasure they are intended to 
 produce, they only disgust, and excite a regret that so much cost and labour should 
 have been expended on them. Of late years, a far better and purer style has been 
 introduced into all these accessories, although there is still much room for improve- 
 ment. That which was at one period in vogue, and may be described as the French 
 style, was perhaps, of all others, the most uncouth and tasteless that was ever 
 devised, capricious without fancy, monotonous without unity *. 
 
 We may admire both the architecture of Greece and that of the middle ages, 
 however dissimilar in their character, for both are founded on just, though different, 
 principles ; and each forms a regular and harmonious system — we may truly say 
 of them, pares magis quam similes. But in the degraded French school, till about 
 the close of the last century, we cannot possibly recognise any principles whatever, 
 save such as must inevitably produce deformity. Such, however, wretched as it was, 
 was the style we were content to copy in our furniture. 
 
 Unfortunately for good taste. Furniture, although forming so essential a part of 
 decoration and effect, has been considered as not coming within the province of the 
 architect or artist. Robert Adam was, we believe, almost the first of his profession 
 who gave designs for furniture, which he endeavoured to assimilate with the more 
 permanent decorations of the apartments for which it was intended ; but meritorious 
 as his efforts were, he was far from attaining purity and simplicity. 
 
 To Mr. Hope we are indebted, in an eminent degree, for the classical and appro- 
 priate style which now generally characterizes our furniture and ornamental utensils. 
 
 * It is with much regret we learn, that some features and imitations of the old French style, 
 which Mr. Hope calls the “ degraded school,” are adopted in a modem palace : let us hope, however, 
 that even princely authority will not become an example for such a style. 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 23 
 
 Like most other innovations, his was decried as whimsical and puerile by some per- 
 sons, as if it were absolutely unbecoming a man of fortune to indulge in the 
 elegant refinements which wealth placed at his command ; whilst others caricatured 
 the system by cramming their apartments with mythological figures and conceits, 
 jumbled together without propriety or meaning"'^. 
 
 It is therefore highly desirable that the architect of cultivated taste be permitted 
 to exercise his judgment on furniture, which so much affect interior decoration : 
 whereas, at present, he rarely exhibits in his designs any thing beyond the bare 
 walls of his rooms. If it be said that such subjects do not come within the scope 
 and province of the architect, we contend that he ought not to leave a house, or an 
 apartment, till he sees and approves all the finishings and fittings — till harmony, 
 symmetry, and beauty pervade every part. 
 
 “ Be tlion the first true merit to defend ; 
 
 His praise is lost, who stays ’till all commend.” 
 
 POPE. 
 
 * Mr. Hope’s useful volume " On Household Furniture and Interior Decoration,” folio, 1807 
 though treated with much illiberal severity in “ The Edinburgh Review,” Vol. X., has not only 
 improved the taste of cabinet-makers and upholsterers, but also that of their employers. This gentle- 
 man urgently recommends the young artist “ to emerge from the servile track of undeviating sameness, 
 take a higher flight, and ascend to those more copious sources of elegance, whence I myself have 
 drawn all my ideas, and which alone can offer an inexhaustible store of ever varied and ever novel 
 beauties. I mean, in the first place, those productions of nature herself, animate or inanimate, which 
 contain the first elements and the first models of all the perfections of art; and, in the second place, 
 those monuments of antiquity which show the mode in which the forms of nature may be most 
 happily adapted to the various exigencies of art.” — See also Percier and Fontaine, “ Recueil de 
 Decorations Interieures, comprenant tout ce qui a rapport a I’Ameublement.” Fob 1812. 72 plates. 
 
CHAPTER II. 
 
 DESCRIPTION OF THE GENERAL ARRANGEMENT OF THE HOUSE, WITH BRIEF REMARKS ON THE 
 DIFFERENT APARTMENTS, REFERRING TO THE ACCOMPANYING ENGRAVED PLANS. 
 
 “ He gains all points who pleasingly confounds, 
 
 Surprises, varies, and conceals the bounds.” 
 
 POPE. 
 
 Having pointed out in the preceding chapter, as far as our limits would permit, 
 some of the principal desiderata in domestic architecture and interior decoration ; 
 and having briefly shown the varied effects of which they are susceptible, and the 
 extensive and diversified field they present to architectural talent, we now proceed 
 to notice, briefly, the arrangement of the rooms, as indicated in the ground plan ; 
 reserving, for the next chapter, more particular descriptions of the respective 
 apartments. 
 
 This residence, which was built by Mr. Soane in the year 1792, and has been 
 occupied by him ever since that time, has undergone many successive changes and 
 embellishments that have rendered it, independently of the numerous works of art it 
 contains, a house of peculiar interest to the architect, antiquary, and artist. The 
 elevation towards Lincoln’s Inn Square, although too small to form a prominent 
 object, and although rather fanciful for street architecture, must be admitted to 
 exhibit a novelty which at once attracts attention and excites comment. It is. 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 25 
 
 however, to be regretted that merely the galleries, or screen, is of stone ; and that 
 the entire front is not of the same material. This screen consists of three arches 
 below, one forming the doorway, and three above: the latter are divided by 
 narrow pilasters, decorated with square flutings, terminating at top in an angular 
 fret. Before the second story, the screen occupies the space of the centre window 
 only ; and above each of the extreme pilasters, of the lower part, is placed a female 
 statue *. We need hardly remark how much more preferable this mode of disposing 
 statues is, so as to have their shadow fall upon the building itself, to that of fixing 
 them on the upper cornice or balustrade of an edifice, where they always have an 
 insecure appearance, and where, if they be numerous, as is the case in many Italian 
 edifices, they look like a row of pinnacles, the effect of which is any thing but 
 pleasing to the eye. It is not, however, on the external appearance of the house 
 that we need dwell, when there is so much more originality and invention displayed 
 in every part of the interior. This we purpose to notice, and shall endeavour to 
 characterise by a few general observations, in passing from one apartment to 
 another, through the whole ; and in the subsequent chapter shall enter more into 
 detail, by describing some of the choicest objects of art and virtu which are here 
 preserved. By referring to and studying the annexed plan, the reader will be 
 able to obtain an accurate idea of the forms and arrangement of the ground floor; 
 and will not fail to remark how ingeniously every portion of the space has been 
 occupied and rendered beautiful : and how every irregularity of form is made to 
 contribute to variety, and to produce picturesque effects. 
 
 The Plan includes the ground floors of the three houses. Nos. 12, 13, and 14, 
 Lincoln’s Inn fields, the whole being the freehold property of Mr. Soane. That 
 marked No. 13 is, however, the subject of the present essay, and is contradistin- 
 
 * The original erection of this gallery created inveterate and pertinacious opposition from the 
 district surveyor, who proclaimed it a nuisance, and in opposition to the provisions of the Building 
 Act: he accordingly indicted the architect in October, 1812. The case was argued before the Bow 
 Street magistrates, and decided against the surveyor. The latter, however, appealed to the quarter 
 sessions, where the case was not received. The district sui-veyor next carried it into the Court 
 of King’s Bench, when Lord Ellenborough again referred it back to two magistrates : after being 
 once more discussed by counsel on both sides, and by the magistrates, the projection was decided 
 not to be a nuisance, and not to come under the cognizance of any Building Act. The consider- 
 ation of this case, and the pertinacious litigation it occasioned, convinces us of the danger of investing 
 undefined power in certain public offices. In the same Square, a similar case had been previously 
 decided : and the portico of the Surgeons’ Hall was raised without opposition from the district 
 surveyor. The Metropolitan Building as well as the Paving Acts require careful revisal, and specific 
 adaptation to the present times. 
 
 E 
 
26 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 guished from the otliers by a darker colour in the engraving. It v/ill be observed 
 that parts of its museum and gallery, to the back, are portions detached from the 
 other houses. The present dwelling may be said to occupy an area of thirty-four 
 feet in front, eighty-two in depth, and seventy-six feet in the rear ; within which 
 space is comprised a series of rooms, passages, vestibules, stairs, and courts, which 
 vary so much in size, arrangement, and characteristic features, that it seems extremely 
 difficult to describe the great intricacy of the whole. A more familiar knowledge 
 of the place shows us that the architect has given a practical illustration of the 
 union of symmetry and complexity, as well as of the alliance of architecture, sculp- 
 ture, and painting. Passing through a porch of double doors, a, and vestibule, b, 
 we arrive at 
 
 The front rooyn^ ee and fe, measuring twenty-three feet by thirty-eight, and 
 thirteen high, which has something very uncommon in its arrangement, being 
 divided into two nearly equal parts, of which that marked f f is appropriated as a ~ 
 library, and the other part, towards the court, as an eating-room. Such a dis- 
 position, with windows at the opposite extremities, is certainly not in accordance 
 with the rules usually laid down, but is a proof, were one needed, that an architect 
 is not bound servilely to adhere to rules, which, however excellent as general pre- 
 cepts, may, under particular circumstances, as in the present case, be deviated from, 
 rather advantageously than otherwise. The effect here produced is exceedingly 
 impressive ; an air of spaciousness is created, while, at the same time, the two 
 divisions are kept sufficiently distinct by the projecting piers, and the pendent arches 
 on the ceiling ; and gratify the eye by their proportions, whether considered sepa- 
 rately or united. The view likewise either way — whether into the square in front, 
 or into the court behind, is more pleasing, when thus thrown to a distance, than it 
 would have been, had there been two distinct rooms ; in which case, neither would 
 have been so well lighted as at present. 
 
 The centre of this floor may be considered as being occupied by the Breakfast- 
 7'oom, G ; the Court, l ; and the Cabinet and Dressing-room, ii and j. The first of 
 these, which extends somewhat deeper than the Court, measures nineteen feet by 
 eleven and a half. It is lighted by two windows towards the Court, and by arched 
 lights at the north and south ends. (See Section, Plate III.) These lights, as well 
 as a small lanthorn in the centre, are formed of stained glass, which diffuses a warm 
 glow over the room, and admirably displays the drawings at the two ends of it. It 
 has seven doors, but they are arranged so symmetrically, that although the apart- 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 27 
 
 meiit is small, they are so far from seeming too numerous, that they rather enhance 
 its beauty; and some of them being pannelled with mirrors, serve to give an appear- 
 ance of greater extent. Those opening into the Museum and Eating-room are double, 
 one of them is glazed with stained glass of a warm hue, so that the inner door being- 
 opened, a view is admitted into the other rooms without any draught of air being- 
 occasioned, and the apartment may be rendered quite private, or otherwise, as 
 may be required. By this exceedingly ingenious and novel mode, very contrary 
 advantages may be obtained at will ; and the inconvenience attending glazed doors 
 entirely obviated. 
 
 In the centre of the Court, which descends to the level of the basement story, is 
 a kind of trophy composed of a capital of an Hindoo column and of other architec- 
 tural fragments ; besides which, it contains several pieces of sculpture : and on the 
 north side, opposite the window of the Eating-room, is an elegant Grecian scroll 
 ornament surmounted by a vase ; the effect of which, as seen from the apartment just 
 mentioned, is strictly architectural. 
 
 From the Breakfast-room there are four doors of communication to the Museum, 
 one of which, at the north-west angle, opens to a small Cabinet, with a coved 
 sky-light, which is ornamented with a miscellaneous collection of sculpture, bronzes, 
 bas-reliefs, &c. At the end an opening has been made in the floor, to admit a view 
 into a part of the lower gallery, or crypt ; thus we may perceive that even a space 
 of a few feet may be so arranged as to produce a singularly striking effect. 
 
 Like the Breakfast-room, this closet opens into the Museum, which we will now 
 cursorily examine. From the multiplicity of objects with which it is stored, and 
 from the intricacy of its plan, a stranger must view the scene with astonishment, and 
 can hardly know where first to direct his attention. It may be considered as consisting 
 of several portions, marked in the plan p, q, and r. The first of these, at the west 
 end, is a recess fitted up with bookcases, pannelled with mirrors : q, the principal 
 division, is loftier than the others : it is lighted by a lanthorn dome, supported on 
 four piers and arches, the space beneath which is open to the lower gallery, as will 
 be seen by the section, Plate IV. This opening is surrounded by a parapet and 
 balustrade, upon which are placed antique vases, urns, and busts ; and from the 
 gallery thus formed, the spectator looks down into the Sarcophagus-room, or centre 
 of the lower gallery, where is deposited that unique specimen of Egyptian antiquity, 
 the Belzoni Sarcophagus, of which a complete interior view is thus obtained. The 
 portion marked r, is much lower than the rest of the Museum, being only nine 
 
28 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 feet and a half high, whereas the other parts arc thirteen and a half : — from the 
 floor of the Sarcophagus-room, to the summit of the lanthorn, the height is thirty 
 feet six inches. It will be seen by the section, Plate VlII. that there are several 
 variations in height, arrangement, and construction in the extent of the Museum 
 from east to west. Immediately to the east of the part last noticed, there are 
 three passages communicating to the Picture Cabinet ; the central one of which is 
 bounded by rows of columns, piers, &c. supporting the Student’s Office. When 
 viewed from above, or at the sides, this office seems suspended, or poised in middle 
 space, being detached from the main walls. In passing under it, the visitor will 
 not omit to notice a picturesque and pleasing view, which is obtained across the 
 court-yard, already noticed, and thence through the eating-room and library, to the 
 garden of Lincoln’s-inn-fields. Another, and very dissimilar vista is next caught, 
 through the dressing-room, study, &c. in the same direction, where the glazed 
 doors of tinted glass produce a glowing, or sunset-like effect. 
 
