A RECORD 
 
 OF 
 
 MY ARTISTIC LIFE. 
 
 •J B. WARING. 
 
 — 
 
 Because the soul is progressive, it never quite repeats itself, but in 
 
 every act attempts the production of a new and fairer whole Thus 
 
 in our fine arts, not imitation, but creation, is the aim He has 
 
 conceived meanly of the resources of man, who believes that the best 
 age of production is past.” — Emerson's Essay on “ Art." 
 
 “ Nothing is denied to well-directed labour ; nothing is to be obtained 
 without it.” — Reynolds's “ Discourses." 
 
 “ . . . . Thus, step by step, ascends 
 The Art that notes, and gathers, shapes and blends.” 
 
 Schiller “‘The Artists." 
 
 Lord Lytton's translation. 
 
 TRUBNER & CO., 
 
 57 & 59, LUDGATE HILL, LONDON. 
 
 1873. 
 
Dry den Press: 
 
 J. DAVY & SONS, 137, LONG ACRE, LONDON 
 
 ‘ 
 
 \ 
 

 A RECORD OF MY ARTISTIC LIFE, 
 
 By J. B. WARING. 
 
 0 
 
 I was born at Lyme Regis, Dorset, June 29, 1823, and 
 cannot but think that the natural beauty of the place had 
 much effect in exciting and developing the artistic feelings of 
 my nature. After having seen some of the most celebrated 
 bays of Europe, viz., Genoa, Naples, Palermo, and Dublin, 
 to all of which I have heard Lyme bay compared, I must 
 still consider, that standing upon high ground some fine 
 summer’s day, when the eye can reach from Portland 
 Point on the East to Start Point on the West, stretching 
 across the chord of an arc some eighty miles in length, 
 enclosed with a succession of hills beautiful and varied 
 both in form and colour, there can be no more lovely scene 
 on earth. It was on the shores of this beautiful bay that 
 I spent the first 15 years of my life, and it was here I 
 became at an early age an enthusiastic devotee to art. 
 My first attempts were views of the town and neighbour- 
 hood, done in pencil in loose sheeted books, but I soon 
 gave up landscape for figures, the inspiring cause being 
 the woodcuts of the first numbers of the “ Penny and 
 Saturday Magazines,” in the years 1834-35, the former of 
 which especially struck my fancy with its really fine 
 engravings after the old masters and the best antique 
 statues, some of which I copied. The illustrations to 
 Pickwick, from the earliest numbers of which I sedulously 
 copied various etchings by Seymour, Buss, and Hablot 
 Browne, next excited my admiration, and I even attempted 
 a series of additional illustrations of my own, which are 
 still preserved in the family Pickwick. Nor should I 
 forget the wonderful etchings of George Cruikshank, many 
 of which I also copied. But about this time, and perhaps 
 even a little earlier, a much higher branch of art had 
 attracted my intense admiration : this was etching as 
 
 7 
 
2 
 
 represented by the works of Eembrandt, Teniers, Worlidge, 
 and others, of which the rector of onr parish, the Eev. Ur. 
 Hodges, had a very good collection, kindly placed by him 
 at my disposal and from which I made copies of some of the 
 most striking examples. My admiration of Eembrandt’s 
 etchings was indeed intense, and my occupation in copying 
 them all-absorbing; it seemed wonderful to myself, to 
 find that I could produce an almost perfect facsimile, and 
 I used to endeavour to make the resemblance as perfect as 
 possible by discolouring the paper by means of weak coffee 
 or holding it to the fire. But I was not content with pen 
 and ink, fired by my love of the art, I determined to try 
 and work on the copper itself, for this purpose I bought an 
 old book on engraving,* and received some verbal instruc- 
 tions from Dr. Hodges, who himself practised the art a 
 little ; and produced much to my own delight, a tolerably 
 successful rendering of a Eembrandt, in which however, 
 the hands puzzled me terribly. 
 
 Of course hands and feet I always found difficult to 
 copy, especially the last when foreshortened, and I have a 
 pretty good figure from Salvator Eosa, in which the fore- 
 shortened foot is left hopelessly unfinished. We had at 
 home, also some books which were onljAto be seen as a 
 favour, one of these was the “ Temple des Muses,” engraved, 
 1 think, by Picard, but these gods and goddesses never 
 interested me, though the engravings are very fine in their 
 way, whereas I was never tired of looking over the 
 “ Galerie Napoleon,” paintings by the old masters, engraved 
 in outline principally, or slightly shaded, by various en- 
 gravers, amongst whom I particularly admired Pistrucci, 
 and copied most of his works, such as a Spanish Lady by 
 Velasquez,, (now in the Hertford collection) ; St. Agostino, 
 by Caracci ; and J esus giving sight to the blind, also by 
 one of the Caracci, a picture which, oddly enough, I had 
 charge of at Leeds in 1867, and placed with its companion, 
 the Eaising of J aims’ Daughter, I think both at that time 
 the property of Mr. E. Holford, on the main staircase. It 
 was this “ Galerie Napoleon,” which decided my fate in 
 life. Every Christmas, presents were interchanged between 
 our family and my grandfather, Mr. Franks, in London, 
 
 Which I still possess, “ Sculptura Historico Technica, or the History 
 apd Art of Engraving,” London, 1770 . 
 
t-HOTO-LlTHO 
 
 Whiteman H.cksfc Wh>ter*un 
 IS L.tdc Queen S' W.C 
 
3 
 
 who by the bye, possessed at that time a very fair collection 
 of paintings by the old masters, since dispersed ; among 
 our offerings was an etching from me, after Canaletti, in 
 the “ Galerie Napoleon,” representing the Ducal Palace at 
 Venice, with which my grandfather was so much pleased 
 that he offered to put me with an architect in London, and 
 to defray the expense of my education in case I felt 
 disposed to follow architecture as a profession; this was an 
 offer not to be refused, so an architect I was destined to be 
 Ion grb mal grb ; as to myself, I hardly knew what an 
 architect meant, and, if left to myself would have chosen 
 to be an artist or a sailor ; but there was no choice in the 
 matter, so at about 15 years of age my future profession 
 was decided on. In the meantime I assiduously pursued 
 etching in pen and ink and sketching from nature, and 
 was never tired of reading over the catalogues of pictures 
 by the old masters, contained in the “ Beauties of England 
 and Wales,” by Britton and Brayley, in their descriptions 
 of the great mansions of our land. 
 
 At fifteen years of age I first left my native place for 
 any lengthened time, and was sent to a branch of the 
 University College, London, established at Bristol, where 
 the course of my studies was greatly extended, and it was 
 impossible not to be interested in such studies as Latin, 
 under Prof. F. W. Newman; German, Dr. Munch; Theology, 
 Eev. Dr. Bromley ; and Natural History, Dr. W. Carpenter ; 
 nor must I forget water colour drawing under Mr. S. 
 Jackson, of the old Water-colour Society, but somehow, 
 beautiful as his works decidedly were, I never took the 
 same interest or such delight in any branch of art as I did 
 and do still in etching, for power, chiaro oscuro, truth to 
 nature, and delicacy combined with force, there seems to 
 me no art comparable to it. At Bristol dwelt an old 
 French refugee, who dealt in works of art, and from him I 
 made my first purchases towards a collection of etchings, 
 which purchases although of great value in my own eyes, 
 were, I soon found, not appreciated by skilled connoisseurs. 
 I had little time now left for etching, and 1 think my last 
 attempts are dated 1839. In the autumn of 1840 I was 
 apprenticed as a pupil to Mr. H. E. Kendall, to learn the 
 art and mystery of architecture. I found four or five other 
 students in his office, amongst whom were Mr. Macquoid, 
 
4 
 
 who subsequently made the drawings of “ Architectural Art 
 in Italy and Spain/’ jointly with me ; Mr. J. Clayton, who 
 was the author of “ The Ancient Timber Edifices of Eng- 
 land,” and “ Wren’s London Churches” ; and Mr. J. T. Wood, 
 who was for a long time resident architect at Smyrna 
 to the Turkish Eailway Company, and is now celebrated 
 as the discoverer of the Temple of Ephesus. 
 
 I was articled to Mr. Kendall, who was a second-cousin 
 of mine, for three years, and entered with great pleasure on 
 my new duties ; there were I think six of us in the office, 
 and our hours were from ten to half-past-four, and although 
 we naturally lost some time at play and lunch, still 
 altogether the way in which we for the most part kept to 
 our work was creditable, seeing that we were left very 
 much to ourselves. Neither did we confine ourselves to 
 the office work. Architectural students at the present 
 day have perhaps a very slight appreciation of the great 
 advantages they now enjoy over us who were students more 
 than thirty years ago. With the exception of the Eoyal 
 Academy there was no public school of architecture, and 
 that was a mere sham or shadow of a school. There was 
 no Institute active as now, no Association, \ no public prizes, 
 no South Kensington with its museum and schools, and 
 indeed but few opportunities of any kind for those who 
 wished to improve themselves. I therefore obtained books 
 from my master, which I took home and studied of an 
 evening. Gwilt’s “ Eudiments of Architecture,” and 
 “ Bartholomew’s Practical Architecture,” being storehouses 
 of valuable knowledge ; besides this we formed a Sketching 
 club, to meet once a week at each others lodgings and there 
 to compare designs from a given subject, made during the 
 week, and to read papers in rotation. Appended are a few 
 sketches, and one of my papers : — 
 
 On Taste in Architecture. 
 
 In treating of this subject it is my desire to point out 
 as far as my abilities permit, the true principles that 
 should guide us in the attainment of a quality so frequently 
 laid claim to, but so seldom understood. There are two 
 kinds of taste, the one too often confounded with the 
 other, one to be acquired and one to be avoided, and both 
 
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 /faJ.iJifj 
 
 PhOTO'LiThC 
 
 Whiteman Hicksl Whl Urrar 
 «9 n^!e Queen S'W.C 
 

 
 - — = 
 
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5 
 
 with difficulty. I allude to good taste and bad taste. Nor 
 in this paper shall I only speak of the first, but trust to 
 lead you to its beauties by exposing the faults of the 
 second. “What we call taste, says Jones of Nay land, in the 
 metaphorical sense of the word, is that faculty by which 
 we distinguish beauty and excellence in works of art, as 
 the palate distinguishes what is pleasant in meat and drink. 
 The latter faculty is natural, the former, so far as it 
 signifies judgment, is the result of education and ex- 
 perience, and can only be found in a cultivated mind. Arts 
 and sciences are so nearly related among themselves, that 
 your judgment in one will always want some assistance 
 from your knowledge of another. Whence it comes to 
 pass that of people who pretend to taste, not one in 
 twenty really possess it.” 
 
 The greatest enemies to good taste are fashion, inatten- 
 tion, ignorance, and prejudice. As regards the first of 
 these, without enquiring into the motives which direct 
 us, we are all aware how easily and innocently we are led 
 away by it. The present rage is modern Gothic and 
 debased Italian. Our young men have tired of the old well 
 beaten road and have struck out into the enchanting paths 
 of unrestrained fancy, led by a set of bold guides who 
 they term, and who are generally known as “ devilish 
 clever fellows,” men who ransack the works of those old 
 artists, whose merits are novelty of design, knowledge of 
 pictorial effect and fecund imagination, whose faults are 
 all these good principles carried to an excess for want of 
 a well regulated judgment, and these do they not only 
 copy, but exaggerate in order to satisfy the cravings of that 
 epicurean glutton, Fashion. But when we consider the 
 materials with which the architect works, I question much 
 whether he is justified in these caprices, in thus falling in 
 with and too often leading this fureur du temps. Ours is an 
 art more public, more liable to continual criticism and as 
 durable as any, how careful ought we then to be in our 
 designs, how assiduous in avoiding faults ! how ardent in 
 the attainment of its real excellencies ! On this point I 
 cannot do better than quote the words of Mr. Alison : “ In 
 all those arts that respect the beauty of form,” says he, 
 it ought to be the unceasing study of the artist to dis- 
 engage his mind from the accidental associations of his age, 
 
6 
 
 as well as the common prejudices of his art, to labour to 
 distinguish his productions by that pure and permanent 
 expression which may be felt in every age, and to disdain 
 to borrow a transitory fame by yielding to the temporary 
 caprices of his time, or by exhibiting only the display of 
 his own dexterity and skill. Or if the accidental taste of 
 mankind must be gratified, it is still to be remembered that 
 it is only in those arts which are employed upon perishable 
 subjects that it can be gratified with safety, that in those 
 greater productions of art which are destined to last for 
 centuries, the fame of the artist must altogether depend 
 upon the permanence of the expression which he can com- 
 municate to his work, and that the only expression which 
 is thus permanent and which can awaken the admiration 
 of every succeeding age is that which arises from the 
 nature of the form itself, and which is founded on the 
 uniform constitution of man and of nature.” 
 
 Inattention, by which I mean a hasty conclusion drawn 
 from few and superficial observations, we must particularly 
 beware of ; we must observe, examine, compare, and dis- 
 criminate carefully before coming to a determination on 
 matters of taste. By this very general fault the architects 
 of the present day too often deceive their employers 
 and make them the dupes of their own carelessness ; for 
 what other purpose do they so highly colour their designs 
 with tints which a man might spend his life in endeavour- 
 ing to discover in nature, and fail. It is thus they introduce 
 parts into their designs good in themselves, but unfitted 
 for their position, and from want of attention, they adopt 
 without due consideration what may perhaps originally 
 have justly caused their admiration. Thoughtless of the 
 nature of the surrounding scenery, they mar their own 
 work, they swallow without masticating. Depend on it, it 
 is not enough to judge, everyone can do that, but to judge 
 correctly and to enable us so to do, inattention and rash 
 conclusions must be carefully avoided. 
 
 Men of taste have hungry stomachs and often empty 
 pockets ; unwillingly do they pander to a senseless patron : 
 who shall blame them ? The most talented men are too 
 often inattentive ; we excuse the fault, and could wish it 
 otherwise. But, monstrous ! an ignorant, illiterate quack 
 starts up, buys gaudy toys and books, alfects to love the Arts, 
 
7 
 
 and is dubbed a man of most refined taste. What thongs shall 
 be tough enough to whip him off ? what contempt sufficient 
 to destroy his pretensions ? none. These men are always 
 the most arrant coxcombs in art, the more ignorant the 
 more confident, and the more confident with the multitude 
 at least, the more admirable. With a mind crammed with 
 magazine reports and essays, such a one overwhelms you 
 with technicalities, condemns Vitruvius, adores Michael 
 Angelo, loses his soul in the chancel of a Gothic cathedral, 
 and is going to St. Peter’s on purpose to lose it again, but 
 isn’t quite sure that he approves the style of architecture 
 and so may fail. It is a pity that age should too often 
 lend the respect due to grey hairs to such a character, and 
 abuse the unbounded admiration of youthful aspirants, 
 who know him not. There are such men in our profession, 
 and the sooner they make their fortunes, as they are sure 
 to, and leave it the better. These men have, I must observe, 
 practical knowledge, to which were they content to keep, 
 they would command respect, not contempt. We come now 
 to what has always been allowed to be the greatest let and 
 hindrance to investigation, the first step towards the 
 attainment of taste, known as prejudice. “ The only way,” 
 says Locke, “ to remove this great cause of ignorance and 
 error out of the world, is for everyone impartially to ex- 
 amine himself,” let everyone do so. I own myself faulty, 
 and so, may be, do you. Let us set then to work vigorously 
 to weed out this noxious, stubborn rooted plant, and believe 
 that until we have succeeded, we had better be silent on 
 the particular subject, as we must have a consciousness of 
 speaking unadvisedly and disingenuously. Where this 
 prejudice against some particular style of art is founded on 
 rules and principles we are willing to explain and discuss, 
 it is no longer blameable, and loses the character of 
 prejudice, which as its name denotes, signifies a judging 
 beforehand, without due consideration, through mere 
 inclination, fancy, or education. And here I must remark 
 that instead of thumbing speculative essays on taste in 
 art, we had, it appears to me, far better refer to a well- 
 known work called “ Locke on the Conduct of the Under- 
 standing,” which will guide us more immediately and 
 practically on our course. It discovers to us the road to 
 abstract truth, and the necessary tutelage of the mind 
 
8 
 
 previous to its attainment, Truth is the same everywhere 
 and in everything, and as there is a true belief and a false 
 belief, a true state of virtue and false state of virtue, a true 
 philosophy and a false philosophy, so is there a true taste 
 and a false taste. The attainment of which state of 
 truth must, I feel convinced, be regulated by the same 
 course and be arrived at by the same means in each. There 
 is one mistake men make who set up for professors of good 
 taste, which is, that they seem to imagine a feeling for the 
 beauties of nature or art, a sensibility of temperament, a 
 ready reception of impressions of grief at a dead Saviour, of 
 mirth at a Bacchanalian dance, of awe at the raising of 
 Lazarus, that this excitability of mind is the only qualifi- 
 cation, and with this false idea they enter into the lists 
 of architecture, the last of the arts capable of producing 
 these sensations, and fancy themselves supreme. Let no 
 one accept this false shadow of the fact, but remember that 
 although it is the basis and very foundation of his desired 
 structure, it is nothing more ; added to this must be a 
 sound judgment, (and these two nature often combines), a 
 cultivated mind and one well stored with works of a 
 similar nature of art, together with a freedom from those 
 qualities which we have before treated of, then will we 
 own him an excellent and worthy judge in such matters. 
 Then for him “taste exalts the affections and purifies the 
 passions, clothes a private life in white, and a public one 
 in purple, adding a new feature as it were to the pomp, the 
 bloom and the exuberance of nature, it enables the mind to 
 illumine what is dark and to colour what is faded, giving a 
 lighter yellow to the topaz and a deeper crimson to the 
 ruby, a more celestial hue to the sapphire, and a more 
 transparent purple to the amethist, bearing a price which 
 only the heart and imagination can estimate, and being the 
 author of a thousand chaste desires and secret hopes. 
 Taste strews flowers in the paths of literature and science, 
 and breathing inexpressible sounds and picturing celestial 
 forms, qualifies the hour of sorrow by inducing that secret 
 sense of cheerfulness which in its operation ” 
 
 “ Refines the soft and swells the strong 
 And joining nature’s general song 
 Though many a varying tone unfolds 
 The harmony of human souls.” 
 
 Mrs. Chapone. — Saturday Magazine. 
 
ft ftc/vtC. 
 

 
 
{I Ttv&n, cufatu/r . 
 
9 
 
 This 1 consider was an excellent custom, originating I 
 believe with Mr. Wood, and I still retain with a kind of 
 reverent feeling and no slight pride an ivory two foot rule, 
 presented to me by the Club as a prize in the year 1843. 
 
 In 1842, I became a student in the Eoyal Academy and 
 duly attended lectures there, and read in the library. In 
 1843 I obtained the large silver medal of the Society of 
 Arts, for designs in “ Architectural adornments,” the same 
 being glazed fireplace slabs, of the kind now so common. 
 
 All this time I had not however, quite neglected my draw- 
 ing, but found in London quite a new fount of inspiration in 
 the various characters and faces one meets with daily. 
 These to pourtray did I assiduously incline, and have a book 
 full of such sketches of character, which even now amuse 
 me ; moreover I taught myself lithography in chalk and 
 with ink, but did not like either method. I missed 
 especially that delightful tracery of fine green bubbles 
 which marks the progress of an etching, as well as the 
 smell of pitch and of the acid, both of which to me were 
 pleasant. Besides these various occupations, I drew from 
 the antique, gent in a pen and ink drawing of the “ Wild 
 Boar of Ardennes,” from Quentin Durvmrd , for the silver 
 medal of the Society of Arts, which, however, I failed to 
 obtain, and made original illustrations to Shelley and Milton. 
 About this time, my mother, who had been a widow for 
 some years, died, and I was left master of myself, with 
 the knowledge that at the age of twenty-one I should 
 come into a small independent inheritance. 
 
 Always exceedingly delicate in health, and suffering 
 every winter from severe and painful coughs, I began to 
 feel that I never should be fitted for my profession, and the 
 desire to leave England for Italy, to take up my abode 
 there, and study with the view of becoming a painter, 
 became strong with me, and I requested Mr. Kendall, under 
 the circumstances, to allow my indenture to be cancelled ; 
 he declined, and I was therefore perforce, obliged to con- 
 tinue my architectural studies, but directly I was out of 
 my time, i.e. in the autumn of 1843, being then 20 years 
 of age, I set out for Italy, partly to escape another English 
 winter, partly to improve myself in art and to become a 
 painter. There was no railway at that time in France, 
 and my first journey from Boulogne to Paris on the top of 
 
10 
 
 a diligence in company with various hampers of a very 
 “ancient and fish-like smell/’ still impresses me with no 
 pleasant recollections. At Paris, the splendid Mediaeval 
 and Renaissance remains of ornamental art at the Louvre 
 and at the Hotel Cluny, opened up quite a new world of 
 ideas to me. However, being most anxious to proceed to 
 Italy, on I went, with only the needful delays for rest, 
 through Lyons, Avignon, Marseilles, Genoa, and thence by 
 steamer to Leghorn for Florence. What a new, bright, 
 cheerful, picturesque world was now unfolded to me ! I 
 was in one constant state of delighted observation, and 
 my sketch books were full of. costumes and architectural 
 bits which attracted my notice on the way. 
 
 At Florence, all thoughts of turning painter vanished, 
 and architecture became my supreme delight. This change 
 was effected by the extreme admiration I experienced in 
 seeing the Florentine buildings, especially the Cathedral, 
 the Strozzi and other palaces of that class, and the great 
 works of several Florentine architects, of whom heretofore 
 I knew nothing. Through the interest of the Cavalier 
 Poccianti, to whom I had a letter of introduction from the 
 Institute, I carefully examined the Duomo, and made 
 drawings of it. I studied the works on architecture at the 
 library of the Academy, and made written notes of all I 
 saw. I made the usual tour of Italy, being generally 
 quite alone and always fully occupied, visited Naples and 
 Pompeii, and returned home by the Rome, Florence, 
 Venice and Milan route, arriving in London after more 
 than a year’s absence, during which my health had greatly 
 improved. What I thought of the monuments of Italy 
 may be gleaned from the following notes, selected from a 
 miscellaneous collection : — 
 
 Architectural Notes made in Italy, 1843 - 44 . 
 
 The general character of a Florentine palace in the Tuscan 
 style, such as those of Strozzi and Riccardi, is massive and 
 noble : the ground story always rusticated in the boldest 
 possible manner, of the same height as the other stories, with 
 smaller windows, but an immense and large moulded 
 arched entrance, leading into a quadrangular court with a 
 one column and arch colonnade. Externally again comes 
 a plat band, from which spring the second tier of windows, 
 
11 
 
 divided into double lights, the wall space above them very 
 great; this being a characteristic of the style, that the 
 windows are at the regular distance from each other but 
 have a space equal to their height unoccupied between 
 them and the next plat band : this is repeated again with 
 some difference, very slight, the whole being topped with 
 an immense cornice, of which the Biccardi is a good 
 specimen. In general effect, the lines are unbroken, the 
 windows, except the lower story, all arched, the rustication 
 very rough, and the cornice ornamented, presenting to the 
 eye an unbroken line of perspective and an appearance of 
 great strength and grandeur. 
 
 Composition. — In architectural composition have no- 
 thing close and jammed together, Space, Space, Space — 
 look at a Florentine palace. 
 
 Pitti. — Poccianti in his additions to the Pitti, has spoilt 
 all by the slightness of his projections, and the want of 
 depth in his ornament. The staircase is handsome, and on 
 the plan of the one at Caprarola by Vignola. 
 
 Serlio. — In Serlio’s S ettimo Libro d' Architettura there 
 are some excellent designs for dwelling houses in country 
 and town, and some good doorways in his Architettura 
 Straordinaria. 
 
 For a full pictorial description of a Theatre and for 
 general information, see Architettura de S. Pietro a Roma, 
 Teatro di Bologna e Palazzo Ranuzzi , (by Palladio.) 
 
 Pitti Palace. — The bath room here is small and very 
 beautiful. The plan of it is oblong, with a ceiling arched 
 every way, for colour, light blue on ground with white 
 ornaments and figures, the walls light stone or drab colour, 
 columns green marble with white capitals, tapestry blue 
 and white. 
 
 Academy at Florence. — The Academy of the Fine 
 Arts consists of a school for painting, for drawing from 
 the antique, for drawing from the living model, for intaglio 
 work, and for architecture ; of course all separate. The 
 architectural school is hung round with the various draw- 
 ings that have gained premiums, consisting of measure- 
 ments and drawings of various celebrated buildings, and 
 original designs, with printed lessons for the use of 
 beginners. There is a master there during the proper 
 hours, (from 9 to 2), and books may be referred to ; it has 
 
 
12 
 
 also a museum of models, and a good architectural library. 
 The other schools are well managed, and the collections of 
 paintings and casts good. Under the same establishment, 
 or of the same name, is a school for music, consisting of 
 separate schools for the piano and organ, for the violin, for 
 counterpoint, and for mechanics, with one for antiquities ; 
 and here also is the library of the Academy, open from 9 
 to 1. The other schools before mentioned open early. 
 Why, amongst other pursuits for which a school is avail- 
 able, and in fact most necessary, is the art of acting left 
 out? There is also a school for chemistry. 
 
 Books. — Looked over to-day, Bibiena’s Designs , in 3 
 volumes. Although showy and excellently executed, yet 
 I think it is a style by no means to be followed, being 
 faulty in every way ; for a theatre they might be useful. 
 His perspective is extraordinarily bold, correct, and a good 
 reference when any show drawings are to be made up. 
 
 In the inedited works of Palladio, a theatre and one or 
 two ordinarily good designs. 
 
 The Palaces of Bologna , not much of it, Cipriani's Buil- 
 dings of Rome far superior and very useful for reference. 
 Cipriani’s work is called, New Method to learn Architecture, 
 {Civil) by G. D. Navone and G. B. Cipriani, part 1, Palaces, 
 very useful, published at Rome, 1794, a.d. 
 
 Uffizii. — Is designed by Vasari, (not Yo my taste). The 
 passages are about 38ft. high internally, and about 19ft. 
 wide, the effect too long and narrow. 
 
 At Florence, Michel Angelo appears a very mediocre figure 
 as an architect, the lower tier of windows, Palace Riccardi, 
 are bold in relief and good. Zucchero’s house is designed 
 by himself, and a curious specimen of rustication it is. 
 
 Bernardo Tasso appears to have done best here. Parigi 
 designs in a French style not at all to my taste. Ammanati 
 is pretty good. 
 
 Brunelieschi. — At the Pitti he shows very favourably. 
 These two last were the architects employed to build this 
 palace, {Ruggero, Palaces of Florence) 
 
 Bocklaer. — An old work by him, on theatre machinery, 
 might be useful. 
 
 Pitti. — The Pitti is divided into three stories from 
 ground to cornice, 1st. 42ft., 2nd. 43ft., 3rd. 38ft. (about) 
 making a total of 123ft. 
 
13 
 
 Cronaca is an architect who has done well here at 
 Florence. By him are the Cortile of the Strozzi, the Tribune 
 of Leo X in y-Palazzo Yechio, and the Sacristy of the Holy 
 Spirit ; he is very careful and studied in detail, and good 
 in effect. 
 
 J. de Bologna has done some architectural work at 
 Florence ; pretty good. 
 
 Cigoli at Palazzo Tornaquinci ; good. 
 
 Books. — Rossi's Study of Civil Architecture y published 
 at Rome in German and Italian, is useful, having drawings 
 and measurements of palaces, with useful staircase. 
 
 Pitti. — In Ruggero’s Study of Civil Architecture this 
 palace is detailed. 
 
 Siena. — The Cathedral here is very beautiful, especially 
 internally. Its form is that of a Latin cross, the length 
 from door to tribune of choir, 153 braccia f :* nella crociata 
 88 b.f. ; nella navata 42 b.f.; height of clerestory, 44 b.f. ; 
 height of side aisles, 26 b.f. The pulpit by Nicholas 
 Pisano is a perfect study for ornament, the stalls are 
 splendidly carved, and there are various rich carvings in 
 different parts of the church, especially the doorway 
 columns. The dome is a square at base, but above the 
 extrados of the arches is coined into an octagon in a curious 
 manner worthy of observation. The Liberia is a splendid 
 room, enriched with frescoes executed by Pinturicchio from 
 designs by Raphael, in wonderful preservation ; the orna- 
 mented panels are good for study, colours on a gold ground, 
 and others common ; the floor tesselated with glazed porce- 
 lain, done at Florence. The whole of this cathedral in- 
 ternally is black and white marble. 
 
 The use of brick here is remarkable, some of the richest 
 ornaments being executed in this material ; the effect is 
 very good. 
 
 Design. — A national building, as the Walhalla or Hall 
 of Heroes, enriched with records in art, painting and 
 sculpture by native artists, in which to be celebrated 
 every great anniversary or holyday with music. This 
 might form part of a national museum, where a rotunda 
 might be set aside for the reception of groups and figures 
 belonging to the history of the people, with historical 
 paintings, and an orchestra for musical performances; 
 
 * “ A braccio Florentine) ” is about 23 English inches. 
 
14 
 
 this room to be always open to the public ; of large and 
 lofty dimensions, suitable to a great congregation. The 
 Drama could in this place once more regain its fallen autho- 
 rity and use, and by means of historical plays of Shaks- 
 peare or other authors, become not only an amusement 
 but a school for the people. Such a method of engaging 
 the attention of those orders of people who otherwise find 
 a national holyday but another name for the exercise of 
 their lowest faculties and most vicious propensities, would 
 be highly profitable to the nation and greatly cultivate its 
 best feelings and tastes. The arts of Painting, Sculpture, 
 Music, Architecture and Acting would find scope for their 
 highest powers, and in this manner we should far surpass 
 other nations by being the first to produce some really 
 useful fruit from those arts which have so long been called 
 the Fine without deserving that of the useful. 
 
 I feel perfectly convinced that such exhibitions would 
 produce a strong and healthy impression on the public 
 mind, and be a source of pride and enjoyment to all classes. 
 The Pantheon would serve as an excellent model to be 
 introduced in the composition of such a work. 
 
 Tkevi. — The columns continued througl\two stories, with 
 the upper tier of windows nearly in a line with their 
 caps, has a very bad effect. The centre with niches and 
 statues is better. KB. — The windows here carried up 
 
 into the frieze. 
 
 Vatican. — Homogeneous colours of a light tint on a dark 
 ground, the warmer the better, also gold on blue of dark 
 tint, a gold ground and coloured arabesques in the old 
 style, all are good for ornamental purposes, carving on 
 doors or other work. The only light proceeding from the 
 wall opposite is lost, as light and shade are wanting ; that 
 is, no shadow is cast, or very little. In the like manner 
 much work of that nature on northern or eastern walls is 
 likewise thrown' away. 
 
 De Stael, see Reynolds ut seq . — “ Painting and sculp- 
 ture, whether representing the human form or other natural 
 objects, awaken clear and intelligible images ; but a perfect 
 piece of architecture kindles that aimless reverie which 
 bears the soul we know not whither. The ripple of water 
 well accords with this vague deep sense ; it is uniform as 
 the edifice is regular.” 
 
15 
 
 Doorway. — A door for an interior placed between 
 columns fully detached is good, as you go neither side of 
 it to place it in an abrupt perspective ; the frieze and shafts 
 may be pale brown, the other members all white, the base 
 of rather a darker white, and pedestal yet darker. 
 
 St. John’s Lateran. — I like it very well, the transept 
 is a splendid idea ; the columns supported by the angular 
 griffins not good ; the head of the capitals projecting too 
 far beyond the base ; the pavement of Opus Alexandrinum 
 very intricate ; the doorway mentioned above very bold in 
 appearance and well arranged as to colour ; the large centre 
 arch reaching to the chief cornice, far from spoiling the 
 effect of the smaller ones, sets them off to advantage. 
 This is another specimen of the fine effect of a flat ceiling 
 with enriched wood work ; it gives one an idea of solidity. 
 However beautiful this transept might be, it is spoilt by 
 senseless ornament, stuck on and in and about wherever 
 an inch of room presented itself ; it would serve excellently 
 for a large public hall. Externally the effect is also good, 
 and might be heightened by having greater depth of 
 receding wall, or by columns in the Loggias ; the statues 
 on the balustrade would be better if rather more than the 
 lialf of their actual size. 
 
 Reynolds, in speaking of Sculpture, says “Working in 
 stone is a serious business.” If this is true in sculpture, 
 how much more so is it in architecture. In reference to 
 De Stael, his words bear out her remark, “ Architecture,” 
 says he, “ applies itself like music, (and I believe we may 
 add poetry) directly to the imagination, without the inter- 
 vention of any kind of imitation.” His few remarks are 
 well worthy of consideration. 
 
 St. Lawrence “in Damaso.” — This church is not re- 
 markable for the richness of its sculpture or profusion of 
 decoration. You enter into a double arcade of pedestal’d 
 piers 2 ft. 11 in. by 2 ft. 11 in., from which spring arches 
 forming a vaulted ceiling ; it is obscure here and little light 
 allowed, causing the centre space to be seen in a sort of 
 relief ; the arching in every direction causes its good effect, 
 and the immense semicircular window is excellent. There 
 are no columns made use of here, lengthwise it is bounded 
 with a single arcade. The effect here is produced by 
 entering from the low, dim, arcaded vestibule into the high, 
 
16 
 
 well-lighted centre space ; such varieties may be studied 
 and used to advantage. 
 
 Mouldings. — The more I study these the more do I 
 find they require it ; as a general rule well defined mould- 
 ings and small bands are best, with various buildings of 
 various magnitudes ; the mouldings require with the style 
 a complete change of character ; a whole being made up of 
 parts, if detail is bad the effect cannot be good, and how- 
 ever much we may admire the conception, we shall be 
 disappointed with it as a work of art. 
 
 Gardens. — At the Villa Pamphili Doria are the best 
 specimens of the art of landscape gardening I have ever 
 seen. The fountains are in excellent taste and the whole 
 worthy of admiration. 
 
 Farnese. — The ceilings here are of very dark wood, 
 highly enriched and ornamented very deep, presenting an 
 antique, massive, rich appearance. In one room are the 
 celebrated illustrations of the Fables of Antiquity, by 
 Annibal Caracci, masterpieces of fresco painting, true still 
 life, in every way worthy of praise. But with all their 
 merits, owing to their height, a crick in your neck at the 
 end of a few minutes gazing, allows n(\ room for dispas- 
 sionate criticism. 
 
 Corsini. — The plan of this palace is remarkable for 
 the best combination of utility and intricacy without con- 
 fusion I have yet seen. The staircase is handsome, the 
 piers firm and well proportioned, and the tout ensemble 
 presenting an agreeable appearance of roominess ; nothing 
 jammed in “cribbed, cabined or confined.” The rooms 
 are of excellent proportions, usually square. One small 
 chamber with columns. In fact, from what I have observed, 
 columns judiciously applied in a room greatly add to its 
 effect. The rooms which I saw at Chevalier Poccianti’s are 
 excellent specimens. Locatelli and Cerquozzi, two painters 
 before unknown to me, both masters of chiaro oscuro, the 
 first usually employed his brush on bambocciate or small 
 choice bits of country merry-making, full of spirit, the 
 latter is more varied, and with the same power of effect, 
 has more imagination. Callot’s “Life of a Soldier” is 
 here (in oil) very inferior to his etchings. 
 
 Chigi. — There is here a painting of the Ascension of 
 our Lord by Garofalo, who was a follower of Eaffaele, not 
 
17 
 
 so remarkable in itself, as in its similarity to a painting by 
 Raffaele of the same subject, and in working it out accord- 
 ing to his own ideas. The figure of our Saviour in both is 
 excellent, Garofalo’s has but one arm elevated pointing to 
 Heaven, which opens over his head ; Raffaele’s with both 
 arms half elevated. I do not remember ever to have heard 
 of this similarity before : it is striking. 
 
 Sciarra. — Another painting by Garofalo. The Woman 
 at the Well (Samaritan), the open, innocent loveliness of 
 this face, I have never seen surpassed, her figure is grace 
 itself. Had this man lived some years later when the 
 mechanism of his art was more advanced, he would still, I 
 am convinced, have shone amongst its brightest stars. The 
 landscapes of the Dutch Masters, usually cabinet, are full 
 of poetry, and indicative of the highest perception of the 
 beauties of nature. I have remarked this everywhere; 
 there are some interesting specimens of Claude’s first style 
 here, more sketchy, but still evincing Nature’s pupil. 
 Blessed be the hands that have thus brought Nature in her 
 most hidden and delightful charms to our very firesides, 
 who draw her out of shadiest recesses and hiding places, 
 presenting such faithful, such refreshing portraits of her 
 to the thirsty gaze of the dwellers in cities, the merchants, 
 lawyers and men of business, who otherwise would know 
 her not. 
 