 Passing through a small vestibule or ante-passage, s, containing casts of capi- 
 tals, columns, and other architectural fragments, we enter the Picture Cabinet^ t, a 
 room fifteen feet by fifteen, and nineteen and a half high. Uncommon as these 
 proportions are, and singular as is the effect, this apartment is particularly pleasing 
 and impressive. Looking back, we obtain a vista through the whole Museum, the 
 extreme extent of which, including the Gallery itself, is sixty-six feet ; although 
 from the picturesque arrangement, and the successive contrasts of light and shadow, 
 the distance appears considerably more. The walls of this Gallery may be said to 
 be treble, or to consist of three surfaces, the outer one opening like folding shutters, 
 leaving a sufficient space between the two for pictures, both on the inner face of 
 the shutter, and on the wall itself. By this original and exceedingly ingenious con- 
 trivance, a small cabinet is rendered capable of containing as many pictures as a 
 room three times the size. On the south side, these shutters are double, thus affordino- 
 four surfaces, and on the whole being opened, an effect of a most magical kind is 
 produced : — within a bay-window of deeply stained glass, stands a beautiful statue 
 of a female, by Westmacott, while in the intermediate space the walls are covered 
 with drawings, architectural models, and numerous reliques of art. The astonish- 
 ment of the visitor is increased at finding beneath him a Gothic apartment, as 
 singularly situated as it is adorned. We here perceive what beautiful and novel 
 effects may be attained by ingenious and tasteful contrivance, — what rich and 
 picturesque architectural scenery may be created within the most confined space. 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 29 
 
 and without the least aid of external view. After witnessing what has been accom- 
 plished here, let no architect complain that private residences afford little scope for 
 the display of originality and fancy ; or that striking effects cannot be produced on 
 a small scale ; or that picturesque beauty cannot be obtained, except at the expense 
 of convenience. 
 
 Quitting the Picture Cabinet, we ascend a small staircase to the Office, the sides 
 of which are a continuation of the walls of the Gallery beneath, an open space of a 
 few feet in width being left to admit light into that part of the Gallery. A small 
 window at the west end of this room affords a view into the Museum below, and 
 also to the Sarcophagus beneath. No place can be conceived better fitted for an 
 architect’s study, or more richly furnished with objects adapted either to inspire 
 his mind, or refine his taste ; for turn which side w^e will, — above, below, around, — 
 models, casts, ornaments, and details meet the eye in every direction. 
 
 Returning to the Gallery, and descending another flight of steps, at r, we enter 
 what is designated as the MonUs Parlour. Here, in defiance of all precedent, and 
 doubtless to the horror of those coldly correct persons who pay implicit deference 
 to Vitruvius and Palladio, and who look upon any deviation from established forms 
 as culpable heresy, — here, on the very basement floor, we find ourselves within a 
 “ daintie Gothic bower,” as secluded from aught that might remind us of the “ huge 
 Babylon” around us, as if we were a hundred miles from the metropolis ! This room 
 measures about thirteen feet by thirteen, independently of the bay, which is four 
 feet in depth ; and is eight feet high, except that portion which is beneath the open 
 space marked u in the plan of the ground-floor, where we look up on one side to the 
 statue before mentioned, and on the other, into the Picture Cabinet, whose richly- 
 decorated ceiling, with its hanging arches and pendants, produce a beautiful effect, 
 hardly less surprising than that we before noticed when looking down from the 
 Cabinet itself. 
 
 The adjoining Court, w, is fitted up with arches, and other fragments of Christian 
 architecture, so as to accord with the character of the room from which it is viewed, 
 and to present a pleasing and singular piece of scenery. Re-entering the passage, 
 we pass through a narrow corridor leading into the crypt, or sub-gallery, which is 
 most appropriately fitted up as a repository for the famed Egyptian Sarcophagus, for 
 cinerary urns, vases, busts, &c. Nothing can be better managed, or more piquant, 
 than the efi’ect produced by the contrast felt on passing from the corridor to this 
 subterraneous museum. There is a considerable degree of solemnity pervading 
 
30 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 this crypt, which is admirably in character with its destination ; nor could the most 
 enthusiastic admirer of Egyptian antiquity desire a more appropriate or nobler 
 shrine, for that invaluable monument of ancient art than this, where it is deposited 
 in the centre of so many precious and exquisite relics of later ages — resting like a 
 patriarch in the midst of the generations that own him as their sire. That the reader 
 may study the tasteful and symmetrical arrangement of the architectural design, 
 and of the pieces of antiquity here contained, we refer him both to the general 
 section, Plate VIII., and to Plate VII. which exhibits the plan and elevation of 
 the four sides of the Sarcophagus room. 
 
 The Recess, at the south-west angle of this lower Gallery, has been lately opened 
 above into the Closet, as has been before remarked, in the ground-plan, o. Another 
 alteration, which has taken place since the plan of the basement-floor was made, is 
 the throwing open the room on the west side of the Court, so as to extend the 
 passages of ingress and egress to and from the Sarcophagus. 
 
 Returning to the Museum, the stranger is conducted through the dressing-room 
 and small study (ii j k, in Plan) to the eating-room. The window in the dressing- 
 room j, commands a bird’s-eye view of the various architectural fragments, &c. in 
 the Court, marked w ; and in the Study, marked ii, the visitor will pause to examine 
 several beautiful and interesting fragments of Grecian architectural sculpture, and 
 also numerous other relics. 
 
 W e have now conducted the reader, step by step, through the apartments on these 
 two floors, appropriated to the reception of works of art ; and may safely assert, 
 that no where within a similar extent does there exist such a succession of varied 
 and beautiful architectural scenery, so many striking points of view, so many fasci- 
 nating combinations and contrasts, — so much originality, invention, contrivance, 
 convenience, and taste. 
 
N... IV. 
 
 CHAPTER III. 
 
 DETAILED DESCRIPTIONS OF THE DIFFERENT APARTMENTS, VIZ. THE VESTIBULE AND STAIRCASE 
 
 EATING-ROOM AND LIBRARY BREAKFAST-ROOM PASSAGE CABINET MUSEUM VESTIBULE TO, 
 
 AND PICTURE CABINET DRESSING-ROOM, AND STUDY: IN THE BASEMENT THE MONK’S PARLOUR 
 
 AND CEMETERY’ CORRIDOR, SARCOPHAGUS-ROOM, DRAWING-ROOMS, ETC. ; WITH REFERENCE TO 
 
 THE SECTIONS, AND PERSPECTIVE VIEWS. 
 
 The construction and arrangement of the house illustrated by the present volume 
 may be regarded as the result of many years’ study and experience, by an architect 
 who has been actively and zealously devoted to his profession ; and who has, in this 
 instance, given full latitude to his imagination. Hence it cannot fail of claiming 
 the attention, and even deference, of persons who love the art, and hope to profit 
 either by the success or failure of their predecessors. These descriptions are entirely 
 addressed to such a class of persons, and to whom we would recommend an attentive 
 
32 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 examination of the accompanying Sectmis and Views which, jointly considered, we 
 hope will at once interest the imagination and gratify the curiosity of the reader*. 
 
 The Vestibule and Stair-case, it will be seen by plan, PI. I. b, c, d, have been 
 influenced in their forms and design by the original wall, between the two houses. 
 Nos. 12 and 13. Instead of being detrimental to effect, this obliquity of line, in the 
 partition wall, has given the architect an opportunity of contrasting the former with 
 the latter, and giving to the stair-case an appearance of greater space and greater 
 lightness, than it would have assumed, had the size of the vestibule been squarer and 
 larger. This part is coloured in imitation of porphyry, whilst the stair-case assumes 
 the appearance of giallo antico. Here we perceive contrast without opposition, and 
 an imitation of those Italian palaces, or villas, where finely polished marbles are at 
 once the substance and ornament of many apartments. A break, or division, is 
 formed between the vestibule and stairs, by a pier perforated by three arches, and 
 two squared niches, which serve both to divert the eye from the oblique line of the 
 side wall, and also to give an architectural feature to the scene. At the entrance 
 are two doors, of which the exterior one is studded with round-headed nails, and 
 bronzed ; and the inner one is formed of mahogany, and ornamented wdth several 
 panes of painted glass. On the landings of the stairs are windows, filled also with 
 painted and stained glass, and additionally lighted with a coved sky-light. 
 
 Library and Eating-room, Plate II. — The mode here adopted of giving 
 geometrical representations of the sides of an apartment, with all its fittings-up and 
 ornaments, will, it is hoped, be far more useful and satisfactory than that which has 
 hitherto been generally employed, — of strictly architectural sections, showing only 
 one side of a room, and that, too, quite unfurnished. Although this mode serves to 
 exemplify the construction of a building, it conveys very little idea of the appearance 
 of an apartment when furnished ; and has certainly not contributed to render archi- 
 tectural works so generally interesting and inviting, as they might be made by a 
 more popular and intelligible style of representation. Hence it has happened, that, 
 with the exception of professional men, and a few amateurs, hardly any one is 
 attracted by publications of this description ; while the exceedingly scanty letter- 
 
 * In the preceding chapter a summary view has been taken of the House, as far as regards the 
 Plan alone : in this a more detailed description is given of the various apartments with respect to 
 their decorations and contents ; and although this mode of treating the subject may have occasioned 
 one or two trifling repetitions, it has been adopted as the most convenient and perspicuous ; and as 
 enabling the reader better to comprehend either the general distribution of the rooms, and their 
 connection with one another, or the peculiar character and details of each, individually. 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 33 
 
 press with which they are usually accompanied, has by no means tended to heighten 
 their claims to general notice. 
 
 The annexed engraving exhibits elevations of the two sides and ends of the front 
 apartment, forming the library and eating-room, the southern division being appro- 
 priated to the former, and the northern to the latter destination. Singular as the 
 plan of this double room is in many respects, the effect it produces is both surprising 
 and pleasing : every thing that is novel produces the former, though not always the 
 latter effect. The advantage of considerable space is thus obtained, while the lines of 
 demarcation between the two divisions are sufficiently marked to give to each of them 
 its due proportions ; whereas, had these been omitted, the room would have appeared 
 too low for its other dimensions, it being only about thirteen feet high, by forty feet 
 in length. This disparity of proportion is effectually remedied by the pendent arches 
 between the two divisions, which we thus perceive are not introduced without some 
 motive, although their intrinsic beauty would of itself have been sufficient to justify 
 their application. The walls are painted of a deep red colour, in imitation of the walls 
 at Herculaneum and Pompeii, as are likewise the arches and the pannelled com- 
 partments of the ceiling ; whilst, in some parts, the mouldings are of a light bronze 
 colour. Notwithstanding the richness of the ensemble^ the pervading characteristics 
 of this apartment are chasteness and simplicity. Very few mouldings are intro- 
 duced, and those consist of mere lines : even the cornice, if such it may be termed, 
 is remarkable for its extreme plainness, being in fact nothing more than a fillet ; yet 
 such is the variety of well contrasted outlines, and the happy arrangement of the 
 various parts, that the eye is amused and the mind interested by the novelty and 
 intricacy of the forms and effects. Had the architectural contours been more 
 enriched, — for instance, the arches above the book-cases, they would have disturbed 
 the repose requisite to give effect to the ornamental sculpture, and to the vases, 
 and bronzes which they contain. 
 
 Among the various works of art which ornament this apartment, the most striking 
 is the large Jictile Vase, on the portfolio table, before the glass, at the south end of 
 the room (Plate II. a). This exceedingly beautiful and valuable relic of ancient art 
 is shown in the wood-cut of vases, in the title-page of this volume; as is likewise 
 another vase of the same description, but of very remarkable and unusually elegant 
 contour which is placed against the east pier, dividing the two rooms, as will be 
 seen by referring to the elevation, Plate II. c. 
 
 As indicated in the accompanying print this apartment is fitted up with glazed 
 
 F 
 
34 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 mahogany book-cases, which contain a mass of valuable and interesting w’orks, on 
 architecture in particular, and on the fine arts generally. On the tops of these cases 
 are numerous antique vases, pieces of sculpture, &c. ; whilst other objects of the 
 same class are supported on brackets attached to the pendent arches. At the angles 
 of the book-cases, as well as in some of their pannels, are several strips of looking- 
 glass, which tend to give light, cheerfulness, and beauty to the scenery. A series 
 of antient chairs, of unusual form, and inlaid with mother-of-pearl (which are omitted 
 in the accompanying elevations, as they would interfere with the architectural 
 symmetry), constitutes part of the furniture of this apartment. Attached to the piers 
 are several bronze idols, and other antique relics. It will be seen by the sections 
 that the ceilings are adorned with deep pannels, or recesses, with bead mouldings, 
 &c. Over the side-board, opposite the chimney, in the eating-room, is a very 
 interesting architectural drawing, in which are grouped together various designs 
 and compositions by the Professor of Architecture. On the frame is the following 
 inscription : “A Selection of Parts of Buildings, public and private, erected from 
 the Designs of J. Soane, R. A. F. S. A. in the Metropolis, and other places in the 
 United Kingdom, between the years 1780 and 1826.” 
 
 The idea of thus bringing together, in an abridged form, the principal features 
 of the various works of a single architect, is both ingenious and interesting. We 
 here find portions of the Bank, the Dulwich Gallery, the House of Lords, Courts at 
 Westminster, National Debt Office, the Board of Trade, and other structures, which 
 have been executed during a long and successful professional career. 
 
 Opposite, and over the chimney-piece, is a masterly and pleasing specimen of 
 Sir Joshua Reynolds’s painting; an allegorical picture, called The Snahe in the 
 Grass. Beneath the large window which opens to the back court, as well as on 
 each side, are other glazed bookcases, Plate II. b. To the right and left of these 
 are entrances to the breakfast-room, and to the small study. The doors are maho- 
 gany, and glazed with stained glass, whilst a second door, glazed with mirrors, is 
 hung on the inner side. A very large square window, with its lower panes filled 
 with specimens of antient painted glass*, occupies the greater part of the nortlj end 
 
 * Hitherto stained or painted. Glass has been considered as utterly out of character and inadmissible 
 in any buildings except those in the style of our ancient religious edifices, of which it forms so striking 
 a characteristic ; yet there is no reason, that we can perceive, why it should not be occasionally 
 employed in edifices where the foims of classical architecture predominate. Are we to suppose 
 that if the ancients had been acquainted with this beautiful material, they w ould have failed to 
 avail themselves of it for the purpose of architectural decoration, when we perceive that they had no 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 35 
 
 of the room; which, as already noticed, is richly adorned with fragments of 
 classical architecture. By reference to the elevations in Plate II. the reader will 
 perceive that there are busts, p>ieces of sculpture, drawings, and circular mirrors in 
 this apartment. The forms o»f the fire-places, and position of the stoves, merit 
 the attention of the young architect. 
 
 The Breakfast Room, Plate III. — This small and beautiful apartment is certainly 
 not one of the least interesting in the house, whether we consider its admirable 
 arrangement and construction, or the novelty and taste with which it is fitted up. 
 Although its dimensions do not exceed eighteen feet by eleven, and although within 
 this space there are no fewer than seven doors, the disposition of the various parts is 
 so harmonious and symmetricail, that there is no confusion or crowding : on the con- 
 trary, comfort seems to have been studied full as much as ornament. The ceiling is 
 formed by a flattened dome per forated by a lanthorn in the centre, and by four circles 
 at the spandrels ; to the north and south of which are arched roof-windows rising 
 above the ceiling. These throw a vertical light on the side walls, so as to produce 
 
 objection to colour and gilding, — to ivory and bronze, — or, in short, to whatever might contribute to 
 ornament, and to embellishment? Smrely it is no violation of any fundamental principle of good taste 
 to introduce entire windows of painted glass in a building of strictly Grecian character, provided the 
 subjects represented be in perfect unison with that style; for what, after all, is such a window but a 
 transparent picture ? Unfortunately , however, most persons suffer themselves to be imposed upon, 
 in architecture, by w'ords ; and hence it has happened that, while we affect to copy the antients, we 
 have so often lost sight of the principles which guided, and the spirit which animated them. 
 
 As a lamentable instance of the poverty of invention and want of taste in modem architects of 
 the soi-disant classical school, w'e may here remark, that instead of making chimneys and roo/s subser- 
 vient to the decoration and harmony of the rest of their composition.s, they generally leave them in 
 the rudest and most uncouth forms imaginable. If the architect conceals them, it is well ; — but if he 
 either does not, or cannot, he ought at least to impart to them such embellishments and proportions 
 as shall render them in unison with the other features of his building. Unless he does this, he com- 
 mits a false concord both in architectture and taste. But the antients have left us no prototype for this 
 indispensable part of a modern edifice ; we may, however, rest assured, that had they known the use 
 of chimneys, they would have devised some means of rendering them not only pleasing but beautiful 
 objects: for the peiwading 'principle' of their architecture — its first and fundamental rule — was to 
 render each part and feature subserv ient to decoration : even the very tiling of their roofs assumed 
 picturesque fonns, and contributed t(0 embellishment. The Italian school has proceeded upon prin- 
 ciples nearly the reverse, for it has c;arried mere ornament to a disgusting excess, cutting up facades 
 into “ bits of littleness” and gewgaw trumpery, so as utterly to destroy character, grandeur, propor- 
 tion, and simplicity. — In this respect the architects of the style popularly designated Gothic, show ed 
 a far better taste : their roofs and chimneys, in short, every feature, accorded, with and formed a com- 
 ponent part of the general design, — but they were not copyists. 
 
36 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 a very beautiful effect, and to show the architectural drawings that adorn them, to 
 the utmost advantage, W e have here a very happy example of the manner in which 
 windows of this description may be introduced into sitting rooms where there are 
 side windows also. Opposite the fire-place is a window opening to the court, the 
 centre compartment of which is formed by a large sheet of plate glass. Some of 
 the doors are pannelled with mirrors, which serve to give the appearance of greater 
 extent : and these being opened, the museum is seen through other doors glazed 
 with stained glass ; by which means views are obtained into that apartment without 
 any inconvenience or draught of air ; while, on the other hand, the objection to 
 which doors of this description are liable, is obviated by having an inner door. 
 The two ends of this apartment, and other parts of its walls, are adorned with 
 various architectural drawings, either the designs of Mr. Soane, or imitations of the 
 interior decorations of rooms at Herculaneum. Among the former are several of 
 the Bank of England ; a sepulchral monument, raised in a burial ground near 
 St. Pancras Old Church, to the memory of Mrs. Soane ; plans and sections, &c. for a 
 national gallery, to perpetuate the gallant achievements of British valour by sea and 
 land ; a design for “ the Academical Institution,” erected at Belfast, in Ireland *, 
 See. As already noticed, there are no less than seven doors in this room, four of 
 which communicate with the museum, as indicated in the plan, Plate I. Two of 
 these open laterally to small cabinets. That marked o in the Ground Plan, is 
 profusely ornamented with small bronzes, bassi-relievi, casts, fragments, &c. Turning 
 to the right the stranger next enters 
 
 The Museum, which is illustrated by Plates IV. V. VI. VII. and IX. On 
 entering this truly unique apartment, so richly adorned in every part with archi- 
 tectural fragments, casts, vases, and other works of art, and presenting such intricacy 
 and variety that every step offers a new picture to the eye, the spectator hardly 
 
 * An anecdote of the latter edifice is entitled to record. Some Irish noblemen and gentlemen of 
 Belfast, &c. having patriotically raised a fund to found a public academy in that town, solicited 
 Mr. Soane to furnish designs, and for which they intimated they could only afford to give one hun- 
 dred pounds. Although very inadequate to i-emunerate an artist of talent and of experience, the 
 architect undertook the task, made a seiies of plans, sections, elevations, &c. and presented them to 
 the young institution. A large edifice was erected, confoimably to these designs, excepting the 
 colonnade shown in the drawing. The committee not only transmitted a vote of thanks to the archi- 
 tect, but entered a resolution on the archives of the Institution, that he was invested with the privileges 
 of a life governor. 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 37 
 
 knows where first to fix his attention ; and it is some time before he can proceed to 
 examine in detail the numerous objects around him. Commencing our description 
 from the west end we perceive a recess fitted up with bookcases, and which may be 
 denominated the Pennant Library , from its containing a rich and unrivalled copy 
 of Pennant’s “Account of London,” illustrated with a great number of original 
 drawings and prints, and bound in six folio volumes *. 
 
 At this end of the Museum is an assemblage of antique sculptured marble vases, 
 presenting a variety of forms, proportions, and sculptured embellishments. This 
 rich group of ornamental sculpture is shown in Plate V. ; and some of the most 
 interesting vases are delineated more at large in Plate XVII. 
 
 The annexed engravings will furnish the stranger with an idea of the general 
 design and arrangement of this apartment, and also characterise some of the objects 
 with which it is replenished and adorned. Were this volume intended as a Cata- 
 logue Raisonn^ of the contents of the house, it would be necessary to name and charac- 
 terise the various and numerous articles of art and antiquity which are dispersed 
 over the walls of this room ; but however desirable such a catalogue might be to a 
 few, we fear that the majority would regard it as tedious and dull. Desirous of 
 pleasing that majority, we must restrict ourselves to the architectural features and 
 designs of each room, alluding, in general terms, to some of the more prominent 
 objects with which each is adorned. The museum now alluded to is not merely 
 novel and almost romantic in design and effect, but is filled with a choice and 
 valuable collection of architectural fragments, bassi-relievi, busts, statues, &c. As 
 indicated in the plan and views, it presents at once two stories, or floors : the base- 
 ment, in which the sarcophagus is placed, is seen from a parapet surrounding an 
 opening in the floor. In passing round this parapet, various views of unusual 
 combination and effect are obtained, both of the subterranean recesses below, the 
 gallery and dome above, and of vistas eastward towards the picture cabinet. 
 
 Considered as a collection of architectural fragments and models, this gallery is 
 unrivalled in Great Britain ; for, with that enthusiasm for his profession, which is 
 the characteristic of the real artist, Mr. Soane has here accumulated the most valu- 
 able specimens of architectural details of almost every period, and may be said to 
 
 * This magnificent specimen of topographical illustration was purchased at the sale of the late 
 Mr. Fauntleroy, of unfortunate memory, for the sum of six hundred and fifty guineas : and, we may 
 add, that it could not possibly have been more appropriately deposited than in its present situation, 
 where it is surrounded by costly architectural publications illustrative of eveiy country. 
 
38 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 have set an example that deserves to be adopted by government Of the superi- 
 ority of facsimiles, in relief, to any other mode of representation, there can be little 
 doubt ; for they show at once, in a tangible form, what cannot otherwise be at all 
 satisfactorily understood without a great number of diagrams ; and even then the 
 actual effect is left in a great degree to the imagination. In saying this, we by no 
 means intend to deny the utility of drawings, which, for some purposes, are even 
 preferable to models ; for a mere model, however satisfactory in other respects, will 
 not enable us to judge of the appearance of the structure itself when placed in any 
 particular situation : for this purpose perspective views, exhibiting not only the 
 building but its locality, are indispensable. Besides, a model is seldom so placed 
 as to be seen from the same point of sight as a real building, since those parts of 
 the latter, which are considerably above the horizontal line of the spectator, are on 
 a level with, or even below the eye in small models. 
 
 The Ante-room to the Picture Cabinet, east of the Museum, contains a variety 
 of capitals, entablatures, cornices, friezes, bas-reliefs, and other architectural details 
 and ornaments. Plate IX. is a view of this room, looking towards the south, with 
 the door of the cabinet at the left hand corner. On the opposite side is a Corinthian 
 capital from the Temple of Vesta at Tivoli. This Order, which has been employed 
 so often by Mr. Soane, at the Bank of England, &c. is of a very peculiar character ; 
 
 ^ It is greatly to be wished that more efficient provision was made for the study of architecture than 
 at present exists. In the Royal Academy, this branch of art may be said rather to be tolerated than 
 encouraged : even the space allowed for the annual exhibition of architectural drawings seems grudg- 
 ingly bestowed, for the greater number are so placed, that it is utterly impossible to examine them ; 
 although drawings of this description require to be viewed as closely as engravings. Were an Academy 
 of Architecture founded, with a gallery for models, drawings, &c. and every facility afforded to students, 
 w e might not only hope to see considerable improvement in architectural designs, but to find the 
 jjublic attention excited, and the apathy and indifference which unfortunately prevail with respect 
 to this elegant branch of the fine arts, succeeded by information and taste. Unless we are egregiously 
 mistaken, an institution of this kind, furnished with models of the finest structures of antient and 
 modern times, and affording specimens of every style and every country, were it always open to the 
 public, as is the National Galleiy of Paintings, would be attended with most beneficial results. It 
 would be highly desirable, too, that there should be apartments where drawings might be constantly 
 exhibited. This would not, indeed, be a money-making system, but it would be something much 
 better : it would raise the dignity of the art and its professors in the public estimation ; and would 
 be the means of cultivating among us a more generally diffused taste for architecture, and a more 
 intelligent patronage of it. Until the public mind be better foimed, however we may regret, we cannot 
 be surprised at beholding so many abortions — so much meanness and insignificance — such an utter 
 disregard of every principle of art, as are manifested in so many of our public and private structures. 
 An institution of this kind has been planned, and its principles will shortly be made public. 
 
 I 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 39 
 
 SO much so, indeed, that it may almost be termed a distinct order. The termination 
 of the flutings, both above and below, the bold relief of the foliage, of the flower on 
 the abaeus, and of the volutes, as well as its general proportions, impart to this 
 example of the Corinthian, a bolder and more characteristic appearance than what 
 usually belongs to the order. In these respects it differs very much from the specimen 
 of the same order in the temple of Jupiter Stator. The latter, of which a cast is here 
 shown, standing on the floor at the end of the room, and which has been recently 
 introduced by Mr. Soane in the beautiful facade of the Board of Trade, Downing 
 Street, — is far more floridly and elaborately ornamented. Both these examples may 
 be said to be almost new in this country, so greatly do they vary from those hitherto 
 adopted. This marked variety of character, in the same order, is of singular 
 advantage to the architect, as it enables him to diversify his compositions. They 
 may be regarded as synonymes in his vocabulary, by means of which he has it in 
 his power to express those delicate and almost evanescent shades of meaning which 
 cannot otherwise be conveyed, and to point out with precision the sentiment he 
 intends to convey. In the Choragic monument of Lysicrates at, Athens, we have 
 another very remarkable example of the same order, but differing very materially 
 from the other two 
 
 The Picture Cabinet, marked t in the Ground Plan, and represented by Plates 
 X. XI. and XII. is not only a singular, but an eminently beautiful apartment. 
 Devoted, as it is, to exhibit the productions of a sister art, it is as striking for the 
 beauty and novelty of its architecture, and the fancy displayed in its designs, as for 
 the chefs-d'oeuvre of the pencil it contains. Within a space, measuring about twelve 
 feet by fourteen, and fifteen feet high to the cornice, is contained a great number of 
 pictures and drawings : the surface of the walls being tripled, by means of large 
 pannels which swing on hinges, and open like folding doors. This will be under- 
 
 * Although it is said that architecture admits only three distinct characters, strength, elegance, 
 and delicacy, — in other words, the Doric, Ionic, and Corinthian, w'e conceive that each of these qualities 
 is capable of considerable modification. We do not consider, for instance, that a greater degree ot 
 decoration than generally used is incompatible with strength, or why an order of the same proportions 
 as tfe Doric might not be more enriched. By this means we should obtain a decidedly Composite order, 
 different from any we yet possess. This opinion may seem very heretical ; but we will ask, would not 
 an order of this description, employed to support the Corinthian, be less solecistical than the piactice 
 of placing the Corinthian upon the Doric, in the same design ? Or, vice versa, might not a lighter 
 but equally simple order be used to suraiount the Doric, in cases of super-columniation ? ^The idea 
 of in. florid Doric may be deemed very absurd ; yet, does a warrior look less athletic for being lichly 
 accoutred T « 
 
40 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 stood by referring to the two annexed views, where the doors are represented as 
 opened. Unusual as the proportions of this room are, its height (nineteen feet and 
 a half to the ceiling) being so great, compared with its other dimensions, they are 
 so far from offending the eye, — owing probably to the manner in which the light is 
 admitted from above, that they are particularly pleasing. The pendent and highly 
 enriched arches of the ceiling deserve to be noticed for their intrinsic beauty and 
 their peculiarity and novelty. This successful engrafting, if we may so term it, of 
 new forms upon those of Grecian architecture, convince us that judicious and tasteful 
 innovation (the real touchstone of superior genius) is not to be interdicted, unless, 
 indeed, we are content to be servile copyists, and merely to reproduce the exact 
 forms prescribed by the models of antiquity, or by modern practice. 
 