 Doria. — In the collection at this palace are some mag- 
 nificent Claudes, amongst them a fellow-one to the large 
 landscape with dancers in the National Gallery. Garofalo 
 still keeps my high opinion, and Ludovico Caracci is ex- 
 cellent in his faces : but, above all, Breughel has struck me 
 as most extraordinary; his Air, Earth, and Water, with the 
 Creation of the World, Adam naming the living things. 
 To say nothing of the wonderful work bestowed on them, 
 the leafing of the trees, the exactitude of his drawing and 
 the almost miniature finish — they possess the merit of im- 
 aginativeness — of poetry — and are striking in their effect ; 
 look at them closely, you will never be tired of admiring his 
 industry ; see them 50 feet off, and all the minutiae being 
 lost, you get another idea — almost another picture, with 
 masses of light and shade of a depth I have never seen 
 equalled. Two landscapes by Domenichino, according to 
 the guide, full of rural feeling. The light in this gallery 
 
 c 
 
18 
 
 proceeding from one side only, is the worst imaginable, it 
 is necessary to hinge the picture facing it, and those on the 
 window-side are totally obscured. 
 
 Villa Borghese. — The statuary (antique) is very good 
 here. There is one room of landscapes after the manner of 
 Poussin, by a man called “ Orrizonte,” they might have been 
 dubbed Poussin, and yet I never heard of the name before 
 coming to Rome. 
 
 Capitol. — The peculiarity of this celebrated bronze 
 statue of Marcus Aurelius is to be seen best by a back 
 view, he is apparently almost sliding off one side of his 
 horse, yet it is barely enough for that idea, since the 
 disposition of his limbs is so artistically managed that, 
 such an unpleasant trifle is evidently not to occur, although 
 out of the perpendicular in its centre of gravity, it is yet 
 perfectly gravitated. The feeling is on seeing it in this 
 position, that he must in a moment decline as much to 
 t’other side, and it is this gives the impression of actual 
 motion or life. Sir J. Reynolds in remarking on this sub- 
 ject, mentions a chariot in the work of some celebrated 
 painter, which is one-sided and in the act of making a 
 curve, thus picturing to the eye and impressing on the 
 mind, the most forcible idea of actual progress. When will 
 our sculptors leave off chiseling monumental statues with 
 pokers through them ? 
 
 Villas. — The Pamphilia Doria, good as it is, would be 
 much improved by a more irregular and picturesque plan 
 of the whole ; instead of terraces running in a straight line, 
 I should prefer them more corner-loving, with little nooks 
 here and there, shady grottoes, and fountains of a less strictly 
 architectural character ; light and shade give every charm 
 in these buildings, more particularly than any other. The 
 Villa Borghese is better, but is so divided as to make more 
 a museum than a summer retirement. The Villa Albani has a 
 good fa9ade. All these plans would require great alteration 
 to render them applicable in our climate. They are formed 
 for coolness, and are very cold. 
 
 Dimensions of Rooms. — With regard to “ beauty,” says 
 Chambers, “all figures from a square to sequialteral may 
 be employed for the plan.” Inigo Jones and others, 
 sometimes extended the plan to a double square, but 
 the disparity in length and breadth, renders a heighth pro- 
 
 
19 
 
 portionable for each difficult to be obtained. (Alberti on 
 the proportion of Rooms, Book ix. vide) A room of 
 beautiful proportion built by Inigo Jones, in Lincoln’s 
 Inn Fields, is 30 by 20 ft., height 18 ft. The style 
 of Bramante at the Cancellaria and Torlonia’s Palace, 
 Rome, though from the slightness of all projections, such 
 as pilaster, cornices, &c., not good for light and shade, 
 and presenting a poor appearance in front, yet when seen 
 in perspective it has a very good effect. The windows 
 with greater projection would tell very well. 
 
 Cenci. — The palace once belonging to this family is of 
 good architecture, but bears the stamp of desolation. The 
 portraits of Beatrice and her mother, are at the Barberini 
 Palace — the first with a face too lovely for a mortal, 
 sweetly feminine, with a dash of melancholy madness in 
 the eyes ; the mother cool, dark, calculating, wicked look- 
 ing — not that I know any ill of either from the history. 
 Breughel again extraordinary. 
 
 Pantheon. — The interior every time you enter, still 
 bewilders you. I never had this feeling of losing myself 
 in the grandeur of a room before, it seems to have no 
 beginning or end, which arises from its circular form, 
 it is the true feeling of infinity. 
 
 Vatican. — The frescoes here that are on a blue ground 
 have it many tints less deep than that of the Farnesina. 
 The figures consequently lose much of their effect — the 
 one is the light or sky of twilight even to night, the other 
 of open day. 
 
 Niches. — Between two arches a circular perforation of 
 the wall is good to contain a bust or statute, the relief 
 being much greater than in the usual way. 
 
 Uniformity. — The Cancellaria is a proof that edifices 
 need not be perfectly uniform to be good ; it would not 
 be seen without some observation that there is a door 
 and some windows at one end more than the other. 
 
 Rome. — In the different styles of architecture at Rome, 
 although there is much to admire, there is perhaps more 
 to denounce. The ancient buildings are all more or less 
 in good taste, but the same can scarcely be said of the 
 modern ones ; and who could compare St. Peter’s to the 
 Pantheon ? Concerning the ancient examples of this art, 
 I shall say nothing more than that the use of the arch was 
 
 c 2 
 
20 
 
 evidently introduced and admired in every possible form 
 of vaulting, doming, &c., and that the remains some more 
 perfect than others, but nevertheless, the very foundations 
 of a ruined wall speak of a race in every way superior to 
 the present inhabitants of the soil. In modern Home, the 
 best buildings are the palaces, but even many of these are 
 tawdry beyond measure, as the Doria. The works of 
 Bramante at least, avoid this fault, and are moreover as far 
 as proportion goes admirable, but there is a thinness and 
 littleness of character in the projections and ornament 
 which detracts much from its excellence ; this defect was 
 remedied by his immediate successors, who still preserving 
 his method, altered it thus, instead of the narrow streaky 
 lines used by him for rustication to the first floor, they 
 substituted bold well-defined rustic, forming a strong base 
 for the work above it ; this rustic usually contains a large 
 well-formed window and a mezzanine ; they used half en- 
 gaged columns or pilasters thrown well forward for the 
 next story, the projections of the windows being still more 
 advanced, and the next story panelled, of less projection, 
 surmounted by a handsome cornice ; sometimes a frieze 
 also containing windows. Another ^tyle is rusticated 
 throughout, the openings usually circular; it is in good 
 taste and massive looking, there are no columns or pilasters 
 applied; another style is the Farnese, the cornice of which 
 is too large to please me. The most celebrated palaces in 
 Rome are all after this manner: the tawdry style suc- 
 ceeded, amongst which, the Doria for size and ornament 
 surpasses all, it is characterised by moulded panellings of 
 all eccentric forms with intermediate rustication. Balus- 
 ters turned topsy-turvy or every other only in its pro- 
 per form, it only remains to apply the columns also head 
 downwards to make this style a perfect chaos of every 
 architectural feature. The churches of Rome whatever 
 architectural merit they possess, are so murdered by the 
 hands of the decorator and the priesthood, that they are 
 eyesores rather than otherwise, a perfect mine of “ bar- 
 baric pearl and gold.” St. Peter’s is externally a great 
 failure, unless one could walk on the tops of the neighbour- 
 ing houses, or be always at the Vatican ; the interior also 
 is little deserving of praise, except the dome, which is 
 indeed a master-piece ; pne would also be better pleased 
 
21 
 
 with the semicircular colonnade, could any use be made of 
 it. Its great recommendation is its immensity, a very 
 poor one to my mind, and more so from the fact, that 
 unless one were told the measurements, you would never 
 imagine it so large. The Fountains of Kome are all good, 
 more especially the Tartarughe, the Farnese, and the St. 
 Peter’s. The modern architecture of Home in those works 
 wliich are built now-a-days, are as far as house or street 
 architecture goes, better than that of London, the Grecian 
 detail is applied to the old palace forms, and tells very 
 well, the only fault is a certain finickiness and want of 
 boldness in general character. The Argentina Theatre at 
 Rome is very handsome, and has six tiers of boxes. The 
 Valle not so good. The Tordenone I did not see. 
 
 Arch of Janus. — This form would come in well in an 
 arcaded composition, or for the basement of a tower, hav- 
 ing rooms over the arched openings, the interior as it is is 
 of excellent proportion, the breadth of piers in middle of 
 die 18 ft., height from base to cornice of die 11 ft. In the 
 original there is no room for columns, but a restoration by 
 Pinelli, at the Corsini Palace, in which they are intro- 
 duced, is of good effect. 
 
 Masonry. — Equal layers of brick and stone slightly 
 different in tint, look very well in the old cathedrals of 
 Italy, the black and white marble is of too striking a differ- 
 ence in colour. 
 
 Naples. — The palace here is nothing very extraordinaiy, 
 it has about thirty-six windows lengthwise, and twenty- 
 two in front. The palace of the Ministers of State has 
 eighteen windows in front with three large arched entrances, 
 one the police, another an arcade, and another a church. 
 All the architecture I have yet seen here is very com- 
 mon-place. The domes are often ornamented externally 
 by a covering of painted tiles, which has a very oriental 
 effect. These tiles are used in every way here, and always 
 look well. The Theatre of St. Carlo is handsome, but it 
 does not quite suit my taste, there is too much of an 
 Academy design about it ; it is a true Regent-street looking 
 affair. The fault in modern architecture appears to me to 
 be a want of nobility, massiveness, liberality, of firmness, 
 the proportions also of windows, &c., have become altered by 
 fashion till they are all long and lankey in character, that 
 
22 
 
 ugly fashion too, of columns without super-imposed arches 
 is an eyesore to me, both at the Post-office, Rome, and 
 the Theatre, Naples. I should make it a rule, as 1 think 
 the ancient Romans did, to employ it in every convenient 
 situation. Were we to take away this triumph of con- 
 struction from Gothic architecture, what would remain in 
 it to raise our delight and admiration ? Why then does not 
 the same hold good in Classical architecture ? There is 
 one feature it is true, where it never can or must enter, 
 that is the portico ; the one distinguishing characteristic 
 of Grecian architecture, which alone is worthy to remain 
 in our designs, and even that sparingly, for it is incom- 
 patible in a great measure with the introduction of the 
 arch. Why is the Capitol at Rome such an apparent 
 failure ? leaving out its bad situation, but that Michael 
 Angeio has adopted the flat form of aperture instead of 
 the semi-circular ; the same has been done at St. Peter’s 
 between the great columns, and its awkwardness strikes 
 one at the first glance, not even that there the arch w 7 ould 
 have made it much better as such a small column in 
 juxta-position w 7 ith the big one, is in itself bad ; the same 
 is to be seen at St. Giov-Lateran, and is a common fault in 
 the architects of the 16th and 17th Centuries. But to 
 return to Naples, there is in this city a style of Gothic, 
 which I imagine to have been introduced from Germany, 
 it is rather better than I have yet seen in Italy. St. Clara 
 has some good examples in the tombs of Ladislaus and 
 others. The Cathedral is not so good, the principal en- 
 trance, the best part, is bad, but the small church I have 
 draw r n* is much better, as are also various ruined bits in the 
 most dirty and remote parts of the city ; the fountains and 
 public memorials are of classic architecture in Gothic forms, 
 and are not good ; there are however, some good palaces 
 and churches to be found out of the way, dirty, 
 ruinous, and inhabited by the lowest class. The tower of 
 St. Clara which I have draw 7 n, is very good ; the tower of 
 S. M. del Carmine (also drawn), is the only one of its kind I 
 have yet seen in Italy; from the onion formed head I 
 suppose it to have been built when the Spaniards pos- 
 sessed the city, w 7 ho would have introduced this form of 
 dome from Flanders. In the church of St. Domenico 
 
 * San Giovanni Maggiore. 
 
23 
 
 Maggiore, there are many parts worthy of remark (one 
 thing in particular, my hat was stolen there during mass), 
 it was originally Gothic, but has been titivated up with 
 Roman or Italian additions. The tombs here are generally 
 very good, especially those of the Caraffas; some are 
 Gothic, the others in a peculiarly neat and studied style 
 of art, more frequent at Naples than anywhere else. 
 
 Caserta. — The palace here although very large has no 
 particular architectural merit, except its grand staircase, 
 which is of octangular form and of three ascents, centre first 
 and two sides landing on an octagon formed floor, orna- 
 mented with arches, columns, &c., with four large windows, 
 each looking into a handsome quadrangle. It. has a very 
 handsome effect ; the front and flank of the palace are 
 similar, as are the sides, with the difference of pilasters 
 instead of columns, it is much larger than it appears. 
 
 Albergo dei Poveri. — Has sixty-three windows in front, 
 and is an immense building, which is the most that can be 
 said for the generality of public edifices here. 
 
 Staircases and Stairs. — “ A good house,” says Ware in 
 his Complete Body of Architecture, “should always have two 
 staircases, one for shew and the use of the company, the 
 other for domestics. This latter should be thrown behind, 
 but the other is to be shewn, and upon the proper placing of 
 it depends in a great measure the judicious disposition of 
 the rest of the house.” This cannot be too strictly put in 
 practice as a necessary and indispensable fact. A vestibule 
 or anteroom in large houses is always of good effect for com- 
 fort and use, entering from this into the hall the staircase 
 should open to your view, as though inviting you to ascend 
 it; two flights from the right and left uniting in a fair 
 landing place with a return, if necessary, in the centre, has 
 a good effect. Circular staircases are not so agreeable. 
 The window or light should come from above, for a good 
 light is a most excellent point, and the landing place 
 itself should lead to the principal apartments as directly 
 as possible. Alberti recommends a landing at about every 
 tenth step, and tells us that the ancients had a resting 
 place at every seventh, so that the old and decrepid might 
 not be fatigued in ascending them. There should be 
 no intermediate space between the roof and staircase if 
 possible, as at the Reform Club House ; this has a very 
 
24 
 
 handsome appearance, and on the ground plan of this space 
 is an excellent situation for statues, armour, &c., which are 
 too cumbrous to be taken to a greater height, and would 
 be unsuited to the size of the rooms. The stairs them- 
 selves must be 6 or 7 inches in rise, and at least 13 in 
 tread. Experience tells us that a very wide tread so far 
 from helping tends much to inconvenience the ascent. 
 The stairs however in the Vatican, with a lower rise than 
 usual, are at least 20 in. in tread, in this case the angle is much 
 more obtuse. The ascent is agreeable rather than otherwise. 
 
 Shops. — For a potter’s or hardware dealer’s, the ground 
 half of the wall looks well, black with Etruscan ornament ; 
 brown and black above. The use of earthenware in various 
 forms also, is pretty durable and of good effect. I think 
 the use of signs may be revived to great advantage as re- 
 gards pictorial appearance. 
 
 Pompeii. — There is a room here in the baths, whose echo 
 is astonishing; it is of a circular form and is domed 
 with small segments of a circle, with four semicircular 
 niches in the wall, and a circular hole in the floor 5 ft. 
 deep, for containing water. 
 
 Pisa. — Putting all rules and regulations aside, let us 
 compare the characteristic excellence of \this or any other 
 old Italian cathedral with far famed St. Peter’s, and observe 
 the utter inferiority of the latter. The reflections arising 
 from this fact I shall speak of after. Let us now consider 
 the campanile or leaning tower, whose unfortunate one- 
 sidedness has given rise to such very learned dust; or 
 rather let us remark that the campanile of S. Mcolo by 
 Pisani is beautiful, and to the eye quite as dishonest a 
 character. St. Paul’s on the Arno, another extraordinary 
 example. The S. Maria Della Spina, apparently falling in 
 all directions. S. Michele degli Scalzi, outside the walls, of 
 good Homan architecture and just as crooked. The tower 
 of S. Sisto and half the buildings in the town are all 
 crooked, which taking the character of the soil into con- 
 sideration, half earth, half sand, does I think exonerate the 
 several architects from such senseless and ostentatious 
 pedantry in their art, as many wish to charge them with. 
 Not having read Taylor and Cresy on the subject, I can 
 only say what would occur to casual observers. The 
 cathedral of itself is a perfect museum and studio. Its 
 
25 
 
 effect internally is religious and imposing in the highest 
 degree, and there is such excellence in its putting together 
 that every portion is of itself a perfect picture, produced in 
 part by the good position of doors and windows. The 
 three bronze gates by John of Bologna, which proudly 
 ornament its facade, are works which throw the ancients 
 even into the shade in this difficult art. The truth and spirit 
 of the ornament and foliage, the good old moral mottoes, 
 such as tarde sed tutus, with a tortoise for the hero, is a 
 style of preaching antique and good. The relief is not so 
 full beneath, as there is more chance of its being broken. 
 The sculptured columns and inlays of marble on the facade 
 are beautiful examples of this too neglected style. All the 
 capitals of the columns supporting the aisles are of different 
 design, the sedilia on each side of the finest inlay of woods, 
 another beautiful art almost lost. A bishop’s throne of the 
 most exquisite workmanship of inlay ; the stalls in the 
 choir more extraordinary still; the apostles’ and other 
 heads, architecture, natural history, instruments, and 
 foilage of surprising fidelity and exact perspective ; other 
 seats or thrones for the dignitaries of the church excellently 
 carved, evince altogether a class of workmen who were not 
 mere spiritless copiers, but of the true artist stamp. The 
 windows, which have been almost all restored, are yet of 
 very rich colour and in good keeping with the general 
 character of the church. The old bronze gate is more 
 curious than beautiful. The altars show great invention in 
 ornament, and good cutting. Externally the inlays of 
 marble are most remarkable. The baptistery is another 
 building, which jumbling all rules together and defying all, 
 shows how far superior enthusiasm is to carelessness, 
 though the first have to work out of its own invention and 
 the latter be backed with all the learning and knowledge 
 in art that modern researches can afford : knowledge which 
 too often is prejudicial to the production of great works by 
 the narrow bounds in which it necessarily almost confines 
 the man who has a desire not to shock the world with ec- 
 centricities. Buies in any art are surely not meant to 
 oppress and tyrannize over our idea, but made as founda- 
 tions laid on experience by means of which we may have 
 a good holdfast and not run wild into the raging sea of 
 novelty, or be misled by false notions concerning propor- 
 
26 
 
 tion. They are invaluable in architecture, but the moment 
 we find that by departing from this or that ride we can 
 produce a finer effect, let them be put aside immediately, 
 they have done too much harm already, having been in- 
 creased day by day by a set of ignoramuses who could do 
 nothing without them. It does not follow because Inigo 
 Jones did well none can do better, and I feel convinced 
 that were we to examine the subject, rules in our art have 
 done more to depress it and make it a commonplace busi- 
 ness, exercised by commonplace men, in every way, than 
 any law against its advancement that could have been 
 conceived. 
 
 Internal Ornament. — The principal features of a room, 
 capable of receiving ornament and of materially adding to 
 the beauty of its appearance, are the doors, the windows, 
 the skirting, the cornice and ceiling, chimney pieces, and 
 niches. 
 
 Painting on the walls in halls and dining rooms might 
 be employed with much effect, I should think, but on the 
 ceiling such representations, however beautifully executed, 
 fail to strike us so forcibly, and are almost lost, as they 
 require a difficult and constrained posture, only made use 
 of for the express purpose of viewing them ; these paint- 
 ings would naturally be suited both in size and character 
 to the style and dimensions of the space so to be filled up. 
 Tiles also to fine the sides of passages on the ground floor, 
 for the fire slabs, and porcelain or dark coloured wood, 
 such as cherry or walnut, for door handles, &c., may be 
 freely made use of, mirrors also placed oppositely greatly 
 add to the appearance of a room, and give an idea of greater 
 magnitude than it really possesses. The projection of the 
 chimney flue is I think a material addition, as it takes 
 away from the formality of the square or parallelogram and 
 affords space for closets which may be carried up to the 
 height of 6 or 7 feet, with busts or pictures placed over 
 them. The fire place under the window should certainly 
 be avoided, as contrary to the nature of our climate. There 
 are three or four different styles of finishing the walls, 
 being stucco, paper, wainscot, and leather, with the tiles 
 before mentioned ; these are all to be used as circumstances 
 dictate. Smoking and billiard rooms, kitchens and halls 
 may be stuccoed; wainscot and leather suit a sitting 
 
 D 
 
27 
 
 room, dining room, and study well ; whilst paper and 
 hangings are more fitted for the withdrawing and bed 
 rooms ; for dairies, tiles are very useful when they can be 
 afforded, and for halls and passages also ; panelling is a 
 great ornament, panelled piers and panelled soffites afford 
 a play of light 'and shade most agreeable to the eye. 
 
 The cornice mouldings should not be frittered away, but 
 be cast into a bolder form, with an enriched border round 
 the edge of the ceiling, its ornaments not being unequally 
 or too deeply cut. 
 
 Where colour is brought into requisition, staring reds, 
 blues, greens, and yellows, should be studiously avoided, 
 light and harmonising tints are more pleasing. At the 
 Pantheon, Oxford Street, the white figures on light blue 
 grounds, are particularly elegant, and for ornament may 
 in every way be advantageously studied. (See Bibiena’s 
 Architecture, and the Encyclopaedia of Ornament, Paris). 
 “ Ornament should be distinct and without confusion,” 
 says Alberti, and this is to be effected by enriching every 
 other moulding only, as recommended by Sir W. Chambers. 
 The vine leaf meandering in a circle is peculiarly pleasing 
 to the eye. 
 
 The rooms at the Pitti Palace, Florence, deserve mention, 
 they are generally nearly square to the eye, with two 
 windows in each, every ceiling vaulted in various ways, 
 and decorated with paintings from ancient history of 
 literature, giving every room its name, as the Homer 
 Saloon, &c. The bath room is particularly tasteful. In 
 rooms it is not necessary that statues project from their 
 niches, on the contrary, but it certainly is to be approved 
 of externally, as evinced by the superior effect of the 
 Italian examples in comparison with those wedged-in, 
 cribbed, cabined, and confined ones of our modern Greeks. 
 It is bad enough to have architecture tied in and restrained 
 in its power, without having even the concomitant orna- 
 ment also bound down by rules, as is too often the case 
 with the strict upholders of the Grecian or Palladian 
 styles, and the world has discovered it happily. 
 
 Inlay of any material is a beautiful style of ornament 
 interiorly ; carving, and the diversity produced by different 
 coloured substances, should all be taken into consideration 
 and applied as most convenient. We are by no means 
 
28 
 
 deficient in this respect for interior ornament in the days 
 of papier machA , moulded leather, and other equally useful 
 and pretty inventions. But for the exterior, I would never 
 have anything artificial in work, colour, or substance, ap- 
 plied to any extent. There is sufficient durable variety in 
 nature, without referring to perishable manufactures. I 
 do not think we can go to a better school for original and 
 beautiful ideas in ornament than the magnificent cathedrals 
 of the Italian Gothic style. We have ornament in stone 
 arising from opposition of colour, from painting, from inlay 
 of woods and marbles, from carving in every imaginable 
 shape, and from all possible architectural combinations of 
 form. 
 
 Pisa. — The cathedral is terribly sunk, although it must 
 have been so before the commencement of external walls, 
 as the range of arches are straight. I do not, however, 
 comprehend what matter that makes, as it is impossible 
 the cornice line of wall should have sunk and the arches 
 have remained unaltered. The south transept is externally 
 beautifully inlaid with marbles and very well formed. 
 In any case where Norman architecture is to be used, this 
 building affords some excellent and original ideas, as does 
 the Romanesque style throughout Italy. \ 
 
 Pisa. — The baptistery is internally circular, and although 
 the cone of ceiling is of nearly the same height as the walls 
 from which it springs, yet from its perspective form it does 
 not appear so, and has much the effect of a common arched 
 roof. The echo is very beautiful when one or two voices 
 only sound ; but I think that for concert music it would 
 not answer so well : the echo of the last chord joining with 
 the next producing, if not actual discord, yet a confusion 
 of sound very far from desirable. Exeter Hall, if I 
 remember right, has this fault ; it struck me so on hearing 
 Handel’s ‘Messiah’ performed there. The font seems 
 adapted for actual immersion, with side cavities for sprink- 
 ling ; it is beautifully panelled with sculptured marble and 
 inlay of same, as is so frequent in Pisa and other places 
 where this style flourished. The mosaic pavement at back 
 of altar is the most beautiful I ever remember to have 
 seen black, white, red, blue and yellow ; the three last, 
 being most conspicuous in a pattern of very small divisions 
 (geometrical) pleased the most ; black and white inlay is 
 
29 
 
 also good, but I prefer a slight diversity of colour, or if 
 only two, then of a brighter tint, or at least warmer, as dull 
 yellow and black. 
 
 Campo Santo. — This building is now used as a Museum. 
 There are only two patterns to the arch heads throughout, 
 with another for doors ; the works of art contained here 
 are generally more curious than beautiful. The frescoes of 
 Giotto are excellent studies for drapery and truth of 
 drawing and character. 
 
 The Cathedral is about 310 ft. long and 106 ft. broad. 
 
 Remarks. — Buildings in an open space should, like old 
 Breughel’s pictures, be effective from a distance, and please 
 the eye by their beauty of workmanship when seen close. 
 Street architecture, usually only seen in one point of view 
 — viz., near ; on which account simple forms, as squares, 
 octagons, circles, &c., perhaps best. The old architects 
 always went to work with this intention, and Gothic 
 architecture is the perfection of it. Not only should the 
 strongest substance be used as groundwork in architecture, 
 but the admission of light should be less and the colour 
 darker, becoming more open and more gay as it advances 
 in height. 
 
 Lucca. — The Romanesque is here more barbarous than at 
 Pisa, both for proportion and ornament ; columns sculp- 
 tured outside and intaglio .of the most grotesque nature are 
 the principal ornaments. St. Michael’s is the most gor- 
 geous fagade in this style ; the towers are immense, of no 
 architectural character. St. Michael’s is the best. All the 
 churches are in this style, more or less. The pillars of 
 St. Frediano and also at Pisa are of beautiful proportion, 
 and appear to be antique. 
 
 Arching. — The use of arches in wall work is, I should 
 think, as useful as it is ornamental, and was always prac- 
 tised by the old architects. 
 
 Stone work filled up with brick is often seen at Pisa and 
 Florence. 
 
 Architrave. — In the Piazza Sta. Croce at Florence the 
 upper architrave is of marble inlay for ornament, and has a 
 very good effect. In the cloisters of the church, circles con- 
 taining angels’ heads are used, also very good. 
 
 Pistoia. — The inlay of wood here is very good in the 
 cathedral seats. This style of ornament would serve well 
 
30 
 
 for pulpits, chairs, &c. The seats of the Council in the 
 Town Hall consist of a whole Corinthian order springing 
 from brackets instead of a dado, and enriched in every 
 member in the Cinque cento style. Bramante’s Church of 
 La Madonna di Umilta is beautiful, and the effect of the 
 double lights in windows most pictorial. 
 
 Prato. — The tower of the cathedral very good, and some 
 of the chapels in a beautiful style of ornament. The 
 Church of the Madonna de Carceri has a beautiful interior 
 of one large order, surmounted by a ribbed cupola. 
 
 The use of arms sculptured in stone on the exterior of 
 town halls, &c., gives an air of nobility, and is very orna- 
 mental. 
 
 Distribution of Rooms. — With respect to this, Palladio 
 sensibly remarks that in all buildings the most beautiful 
 and noble parts should be placed most in view, and those 
 of less consequence be as much concealed from sight as 
 possible. All the offices should be disposed as conve- 
 niently as possible in the background, so as not to be 
 offensive either to the sense of vision, hearing or smell. 
 A house having usually, when standing alone, four aspects, 
 the rooms may be distributed as follow^: the summer 
 rooms should look to the north, and the winter to the 
 south or west ; the former being light and airy, of fair 
 proportions, the latter allowing of smaller dimensions. The 
 bed rooms may face the east, for none but a sluggard (says 
 Sir Henry Wotton) is hurt by the rays of the rising sun. 
 The dairy and larder should be to the north ; the study 
 may be well placed at the east or west end, and should 
 lead out of the sitting room. But proceeding more reason- 
 ably in the distribution of rooms, the first thing to be con- 
 sidered is the nature of our climate, in which we find that 
 the sun — the great source of light and life — is in most 
 rooms to be endeavoured, by every means agreeable with 
 comfort, to be allowed free access, being sufficiently im- 
 peded by our continually clouded atmosphere, without 
 artificial assistance. The rooms then friendly to its in- 
 coming we may generally consider to be — the breakfast 
 room, the study, the drawing room, and the bed rooms ; the 
 first for the great delight of the morning sun at any time 
 of the year — not only in winter, when we so seldom see it, 
 but also in hottest summer before the increasing degree of 
 
31 
 
 its warmth renders it too powerful ; and more especially in 
 autumn and spring, when fires are out of season, and yet, 
 but for the presence of the sun, one can barely dispense 
 with them, — not to enter into a more poetical description 
 of its advantages. For the second, men who love warmth 
 — and who does not ? — scarce like the feeling of leaving 
 their fresh warm breakfast room for a studio unknown by 
 that sun they delight in ; for few students (men generally 
 of contemplative minds) are averse to it, and can scarce 
 work so well or heartily without its influence. The draw- 
 ing room, supposing it to be sitting room and receiving 
 room in general, will require less sun during the day, and 
 at night could have none even if wanted ; though the 
 sunset is very agreeable to it, and for my part it is essential 
 to a perfect sitting room. For the bed rooms Sir Henry 
 Wotton’s observation holds very good ; and should any 
 object to the east wind, I answer, that through a properly 
 constructed window no wind effects entrance, or ought not, 
 it being specified in the contract as “ air tight and water 
 proof.” It is best however, for them to face many quar- 
 ters. 
 
 There is one set of rooms which I have not yet men- 
 tioned, and which more than any, on mother’s authority, 
 require sun for the sake of their frequenters, — the nursery 
 and its adjuncts : these should ever be well lighted and 
 easy of access to the sun, being also well ventilated. 
 
 The breakfast room, serving also if required for dining 
 room, should face the east. 
 
 The studio, containing library, which should have no 
 room over, but be lighted from above, with passage to the 
 leads, and adjoining watercloset, may face the east, west, 
 and south, if required, by means of an irregular form. 
 
 The drawing room, as sitting room also, may face the 
 south-west or north-west, as necessary. 
 
 Bed rooms : the west or south warms them well during 
 the day and evening, seldom disagreeably, but in hottest 
 summer; the north convenient over the kitchen and offices, 
 and the east as before mentioned. 
 
 The nursery, then, and its rooms should be south-east or 
 south-west ; in which positions they receive the sun as 
 long as may be, and may, if it pleases, be irregular in form 
 like the studio. 
 
32 
 
 Of rooms where the sun is not agreeable, the kitchen, 
 dairy, and out-offices generally form a principal part 
 
 These observations are applicable to small houses, anord- 
 ing no separate winter and summer abodes, but combining 
 as far as possible the advantages of each; and, I need 
 scarcely say, can be only applied by freedom of space. 
 
 Churches. — Canopied tombs each side of porch way are 
 very ornamental ; also, it would be well to leave an open 
 and long railed space in a church for the reception of those 
 old, beautifully worked monumental slabs, which occur 
 so often in Gothic architecture, and are so numerous at 
 Sta. Croce, Florence. 
 
 Doors. — Well projecting panel mouldings in wood doors 
 are more effective than if sunk. The bronze doors of Pisa, 
 though beautiful, have not that delicacy of taste or modelling 
 which the celebrated ones of Florence can boast of. Panel- 
 ling may be made very ornamental by the use of coloured 
 inlay, or heads and other ornament in bold relief, from the 
 centre. 
 
 Roofs. — The roofs of St. Francisco, St. Domenico and 
 S. Paolo, Pistoia; all three ancient, are of single tie in 
 construction, and their respective spans are 59', 47', and 
 •46 feet. 
 
 Cicero, in his Offices, makes many useful remarks on 
 architecture. 
 
 Walls. — For forming the ridges of garden walls, &c., 
 tiles, ornamented or not, make a good finish. 
 
 Florence. — The interior of St. John (the baptistery) is 
 very beautifully put together, the lights are double ; and 
 S. Michele contains a magnificent monument of the most 
 costly inlay, and the most fanciful beauty of design and 
 ornament possible. The mosaic floor of black and white 
 marble in the baptistery is really beautiful ; the compart- 
 ments are large, being closely filled up with geometrical 
 divisions and foliage, introducing often the twelve signs of 
 the Zodiac. This style of ornament might well be followed 
 out in brown and white terra cotta. The doors of the 
 palaces are all much of the same design, and are very effec- 
 tive, as suited to the style. The windows in many of them 
 are often less than one equal interval distant, still, how- 
 ever, retaining the great distance from the next row in 
 
33 
 
 height, and this without any diminution of effect, rather 
 otherwise. 
 
 Have no ascents or descents in houses formed by means 
 of inclined planes ; it is better to have steps. 
 
 Florence. — There are here ideas excited applicable to 
 every style of building. The Arcade, by Vasari, at the 
 Uffizii, for a colonnade, is very good as an idea , with two 
 columns and then a pier containing the statue of some 
 celebrated person ; and this continued. The Loggia of the 
 Lanzi, still finer for proportion, broad and noble, good for 
 the same purpose or as the entrance to a deeper building. 
 The Duomo, for composition ; the palaces, intermixed with 
 Inigo Jones’s style, would, I think, be the perfection of 
 civil architecture, allowing liberties in our art to be 
 introduced in the designs of doors, windows, and other 
 ornament; in fact, a style different, but founded on its 
 principles. At St. Michael's the combination of sculpture 
 and architecture admirable, and the building itself a good 
 example of the fine effect produced by a square mass, each 
 side a front, and carried to such a height as to impress the 
 beholder with the idea of a tower ; and I have remarked 
 that great height is always more grand than great length, 
 and that the Grecian system of a large single order instead 
 of two smaller ones, so far from producing an idea of 
 greatness, leads us to think a building smaller than it 
 really is ; this may be easily accounted for by optics and 
 mental impressions. St. Peter’s is a proof against the one 
 column, and St. Paul’s for the two column system ; although 
 in certain particular cases which scarcely ever occur in 
 modern times the one column grand and massive tells well. 
 That a building be elevated on a platform where possible 
 is also desirable, and I take the authority of the old archi- 
 tects at Pisa, Florence, &c., and Siena especially, where the 
 platform from which the building rises is made part of 
 it by the introduction of ornament, and has two columns at 
 each angle, which add greatly to the general effect. And 
 I am convinced that the beauty of our art is not to apply 
 adventitious ornament, but merely to work up those useful 
 portions most exposed to view, to that degree of richness 
 which the general mass is intended to possess. 
 
 Roofs. — For roofs I find that the vault or else usual 
 timbering, more or less rich, is far superior to all other 
 
 D 
 
34 
 
 forms. The vault is best ornamented by panels and 
 painting very cautiously used, the flat timbers by carving; 
 and nothing is more handsome than a dark strong wood, 
 well carved with foliage and deep panels, as at the Far- 
 nese Palace and the church opposite the Prison, Florence. 
 Colour in this also looks well, with coats of arms, indeed 
 painting in the ceiling should possess no other merit than 
 as suited to its place, and surely of all senseless and taste- 
 less customs, that of fresco compartments by great masters, 
 and elaborate foliage which requires minute inspection in 
 the ceiling, is the most to be avoided ; in public buildings 
 more especially. Town halls exteriorly sculptured with 
 arms and heraldic insignia give a great idea of nobility, 
 besides being a fine and useful ornament. They are much 
 used in Tuscany, and over a doorway especially good, or at 
 the angles of a house with the cresset above them, which 
 may easily serve as a modern lamp for the purpose of espe- 
 cial illuminations : another improvement on the bareness 
 of modern architecture, of which Mr. Barry will be ever 
 considered the Palladio or great reformer. The projecting 
 stones left by the old architects are useful for further re- 
 pairs and likewise ornamental, if not too projecting, but 
 carved as a corbel sustaining a lamp oY other moveable 
 ornament, dr as flower stand for the country, which, when 
 necessary, may be removed. Rustic work is various and 
 usefully ornamental ; its simple forms, however, are best as 
 a rule. I think it may be always used on the ground 
 range, and if used throughout should become smaller and 
 less deeply cut as it proceeds in height, indeed small rustic 
 in some cases has a good effect (that is rustic very slightly 
 cut and small. N.B. — Not of modern style.) The rustica- 
 tion at the Palace Strozzi is about 6 in. deep. Luca della 
 Robbia’s art is lost, but terra cotta figures and foliage in 
 the heads of doors, &c. would do just as well, and is 
 practised with success even externally at S. Maria della 
 Spina, Pisa. 
 
 Ferrara. — There is a style of architecture here, the 
 principal features of which I have drawn, exceedingly well 
 suited for small buildings of any class in the Classic style. 
 I must mention, that although pilasters, are not unfrequent 
 as a continuation of the ornamented mouldings of the 
 (always) circular headed doors and windows, yet they are 
 
decidedly better omitted, at least in windows. All orna- 
 ment is in terra cotta, though sometimes a bit here and 
 there is worked in stone. It was from study of one of 
 these old buildings and the character of all, that I felt 
 convinced that neatness of detail or ornamented cornices, 
 bands of doors and windows, &c., so far from destroying 
 the effect of a full spaced, large, bold design, gives it great 
 effect, for the windows here (Ferrara) are very far apart, 
 and altogether what is called of great breadth in design, 
 whilst the entablatures, bands, &c., are ornamented in every 
 moulding. Bustication or quoins are rarely used in this 
 style, the principal enrichments of an otherwise plain wall 
 being a rich cornice and a frieze, sometimes a whole 
 entablature and its order, with carved and moulded doors 
 and windows. 
 