 Not only the general design of this room, but its details, finishing, and contents, 
 are alike entitled to the study of the young architect and the artist. The lower 
 portion is formed of a series of mahogany doors, and pannels, inlaid with ebony, 
 and divided into compartments by brass rods. In the chimney-piece, door, flooring, 
 and ceiling, we perceive novel and beautiful forms and details. At the angles are 
 four richly-carved ivory chairs, which formerly adorned the palace of Tippoo Saib. 
 The design and ornaments of this room will, however, be better understood by 
 the accompanying engravings, than by any descriptions we can offer. Of the two 
 perspective views, one exhibits the east and south sides, with a view into the inner 
 cabinet, in which the Nymph, by Westmacott, forms a very conspicuous object. The 
 effect of this beautiful statue is greatly enhanced by the singularity of its position, and 
 by the deep glow of stained glass in the window behind it : — It has, in fact, almost 
 the appearance of being suspended in the air. The other plate shows the east and 
 south sides of the cabinet, where we again behold the statue, but somewhat nearer, 
 so as to perceive also the model of the new facade of the Bank, which is immediately 
 below it. Both cabinets are richly stored with pictures and architectural drawings. 
 Among the former are the eight justly admired paintings by Hogarth, of the Rake’s 
 Progress ; and four, called the Election. These moral, satirical, and graphic essays 
 are replete with entertainment and instruction. They are subjects for intense study, 
 not for casual inspection ; and, like the profound writings of a Shakspeare, or the 
 vivacious and pregnant productions of a Sterne, they afford an exhaustless theme 
 for perusal and reflection. Here are three pictures by Canaletti, one of which may 
 be regarded as his chef d'ccuvre. There are others by Howard, Bird, Westall, 
 Bourgeois, &c. 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 41 
 
 This cabinet is also particularly rich in architectural drawings, — principally from 
 Mr. Soane’s own designs, evincing the fertility of his imagination and the originality 
 of his compositions ; while, in point of execution, they are no less admirable, as 
 they unite correctness of detail with breadth of effect and true feeling for the 
 picturesque. 
 
 The following designs are some of the most interesting : — the National Debt 
 Office (with plans, views, details, &c.) ; the new building for the Board of Trade, 
 &c. Downing Street ; the centre of the new facade of the Bank, a design of no 
 ordinary merit ; a Triumphal Bridge ; a Mausoleum ; views of different apartments 
 of the Bank ; a group of Churches, in various styles of Christian architecture ; and 
 another in the Grecian, all of which manifest great originality and fancy. 
 
 We have already spoken of the truly extraordinary view here obtained on looking 
 down into the Monk’s Parlour, the splendid bay-window of which, entirely fdled 
 with painted glass, is immediately below. It would be utterly impossible to convey 
 by a drawing, however well executed, any adequate idea of the singular effect 
 thus produced; nor can we venture to say that the accompanying views of the 
 cabinet itself, faithful as they are, answer to the impression it makes upon the 
 spectator ; so that, to those who have not actually beheld it, our praises must appear 
 exaggerated and hyperbolical : by those who have, we shall probably be accused of 
 having said too little in its commendation. 
 
 Before we quit this unique apartment, we shall merely remark, that the beauty of 
 the workmanship, and finish of all its details, correspond with the taste and con- 
 trivance displayed in every part. Descending a flight of steps, we enter 
 
 The Monks’ Parlour. This room loses nothing in effect from the obscurity of 
 the approach to it, nor from the spectator being in a great degree unprepared for 
 the novel scene which here awaits him. To say the truth, it is some time before he 
 recognizes it as the apartment, the unexpected view of which, from the cabinet, 
 excited his admiration ; so different is the point of sight from which he now beholds 
 it. It is not easy to describe clearly its peculiar form ; but the annexed plates will 
 explain this ; we shall therefore content ourselves with observing, that it may be 
 said to consist of two distinct parts, one beneath the cabinet, having a low ceiling, 
 
 * After the Bank, this is undoubtedly Mr. Soane’s finest work ; and the order here adopted, we 
 believe for the first time, is the most finished example of the Corinthian: the double ballustrading on 
 the summit has been censured by some of our diurnal critics, who only perceive that it is a deviation 
 from general practice, but are incapable of feeling the charm of the picturesque and rich character it 
 imparts to the roof, — a feature that in modem architecture is generally a blemish — never a beauty. 
 
 G 
 
42 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 and the ether rising considerably higher, — the upper division, or the space that 
 rises above the line of the ceiling, forming what we have denominated the inner 
 cabinet. The general character of this apartment accords very well with the appel- 
 lation bestowed upon it, except that it has an air of elegance, and displays a taste 
 that we can hardly imagine belongs to the cell of a religious recluse. The style 
 of the architecture and of the decorations are what we may very well fancy to have 
 been adopted in our domestic architecture at the commencement of the sixteenth 
 century. This cabinet is admirably adapted for seclusion and study ; and so well 
 is its character kept up throughout, that the adjoining court serves to heighten the 
 illusion, being fitted up with arches, and other fragments, from the antient palace at 
 Westminster, so as, when viewed through the painted window, to have somewhat 
 the appearance of a ruined cloister. The window which occupies the whole of the 
 bay or recess on the south side, is richly “ storied,” containing twenty different 
 subjects in chiaro-scuro, in small circular compartments, the interstices of which form 
 a deep purple ground, relieved by red and yellow. In the coloured Print, facing the 
 title-page, this window is seen reffected in the opposite mirror, where it produces a 
 very brilliant effect, and imparts a considerable lightness and splendour to that side 
 of the apartment. In Plate XIII. a small portion of the window is shown at the right- 
 hand corner. The walls are adorned with a profusion of Gothic fragments, trefoil 
 and quatrefoil ornaments, foliage, busts, masks, small statues, and other analogous 
 decorations, many of which are from St. Stephen’s Chapel, Westminster, and that of 
 Henry VII., the Painted Chamber, St. Saviour’s Church, Southwark, and Westminster 
 Abbey and Hall. Over the chimney-piece, which is painted in imitation of granite, 
 is an antient picture of the Virgin and Child, on copper. Besides the architectural 
 specimens, there are many other curious pieces of art in this cabinet, particularly 
 some small carvings in ivory, apparently by Greek artists, the inscriptions on some 
 of them being in the Sclavonic language, that of the Russo-Greek church. There 
 are likewise several valuable pieces of old china. Immediately below the folding 
 shutters of the upper cabinet, and upon the same level, over the door, are architec- 
 tural models, bronzes, &c. among which the most conspicuous are models of the 
 eastern facade of the Bank, as lately executed, and another of the southern front 
 of the same building. The view, looking up to the picture cabinet, is singular 
 and impressive, whilst that from the window, into the mirrors facing it, is both 
 mysterious and beautiful. The whole is of a gloomy cast, but in the midst of this 
 gloom, the stranger is surprised by the reffection of numerous bright and vivid 
 colours, apparently in a dark recess. The mirrors being placed, with the surfaces 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 43 
 
 at different angles, tend to give great complexity and variety to the scene. The 
 novelty and eccentricity of this apartment must confound the regular architectural 
 critic, who has founded all his notions of beauty, congruity, and taste on the five 
 orders, and who therefore fancies that every deviation from the Vitruvian and 
 Palladian rules is heresy and barbarism. But those who candidly examine the 
 productions of practical artists, not with a view of finding fault, but with a wish to 
 ascertain either merits or errors, and profit by the one whilst they avoid the other, 
 will find much to exercise their fancy and judgment in the room now alluded to, 
 for here are blended and brought together many varieties of architecture. When 
 we perceive the truly picturesque result thus produced, we cannot but applaud 
 the skilful manner in which various styles, apparently so irreconcilable, have been 
 blended, so as to form a beautiful and also an harmonious tout ensemble. In less 
 able hands, such a combination might have been very chaotic, — a mere juxta-posi- 
 tion without union, — but, as here exhibited, it reminds us of those playful and 
 graceful sculptural caprices known by the name of arabesques, in which animal and 
 vegetable forms are connected with so much elegance of fancy. The beauty of the 
 Grecian orders is indisputable, but we are not therefore such bigots in taste as to be 
 able to admire nothing else ; or as to conceive that no other proportions can possibly 
 be tasteful. On the contrary, it appears to us little short of unmeaning absurdity, 
 to maintain that there is an innate harmony in Grecian architecture, absolutely 
 unattainable in any other style, for a single glance at any one of our cathedrals will 
 suffice to subvert such a theory. 
 
 The Plan of the Pasement Story, Plate VIII., shows that a passage, or corridor, g, 
 leads from the monk’s room, just described, to the opposite end of the house, where 
 the noble and interesting sarcophagus, with numerous marble cinerary urns, and 
 fragments of architecture, are dispersed through these domestic catacombs. The 
 effect upon entering the sarcophagus room, from the gloomy corridor, is particularly 
 impressive ; nor is it without feelings somewhat partaking of awe, that the visitor 
 approaches the truly venerable relic of prirnmval art which here presents itself to 
 his view, — a tomb that has survived dynasties and empires. Such a monument 
 speaks volumes, and while we gaze we involuntarily exclaim, in the energetic 
 language of Byron, — 
 
 “ Admire — exult — despise — laugh — weep ; for here 
 
 There is such matter for all feeling : — man ! 
 
 Thou pendulum betwixt a smile and tear. 
 
 Ages and realms are crowded in this span I” 
 
44 
 
 UNIOiSr OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 The space in which this sarcophagus stands (sec Plates VI. VII. and VIII.) opens 
 by four arches, which are appropriately fitted up in the style of a Columbarium, 
 with niches containing cinerary urns of various sizes and characters, many of which 
 are exceedingly interesting, and in a high state of preservation. There are likewise 
 distributed, in various parts, antique candelabra, cippi, sculptural fragments, busts 
 on columnar pedestals, &c. The recess on the west side is more spacious than the 
 others, and has a door-case, between two Doric columns, similar to the one in the 
 opposite recess, but filled with looking-glass. The south end of this recess may be 
 considered as a continuation of the small upper cabinet, adjoining the breakfast 
 room, part of the floor having been removed, by which means a very great improve- 
 ment has been effected, and the light now streams down, in the most picturesque 
 manner, into this angle, thereby producing a very striking bit of scenery. 
 
 Before we quit the basement story, it will be proper to point out the Court Yard, 
 marked J. in Plate VIII. This presents a scene quite in harmony with the monk’s 
 room, and keeps up the sentiment and association produced by that unique apart- 
 ment. Here we have some antique pointed arches, supporting fragments of an old 
 wall, in which are inserted numerous remnants of mouldings, grotesque heads, corbel 
 tables, &c. A monk’s well and pump, an inclosed mound of earth, a blank tomb- 
 stone, with the creeping ivy, cypress, &c. are so many indications of a spot destined 
 for the terminating scene of frail mortality ; and which a pious hermit, as well as 
 a truly good man of the world, may contemplate without dismay, and meditate on 
 without one melancholy sensation. 
 
 Returning from the subterraneous museum to the library, the stranger is conducted 
 through a small Dressing Room and study. From a window in the former, a 
 bird’s-eye picturesque view of the court-yard just named is obtained ; and in the 
 Study we perceive many exquisite specimens of Greek architectural fragments, in 
 marble. On the mantel-piece, of a singularly formed fire-place, are numerous small 
 bronze figures, and other antique reliques ; also the Cane, containing measuring 
 rods, compass, &c. formerly belonging to Sir Christopher Wren. 
 
 From what has already been stated, combined with the accompanying illustra- 
 tions, it is evident that the whole ground floor, and the basement story, of Mr. Soane’s 
 house, are fully replenished with works of art and virtu. It is indeed a richly stored 
 museum ; and although apparently adapted merely for spectacle and display, the 
 house contains every domestic accommodation and comfort for a small family. In 
 addition to the brief notices already given, it remains for us to conduct the reader 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 45 
 
 to the first floor, which, though denominated the drawing, or withdrawing rooms, 
 will be found to offer new objects of attraction and interest, and to keep up the same 
 character, and continue the same sentiment that belong to the lower apartments. 
 Here are two rooms communicating with each other by large double-doors, and to 
 the stair-case by two smaller doors. The front room has recently been fitted up to 
 contain and display a series of architectural models, in cork. The chief of these, 
 both in size and interest, represents parts of the ruinous city of Pompeii. By this 
 model, which occupies a space of about eight feet square, we are presented with the 
 appearance of the streets, houses, temples, theatres, &c. which, after having been 
 buried by the volcanic lava of Vesuvius for nearly two thousand years, are now 
 exposed to view and examination, as fresh and vivid as if they had been concealed 
 only a few years. A cursory survey of this desolated city awakens both awful and 
 interesting reflections : for we naturally and imperceptibly wish to ascertain the 
 condition, manners, customs, arts, &c. of the people who were busily engaged in 
 their worldly occupations, when the whole were suddenly engulfed in death and 
 destruction. Pliny the Younger, who witnessed the eruption, has given an interest- 
 ing account of the scene, its effects, &c. in two letters addressed to Tacitus, as 
 materials for that historian’s narrative. From what has been laid open of Pompeii, 
 combined with the recorded evidence of the historian and poet, much information is 
 derived; but still many important facts remain unascertained, and the antiquary 
 and artist have an attractive theme for inquiry and speculation. Eustace and For- 
 syth have both visited the place, and gratified the public by their respective accounts 
 and reflections. Sir William Gell and Mr. P. Gandy have published a series of 
 illustrations of the excavated city, and descriptions of the ruins, under the title of 
 “ Pompeiana:’ The academy of Naples has also published larger and more scien- 
 tific works on the same subjects; the Neapolitan government, too, is still laudably 
 employed in pursuing the excavations, and we may look forward for additional 
 information and further elucidations of antiquarian lore. Forsyth, speaking of 
 Pompeii, says, “ I saw nothing admirable, but much that was curious, ancient 
 galleries and rooms, tessellated pavements and arabesque walls, ill-spelt names, and 
 ill-shaped horses scratched on the stucco,— columns repaired and modernised by 
 the antients themselves, who have buried their original flutings under a painted coat 
 of plaster.” The square in front of the great theatre, commonly called the Barracks, 
 is ascribed, by the same learned author, to the governor’s praetorium. 
 
 A model of the Basilica at Pcestum, with part of the foundation of that antient 
 
46 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 A model of another Temple at P cesium, supposed to have been dedicated to Ceres. 
 
 A model of the largest temple at Pee stum, dedicated to Neptune, 
 
 A model of the enclosure of the city of Pcestum, shewing the situation of its three 
 temples. 
 
 The grand but dilapidated temples of Psestum are interesting subjects for the 
 study of the architect ; not, however, to copy and apply to buildings of this country 
 and climate, but as illustrative of the art and customs of other and distant nations. It 
 is singular that the solid parts of these temples have fallen, whilst the columns and 
 entablatures remain. Taking into consideration “ the immemorial antiquity of the 
 three temples at Paestum, their astonishing preservation, their grandeur, or rather 
 grandiosity, their bold columnar elevation, at once massive and open, their severe 
 simplicity of design, that simplicity in which art generally begins, and to which, 
 after a thousand revolutions of ornament, it again returns ; taking, I say, all into 
 one view, I do not hesitate to call these the most impressive monuments I ever 
 
 beheld on —Forsyth's “ Remarks on the Antiquities, S^c. of Italy," Vol II 
 p. 92. 
 
 In the back drawing-room are three cases with folding doors, designed to contain 
 and display some of Mr. Soane’s architectural drawings. Among these are splendid 
 designs for a royal palace, proposed to be seated on Constitution Hill, in the Green 
 Park. This site is singularly eligible for the town mansion of the monarch, as 
 presenting an important and interesting object to the stranger and foreigner on 
 entering the metropolis from the west — as affording a large space of pleasure garden 
 and park scenery around it, with private drives and roads to the minor palaces of 
 Buckingham House, St. James’s, Carlton House, Houses of Parliament, and all the 
 ministerial offices ; and last, though not least, for the display of its external archi- 
 tectural features. With such a palace in the capital, and that at Windsor, as now 
 forming, the King of England might vie in splendour with some of the despotic 
 monarchs of eastern nations ; whilst he would surpass them all in being the guardian 
 rather than the destroyer of the freedom and happiness of his subjects. 
 
 Among other splendid designs in these moveable frames are, — 1. Triumphal 
 Arches of entrance to the metropolis ; 2. the Council Office and Board of Trade, at 
 Westminster ; 3. the Royal Gallery to the House of Lords; 4. the Court of King’s 
 Bench; and 5. Court of Chancery, at Westminster; 6. the Courts at Westminster, 
 as seen in connection with the north front of the Hall in Palace Yard; 7. the Bank 
 of England, &c. 
 
CHAPTER IV. 
 
 BRIEF ESSAY ON THE CONTENTS OF THE HOUSE, CLASSED UNDER THE RESPECTIVE HEADS OF — 
 1 . EGYPTIAN ANTIQUITIES 2 . GRECIAN 3 . ROMAN 4 . PICTURES AND DRAWINGS AND 5 . BOOKS. 
 
 England, by tlie united exertions of the merchant, the amateur, and the artist, is 
 at length highly enriched with the works of art which have belonged to, and are 
 characteristic of, distant and different nations. For insulated parts, for details, for 
 the component members of classical edifices, we need no longer be subjected to the 
 risks, the expenses, and fatigues of long and laborious journeys. Capitals, bases, 
 columns, entablatures, and ornaments, of almost every kind, are now accessible at our 
 own homes, in that focus of art and science — London. 
 
 In concluding one of his lectures at the Royal Academy, the Professor of Archi- 
 tecture remarked, in unison with this sentiment, — 
 
 “ The time not distant far shall come. 
 
 When England’s tasteful youth no more 
 Shall wander to Italia’s classic shore. — 
 
 No more to foreign climes shall roam 
 In search of models, better seen at home.” 
 
 However satisfactory and useful these exemplars may be to some persons, and for 
 certain purposes, we find that they do not, and cannot, satisfy all. The laudably 
 
48 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 inquisitive artist, Vvlio is ardent and fastidious, wishes to see the far-famed objects of 
 antiquity in their native places, under their appropriate effects of light and shade, 
 and in unison with the scenery and associations which originally gave them origin, 
 and continued with them from the days of pristine beauty to aged decay and ruin. 
 This association — the witching of imagination — gives exaggerated importance, 
 interest, and beauty to all objects of antiquity. The pyramids of Egypt, the Celtic 
 temple on Salisbury Plain, the Parthenon of Athens, the Coliseum at Rome, and 
 the cathedral of Salisbury, possess each its respective charm and importance, perhaps 
 even more from local attributes than from individual merits. It rarely happens that 
 any one person oan visit all these objects, with numerous others of equal interest ; 
 and, therefore, if he wishes to store his mind with knowledge, he must resort to the 
 valuable museum, as well as to the delineations of the artist and descriptive pages 
 of the author. The present volume is submitted to the architect and amateur, as an 
 offering in this class ; and the author hopes that it may be found useful in pointing 
 out new sources of amusement and incentives to intellectual improvement. 
 
 Egyptian Antiquities. — Egypt may be said to be the fountain-head of post- 
 diluvian antiquity, the birth-place of art, the cradle of science, and the natal home 
 of human inventions. “ So early as the days of Moses,” remarks an eloquent and 
 learned writer in the Edinburgh Review for December, 1 826, “ Egypt, pre-eminent 
 in laws, institutions, learning, and art, as well as in political power, appears to have 
 reached that maximum of improvement at which nations generally remain for a 
 longer or shorter period stationary.” The antiquary and historian must be intensely 
 interested in every thing relating to the early annals of such a country : for it is a 
 lamentable and tantalizing fact, that these are so much mixed up with fiction and 
 romance, as to render it difficult to separate the true from the apocryphal, and the 
 genuine from the spurious. Nor is it likely we shall ever obtain satisfaction on this 
 point, till we can read and interpret their own literature. Volumes of this may be 
 said to be transmitted to us ; but they are unfortunately without the alphabet and 
 grammar. Among these unreadable and uninterpreted works, is the large and 
 highly wrought Sarcophagus, which was brought by Belzoni from the banks of the 
 Nile to those of the Thames. It is considered to be of pre-eminent interest, not 
 merely as a work of human skill and labour, but as illustrative of the customs, arts, 
 religion, &c. of a very antient people. Nothing, perhaps, can be more perplexing 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 49 
 
 and mortifying to' the pride and powers of learning than the monument before us. 
 Its surface, internally and externally, is covered with a written language that seems 
 unintelligible to all. Scholars of different empires, and of the most acute faculties, 
 have vainly endeavoured to translate this language ; and though they have apparently 
 made some progress, and have given a meaning and interpretation to some figures 
 and combinations, yet they have failed hitherto to produce any striking and conclu- 
 sive results. Two or three English gentlemen of learning have directed their studies 
 to this branch of archaiology ; and, having found something like a clue, it is hoped 
 they will persevere in their laudable career, till they have unravelled the gordian 
 knot. To Dr. Young, Mr. Salt, the Right Honourable Charles Yorke, Colonel 
 Leake, Sir William Drummond, Mr. Buckingham, and Mr. Upham, the public look 
 with anxious solicitude ; for those gentlemen have all evinced zeal, learning, and 
 acuteness in their erudite disquisitions on the subject. The French and German 
 literati have also directed their attention to these matters ; and though Champollion 
 seems a little jealous of the fair fame of our countrymen, yet we hope that he and 
 all will persevere till the antient language and literature of Egypt is rendered 
 familiar to the scholar. 
 
 A very interesting essay has recently appeared in the Edinburgh Review (Decem- 
 ber, 1826 ), in which the respective merits and qualifications of some of the gentle- 
 men above named are fairly discussed j and in which the writer has evinced an 
 intimate knowledge of the subject. 
 
 The monument, mausoleum, or coffin, which occasioned these remarks, may be 
 regarded as a volume of historic or biographic information, and therefore is entitled 
 to the most diligent and intense study of the Egyptian antiquary. From the accom- 
 panying prints, the reader, who has never seen the Sarcophagus, will be inclined to 
 infer that it must be the ostentatious sepulchre of a person of wealth and influence, 
 who vainly fancied that his name, titles, and memorable deeds would descend with 
 this unperishable record to the latest posterity. Nothing less than hopes of post- 
 humous fame could occasion such an expenditure of human labour and human 
 ingenuity as have been here employed ; and we cannot suppose that so much was 
 indiscriminately used. It is more rational to conclude that the surface of this tomb 
 contains an account of the public deeds and private merits of the monarch or hero, 
 whose mortal frame was incased within its sides. 
 
 To Helzoni we are indebted for this Sarcophagus. His enterprising and daunt- 
 less spirit impelled him to explore the deep and pestiferous caves at Gournon, on 
 the banks of the Nile. In one of them, called “ the Saloon,” he found the Soros here 
 
 H 
 
50 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 alluded to, but without any mummy within it, which he concluded had been taken 
 away at a former period. With no small difficulty, risk, and expense, this coffin 
 was taken out of the cave, conveyed to a vessel on the Nile, and wafted across the 
 seas to England. With many other Egyptian antiquities, it was placed in the 
 British Museum, and offered for sale to the British Government, which having 
 strangely and unwisely refused to purchase this unique and important relic, 
 Mr. Soane came forward promptly to buy it, rather than suffer it to be conveyed 
 away to enrich either the French, Russian, or Bavarian capital, from each of which 
 a commission had been sent. The price paid was two thousand pounds ; apparently 
 an immense, but in reality a very moderate sum j for a work of such extreme 
 antiquity, of such unrivalled interest, of such intrinsic worth, as involving the 
 history of literature, art, and mankind, is of undefinable value. How frivolous and 
 insipid a gew-gaw is the largest diamond in the world, in comparison. It contains 
 no meaning, exacts no emotion but pecuniary value ; creates no deep interest ; nor 
 does it awaken any latent sentiment of mind. 
 
 The story of Belzoni,' — his lamentable fate, the dispersion and, it is feared, sacri- 
 fice of his unrivalled and interesting collection, which was first exhibited at the 
 Egyptian Hall, Piccadilly, and part of it afterwards by his ill-treated widow, in 
 Leicester Square, — would form a narrative of peculiar interest and pathos ; and 
 whilst it would reflect great credit on the disinterested and patriotic spirit of that 
 amiable and wonderful traveller, it would impeach both the moral and political 
 integrity of certain parties with whom he came in contact. 
 
 Besides the Sarcophagus thus noticed, there are many other relics of Egyptian 
 antiquity in this collection, some of which are represented in page 31, in union with 
 other grotesque figures from Hindostan, the Gold Coast, &c. The objects delineated 
 in the wood-cut are small bronze figures, grouped by the artist. They represent 
 some of those monsters which men in a half civilized state first designed and then 
 worshipped. “ The worship of graven images,” and those generally ugly and even 
 frightful, is a strange perversion of the human mind ; as if devotion and reverence 
 were only to be excited by objects of loathing rather than of admiration. 
 