 Palace, at Ferrara. — Busticated throughout with dia- 
 monds, two stories with windows far apart, no pilasters or 
 columns, a base at an angle 7 also worked in diamond-form, 
 with oval windows in the frieze and cornice moderately 
 enriched. The effect very good in perspective, no windows 
 in base nor in the next to it. 
 
 Bologna. — A palace 3 stories high, two of them pillared 
 with double half engaged columns, rusticated, the intervals 
 throughout of plain brick, common stone windows (columns 
 stone) and good cornice, the perspective very effective. 
 This last is more buildable in modern times than the other: 
 with well studied detail, the idea might be followed out 
 with success. 
 
 I did not see much in Bologna worthy of remark, one or 
 two old dismantled churches, show a style not cinque cento , 
 though with good detail, it has a greater, deeper cut of 
 ornament, it is all in terra cotta, and, with the arches of the 
 streets or rather arcades, would, combined with the Ferrara 
 style as the leading note, produce no inelegant and useful 
 system for moderate sized work in town or country ; more 
 preferable, however, for the former. St. Luca is a church 
 three miles outside the city gates, from the summit of St. 
 Luca’s Hill you have a magnificient view of the plains of 
 Lombardy. N.B. — There is a covered arcade all the way. 
 Beligion, or rather superstition, was good for the masons. 
 
 Booms and Ceilings. — I prefer for ground rooms a dark 
 stained ceiling of wood ; although a certain boldness of 
 
36 
 
 design tells well exteriorly, yet for interiors of houses 1 
 think there should be slight projections as regards pilasters, 
 cornices, and mouldings in general. A gold moulding 
 outside throughout skirting and doors is a very elegant 
 finish. 
 
 Pictures. — A picture frame, containing small compart- 
 ments relating to the principal piece, may be made really 
 handsome ; the earliest masters were in the usual custom 
 of so doing, they were as much architects as painters , some 
 perhaps more so. 
 
 Venice. — From what I had seen termed Venetian fashion 
 in England, I had expected something very different from 
 what are the true characteristics of the style. It is by no 
 means so frippery, so irregular, or so varied in form and 
 ornament, it is clear we have got the Parisian version 
 of it, and cautiously used might be termed an improve- 
 ment of the same ; but we overdo it. The architecture 
 which constitutes the Venetian peculiarity of style arises 
 from the contact of Gothic and Oriental ; a style by itself, 
 and another from the ingrafting of old Koman details and 
 ideas on Byzantine system of design. There are these two 
 styles, distinct and separate, each at Venice tells well, they 
 are historical records of the city, but out of it are to my 
 mind mere theatre scenery, capable of inspiring ideas, but 
 by no means to be copied. Sanmichele, Palladio, Sansovino, 
 Scamozzi, are not Venetian , though some of the principal 
 buildings are by them, for they worked in other places, and 
 consequently their work can scarcely be characteristic of 
 Venice alone. 
 
 My objections against the Venice style are founded on 
 the lanky length of their windows, the littleness of their 
 ornament (cut work), the want of breadth and symmetry 
 of detail, and the total disproportion of the whole as a 
 mass, one part being compared with another : I may per- 
 haps be thinking of exceptions, for some have struck me 
 as less mismanaged than others. The Palladian churches, 
 without exception, barring S. Maria della Salute by Long- 
 hena, appear, I think very mediocre. Sansovino I like very 
 much. 
 
 Masonry. — In external work, where nicety is desired 
 and endurance, it is well to finish highly the edges of all 
 such work, mouldings, &c.; it is unnecessary to polish the 
 
37 
 
 whoJe surface, on the contrary, it looks better rather in the 
 rough or frosted, with the borders only highly finished. 
 
 Doors. — The entablature may project over on the 
 detached columns of a door ; the cornice however being 
 carved throughout the design; the frieze and architrave 
 form a projecting beam supported by columns on which 
 the cornice continued throughout rests as a slab. The soffit 
 of the cornice thus affords a shelter, and is useful for 
 ornament. 
 
 Ornament. — It is necessary to find out and keep in 
 mind the most effective and most simple style of enrich- 
 ment, as this is the expensive part of the business ; in fact, 
 to arrive at the proposed end at the least possible expense 
 to the employer. For instance, I think that the new buil- 
 ding by the side of St. Mark’s would have had a better 
 effect without the pilasters, or as good. For this reason, I 
 think ornament which will last longest is much to be pre- 
 ferred, for repainting and regilding is very undesirable. 
 Bricks of various colours worked in patterns and a variety 
 of ornament from natural substances, placed in opposition, 
 may be thought of, this style of ornament will last as long 
 as the wall, for it all wears away equally, and its beauty is 
 thus not impaired by time as in the case with carvings in 
 all material in applied work. 
 
 Light. — It is not good to have windows on all sides of 
 a room as at S. Bocco, Venice, for thus one effect counter- 
 acts another; nor for the same reason on two opposite sides, 
 nor for pictures from one side as at the Doria Palace, Borne, 
 for the light strikes full on paintings placed on the opposite 
 wall and you can get no fight for them unless they are 
 raised at an angle, whilst those placed in the interstices 
 between the windows are quite in the dark. For paintings 
 then, light from the roof is decidedly to be preferred, as 
 also in museums and other rooms where subjects are 
 intended to be seen and looked into ; (it is curious that 
 spiritually the same holds good, that to see things clearly 
 and in the light we must obtain it from above). 
 
 Entablature by Sansovino, Piazza S. Marco and Sanmi- 
 chele at Palazzo Grimani, very much exceeding the rules 
 of proportion and both very good ; windows in the frieze 
 not bad. 
 
38 
 
 S. Kocco. — This is truly a palatial building. The stair- 
 case is noble, immense and well lighted, ornamented with 
 magnificent paintings, the lower hall an immense space 
 with a flat, wooden ceiling, supported by two centre ranges 
 of highly enriched columns, the walls filled by Tintoretto. 
 Above, another room the same size without the columns 
 and of grander effect, the ceiling is richly cut into com- 
 partments filled by Tintoretto ; the walls are wainscotted 
 half way up with benches all round, and in this wainscot 
 carving is applied in every possible manner, exhibiting the 
 richest fancy, all the Terms supporting the entablature are 
 grotesque and curious; withal very effective. Hunters, 
 saints, musicians, all trades and professions being here 
 represented spiritedly cut in the wood, the walls are still 
 full of Tintoretto’s colours. The albergo, or room where 
 guests were received, is smaller but more rich ; painted by 
 Tintoretto : here is his large “ Crucifixion of our Saviour.” 
 Tintoretto at Venice appears in a new character, and is to 
 my mind the greatest painter in respect to design and 
 depth, and largeness of conception I ever saw. His w T orks 
 seem not founded on other people’s descriptions, not taken 
 from the works of poets or other authors, but calculated to 
 produce description. His “ Eve offering the apple to Adam” 
 is the most wonderful and poetic portrayal of the act, 
 imagination can conceive. The shrinking of Adam as the 
 apple is offered to him is painfully descriptive ; his idea of 
 the Deity is wonderful: strong, mighty, mysterious, sublime, 
 far superior to anything I ever saw : surely he is not suffi- 
 ciently seen and praised. From the effect of such buildings 
 as this, the Elizabethan, the St. Mark’s, all what is called 
 against rules, we must feel that there is something wrong 
 in such rules, since, by strict conformity to them, we lose 
 the effect the others possess over us; and it would be well 
 to blend the variety and fancy of decoration, the ideas of 
 . such works with those rules of proportion which can cer- 
 tainly not be departed from without loss of leauty. 
 
 Venice. — It is noticeable that, what we call Elizabethan 
 architecture was evidently derived from Venice, the church 
 gable of St. Aponal (Campo St. Aponal) being of curved 
 Elizabethan outline, red brick with white facings, as is also 
 the Frari, and examples at the Duke’s Palace and in various 
 other parts of the city, all of earlier date I believe than the 
 
39 
 
 introduction of curved outlines in England. A palace by 
 Scamozzi also of red brick with white facings and windows, 
 &c., with stone basement, is very good ; white quoins flush 
 with red brick work are common in the palaces, and in the 
 more modern ones there is the same Elizabethan quantity 
 of light or continuous windows. 
 
 Padua. — The Hall or Palazzo della Ragione very noble 
 and curious, the roof is somewhat like the hulk of a large 
 ship inverted, or the skeleton (rib part) of some immense 
 animal, it is however nothing so very scientific, I should 
 think, as like the generality of roofs, it requires a tie, and 
 has the additional support of principals and king and 
 queen posts, not however staring, . as they are of iron, 
 and may be of later date. It is very majestic and curious, 
 270 ft. long, 89 ft. wide and high. 
 
 Gothic. — The ornamented ribs of Italian Gothic are 
 very beautiful, in general a dark ground with gold orna- 
 ment ; the general style of painting the roof I like also, 
 divided into compartments, with arms, foliage, figures, &c. 
 nothing can be more beautiful than the blue ground and 
 gold stars for the ceiling, or divided in compartments the 
 same as at the Academy, Venice, which does as well. 
 When painting is used in Gothic architecture the old 
 models of the Giotto school may be useful if improved on, 
 their character is truth and simplicity of expression and 
 design, architectural compositions being often introduced 
 with good effect. The fly-away school is not suited to 
 architecture ; the same remark applies to statuary. 
 
 Note . — A form is the more perfect where the parts are 
 most varied but harmonious. 
 
 Tombs. — Man has naturally a desire to leave some remem- 
 brance of himself behind him on that earth which has 
 been his house and to those beings who have constituted 
 his family. Expense, however, should be avoided, extra- 
 vagant expense as we see lavished constantly on these 
 mementos of man’s earthly existence ; our aim should be 
 rather to render them useful mementos of death and calcu- 
 lated to raise our thoughts. The bas reliefs of Thorwalsden, 
 Flaxman and other moderns are excellent in this respect, 
 as they all point a moral, especially I like the idea of a 
 tomb contained in a circle, and especially would avoid all 
 exhibitions of skeletons or anything that would keep us 
 
40 
 
 down to earth ; the sepulchre should raise our thoughts 
 heavenwards. 
 
 Vicenza. — The Palace Chiericati is a striking proof of 
 the necessity of arch work on account of having none, and 
 the Palazzo della Ragione because of its being little else, 
 roof and all. My first view of the Basilica or Palazzo della 
 Ragione was sudden and unexpected, it came quite un- 
 awares, and immediately struck me as the most effective 
 piece of Italian architecture I ever saw, nor was my admira- 
 tion lessened by observation. I could scarcely credit, from 
 its rich appearance, that the mouldings and columns were 
 the only ornament, (that is, no ornament to mouldings or 
 columns) and particularly observed the rather short pro- 
 portions of the openings, by no means, however, disagreeable 
 to the eye ; on the contrary, from what I see, it occurs to me 
 that this want of length is rather to be sought after than 
 not in columns, doors, windows, &c., it certainly is not so 
 offensive to the eye as lankiness ; with ornament, also, thin- 
 ness should be avoided ; have all foliage work fat and lusty. 
 
 The Palazzo Chiericati (the front) by no means pleased 
 me as a mass, a composition, however beautiful it may be 
 in parts. The Olympic Theatre I like exceedingly, because 
 perhaps as being professedly on the antiqub plan ; of course 
 its novelty would strike one. Murray speaks very dis- 
 paragingly of the three streets, producing as he says, 
 “neither reality nor illusion,” but a view from the seats of 
 the semicircle will, I think, give him a very different im- 
 pression : there is more ornament in this than any of Pal- 
 ladio’s works I have seen. Leaving out the Pallazzo della 
 Ragione, I should never have thought that Palladio deserves 
 the praise he gets ; Sansovino is to my taste much his su- 
 perior. On account of the influence which Palladio exerted 
 in this his native city, there is a much more modern air 
 about it than any other Italian town I have yet visited, 
 though here and there you may find some fine old speci- 
 mens of ancient street architecture. 
 
 Palladio. — The small columns of the Basilica have no 
 bases, though Ionic, the lower tier also is without bases, 
 either in big or small columns. The view of the Villa 
 Rotonda from Monte Berico is very good ; nothing so fully 
 impresses me with the necessity of seeing the reality as 
 these buildings, they are much better than I expected. 
 
41 
 
 The greater number of Palladio’s works are executed in 
 brick, some covered with stucco, but it seems to me that the 
 open and untouched brickwork is far preferable, as we see in 
 the works of the ancient Eomans ; certainly in all vaulting 
 it is always better ; his rustic work in brick tells excellently. 
 Take all his works into consideration and I think they look 
 much better on paper than in execution, and I still prefer 
 the solidity and richness of Sansovino. It is remarkable 
 that Palladio gave designs for the restoration of the church 
 of S. Petronius at Bologna, a Gothic structure, so that 
 Inigo Jones had a precedent for his faqade of S. Paul’s, but 
 in each case there is an evident failure; the mixture 
 never does. 
 
 Villa Capra. — Doubtless very beautiful, but I would 
 rather have the ground than the house, for there is a 
 magnificent view from every side; however, I do not 
 understand why it would be necessary “to put it in a 
 conservatory.” The ground floor is perhaps too airy, but 
 for Italy it does very well. It is too regular for a country 
 house, too uniform, and would have looked still worse when 
 nicely stuccoed with that sweet white of virgin hue ; in 
 its present state of dilapidation it is rather more pic- 
 turesque. The rooms are excellently proportioned, small 
 and snug, usually a square with two lights, the chimney 
 pieces are very handsome, lined with Dutch tiles, the 
 terraces are truly Italian, at least for the view, the entrance 
 is very poor with its large straight carriage road and blank 
 wall topped with “ here we go ” statues running about in 
 all directions. 
 
 Verona. — Cinque cento flourishes here. I think it very 
 applicable to small buildings, and would set off a small 
 town house to great advantage ; it is ridiculous to apply 
 the severe rules of the highest order of art to those works 
 in which they are out of place. Nor is it easy to define 
 where this or that particular style is suitable, as circum- 
 stances greatly influence this variety, and every building 
 has or should have its own distinct character. Were the 
 faces of all men alike, we should quickly be tired of that 
 most delightful amusement of reading faces, so agreeable 
 to painters, authors, and men of business. It is curious to 
 see that the most common cinque cento forms, and also 
 the windows of Vignola, are taken from the remains of old 
 
42 
 
 Roman art, some of which still exist. I especially refer to 
 the Porta dei Borsari, Verona. 
 
 Gothic. — The illuminated missal work tells very well as 
 ornament for the Gothic style : it is used so at S. Anas- 
 tasia; and the more early work of the same nature abounds 
 in St. Mark’s, Venice. 
 
 Toothed brickwork does better than coloured tiles for 
 roofs of spires, &c. 
 
 A wheel window, with the various lots which Fortune 
 bestows on man, would be good, as it is used on a small 
 scale at S. Zeno. 
 
 Italian Architecture. — It is curious to note how the 
 decline of this art amongst the ancients affected the rise of 
 art among the moderns. The two arches of the Leoni and 
 Borsari at Verona afford the most interesting proof of this ; 
 it is evident that they, or other buildings of this style, gave 
 rise to the Cinque cento. Vignola’s windows are exactly 
 those of the Arco dei Borsari. Columns with spiral flutings 
 also are here, whilst leaving out the ornament we get the 
 character of some of the most ancient houses in Rome ; at 
 Ferrara, the mouldings of all the arches, with other detail 
 which I have drawn, are evident copies ; and we might 
 almost take them as undoubted examples of what remained 
 (in those cities) of the ancient times. That Architecture 
 is so strict in her rules I think doubtable, for Palladio, even 
 in his very best, gains but a very common effect ; such 
 as we see in all the numerous Loggias of Italy. It is 
 remarkable that as he never , or scarce ever, except at the 
 theatre, makes use of ornament, so every member of these 
 antique examples is richly carved. 
 
 Sanmichele. — His gates here please me most, especially 
 the Porta Nuova, which I had before copied at Florence ; 
 in reality, there is no lion above : a bit of poetry, I suppose, 
 alluding to the Venetian rule. 
 
 The bronze doors of San Zeno are exceedingly curious ; 
 the most antique and curious articles I ever set eyes on. 
 San Fermo Maggiore very good in its way. 
 
 Mantua. — The Palazzo del T& has pleased me less than 
 anything of its kind I have yet seen in Italy. Giulio 
 Romano does not raise himself in the estimation of persons 
 with the least sense of modesty ; his pictures in the Psyche 
 room are every way low, not fit for a decent house. Alto- 
 
43 
 
 gether, 1 find in his works much fertility of invention and 
 power of composition, with a good fresco style of colouring, 
 but no great command of expression, no purity of feeling, 
 and something which approaches in his heroic attempts 
 very near to burlesque ; as an architect he deserves but 
 slight mention : the Palazzo Collorado, bad ; his own house 
 opposite, little better ; the Palazzo del T& a very common 
 affair, except some portions of internal decoration ; Palazzo 
 Imperiale also a very slow affair. The general idea of him 
 which his works have impressed on me, is that of great 
 natural talent, but no great study, no attentiveness. It may 
 be otherwise* but that is my impression. 
 
 Alberti. — At S. Andrea you may recognise his hand- 
 work, or rather his head-work ; for those who worked out 
 his designs have, what they would call, improved on them, 
 that is clear : the proportions are excellent, of good effect ; 
 but I can never think, after knowing his printed opinions, 
 that the senseless ornament which disfigures the interior 
 was ever intended by him. On the south side of the 
 church there is a Loggia constructed with brick, which more 
 probably is according to his wish. The Chapel of the 
 Madonna at the Cathedral is by him, but with the like 
 variation in the way of ornament ; the design is excellent. 
 San Sebastiano was shut ; but the door . case, as Campbell 
 calls it, is excellent ; also the double staircase outside. 
 
 Milan. — The cathedral here at first sight did not im- 
 press me favourably. The style of Gothic is very inferior ; 
 it loses the character of our Gothic. The pinnacles, how- 
 ever, are well proportioned and beautifully worked ; also 
 the view of the apse and centre tower is very good, but 
 internally I see little to admire, except the heads of the 
 columns and the apse windows. 
 
 Domes. — An octagonal formed dome, or turret, with 
 Florentine windows and straight roof, is very good, as at 
 S. Maria di Celso. I have remarked that all hexagonal or 
 octagonal forms are better than the perfect circle. Bra- 
 mante, at S. Maria dell’ Annunziata, at Florence, uses this 
 form with effect. For a dome formed by the conjunction 
 of four arched openings, nothing is better than a small 
 straight die continued immediately from the archivolts 
 from which springs the dome, with no light except from 
 the centre opening, as at S. Satiro. This church is lighted 
 
44 
 
 in a very church-like manner at each end of the nave. 
 There is only one transept, and that with a few windows. 
 The light, proceeding from each end only, has a very 
 solemn and Kembrandt-like effect ; as at the Arena also 
 at Padua. 
 
 Windows. — In painted windows in a church, pictures 
 from or relating to Scripture history, with writing beneath, 
 is ornamental and useful ; as the pictures ascend, more 
 space should be left for the letters, and they should become 
 larger in proportion, as they are illegible from their distance. 
 
 Monastero Maggiore, by Bramantino, excellent ; the 
 paintings by Luini also in excellent keeping. This appears 
 to me the best designed church in Milan. 
 
 Cremona. — The interior of the cathedral is very rich ; but 
 the paintings are too high to be examined well. The sedilia 
 of the choir are remarkable for the beauty of their inlay 
 work ; the dome of the baptistery, as at Pisa, is immensely 
 high. The “ dim religious light ” here is unequalled. 
 
 Switzerland. — Lausanne. The cathedral here is truly 
 beautiful in the interior, beautiful in general effect and in 
 detail; the ancient sedilia are exquisite : altogether it is 
 worthy of study. 
 
 The general character of a Swiss house is picturesque, 
 somewhat analogous to the scenery. The wood houses 
 resemble somewhat our own old English style in general 
 appearance, their carpentry is very neat ; others are re- 
 markable for the high pitch of their roofs, ornamented with 
 good lightning conductors, and covered in with slates of 
 various shapes ; the roof also slopes in the French fashion; 
 that is, a mansard roof, slated or tiled over. The windows, 
 also, have usually double lights, and there is generally a 
 good verandah ; the general character of the houses is com- 
 fort and neatness. The hotels here are plain but good in 
 their architecture ; the stone is of a beautiful colour, a 
 light drab. The bridges are really of the first order ; there 
 are two or three iron wire and many other suspension ones, 
 on various principles. 
 
 The theatre is very pretty. I think Elizabethan would 
 do well for a theatre. 
 
45 
 
 Intended for Preface to “Architectural Art in 
 Italy and Spain, 1848 .” 
 
 Shall an Art which was born in majestic Egypt, which 
 received the impress of the most exquisite taste of Greece, 
 and endowed with the utmost simplicity of beauty by 
 them, and which was fostered into science and fancy by the 
 Romans — shall this art be bared, pruned, lopped, cast into rule 
 and be obstructed in the course of its perfect development, 
 by a Palladio, or a Stuart, who would have us reproduce 
 over and over again, a subject which has proved itself 
 capable of a plasticity equal if not superior, to any system 
 of architecture, it cannot be ; they may retard it for a 
 time, but the human mind and imagination at work on this 
 theme will never be bounded by such narrow ideas. No 
 one will deny, that Norman Architecture is a development 
 of Roman Art — a development effected by men imperfectly 
 acquainted with their models, but possessing no slight 
 powers in practical science, in imagination, and in artistic 
 feeling. This Norman, I contend, is a development of 
 Italian art, varying in the various countries where it was 
 practised. Elizabethan and Cinque Cento, as seen in 
 England, and the Hotel de Villes on the Continent, are 
 another development in partial combination with an 
 entirely different system. These styles supply us with 
 some idea of what Italian art might become, if carried on to 
 its full and intended development, What is the difference 
 between Gothic and Italian Art ? Why should the former 
 be for the artist, the latter for the man of precedent and 
 rule, for a mechanic ? Each requires supports, walls 
 and columns, and for covered spaces each has its arch, or 
 tie. Why should the one be superior to the other ? but 
 because the one bears impress of original application, whilst 
 the other is the same old thing repeated everywhere 
 over and over again. Who will say that the mouldings 
 employed in Gothic art are better fitted for their purpose 
 or more beautiful than those of the Greeks and Normans ? 
 Subject to the caprice of every new comer, they are often 
 positively ugly — is a Grecian column inferior to a Gothic 
 one, its capital inferior in design or labour of thought? Is 
 
40 
 
 the science which constructed the Pantheon, the Dome of 
 Florence, St. Peter’s, inferior to that which boasts of the 
 spire of Salisbury, of Strasburg, or the Middle Age build- 
 ings ? Is a pointed arch more beautiful in itself than a 
 circular arch, or a spire more wonderful than a dome ? Are 
 the ornamental (pictorial) accessories of the one superior 
 to those which Raphael and Michael Angelo have de- 
 lighted in combining with our art ? Are houses in the 
 Gothic style, or public buildings, more commodious than 
 those built on the plans handed down to us and carried 
 into practical use for our convenience to the present day ? 
 If none of this be so, then wherein does the acknowledged 
 charm of Gothic art for artists consist ? Why in the value 
 which the labour of new thought and new invention 
 ever bestows on the subjects which it studies, and which, 
 thanks to the labours of a Palladio, a Chambers, and a 
 Stuart, has been denied to classical art, which cooped up, 
 cribbed, cabined and confined by them, in a space totally 
 disproportionate to its progressive capacity, has remained 
 the same for year after year ; it is from this thraldom that 
 the liberal and progressive spirit of the age demands its 
 release. 
 
 Yet the works of Palladio, of Chambers, Stuart, and all 
 such men, are of inestimable value, for they afford models 
 the most perfect, the most beautiful, which are actually 
 necessary for us to appreciate and understand before we 
 start on our search after the original ; and they form as 
 regards their rules a salutary and needful restraint on our 
 imagination, which would otherwise quickly wear itself 
 out. The imagination must not be let loose to wander on, 
 without excellent guides and a steady hand on the reins ; 
 for want of this, see how quickly Gothic architecture ran 
 through its stages of rise, perfection and degradation. 
 Artistic excellence in architecture cannot be the work of 
 one mind, or one age, it must progress slowly but surely, 
 working out and developing what has gone before into 
 something still better and more beautiful, adding with care 
 and trouble something of its own to each attempt. I 
 assume then, that founding our schools on the yet inimi- 
 table models of Greece and Rome, we may expect results 
 incalculably excellent. For this work we shall require 
 not servile copyists, but minds endued with innate artistic 
 
47 
 
 power. The beautiful works of Byzantine, Elizabethan,, 
 and Cinque Cento art, are likely to be lost to us and 
 crushed, because considered abnormal, illegitimate off- 
 springs, isolated and insufficient in quantity and quality 
 to be formed into a system. Alas ! then the most pleasing 
 and beautiful conceptions of these styles must never be 
 imitated or reproduced, their pictorial combinations and 
 their beautiful ornaments are irregular, bastard, not to be 
 thought of as works of the beautiful in art, and fitted only 
 for the antiquary or the lover of the picturesque (beautiful?) 
 and yet, what buildings in the reformed style of Italian 
 art are to be compared with the Cathedral of Pisa, the 
 School of St. Rocco, at Venice, the Doge’s Palace (court), 
 the Town Halls of France, Italy and Spain, the palaces 
 of Florence and Rome; the mansions of the time of 
 Elizabeth ; with all their faults. Again, I contend, that 
 these buildings are not in isolated styles, but are branches 
 of the great Italian system modified by distance, know- 
 ledge and time ; not the cries of babes strangled in their 
 birth, but the throes and efforts of a giant trying to escape 
 from the bonds in which he is held, and the darkness which 
 encompasses him. 
 
 Assuming then, that we retain and admire the columns 
 as given us most perfect by the great masters, the circular 
 arch and the admitted mouldings, as the characteristic of 
 Italian art ; tell me why we may not produce the most 
 powerful and beautiful effects with these means we can 
 devise. Why are we not to have clustered columns ? 
 why not a circular-headed aperture sub-divided, if more 
 effective, in carrying out our intentions ? why on these 
 may we not devise, plan and originate novel combina- 
 tions ? why not turn to nature to help us in our distress ? 
 why not seek over the wide field of nature as our fore- 
 fathers did, and apply to our purpose the flower and the 
 leaf, seaweed and shell ? 
 
 I feel convinced that the ideas of the Norman, Eliza- 
 bethan and Cinque Cento builders, carried out with our 
 present knowledge of the most perfect models, would 
 present to the beholder, works, which avoiding all the more 
 glaring faults for which they have been condemned, no 
 British Museum, National Gallery, Somerset House, Palla 
 dian or Grecian pile, could be compared with. 
 
48 
 
 There is a very general feeling to this effect among the 
 younger architects of the day, and to these do I address 
 myself; they wish to innovate and to invent, to be original, 
 and they become so at the expense of their fame as per- 
 ceivers of the really beautiful and to the destruction of stable 
 and well founded practices ; be assured, that to curtail, to 
 dismember, to use unbounded license in combining, or 
 reckless disregard in destroying such practices, is not to 
 improve ; to have a bracket ready for every aw T kward 
 angle, to destroy an architrave of an entablature to make 
 a column come in, to excel all others in preponderance of 
 cornice, to aim after something original without deference 
 to the well-founded labours of the great masters, to cut 
 out and put in without reflection whatever stands in the 
 way or appears required, and to do this only, is to depose, 
 unsettle and destroy the art they seek to elevate. Before 
 setting ourselves to this work, it is necessary that we are 
 well acquainted with the works of our predecessors, their 
 particular styles, and where they deviated from the beaten 
 tract ; on these we are to fashion ourselves for the under- 
 taking. “ Serpens nisi serpentem ederit. non fit draconem.” 
 In order to set these works in complete order before us, 
 I have compiled this work. The Grecians advanced, the 
 Bomans advanced, the great Italian architects advanced, 
 adopting with care and judgment the style each to his 
 own peculiar wants. Why are we alone to stand still and 
 reproduce Grecian temples, Koman remains, and Italian 
 palaces, have we no peculiar w T ants, no difference of habits 
 and climate to study — assuredly we have, and every change 
 for these purposes we effect, is not only legitimate but 
 praiseworthy. 
 
 Penrith, 1845. — As by experience you find that nothing 
 excites your attention and draws out your best feelings so 
 often or for such long periods as the arts ; as to these alone 
 you are sensible that the talents which God has given you 
 are specially directed and apparently to be applied ; deter- 
 mine to swear fealty to these only, to devote yourself not 
 exclusively but principally to them, to advance in the 
 practice of them and cultivate them with the best means 
 and most continued determination that you are master of ; 
 not as an amusement only, for one branch of them is your 
 daily business, but as a power which, properly exerted, 
 
49 
 
 may be salutary and lucrative to yourself and a source of * 
 instruction and improvement to your fellow creatures; nor 
 shun the humble paths by which alone you can arrive at 
 the summit of your desires. You will not regret it, nor 
 do I think you will fail in your object if you set to work 
 heart and soul, for I scarcely think you overrate your 
 powers, but rather on the contrary are inclined to despond 
 of success and be unfaithful to yourself without just cause. 
 
 Seek out this quiet line of life that your senses may 
 become less coarse and be purified from much of that 
 grossness which now depresses them. It will be a holy 
 life if it tends to reform you in any way, to prepare you 
 for what is good and pure, to make you more capable of 
 appreciating and enjoying the beautiful, of raising one 
 healthy or noble reflection in your fellow minds. 
 
 You have advanced some way in art, and your efforts 
 discover to you a constant improvement, but as yet you 
 have undergone no proper course of tuition. It will soon 
 be time to think seriously of beginning, and above all 
 remember that excellence is awarded to labour only. 
 
 Does Beauty detractfrom the Picturesque? In retain- 
 ing all the features of an Elizabethan mansion, but refining 
 them all, do you diminish its effect? I am afraid that in 
 a great measure the grotesque and picturesque are identical. 
 
 Must we not consider that the column, the arch and the 
 component parts of architecture are to the architect what 
 man is to the historical and figure painter. In the hands 
 of a Michael Angelo he becomes grand, almost super- 
 natural; under Raphael noble, dignified, and beautiful; 
 under Salv r - Rosa, rugged, energetic, barbaresque ; under 
 Veronese, gaudy, active, and artificial ; under Rembrandt, 
 expressive, sombre and sedate ; under Watteau, all flutter 
 and grace, and carried out by his imitators in this the lowest 
 style, as it shows man in his lowest state (that of a trifler), 
 until nature is altogether belied and distorted. 
 
 For one style to have been pursued in the treatment of 
 characters so various would evidently have been absurd, 
 because impossible, each one required in drawing, in colour 
 and general treatment, an entirely different style. 
 
 Just so many styles are needed in our art, and yet we 
 
 E 
 
50 
 
 find until of late years, the modest dwelling house (all 
 Palladian houses') treated like a public building, the country 
 mansion (Coleshill, Wilton, &c.) treated like a town house, 
 the church (Temple Church) like a theatre, and vice versd 
 (Covent Garden, &c.) 
 
 The simple severe Grecian has been applied indis- 
 criminately; the Jonesian, Palladian, indiscriminately. 
 Now Italian seems likely to bear sway in all but churches, 
 which, at last without regard to situation (Charlotte Street, 
 Fitzroy Square) seem doomed to be anything but Italian. 
 There is no one style capable of general application, and if 
 a man can design in one style only, give him only one 
 style of building ; the one suited to it. So much is this 
 the case (de Pictoribus) that Michael Angelo and Egypt, 
 Raffaele and Greece and ancient Rome, Giotto and Gothic, 
 S. Rosa and feudal castles, Veronese and Rubens, Cinque 
 Cento and Renaissance, Watteau and the Gimcrack or 
 Dandy style, are inseparably connected in my mind. 
 
 Harmony is a conjunction of sounds, each different in 
 itself, yet the whole giving the idea of but one sound. I 
 consider the harmony of a building, picture, &c. is of the 
 same description, but when the component parts of archi- 
 tecture are repeated over and over again, when every 
 capital and arch resembles its fellow, the effect produced 
 upon me is that of persons who are all singing in the same 
 key, an effect by no means pleasing. Thus unity or one- 
 ness of design does not imply an unity monotonously 
 repeated ; unity and harmony coexist, and the most perfect 
 form is that winch, whilst it is the most varied in its parts, 
 is the most consistent in its combination ; vide the human 
 figure. 
 
 Italian Architecture. — Palladio, who has so long been 
 imitated, was himself no imitator, and he formed for him- 
 self a style admirably adapted for a certain class of build- 
 ings, but certainly not for universal application. Who 
 will compare the Villa Capra or Palazzo Chiericati with 
 Montacute (Somersetshire), or Longleat? Palladio’s most 
 admired work, the Basilica at Vicenza, and decidedly his 
 most artistic production, is an adaptation of good principles 
 and detail to the old Lombardesque example; the same 
 light and shade, the same plan is seen in the Town Hall of 
 Padua. Thanks to the old citizens of Vicenza they deter- 
 
51 
 
 mined to retain the system of the covered Loggia, and with 
 the rules of proportion which Palladio perfected, have a 
 building which will ever reflect credit on the architect and 
 themselves. Another instance : to what legitimate ex- 
 amples can we refer as the models of the towers of St 
 Bride’s, St. Mary-le-Bow, or St. Mary-le-Strand, on what 
 Boman or Grecian rule are they formed? On none. They 
 are admirable adaptations of Italian art to the requirements 
 of the time, to the custom of a style entirely different to 
 it in its principles ; and yet who will deny their excellence 
 or cavil .at them as mongrel accidents? Are we to refuse 
 a place in our architectural works of instruction to the 
 tower of the Greek church at Venice because it is a com- 
 plete adaptation of the old Lombardesque plan? This is 
 to destroy progressive art. 
 
 We have no right to subdivide and separate architecture 
 in the manner we have. Architecture is one complete 
 system in various stages of development, each suited to 
 particular subjects : the transition from one stage to another 
 is more sudden and more capable of definition than in 
 Gothic art, still they are but transitions, and there is the 
 same relative similarity between Italian and Grecian art 
 as there is between Florid and early Gothic. The tran- 
 sitions of Gothic art were the work of a few centuries, 
 the transitions in Classical art have been the work of ages 
 and of nations, the former quickly wore itself out by the 
 very rapidity of its advance. Classical art on the contrary 
 has suffered more by the restraint imposed on it, and has 
 not yet, I believe, reached the point of its excellence. 
 
 Beauty of detail, though requiring the most laborious 
 study, and the finest perception, is not the end and aim of 
 architecture, nor is what is called purity and chastity of 
 design, or how lovely would be the British Museum, the 
 Nelson Column, and St. Pancras; nor is pictorial com- 
 bination, richness of ornament and intricacy of plan the 
 sole object, or how unexceptionable would be our Eliza- 
 bethan mansions, our European town halls. 
 
 The architects of the latter were true artists, though 
 deprived of the advantages obtained by the labours of a 
 Palladio, a Chambers, or a Stuart. 
 
 The architects of the former, with all these advantages, 
 were mere stone pilers, master masons, builders, anti- 
 
 E 2 
 
52 
 
 quaries, what you will; they were scarcely artists. We 
 may say of these two classes that the masons of olden time 
 were artists ; our artists now are mere masons. Most men 
 will object to this name of artist ; they will tell you that 
 you are an architect and no artist, but let me assure you 
 that architecture is the most purely an art of all so-called, 
 and you may become most essentially an artist. 
 
 Of all the arts, architecture is the most essentially and 
 most admirably an art. I am not speaking of its con- 
 struction, its internal organization, which is hid from the 
 general eye, 1 speak of that which is seen. 
 
 The construction and arrangement of the human body 
 is wonderful and beautiful, yet it is not this that charms 
 us, it is the outward form of the human being which 
 attracts admiration and love. It is this which engrosses 
 the attention of the painter and sculptor, they have certain 
 beautiful forms ready to their hands with which to work 
 out their desires and exhibit their power in art ; and these 
 have existed, ever ready made for them, always to imitate , 
 sometimes to combine and improve. Imitation, though 
 not the aim, is the actual foundation of these two studies ; 
 but how stands it with the architect ? Can you show me 
 the originals of the component parts of architecture ? What 
 model has each one striven to imitate? None ! a block of 
 stone is placed before the architect, and out of this he is 
 to create; yes! create. It is something new he evolves; 
 these are creations founded only on the most remote 
 models in nature ; and it is this which renders his vocation 
 noble above others. Architecture is the creation of the 
 mind, founded indeed remotely on some feature in nature 
 or other, yet so improved and recreated as to be in fact a 
 creation, per se ; and it is this which renders the art of all 
 others the one which exhibits most the imaginative powers 
 of man. 
 
 Not that I claim this distinction for the architects of 
 later times ; they have these things ready for their use, and 
 as architecture is now practised their greatest merit is in a 
 certain skill of combination and cultivated taste. But we 
 cannot sufficiently admire the power which wrought the 
 Grecian column out of its ponderous prototype of Egypt, 
 or any other source. We cannot sufficiently admire the 
 moulders and contrivers of capitals, cornices, architraves, 
 
bases — which were brought to a perfection of detail, im- 
 possible to be surpassed, and requiring much study befoie 
 they can be imitated ; and one must be struck with the 
 deepest wonder at the works of those obscure and name- 
 less beings — some monks, some masons — living in a dark- 
 ened and troubled age, ignorant or regardless of the works 
 of Eome or Greece, who in a short time originated and 
 perfected a system of art which exhibits powers, I have 
 no hesitation in saying, unparalleled in the history of man, 
 and has given us a new world in which the fancy may be 
 endlessly delighted. 
 