 Grecian Antiquities. — In this class, the present collection contains numerous 
 interesting fragments of architectural members, casts from others, specimens of 
 sculpture, in statues, busts, and bassi-relievi, with bronzes and fictile vases. Each 
 and all of these serve to exemplify the arts and customs of the accomplished people 
 of antient Greece. On the vases, we see some of the earliest efforts of artists who. 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 51 
 
 with little skill and taste, endeavoured to delineate the human figure, both naked 
 and in drapery ; who also aimed to depict some classic fable, or represent certain 
 mysteries or profane rites : in the marble statues and bassi-relievi, we recognise 
 productions of the highest class of design, and most elegant execution. The scrolls, 
 foliage, and festoons of architectural sculpture, are replete with fancy and beauty, 
 whilst the models of Grecian sepulchres present us with memorials of the funereal 
 customs of the same classic people. The wood engraving, given in the title-page, 
 represents nine of the Greek, commonly called Etruscan, Vases in this collection, and 
 exhibits almost every variety of shape to be found in much larger collections. That 
 marked No. 2, formerly in the possession of Sir Henry Englefield, is a rarity which 
 very few collections possess*. The largest, figured No. 6, known by the name of 
 the Cawdor Yase^ from having been in the museum of that eminent nobleman, if it 
 be not actually entitled to the higher designation of a work of ancient art, is to be 
 admired for its extraordinary size, the numerous figures represented upon it, and its 
 elegant enrichments. How far it may be considered a specimen of the art of paint- 
 ing among the Greeks, must for the present remain a matter of doubt. The Professor 
 of Painting in our Royal Academy is, we believe, engaged at this time in going 
 over those authorities and opinions delivered by various writers respecting the excel- 
 lence of the Greeks in painting, which have hitherto been imperfectly discussed by 
 antiquaries ; and, perhaps, with the exception of the Abate Requeno, who was 
 merely an amateur practitioner, have never been investigated, as they ought to have 
 been, by a master of the art. 
 
 A graphic representation, in which, after the outlines have been delineated, the 
 colour is given, not by a pigment, but by a wash or varnish, approaches nearer to 
 
 * The reader is referred to a very learned and original work, entitled, “ Disquisitions upon the 
 painted Greek Vases, and their probable Connection w'ith the shows of the Eleusinian and other 
 Mysteries. By James Christie, a Member of the Society of Dilettanti.” 4to. 1825. At the end of 
 this interesting volume, is an essay on the “ Classification of the Greek Fictilia,” under the “ obvious 
 characteristics form and colour.” The latter is arranged under four heads : — 1. Purple-figured ; 
 2. black-figured ; 3. the illumined; and 4. the plain. The forms of the larger vases of the antients 
 are classed also under four heads, deriving both shape and name from the fruit of the Nelumbium, 
 viz. 1. the Nelumbium of Egypt, approaching to a conical form ; 2. the Nymphaea Lotus of Egypt, 
 of oblong spheroidal shape ; 3. the Nymphaea Alha of Greece, oblate spheroidal ; 4. the Nuphar lutea 
 of Greece, of which the capsule is urceolate. “ Thus the genera of vases may be expressed by the 
 epithets, Nelumbio-ides, Loto-ides, Nymphaeo-ides, and Nupharo-ides.” The learned and amiable 
 writer then proceeds to point out the genera and species by more particular descriptions, referring to 
 popular specimens or engravings. The principal collections referred to are those of Mr. Hope, the 
 British Museum, and the late Sir Henry Englefield ; the two former of which are unrivalled in this 
 country. The latter has been dispersed. 
 
52 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 the modern process of map-staining than to painting. Besides which, the contrast 
 between figures intended to be brought forward to the eye, and those which recede 
 from it, was surely rendered with very little skill or intelligence, when the former 
 were illumined with a solid white enamel, and the latter merely stained with a red 
 transparent tint. We therefore anxiously look for an explanation how these things 
 may have really been. In the mean time, we may admire the drawing, or at least 
 the intention of the artist who drew the figures upon the clay, which figures partake 
 of the spirit that generally pervades the sculpture of the Greeks. In that noble 
 department of the art, we may conclude, the nature of the popular religion, and 
 the abundance of the necessary material in Greece and the neighbouring islands, 
 enabled their men of genius to excel, long before they became able practitioners 
 in the sister art. 
 
 To attempt an explanation of the paintings upon this, or any other of the fictile 
 vases in this Museum, would lead to a discussion that could hardly interest the 
 reader of fine taste. Whether we should content ourselves with endeavouring to 
 reconcile these paintings with the discordant mythologies of ancient poets and 
 theogonists, in the course of which a multitude of references might be given, which, 
 after all, would illustrate no facts of history, nor furnish any useful knowledge ; or 
 whether, with the learned German, Creuzer, we should plunge into the depths of 
 Orphic mystery, wdhch might entangle us in many contradictions, and would not 
 be likely to gratify many readers. Even taking such a scholar for our guide, we 
 might mistake many things for Orphic that were really devised since the time of 
 Alexander the Great ; and inconsiderately blend many simple traditions, introduced 
 into Greece by the early Phoenician settlers, with the reveries of Platonists of the 
 lower times. — We willingly abstain from such investigations. 
 
 Roman Architecture and Sculpture. — Of specimens illustrating these sub- 
 jects, the present collection is amply provided. From the temples of Jupiter-Stator 
 at Rome, — of the Sibyl, or Vesta, at Tivoli, and other famed edifices in that classic 
 country, we are presented with various real specimens and casts, many of which are 
 shown in the accompanying engravings. Here are also numerous bassi-relievi, 
 cinerary urns, busts, and statues, which are indicative of Roman art and taste. 
 These are too numerous, however, to be particularised in the present volume. 
 
 Contrasted to these classic remains, and evincing an entire revolution in archi- 
 tectural design, we have next to advert to the specimens of Christian, commonly 
 called Gothic Architecture, many of which, both in genuine fragments and in casts. 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 53 
 
 are preserved here. From the old palace of Westminster, in the Norman age, and in 
 the times of Richard the First and Edward the Third, we have columns with bases 
 and capitals, arches, friezes, and other ornaments. The fluctuations and changes 
 that were progressively made, from those times to the reign of Henry the Eighth, 
 are exemplified by other examples from the Abbey-church of Westminster, Henry 
 the Seventh’s Chapel, Salisbury Cathedral, and from other edifices. 
 
 . Pictures. — As indicated in Plates X. XL and XII., and already noticed in 
 page 28, one of the apartments in this house is appropriated to paintings and 
 drawings. Among the former, there are twelve by Hogarth, — four representing as 
 many events, or scenes in an “ Election Contest,” and eight illustrating “ A Rake’s 
 Progress,” — three by Cannaletti, four by Piranesi, one by Sir Joshua Reynolds, one 
 by Turner, one by Bird, one by Westall, two by Sir Francis Bourgeois, and others 
 by Howard, Fuseli, Cosway, Kauffman, Gandy, &c. By this enumeration it will be 
 seen that Mr. Soane has patronized his contemporary artists of the modern school ; 
 and we know that he has given commissions for several other works. It would be 
 an easy and agreeable task to write an extended essay on these productions of 
 human genius and skill ; for each subject, and every painting, affords a theme of 
 unquestionable interest ; it is a text fertile in matter and incident. Those of Ho- 
 garth, in particular, are replete with history, biography, anecdote, and sentiment. 
 They serve not only to manifest his own unrivalled and peculiar talents, but tend to 
 exemplify the political and moral history of Englishmen. Whilst the series of 
 Election pictures show the besotting, bribing, debasing, demoralizing practices pre- 
 v&,lent on such occasions ; the other set; — Rake’s Progress, — depict, in a language 
 which the illiterate can read, and all nations can understand, the fatal and usual 
 effects of vice — the natural consequences of an unrestrained course of profligacy. 
 As the productions of an original artist — of a man who had an eye to see the expres- 
 sion and hues of nature — a mind to feel and appreciate them, and a pencil obedient 
 to his will, these pictures are of infinite value and interest. Like those of Raffaelle, 
 they are full of deep thinking, and are consequently replete with expression and 
 sentiment. Whilst they amuse the eye and fancy of every spectator, they appeal to 
 the hearts of all. The Italian artist painted for, and is understood only by the 
 learned in art ; the English artist painted for, and is easily understood by every per- 
 son of common sense and common capacity. As the works of the former are distin- 
 guished by grandeur and sublimity, so those of the latter abound in pathos, humour, 
 sentiment, and satire : they “ point a moral and adorn a -tale.” Even Barry, the 
 
54 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 cynic Barry, who never gave himself the trouble to understand Hogarth’s works, 
 and who strangely says “ their general aim is to shake the sides,” admits that his 
 “ little compositions are very ingeniously brought together, and frequently tell their 
 own story with more facility than is often found in many of the elevated and more 
 noble inventions of Raffaelle and other great men.” The prejudiced strictures of 
 this artist and critic on Hogarth, as well as the absurd opinions of many others, 
 both foreign and domestic, have been ably refuted by Mr. Lamb, in an essay pub- 
 lished in his “ Works.” The public, in general, have estimated Hogarth chiefly from 
 engravings ; and his own etchings are spirited and expressive ; but to appreciate 
 the versatility of his talents, it is necessary to see and examine his paintings of the 
 Rake’s and Harlot’s Progresses, Marriage-a-la-Mode, the Election, the Gates of 
 Calais, &c. These are works of infinite merit, of undescribable excellencies, of 
 profound wit, keen satire, deep pathos, of exquisite art. Other pictures we look at, 
 are pleased with, and often admire ; but these we read, we study, we dwell on — they 
 make indelible impressions on the memory and heart. “ I was pleased with the 
 reply of a gentleman,” says Mr. Lamb, “ who being asked which book he esteemed 
 most in his library, answered, “ Shakspeare being asked which he esteemed next 
 best, replied, “ Hogarth.” His graphic representations are, indeed, books : they 
 have the teeming, fruitful, suggestive meaning of words'"' The eight pictures of the 
 Rake’s Progress detail a clear, full, and forcible history of the eventful and rapid 
 career of a young man, from his first entrance into the world of dissipation and 
 debauchery, to the finally appalling scene of madness and mental death. That 
 seductive, deceptive, and fatal maxim, recommended by knaves and followed by 
 fools, of “ a short life and merry one,” is here shown to terminate, as it generally 
 does, in misery. The sensual and fleeting pleasures of gambling, of “ midnight 
 revelry, tipsy-dance, and jollity,” are depicted, in these graphic moral essays, with 
 all their sensual blandishments, and with their usual concomitants*. 
 
 The four pictures, displaying so many events in an Election for a Member of 
 Parliament, may be referred to as the best essay ever published on Parliamentary 
 Reform. Here bribery and corruption, with their consequences, drunkenness, glut- 
 tony, cruelty, and human debasement, are shown in hideous colours, and with 
 hideous expression. Such a set of pictures should occupy a separate vestibule to 
 the English House of Commons ; to show errors and vices that are tolerated and 
 even promoted by members of that assembly, but which reflect disgrace on them- 
 
 * This set of pictures was sold by auction, in 1745, for 184^. 16s.; again, at Mr. Beckford’s sale, 
 for 850 guineas ; and the present possessor gave 570 guineas for them. 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 55 
 
 selves and impeach the good sense of the country. Every true patriot and honest 
 man would thus be perpetually reminded of the absolute necessity of modifying or 
 abolishing the present system of elections. Though these pictures are not so well 
 known as others of Hogarth’s, they may be regarded as the most complete, compre- 
 hensive, and, perhaps, his best, as a series. We are aware that the “ Marriage-a-la- 
 Mode” is the most popular, and that they abound with merit, both as works of art 
 and as embracing a fine moral essay ; but the Election pictures are larger, are more 
 diversified in matter and subject, contain more of incident, character, and graphic 
 display ; and are, indeed, more copious in narrative, and epigrammatic in expres- 
 sion. From the commencement of canvassing, through the various stages of bribery, 
 cajoling, intriguery, and deception, up to conquest and riotous exultation, on the 
 one part; with the usual accompaniment of vindictive and rancorous opposition, 
 ending in fighting and other acts of barbarous hostility, on the other. As indica- 
 tive of the vulgarity and bestiality of contested elections, the painter has introduced 
 pigs, monkeys, chimney-sweeps, and the very lowest classes of society, in juxta- 
 position with nobles of the land, the “ proud lords of wide domains.” 
 
 This set of pictures, representing, — 1. the canvass, 2. the poll, 3. the chairing, 
 and 4. the entertainment, was purchased by Mr. Garrick of the artist, under pecu- 
 liar circumstances, for a small sum, — about two hundred pounds, and bought by 
 Mr. Soane, at the dispersion of that eminent actor’s effects, in June, 1823, for 
 £1732. The learned and accomplished auctioneer, when he knocked down the 
 lot, neatly and appropriately remarked to this effect — “ As returning officer, I have 
 the honour of declaring that John Soane, Esq. is the successful candidate in this 
 warmly contested election 
 
 * The literati of Germany seem to surpass those of our own country in their commentaries on 
 Shakspeare, as in the case of Schlegel, Teich, &c. ; and also on Hogarth, as in that of Lichtenberg, 
 a specimen of whose essays have been given in English in the second volume of the London Maga- 
 zine, by the gentleman who has enriched this work wdth strictures on interior decoration, &c. There 
 is perhaps no English or foreign artist whose productions have been more extensively disseminated 
 and commented on than Hogarth. Besides his “ Analysis of Beauty,” the late S. Ireland, and 
 J. Ireland, have both published elucidatory essays on his designs; the former in two vols. 4to. 
 and the latter in three vols. large 8vo. The late Mr. Nichols, Mr. Steevens, and others, have also 
 written much on the same subject. The Rev. J. Trusler published a volume under the title of 
 “ Hogarth Moralized;” and Walpole has written an interesting Essay on this painter and his works, 
 in his “ Anecdotes of Painting.” A splendid volume of the original works of Hogarth, formerly 
 belonging to Alderman Boydell, with the plates retouched by Mr. C. Heath, and with a memoir and 
 descriptions by Mr. Nichols, was published a few years back. 
 
56 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 Love and Beauty, commonly called the Snake in tlie Grass, a fancy picture, by 
 Sir Joshua Reynolds, is a fine specimen of that amiable and tasteful artist’s produc- 
 tions. It has all the rich and deep tones of Titian, with a loveliness of female face 
 which we seek for in vain in the works of the eminent Venetian painter. This 
 picture was bequeathed by the artist to the Marchioness of Thomond, and bought 
 by its present possessor at the sale of that lady’s collection. Sir Joshua painted 
 three pictures of the same subject, with trifling variations. 
 
 A View of Venice, by Cannaletti, representing its bustling canal and quay, the 
 famous bridge, and some of its public buildings, is a picture of great merit and 
 interest. It is painted in the best style of the artist : clear and vivid in colour, deep 
 and solid in tone, accurately and firmly pencilled in detail ; and whilst it evidently 
 presents a faithful portrait of a very singular scene, the portrait is finely embel- 
 lished with all the charms of art. Here are two other smaller pictures by the same 
 artist, which were bought by Sir Robert Strange for the Marquis of Bute. These 
 represent other parts of that extraordinary city, Venice. 
 
 In a small beautiful picture by Howard, portraying the aged and unhappy Lear, 
 with some of his companions and ingrate daughters, we have a pleasing and inte- 
 resting specimen of the modern English school ; whilst, another by Bird, depicting 
 a group of rustic gamblers, is of true Hogarth ian character. This amiable and 
 talented artist was cut off in the prime of life, when his talents were just ripening, 
 and promised to produce a prolific harvest of honours, and consequent reward. 
 
 A richly coloured water coloured drawing by Westall, representing the blind and 
 sublime Milton dictating to his two daughters. 
 
 A portrait of Sir Francis Bourgeois, and a picture by him, representing Mr. 
 Kemble as Coriolanus in the hall of Tullius, rather remind us of the foundation 
 and history of the Dulwich Gallery, than of any great merits of the paintings, or of 
 the artist. Sir Francis inherited a large collection of pictures from M. Desenfans, 
 and bequeathed the whole to the foundation of “ God’s o:ift” at Dulwich, in 
 consequence of a personal friendship which subsisted between himself and one of 
 the fellows of that college; and from a refusal on the part of either the Royal 
 Academy or the British Museum to provide a suitable gallery for the collection. 
 Thus a favourable opportunity was lost of commencing a National Gallery in the 
 metropolis, where alone it can be fully effective and substantially useful. By 
 equally bad policy, or bad management, London was deprived of the valuable 
 library of the late Richard Gough, Esq. who being thwarted in his wishes of 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 57 
 
 placing his large collection of books in a separate department of the British Museum, 
 bequeathed them to the Bodleian library at Oxford. There they are rarely resorted 
 to, and consequently of little use j here they would have been in daily requisition, 
 and have proved highly beneficial to the public. Of the Dulwich Gallery I wrote 
 a short account, for my esteemed friend Mr. Bray, to introduce into his last volume 
 of the History See. of Surrey. 
 
 Two drawings of Views in India, by Hodges ; several drawings by Clerisseau ; 
 one by Barratt; another by Turner; a picture by Angelica Kaufiman; four by 
 Piranesi, and numerous others. 
 
 Of the Books in this collection it will be foreign to the intention of this essay to 
 enter into any thing like a Catalogue Raisonne. The library is very extensive, and 
 contains a fine and very valuable collection on Architecture, in particular, as well 
 as on the other branches of the fine arts. Not only all the works of the English 
 authors, but most of the valuable writings and illustrations of the Italian, French, 
 German, and even Russian artists and literati are assembled together here. — 
 Mr. Soane has also many original drawings and manuscripts by Italian and French 
 artists, by Inigo Jones, Sir Christopher Wren, Sir John Vanbrugh, Sir William 
 Chambers, See. ; besides several volumes richly illustrated. 
 
 NATIONAL DEBT REDEMPTION OFFICE, OLD JEWRY, AND THE ROYAL GALLERY TO 
 
 THE HOUSE OF LORDS. 
 
 As connected with the subject of interior decoration, and as examples of Mr. Soane’s 
 style of design in architectural compositions, it has been thought proper to intro- 
 duce, in this place, illustrations of the National Debt Redemption Offiee, and of the 
 Royal Gallery to the House of Lords. The former of these buildings has been 
 selected rather as exhibiting the more striking peculiarities of the architect’s style, 
 than as a specimen of his best works. There is undeniably much that is fanciful 
 and beautiful in the arrangement, and much that is both original and tasteful. This 
 will be apparent even to the uneducated eye, on examining the plans, section, and 
 the view, annexed. The plan of the ground floor. No. 1. ; of the dome-room, or inner 
 vestibule. No. 2. ; and of the dome itself. No. 3, are evidences of an inventive and 
 poetical mind, eager to discover novelty, and to produce pleasing and impressive 
 effects. The arrangement of the plan provides for all the accommodations of the 
 establishment ; and at the same time invests a public office with the beauties of 
 
58 
 
 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 architecture. It must be borne in mind, that the dome-room, No. 2, was not 
 designed merely as a vestibule or hall to the principal rooms, but was destined to 
 receive a colossal bronze statue of the late Mr. Pitt, that celebrated financier and 
 statesman. This is seated on a pedestal at the end of the room, facing the door- 
 way, and occupies a large portion of the apartment ; but has not been shown in the 
 section, as it would interfere with the architecture. By examining the section and 
 the perspective view, we perceive abundance of decoration, and of enriched design in 
 the dome-room, whilst the vestibule, b, and office on the right, seem bare and plain ; 
 but the two latter are for business, for the reception of all classes of visitors, and 
 therefore ornament would be irrelevant. Yet this entrance appears in the section 
 too plain to accord with the embellishments of the inner vestibule, and its beautiful 
 peristyle and dome. W e are by no means averse to bold contrasts in architecture ; 
 on the contrary, they often produce brilliant effects, similar to abrupt transitions in 
 music : still, even in contrast, at least in the artist’s sense of the term, some prin- 
 ciple of unity and agreement ought to be always recognizable. 
 
 The Gallery to the House of Lords, and the stair-case * attached to it, are by far 
 more successful specimens of Mr. Soane’s style ; and although they exhibit much 
 that will perhaps be stigmatized as dangerous innovation, by the advocate for 
 routine and precedent, they must be allowed, in spite of theories, to display great 
 picturesque feeling, and skill in the adaptation of novel and striking forms of embel- 
 lishment. Here is, unquestionably, much that might be proved to be contrary to all 
 authority and practice ; and likewise a mixture of styles that at first appears totally 
 incompatible with each other, and yet the result must be allowed to be not only 
 decidedly novel, but highly fascinating. Persons who are hostile to all innovation 
 may reprobate this system of florid embellishment, as being utterly at variance with 
 the models which are recognised as standards of architectural excellence. It 
 would occupy too much space to discuss how far innovation is allowable, or whether 
 it be an utterly hopeless attempt to endeavour to engraft new forms, and new modes 
 of decoration, upon that style of architecture which has the orders of antiquity for 
 its basis ; we must, therefore, content ourselves with making a few remarks on the 
 principal features of the design. 
 
 * A section and view of this staircase will be found in the “ Illustrations of the Public Edifices of 
 London.” 
 
HOUSE AND MUSEUM OF JOHN SOANE. 
 
 59 
 
 This Gallery may be considered as divided into four compartments, of which 
 that to the south, separated from the others by columns, forms a kind of vestibule, 
 at the top of the staircase. Each of the other three divisions has a lanthorn dome, 
 with windows of stained glass. These features are very pleasing, and are varied not 
 only in their dimensions and embellishments, but in the form of their construction, in 
 which latter respect they exhibit striking novelty of design. The whole surface of 
 the ceiling, and in some places that of the wall itself, is covered with ornamental 
 flutings and other decorations ; yet notwithstanding the excessive richness of most 
 of the features, and the exuberance of detail we here meet with, that luxuriance is 
 so continuous, that instead of cutting up the design into patches, it possesses a great 
 degree of unity, and the eye is no more fatigued or perplexed than if the walls 
 had been cased with veined marble; neither does this richness of surface interfere 
 with the general masses of light and shade, any more than the intricacy and 
 minuteness of foliage prevents breadth of effect in landscape. In fact the architect 
 may here be considered as taking Nature herself for his prototype, who is as minute 
 and delicate in her details, as she is grand and magnificent in her general effects. 
 Thus we see that it is possible to combine apparently adverse principles, — namely, 
 unity with variety, and contrast with harmony. Referring also to the Christian 
 architecture in the chapels of St. George, at Windsor, King’s College, at Cambridge, 
 and Henry the Seventh’s, at Westminster, we see a gorgeousness of design and 
 execution, which must be admitted to be pleasing and fanciful, and which tend to 
 produce the most picturesque combinations. 
 
 In the gallery, as in the preceding subject, it is difficult to convey, except by a 
 series of drawings from different points of view, the various aspects under which the 
 apartment presents itself as the spectator advances. On passing from the vestibule, he 
 first catches a glimpse of one of the lesser domes ; next the large central dome bursts 
 upon his eye, and is rendered more imposing in effect by being compared with that 
 which he has just been contemplating. In order to mark, still more distinctly, the 
 vestibule from the Gallery itself, the ceiling of the former is flat, and ornamented 
 with very rich pannels, and a cantiliver cornice of novel design, whilst the columns 
 are in imitation of porphyry : in the Gallery, the ceiling is arched throughout, 
 and the columns are of scagliola, resembling Sienna marble. It may be observed, 
 too, that in the Gallery there is a pannelled dado painted in imitation of wainscot, 
 thereby harmonizing with the colour of the columns. The doors are at once simple 
 but magnificent. Taken altogether, and considering that it is indebted solely to its 
 architecture for its effect, being totally destitute of the ornamental appendages 
 
60 UNION OF ARCHITECTURE, SCULPTURE, AND PAINTING. 
 
 of furniture, &e. this Gallery is one of the most original, striking, and tasteful 
 compositions with which we are acquainted. 
 
 Those who may be desirous of examining, more in detail, the designs of the 
 architect, whose private collection we have endeavoured to illustrate, and whose 
 principles of composition, &c. we have attempted to point out, will find much to 
 admire in the Bank of England, in the Law Courts, at Westminster, in the Council 
 Office, Parliament Street, &c. ; engravings of which are published in “ Illustrations 
 of the Public Buildings of London.” The following Wood Cut represents a sepul- 
 chral monument raised to the memory of Mrs. Soane, and combines at once the 
 characteristics of sculpture and architecture. 
 
 [Preparing for publication, to correspond in mze with the present volume, but of greater extent. 
 Illustrations of the Architecture of the Bank of England, with historical and descriptive 
 Accounts of that noble Edifice, and of the Origin and progressive Enlargement of the Company," ^c."] 
 
 FINIS. 
 
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 mTIOmi. J)EHT REDEMPTIOET OEFICE. O.l/D JE-V\TIT, X0Eir)0:N' 
 
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 NATIOI^Al, DK13T KF.DKMl’TIOK OFl’ICE ; OT-D .rKWRy, F(3JSrDO:N . 
 Secticm. throrig-Ji Hall, Dome, fcr. 
 
ricT 
 
 Hoyal GaJlery to tlie 
 HOtrSE Ol’ INGRES. 
 

 r 
 
awftitMtural antiijuitics 
 
 THE 
 
 AKCHITECTURAL ANTIQUITIES OF GREAT BRITAIN; 
 
 REPRESENTED AND ILLUSTRATED 
 
 IN A SERIES OF VIEWS, ELEVATIONS, PLANS, SECTIONS, AND DETAILS OF VARIOUS 
 
 Slntient 
 
 WITH HISTORICAL AND DESCRIPTIVE ACCOUNTS OF EACH. 
 
 BY JOHN BRITTON, F. S. A. F. R. S. L. etc. 
 
 The Fifth Volume of this Work, recently finished, may be regarded as “ A 71 Encyclopczdia of Christian 
 Architecture f and will therefore constitute an essential Work of Reference and Authority to the Antiquary 
 and professional Architect. It narrates the Theories of every Writer, as well as the Title, &c. of every 
 Volume and Essay that have hitherto appeared in Gothic, or, more properly speaking, Christian Architec- 
 ture: traces its progress and defines its Characteristics; — describes the Buildings represented in a Series of 
 
 Eishty-six beautiful Engravings, with which the Volume is adorned : — it also contains copious Lists, alpha- 
 betical and chronological; 1. of Antient Monastic Architects 2.. of Churches: — 3. oi Architectural 
 
 Monuments. 4. of Fonts:— 5. of Pulpits: — 6. of Stone Crosses: — 7. an Architectural Dictionary, or 
 
 Glossary (f technical and antiquarian Terms; also copious Indexes of References to Examples, &c. 
 
 A separate title is given to the Work, constituting it a “ Chronological History, with Graphic 
 Illustrations of Christian Architecture in England,” &c. 
 
 Price 11/. large 4to. and 6/. 12s. medium 4to. 
 
 On a subject which has been so much discussed ; on which such opposing and varied opinions have 
 been entertained and promulgated; which has engrossed the attention and researches of many men of 
 learning; which involves in its nucleus much of the history, art, and science of distant ages and of different 
 nations— I have thought it necessary to seek diligently and speak cautiously. At the same time, hovyever, I 
 have generally written freely, and always in a tone and style of language proportioned to self-conviction, and 
 to the evidences before me. Had I been less scrupulous, and influenced more by the pressing emergencies 
 of the moment, and the entreaties or complaints of friends and correspondents, than the desire of satisfying my 
 own mind, and thereby securing permanent credit, I should certainly have finished the work two or even 
 three years ago.”- — Preface. 
 