 This is no place to enter into the relative merits of these 
 two styles, so widely dissimilar. As the case stands we 
 have the one system (Italian) universally adopted without 
 any material changes : it is found to suit all climates ; it 
 is the architecture for the manufactory, the dwelling- 
 house, and — with the exception of England — for all public 
 buildings and churches. It is this style, which presents 
 no signs of decay, though the most ancient of any, we wish 
 to have placed on its right footing, to be released from the 
 chains in which it has been bound of late years, and to 
 be understood as a system. Noble as it now is, it has 
 been the work of progressive creation, adapting itself to 
 the wants of those who required its aid; never retro- 
 grading, but continually, as it were, in bud ; and still so, 
 despite the efforts made to control it. We cannot under- 
 stand the principles on which it advanced without study- 
 ing the works of those great men who have gone before 
 us, and you will observe that they all invented. Certain 
 points of similarity are unavoidable in art : supports and 
 coverings are necessarily the same. Still there are other 
 points in which each one either trusted a little to his own 
 original invention, or produced something of equal value 
 by a reproduction and improvement of what had been 
 done before. 
 
 To be original at the present time is to be eccentric 
 and fanciful. Architecture is too expensive an art for this. 
 Working in stone is a serious business, justly observes Sir 
 J. Reynolds. 
 
 Architecture as practised by one nation cannot be pro- 
 perly carried on by another. Greece could not transfer 
 Egypt, nor Rome Greece, nor middle age Italy ancient 
 
54 
 
 Rome; nor, as it seemed to me, modern Europe middle 
 age Italy. Gothic art could never adapt itself to Italy or 
 Spain ; in the transfer it lost its character. Then it seems 
 just to suppose that the architecture of middle age Italy 
 is unfitted for modern England, climate, manners and 
 wants being so at variance. To this I answer, that Italian 
 art was transferred to England, at the period of its best 
 style in Italy, by a Wren and a Jones, both men of genius, 
 who carried on the art in a judgmatical manner, altering 
 it to their desires ; and that with them it continued sta- 
 tionary : and I consider that we have to perfect what they 
 began. It is not for us of the present day to say whether 
 they acted wisely or not ; but they have assuredly ren- 
 dered Italian architecture the prevailing style in England, 
 and it has continued so for such a length of time that it is 
 now at home here. Still I own myself in great perplexity 
 which way to turn, which system to pursue. Comparing 
 the two systems as they have been practised, I cannot 
 deny the superior inventiveness, effect and artistic ability 
 of Gothic art ; and in order to produce equal power in 
 Italian art, I am obliged to advocate changes which, once 
 commenced, and, if carried out by the ordinary practitioner, 
 would lead to the most extraordinary and dangerous 
 results, until we might almost expect a return to the 
 debased Romanesque. But if I feel myself right in my 
 conclusions ; if I find that my plan is founded on good 
 sense and even necessity, — then I must not hesitate in 
 effecting my desires. Are we to have this constant repro- 
 duction and monotonous combination ? If we are, then as 
 an artist I must forsake an art which actually imprisons 
 my ideas and renders my imagination a crime. 
 
 But in order to think more effectually on this subject, I 
 must explain to myself, if I can, my intentions, which at 
 present are vague, but which every day gain strength. 
 
 To commence: — 
 
 Orders. — Concerning these, their proportions I acknow- 
 ledge and desire to keep unchanged, but I advocate new 
 ornamental design, and where possible can see no legi- 
 timate objection to the practices of bands, wreaths or 
 clusters in columns. I consider them properly supports 
 as when isolated, and as piers or buttresses when engaged, 
 hut prefer pilasters for this ; I advocate the practice of 
 
 / 
 
55 
 
 inlay as well as carving on the frieze, of new ornament 
 adapted from nature for the mouldings, but think that we 
 cannot depart from the entire order in its combination 
 and proportions, which have passed through the moulding 
 powers of so many great and studious artists without loss 
 of beauty and propriety. 
 
 Arches. — I consider that these are to be the great 
 characteristics of our system, as the pointed arch is in 
 Gothic. I wish to do away with the idea of the three 
 architraves, and allow invention. I must here remark 
 that, the Loggia dei Lanzi at Florence appears to be an 
 application of the Temple of Peace, at Eome ; the effect of 
 the three arches, I consider more imposing then a normal 
 portico, although their detail is very indifferent ; yet, on 
 investigation, I am sorely puzzled how to divide the use of 
 the arch from that of the horizontal repose or tie system. 
 One thing is certain, that this apparently horizontal bear- 
 ing is a deception, for in all cases it conceals, at the present 
 day, internal arches even between the columns of a portico. 
 Stonehenge, the Parthenon, and Edfou, are what they seem 
 to be. In what is called the fall of Koman art, this prac- 
 tice was commenced, and has been continued down to this 
 day. Time has (unworthily ?) sanctified it. The arch, a 
 work of necessity from the absence of large blocks of stone 
 and balks of timber, has been grafted on its predecessors — 
 how far successfully, must yet be determined. 
 
 Columns. — Columns placed eustyle or more with win- 
 dows between, give me the idea of an old temple fitted up 
 for a dwelling by interspace walls, as is really the case in 
 the temple of Augustus, Eome, &c. Columns raised give 
 me an idea of their being out of place, as they always were 
 used as, and were invented for supports only ; on this see 
 Chambers and Inigo Jones. They were however, applied on 
 a small scale as ornament in the decline of architecture in 
 ancient Italy, and the practice was revived and rendered 
 best by the Cinque Cento architects ; its propriety is a 
 point requires elaborating, at present, I remark, that they 
 are best with an arcade beneath, as in the Fire Office, 
 Eegent Street ; next best, with a solid rustic and bold 
 windows as at Somerset House, whilst one club in St. 
 James’s Street, remarkable for its neat detail, has them 
 smaller than the basement height below, and the Conser- 
 
56 
 
 
 vative much too large, with a miserably rusticated wall 
 for a support. May not excellence in art consist in a just 
 disposition of the two supporting powers, the column and 
 the arch (vide Plate 14 and 20 Palladio). 
 
 Architecture includes all those works of construction to 
 which Fine Art is applicable. Where the works are con- 
 structive only, they belong to the engineer, as railways, 
 docks, sewers, tunnels, and suspension bridges. Archi- 
 tects, with a laudable nobility and self-deprivation, have 
 taken charge of the orphan sewers running about un- 
 claimed, and given up the grand, most noble and glorious 
 of architectural occupations, the making of bridges, into 
 the hands of engineers, without a complaint. 
 
 It would appear that the system of architectural de- 
 sign in England is wrong, fundamentally wrong. We 
 copy the works of past times and other nations, unfitted 
 for their situation, and offensive. We do not take into 
 consideration the nature of our atmosphere, and erect 
 buildings, beautiful may be in themselves, but more fitted 
 for and only effectively seen in the clear air of Greece or 
 Italy. Certainly the principles, as far as light and shade 
 are concerned, in Gothic architecture are right, and good 
 because right, right because sensible. Here are effects in- 
 dependent of a sun ; here are deep recessed openings and 
 continuously moulded recesses, with a depth and making 
 out of adjunct ornament totally independant of the sun and 
 self relying ; it is not because I follow this principle that 
 you can charge me with applying Gothic principles to an 
 entirely different system, it may be a Gothic principle, but 
 it is the principle also of common sense ; construction I 
 equally advocate, the construction of truth. Show me what 
 is beautiful in antique that has been originated or con- 
 tinued in deceit. Is it in the solemn temples of India 
 and Egypt ? the beautifully simple fanes of Greece ? the 
 more ornamented ones of Rome ? in the wonders of 
 Gothic art? in the noble and massive palaces of Mediaeval 
 Italy ? in the equally glorious engineering works of modern 
 Europe ? The very beauties of each named subject do arise 
 I contend, chiefly from the principles of their construc- 
 tion, which is what it seems, there may be a few excep- 
 
57 
 
 tions. It is needless to point out this by facts, I hope they 
 are well known. We will cursorily mention the large 
 blocks of stone and marble of Greece and early Rome, resting 
 often in single lengths from column to column, and from 
 wall to column ; the introduction of the arch in Rome and 
 applicability of bricks, the small rubble work and conso- 
 nant scientific application of Gothic art, the plain half 
 fortified walls of Medieval Italy, simply ornamented open- 
 ings and the self-speaking designs of bridges, viaducts, &c. in 
 modern Europe; these are all fine specimens of ornamental 
 construction. Now let us turn to modern Europe and 
 anatomise a few buildings: lo how their internal make 
 astonishes you ! Do you see, that long line of columns 
 with its continuous entablature, seemingly Cyclopean ? 
 Let me be your Diable Boiteux , let us take of its cover- 
 ing of ashlar work, of stone an inch or so thick clamped on 
 to the actual skeleton ; and behold ! arches, small brick 
 arches in every direction. Yes, it is all true, do not be 
 deceived, there are no fine blocks like those of Greece and 
 Rome, no simple, unscientific repose, it is a work of much 
 scientific and ingenious trouble, the effective foundation 
 being everywhere an arch ; this may be very clever and 
 curious, but as a system it is vicious, to construct and hide 
 construction does not constitute the glory of the before- 
 named times. The reverse principle gives them their value. 
 Why is this done ? you naturally ask. Is the arch an un- 
 sightly production of man’s invention ; is the nobler work 
 to be hid and the inferior to be shown ? It seems unrea- 
 sonable, it is so, and this building is the product of a system 
 altgether false. Yet many of the largest buildings in London 
 and Paris, not thirty years old, are of this class. As regards 
 architectural ornament, let me lead you to the most noted 
 buildings of our day — the club houses of London, and 
 leaving the construction, often equally concealed, let us 
 consider what amount of individual thought and labour has 
 been bestowed on the ornamental work ; let us commence 
 at a cornice, copied, often actually copied from ancient 
 existing examples, windows which in place of appropriate 
 ornament have what ? Why the shadow of a column or 
 pilaster each side of the opening, apparently though not 
 in fact sustaining the roof, entablature and pediment 
 of a house, in fact, a building itself in miniature, or may 
 
58 
 
 be, such is the poverty of invention, the architrave of an 
 order, carried round perhaps, surmounted with its frieze 
 and cornice ; indeed, we have here but one form, that of 
 an antique building repeated as ornament to doors and 
 windows over and over again, with a degree of variation 
 bordering on no variety at all. Is not this a shame ? turn 
 to the openings of Gothic art, and blush to find a common 
 mason, a poor illiterate monk, producing a variety of 
 ornament, which the brains of three Academicians mixed 
 together, could never work out, probably never dream of, 
 and do you call these men artists ? Still you will say, 
 very true, but you forget that each one has its own cha- 
 racter. Gothic variety, classic monotony. I ask you, who 
 made it so ? why do you blame the style ? they are each of 
 themselves lifeless, powerless, brick, mortar, wood and 
 stone, equally capable and incapable. The material, the 
 style, everything is the work of the man ; give me only one 
 sensible reason why I am not to think and design in 
 Classic art a well as in Gothic, why I should not depart 
 from Palladio and Chambers, from Greece and Rome ? 
 Why the past should be my future, why I am to stick to 
 precedent and square my ideas to rule, which level talent 
 with stupidity ; tell me why I should write myself down 
 an ass, when I am made even as were made Shakspeare, 
 Angelo, Wykham, Brunelleschi, Handel, Luther. Shall I 
 dishonour the noble source I spring from, and shrink 
 back with a coward “ nay, I cannot.” There is a glorious 
 prospect before us, invisible to those who look towards it 
 through the night like darkness of prejudice, let us divest 
 ourselves of prejudice and take the past at its proper worth 
 — let us believe that man can do ever more than man has 
 done, and that man must undo much that his predecessors 
 have done, prior to success. 
 
 The arch is the foundation of our constructive triumph, 
 the trunk of future beautiful and spreading branches. 
 IsT ature, fertile, bounteous nature, with her leaves and trees, 
 and flowers, things animate and inanimate, ever varied, 
 ever beautiful, is our Encyclopedia of Ornament. 
 
 You tell me I do wrong in designing and executing new 
 designs if they are inferior to those of Palladio, Greece, 
 Rome, &c., that unless I can substitute something better, 
 I should copy what is confessedly good ; this doctrine 
 
59 
 
 needs but a moment’s consideration, though superficially 
 specious to be exposed as a fallacy ; let our sculptors rei- 
 terate and reiterate the ancient statues with a difference : 
 let Creswick and Maclise desist, for there has been a Claude 
 and a Eaphael, let authors in place of their own ideas 
 retouch Shakspeare and make us swallow him daily. 
 
 In works of imagination, it is the individual power con- 
 fers glory, whoso is but a correct imitator, a pruner or 
 improver of rude but grand conceptions, takes a lower seat 
 decidedly. “What oft has been, but ne’er so well exprest,” 
 is a secondary power and source of honour. The glory is 
 due not to the last new patent for an improved steam 
 engine, but to the first conceiver and rough adapter of the 
 immortal idea. 
 
 Ornament. — The ornament should take its tone from 
 the general character of the building, be appropriate to 
 its purpose, and contain in the larger parts foliage inter- 
 laced with figures illustrative of the building in hand — for 
 instance, the Army and Navy Club, soldiers and sailors, 
 containing illustrations of passages from their usual life 
 or of particular battles. Shakspeare or well-known legends 
 may also be freely worked out in buildings of an undefined 
 character, or in club houses, literary institutions, &c. 
 
 Bome, 1848. — “ This correctness in the representation of 
 inanimate objects, is the spirit of art, at the present day. 
 It announces a falling off in high poetic taste and true 
 dramatic spirit ; men content themselves with lesser beau- 
 ties, when they are incapable of producing greater ones, 
 they imitate arm chairs and velvet so exactly as to deceive 
 the eye, when they can no longer depict the physiognomy 
 and expression of the man who is seated upon this arm- 
 chair and this velvet. And yet, artists having once de- 
 scended to this exactitude in material forms, are forced to 
 reproduce it for the public who have become themselves 
 materialised require it.” — Chateaubriand's Autobiography. 
 
 It seems good to me to introduce the form and feature 
 of the highest antique ideal into representations of every 
 day life, varying the expressions so as to render them 
 types of an actual standard of size or beauty. This would 
 poetise our existence (does it need it ?) and throw a sun 
 
60 
 
 glow over the otherwise too ordinary characters which 
 figure in a composition. Thus, I would not copy nature 
 exactly in any grade, but idealise each most common place 
 character. Thus a Roman beggar-girl becomes the inexpli- 
 cable deep-souled Mignon of Scheffer, and Lauder’s Glee 
 Singer, brought out in the same spirit, possesses an influ- 
 ence over our attention not attached to the same character 
 if drawn merely as it is, or taken solely from the antique. 
 What I mean, is a blending of the two, not as Jacob 
 Jordaens has managed it in his Holy Family at the Gal- 
 lery, nor even as N. Poussin, but rather as I conceive 
 Giotto, Mantegna, almost all the elder painters, with 
 Raphael, though last yet greatest, have blended them, 
 producing an ideality in nature which the soul long seeks 
 for but seldom finds. 
 
 Read the lives of great artists, supply the flame con- 
 tinually, or it will burn but dimly. 
 
 On my return to London, I immediately sought for 
 work of a practical description in an architect’s office, and 
 soon came to an arrangement with Mr. Poynter, who I had 
 heard spoken of as a good practical master. I received no 
 pay, but in return was to act as his draughtsman for work- 
 ing drawings, and in purely practical matters in which I 
 required more experience than I had been able to obtain 
 in my first office. I did not, however, remain long with 
 him, having received an offer from Mr. Laing to become 
 draughtsman, at a good salary, in his office at Birkenhead, 
 which was just then (1845) rising into importance, and 
 where he was carrying out model lodging houses for the 
 labourers at the new docks, warehouses, churches, &c. ; 
 thither, therefore, I went, and remained till the close of 
 1845, improving myself greatly in the practical part of 
 my profession, under Mr. Laing’s directions, who was a 
 most excellent master and thoroughly practical architect. 
 My old friend Macquoid joined me here, and it was at this 
 time that we first talked of doing some great work on 
 architecture, when a future opportune time permitted. I 
 returned to London, and spent all 1846, and the early part 
 of 1847, in the offices of Mr. Smirke and Mr. Mocatta, at 
 a fair salary and much to my improvement in all practical 
 
61 
 
 matters, but the confinement of office work suited neither 
 my health nor my temper; and I spent as much time 
 as I could in my own rooms, where I made designs for 
 a competition for 'a Town Hall in the country (unsuc- 
 cessful), the first and last competition which I ever 
 ventured on, for I was brought up in a “ competing” office, 
 and was well aware that without interest, a competitor 
 has but the slightest chance of success. I made also 
 designs for various buildings, in which I sought to adopt 
 the Florentine style of architecture, and exercised myself 
 generally in architectural design and composition; the 
 accompanying examples of what I did will serve to give 
 an idea of my intention, and some notes I made in wri- 
 ting are also appended. Early in 1847, Mr. Macquoid 
 having left Birkenhead; I applied to Earl de Grey, then 
 President of the Eoyal Institute of British Architects, 
 explaining to him the nature of a great work on archi- 
 tecture, which we proposed to carry out from the best 
 examples in Europe, but the Earl would hold out to us no 
 prospect of encouragement or aid ; so our means being but 
 limited, we determined to set to work on our own account 
 and to do as much as we could, as much as our means would 
 permit ; thus a great work, which I originally contemplated, 
 was brought down to one of much more modest compass, 
 and took the form of “Architectural Art in Italy and 
 Spain;” on which Mr. Macquoid and I laboured con 
 amove , measuring and drawing everything ourselves, and 
 returned to England after about eighteen months absence, 
 spent principally in Italy and Spain, and were very glad 
 indeed to find a publisher in Mr. McLean, of the Hay- 
 market ; the only money we received for the book being 
 such moderate payment as we received for lithographing 
 the sixty-four folio plates ourselves : a task which fully 
 occupied us till the middle of year 1850. Besides the 
 various drawings made during this tour, I made a series of 
 brief notes, the substance of which will be found in the 
 following pages. 
 
 Gand. — The town hall, splendid mouldings about three 
 quarter cut and ornament pierced, the Italian part not much, 
 would be better with arches. Chimneys striking, might 
 be adopted; belfry good, have adapted it; patterns of 
 windows in some churches very good for Italian ; houses 
 
62 
 
 generally picturesque, but unfit for readaptation. Generally 
 although Gand promises so much from its picturesque 
 appearance, there is little for an architect to profit by. 
 
 Oudenarde. — Hotel de Ville remarkably beautiful, 
 useful for domestic architecture, (Gand too), in place of 
 buttresses between windows, angular niches with finials 
 above, balcony terminating with statues. These niches 
 as at Bruges are flat, or but slightly curved in and require 
 statues. St. Walpurdge, very fine tower and well pro- 
 portioned internally. Notre Dame, good outside, but plain 
 interior, modernized; two excellent tombs in a sort of 
 Cinque cento style. 
 
 KB. — The angular niches are bracketed out from be- 
 tween the heads of ground floor windows in Town Hall, 
 and the door of the Council Chamber is a magnificent 
 specimen of Cinque cento or Italian with Gothic character, 
 chimneys Gothic (No. 2,) and pretty good. 
 
 Courtrai. — Very little to see or do ; in the Town Hall 
 two chimneys, picturesque, but covered with thick paint, 
 water-closets walled with Dutch tiles, very good idea ; 
 on road a chateau, Broclen Torren (drawn), old but nothing 
 very architectural. 
 
 Tournai. — The Cathedral imposing, Norman Byzantine 
 Gothic, not much to admire, houses very old, and simple ; 
 general character of principal streets, French. 
 
 Mons. — Cathedral of St. Waudru, very beautiful inter- 
 nally, of a greyish blue stone with red brick vaulting and 
 stone ribs, very excellent effect, some good bits of Gothic 
 tablets in various chapels and stone altar, &c., painted 
 glass very effective, general character of towers and spires 
 bulbous Spanish as at Courtrai, town hall heavy Gothic, old 
 handle at the library (drawn), the Dragon’s head, trophy of 
 St. Gilles over same old beast, curious ; gives one the idea 
 of a crocodile’s head. Manuscript purports that the Virgin 
 helped him, in presence of a large body of spectators; 
 curious at least ; good collection in zoology. 
 
 N.B. — At Oudenarde, signatures of Charles V. ; Charles 
 the bold, Marlborough, and others, very curious. 
 
 Brussels. — St. Gudule good Gothic, some iron work 
 inside about the high altar remarkably fine ; not so much 
 for style though there are excellent bits in it, as for sharp- 
 ness of execution, vine and roses mixed, very good piece of 
 
 / 
 
63 
 
 Cinque cento in apsis, good finishing columns against 
 wall with niche, excellent effect, painted windows remark- 
 able ; other churches, nothing noticeable. 
 
 Hotel de Ville disappointed me, tower effective, Oude- 
 narde the best I have yet seen; two fountains at back 
 of hall, grotesque animals spitting water into basin, very 
 good (drawn one). Street architecture not remarkable, at 
 best bad Louis Quatorze or renaissance. Gallery of paint- 
 ings contains some very good ones, one by Leys, of service 
 in the Cathedral of Antwerp, very fine — a perfect com- 
 position. The theatre has not much to recommend it; 
 ‘the extrados of circular ceiling meets the head of circular 
 gallery, so differing from that of Ghent. The ornament is 
 bad, the drop-curtain red velvet with large gold fringe, 
 rich ; there is the same disposition of pit under boxes, and 
 between these loggia and first tier of boxes ; another row 
 is bracketted out. Much more room is thus gained, but 
 I think it interferes with the beauty of the house ; this 
 might not be so if there was a less projection. 
 
 N.B. — Both this house and Gand seem bad for the voice. 
 
 Antwerp. — Cathedral very finely conceived, mouldings, 
 mullions, ornaments and tracery all too thin and wiry as at 
 St. Gudule, Brussels. Tower much better. Was not imme- 
 diately affected by Rubens’ pictures, admired them how- 
 ever, but not enthusiastic. Interior not equal to Brussels, 
 or Mons, or Tournai. Town Hall very good in its way, the 
 upper loggia very effective. The statue of Rubens in the 
 Place Yerte excellent ; how much more honourable to the 
 city than Prince this or King that of titled nothingness. 
 The church of St. Charles Borromeus contains beautiful 
 carvings in marble and wood ; the church of St. Jacques, 
 some excellent carved stalls ; the church of St. Paul, the 
 most beautiful carving I ever saw, columns, foliage, figures, 
 flowers, carved in wood beyond excelling. The figures in 
 the stalls of the cathedral (new) are also magnificent; 
 these two last are studies for a sculptor. The gate of 
 Malines (country side) is boldly made out and Scamozzi- 
 like. 
 
 N.B. — As a rule, mouldings and ornament of every kind 
 should project much more than they are generally made to, 
 and be more deeply cut. 
 
 The gates of Antwerp I like exceedingly (who is the 
 
architect ?), they are apparently by the same architect, mas- 
 sive, bold, and well moulded. The Halle de Yiandes a 
 most remarkable specimen of Tudor Gothic, white stone 
 and red brick in alternate courses : it has a good effect. 
 The Museum contains some excellent paintings. At St. 
 Jacques, the Family of Rubens is the finest I think of 
 his productions, magnificently coloured. The Anseatic 
 house has some good points, and the whole city appears 
 to me the most picturesque I ever saw. The Hotel de 
 Ville is of excellent effect, built in 1564, by Cornelius 
 van Yriendt, brother of Floris the painter; roof and iron- 
 work, locks and hinges remarkable. 
 
 N.B. — Classic architecture has such a serious disad- 
 vantage to Gothic, in want of all geometric ornament, 
 with the exception of panels, that I do not know what can 
 make up for it. 
 
 Malines. — Saw it for a quarter or half an hour. Some 
 good modern gateways at entrance to town, and Gothic 
 house in Cathedral Square ; this and Bruges, an old house 
 on canal at Ghent, and the town halls of Belgium, form 
 good models for Gothic domestic architecture. 
 
 The tower of the Cathedral is unfinished, this and St. 
 Waudru at Oudenarde, St. Jacques at Antwerp, and many 
 others, unfinished, in Belgium, good models for Gothic 
 towers and spires to be worked from. 
 
 Louvain. — Town Hall splendid. Cathedral has some 
 very fine parts, particularly remarkable for the deep 
 recesses of mouldings in some exterior portions, and good 
 tracery. Good tabernacles in interior, and screen of ogee 
 arches, with a range of statues in niches above, and the 
 balustrade; general character of town not over interesting. 
 A chime of bells or musical clock, wretchedly bad, very 
 annoying, an absurd custom ; small fish market on iron 
 standards and brackets, very much to my taste, 12 feet 
 between standards, and each truss forming a bracket in 
 mouldings over standards. Standards about 2 in. square, 
 and brackets about 2 in. wide by J in. deep. Some good 
 patterns in various churches for windows, turrets of Town 
 Hall very minaret like. 
 
 Liege. — Before everything St. Jacques : this is the most 
 truly beautiful and complete Gothic church (not cathedral) 
 I ever saw ; the roof especially, ingeniously ribbed, gives 
 
65 
 
 one immediately the idea of enormous swallow-tail butter- 
 fly wings expanded over you, both in colour and form, the 
 ribs are cream colour with bright tints, at parts red, blue, 
 &c. ; the ground is white, with very elegantly curved 
 foliage (green), with red, blue, &c. flowers ; bosses coloured. 
 The stalls are very remarkable for their originality in 
 parts, and general spirit and character ; all the brackets 
 are perfect studies. The statues are well formed and well 
 draped; the proportions are excellent: and the whole a 
 complete interior. Looking at this, I sighed for Italian 
 architecture, which cannot ever produce this effect ; but 
 comparison is impossible. The church of St. Martin very 
 good externally. St. Croix very good externally; the 
 cathedral outside pretty fair. St. Denis nothing inside; 
 some good external points ; the interior of Bishop’s Palace 
 very picturesque, the carving on the columns remarkable, 
 showing me the necessity of bold and large curves and 
 mouldings more than ever ; the foliage is remarkable for 
 its cutting and form. The cathedral roof is almost better 
 than that of St. Jacques, and is worthy of drawing; same 
 colours, with birds of every description in the foliage ; the 
 bridge is not bad, the walks and places beautiful, and the 
 city in general most interesting and agreeable. Some 
 remarkable specimens of wooden houses, or half-timbered, 
 and old places of various kinds. 
 
 Coln. — Hot so interesting as I expected. The basement 
 buttresses of cathedral throughout unworked and bad ; 
 gives me the idea of a different style of intended building; 
 the flying buttresses extraordinary and fine in effect, put 
 me in mind of Milan ; the proportions of height internally 
 excellent and overpowering; the whole effect of choir 
 spoilt by fearfully glaring and coarse colours. Contrast 
 this with Mons or Liege : capitals red ground and gold 
 leaves, horribly coarse ; stalls in choir well worked ; various 
 sculptures in chapels remarkably spirited but rough, spoilt 
 by paint ; figures in choir in arch spandrils, very good ; 
 some good tombs. The Adoration of the Kings, a very 
 beautiful painting. 
 
 Many Romanesque churches, not much outside and bad 
 in. Town house rather curious ; double arcade, details 
 bad ; roof ridged with metal ornament. 
 
 N.B. — In high roofs, hooks left in slates for repairs. 
 
 F 
 
66 
 
 Note. — Studies for architectural colouring: butterflies, 
 insects, flowers, &c. The combinations of the Creator are 
 not to be surpassed. Good idea at Cologne : mullion and 
 transom of iron, moulded, with cast-iron plant trailing 
 round each division ; flat at back for glass. This sort of 
 ornament useful for ridge roll generally; not much at 
 Cologne. 
 
 Bonn. — Cathedral, best specimen of Romanesque I have 
 yet seen, both inside and out ; otherwise in town not much. 
 University large and uninteresting. Hotel de Rheineck 
 good, clean and cheap; fine view out of window over 
 Godesberg and the seven mountains. 
 
 Mayence. — A very fine Romanesque cathedral of a bad 
 colour, dull red ; the Gothic monuments up centre aisle 
 very fine, Cinque cento ones also pretty good, fine figures ; 
 good font in bronze; the cloisters very good, and the 
 entrance to them has a remarkable echo; low walls, square 
 and huge angle vaultings, hole at top, one window and 
 two doors. Theatre plain ; pretty good, built by Moller, 
 who adapts Byzantine for modern use, I think very indif- 
 ferently. The want of recesses and projections is to me 
 very bad ; a row of houses here show me that my style 
 would be effective. Arch stones shown over arch band as 
 at theatre I like, and would use ; every effect of round 
 worked moulding in angle seems to me good. 
 
 N.B. — Show soffits of stairs, and panel or ornament 
 them ; also cut in steps instead of nosing, cut lines on 
 ironwork for effect, and crumple all foliage in wood or 
 stone with deep cuttings ; also use knobs on foliage. Old 
 houses very good in various parts ; angle windows brack- 
 etted out, not too much ; look picturesque. The modern 
 neat style and the old rough but massive style, tend to the 
 exaltment of the latter in contrast. 
 
 Frankfort. — Very much pleased with the Jews’ street, 
 and the general style of street architecture : which is, 
 ground floor of stone, bracketted out to receive brick nog- 
 ging. Cathedral closed ; saw no churches. Goethe’s statue 
 very bad ; half reliefs on pedestal better. Many specimens 
 of old iron work, remarkable for their curves and the pre- 
 ponderance of foliage. Half-timbered house near the 
 Romer, very good and remarkable. New Exchange, bad 
 exterior ; didn’t see it inside. The Romer is nothing ex- 
 
67 
 
 ternally ; but the Emperor’s room inside is very fair, espe- 
 cially the portraits of the emperors. It will be seen that, 
 generally speaking, their legs are too small, considering 
 they are in iron. 
 
 Heidelberg. — Most picturesque, both architecture of 
 Castle and gardens ; date of castle (part drawn) uncertain : 
 1583 or 96, I believe ; name of architects unknown. The 
 idea that M. Angelo designed Otho Henry’s front absurd ; 
 the effect of the whole castle is incomparable, fine terraces, 
 fine fronts, chapels, rooms, towers and gardens. Walls in 
 some parts 16 feet thick ; statues in niches excellent, many 
 effects for painters ; great Tun very good, little Tun better 
 as work of art. The Prince’s house in the town, a very 
 good specimen of Cinque cento or Elizabethan, shows how 
 unnecessary is regularity of fa 9 ade. 
 
 Strasburg. — A glorious cathedral, faulty in lineiness 
 of mouldings, and too great delicacy of ornament ; that is, 
 too much cut out, seemingly insecure and thin. The 
 stained glass very rich; architecture and figures very 
 faintly made out however, the pieces of glass being so 
 small and irregular : the principal charm is their colour. 
 The Byzantine Norman choir, or apsis, tells well in con- 
 trast with the light Gothic ; the pulpit curious and beau- 
 tiful ; the general proportions interiorly very good : didn’t 
 see anything very remarkable in other churches. Some 
 remarkable specimens of old half-timbered houses, and 
 others, interesting. Old house, with remarkable stone 
 newel staircase, circular in plan, with small well hole (one 
 at Heidelberg, too) ; also, remarkable stair turret of brick- 
 nogging, with wood staircase, straight newel, worked like 
 moulded handrail ; very curious stairs joggled in to newel ; 
 whole scene remarkably picturesque. 
 
 Basle. — Town Hall peculiar, old house of the past, very 
 curious and not bad in effect ; the style late Gothic, the 
 mouldings however being cut in all directions to imitate 
 the intertwinings of branches ; in all cases the mouldings 
 which are tori and hollows, are cut through each other, 
 the effect of mouldings, good if not too intricately 
 crossed; better when at angles, and not in curves. Near 
 the old post house in principal street, a very rich specimen 
 of a lock, keyhole and handle beautifully worked. Cathe- 
 dral very fair, cross work peculiar to Basle, curious figures 
 
 F 2 
 
68 
 
 in faqade. Apsis excellent, Norman or Romanesque, side 
 entrance curious Romanesque example, showing the type 
 of the Gothic door with niches each side, flying buttresses 
 finished with niches and pinnacles, effect very good, roof 
 coloured tiles, rich but would not suit England, I fear; 
 cloisters very good, full of tombs, and very fair tracery in 
 windows, interior good, stalls and seats excellent, worth 
 drawing ; crypt, vaults, massive and good for artists ; secret 
 chambers, noble worked chest and good lock (have drawn 
 it), some stalls, rich Elizabethan well carved and fanciful, 
 but not worthy of imitation, got shut in and very hungry. 
 Many places and houses in Basle, especially fountains, 
 seem to me worthy of attention. 
 
 Lucerne. — Some old houses, street facade of Town hall 
 very good I think, sorry I did not see it till I was leaving, 
 bridges wonderful, covered bridge extraordinary. How 
 was it ever constructed ? Went into the country and 
 admired Nature’s architecture ; before the Alps the glories 
 of art sink into insignificance. Swiss cottages very good 
 studies for wood work galleries, these wood galleries add 
 greatly to their effect, also pendants and worked cuttings, 
 best effect is when wood is rounded and nailed to front like 
 small slates. 
 
 Fountains at Lucerne very good, have two spouts each, 
 very convenient. These and Basle good specimens of 
 Gothic fountains, worthy of attention. Fluelen, Giornico, 
 Mogadino, nothing. Cesto Calende extraordinary echoes, 
 Lago Maggiore very beautiful ; passed the Arco della Pace, 
 thought nothing of it, and entered. 
 
 Milan. — Not much to remark, except that the great 
 hospital Sta. Maria delle Grazie, and many other build- 
 ings, afford good proofs of the efficiency of terra cotta. 
 Palazzo Castiglione, good and somewhat in the style I 
 intend practising. Some towers good, curious angular 
 tower near Cathedral, well proportioned and effective. 
 (Romanesque) brackets round windows of cathedral exter- 
 nally afford some fair ideas for new capitals — too high to 
 draw easily. 
 
 St. Ambrogio remarkable in itself as very early work, and 
 for many specimens of interlacing, useful for architraves, 
 archbands and ornaments in my designs ; centre of S. M. 
 delle Grazie very fine and effective, said to be by Bramante. 
 
69 
 
 Figures in monument of Medici (a general) very fine, 
 especially right hand one, very beautiful. 
 
 N.B. — Gain effect in moulding by opposite forms, as 
 square from circle, octagon from hexagon, &c., though con- 
 trary to received rule, also be particular to work all arris’s, 
 with chamfer or ornament of some kind — bedrooms with 
 paper (best in stripes plain) with red deep border round 
 ceiling line, require no cornice. 
 
 Pavia. — St. Michele, one of the oldest and most remark- 
 able Romanesque churches I have seen ; it is ornamented 
 in front with rows of half reliefs or low reliefs; hiero- 
 glyphics, full of meaning even to the uninitiated — David, 
 sitting on a beast, playing the harp, the ancient myth 
 of the bull and scorpion, a stag being hunted by hounds, 
 a man vomiting reptiles, a man turning an animal head 
 over heels, an eagle with a book, a man fighting with 
 bulls, and numerous others, curious and meaning. The 
 interior very massive and plain ; capitals richly worked, 
 two good points. Also the mouldings continued up the 
 front are very remarkable and not bad in effect ; they are 
 a sort of moulded buttress. The chancel is formed of four 
 high arches, bracketted out between angles, with two suc- 
 cessive vaultings to form a hexagon. This church is the 
 most interesting I have yet seen. St. M. del Carmine, also 
 remarkable, Lombard-Gothic ; interior simple and impo- 
 sing ; east window circular, very excellent ; the whole exte- 
 rior in terra cotta, as sharp as when first put up ; windows 
 in west front very fair Gothic and well proportioned. 
 An ancient palace, on the road to the principal west town 
 gate, a remarkably early specimen of the Renaissance ; the 
 windows very far apart, massive, and with a fine frieze, the 
 whole in brick and terra cotta, The cathedral not much. 
 The castello very fine and the interior court excellent. It 
 wants restoration, as no one side is perfect ; otherwise in 
 Pavia nothing remarkable. 
 
 Certosa. — Exterior . Here is a jumblement of Cinque 
 Cento, Lombard Gothic and Louis Quatorze ; highly edify- 
 ing. The front of the church is covered with sculptures, 
 inlay of marbles, figures and foliage. Its effect is very bad 
 as a piece of vertu. To go into a giant’s drawing-room it 
 may be very curious and beautiful, but as a work of architec- 
 ture it is very sorry, though parts in themselves are good. 
 
70 
 
 N.B. The monument of St. Ambrogio, a fine specimen 
 of sculpture, style Gothic, with Italian parts, effect very 
 rich. 
 
 Interior. The effect on entering is very beautiful, the 
 roof being highly and deeply coloured, and the proportions 
 massive and well shaped. The chancel is very good ; the 
 cloisters also, in terra cotta, all the heads and foliage being 
 very sharp and well done, except where they have suffered 
 from violence. The intaglio, in wood, of stalls also very 
 fine, but the ornament too thin to please me. Some 
 painted glass good, as showing the costume of the period ; 
 floor, marble and terra cotta, which last is worn, while 
 marble lasts, consequently all unequal. The painted vaults 
 are very fine and rich ; the paintings (old ones) are very 
 good. The whole of the building is a mass of ornament, 
 scarcely a foot square left plain ; but with the exception 
 of the above-mentioned parts, the sacristy, and some de- 
 tached sculptures, there is nothing to admire or worthy of 
 remembrance. 
 