 The Four previous Volumes of this Work contain 
 TWO HUNDRED AND SEVENTY-EIGHT ENGRAVINGS OF 
 
 castles, churches, old mansions, crosses, etc. 
 
 WITH HISTORICAL AND DESCRIPTIVE ACCOUNTS 
 OF EACH SUBJECT. 
 
 “The object of this work is to perpetuate correct representations of many interesting but dilapidated 
 ancient English edifices, and to define the dates and styles of that variety of grand architecture which at once 
 ornaments and characterizes our country. ‘ The public buildings of a kingdom,’ observes Mr. Pennant, 
 ‘ afford, when their dates are properly ascertained, the best and most authentic history of its rise, splendour, 
 and decline, and so far give the character of the people.’ ” 
 
 * * A new Edition of this Work is now in the progress of publication. The four volumes will be 
 divided into ten parts, each to contain from twenty-four to thirty engravings, and from sixty to one hundred 
 and twenty pages of letter press : price 2/. 2s. each Part. Prospectuses to be had, and the work to be seen. 
 
 LONDON ; PUBLISHED BY LONGMAN, REES, ORME, BROWN, AND GREEN, PATERNOSTER ROW; J. TAYLOR, 
 architectural LIBRARY, HIGH HOLBORN ; AND J. BRITTON, BURTON STREET. 
 
ffiatl&citral of ®ttslanlr: 
 
 By JOHN BRITTON, F. S. A. etc. 
 
 For a liberal and learned critique on this Work, the reader is referred to the “ Quarterly Review'^ for Sep- 
 tember, 1826; wherein it is stated that “ the task which Browne Willis left imperfect has been undertaken 
 by Mr. Britton, who has contributed more than any other person to the illustration of our Architectural 
 Antiquities.” The “ Theological Revieio,” for December, 1825, in an able and discriminating Essay on 
 Antient and Modern Architecture and Architects, says, “ Unbiassed by party, Mr. Britton *has calmly 
 examined the Cathedrals in succession, giving to each the emotions justly proportioned to it, and no more. 
 The Engravings of these volumes are for the most part of the highest order, and made from drawings by- 
 artists whose names stand in the first rank as architectural draftsmen.” 
 
 Towards the Completion of this Series, the following Cathedrals have been illustrated, each of which constitutes 
 
 a complete Volume, and may he purchased separately : 
 
 1. THE HISTORY AND ANTIQUITIES OF EXETER CATHEDRAL. 
 
 Illustrated by Twenty-two Engravings, from very elaborate Drawings. The Letter-press comprises much Ori»-inaI 
 Matter, and extends to 156 Pages. Medium 4to. 2l. 10^.— Imperial 4to. 4Z. 4s. ® 
 
 2. THE HISTORY AND ANTIQUITIES OF WELLS CATHEDRAL. 
 
 Illustrated by Twenty-two Engravings by J. and H. Le Keux, &c. Medium 4to. 21. 10s.— Imperial 4to. 4Z. 4s. 
 
 3. THE HISTORY AND ANTIQUITIES OF CANTERBURY CATHEDRAL. 
 
 Illustrated by Twenty-six Engravings by J. and H. Le Keux, 
 G. L. Taylok, Esq. F. S.A., Architects, &c. 
 
 Sands, &c. from Drawings by Edward Cresy, Esq. F.S.A. 
 Medium 4to. 3Z. 3s.— Imperial 4to. 6Z. 5s. ’ *’ 
 
 4. THE HISTORY AND ANTIQUITIES OF OXFORD CATHEDRAL, 
 
 With Eleven Engravings, by J. and H. Le Keux, &c. from Drawings by F. Mackenzie, &c. Medium 4to IZ 4s 
 
 Imperial 4to. 21. 2s. 
 
 5. THE HISTORY AND ANTIQUITIES OF LICHFIELD CATHEDRAL. 
 
 Illustrated by Sixteen Engravings, by J. and H. Le Keux, from Drawings by F. Mackenzie, &c. ; and 74 Pao-es nf 
 
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 6. THE HISTORY AND ANTIQUITIES OF YORK CATHEDRAL. 
 
 Illustrated by Thirty-four Engravings, by J. and H. Le Keux, &c. from Drawings by E. Beore and F Mackfn 7 .f 
 
 Medium 4to. 3Z. 12s.— Imperial 4to. 61. 6s. ivxackenzie. 
 
 7. THE HISTORY AND ANTIQUITIES OF WINCHESTER CATHEDRAL 
 
 consists of 142 Pages of Letter-press, and Thirty Engravings, from Drawings by E. Blore, &c. Medium 4to 3Z 3s 
 
 Imperial 4to. 5Z. 5s. • « • . 
 
 8. THE HISTORY AND ANTIQUITIES OF NORWICH CATHEDRAL, 
 
 With Twenty-four Engravings, by J. and H. Le Keux, &c. One Wood Cut, and 94 Pages of Letter-nre., 
 
 Medium 4to. 2Z. lOs.-Imperial 4to. 41. 4s. ^ 
 
 9. THE HISTORY AND ANTIQUITIES OF SALISBURY CATHEDRAL 
 
 With Thirty-one Engravings by J. and H. Le Keux, &c. and Three Wood Cuts from Drawings by MackenL &c • 
 also 114 Pages of Letter-press. Medium 4to. 3Z. 3s. — Imperial 4to. 51. 5s. > •> 
 
 The Cathedrals of PETERBOROUGH and GLOUCESTER 
 former to be comprised in Three Numbers, and finished in the Autumn 
 at 12s. each, and 20s. large paper. 
 
 are now in the progress of publication : the 
 of 1827 j and the latter to be in Four N umbers. 
 
 “ In the letter-press of the above Works the Author has endeavoured to give a condensed and perspicuous narrative of 
 all the princ.pa events connected with the Cathedrals, has pointed out the different styles, eras, and chLacteristL 
 of the Architectuie of each, and has also given a few biographical anecdotes of the different prelates. The chronoloo-ical 
 
 Of the above Works a small Number of Copies arc printed on Super-Royal Folio, with Proofs and Etchings, 
 tit Detailed Prospectuses of the above Works may be had of the Publishers. 
 
DEDICATED BY PERMISSION TO THE KING. 
 
 architectural 3[llui5tration0 
 
 OF 
 
 THE PUBLIC BUILDINGS OF LONDON; 
 
 ACCOMPANIED BY 
 
 HISTORICAL AND DESCRIPTIVE ACCOUNTS. 
 
 BY J. BRITTON, F. S. A. etc. and A. PUGIN, Architect. 
 
 This Work is printed in Medium and Royal Octavo, and will be produced periodically, in Numbers, at5j. each, small, and 
 8^. large Paper. Proofs, on India Paper, 4to. at 14s. per Number. Each Number contains Seven Plates, engraved in Out- 
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 The First Volume, containing Seventy Plates, is completed. Price 21. 12s. 6d. Medium 8vo. — 4 Guineas, Imperial 8vo. ; and 
 7 Guineas 4to. Proofs, India Paper. Of the latter size only One Hundred Sets are printed, and nearly the whole are sub- 
 scribed for. It will never be reprinted. 
 
 The Second Volume contains scientific illustrations of all the Bridges — of Carlton Palace — the Bank — the New Law 
 Courts — and some of the New Churches, with ample descriptions of each. 
 
 AN HISTORICAL AND ARCHITECTURAL ESSAY 
 
 RELATING TO 
 
 meutWffe Cliurtl), Bristol ; 
 
 ILLUSTRATED WITH TWELVE ENGRAVINGS OF PLANS, VIEWS, AND DETAILS ; 
 WITH ANECDOTES OF EMINENT PERSONS CONNECTED WITH THE CHURCH; 
 ACCOUNTS OF MONUMENTS ; 
 
 AND AN ESSAY ON THE LIFE, CHARACTER, AND TALENTS OF THOMAS CHATTERTON. 
 
 “ mist tf)i0 mp0ter2 of a Imman ijanli, 
 prltie of 33tl0totoe anU toeotem lanO*” 
 
 By JOHN BRITTON, F. S. A. 
 
 Royal 8vo. 16s. Imperial 4to. ll. IL, 6d. 
 
 THE HISTORY AND ANTIQUITIES OF 
 
 mm Ciiurtl) ; 
 
 BY J. BRITTON, F.S.A. etc. 
 
 WITH TEN ENGRAVINGS BY J. AND II. LE KEUX, ETC. 
 
 FROM DRAWINGS BY MACKENZIE, ETC. 
 
 Royal 8vo. ll . — Medium 4to. 1?. Ils. Gd . — Imperial 4to. Two Guineas. 
 
 “ Not many weeks ago we had to speak, and in the most favourable terms, of the History of Wells Cathedral ; and we 
 can now do little else than repeat our praises upon this twin volume, descriptive of the twin Abbey at Bath. We find the 
 same antiquarian research, the same indefatigable industry in examining and representing every interesting fragment, the 
 same tempered zeal in estimating the value of traditions, and the same laborious beauty and finish in the engravings.” — 
 Literary Gazette, April, 1825. 
 
 SPECIMENS OF 
 
 (iBotljtc :Arel)itectttre ; 
 
 SELECTED FROM 
 
 VARIOUS ANCIENT EDIFICES IN ENGLAND; 
 
 Consisting of Plans, Elevations, Sections, and Parts at large; calculated to exemplify the various Styles, and the practical 
 Construction of this Class of admired Architecture — accompanied by Historical and Descriptive Accounts. The Drawings 
 by A. Pugin, Architect; and the Engravings, in Outline, by J. LeKeux,Turuel, &c. The Literary part by E.J. Willson. 
 Vol. I. contains Sixty Engravings, with a Glossary of Technical Terms. Vol. II. Fifty-six Prints. 'I’hc two Vols. Medium 
 4to. 6 Guineas, and 9 Guineas Imperial 4fo. 
 
 This Work is adapted to furnish practical Information to the Architect, Builder, Cabinet Maker, Sec. also to the 
 Critical Antiquary and Connoisseur. 
 
PICTURESQUE VIEWS 
 
 OF 
 
 STl)e Cities of CnglanU. 
 
 ENGRAVED BY THE MOST EMINENT ARTISTS, 
 
 FROM DRAWINGS BY G. F. ROBSON. 
 
 This Work comprises a Series of Engraved Views of all the Cities of England, represented from such stations, and under 
 such effects, as to convey the most impressive and faithful portraits of the respective places. Mr. Robson has been several 
 years preparing the Drawings, and has paid every attention to choose those points of view which are best calculated to 
 characterize the principal local buildings and adjacent scenery of each city. t • • j 
 
 The Work will be comprised in Four Numbers, Three of which are finished, with Eight Prints in each. It is printed 
 on Medium and Imperial 4to. Papers, to class with The Cathedral Antiquities. A small number are worked with Proofs 
 and Etchings, India Paper, Super-royal Folio, and Imperial 4to. , „ j 
 
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 Etchings, on Super-royal Folio, 6Z. 6s. per Number. 
 
 INTENDED TO ILLUSTRATE BY PLANS, ELEVATIONS, SECTIONS, AND VIEWS, THE VARIOUS STYLES AND 
 FEATURES OF THE ANTIENT BUILDINGS OF THAT PROVINCE. 
 
 EDITED BY JOHN BRITTON, F. S. A. ETC. 
 
 This Publication will consist of Sixty Engravings, with a separate Volume of Letter-press to elucidate the History 
 and describe the Characteristics of each Building, and its peculiar members. 
 
 Tbe Fourth Number, to finish the work, will be ready in August, 1827, and will contain Twenty Engravings. Besides 
 serving to illustrate, architecturally and scientifically, the styles and peculiarities of the Antient Buildings of Normandy, 
 this Work will tend to exemplify the correspondencies and variations between the early Architecture of that Country and 
 England ; and thus furnish data for the Critical Antiquary, and practical examples for the Architect. 
 
 Ten Copies, worked on India Paper, Proofs, 3l. 13s. 6d. each Number. 
 
 COMPRISING HISTORICAL AND DESCRIPTIVE ACCOUNTS OF THE ANTIQUITIES, TOWNS, VILLAGES, SEATS, ETC. 
 OF THE NORTHERN AND CENTRAL PARTS OF THE COUNTY. 
 
 GEORGE WATSON TAYLOR, ESQ. M. P. 
 
 EMBELLISHED WITH A MAP AND THIRTY ENGRAVINGS, EMBRACING AN AUTO-BIOGRAPHIC SKETCH OF THE AUTHOR. 
 
 BY J. BRITTON, F. S. A. etc. 
 
 [“ Mr. Britton’s Life is one of usefulness— an example to the industrious, a stimulus to the young, in every rank of 
 society, who may be ambitious to tread the paths of literature with honour to themselves and benefit to the public.’' — 
 Literary Gazette, October, 1825.] 
 
 *** This Volume may be had with Title-page, &c. as the Third and concluding portion of“ The Beauties of 
 Wiltshire.” 
 
 In One Volume, Medium 4to. Price Six Guineas, and Ten Guineas Large Paper, 
 PUGIN AND LE KEUX’S ENGRAVED SPECIMENS 
 
 OF THE 
 
 :^rel)ttettural ianttqutttes of 5l5ormanti?. 
 
 In One Volume, Svo. Price 11. 11s. 6d . ; and large Paper, with Proofs, 2l. 6s. extra Boards, 
 
 TOPOGRAPHICAL SKETCHES OF 
 
 dedicated to 
 
 LITERARY AND GRAPHIC ILLUSTRATIONS OF 
 
 jFontljtU :^bhej>. 
 
 Imperial 4to. 2Z. 10s. — Small Paper, IZ. 10s. 
 
 BY JOHN BRITTON, F.S.A.- 
 

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