 N.B. Some of the terra cotta figures are hollow, others 
 solid ; the hollow ones about 2 inches thick. One must 
 remark that the principal fault of the sculpture in the 
 building arises from its shallowness ; the design is pretty 
 good, but at a small distance off the very pattern is lost, 
 and you see only a few confused touches here and there 
 where it has been more deeply cut. The contrary is ob- 
 servable in the cloisters, where the mouldings are deep, 
 the work well cut in, and the figures in full or three- 
 quarter relief. 
 
 Piacenza. — Town Hall remarkable. The window and 
 ornament which I have drawn out are effective, though it 
 is of simple pattern, sunk about an inch deep. The interior 
 is unfinished (principal room) and used for lumber. The 
 width of the arch bands 2 feet 9 inches, unusual but good, 
 shows the fallacy of the rules. What right had Palladio 
 or Sir W. Chambers to say that one sixth of an aperture 
 was fit width for arch band ? It may approach more to 
 the ancient Greek or Roman custom, but certainly not to 
 beauty. The peculiarity of the mouldings is that they are 
 nearly on a face, the same in most arch bands of the period. 
 Secolo xiii. 
 
 The Palace, said to be from the design of Vignola, is 
 
71 
 
 nothing, being unfinished, and what is done does not strike. 
 Some ancient Lombard churches, dome included, remark- 
 able at least. All show the good effect of square and circle 
 mouldings. They are principally in terra cotta, sharp. 
 Some old remains of palaces scattered over the town. 
 
 Cremona. — Some remains of old palaces, with orna- 
 mented entablatures in terra cotta, sharp and clear. Duomo, 
 fine tower; arcade beneath of double arches, very neat 
 detail, and a door which is drawn out ; dome inside very 
 dark. The most remarkable points are the transepts (ex- 
 ternal), being a good example of Lombard taking Gothic 
 features. The town-hall, the Palazzo Trecchi, and some 
 other smaller buildings, are Gothic, with much Italian 
 ornament and detail, The girls’ school opposite Duomo 
 old and remarkable; good wall band. The arch bands 
 here and at the cathedral are much of the same character 
 as those of Piacenza ; St. Sigismondo nothing. 
 
 Parma. — Nothing remarkable ; most uninteresting town. 
 Cathedral curious and well proportioned inside; the whole 
 stonework, Eomanesque. Baptistery ditto, good Eoman- 
 esque architecture. 
 
 Mantua. — Palazzo Ducale contains some very fine apart- 
 ments ; the staircase with very short rise and long tread is 
 very disagreeable. The most remarkable rooms are in the 
 ruined part of the palace, round and near the Cavalleria, 
 all apparently about the time of Julio Eomano. The long 
 gallery, one side of which is 210 feet long, 21 broad, and 
 about 26 feet high. Its effect in perspective is excellent 
 and imposing, and having a flat panelled cieling, good for 
 sound. The side drawn, about 70 feet, 26 to top of barrel 
 vault, and 21 wide. The echo here is so loud and sudden 
 that with difficulty words are understood ; and in all rooms 
 thus vaulted I find the same objection. The general cha- 
 racter of rooms is a division or band on the wall, placed at 
 will, sometimes half, sometimes three-quarters up, with 
 niches, figures (geometric), statues, bassi-relievi and paint- 
 ings between that and cieling. 
 
 N.B. I prefer the deep panelled flat cielings. 
 
 In some small rooms at this palace the arabesque orna- 
 ment tells well, but not when applied on a large scale. 
 This style of work in outline is lost, which shows that 
 colour is one of its principal causes of effect. 
 
72 
 
 Palazzo del T. is what is called more “ chaste ” than the 
 old palace. The two most remarkable rooms in it are the 
 Cyclops room and that of the Pall of the Titans ; in this 
 latter the cieling is a high cove, and the figures are con- 
 tinued through up, with Jupiter in the clouds above — the 
 effect not unnatural. The room with the horses over the 
 doors, in bad taste, which is Julio Romano’s drawback, his 
 faults being coarseness, grossness and unnaturalness : with 
 all this, his powers as a painter in fresco, in oil, of grouping, 
 of anatomy, foreshortening, ornamentation, architecture, 
 and general invention, are so great as to place him in the 
 rank of wonderful men. Some of the chimney-pieces in 
 this palace are very fair — lizards, an nature l colour, twined 
 in plaster foliage. The kitchen chimney-piece is spacious, 
 and of good detail. 
 
 The Church of St. Andrea is said to be by Alberti. I 
 believe it does not carry its character with it, and it seems 
 certain to me that the interior is of later date, at least the 
 paintings and arabesques. 
 
 The Church of St. Sebastian has far greater internal 
 evidence. Some of the bridges by Julio Romano good ; 
 his house not bad — picturesque, but painter’s architecture. 
 House in principal square (St. Andrea) example of Gothic 
 mixed with Italian, good. 
 
 Verona. — San Michele is the presiding architectural 
 genius of Verona, and yet he gives me more the idea of 
 an engineer than an architect, more a mechanician than 
 an artist. For instance, his Pellegrini Chapel, however 
 beautiful in parts and detail, is yet curiously marred by 
 the every way unnecessary pediments, circular and angular, 
 which are carried round it. His Palazzo Bevilaqua is rich 
 in perspective. 
 
 It is, however, only necessary to place all the works of 
 the Italian school, churches, palaces, &c. together, and per- 
 ceive the great sameness of all, though each may be good 
 in itself, until at last the eye sickens at Doric, Ionic, and 
 Corinthian capitals, brackets, pediments and balusters. 
 
 But not to continue this, let me remark that in Italy 
 where all art talent is peculiarly low, the painters fall back 
 on their predecessors, and think imitation excellence ; and 
 the same with the architects, who still feed on Palladio 
 and San Michele, being unfurnished with provant them- 
 
73 
 
 selves. If they do not, they become grand and classic, 
 Grecian and pure, till even the few claims they have as 
 artists are entirely given up. I cite the Verona Cemetery, 
 the Bolognese Cemetery, the Gran Guardia, Verona, &c., 
 as examples. Scamozzi, in his preface to Palladio, says, 
 that if Brunelleschi, Sanmichele and Palladio had not 
 purged and purified art, it is impossible to say what bar- 
 barities and absurdities caprice would not have formed of 
 it. This barbarous, absurd style has since that time (he 
 speaks of Gothic) had one or two fools to admire it, and 
 madmen to assert its pre-eminence over the classic system. 
 This, however, is not the point. I mention it merely to 
 show that the opinions of these pure scholiasts are not 
 immortal in their value, and rank heresy and madness of 
 that time are now considered to be excellent taste. 
 
 In the first place, I am anxious to make it out to you, 
 because it seems clear to myself, that rules cannot be gene- 
 ral and universal in architecture according to just principles 
 of construction. Instance, an arch or series of arches to 
 be supported on single columns on a large scale ; try this 
 with a diminished and properly proportioned column, and 
 see now if the effect be satisfactory. Compare it with 
 some examples of Norman churches (interiors) where the 
 single column is used undiminished with less capital and 
 more base : I think you will own that the idea of strength, 
 support and harmony is on the Norman side, rude and 
 unworked as it is. The reason of this is, not because the 
 Norman column is the best of the^wo, as it assuredly is 
 not (by itself), but because the beautiful Koman or Greek 
 column was never used by them in a like case, nor intended 
 by them for such a use, since their mode of construction 
 and material differed so from what is or ought to be ours, 
 and I may say so inferior to ours. Why, in order to retain 
 bigotedly and blindly a system and an art, inferior and 
 founded on inferior principles to our own, should we .cling 
 to these things and work ugliness or go about with trouble 
 to imitate it ? It may be urged that two columns might 
 fill the place of the one Norman one ; but it seems to me 
 that this is but a makeshift, and each column perfect in 
 itself, when coupled by another, is mutually injured when 
 seen in perspective. 
 
 It seems almost impossible at Verona to fix the date of 
 
74 
 
 architectural revival before Sanmichele, or to say who 
 did them (the doorways). One set which I did in the 
 Corso, Verona, has no date, but a door a little higher up of 
 same design has date 1489 ; a gateway no further advanced, 
 except perhaps that the ornament is a little more refined, 
 dates 1506; the gateway to Bishop’s House, which one 
 would fancy later, is dated m.d.ii. 
 
 Sanmichele copied the best part of his buildings (the 
 rustic work) from the Roman remains. That Sanmichele 
 was more influenced than Palladio by the remains of the 
 lower empire (Rome) is certain ; and this was an advantage 
 in as far as the use of the arch was concerned. The ceil- 
 ings at Verona please me exceedingly ; the wood work is 
 shown and stained a dark brown ; beside each joist a batten 
 is laid, and at each board joint, so as to hide all startings, 
 sinkings, &c. The square spaces thus formed are orna- 
 mented with white foliage usually, as also the mouldings 
 at side of joists. The colours are preferable when red, 
 blue, &c., as in the old Gothic houses. These ceilings, I 
 must remark again, are excellent. 
 
 Piazza S. Marco, 576 ft. long; greatest width, 269 ft. ; 
 least width, 185 ft. 
 
 Venice. — Here more particularly I have had reason to 
 remark the change in my taste. We did not do the Pro- 
 curazie, it being only a continuation of the Library with 
 additional story, and not so good. 
 
 “ The weariest day will have its night, the dreariest night its morrow; 
 The deepest grief is chased by joy, the sweetest joy by sorrow; 
 
 The evening shall approach in clouds, the sun refuse his light ; 
 
 And yet the morning breeze blow fresh, the sky be blue and bright : 
 Then bend not under present ills, nor think too much of joy or woe, 
 For perfumed flowers and noxious weeds together still must grow.” 
 
 Having settled that, let’s go on. St. Mark’s is a magnifi- 
 cent temple ; though so barbarous in detail as a work of 
 art, still it is the most complete idea of a temple that I 
 have seen. The effect of Byzantine at Venice is seen also 
 in the Cinque cento : this common pattern for pierced 
 work is to be seen over a door in St. Mark’s ; and most of 
 the new fashions of the day in architecture seem to have 
 their type in this wonderful building, which has parts 
 founded on all styles — Gothic, Egyptian, Saracenic and 
 Classic ; and yet is a style in itself : an artist’s mind has 
 
75 
 
 here worked all materials into forms of his own resolution. 
 Although it would be no blame of ours if architecture was 
 first used and perfected in the East, or if Orientals fur- 
 nished us with ideas and styles, still it would be unsatis- 
 factory, for in everything have we otherwise surpassed 
 them. One branch of architecture may claim this origin 
 and perfection (the Greek, from which have sprung Roman 
 and Italian, which I do not call original and fair inven- 
 tions of the human mind), and besides this the Saracenic ; 
 but, in contradistinction, we of the later times have Nor- 
 man and Gothic, two styles decidedly original, and our 
 own offspring, especially the latter. My objection, how- 
 ever, to Gothic is, that it requires too much ornament to 
 set it off to advantage ; that it is too expensive on this 
 account, and unfitted for buildings where regularity is 
 required ; that it is too pictorial ; and that the state of the 
 arts with which it was connected — Painting and Sculpture 
 — is so rude and crude, that we cannot willingly revive it, 
 and yet that we cannot well apply actually good works of 
 this nature without depriving it of some of its principal 
 charms. In the Norman I find none of the first mentioned 
 drawbacks ; its massiveness, plainness, oneness of effect 
 and imposing regularity cause me to perceive a style fitted 
 for the most solemn and awe-inspiring effects, whilst at 
 the same time it is rich and beautiful in proportion as 
 ornament is judiciously applied, but does not admit of 
 Gothic excess. The system, however, has never been pro- 
 perly developed, namely, the round arch and exercise of 
 inventive power in composition and ornament; and we 
 see in it only a power to be great. I wish to show that 
 the Norman contains more the elements of a firm architec- 
 tural style than the Gothic for various reasons: in the 
 first* place the round arch is a more perfect, and conse- 
 quently more beautiful form than the pointed arch, which 
 is a composite or broken form ; the circle is a complete 
 form in itself, and the form we find in the scull, the 
 rainbow, the planets. I do not think it is prejudice which 
 convinces me that the rainbow, if formed like a pointed 
 arch, would be much less beautiful ; it is the form of arch 
 always adopted by the Great Creator : there is an idea of 
 continuity, calmness and power in it which the pointed 
 needs. Then, again, whilst Gothic has gone through a 
 
76 
 
 course of decline and bad taste which it is impossible to 
 free it from, in Norman we have stuff yet to be worked, 
 and which with care may be moulded into excellence ; but 
 I do not think any existing style can be taken up, revived, 
 and made to fit the present time, without great detriment 
 if not actual loss of that character which constitutes its 
 charm. All attempts of this kind (all adaptations) give 
 me the idea of being what is called Cockney. Where 
 ancient styles are so altered as to suit modern inventions, 
 conveniences and customs, they lose their characteristics 
 and become unpalatable: where, on the other hand, the 
 devout admirer revives them in their ancient minutiae 
 and characteristics, they are no longer fitted for the im- 
 proved habits and comforts of our day. No revivals have 
 stability in them; fashion may be mad for them during 
 its hour, but time approves them not, for they have no 
 original merit, no innate claims on which to stand. A 
 revival of Palladian, of Egyptian, of Grecian, of Gothic, of 
 Norman, Elizabethan, Saracenic, of Byzantine, we have 
 seen, even in the space of a few years, all tried, all 
 attempted : some with more success than others, but none 
 lasting. Every one who desires to do something good, 
 seeks in these olden wonders subjects for his designs, and 
 ideas for his unsettled and unfurnished head. None agree 
 as to which is the right one : each style has its admirers, 
 its antiquaries ; and each style, though excellent for the 
 times in which it flourished, and remaining an indelible 
 sign of the spirit of those times, refuses to be patched up 
 for modern use, and still remains original and unwilling to 
 be of service to us of these degenerate days. In fact, the 
 principle of architecture as an art is no longer understood, 
 or rather we have no principle ; we have rules : but why 
 we have them who can tell us ? They are dicta of erring 
 man, the decisions of beings who themselves were ignorant 
 of the principle on which all art is based, but more espe- 
 cially the art of Architecture ; and this principle is that 
 we turn to Nature for our ideas, so altering and working 
 on them as to render them of service for architectural 
 purposes ; that, as Nature is infinite in subjects, so the art 
 is infinite for the exercise of the inventive power; and 
 that beauty is eternal and irrevelant of styles, which are 
 variable and subject to fashion and decay. It appears to 
 
 / 
 
77 
 
 me to be the first principle that all forms, ornament and 
 colour should be founded on some type in Nature, and 
 that such form and ornament should be not given over 
 until it has been brought to such a degree of perfection as 
 fits it for a place among the most refined details of Greece 
 and Rome. 
 
 In architecture, sketches alone of good things (as in 
 Gothic) can scarcely be permitted; the working is too 
 expensive, and the imagination too quickly wearied (as 
 shown also in Gothic). We require finished and excellent 
 work; grace and beauty, as well as force and character. 
 When a form has arrived at a proper degree of perfection, 
 it is not then to be thrown aside and new ones to be sub- 
 f stituted, but should be one additional subject in the 
 museum of ornament or form ; nor much less is it to be 
 retained and altered, sometimes for the worse, never for 
 the better, to the exclusion of farther design, as is the case 
 with the ornaments and mouldings of Classical art ; and 
 I think there can be little doubt that the roughest suc- 
 cessful attempt at originality in the present state of archi- 
 tectural art is more noticeable and worthy of praise than 
 this wearisome repetition of forms, excellent but hack- 
 neyed. I have said before that we have rules in architec- 
 ture, rendered worthy of attention, too, from the praise 
 with which they have been received and the wide spread 
 effect they have had on art; and yet I think that reflection 
 and observation must convince us that there can be no 
 positive rules in an art so very variable in its uses. For 
 certain cases, those rules of proportion which have been 
 given us by the study and taste of celebrated men, are 
 doubtless scarcely to be improved on ; but for certain 
 cases only, as merely to instance that a Corinthian column 
 may be perfect in itself, viewed as it is called geome- 
 trically, or as used in a Greek temple. Yet when, as is 
 often required, it comes to be placed some 20 or 30 feet 
 above the eye of the spectator, as a buttress in a building, 
 it requires a different form and character ; also that different 
 sizes demand different proportions ; and that which is 
 grand in the temple at Psestum, becomes absurd when 
 used, as I have seen it, in a balustrade. 
 
 But to return to St. Mark’s. The preponderance of gold, 
 mosaic and dark colours gives the interior a most majestic 
 
78 
 
 and rich effect ; and in the capitals and general ornamental 
 designs, students may find an almost inexhaustible fund. 
 It is curious that a city so put to it for space as Venice 
 should have the finest square in Europe probably. Cer- 
 tainly magnificence or royal liberality in building is not 
 thrown away, since it renders a city remarkable from age 
 to age, and confers on it one of its greatest charms. Nor 
 can we but think nobly of men who planned and built 
 such noble edifices, and were so sumptuous in all they 
 undertook, as though determined to have work worthy of 
 their own character. 
 
 Padua. — N.B. The chapel of Mantegna, in the church 
 of Eremitani, has an excellent vaulting. 
 
 The Palazzo della Ragione, a fine specimen of early Civil 
 architecture, is remarkable in itself, and for a certain 
 affinity to Palladio’s celebrated building. A great charac- 
 teristic of Padua are the immense corbels at the angles of 
 streets and heads of columns. N.B. — I should like a 
 drawing of the balustrade at Palazzo Ragione, and any 
 other parts worthy of note, — caps, corbels and archbands. 
 A house at the side by the tower also very good, and worth 
 drawing and restoring ; had, however, no time. 
 
 St. Antonio, large, irregular and clumsy, yet not with- 
 out some impressiveness ; turrets very good, and some 
 monuments inside. Sansovino’s chapel rich, but not good; 
 the sculptures the most remarkable part of it. The gates 
 Portello, Giovanni and Savanorola not remarkable, except 
 in architectural history. 
 
 Ferrara. — Desolate but interesting. The Cinque Cento 
 here takes a peculiar character and has a very rich appear- 
 ance. Some of the finest and oldest palaces are turned 
 into eating and lodging houses for common people, date on 
 one house 1500, a.d., chimneys all corbelled out, with a 
 moulding or two. Palazzo Diamanti, rich and curious, a 
 doorway higher up, also very fair. The walls of the houses 
 in many parts show round, pointed, and classic vestiges, 
 blocked up and broken, with fresh holes made for last 
 comers, a strange re-adaptation. Castle fine, sides of 
 Cathedral remarkably good, Norman tower a curious and 
 good example of Cinque Cento, its fault is the flat arch 
 bands over the round columns, but the columns could not 
 be well replaced by pilasters, they form its effect. 
 
79 
 
 Bologna. — Palazzo Fava, very good effect, the use of terra 
 cotta in buildings of this period, profuse ; the richest work 
 being done in it ; it seems, where not subject to violence, 
 to wear very well indeed, perhaps better than stone. Some 
 church doors are splendid, too rich; a work might be got up 
 on the palaces of Bologna, the heads in the arcade of one 
 near St. Stephano are the most beautiful I have ever seen ; 
 in the same place are remarkable Gothic cornices and re- 
 adapted houses, with a curious house of the earliest revival. 
 St. Stephano itself the most ancient and extraordinary 
 interior I ever saw. The Theatre is by Bibiena, not bad, 
 a series of arcades for boxes, with engaged balusters, sound, 
 
 I very loud from line of proscenium, every step further back 
 destroys it. Some of the (arcades) of town are very rich, 
 the Cinque Cento takes another character, combining 
 the largest cornices and arched windows of the Florentine 
 style, with its usual characteristics. The portico dei Bianchi, 
 by Vignola, not attractive. The gallery rich in Bolognese 
 artists ; the masterpiece seems to me to be Guido’s Sampson, 
 or the Death of the Innocents ; some figures on the tomb of 
 St. Dominic, Church of St. Dominic, excellent, three or four 
 by M. Angelo. 
 
 Florence. — This city struck me as peculiarly massive 
 and solemn. The effect of its palaces was not so impressive 
 to me as on my first visit. Still they are very magnificent, 
 and the work first-rate. Went to the Gallery of the Ufhzii 
 and admired the Venus ; Canova’s is no more comparable 
 to it than Eastlake to Kaphael. Notwithstanding some 
 exaggerated portions, (modern I believe), it is an inex- 
 pressibly sweet and beautiful image of a perfect woman. 
 The Fawn too is very life, and I think decidedly comes 
 next, then the Gladiators, the Apollo and the Slave ; what 
 a group, what paintings, what a trophy of the nobility of 
 the arts ! Groups of boys by Luca della Bobbia, are 
 wonderful and full of character, excellently suited for archi- 
 tectural purposes. Tombstones in S. M. Novella, very good, 
 inlay of marble, the doorway said to be by Alberti, nothing 
 remarkable. The dome of the Annunziata very finely 
 proportioned, Santo Spirito an excellent specimen of 
 Brunelleschi, the arch is its foundation. The pictures 
 in the gallery are hung on metal rods, with screws so 
 as to move the paintings higher or lower; the name of 
 
80 
 
 artist, birthplace, and date, are affixed to each — a most 
 praiseworthy custom. The Loggia of the Lanzi is copied 
 apparently fac-simile at Munich. The Church of Or S. 
 Michele seems to me the most artistic building in Florence, 
 and adaptable ; San Miniato, very good pavement and 
 screen, staircase to altar remarkable, projects from wall, 
 and handrails fixed from side. Palazzo Rucellai, remark- 
 able, but not fit for publication, since it is a degraded 
 specimen of a good style. The reason I have not done 
 much of Brunelleschi, is, that it is not so much the working 
 out of detail that is good, but the general idea ; this would 
 have taken up too much space, his system is large mould- 
 ings, and the preponderating use of archwork. I may 
 remark that he generally uses an entablature between his 
 capitals and springing of arch, which renders them still 
 weak and lanky in effect, and this is avoided by the archi- 
 tects before his time, who either spring the arches from the 
 capitals or place a block with a moulding between. Palazzo 
 Mcolini, is plain and good. 
 
 Pistoia. — The coloured figures on the frieze of the 
 Hospital by L. della Robbia, are certainly in themselves 
 excellent, but the general effect is not good, nor the material. 
 I can perceive no such merit in it as to render its loss a 
 cause of regret, (at least for architecture), I much prefer his 
 Visitation in the Church of San Giovanni, the drapery is 
 beautiful, the expression, proportion, and attitudes are good, 
 the colour white. This man must have been really a work- 
 man from the quantity of subjects left by him, and no 
 sculptor of his time, or indeed afterwards, inspires me with 
 more admiration and idea of genius. 
 
 The pulpits at San Giovanni and San Andrea, are richly 
 worked and remarkable, the one at San Bartolomeo is how- 
 ever more interesting to me, its character being more of the 
 Revival, or rather more original. The Cathedral tower is 
 good, and the church contains some rich specimens of 
 Cinque Cento, but not worthy of drawing. The baptistery 
 font resembles in character the screen at San Miniato, 
 (moulded circles in intaglio squares.) La Madonna di 
 Umilta, curious in plan, but architecture not over good or 
 uncommon, the dome is formed with excellent curves, but 
 the lantern is poor and does not cap it well. 
 
 The character of these little early Lombard churches is 
 
 / 
 
81 
 
 arch work and intaglio. Some of the doorways are very 
 good, and they afford an agreeable contrast to the hackneyed 
 Palladian usurpers. The interiors are very simple, and all 
 I think have simple ties — of kingpost and struts — though 
 their width is from 30 to 50 ft. 
 
 The frescoes at the Annunziata are very unequal, some 
 full of character and good costumes, they are in a wretched 
 state. At Pescia, the tower is exceedingly picturesque, 
 so is the town at Borgo Bugiano, and between that and 
 Pescia are some manufactories of excellent bricks and 
 earthenware. 
 
 Lucca. — This city is full of remarkable churches, before 
 noted. The exterior of the Cathedral is excellent, the 
 principle on which the construction of this style is founded 
 * seems to me just ; it consists in using columns without 
 regard to the rules of the four orders, as supports to arch- 
 work, entablatures being given up, and when we think of 
 this, that the ancients used columns also, decidedly as 
 supports, that for this purpose they were originated, we 
 cannot demur at the kind of superstructure they support ; 
 if the original system of construction, that of simple repose 
 is no longer in general use, why should we retain the enta- 
 blature as a necessary finish to the column. The absurdity 
 of placing it as a sort of pedestal between arch and capital 
 is evident — for it can mean nothing — and I refer to 
 examples to show that it destroys every beauty, lengthening 
 the opening to lankiness, weighing over much on the column 
 and useless in itself. If, as I have long been convinced, 
 the arch (semicircle) is the most beautiful form in architec- 
 ture, and the species of construction most common, most 
 beautiful, and scientific in our days, why should we hide 
 it or avoid it, and if used, I think, observation will assure 
 us that the opening is better in general — less than double its 
 height than more — the column then may justly be used as 
 the immediate and sole support of arches, on a small scale, 
 but when the opening is large, even though sufficient, as 
 shown in the case of San Frediano (interior), at Lucca, 
 where the imposed weight seems crushing, should say 
 that piers are better than single columns, as at the three 
 great arches of the Porch of the Duomo, and broad and 
 successive mouldings required to render the arch perfect. 
 The large plain ovolo foliage sculptured mouldings of this 
 
 G 
 
82 
 
 style, placed between the various stages, is not enough, it 
 is not so much greater projection that is wanted (a regular 
 cornice would be very bad) but greater height, more answer- 
 ing to a moulded frieze than a cornice, but a cornice is 
 wanted somewhere ; this is a great loss to the style, as are 
 the general forms of the outline, the excessive use of arcades 
 and barbarous ornaments ; still the system appears to me to 
 have the germs of a power in it, which judiciously chosen, 
 applied and worked out with the superior manual cleverness 
 of our day, might become more universal than either Italian 
 or Gothic architecture, and I must think more imposing, 
 when we consider that Pisa, St. Mark’s, Venice, and Lucca 
 are more or less exemplars of its capabilities. 
 
 Pisa. — This Cathedral is as ever my admiration. The 
 disposition of the supports and lights seems perfect, here 
 the round arch in a certain style is perfectly worked out ; 
 the roof is flat and bad, probably be better if groined. Nor 
 do I think the black and white alternate courses add to its 
 beauty ; the difference in tints should be much more faint, 
 as I have remarked before, and this time in an old church 
 at Lucca. I still admire the style of this period’s towers, 
 vide the drawings I have done at Pistoia and Pisa before. 
 
 N.B. — Though the Baptistery echo is wonderful, nay 
 perfect, for a single voice, yet for more it produces dire 
 confusion. 
 
 In the Cathedral, the want of mouldings to arches seems 
 to me its principal fault, but being supported by single 
 columns probably this could not well be avoided. The 
 effect of the large paintings down each aisle wall is very 
 rich, but not quite in harmony with the building, for I feel 
 convinced that all painting forming an important component 
 part of the architecture should possess a somewhat of its 
 character, its regularity, order, massiveness; for a proof 
 of this one may bring forward the exquisitely adapted 
 Library of the Cathedral at Siena, a model of the combined 
 powers of art, as far as it goes ; the bronze gates at Pisa 
 are an imitation of those at Florence, some of the foliage 
 however is uncommonly fine, though Ghiberti’s is most 
 perfect. 
 
 Siena. — This town is rich for artists of all kinds, most 
 picturesquely situated, numerous old houses and palaces of 
 Gothic, Byzantine, and the Revival. Noble Cathedral and 
 
83 
 
 excellent little bits of street views, splendid frescoes, a 
 cathedral, a museum, and illuminated books of inestimable 
 value. The Dome of the Cathedral internally appears 
 to me perfect. I have little more to say of this town ; I 
 must hope to draw what no words can give a proper image 
 of ; there seems to be more work in this town for us than 
 perhaps any we have yet seen. 
 
 Rome. — Bernini may be called the curse of Rome, what 
 she has suffered on his account might form a most laugh- 
 able and melancholy tragedy. There are few cities in 
 Italy where good architecture is more at a premium, vainly 
 do you seek it in the old Romanesque churches, with 
 new Borromean exteriors, and towers which only show 
 what they were ; vainly at Sant’ Agnese, S. M. del Popolo, 
 S. M. Trastevere, S. Trinita’ del Monte, or the thousand and 
 one abortions of a still later date, vainly at S. M. Maggiore, 
 at S. G. Laterano, and still more vainly at St. Peter’s ; talk 
 of the failures at home, surely we never had a failure equal 
 to this — expense without effect, and composition without 
 design. Nothing can be so villainous as the front by itself, 
 except that it murders the only good part : — the dome — at 
 any distance within a mile — cutting it off just at the 
 commencement : this is usually laid to C. Maratti’s fault, 
 but I cannot see how if M. Angelo’s design had been carried 
 out it would have been much better ; in these remarks the 
 dome, externally and internally, is excepted ; let us enter : 
 What a mass of barbaric pearl and gold barbarously applied, 
 the figures in the spandrils hanging on nothing, the marble 
 panels of absurd and unartistic form, palm branches, swollen 
 faced cherubs, draperies in a hurricane flying out at every 
 foot, marble clouds and funny birds. In short, the archi- 
 tecture is miserable, of the very lowest class, and the 
 accessories generally as bad, with the exceptions of the 
 bronze Popes, one or two little Cinque cento tombs, and 
 some of modern erection ; the vestibule is as bad, the pro- 
 portions excruciating, and the figures on horseback at each 
 end supremely absurd. It is no unfounded assertion to 
 make, to say that there is more art in any little country 
 Gothic church than in the whole building put together, 
 and the circular colonnade which leads to it, not better than 
 the Quadrant and not half as useful, so that one almost 
 regrets the two noble fountains and fine obelisk which 
 
84 
 
 adorn the centre, should be so placed as to be ashamed of 
 their company. At S. M. Maggiore you will remark that 
 the left wing of the facade is merely a wall made to 
 resemble the right wing and holds nothing ; this is paying 
 for uniformity with a vengeance, if this is design we must 
 get up a new primer for students. The front we will leave 
 to itself, it requires no comment, but the tpwer of the old 
 church still remaining makes one sigh over the zeal of the 
 worthy Popes and their want of perception ; this tremendous 
 writhing for the ornamental and dashing, is at any rate 
 given up at S. Paul outside the walls — which is simple, 
 but not over effective, the interior being however excel- 
 lently designed, though the colours are naught, and a white 
 and gold flat roof scarcely to be endured ; still it is fine, 
 simple, and imposing. The fagade of S. G. Lateran is on 
 the other hand effective, without being good, but the interior 
 very second rate and the statues and niches very bad indeed, 
 a style of sculpture I do not comprehend, probably it is too 
 grand for me, and requires a large mind to perceive its 
 beauties ; here are saints in every affected attitude of a bad 
 actor, with double joints, tremendous features, hair like 
 waterfalls, and drapery in a hurry, murderous sinews and 
 destroying eyes. The bridge of S. Angelo presents female 
 specimens of the same race, who must have long since disap- 
 peared from the earth, as must their costume. One young 
 lady particularly strikes me, the last on the right going to 
 St. Peter’s ; she is in the act of spearing her next neighbour 
 who is nearly blown off his station, and the delicate and 
 gentle turn of her thumb and forefinger expresses no great 
 intention to do more than frighten, whilst her face is gently 
 smirking, and her legs exposed by the same wind that is 
 blowing her foe away. At Ponte Molle there are more of the 
 same class ; Our Saviour, one side of the bridge, with the 
 most scowling, demoniac expression, being baptised across 
 the road by St. John, but it is impossible to enumerate 
 these examples, their name is legion, they are omnipresent 
 until you begin to sicken both of them and of the buildings 
 equally absurd, which they alone are worthy of. 
 
 St. Lorenzo is very rich, and St. Clement is good. With 
 the exception of the towers before mentioned there are few 
 Byzantine or Komanesque remains here ; the most remark- 
 able are the cloisters of St. Giovanni Lateran, and St. Paul 
 
85 
 
 outside the walls, the last being the worst both in detail 
 and mosaic. At Ara Coeli are two or three tombs and two 
 pulpits, elaborately worked in mosaic. On one pulpit is the 
 inscription “ Jacobo filio magister operis fuit,” but no date. 
 Two other pulpits in the church, near the temple of Yesta, 
 but much plainer, and other scattered pieces of less note. 
 The domes of Rome are usually very bad externally, and 
 the bell towers also. The Dome of the Pantheon is wonder- 
 ful. Hope observes that M. Angelo was wholly devoid of 
 taste in architecture, and not without reason, his work at 
 Florence, at the Capitol, and at the Sapienza do not make 
 one wish for more. Raphael was far superior to him, we 
 see this in the few things, but graceful and well intended, 
 done by him at Rome and Florence, and had he carried out 
 his intention of studying architecture altogether, we might 
 have him in the very first rank. 
 
 Of the palaces at Rome, the Farnese stands pre-eminent, 
 and though somewhat heavy and misproportioned in parts, 
 it has a fine and palatial effect. The interior is arcaded, 
 two stories like the Library at Venice, but far, far inferior ; 
 the third story is worse still. The Loggie of the Vatican 
 are neat but poor, the ornament (arabesques) rich and 
 fanciful but much injured and not to be followed up, too 
 confusing, unmeaning and wanting in effect. The grand 
 staircase by Bernini, wearying and badly designed; the 
 width being cut up by a row of useless columns at each 
 side which destroy its size and afford no walk between 
 them and the wall. The Cancellaria too flat and little in 
 moulding, but neat and architectural ; the Massimi, with the 
 exception of the ground floor, decidedly inferior; those 
 stringy lines for rustication and windows, second and third 
 floor, are bad. The palaces are so much alike and so well 
 known it is useless to describe them ; their principal merit 
 consists in bearing the character of palaces, massive and 
 rich ; many of the modern buildings of Rome are equal to 
 them, and might just as well be drawn and measured for 
 models, since they are often improved copies. The villas 
 have little to recommend them architecturally ; the Villa 
 Madama is the best, the basement of the Doric order being 
 bold, forming a good porch, and the windows having 
 mullions and tramsons as at the Veneto and Capranica. 
 
 (We cannot attend to the intricacies of theoretic views 
 
86 
 
 as in the “ History of Christian Art ” by Lord Lindsay, we 
 seek the good and beautiful without reference to its being 
 sensuous or intellectual as he terms it.) 
 
 Many of the hotels, lodging houses and palaces are excel- 
 lent in their way, particularly a palace past the Borghese, 
 on the way to St. Peter’s, is a great improvement on the 
 Cancellaria, or rather on Torlonia’s palace. One must not 
 forget the new chapel of Torlonia in S. Giovanni Laterano. 
 The dome and principal upper ornament is white and gold, 
 the lower colours are well arranged in different rich 
 marbles ; the statuary and mouldings are fastidiously 
 correct, the latter especially well formed; the architect 
 Baimondi is, I believe, dead. The Corsini Chapel is very 
 inferior to it. 
 
 S. Agnese, with other Byzantine churches of this class, 
 seems adaptable for modern churches, the second row of 
 columns forming a gallery ; the pulpits also would come in 
 well. 
 
 The church by S. Agnese is circular in form and gives 
 me the idea of a baptistery ; the space between walls and 
 columns being arched and worked in mosaic. 
 
 N.B. — Windows in the aisles would be necessary ; the 
 seats might be arranged as in Gothic churches without 
 detriment to the columns. 
 
 The house by Bramante, Piazza delle Copelli, is very 
 good ; it is brick work rusticated with plaster. The houses 
 Yicolo Governo Yecchio and Yia Matricciani are so spoilt 
 as to retain scarcely any appearance of their sgrafitto work. 
 The only projections in reality are the upper mouldings of 
 string courses and the architrave of windows, the rest which 
 in Letarouilly looks like stone work is sgrafitto. There 
 are many other small houses in the same style in the 
 neighbourhood. The house in Yia Maschera d’Oro has a 
 beautifully painted frieze by Caravaggio : a very noble work. 
 
 Plaster was much used at Kome ; many large buildings, 
 and among them the large Spada Palace, are covered with 
 this material. 
 
 N.B. — The similarity of the cloisters, S. G. Laterano, to 
 the Loggia of the Campanile, Yenice, is striking; there is 
 an evident connexion and resemblance in points between 
 Cinque cento and Byzantine art, which renders them 
 easily combined. 
 
87 
 
 The hospital of Santo Spirito is of a cross plan, which is 
 excellently adapted, the beds being ranged down each side 
 in double rows ; this plan might be varied by radiations. 
 The meeting of the galleries forms a dome well adapted 
 for light and ventilation. It seems to me that the invalids 
 should have some ornaments, paintings and inscriptions on 
 the walls to fill up the weary moments of the day; not 
 only for this, but also to distract their thoughts from being 
 too much about themselves, which is bad for the sick. 
 
 N.B. — This hospital, though one for fever, had a per- 
 fectly fresh atmosphere, which is ascribable to the centre 
 dome, the surrounding courts and the height of its one 
 storied plan. There is a rich Cinque Cento doorway here, 
 it appears to have been a church. 
 
 Naples. — The Cathedral is spoilt ; the subterranean 
 chapel shows how closely the Cinque Cento artists followed 
 the antique models, the arabesques in sculpture being but 
 slightly altered from those of the old temples, though, 
 perhaps, improved upon. 
 
 San Domenico Maggiore contains a number of curious 
 and interesting tombs. The Porta Capuana, though rich, 
 is not very good ; the Cinque Cento of Naples is strag- 
 gling and deficient in the neatness and taste of the 
 more northern examples ; the Museum is very rich, a 
 number of pilasters there are divided like Bramante’s at 
 the Cancellaria, Rome. I wonder if he had an ancient 
 example or whether it is only a coincidence. 
 
 San Carlo has a very good fa$ade, the best perhaps I 
 have seen ; massive and rich ; the marks in the rustication ; 
 the wreaths and bas reliefs are, however, bad ; also the arch 
 of arcade beneath at sides, which, to suit its breadth and 
 to keep heighth with the front arches, is depressed. 
 
 San Ferdinando : the interior of this church is very noble, 
 being a copy, perhaps an improvement on the Pantheon ; 
 the exterior is a mere schoolboy’s design ; the Cinque Cento 
 gate of Castello Nuovo is pretty good. The sea walls here 
 are hollowed out so that the sea does not break but roll on 
 them ; a circle seems to break the sea’s force, but I should 
 think an angle is better. 
 
 The Castello Nuovo, though not much in design, is 
 very well worked, some of the figures at sides and in 
 soffits being excellent and useful for costume. 
 
88 
 
 Pompeii. — Very fanciful but in very bad taste. 
 
 Went to Amalfi by Nocera ; walked over the mountains 
 and found it very fatiguing; scenery very beautiful. Amalfi 
 very picturesque. 
 
 N.B. — In tanks or fountains try a bright blue ground as 
 at Pompeii. 
 
 Cloisters of convent not much ; cloisters at Ravello very 
 curious, so is the whole village, and well worth a visit ; 
 the bronze door though anterior in date to the ones at 
 Monreale, is much superior to them ; the capitals of the 
 pulpit are very good, so is the foliage and ornament which 
 is bold and deeply cut. This village has a very Saracenic 
 character and is beautifully situated. Salerno has also a 
 very rich pulpit, but the architecture of it is inferior to 
 that at Ravello ; there are some good tombs here and many 
 interesting bits. Went to Palermo, a city beautifully 
 situated; the Cathedral is very rich and is a sort of 
 In orman Saracenic Gothic ; internally, it is new and inter- 
 esting. The chapel of the Royal palace is the finest thing 
 in Palermo, the mosaics are very rich and of most intricate 
 pattern ; they are of marble and glass mixed. The internal 
 effect is very solemn and rich, this chapel, though so small, 
 is much superior to Monreale, the greater part of which, 
 roofs and mosaics, is of new workmanship. I should think 
 these mosaics (the patterns) on a larger scale might be used 
 as pavement in burnt earth, and I do not think so, from 
 examples at Pisa in marble , but try — the soffits are all 
 richly worked, the arches are pointed, this and Monreale, &c., 
 is very badly illustrated in Serradifialco’s work, which gives 
 no colour and consequently gives none of its character. 
 Monreale has tw r o gates in bronze, very rich 1187, A.D., but 
 inferior in workmanship to that of Ravello, (also small 
 doors at Palazzo Reale, simple but excellently cast.) The 
 cloisters have many richly worked columns whose caps and 
 dimensions are Norman, whose arches are pointed, and 
 whose archivolt inlay ornament is Arabic. This style of 
 stone inlay, brown and black, is very common at the period 
 here, and is found in almost all old buildings, it might be 
 still used, as in the Tudor, &c. The Domenican cloisters are 
 not much : the Martorana almost destroyed, old tower very 
 picturesque; the oldest houses are Romanesque, there is 
 also a good deal of Gothic. The streets are a sort of Spanish 
 
89 
 
 Italian, picturesque, but too fanciful. Cinque Cento does 
 not flourish, though in the Church of San Francesco there 
 are a few rich archways. The library at Monreale has 
 some volumes of Baron Taylor’s work on France, which is 
 the finest illustrated work I ever saw, and most useful to 
 an architect. The Arabian remains are very interesting, 
 the iron balconies, I should think, might be framed in iron 
 and covered with wood or tiles, they are common here. 
 Returned to Naples, (I like the little fountains at Pompeii, 
 with steps for cascatelle. Pozzuoli, not much; went to 
 Capua, bullied about passport and had to return, lost a day, 
 a lot of money and my temper, returned again to Capua, a 
 very interesting town, a good deal of curious Cinque Cento 
 and Gothic work ; Cathedral, nothing, except tower. Out- 
 side of gate to railway — “ non c’e male — took a cab to 
 Fondi, got jolted to bits, very wretched cigars, dull weather, 
 got frightened at Fondi, it being full of desperate looking 
 ruffians, also on the frontier, (mem.), close to Terracina, the 
 gory den of the rabid brigand; felt uneasy, and still more so 
 when the innkeeperess pulled my beard and was compli- 
 mentary. N.B. — This woman had but one eye. Terracina, 
 very beautiful, grand, jagged and rich coloured rocks with 
 the sea beating against them. Yelletri, very beautifully 
 situated, some good palaces, Cathedral, nothing, one or two 
 fine Gothic towers. Albano, Gensano, Laricia, all very 
 beautifully situated on the summits of high hills, overlook- 
 ing the Pontine marshes, the sea, and the distant mountains. 
 From Rome to Ronciglione, from thence to Caprarola — not 
 much of it. Pentagon form, bad, centre circular court with 
 two ranges of arcades, fine ; curious place beneath, like 
 crypt, with centre column ; circular staircase very effective 
 but not suited to style of architecture, columns being all 
 stilted to suit height, balustrade up it very bad, rooms not 
 much of it, some of the ornaments pretty good, back view of 
 building best, gardens have beautiful views, Casino stupid, 
 some pretty good houses in the village. To Yiterbo, a very 
 fine clean little town, the neighbourhood of the Cathedral 
 very interesting, a church porch with rustic wall very ex- 
 cellent indeed. Sebastian del Piombo’s paintings did not 
 affect me ; some good tombs in San Francesco, went to the 
 Etruscan tombs near Castel d’Asso ; there are here the most 
 extraordinary valleys I ever saw, and most beautiful, they 
 
90 
 
 are like graves cut out and beautifully wooded, and the 
 little rocks, each side sculptured like the eastern tombs on 
 the face, with graves beneath which are now sheep pens ; 
 in one we found some empty stone tombs and a very good 
 stone statue reclining with its hand on its head, apparently 
 in death ; the Castle itself, not much, returned and went 
 to Orvieto, a very interesting town. Luca Signorelli’s 
 frescoes are splendid, imaginative and finely drawn. The 
 Cathedral is of Italian-Gothic of an ugly form, in which 
 the triangle predominates, the mosaics continued up are 
 lost, the sculptures on face good but also much lost ; there 
 is a large circular window in square as at Siena, the outside 
 is rich but in very bad taste, the nave is very massive and 
 effective, large round single columns with short caps sup- 
 porting round arches, with one row of round-headed windows 
 above; these columns have at various points brackets 
 projecting which are not obtrusive ; the use of open galleries 
 in a blank wall is very good, taking away its bare effect. 
 N.B. — The whole upper part of facade signifies nothing, 
 having no connexion with the interior. The Governor’s 
 Palace is a very fine specimen of Romanesque, rich, round- 
 headed, three lighted windows with label head running 
 continuously round : the bands are about one-eighth of 
 aperture. In cathedral, round columns with octagonal abaci, 
 look very well, also in painted windows brown and yellow 
 paintings like Raphael’s at Vatican, would be good — it is 
 yellow here alone. Went to Montefiascone, drank no wine, 
 slept at Chiusi, the birthplace of M. Angelo, and arrived 
 next evening at Siena ; not so much struck as before with 
 the town, but still admire the cathedral exceedingly, espe- 
 cially the interior wdiich is glorious. The principal features 
 of the exterior are the three entrance doorways, richly 
 moulded and deeply recessed, with a centre column mould- 
 ing of deep cut foliage ; the interior is very striking, and 
 although over ornamented, solemn and religious ; a side of 
 the nave would, I think, form a good foundation for the 
 front of a public building. The Cinque Cento work here 
 though beautifully cut, seems to me thin and ineffective ; 
 the staircase to pulpit is very beautiful ; the pavement by 
 Beccafumi &c., wonderful — an etching in marble — the roof 
 is blue with stars and badly designed ribs, painted, the 
 colour is carried off by pilasters, and joins thus the span- 
 
91 
 
 drils of principal arches to it ; the Sacristy is very beautiful, 
 the ceiling being very harmoniously coloured ; the frescoes 
 are more remarkable for costume than imagination. The 
 entrance doorways though so good are too minutely moulded. 
 
 N.B. Large round arches are spoilt by the old Roman- 
 esque filling in of flat headed doorway and cornice. The 
 Baptistery is very good, with an old painted ceiling, and 
 not a bad font. The other churches of Siena not much, 
 St. Domenic, large simple tie of 75 feet span, according 
 to Murray, and one large pointed arch ; St. Francesco also 
 a simple tie of about same dimensions. 
 
 The palaces here are very grand, the Piccolomini is best, 
 then the Spanocchi (cornice here bad), there are many others 
 very remarkable, general character massive, almost prison 
 like, the Buonsignori and the Public Palace fine specimens 
 of heavy Gothic; house next the Aquila Nera, very finely 
 proportioned Gothic, capable of being turned into round 
 headed design ; Casino dei Nobili well proportioned, a 
 mixture of Italian and Gothic, very good models for arched 
 openings. Interior of Town Hall and Spanocchi have some 
 old ceilings supported on richly worked wood brackets, 
 (always look well). The Academy, a very good collection 
 of Beccafumi’s drawings for pavement, two fine portraits, 
 Charles Y. by Holbein, and old man, Flemish or German, 
 (two worthy any museum). The Piccolomini Palace is 
 very well proportioned and seems more adapted for domestic 
 architecture than the Florentine ones. The high altar in 
 cathedral by B. Peruzzi, is richly moulded, and strengthens 
 the supposition of the staircase to pulpit being his also. 
 The small terra cotta building outside the Florentine gate, 
 nearly a mile, is an elegant specimen of terra cotta, and is 
 also picturesque. N.B. Peruzzi’s note book at the Academy 
 is full of well sketched pen and ink figures. Sangallo has 
 figures and architecture. 
 
 Pisa. — I now regret not having done more of Siena, and 
 have come to the conclusion that with St. Mark’s it stands 
 in the first rank of Italian Cathedrals, more especially 
 or rather altogether, as an interior ; I think a fine work 
 illustrative of these two churches might be produced. 
 (N.B. — A rainbow arch with deep blue groining and gold 
 stars would I. think be very effective.) These stars are 
 affixed and of wood or metal. After coming from Siena 
 
92 
 
 I was ill satisfied with Pisa Cathedral, and allowing for the 
 unpleasant coldness of colour one perceives also that the 
 had proportions of the latter are a great fault. Imprimis, 
 the arches of nave are too small, look close and little, the 
 single columns as supports not good, (being & la Roman). 
 At Orvieto they are not so bad, being of mere Norman and 
 undiminished character — but a pier is better than either — 
 then the archivolts are not moulded, and look flat and 
 mean ; it is remarkable that the arch being the principal 
 feature of this church is so little generally ornamented, in 
 all these respects Siena is very good. Secondly : the 
 second row of arched openings is too close to the head of 
 first great ones, and wants a frieze or something broad to 
 start from, in place of a meagre string course. The third 
 row of windows is too high and too small, and again wants 
 mouldings round arches, the square centre also of dome is 
 very ineffective ; whilst Siena, which is hexagonal and then 
 a dodecagon above, is very fine. The flat panelled roof here 
 is also not good, it wants groining like Siena which has 
 Cinque Cento ribs and ornament a la Perugino, with blue 
 fillings in and gold stars. Siena Cathedral is about 94 
 feet wide externally. I am much less satisfied with Pisa 
 Cathedral this time, it is so deficient in depth of mouldings 
 and for its size looks so cut up and little. The Campanile 
 is however very imposing and peculiar. The Campo Santo 
 is much overrated, bad Gothic and a bad form, the lights 
 excellent, but supports bad. 
 
 It will be necessary to keep the character of the new style 
 entirely separate from Gothic, the one being massive, the 
 other light. The round arch is the key, and the character 
 of this should pervade the whole style, which character is 
 simple, calm, perfect and continuous. I do not know how 
 anything to supply the place of a Gothic niche could be 
 got, or a foliated window, or a crocketed gable — nothing of 
 this could well be done — but again we should have the 
 advantage of rustics, of cornices and of archivolts, which 
 Gothic wants. I think it would be impossible without 
 detriment to the style to introduce such pretty features, 
 and better to combine the rudiments of a style which 
 grounded on the construction of materials in use, shall be 
 sufficiently ornamented to produce works of art, without 
 requiring that inexcusable expense which I think Gothic 
 
93 
 
 for domestic purposes as well as ecclesiastical, demands. 
 Been to Leghorn, nothing remarkable except a clean bed, 
 a quack in a carriage with a livery servant very fine, and a 
 monster organ dragged about by a horse; there is a daredevil, 
 hustling character about the place I don’t like, a mixture 
 of Liverpool and Paris ; trade and swaggering, business and 
 debauchery. Pisa Baptistery looks very stumpy, would 
 make good arrangement for top of a round tower like the 
 leaning. The dome of the Cathedral is not square, but 
 oblong, and forms a canted off oval above — very ugly — the 
 choir, which is coloured, looks very well though in disgust- 
 ing taste, barring the apsis with paintings in panels with 
 pilasters between. There are one or two points which 
 remind one of Venetian Cinque Cento, viz., the round inlays 
 of porphyry, the use of panelling, and the series of arcades 
 or loggias ; the space between columns of nave is 12 ft. 
 6 inches ; this is a width which means nothing, either 
 I think a building should be grand and large in its aper- 
 tures, or else like Gothic cut up and rendered admirable by 
 variety of effect, and the excellence of several intricate 
 points of view. Pisa has a paved gallery above nave 
 arches, which would do well for modern church uses, but 
 it is too high for convenience. 
 
 Florence. — The Tribune of Florence — dark crimson 
 damask, watered, not very bright. The die is coloured and 
 ornamented with foliage, &c. ; the cornice is black, and 
 frieze also, with gold ornament. The predominant colour 
 of second compartment, which has no paintings, but a 
 window in each of the hexagons, is ultramarine blue orna- 
 ment, with running foliage (upwards) of pearl shells filled 
 up with gold leaves, &c. The dome is Genoa velvet, 
 crimson, dark and not obtrusive, closely studded with pearl 
 shells with blue ribs at points of intersection, decreasing 
 upwards and ornamented with gold, blue, and red figures, 
 foliage and jewels in compartments; the paintings look 
 uncommonly well, the statues stand out beautifully from 
 the dark colours. 
 
 Lucca. — For stained glass in churches bright colours are 
 to be avoided, dark and rich tints also a good deal cut up 
 are the best. The three arches of front of cathedral are 
 very fine and effective, by means of the loggia beneath 
 them. The walls internally are not well arranged, the 
 
lower part being too massive for triforium above, the lower 
 being plain round arch, and the upper ones Gothic. The 
 piers are very fair, the principal merit being in the pentagon 
 moulding, which carried up walls above round arch, carries 
 off the flat pilaster very neatly on them ; the roof of the 
 Cathedral is, with exception of nave, white with broad 
 bands ; this is very bad to the eye, and I am sure that dark 
 and rich tints are always preferable, except for drawing- 
 rooms and other specialities. N.B. — When the walls are 
 of a dark tint, grey or red, they do not require much colour 
 to carry off colour of ceiling; care should be taken not to 
 make too great a contrast in colour between walls and 
 ceiling, they should somewhat assimilate, and besides 
 being better, require, as before observed, less work to carry 
 them off. The Town Hall is Cinque Cento and not bad ; 
 the churches are Romanesque and very good ; the carving, 
 particularly of large ovolo mouldings, is generally very good, 
 being deep richly cut foliage, birds and figures, &c. The 
 walks on walls of Lucca are very beautiful. 
 
 Ferrara lies on the bosom of the earth like a dead 
 body in a human being’s arms, there is no life in it ; it is 
 beautiful, but its beauty is that of death. 
 
 Fortifications. — It seems to me that the old system of 
 walling towns, which was useful before the invention of 
 artillery and when towns were not too large, was unfortu- 
 nately adopted to serve against cannon and for large cities. 
 I do not think any large town ought to be fortified at all, 
 some of the most celebrated sieges, of Londonderry, Leyden, 
 Saragossa, Badajos and others, are horrible examples of a 
 faulty system. The population of a town suffer and cause 
 suffering, double and treble the quantity of food is required, 
 the success of the besiegers is followed by the worst of 
 crimes, and the injury done to property is incalculable. 
 Instead of towns I should fancy territories ought to be ren- 
 dered impregnable, or strongholds taking the advantage of 
 rivers, woods and hills, such as nature provides and at a 
 sufficient distance from any town as to prevent injury from 
 artillery ; there should be no raised works within reach of 
 the enemy’s fire, at any rate not of masonry (generally), 
 and all the impediment presented to the foe should be in 
 sunk not raised defences ; water, not stone, is I think the 
 greatest hindrance in the present or in any future method 
 
of warfare ; let us take a large unfortified city like London 
 for instance, where walls to include the whole city would 
 be fearfully expensive, nay almost impossible, since it is 
 always increasing; here a defended territory might be 
 formed at comparatively small expense, forming a little 
 land of refuge in itself ; many cities like Mantua may be 
 said to be impregnable, but once blockaded they must cede 
 in time for want of food, whereas in the case of a vallated 
 territory, there is always produce for the inhabitants, and a 
 careful survey of the neighbouring country, would I expect 
 admit a line of sunk defences, formed artificially with the 
 aid of rivers, fens and hills, as to render it very strong 
 without any impediment to the usual traffic; the roads 
 being carried over it, and easily made, when required, im- 
 passable. Of course this territory once taken, the town must 
 succumb (if wise), but this is better than exposing the 
 inhabitants to the horrors of an actual siege; I said the 
 town must succumb when the territory was taken, but this 
 I think doubtful, for I believe with desperate men the 
 streets are more terrible for an enemy to attack than the 
 outside of walls ; but this fortified territory, if it can so be 
 called, is not meant to be the resource of a nation against 
 invasion, it is only to render the towns more difficult to be 
 taken, and spare them the miseries of a bombardment, the 
 firing, the sacking and destroying, which are the concomi- 
 tants of a siege. 
 
 The road from Lucca to Genoa is very beautiful, the 
 Carrara mountains being seen at intervals almost all the 
 way. At Pietrasanta there is a very beautiful Cinque 
 Cento pulpit with a winding newel staircase, the stairs are 
 bracketed out, the risers are worked with foliage, and 
 the newel itself is beautifully carved with vine leaves, boys, 
 &c. ; it is a very picturesque and rich affair, it is at the 
 Duomo. Genoa is a beautifully situated city and looks a 
 city of palaces from afar, within however the streets are 
 narrow and the houses most uninteresting for an archi- 
 tect ; some of the palaces are fine as exteriors and have 
 at any rate a very rich palatial effect. The Palazzo Brignoli 
 Sale has the finest portrait by Vandyke I have yet seen, 
 the face is a stupid one, but the painting is most remarkable. 
 A portrait by Rubens, beautiful; there are many fine 
 
portraits here, the gallery is a rich one. A Cleopatra, by 
 Guercino, remarkable for the dark puce purple colour of 
 bed curtains, the bed is white, and the background some 
 dark colour ; it is a fine painting. There are many other 
 fine galleries here I have not yet seen ; the Cathedral is 
 very good, the side door being a very fine specimen of 
 round arch, the others in front are pointed and excellent, 
 and the interior i§ not bad, but loses much by modern im- 
 provements and additions, and the presence of a large 
 whitewashed ceiling. The Chapel of St. John is sumptuous, 
 but in bad taste. The Annunziata is a mass of gold and 
 painting, the columns are very fine, and the arch springing 
 between not bad ; the other churches present little attrac- 
 tion, the palaces are painted very generally with a Doric and 
 Ionic or Corinthian in two stages above a very good circular 
 headed rustic ground floor. The windows being pedimented 
 and the top frieze often large like at Venice, with a good 
 cornice. Genoa is full of small Cinque Cento doorways of 
 rather good design, we have drawn a specimen or two. The 
 interior of the Balbi palace is remarkably rich in paintings, 
 one room about 20 ft. square, which serves as a sitting room, 
 is very beautiful, it has one large gold cornice with orna- 
 ment tinted brown and a vaulted roof, the frieze is large 
 and painted with richly coloured designs of figures, centaurs 
 and women, dark and rich, in the Venetian style ; in place 
 of an architrave there is a large ovolo moulding, also gold ; 
 the walls are of bright red or rather dragon’s blood ; the 
 pictures have plain gold frames (I think they are better 
 thus than carved) ; the doors have a golden canopy, from 
 which hang dark red velvet hangings, plainly hemmed 
 with a border of the darkest stuff (red), there is a die all 
 round whose general tint is light brown, and a gold cyma 
 moulding runs round it and doors into red wall ; there are 
 two windows, but the curtains are not of good colour. It 
 is remarkable that this room, though seen in the heat of 
 summer, did not look hot, its faults were in a flimsily painted 
 groined roof with allegorical figures, for which I would 
 substitute either darker tints and geometric work, or what 
 is better, a flat deeply panelled dark oak or walnut ceiling 
 touched in with colour and gold, a bad colour for curtains, 
 a die too light in colour and badly ornamented with scroll 
 foliage, and furniture of too fantastic and gaudy a character ; 
 
97 
 
 the furniture of such a room should be rather plain, but 
 rich in colour and to correspond with the pervading character 
 of the room, which is stately and sumptuous. As before 
 at the Tribune, Florence, the paintings on the red ground 
 tell very well indeed, though this one may be a thought 
 too bright ; in designing a large building for domestic pur- 
 poses, the palaces of Genoa, though bad in detail, may be 
 usefully studied, their effect is splendid, and the entrance 
 court with grand staircase, so common among them, has a 
 noble effect. The doors of Cathedral are moulded on the 
 face (on wall plane) and moulded in recess also ; the effect 
 is good. At the Balbi are many very fine paintings, the 
 Madonna and Child with kneeling monks, by Titian, 
 the Madonna’s drapery, vermilion and blue, the monks 
 black, the figure to left white and puce. KB. — Guercino 
 uses this rich red puce constantly ; it is a fine colour with 
 others, but I do not like it predominant. Caravaggio’s 
 Conversion of St. Paul is the best work of his I have ever 
 seen. It is very carefully and hardly worked and bears all 
 the impress of Maclise; it is an extraordinary painting 
 but I do not like the hard light and shade ; the Venetian 
 school is the thing. Rubens seems to me coarse by the side 
 of Titian. I except some things however, for there is a small 
 portrait here by Rubens, perfectly wonderful. The Palazzo 
 Durazzo has a very beautiful staircase, oblong in form and 
 oval at angles ; being apportioned off from the court how- 
 ever renders it objectionable, as you must know where it is 
 to find it. KB. — This is inadmissible in a palace. The 
 pier too, beneath, which I do not suppose to be a necessary 
 construction, destroys much of its effect, occupying as it 
 does the very point from whence it is best seen. The iron 
 or bronze balustrade too is very bad, neither material or 
 design please me ; the rustics look very well, though I 
 scarcely think them fitted for internal purposes ; this 
 staircase is a very good model and might be made much 
 better than as it exists. The Doria Tursi is the finest 
 palace by far in Genoa, the arcades at each angle form an 
 important part in its effect ; the pilasters might, I should 
 think, be more projecting and more telling, they are almost 
 flush with wall, there are windows in plinth where Rubens 
 has shown rustics; the projections of rustics &c. is very 
 great and give good shade. The broad bands of window 
 
 H 
 
98 
 
 sills at Genoa are very effective ; tlie cornice looks stumpy 
 and the mezzanine windows are too compressed, they want 
 room. The Palazzo Reale has neither paintings or archi- 
 tecture to recommend it, and is furnished in the worst taste, 
 paintings let into walls, as here, are decidedly bad. 
 
 Went to Marseilles; dull town for architects. Went to 
 Arles and Nismes ; both very interesting towns, more 
 especially the first. The portal of Church in Place des 
 Hommes, or Hotel de Ville, very rich and handsome. It 
 is a sort of Romanesque; the arch, however, is slightly 
 pointed. The cloisters of this church, too, are very beauti- 
 ful and picturesque. In Baron Taylor’s work are drawings 
 of many of the same description. The Theatre and Amphi- 
 theatre are very beautiful as ruins, and the view from the 
 latter splendid. 
 
 The Roman Cemetery out of the town is the most curious 
 Roman remain I have seen in my travels; the Roman 
 tombs all more or less ruined, rotting away, the old ruined 
 Gothic abbey, which rises from among them, and . the 
 railway station close by, with all the romance and power 
 which attaches to it. 
 
 Three distinct eras are thus placed side by side; the 
 first well represented by the oblivion of names and titles 
 on the tomb, decaying and yet noble ; the second by the 
 despoiled remains of the House of God, still in its ruin 
 pointing to the skies ; and thirdly, the present time exhi- 
 bited in the flourishing and solid railway works, commerce, 
 engines, and all the paraphernalia of what is called our 
 iron age ; but to me more noble, more poetical, more won- 
 derful, more satisfactory and more holy, than the waste, 
 magnificence and savage heroism, or ignorant superstition 
 and intolerant prejudices of the past mediaeval ages. 
 
 The women of Arles are celebrated, and not without 
 reason, for their beauty. We left Arles and went to Beau- 
 caire by Tarascon, and past the Rhone on the magnificent 
 suspension iron wire bridge, the suspenders of which are 
 drawn inwards. I should think this bad. There are some 
 fine works of engineering here. We then went to Nismes. 
 The antiquities here are excellently preserved — better than 
 Arles — but the town has not so many “interesting” ancient 
 bits. 
 
99 
 
 Did not see Pont du Gard — too far; saw Delaroche’s 
 Cromwell, a very beautifully painted picture, and the ex- 
 pression wonderful. KB. — He carefully copies stuffs ; the 
 jerkin is beautiful buff Sigalon’s Locus ta is another first- 
 rate thing. A prince of Nero’s goes for poison to the sor- 
 ceress ; he doubts its efficacy and kills a slave to be sure 
 of its effect. This is a work of the highest worth. The 
 painter died young, aged forty-two. There are some other 
 very good things in the gallery. 
 
 The gardens (public) are very well laid out, and the view 
 from the Tour Magne magnificent. Heard the wind in the 
 fir-trees — sweet music. Beturned to Marseilles. There 
 
 is a tunnel four miles long on the road, with no opening. 
 Some of the works are remarkable ; especially a wall against 
 earth, and a viaduct — very strong. Keturned to Marseilles ; 
 dusty place, and full of tame monkeys. Both this place and 
 Leghorn are good spots for a romance. There is nothing 
 at Marseilles worth noticing. My feelings, and the feelings 
 of most men as regards the French Ke volution, were at 
 this time fulfilled by a desperate and bloody struggle of 
 four days, the result of promises which were incapable of 
 fulfilment. 
 
 On the 1st of July we left for Spain. We started in the 
 Elbe for Barcelona. After circumventing the Chateau d’lf 
 we got clear off for Spain. The voyage was a very bad 
 one : the decks were washed and the cabins full of water : 
 we got in twelve hours after time, and then had to spend 
 the night on board in harbour, as the surgeon wasn’t to be 
 found. At 11 next morning we entered Barcelona. The 
 first view of Spanish ground did not enchant me : the town 
 is very thriving and bustling, and full of remarkable bits 
 of Gothic. 
 
 The Deputacion, once the palace of the Kings of Aragon, 
 and the Cathedral, are the two most complete things in the 
 town. The Palace has a beautiful court-yard and staircase, 
 and is very picturesque. The Cathedral is magnificent; 
 the most solemn and effective building perhaps I ever saw. 
 The Gothic, though rather fantastic, is excellent, and though 
 unfinished the interior is very fine. The plan, too, is very 
 remarkable ; the cloisters forming an important component 
 part of it, and having two fountains. The chapels round it 
 are filled with some very remarkable old paintings, laid in 
 
100 
 
 their original Gothic framework, richly worked and gilded. 
 The iron gates of some of these chapels are beautifully 
 worked, and there is throughout an exuberance of sculpture 
 and fancy which astonishes one. In the Church also the 
 iron work is very rich ; the Norman doorway to front of 
 cloisters excellent. The bosses of ceiling of nave are worked 
 round with painted black foliage, carried off on the plain 
 grey stone work (very good). The pulpit and stalls are 
 mixed Gothic and Renaissance : the sculpture is wonder- 
 ful : rich, fanciful and bold. The light of the Cathedral is 
 very dim, the windows few, and the effects wonderful. 
 Beneath the organ and in another church is suspended a 
 Saracen’s head, which rolls its eyes, &c., when music is 
 going on. The organ, loaded with work and full of figures, 
 heads and festoons, is placed over a dark receding archway, 
 and forms a beautiful picture. The fonts are numerous 
 and curious : the heads are usually worthy of the best 
 periods of art, forcible and expressive ; and, indeed, I have 
 never yet seen a church so awful, so picturesque, and so 
 artistic. The other churches are not much of it, though 
 good. 
 
 The Rambla is a fine walk, but the new buildings are in 
 a bad style, and badly carried out. 
 
 N.B. All string courses at angles may be carved in 
 various forms to advantage. Arms in place of projecting 
 from wall, as in old palaces, Florence, may be cut out of 
 the wall on splay, and also niches may well be introduced, 
 as at Arles, forming picturesque angle pieces. 
 
 N.B. My judgment of the Cathedral is formed from 
 evening effects : in itself, perhaps, it does not deserve so 
 much praise, though undoubtedly very good. 
 
 The ceilings at Barcelona, and generally as yet (to 
 Saragossa), are formed by wooden joists and brick arches 
 between. 
 
 There are a good many Gothic bits at Barcelona, very 
 fanciful and not bad. The road from hence to Saragossa 
 is of the dreariest and worst description. Saragossa is a 
 queer old dirty Italian-like town on the Ebro, with a fine 
 bridge and a leaning tower, not bad : it is Gothic, but of a 
 curious Arabic character : it appears to be straight below 
 for about one-fourth, then to lean, and then the cupola 
 turns back at an angle, making it a very unequal affair. 
 
101 
 
 The Church of La Seu has a tine Gothic dome, and the 
 bosses are like large spreading fans of gold ; as at Barce- 
 lona : it is very dark and solemn. This dome is octagon, 
 and is better explained by the sketch. The middle part of 
 the dome is Cinque Cento, the ribs springing from twisted 
 columns, with pilasters, including niches and statues be- 
 tween them. Each intersecting groin has a boss, I believe, 
 of gilded wood spreading out like a large fan, very thin and 
 not over good. The carvings are all formed by parabolic 
 curves, which I think not so good as angular work. The 
 windows at C have three lights, cusps, and an ornamental 
 band round them. The original plan is oblong, and the 
 angles are coved as at A (also at Barcelona) to form octa- 
 gon. The screen of wood behind altar is very richly carved, 
 and of a flamboyant Gothic character. 
 
 The characteristic of this and the others I have seen is 
 an enormous quantity of sculpture, and a large rich foliage 
 worked ovolo moulding enclosing the whole, consisting of 
 outcut niches and tabernacle work. The light in this 
 Church, as in all others, comes from very few and small 
 windows, the principal portion being dark. The general 
 character of Gothic in this church is of a late and transi- 
 tion date. The Italian work is of the most rich, fantastic 
 and what may be termed bad style. 
 
 St. Maria del Pilar is nothing externally and interiorally, 
 although very massive and effective, of the worst rambling, 
 grotesque, Italian or Louis Quatorze ; notwithstanding this 
 there are few churches in Italy of this style so fine. The 
 solemn effect produced by a few windows is again remark- 
 able. The Gothic screen behind tabernacle very rich and 
 remarkable, and the centre dome, which, having no light 
 from above, being very high and removed from the side 
 windows, leads the imagination into obscure heights above. 
 The effect is very fine and uncommon. The other churches 
 of the town, though of a most grotesque and fantastic cha- 
 racter in parts, appear to possess no other merit. 
 
 The most remarkable features of Saragossa are the court- 
 yards of the principal houses and the general street archi- 
 tecture. Of the former there are specimens of all styles ; 
 the latter is of the Ferrara character, commencing with a 
 fine bracketed, sometimes double, wooden cornice, very 
 projecting, beneath this is a range of double arched window 
 
102 
 
 work, with a die ; the rest of the building is very plain, 
 mere brick, no stone dressings or rustics, with a large single 
 arched doorway leading into a court, often of the most ro- 
 mantic and grotesque description. One of the best is an 
 Arabian Gothic, now a carpenter’s yard, the other Zaporta 
 is a diligence office and iron foundry, in the Renaissance 
 style and wonderfully fantastic. 
 
 The Town Hall is very simple and massive outside and 
 well composed : the interior forms a fine Gothic hall, with 
 two rows of columns (Ionic) supporting a fine Gothic 
 groined roof. There is very often a well in the centre of 
 the old palace courts. These courts consist almost always 
 of an arcade, or colonnade rather, and a series of arches 
 above with small columns, topped by one of the old richly 
 worked wooden cornices. 
 
 N. B. Although the dampness of English atmosphere 
 would not permit wood, yet stone might be used in the 
 same way. The principle seems to be for the ceiling joists 
 to project and rest upon wooden brackets, which are finished 
 off on wall by a small wooden moulding. The soffits and 
 interspaces are deeply cut, and have often worked pen- 
 dants. The town itself is surrounded by some pretty fair 
 vegetation, but which stretches away beyond into the most 
 arid barrenness. Dust flies like a fog about. The streets 
 are narrow and roughly laid with large round stones ; the 
 houses are old and dirty ; negligence and dilapidation are 
 around you. Palaces are workshops. Altogether, though 
 a picturesque town, it is a frightful place for living in, and 
 seems like a ruined Babylonian desert. One really quite 
 expects to see crocodiles in the Ebro. 
 
 The staircases are remarkable for the dome work of wood 
 which covers them, formed of complex panelling and filled 
 in with foliage, &c. Some are of Arabic pattern, and filled 
 in with painted Cinque Cento ornament. This does very 
 well (not so deeply panelled). A common ornament on 
 brick walls is to leave out, half brick deep, patterns more 
 or less complicated. The effect is pretty good if closely 
 worked, but it is only fit for the commonest blank walls. 
 
 The church attached to the military hospital, now bar- 
 racks, is very rich, and in a peculiar but not good style of 
 architecture. The Hotel of the Deputation in Calle Cerso 
 is very good Cinque Cento ; has two square turrets at 
 
103 
 
 angles, and two rows of arched windows. The Alfajaria 
 is nothing outside; did not see interior. The leaning 
 tower has a fine staircase, which is arched by brick corbel- 
 ling. The view is very extensive and peculiar. 
 
 The general character of the road from here to Madrid 
 is of a wild, arid, desolate character ; vast plains, generally 
 uncultivated, and often covered with wild thyme, which 
 renders the air fragrant. There are few rivers, and between 
 the long cleft-like valleys of the mountains instead of 
 rushing water there runs a river-like line of olive trees. 
 At Calatayud are some remarkable buildings, but the town 
 itself is most singular, being built in, and on, and beneath 
 a jagged mass of rock. High in the air you see a church 
 or an old ruined Moorish castle, whilst in the face of the 
 rock are cut cottages and houses ; it is a ruinous-looking 
 place. 
 
 Guadalaxara I saw nothing of, except a large curious 
 palace close to the inn : I believe the palace of the Infanta. 
 It is a mixture of Arabic and Italian architecture in terra 
 cotta, and is very picturesque and theatrical. From here 
 to Madrid we traversed one immense flat plain, with slight 
 ascents now and then. It becomes more and more dry 
 and desolate as you approach the city, and in the distance 
 the mountains capped with snow (in the dog days). 
 
 Madrid lies rather low on the plain, and is not seen a 
 great distance off. This is only from the Saragossa side. 
 With this exception its situation on a large scale some- 
 what resembles that of Eome; but within there is no 
 similitude. Here are nothing but broad and clean, ’tis 
 true, but most uninteresting streets : no antiquities, no 
 churches, no palaces ; a fine walk the Prado, with many 
 fountains of mediocre design and execution, but richly 
 worked and effective. 
 
 The Liceo Theatre at Barcelona is very large in the 
 auditory part, 2 ft. 9 in. between pit seats — rather more 
 than enough ; the seats slide (very agreeable), but should 
 have a holdfast to prevent their coming out altogether, as 
 one might fall. The boxes have no partitions throughout, 
 only half divisions, and are in double rows on each tier, 
 one set of seats a little raised above the other ; there are 
 no supports. On such a large scale as this I should prefer 
 some , if only for the idea of strength. The ornament is 
 
104 
 
 very poor, and the exterior bad. It hag a cafe and restau- 
 rant attached. 
 
 Continuation of Madrid. — The old portion appears to 
 contain nothing remarkable. Some Chiaguerresque doors in 
 parts of town, very bad. Went by diligence to the Escorial. 
 As a palace it is a very mediocre affair, immense and un- 
 ornamented. The chapel, a Greek cross of the severest 
 Palladian, is impressive and noble, but errs on the side of 
 simplicity ; the spandrils and dome being plain, flat 
 masonry. The frescoes are very indifferent if not bad, 
 and entirely unsuited to the building, being of the gayest 
 and most confused description. The paintings by Navar- 
 ret e the Dumb might be mistaken for Titian’s ; they are 
 noble, fine works ; usually two apostles on each canvass. 
 There is but little to remark besides. The Royal Sepul- 
 chre is a cold, underground room full of shelves, on which 
 lie coffins gilded and ornamented in the Louis Quatorze 
 style : their effect is neither awful nor interesting. Some 
 of the numerous courts are very fair, and the general effect 
 of the palace — with its angles, centre cupola and entrance 
 — not bad : the general system of construction is simple 
 repose, a la Greek. There is nothing but the palace ; 
 and I was satisfied in three or four hours to have done 
 with it. 
 
 The Toledo bridge is florid, large, rather picturesque, 
 and in very bad taste. Having passed this, we arrive at 
 once into the vast plain. Here, however, it is cultivated 
 and continues so through Castile and La Mancha to the 
 barrier of the Andalusian mountains. In La Mancha this 
 vast table land takes its most remarkable form, stretching 
 out in every direction, an immense flat prairie covered, 
 when I saw it, with ripe grain. It glowed beneath the 
 setting- sun like a land of burnished metal ; in the distance 
 rose low, dim, blue hills ; no villages, no huts meet the 
 eye ; mankind would seem to have forsaken this desolate 
 plain, did not the rich grain, undivided by walls or hedges, 
 convince you to the contrary. Water here is a treasure. 
 It is here we find Don Quixote’s wind mills, and they do 
 not look unlike monsters standing alone in retired and 
 distant parts of the solitude. The sun in summer scorches 
 this country, which in winter is covered with deep snow. 
 The inhabitants of this inhospitable land are hard-working, 
 
105 
 
 honest and contented, so 1 am told. Tembleque — about 
 half way ? — has a picturesque square, and a large church 
 with a Gothic doorway. 
 
 Of the few other towns we passed, I remarked nothing 
 but huts cut in the rock and earth — poverty deformity 
 and bareness. The inns on the road very dear, the food 
 being all the worst of its kind. We stopped once at a 
 venta, or large roadside hedge khan: here are no windows ; 
 two large doors in the centre purify it by a thorough 
 draught. One end of the place is given up to horses, 
 mules, asses, carts, dogs and hens ; the other half to 
 human beings ; and the roof to swallows and martins, and 
 the birds of the air in general. This is true hospitality : 
 here are no doors, groups are standing over a fire at one 
 end cooking some mess, others are hard at work dining, 
 others stretched on their plaids are sleeping and snoring 
 aloud ; in fact, everything cut and dried for an artist. 
 
 As we approached Andalusia the air was thickened 
 with a dusty fog. Pillars of twisted dust rose eddying on 
 the road, and stood like columns high in the air. The 
 wind that blew was hot and fevered ; it burnt the cheek, 
 and seemed to stifle with its heat. We soon passed the 
 gorge at Jaen, and arrived — after three days and two 
 nights fatiguing travel — at beautiful Granada, whose plain, 
 though rich and fresh in comparison with the rest of the 
 country, is not remarkably so. Certainly none but a Moor 
 would think it Paradise ; and it is surrounded on all sides 
 by brown, tawny, treeless, scorched mountains, the highest 
 of which is capped with eternal snow. 
 
 KB. — 1 offered a boy some coppers for taking me to a 
 cigar shop some distance ; he told me he didn’t want my 
 money, and got quite sulky — very foolish. Waiter refused 
 five francs at Saragossa, saying it was not usual — very 
 honest. 
 
 The Alhambra struck me with delight. This building 
 more nearly comes up to a fairy-built palace than any- 
 thing I have ever seen. There were the fountains and the 
 gold fish and silver fish, the blue bright sky, the fresh 
 breeze, the myrtle hedges, and the court itself. This is 
 not barbaric work, but the invention of refined and delicate 
 taste and the highest artistic skill. One may well be 
 excused here for a little enthusiasm : it is so beautiful, so 
 
106 
 
 novel, and so cool, — no slight pleasure in a hot, torrid 
 mid-day. The beauty of this summer palace consists not 
 only in its rich ornament, profuse and varied, but in its 
 admirable adaptation for its purpose, its situation, and 
 that mixture of art and nature which the ancient Eomans, 
 as far as one can judge from Pompeii, had no idea of. 
 In Pompeii we see no gardens, and miserable cockney 
 little fountains ; the paintings are coarse, often disgusting ; 
 and the ornament, though graceful at times, generally 
 thin and straggling. Here, on the contrary, are delicious 
 gardens and the most cooling fountains, and the ornament 
 is always good, generally beautiful, and sometimes of such 
 delicacy, compactness and grace, that Eaphael in his best 
 efforts falls far short of it. The complicity of its mathe- 
 matical forms delights the eye, and gives that exquisite 
 pleasure in the perception of plan in apparent confusion, 
 harmony in apparent discord, which the most difficult 
 concerted pieces of music afford. The general work is in 
 stucco and wood, and all the ornament contrary to Gothic 
 rule seems applied. The stucco work is on brick walls, 
 and about 1 J in. thick in all ; it is fastened with nails 
 usually ; the plaster has about an inch, and the ornament 
 is thus about \ in. deep, sometimes more. They were not 
 particular about its face being perfectly flat ; sometimes 
 bosses of flowers and geometric figures stud it ; but this not 
 often, and they are never very projecting. This was painted 
 in the cuttings, the pattern standing out in white or gold 
 relief ; the plaster itself is hard and close in texture, falls 
 to the ground without breaking, and takes a polish like 
 marble. What are its ingredients ? The honeycomb work 
 is of plaster generally ; the ceilings in this style are 
 certainly the most beautiful and extraordinary works of 
 art I ever saw. Large caves or hollows are sometimes left 
 in these domes, rendering it still more strange. How 
 this great weight is supported appears a mystery, no 
 Gothic vaulting is so wonderful as this ; it looks like a 
 beautifully worked and coloured stalactite grotto. 
 
 You enter first the Court of Myrtles, and nothing can be 
 more surprising and delightful than the change from utter 
 blankness outside to such beauty within, it is like a fair soul 
 in a plain man. The principal features of this court are 
 colonnades, the rich dark ceiling of upper colonnade with 
 
107 
 
 dark geometrical figures containing gold ornament, the 
 vestibule to Hall of Ambassadors and the Hall itself. The 
 vestibule is one of the most perfect parts for colour and has 
 a beautiful and complex wood ceiling, oval at ends, semi- 
 circular across. The Hall itself is a plain square room 
 with a honeycomb cornice and a domed wood roof, 
 the hall being lighted from three sides by six lights 
 each side ; the walls are covered with effective and most 
 delicate stucco work. The intricacy of the mosaic die here 
 is admirable ; the roof has no light, and is very dark, with 
 large circles and diamonds of white silver-looking stars ; I 
 believe the only thing is white paint, obscurity investing it 
 with richness. The Court of Lions is very beautiful, light, 
 not weak, and in good taste ; the projecting rooms into the 
 court (or porches) are square on plan, honeycombed out to 
 receive dark wood circular domes. The Hall of the two 
 Sisters, and Queen’s Room, beyond, and the Hall of the 
 Abencerrages opposite, are very beautiful, and the angular 
 figure honeycombed out from square, remarkable and 
 beautiful ; these are two of the finest of the honeycomb 
 roofs, being wonderful, stunning in fact, with large hollows 
 running up into them, presenting a fine specimen of science, 
 manual skill and geometric thought. 
 
 N.B. — A series of steps in garden, about 6 feet wide, with 
 platform and fountain every ten or twelve feet, balustrade 
 each side and water running down handrail, with trees 
 closely planted each side, has a very good effect, as at the 
 Generalif, Granada. 
 
 Doors and windows when external are generally very 
 plain, mouldings throughout are very flat, cornices are used 
 externally and are of Byzantine character. The walls of 
 houses are plain, or worked a little in stucco with a loggia 
 under cornice, the rest being pierced with small plain 
 arched openings. In adapting this style for shops, caffs, 
 bazaars and theatres, for which it is particularly fitted, but 
 in the last only as ornament, I think that the introduction of 
 more colours than the primitive yellow, blue and red, would 
 be better. In no style would harmony of colour better tell. 
 I have seen here a new piece of work carefully painted as 
 it used to be, and the effect is harsh and coarse, also figures, 
 men, animals and bosses, and more variety of every kind 
 might be used ; for the Mahometan this was forbidden or 
 
108 
 
 doubtless he would have done it. In Mr. Fuente’s bath room 
 at Madrid the walls were covered with red hangings and had 
 red seats, this destroyed the Arabic work, which commenced 
 with a honeycomb cornice. The Alhambra at present is 
 almost devoid of colour ; I think this an advantage and 
 certainly do not consider colour a sine qud non. In a 
 station a refreshment room might be done in this style : 
 here the writing should be English adapted to the style, and 
 I would have the subject to be in praise of some noble Moor, 
 of whom there were many, and in honour of those virtues, 
 bravery, honesty and fidelity for which he was noted; 
 paintings might also be introduced relative to his life, such 
 men deserve to be known and honoured. The ornament 
 and character of this style is arbitrary, and appears to have 
 no very fixed rules ; here is the rule of good taste, profuse 
 ornament is by no means requisite, it may as in other styles 
 be judiciously applied, and the architecture for modern 
 use is capable of being based on Byzantine. Remember, 
 columns are one of its greatest beauties with the super 
 imposed arch ; brackets may be varied, generally in all the 
 mouldings and real architectural features there is too much 
 sameness, this may be altered, never forgetting the character 
 of the style, curves form its first principle, and I have some 
 idea that the crescent may have some effect in this, since 
 though never seen actually as an emblem, yet the arches, 
 the mouldings and particularly the leaf foliage contain 
 somewhat of its form. Moon and stars worked in geometric 
 patterns for ceiling on dark wood, would, I should think, 
 agree with character of style and tell well ; there is a feeling 
 of this in the roof of Ambassadors Hall in parts more 
 remote from the eye, paper patterns might be used with 
 effect ; the outline of brackets is very bad and should be 
 altered, also their being hollow or honeycombed between 
 each side (in middle) I do not like. The curve which enters 
 so largely into this style of ornament is never continuous, 
 its characteristic is sudden breaks and twists, this applies 
 also to the geometric figures and must never be lost sight 
 of in designing ; the talent of the artist appears to have 
 been most exercised on these sudden and ingenious stops 
 and turns ; a great feature in every room is a double or so 
 arched recess, this in a cafe might be square and in fact an 
 adaptation of the projecting porches in Lions Court. 
 
109 
 
 The cavetto, bead and fillet are the usual mouldings 
 which are never very prominent, bosses are in constant use, 
 the round arch, pointed and horse-shoe, or crescent, are 
 used apparently at will, letters and foliage are a common 
 ornament, but all the ornament is arbitrary, and may be 
 applied at will. The projection of ornaments, &c., that 
 is, their depth from wall, is usually coloured red, if on blue 
 ground, and so on; the honeycomb cormce is sometimes 
 flat in projection, thus the soffits of arches are generally 
 filled in with complicated fret work or foliage; when 
 very large, wide geometrical figures, including writing, 
 foliage, shields, &c., are used. As a man when deprived of 
 one sense becomes more acute in another, so the Moor 
 deprived of painting and sculpture became more delicate 
 and perceptive in his ornament, and applied to it all those 
 feelings of grace and fancy, which among other races are 
 diffused, over-expended in various studies. Architecture 
 was the only art of the Moor, to him painting and sculpture 
 did not exist — it was his only child and it became his 
 delight and love — one can understand from the concentration 
 of his powers how much more intense his feelings were, and 
 it seems most natural and very touching, when on the walls, 
 the building is spoken to as a human being. Some of the 
 artist’s own soul was infused into the lifeless mass, and he 
 addresses it as a thing which delights in his care and is 
 proud of its decoration. 
 
 As before remarked, profuse ornament is not necessary, 
 there is a very good court-yard at Granada, which with an 
 architrave to arch has a sculptured cap to spring from, and 
 a boss in spandrils only; in these Arabian courts projecting 
 arcades were usual ; the balustrade I cannot quite make 
 out, but think a fret of wood work most generally probable, 
 the standards of second arcade are wood, with sometimes 
 sculptured caps and always side brackets to support bres- 
 summer; there is a good deal of raised brickwork as well as 
 stucco, like the cathedral La Seu, at Saragossa; a room like 
 bath room would do well for cigar divan, vaulted roof with 
 multiform openings in dome, which is supported by columns 
 with arcade round, seats would be ranged between columns, 
 ottomans, &c., and table in centre ; sometimes in frets and 
 mosaics the centres are filled in here and there with a bit 
 of foliage, a scrap of writing, and a coat of arms, or shield, 
 
110 
 
 rather flat arches are often used with keystones ; if plain, 
 cut in with channels between ; if ornamented, with foliage, 
 &c., the channel is broader and filled in with fret work, &c. 
 Shells, fruits and flowers might be used more than is usual 
 in this style, they are used but sparingly; a door may be 
 plain wood with nails of various forms, or more rich wood 
 with iron m plate, with nails, the whole forming geometric 
 figures on door ; a room may have beams showing worked- 
 in soffit, and sides being supported by brackets, with or 
 without columns, as in the Chapel, Alhambra ; the only 
 thing like a cornice I have seen is in the court near chapel, 
 it has a projecting eave, and is richly carved. 
 
 A room in a cafe, made like a bath (Moorish) would be 
 very luxurious, it should be the meditating room of the 
 smoking department, and its effect would be for night; 
 fountain or not at pleasure. I think there ought to be a 
 rippling, which is conducive to thought ; the vaulted dark 
 roof should be lighted, or pierced with numerous holes. 
 As in the baths, this vaulted roof would be of course an 
 artificial one, and between it and the real one lamps should 
 be hung with softened lights so that their rays should 
 illumine the opening and give a dim light to the room ; 
 in fact, so as to gain something the effect of moonlight. 
 Moorish architecture shows the advantage of the arch : flat 
 openings would ruin it. 
 
 At last we got away from Granada, we were three nights 
 on the road and found it very fatiguing. The road was 
 very bad, we soon lost the Vega and entered a mountainous 
 district : the moon shone brightly, the muleteers were 
 silent, the only sound was the tinkling of the mules’ bell 
 and the clatter of their hoofs, at times a beautiful aromatic 
 smell scented the air with wild thyme, wild geraniums and 
 other sweet herbs. This now was the time for thought, it 
 was past midnight, and I figured to myself the innocent 
 sleep of my happy friends in my own country, and the yet 
 busy merriment of the large city ; this last seemed to me 
 something unreal. I could scarce persuade myself that 
 people were dancing, singing and laughing, in all the excite- 
 ment of a young man’s London life, which at this hour is at 
 its height ; there was a touch of disgust in the thought, all 
 here was so solemn, so still, so holy, sleep or meditation 
 alone become this hour, triviality should not exist now, for 
 
Ill 
 
 we see abbve and around us an universe of worlds which 
 inspires the mind with awe; now and then a shooting star 
 catches the eye, and what may it be ? a world destroyed, or 
 one being created ? the breeze blows freshly and cooly, the 
 brain becomes active and fanciful, the soul tender and 
 religious. 
 
 Never can one be more sincere or inclined to say than 
 at this hour : Allah akbar. God is great — great indeed ! 
 and oh, how good; who can now contemplate the wondrous 
 complication of worlds around, all order and precision, 
 and not feel the wonderful power of the Creator. It is 
 impossible for a mortal to comprehend the immensity of 
 existence. 
 
 We arrived at Cordova without any adventure. At a 
 small village where we stopped, I saw a poem dedicated to 
 the Virgin : a small half sheet, price a halfpenny, with a 
 rough woodcut, telling how a young man at Seville mur- 
 dered his father, and his father begged God to let the 
 Devil have him then and there ; on which four large 
 demons in the shape of fiery dragons laid hold of him, and 
 would have taken him to hell ; but they found they could 
 not, because he was guarded by Maria Vergine and the 
 Apostles, so they were obliged to leave without their prey. 
 This miracle occurred in 1847 ! ! ! Whoever reads this 
 over a certain number of times would receive 8,500 days 
 of indulgence ! 
 
 The Guadalquiver reflected the moon when we got to it, 
 and the aspens shaded its banks; it is beautiful and 
 broad. I was very fatigued though, and kept nodding 
 upon my mule, and was soon delighted at seeing Cordova. 
 There is an immense deal of corn land on this road, which 
 at times has not a tree or hedge ; a fog of dust renders the 
 atmosphere choking, and the sun sets red and dim. It 
 made me think of the desert, and our train looked like a 
 caravan. At one time we had between twenty and thirty 
 mules, and a nine or so of men. I would never recom- 
 mend this mode of travelling. 
 
 Cordova. — The cathedral, or mesqdita, is ruined by 
 Spanish misrule. The Holy Chapel and Villa Viciosa 
 alone are perfect ; the general effect did not surprise me. 
 It is vast, but so low as to lose its impressiveness. The 
 capitals have no architectural merit, numberless as they 
 
112 
 
 are, and the whole thing is rather heavy than light, the 
 double arches adding to it. The Gothic here is not good, 
 and the same may be said of the Classic additions ; there 
 are, however, many very picturesque points, and it is 
 a very extraordinary architectural work. There is not 
 much else in the town, which is poor and deserted ; the 
 bridge over the Guadalquiver is massive and noble, most 
 of the arches are pointed. I do not think I like it ; the 
 round is better, for in perspective they cut up sharp and 
 broken. The chapel of Villa Viciosa is very beautiful; 
 it is of a bolder, higher character than the Alhambra, 
 though just as ornamented ; the mosaics are excellent, 
 the fight coming from above, beautiful and fitted for an 
 artist’s study, and the ceiling very fine. It is oblong on 
 plan, and has double ribs, which are more beautiful and 
 scientific than single ones ; the inter-groining, or ribbing 
 rather, being hollowed in and filled with honeycomb work 
 of a more simple character than that of the Alhambra. 
 The large arches at each side are double, being supported 
 by two columns ; they have large simple cusps, and are 
 fine and effective. There is much more architecture here 
 than at the Alhambra, the mouldings are more frequent 
 and more defined ; the ornament is heavy generally, but 
 in parts, especially spandrils, flowing and graceful, without 
 being too refined. The chapel opposite has also a splen- 
 did ceiling. In both these chapels the windows are just 
 beneath and between the springing of the ribs, which 
 are in both cases deep, like timbers for roofs, and covered 
 with mosaic or painting. This Chapel del Zancarron 
 is richly ornamented with mosaic, and has a very Byzan- 
 tine character ; the brackets have often animals, and lions’ 
 heads support pillars in the Villa Viciosa chapel. The 
 roof of the holy of holies in this chapel is formed of 
 a single slab of marble, and is a large shell with the curled 
 commencement at door. All the Moorish ornament in 
 Cordova is more Byzantine than the Alhambra; it is 
 not so graceful generally, though more effective and 
 deeply cut. The Gothic here is not good, but very pic- 
 turesque, as is generally the case in Spain with all archi- 
 tecture not Herreresque. The heads in the Gothic work 
 and figures are roughly worked, but very expressive, and 
 have a very Albert Durer character. Many figures, with 
 
113 
 
 costumes of period, are introduced. There is a sort of 
 rustication very common in this Gothic : it consists of 
 small squares sunk in diamonds, with spaces between. 
 Divisions of this kind are also very common with flowers 
 and bosses in centre ; twisted torus mouldings are also 
 very common to some way up columns, and then worked 
 in, and losing themselves in the shaft, they spring from 
 bases and not unfrequently have capitals; but I do not 
 like this, as they become then a series of twisted columns. 
 The doorway beneath the tower is Gothic, though of 
 an Arabic character ; the arch is Moorish. The Orange 
 court is very handsome. 
 
 Seville. — The cathedral is very massive and plain : 
 the architecture in parts pretty good, but generally very 
 poor ; the immense columns are ribbed into stripes, their 
 bases are low and unsubstantial, and the capitals bad, 
 being almost too small to be seen; the mouldings of 
 columns are often carried up beyond them into groining, 
 and lose themselves there ; very bad effect. 
 
 The vaulting of the choir is richly ribbed and worked, 
 but not in very good taste. The general merit of this 
 building is its size ; parts only are worth not even study, 
 but not attention. The great Cinque Cento or Plateresque 
 chapel behind high altar is florid and bad, as this style 
 usually is in Spain. When I say bad — not in design or 
 execution had a painter done it — but as architecture. 
 There is a great deal of fancy, invention and spirit, but it 
 is all of a pictorial, fantastic nature, and has nothing 
 of that neatness, proportion, beauty and carefulness which 
 distinguishes the works of all celebrated architects. Some 
 of the small doors of cathedral (exterior) are very good, 
 but the great whitewashed entrance is vile. 
 
 The campanile belonging to this temple, known as 
 the Giralda, is a fine and rich Moorish tower, very excel- 
 lent as far as the Moor’s work goes, but very bad in the 
 Christian’s addition : the misproportion between the rich 
 and massive tower and the little cut up bastardly series of 
 lanterns above it is striking; the whole affair may be 
 unique, but is decidedly not beautiful : and still above all 
 diminished campaniles of this kind, Bow Church to my 
 mind stands pre-eminent. 
 
 The Lonja is not much outside, but the interior court is 
 
 i 
 

 114 
 
 massive and handsome, though not remarkable for origi- 
 nality ; there is a skew arch in the Plaza S. Tomas, very 
 remarkable. It is a work of the Moors. 
 
 The Casa O’Lea has a very beautiful Moorish room, the 
 ornament being in the Alhambra style and more varied. 
 The knockers on ancient Moorish door at cathedral are the 
 same as at Cordova ; they are very handsome. The filling 
 in is foliage. 
 
 Of the Alcazar I have seen only the outside : it is just 
 spoilt by being freshly painted for the Duke of Mont- 
 pensier. Done in wretched taste, green and gold lumped 
 about ; the design, however, is pretty good. This is 
 only, however, a part of it ; there is a strong resemblance 
 to parts of Venetian architecture ; the side arcades are of 
 the same form as those of the Byzantine palace on Grand 
 Canal (drawn), and the windows between door and prin- 
 cipal arch are ranged three in a row, exactly like some 
 of the Gothic Byzantine windows at Venice. 
 
 The Casa del Ayuntamiento is of a rich, fanciful Cinque 
 Cento ; date on building, 1559 ; the principal ornaments — 
 heads, figures and foliage — are at least three-quarter relief, 
 and very bold and spirited. Many of the Baphaelesque 
 ornaments on pilasters and columns are very beautiful ; I 
 like the figures projecting from cornice, like old gurgoyles ; 
 the niches and wreaths are also very good. Generally the 
 houses are nothing outside, and the town is uninteresting. 
 
 Went to see Murillo’s paintings. They are distin- 
 guished for sweetness and softness, both in expression and 
 colouring. St. Francis embracing our Saviour on the Cross 
 and Infant Christ seated on some saint’s book succeed 
 perfectly in rendering man’s features affectionate and 
 tender, which is unusual : they are the faces of lovers of 
 the most tender description. The subjects are generally 
 like these two, absurd: a saintly Monk or Priest dis- 
 tributing food to the poor has a splendid scabby beggar 
 boy and old woman ; but it is all good. The two figures, 
 Prelate and Monk, are splendidly coloured, and of a 
 more manly cast than the others. His Virgin is always 
 sweet and innocent, but sometimes affected ; his little 
 boys, or cherubs, in one of the Conceptions, are beautiful ; 
 he was fond of placing children on white napkins, clouds, 
 &c. : the general character of these paintings is their 
 
115 
 
 scumbled, soft look ; they are to my taste over misty ; the 
 backgrounds are of a bluish grey, or a rich yellow ochre 
 tint, growing darker at edges ; the flesh tints are those of 
 our own climate, and have nothing of southern darkness • 
 the shadows of flesh seem to me to be very green. The 
 Virgin he usually paints in white gown and dark green 
 mantle, standing on the moon (for Assumptions). Zurbaran 
 is dark, forcible and hard ; he paints like a monk should. 
 The guardian angel of Murillo is a young, beautiful girl, 
 leading a little boy ; they are surrounded by clouds, and 
 she points to a light which shines from heaven. His pink 
 is generally very delicate, of the fairest rose hue, and 
 shadowed with same. 
 
 In this museum is a rich choir, saved from some sup- 
 pressed church, and in corridors some remarkable and very 
 excellent wood ceilings, the generality of paintings are very 
 amusing daubs, and of a very religious character. Some of 
 the Patios or court-yards in the south, especially at Seville, 
 are usually arcaded, with a fountain in centre, paintings and 
 knickknackery around, and the most beautiful flowers and 
 creeping plants scenting the air and winding round the 
 columns ; here of an evening the family receive their friends, 
 and the merry laugh of girlhood, the ting-tang of the guitar 
 and the clack of castanet make it a favourable specimen 
 of southern life ; the court is often during the day, shaded 
 with a large canvas awning. There is a good ceiling at 
 Museum, square panels with geometrical figures cut in, and 
 moulded ribs. A small court-yard might be made to all 
 country houses of the same description as those at Seville 
 and meant for summer use. In the houses of the Eliza- 
 bethan period this was not uncommon. % 
 
 Alcala : not much, old Moorish castle. Carmona, tower 
 like Giralda and very good, also some fine old sombre 
 Moorish archways, town and castle situated on a hill or 
 rock, with vast and grand view of great part of Andalusia, 
 in the foreground great masses of wall-like rocks, and many 
 remains of towers. There is a splendid bridge crosses the 
 Guadalquivir, about six miles from Cordova. One of the 
 finest I ever saw; Ecija has a picturesque square and some 
 remarkable towers. Cordova, before mentioned, nothing 
 particular between here and Aranjuez. ’ At Tembleque, 
 
 * i 2 
 
116 
 
 remarkable towers with angle pieces. Toledo seems a fine 
 old place. At Seville, went up Giralda ; architecture very 
 bad, ascent by ramps, the view very fine, the sculpture at 
 Town House most three-quarter relief, sometimes detached. 
 In Spanish architecture, sculpture takes almost the lead. 
 One admires the spiritedness and fancy of the sculpture 
 more than the architecture. Herrera on other hand reformed 
 it altogether, he seldom even ornaments the mouldings and 
 his works are bald, through this he is the Sir Robert Smirke 
 of Spain, but more massive; these remarks apply to 
 Italian art. Gothic is often unworked enough, vide Seville. 
 The roads in the South of Spain are hedged with aloes 
 which grow seven or eight feet high, they look very 
 southern. At Cordova are lots of palms. Got knocked to 
 pieces, and the mail lost its way on the high road ! ! ! 
 
 Arrived at Toledo. This city is finely situated on a rock 
 which in some streets forms a rough pavement. This is 
 indeed a noble old romantic town, full of strange and an- 
 cient buildings and wild legends. Imperial Toledo is cut 
 out for an artist, for here is everything in the way of archi- 
 tecture and scenery, he can desire. The bridges are very 
 fine, I should think 70 or 80 feet high. The Moorish re- 
 mains here are frequent; principally gates and towers; 
 there are two old synagogues. Sta. M. la Blanca most 
 picturesque, and El Transito most finished. In this last, 
 the plan, simple oblong, has angles canted off for roof, 
 forming triangular soffit, think I like it ; the tie beams here 
 as in general cases, are double and rest on brackets, the 
 roof common in this style, is simple but truncated, it looks 
 very well. In neither of these churches is there much for 
 study, they are more peculiar than good. 
 
 The cathedral is not much outside, having however a 
 fair spire. The doors are indifferent, being a series of 
 niches and figures, carried round an arch of little inven- 
 tion and coarse workmanship. The interior is strong look- 
 ing and perhaps rather heavy, being quite the reverse of 
 Seville, in having large well defined mouldings and pillars 
 in place of wiry cuttings ; it is not so large however, or so 
 solemn as Seville, being more lighted, and the side naves 
 are very low, but I do not dislike it, as the character is well 
 kept up and has a Norman look. The architecture, which 
 is either Flamboyant or of a strong and early character, is 
 
117 
 
 never so good as to be worthy of study, it is effective as 
 usual, but not characterised by beauty. The rich chapel 
 of Alvara de la Luna has some good tombs, especially two 
 in the centre, with niches round, recumbent figures on 
 them, and kneeling ones at each angle. The Sala Capi- 
 tular deserves particular notice ; the entrance to the room 
 itself has some excellent Moorish work and richly carved 
 wardrobes, Cinque Cento. The Sala has undoubtedly the 
 finest Italian ceiling I have ever seen. It perhaps has too 
 much gilding, it looks in perspective a mass of gold. The 
 paintings round it are very fair, and at least well suited 
 for architecture, being carefully worked and somewhat re- 
 gularly grouped — this room, without being so really good 
 as the one at Siena, is yet more effective perhaps, certainly 
 more rich and palatial looking. The tombs here are nu- 
 merous, but none very remarkable. The Cinque Cento in 
 these and throughout, is straggling, rough and fantastic, 
 very rich and spirited, but wanting in taste. The coro is 
 very richly worked, and the figures of upper part excellent, 
 as are the finial and knob figures on seats below, these are 
 grotesque and remarkably clever, in a sort of bastard 
 Gothic. The whole architecture of this choir is bad. The 
 Gothic iron lectern is excellent, so are the Cinque Cento 
 ones, which are of fair design and excellently worked 
 figures. The railing of this and high altar is Cinque Cento 
 but clumsy and coarse generally, with some good bits. The 
 pulpits praised by Ford are squat and bad, whilst the orna- 
 ment and figures are lanky and fly away ; the cloisters are 
 cheerful and well proportioned, and filled with trees. 
 
 N.B. — In building a house in England cold is the enemy 
 to be kept out, remember this in quadrangular plans. 
 
 St. Juan de los Reyes though of bad Gothic externally 
 and internally too, has some remarkable and excellent 
 parts, it is very richly worked, and is finely situated. The 
 cloisters are very beautiful, florid Gothic, with niches and 
 statues against piers internally. The sculpture as usual is 
 excellent. The Porta Cambron is picturesque looking and 
 somewhat copied from Porta Yisagra. The hospital de la 
 Cruz, now Collegio Militar, has a wonderfully rich stair- 
 case and portal. It is in Spanish Cinque Cento, in which 
 Gothic contests with the Revival and is worked into it. 
 The whole of this building is most picturesque. There is 
 
118 
 
 one fine room of each side an arch springing from angle 
 piers, two stories high with angles projecting for balustrade, 
 Cinque Cento ; this would do well for a show room, it was 
 a church. In this building as everywhere else, the broken 
 backed arch is very bad, it ruins everything. The hospital 
 de S. Juan, has a Cinque Cento tomb, pretty good, and a 
 fine court-yard two arcades high, architecture fairish. S. 
 Juan de los Reyes itself is externally bad, though finely 
 situated. The interior is very rich and finely worked, the 
 sculpture as usual excellent, but the architecture generally 
 very bad, and the ornament often thin and straggling. The 
 balustrade round it very handsome. 
 
 The cloisters are very elaborately worked and beautiful, 
 architecture and all ; the niches and figures against piers 
 internally form its great effect. 
 
 N.B. — At the Hospital de la Cruz is a room, described 
 generally before, the plan is square beneath and same 
 recessed above, with piers springing from brackets at 
 angles, supporting arches and finished with groining and 
 dome ; it is difficult to say whether Gothic or Cinque 
 Cento predominate, it is very rich and effective. 
 
 The Alcazar is a large Bramante like building, grand and 
 impressive, square with square angle towers. The archi- 
 tecture, Cinque Cento, is unornamented and rather bald, 
 the projections being very slight, one side might be very 
 good but is spoilt by broken backed arches as usual. The 
 Moorish towers, of which there are many at Toledo, bear a 
 striking resemblance to the Romanesque ones at Rome. 
 Spanish Cinque Cento possesses more merit in its sculp- 
 ture than its architecture, and holds a place between 
 Elizabethan and the Cinque Cento of Italy, its arabesques 
 are remarkable for their invention, fancy, grotesquesness 
 and predominant use of figures, human and inhuman, birds, 
 dragons, beasts, and nondescripts, all excellently worked 
 out, fancy supersedes beauty, and often with effect : dis- 
 torted pediments, an immense quantity of' sculpture, bed- 
 post columns and a great admixture of Gothic models 
 characterise it, and form a whole which however it may 
 please the eye and excite the imagination, is straggling, 
 rough, unrefined, and offensive to an educated sense of 
 beauty. It has not the neatness and compactness of 
 Italian Cinque Cento, or the studied beauty of the Re- 
 
119 
 
 vived Roman, and contesting with Gotldc in its richness 
 and effects falls far short of it in artistic merit. 
 
 The painted glass windows of the cathedral are very- 
 good, three large circles containing figures, form generally 
 the ground work, and the mullions cut through them with- 
 out injuring their effect. These circles are of 3 tints, broad 
 centre band green or red, with 2 smaller yellow ones round. 
 The most, grotesque of old revival work may be applied 
 in these. The darkest colours should be beneath, growing 
 lighter and less massive as they go up. Artificial effects 
 might be gained by blocking up some parts to render the 
 rest more bright. There is a tomb of fanciful Gothic here, 
 which has groups of small figures in four niches, and single 
 figures in the last at each end ; the effect is good. The piers 
 of cathedral are very good, round in plan with large circular 
 mouldings all round. 
 
 There is no way of knowing public opinion in Spain, as 
 in other countries, at coffee-houses, theatres, &c. Gene- 
 rally the Spaniards appear to know and care little about 
 their own political state, and much less of other countries. 
 At Toledo, the people are grave, courteous and sturdy. 
 Men walk with their wives and families, and the one coffee 
 shop at night, instead of being the lounging place of dissi- 
 pated idlers, is the tea garden and sorbet house of respect- 
 able and worthy people with their children. I should call 
 the Spaniards an honourable and honest set. I never have 
 had occasion to beat down, the price asked was the one 
 meant. Many and tempting occasions have occurred for 
 my being cheated, in fact when I would cheat myself, and 
 I have invariably been told of it ; nor has any one ever 
 endeavoured to cheat in the way of asking high prices, as 
 in Italy. They are courteous but not what we call polite, 
 as in England. “ Sir,” as a mark of social politeness is not 
 usual, or is sparingly used. They are fond of calling things 
 by their proper names, hombre , mulo, burro, nino , mu- 
 chacho. 
 
 Arrived at Madrid and went to the Gallery. Velasquez is 
 all I expected and wished, strong in character, expression, 
 vigour, and originality. His painting is generally of a 
 sombre character, carefully yet boldly worked, put on with- 
 out doubt, and never needlessly. Bright colours are used 
 by him sparingly and tellingly in his way, and that is of 
 
120 
 
 the first description. Who is superior? Titian is more 
 heavy and rich ; Vandyke, more soft and womanly ; 
 Eubens more bold and effective. He possesses the merits 
 of all, the faults of none. This is to me a great manly 
 painter, not seeking to entice by colours, he nevertheless 
 is complete master of them ; but his great charm to me is 
 character ; and I also admire and would imitate what to 
 me seems a twilight effect, on which when bright colours 
 are used they tell with double force. As Ford says, “ he 
 is the painter of life to the life,” and not of imaginative 
 subjects, this is a failing. Another point in which he sur- 
 passes all others is aerial perspective, the effects are 
 magical. Though his subjects are dark they are not the 
 darkness of the Caravaggio or Eembrandt school ; as I said 
 before, his subjects are in twilight, not strong light ; his 
 bright points are not white, nor his darkest tints intensely 
 dark ; this artist is to be studied. I observe that flesh 
 shadows vary with various painters, and in the same 
 painter also. Murillo’s are generally, first tint, grey; second, 
 brownish red ; third or outer, a sort of reflected tint, he 
 manages so as to get light red. Velasquez’s shades are of a 
 greyish brown, and are usually not deep. Guido bluish. 
 I see in Spanish painting (glass at cathedral Toledo and 
 Velasquez) the purple, rich violet and red, placed beside 
 each other, the effect is very rich. This colour I have ob- 
 served before in Guercino’s Cleopatra, Genoa ; and see of a 
 redder brown cast, used singly in an Italian painting here. 
 It is a splendid colour, as before observed. Murillo is veiy 
 fond of working from yellow into bluish grey, through red- 
 brown and purple. His children are most lovely, but his 
 style does not suit me, it is generally too shaded off, as 
 much as Raphael is too hard. Murillo is fond of shading 
 his white with a little blue grey and much brown ; for the 
 expression of intense and affectionate love he is unequalled. 
 It would be too great a task to analyse the fine paintings 
 here. Titian is still the king of colour and painting, his 
 “ Bacchanals ” are more than mortal ; this is a picture that 
 painters should study for ever. Titian the king and glory 
 of art, the venerable and noble, the wonderful, the stately 
 and poetical painter of stately, poetical, Venice. 
 
 N.B. — Velasquez’s sketches of landscapes are also of the 
 twilight, sunless cast, before observed. 
 
121 
 
 Never forget Vandyke’s Kiss of Judas ; where, where are 
 the men of old ? The splendour, the majesty, the daring, 
 the imagination of these demi-gods. Landseer is a Snyder 
 counterpart of Velasquez, but he stands alone. Let Maclise 
 die, and the whole of the little school, however excellent it 
 is, and seek the force, the colour, the manliness, the life 
 and poetry of the past ; but in vain. Before these men 
 Raphael and Michael Angelo are forgotten, the senses are 
 stronger than the intellect, and Schiller wins a way where 
 Goethe might despair. 
 
 I think all portraits ought to have a definite action 
 suited to their business, as in Velasquez’s, actor, place 
 seeker, and Alonzo Cano looking up from work on a bust. 
 Rubens’s portrait at Genoa, where the statesman has just 
 risen from his chair, evidently looking at a person ap- 
 proaching to receive him. Vandyke’s Musician who turns 
 three-quarter round to beholder, and you see by the instru- 
 ment in hand, and the attentive look of his eye, that he is 
 tuning it. A good portrait of itself, is very impressive, as 
 seen in Tintoretto, Titian, and the generality of them, but 
 I think it better when besides being a portrait, it is also a 
 subject , and combines the special character with the likeness. 
 
 On comparing Velasquez with Titian, Vandyke, &c., 
 he certainly is grey and deficient in colour, and they are 
 just models. Generally speaking this is a fault, to my 
 taste, in him. In the Venetian school, flesh shadows are 
 generally warm, sometimes reddish brown, as in Giorgione. 
 The blue of Guido would kill the richness of Titian’s 
 Ariadne. Velasquez’s skies are of a light marbled descrip- 
 tion ; the bright tints of figures tell well against them, and 
 it agrees excellently with his grey, black and brown 
 dresses ; all equally coloured objects, as the truncheon of a 
 general, a pole, &c., against sky, should have varied back- 
 ground to throw it forward, vide truncheon of the prince 
 riding. 
 
 Titian’s Charles the V. is the most awful, romantic, 
 splendid equestrian portrait I ever saw. It is the incarna- 
 tion of some old legendary knight, coming out of a dark 
 wood at sunset to ride his nocturnal career. 
 
 In Velasquez’s Phillip IV., a bust, the shadows of face 
 are brown, the high lights Naples yellow and white, greys 
 are used for very light shadows, such as indents on fore- 
 
122 
 
 head, &c., there are no hard defined lines, yet no scumbling, 
 the effect is gained by small dabs of various colours laid 
 on in their right places, and worked into each other very 
 slightly ; the hair joins forehead with light grey tints 
 sometimes, but mostly light brownish-grey. 
 
 In Palma Yecchio and Giorgione, all colours are rich 
 and deep ; in the Venetian school generally, the flesh shades 
 are of a brownish-red, a rich brown tint pervades the whole, 
 eyes, hair, flesh, white drapery, green, all contain some 
 little addition to the warm effect. 
 
 Titian outlines his female figures with red, and slightly 
 shades off that side of flesh turned to light with same 
 colour ; the deeper shadows of women are a more defined 
 brown, the bluish-greys are used sparingly. A whole leg 
 or arm (woman) in shade, is of a light pearly-brown, with 
 the wrinkles (if any) worked in red. Men are drawn in 
 with a browner outline. 
 
 Puentes showed me kaleidoscopes without colours, in 
 which he placed small geometrical figures of angular shape, 
 cut out of thick paste board and glued together ; seen 
 through the glass they form infinite and complex combina- 
 tions, bearing a great resemblance to Arabian ornament. 
 For tracing he has a large square of glass fixed into a 
 framed desk, like a music desk, this renders tracing more 
 easy and convenient; for fine work it is necessary, and 
 paper may be the tracing medium; a large slate and a 
 large black board are also useful in an office for pupils. A 
 kaleidoscope with colours is also most useful for painted 
 windows and the study of colours. 
 
 The road to Segovia from Madrid passes through a fine 
 pine forest. Great masses of granite knob the ground, and 
 out of them spring immense old top destroyed pines. 
 
 Segovia is a long, deserted, old town, with curious, mas- 
 sive houses, and a number of Norman doorways. The 
 cathedral though large and tolerable interiorly deserves no 
 especial notice, it is of late Gothic, very bald and bad. 
 The general effect however from apsis end, is picturesque, 
 being much broken up. There is one good bit of iron work 
 in it which looks rich; there is a curious Eenaissance 
 house, opposite side entrance, near the Square, which has a 
 picturesque patio with columns and brackets supporting 
 arcade, many full relieved busts in frieze and gurgoyles in 
 
123 
 
 cornice as at Seville. The generality of street architecture 
 is more interesting to antiquary than architect. There are a 
 number of little Norman churches scattered about, of very 
 good architecture, their most remarkable features being open 
 corridor and tower, of which S. Esteban is a good example. 
 
 The Parral Convent is well worth visiting, it is in a 
 dreadful state of decay — pigs being housed under groined 
 ceilings and tabernacled work — there are some good tombs 
 inside; the Cinque Cento is coarse and straggling as usual, 
 the Gothic which predominates not bad, and very richly 
 worked ; the refectory has a rich pulpit, and truncated 
 Moorish looking ceiling; it is now a storeroom for onions, &c. 
 
 The Devil’s Bridge or Roman Aqueduct is a noble and 
 imposing work, the finest I have ever seen, there is none 
 like it in Italy, and it is a fit companion for the Colosseum ; 
 its greatest height must be about 120 ft. near its com- 
 mencement; out of the town there are some half-dozen 
 large pointed arches, which appear of same date as the 
 rest, regular clear equilateral arches, it is curious. The 
 Alcazar is finely situated and picturesque, but with its 
 little pointed turrets looks very Frenchy. The state room 
 is magnificent, and the ceilings and friezes of the others, 
 rich and remarkable ; the principal saloon or throne room 
 is square on plan with octagon roof, which is canted into 
 a dome, and has angular soffits ; the dome is richly covered 
 with an Arab like pattern, of gold flowers on blue ground, 
 the inter spaces being filled in with gold foliage on blue 
 ground ; there are a series of deep friezes beneath carrying 
 ornament down the wall, which is papered with a deep 
 crimson; the whole effect is of an almost extravagantly 
 rich description ; the gilding is so profuse. The date of 
 Alcazar rooms is about 1480, (under Don Enrique) ; the 
 style is Gothic, adapted to Moorish, and the whole tiling 
 though too rich and prodigal, yet is a good system, and 
 deserving of imitation. One room has a large sort of frieze 
 with all the kings and queens, the costumes are very 
 interesting ; another room lias a beautiful ceiling consisting 
 of a number of pendants. I have made a sketch of it, the 
 original is about 12 in. between each pendant, I should 
 say this renders the ceiling too cut up and confused, and 
 the pattern becomes almost lost ; the pendants should be 
 more charily used, still the idea is good and the effect rich. 
 
124 
 
 The soldiers (officers) here, (it is now the Engineers, 
 College) were very polite, as at Toledo ; soldiers in Spain, 
 and priests in Italy I have always found courteous. 
 
 The diligence to Valladolid was full and we had to wait 
 at the miserable village of Martin Munoz, two days. The 
 Parador, the only house in the place is decent ; there is a 
 pretty good Gothic door to church, a destroyed convent, 
 and a deserted cardinal’s palace, the rest are hovels ; the 
 convent is gutted, the little cloisters choked with ruins, 
 the rooms and church knocked to pieces, the fish pond thick 
 with dank weeds and full of frogs ; the garden is ploughed 
 with the share, and the few trees which stand alone in the 
 desert, are the only things that have escaped the Spanish 
 fanatic’s hand. The palace of the cardinal is nearly as bad ; 
 the windows are blocked up, the roof falling in, a great 
 part remains unfinished, and half built walls add to its 
 desolate look ; what could have induced the building of a 
 large house in such a spot is a mystery ; the rest of the 
 town though inhabited by 300 beings, almost all labourers, 
 is just as melancholy ; the miserable street or rough track 
 is deserted, half the houses have been gutted in some way, 
 or not finished ; the wind on this vast unsheltered plain 
 howls and moans through the broken walls and wood 
 barred windows, now and then a man muffled up to 
 the eyes crosses the road ; now a pig is an excitement, and 
 a man and donkey quite a sensation ; nothing can exceed 
 the wretchedness of this place, its situation, its desertion 
 render it a feast of delight to a melancholy man. The 
 labourers however, do not seem to live in squalid poverty, 
 there are no beggars, and they dress pretty well. KB. — 
 A dining room should be near the kitchen as in Spanish 
 inns, where the covers are handed in through a sliding 
 aperture, the kitchen however should not be the next room 
 as here, but one off, say the housekeeper’s room between or 
 a short passage. Our bill at Munoz was extravagant, the 
 use of the dining room being put down at 20 reals ; we 
 were obliged to pay the greater part of it as the landlord 
 was diligence agent and great man of the village ; paid a 
 lot of money to Valladolid ; rained all the way. Inn (de 
 las diligencias generales),very cold, damp, dirty, and uncom- 
 fortable ; saw St. Pablo and St. Gregorio, both wonders of 
 richness and decidedly of merit, more theatrical though 
 
125 
 
 than architectural. La Antigua, remarkable little Norman 
 tower, the cathedral nothing, plain in every way. The 
 iron work noticed at Segovia I see again here ; the double 
 band filled in with leaf ornament looks very rich. There 
 is a Renaissance church with a brick tower, the gurgoyles 
 in the cornice are much smaller than those at Seville and 
 answer more to lion’s heads in a cyma. The Campo Grande 
 is a large stupid place, and the gate to Madrid, bad ; the 
 entrance and cloisters of St. Gregorio are certainly superior 
 to St. Pablo ; the whole of ground front is formed by trees, 
 osiers, and straw; the columns being twisted branches 
 with knobs, the cusps being formed by single or twisted 
 branches and leaves. Statues of wild men and women 
 cover the front, and extraordinary demons, beasts, and 
 figures play in the foliage. San Benito has a fine tower ; 
 the palace of Gabio Nelli is very fair, the portal however 
 being too delicate for otherwise heavy character of house ; 
 the court of the palace is spoilt by those ugly depressed 
 arches. The house opposite St. Gregorio has a good court- 
 yard. The Museum is full of remarkable and excellent 
 sculpture saved from destruction in the convents, &c. 
 The dead Christ on Mary’s knee, by Hernandez, is very 
 beautiful and affecting, in the dim light of evening it is 
 startling. I now can understand the statue of Hermione ; 
 the grief of the mother’s face Guido could not surpass, 
 whilst that of our Saviour is equally well expressed. Many 
 figures, or daemons rather, from a group of the Crucifixion, 
 are ranged about, they are dressed fancifully, are generally 
 very exaggerated though startlingly expressive and spirited. 
 The “ Christ deposed ” by Juan de Juni is a more Jove-like 
 representation of the Lord, it is fine and noble, the corpse 
 of a strong muscled and equally strong-headed man, it is 
 covered with blood and is rather disgusting. Hernandez 
 has avoided this and nothing but a holy grief pervades his 
 group ; many of the little groups in wood are first-rate, the 
 authors are unknown, but they occupy a place between 
 Gothic and Revival ; the pictures by Rubens (?) are not 
 worth their canvass, and I do not believe they are his. 
 Valladolid is a ruin, its palaces deserted, its monasteries 
 many and rich, destroyed ; its churches shut up ; its 
 university alone retains some name ; the inn is not so bad 
 as I thought. On the 18th of October we found a white 
 
 
126 
 
 and wet sheet laid over the house tops, cold and wet, no 
 fire, no breakfast, the extent of discomfort ; took places for 
 Burgos. San Gregorio is a mass of rich work and fit for a 
 king’s palace, instead of a convict’s prison, which it is. The 
 court yard is in a transition style and very theatrical ; 
 there are some good Gothic doors, a noble staircase, and 
 the church or chapel not bad, with rich stone pulpit ; the 
 front is like a German frontispiece. Arrived on the 22nd 
 of October at 
 
 Burgos. — The cathedral, though stumpy and without 
 portals, is the finest exterior I have seen in Spain. The 
 whole architecture is better, and the filagree spires very 
 beautiful : these, with the dome of the Constable’s chapel 
 and the gate of S. M., form a rich and antique group. 
 There is a painting attributed to M. Angelo in cathedral 
 which the woman would show us, and also his name 
 written in pencil on the wall, by himself ! ! All the con- 
 vents are turned into barracks, or knocked about dread- 
 fully; their exteriors are good Gothic generally: that of 
 the Huelgas has excellent early Gothic architecture de- 
 serving of study. 
 
 Visited the Cartuja of Miraflores and saw the tombs 
 there : they are the work of Maestro Gil, and are invaluable ; 
 this man was an artist, and a fine one. The plan of the 
 king’s tomb is a star : on it he reclines beneath a richly 
 worked niche ; a small short tracery work divides him from 
 his wife, whose robes are wonderful. The figures, foliage, 
 architecture ; fancy, skill and labour displayed in this work 
 are, I should fancy, unmatched in the world. The corpse- 
 containing niche ends at the feet in a foliaged bracket, 
 against which, in rage and despair, two lions are in full cry : 
 the head of the niche has flying pinnacles, foliage and figures : 
 being let into a stone at the back, with shields of lions 
 sculptured on it. The sides are of the most wonderfully 
 rich work — niches, pinnacles, a great number of figures 
 small and large, and a study for all men. The whole 
 tomb should be placed higher, and seems to me to want a 
 basement, which might be filled in with more massive 
 work. The lions and animals crouching around I do not 
 like. The foliage in this and the other tomb of their 
 son is beautiful. It is remarkable that the ivy does not 
 once occur ; the vine is best, then the oak, and then the 
 
127 
 
 rose : his thistle and a nondescript pointed leaf and cab- 
 bage-like crumpled one I do not like ; there is a nice leaf, 
 and one that lie constantly uses for smaller mouldings in 
 his foliage. Snails, butterflies, birds, children, men and 
 monsters are introduced, fighting, running, hiding, drink- 
 ing, flying, eating: such ornament as might befit Shak- 
 speare’s monument ; for which, in fact, this offers a good 
 idea. Spanish Gothic generally is full of fancy : ornament 
 in a hollow moulding often finishes on a small column ; 
 columns often stop on wall with foliaged bracket; statues 
 at angles with angular pediments, are frequent and good ; 
 arches cusped at extrados ; a great use of various leaves for 
 crockets, finials, &c., and a great number of same mould- 
 ings cut out in opposite form to ground they spring from, 
 —as, angle from square, circle from angle, &c. 
 
 The cathedral gains on one by attention : the architec- 
 ture is good, and the whole effect excellent ; the Cinque 
 Cento in it is very superior. The Constable’s chapel 
 florid and good; the cloisters a study for foliage, there 
 being every possible kind worked on the soffit of the 
 arches. The houses (Cinque Cento) are generally very 
 picturesque, being bracketted out like our half timber 
 ones by a series of mouldings, often terminating at angles 
 in a semi-circular projection ; as usual, the columns are of 
 the bed-post genus — long, thin and ugly. 
 
 The Hospital del Eey has a great deal of good Cinque 
 Cento, and a noble wooden door of excellent workman- 
 ship : the building is very interesting. The use of armorial 
 shields is excessive in the north, and they are usually well 
 designed, with a border round them, or motto in border. 
 In Spanish Cinque Cento the mouldings round arches are 
 constantly sunken. 
 
 Left Burgos in dreadfully wet weather, with much 
 regret at not being able to stay longer. One might get up 
 a fine work on its sepulchral monuments in all styles of 
 architecture. The Pass of Pancorbo is very fine. Passed 
 Vittoria in the dark : night stormy. Arrived in the morn- 
 ing at San Sebastian: splendid yellow sands without a 
 pebble; fine little fortified town in a mountain gap, 
 through which tosses and tears the blustering Bay of 
 Biscay, oh ! 
 
128 
 
 Spain may be said to be left behind, for we are now in 
 the centre of the Basque provinces, and cleanliness and 
 order are seen : the country people wear the blue Scottish 
 bonnet : the country is beautiful hill and dale, mountain 
 and river and wood, but very wet and cloudy. Halted a 
 day at Bayonne : what a change ! 
 
 Bayonne is a fine town, situated on a fine river, with 
 good quays, and a noble bridge in course of building ; the 
 cathedral built by the English is very excellent, and the 
 cloisters remarkably good. Halted a day at Bordeaux, a 
 beautiful city on the bank of a large river with a grand 
 bridge, one of the finest in France : the fault of the bridge 
 is, that the arches being splayed more at impost than 
 head, they appear in perspective tumbling down. The 
 cathedral externally is very good, and the spires, though 
 thin, very graceful: the church of St. Michael is also 
 excellent, and the detached towers here and at the cathe- 
 dral of the finest effect. The Gate “ de la Ville,” built by 
 the English, is remarkably picturesque, and many old bits 
 in various parts of the town. Of the new buildings, the 
 theatre is the best, and is worthy of Paris : there are 
 many spacious and handsome public places, two museums, 
 fine streets and magnificent, the country is pretty, and 
 living cheap. This place altogether is very admirable, 
 and affords a striking contrast to its larger counterpart — 
 Liverpool. 
 
 Arrived at Tours : a very picturesque old town. The 
 cathedral exceedingly handsome, and the two towers 
 excellent specimens of Cinque Cento : the view from the 
 top is fine. One has a spiral interior staircase at top, 
 thrown out by four or six flying buttresses, finished 
 against walls with corbels, like the top of St. Nicholas at 
 Newcastle, enclosed ; its effect is light and beautiful. 
 The school-house — La Psalette — adjoining has a good 
 arcade and spiral staircase in turret; picturesque, and 
 good Cinque Cento ; the doorways are excellent Gothic ; 
 the interior has a good Cinque Cento tomb, delicately 
 worked, but poor and thin : the design is very good, 
 however. The two other towers of the old Temple are of a 
 simple noble Norman : there are numerous old and richly 
 ornamented houses, Gothic and Cinque Cento; and the 
 
129 
 
 town is full of picturesque bits cut out for a painter. 
 Tours is a delightful place, and worthy of a sojourn. 
 
 Orleans. — The cathedral, fine in its mass is miserable 
 in detail : it is, however, adaptable for designs ; the inte- 
 rior is worse than the exterior, the columns being of 
 continuous mouldings without capitals, which has a very 
 weak and wretched effect. Here, as at Tours, Bayonne, 
 and Bordeaux, the fault of proportion in the interior is 
 its extreme lankiness and sharpness. 
 
 Paris. — The private houses, coffee shops, &c., here, are 
 built in a free Francis I. or Renaissance style, which has 
 the merit of some originality and diversity, and much 
 neatness of execution ; but always almost thin and mean, 
 too affecting the studied and elegant : they want massive- 
 ness, boldness and mouldings ; the mouldings are generally 
 wretched, little, and badly arranged. There is a good 
 frieze, at the Maison Doree, of stags, dogs, &c., in running 
 foliage ; the ornament generally is flat, shallow and thin, 
 but very neat ; the interiors are better on this account 
 than the exteriors. The Bourse and Madeleine are both 
 noble : St. Sulpice a good subject for adaptation ; noble and 
 good : a column in the Marche au Ble has a leaf-worked 
 cyma moulding up channels ; not bad. London struck me 
 as large, grand and sombre, deficient in the architectural 
 show of Paris. The Reform Club seemed thin and poor. 
 
 Things to do. — The Chateaux of France ; Burgos and 
 Miraflores; Cafe and Cigar Divan, Leicester-square; Oriental 
 Stuff* Show Rooms ; Monument to Shakspeare ; Architec- 
 tural Scrapbook, weekly, 4 plates, Is., perspectives, eleva- 
 tions, details. 
 
 The following was written as a preface to “ Architectural 
 Art in Italy and Spain.” 
 
 The constantly recurring complaints of the monotony 
 of classical architecture, and the irregular extravagant or 
 ill-advised designs of those who endeavour to stray from 
 the well considered rules of the great masters of our art, 
 have induced us to collect the following series of draw- 
 ings, as containing good foundations for original design, 
 and being the best specimen of their respective kinds. 
 The art of Architecture seems to us, not so much one of 
 imitation, as of progression ; but the imagination of itself, 
 
 K 
 
130 
 
 is inadequate for this purpose, and it is only by slow 
 steps and an improvement of what has already been done, 
 that we can come to any satisfactory novelty in design ; 
 every one accustomed to designing must have felt this. 
 
 Again, we cannot help looking on what is called Cinque 
 Cento or Renaissance architecture, and Byzantine or Roma- 
 nesque, as only various stages of development of the same 
 style, suited to special subjects and influenced by the spirit 
 of the time. The transition from one stage to another is 
 more startling and capable of definition than in Gothic, 
 still they are but transitions, and there seems to us to be 
 the same similarity between Italian and Grecian art, 
 as between Florid and early Gothic ; the transitions of 
 Gothic art were the work of a few centuries, the tran- 
 sitions of Classical art have been the work of ages and of 
 many nations ; the former quickly wore itself out by the 
 very rapidity of its advance, whilst the latter on the 
 contrary has been held in constant restraint, and in its 
 various developments been always more subject to a 
 similarity of rule — instead of being isolated styles, we 
 hold that Cinque Cento and Romanesque may be com- 
 bined under the head of Classical art, and be found more 
 suited to particular purposes than the more studied and 
 refined styles of a Stuart or a Palladio. We cannot look 
 on those styles as the cries of babes strangled in their 
 birth, but as the throes and efforts of a giant struggling 
 from the bonds in which he was held and the darkness 
 which encompassed him. 
 
 All efforts made to invent and be original, not founded 
 on some good prior example, only tend to unsettle and 
 destroy that art which such innovating minds seek to 
 render more admirable. To do this, we must study what 
 has been done before, “ Serpens nisi serpentem ederit non fit 
 draconem.” We trust that this collection of drawings will 
 afford a worthy groundwork for still more worthy designs. 
 
 All the drawings have been measured (where measured) 
 and drawn on the spot, and with a strict attention to 
 fact ; no imagination has been employed to render to 
 them their pristine features — as they are, they are shown. 
 Of the last great Italian revival, we present few specimens, 
 only noticing the works of a few of Palladio’s immediate 
 forerunners. The Library of Venice, is one so beautiful 
 
131 
 
 and glorious, that although well illustrated in Cicognara 
 we could not resist redrawing it, more especially as we 
 had a facility not frequent in doing so, from a scaffolding 
 being up for its repair, and what has been done of it is 
 done with the utmost care for our own sakes, as for others. 
 The house Ponte della Fava and Palazzo Manzoni, Venice, 
 are not in Cicognara, and the other Venetian drawings 
 have been carefully got up, with reference to where Ci- 
 cognara is deficient. The Spanish architecture will, we 
 think, be found interesting and useful; in these artists 
 fancy and invention preponderate over studied propor- 
 tion and excellence of detail, consequently we have given 
 generally only perspective views of most of the subjects, 
 all taken with the camera lucida. 
 
 The Bolognese houses, forming a style of their own, we 
 could get no data of, though we searched diligently in the 
 local libraries; though so remarkable in style and material 
 Murray passes them over in silence ; from the date of a 
 house in every way analogous at Ferrara, we should be 
 inclined to consider them of the end of the 15th century. 
 
 Our object has been to delineate Art generally — the 
 grand, beautiful, the picturesque, the fanciful, and the 
 graceful — each is illustrated, and by many subjects 
 hitherto neglected, or only in the scrap-book of some 
 casual observer. There are collected the best specimens of 
 various styles — interiors, exteriors, palaces, houses, towers, 
 churches, tombstones ; iron, wood, and mosaic work ; every 
 variety that we could by diligent search discover, and all 
 the subjects chosen with well considered regard to their 
 applicability to modern use. The outline architectural 
 drawings are done to such a scale as to prevent the neces- 
 sity of much extra detail, where however, detail is less 
 known, or has something useful or peculiar, we have given 
 it ; where portions afford a just idea of the design we have 
 taken them alone. 
 
 All this time I did not by any means give up my idea 
 of forming a style of my own, and just before leaving 
 England published, through Mr. M c Lean, of the Hay- 
 market, a series of “Designs for Civic Architecture,” 
 lithographed in ink by myself and Mr. Macquoid, which 
 unfortunately, owing to my absence from England, was left 
 fallow in Mr. M c Lean’s store room. I was pleased to find 
 
 K 2 
 
132 
 
 i 
 
 nevertheless, that the “ Builder/’ Jan. 11, 1851, described 
 them as evincing “ novelty and good taste,” that the late 
 Sir C. Barry spoke very highly of them, and that my old 
 master and a few other architects used them in their own 
 designs, few specimens are appended. 
 
 About this time I made some plans and elevations for 
 a house for Chief Justice Earle, near Godaiming, but I am 
 not aware whether they were ever carried out; also a 
 chimney-piece for a house in North Wales. 
 
 Before leaving, I also wrote out some axioms in archi- 
 tecture, which were published in the Builder, December 
 15, 1849, and a series of papers on architecture, a great 
 portion of which was also published in the Builder, 
 July 20, 1850, et seq ., all of which are now reproduced 
 with some illustrations, without which my meaning could 
 not be so well understood. 
 
 Erom a very early period of my studies I had asked 
 myself what was it that gave that value to architecture, 
 which made it admired by the world and studied by 
 artists ; there could be no doubt but that value depended 
 entirely on the art shown in the building ; its plan, its 
 construction, its ingenious contrivance might each have 
 particular value, but after all what rendered it admirable 
 as an art was its external appearance and internal orna- 
 ment. To the art part of my profession I then determined 
 to apply all my attention, and inspired with the instruc- 
 tion of Vitruvius as to an architect’s requirements, and 
 by the examples of the greatest architects of Italy, 
 amongst whom were so many who combined painting with 
 architecture. I determined to study the human figure 
 with the view of being able personally to design and 
 direct frescoes or other works in which figures were 
 introduced into buildings. About this time, or in 1849, the 
 following thoughts were printed in “ The Builder,” Dec. 15. 
 
 Architectural Propositions. 
 
 The following propositions are deduced from observa- 
 tion and study, and I beg leave to submit them for the 
 consideration of others. It seems to me that these and 
 other consequent propositions, if carried out, give not only 
 defined and reasonable principles for architectural design 
 
From^ “ Design* / t>r <7bx:7-utecture 
 

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133 
 
 which at present are nowhere distinctly explained, but 
 must lead to the proof of the necessity of a new style, and 
 the practical means we have for forming a system. 
 
 1. All art expresses three distinct qualities or ideas — 
 grandeur, beauty, picturesqueness. 
 
 2. That each of these qualities is subdividable into three 
 other qualities, whose difference is less distinct — beauty 
 sliding off on one side to strength, on the other to grace — 
 grandeur on one side to sublimity, on the other to strength 
 — picturesqueness on the one side to grandeur, on the 
 other to fancifulness. 
 
 3. That these three distinct qualities are subdividable 
 in themselves to infinity, as seen in all created nature. 
 
 4. That the variety and almost imperceptible graduation 
 of change thus produced is incapable of being expressed 
 by single verbal explanations, but that enough is given by 
 the three before-mentioned qualities, to form standards of 
 character for the artist’s purpose. 
 
 5. That there are three powers or principles placed 
 at the disposal of the artist for the elimination of those 
 qualities — form, shadow and ornament. 
 
 6. That these three powers are resolvable into one — 
 form. From form the two other powers are generated ; on 
 form they are dependent, and consequently subordinate. 
 
 7. That shadow is the first-born of form, and depen- 
 dent on that alone, consequently has the next place of 
 honour. 
 
 8. That ornament is dependent on both, and conse- 
 quently inferior to each, and subordinate. 
 
 9. That either one of these powers, by itself, is capable, 
 in a greater or less degree, of expressing each of the three 
 qualities before defined. 
 
 10. That form, as the superior power, is most capable. 
 
 11. That ornament, dependent on form and shadow as 
 the inferior power, is least capable. 
 
 12. That that form is most ’perfect which is most varied 
 in its parts, and most harmonious in combination. 
 
 13. That there are definable and distinct forms pro- 
 ductive of the distinct qualities of proposition No. 1, — 
 every variation of such form producing a variation of 
 character. 
 
 14. That so far these propositions are applicable to all art. 
 
134 
 
 15. That substances are the architect’s means of pro- 
 ducing form, shadow, and ornament. 
 
 16. That the nature of a substance determines the 
 nature of its construction. 
 
 17 That each difference of construction expresses a 
 different quality or character. That each system of con- 
 struction is the base and exponent of a character peculiar 
 to itself, which we term style. 
 
 18. That there is one style for the grand, one for the 
 beautiful, and one for the picturesque. 
 
 19. That each style has the three grades or powers of 
 variation, with all their intermediate differences mentioned 
 in proposition No. 2 in itself. 
 
 20. That each style has not the power of expressing the 
 three distinct qualities of proposition No. 1 in itself — at 
 least not to the most perfect production of each. 
 
 21. That each system of construction is grounded on a 
 different and distinct form. 
 
 22. That such a form must simply, or in combination, 
 extend and harmonize throughout the entire mass. 
 
 23. That such a form, if made the unchangeable standard 
 of a particular construction, is the unchangeable standard 
 of its quality or character. 
 
 24. That, of curves, the circular expresses the character 
 or quality of grandeur : 
 
 25. The ovoid, that of beauty : 
 
 26. And the combined segments of either, the pic- 
 turesque. 
 
 27. Of angles (a line being expressive only in com- 
 bination), — 
 
 28. The right angle expresses grandeur : 
 
 29. The acute angled triangle, picturesqueness. 
 
 30. That direct imitation in architecture destroys it as 
 an art. 
 
 31. That it is an art, in so far as it produces change, in 
 either form, shadow, or ornament, and however slightly. 
 
 32. That as an art it is eminently progressive. 
 
 33. That it has standard or fixed principles, but not 
 standard rules. 
 
 34. That art is best which expresses the spirit of the 
 time in which it is produced. 
 
135 
 
 ON LINEAL EXPRESSION 
 
 AND 
 
 ARCHITECTURAL DESIGN. 
 
 Preface. 
 
 There are many men of various dispositions, but more 
 especially of that turn called practical, who hold all such 
 inquiries as the following to be vain speculations, and the 
 accurate definition of words as mere philosophical play, 
 and absurd: what they do, they do; and that satisfies 
 them. I would remind such of the words of Locke : 
 “ Those who have particular callings ought to understand 
 them ; and it is no unreasonable proposal, nor impossible 
 to be compassed, that they should think and reason right 
 about their daily employment.” Surely it is a natural 
 and laudable desire in all men to know, when they do 
 this or that, why they do it ; and if they cannot, to know 
 the reason of their inability. I would ask those who 
 object to the nice distinction of words as frivolous and 
 useless, whether words do not represent ideas, and whether 
 ideas are not the source of knowledge ? Consequently, if 
 our words are confused our ideas are confused, and our 
 knowledge; and, in the same way, if our words are 
 distinct our ideas are distinct, our knowledge distinct; 
 and before we investigate any subject, it is absolutely 
 necessary to get and fix in our minds clear and complete 
 ideas, and give them proper and constant names : in fact, 
 to know what we are talking about. 
 
 And most extraordinary is it to find the investigations 
 on Art of the present, as of the past, full of this confusion 
 of ideas; and little extraordinary is it that, unless the 
 student takes their dicta as unquestionable truth, he should 
 rise from their perusal more perplexed and dissatisfied 
 than before. 
 
 The science of all art, but most especially of archi- 
 tecture, is, I believe, very incomplete ; and to arrive at 
 
136 
 
 its principles, we must begin afresh, putting aside the 
 complex and abstruse speculations of the mere philo- 
 sopher ; the illogical method of attempting to explain 
 its principles on those of any other science, be it Music, 
 Geometry, or Arithmetic, and the generalising obscurity 
 of ordinary conversation. In order to arrive at the Truth, 
 we must seek it for Truth’s sake, and not to confirm every 
 idle fancy of our own : all that is required for this purpose 
 is observation, method, and reflection. With these only 
 can we expect to obtain our object — an object the more 
 important as Art becomes more generally practised, and 
 is no longer confined to the care of true genius alone. 
 
 Chapter I. 
 
 Our language supplies us with three words, which to 
 every man of ordinary perception convey three distinct 
 impressions — Grandeur, Beauty, Picturesqueness. If you 
 call up visible objects to pourtray these words, or the 
 ideas they convey to you, those objects will assuredly 
 differ, and though in the usual thoughtless manner of 
 expressing ourselves we might call them all beautiful, yet 
 the definition, on consideration, would appear evidently 
 inapplicable. An Alpine mountain, the Apollo Belvidere, 
 and an old country church, can never come under one 
 distinctive appellation, but have three separate qualities, 
 requiring three separate words to characterize them. It 
 is true that they exist in some degree united in certain 
 objects ; but this is quite another subject for inquiry : our 
 advantage lies in simplifying, not in confusing our ideas ; 
 and if we can but conceive these three qualities as 
 separate and distinct — which surely we can — one essen- 
 tial point in our favour is gained, and we can inquire into 
 the nature of each separately, and discover the links by 
 which they join one into the other. 
 
 To my mind, then, these are three strikingly distinct 
 varieties of Form ; for it must be remembered that of 
 Form alone I speak, and the reader must consider that it 
 is outline alone, as of plane geometry, which engages his 
 attention, without colour, facial expression or texture. 
 
 Having, then, made some reflections on this principle — 
 which may be called abstract — as to the effect of certain 
 
137 
 
 lines, I will, without asserting my belief in their correct- 
 ness, enumerate them : 
 
 The circle is generally considered the most perfect of 
 all forms, self-containing, without beginning or end, the 
 emblem of the Deity. When divided into a semicircle, it 
 is still calm, continuous, self-relying, and truly grand. It 
 is the form of the rainbow, which as far as it goes is 
 a perfect form. I do not think it is prejudice which 
 induces me to think that a pointed rainbow would not be 
 equally grand or beautiful, for the pointed outline is 
 an imperfect or compound form : it possesses the angular 
 character of the picturesque. When I ask myself what is 
 the cause of grandeur or strength (an indispensable attribute 
 of grandeur) connected with beauty being impressed on 
 my mind by the rainbow, the semicircular arch, the full 
 moon, and the biceps when compressed to strike, I cannot 
 but perceive that the primary cause — as far as outline is 
 concerned, is the circular form. 
 
 In the beam of a ship, in an egg, in all the outlines of 
 graceful humanity, in the bellying of a sail, in the forms 
 of Grecian art, in the gentle swell of 
 a hill, in the movements of the snake, 
 the leaf of the water lily, in the 
 rolling wave, it is Beauty which is 
 impressed on my mind, in a greater 
 or less degree, according to the 
 nature of the outline, and in all does 
 the ovoid principle enter. Each of 
 these forms in a compound state, if 
 continuously joined, produce also 
 more of beauty connected with 
 strength in the circle, as seen in the 
 cyma recta moulding, No. 1, and of 
 beauty connected with grace, as seen 
 in this same moulding formed from 
 ovoids, No. 2. This grace turns to 
 weak delicacy in the Cinque Cento 
 moulding of Italy, No. 3. 
 
 Thi4 difference of character, arising 
 from a greater or less degree of 
 swelling in the curve, is more clearly 
 seen in the male and female muscles. 
 
 No. l. 
 
 
 \ 
 
 No. 2. 
 
138 
 
 The curves of either of these forms, compound but 
 incontinuously so, present to me the quality of pictures- 
 queness, as in the holly leaf, the thistle, shells of these 
 
 forms, the outline of 
 a sail full of wind, 
 the wing of the swal- 
 low tail butterfly, a 
 bird’s bill, the folia- 
 tions of Gothic orna- 
 ment, the forms of 
 its heraldic shields 
 and of its mouldings, 
 in the pointed arch 
 itself, and in many 
 of the single leaves 
 of Moorish orna- 
 ment. 
 
 As regards curves 
 then, we must come 
 to the conclusion, I 
 think, that a me- 
 dium curvature ex- 
 presses beauty, as a 
 centre. That as this 
 tends to circularity, 
 it expresses beauti- 
 ful strength, and as 
 it tends to a lesser 
 curvature, it ex- 
 presses grace ; the 
 Apollo, the Hercules, and the Venus, are examples of 
 this in a compound form, continuously varied. 
 
 And that any compound series of curves, incontinuous 
 and irregular, produce picturesqueness. 
 
 A straight line in itself expresses to me, only straight- 
 ness, but in its most simple compound and regular state, 
 the right angle, it does allowedly represent strength, and 
 formed into a square, perfect strength ; to my mind, it pre- 
 sents no other quality or character per se. 
 
 It seems almost unnecessary to prove by examples how 
 it represents strength. We see it in all buildings, and the 
 
139 
 
 eye alone informs us, that the slightest deviation from it, 
 tends to weakness. 
 
 _ Strength, as before said, is inseparable from grandeur. 
 Size and strength will in a measure produce this character 
 by themselves, as seen in the Cyclopean walls of antiquity. 
 
 The square and the circle have then at least one distinct 
 harmonising quality. 
 
 All angles less than the right angle, impress the idea of 
 sharpness, the more acute the angle, the more sharp does it 
 become. Now the objects in which we find this form, are 
 all more or less picturesque, and the more compound and 
 disjointed, the more picturesque. We see this in cry- 
 stalline formations, such as basalt and spar, &c., the ser- 
 rated ridges of rocks, icebergs, many trees and leaves, the 
 ivy being one, old houses and particularly in Gothic archi- 
 tecture, and ornament. The mixture of both angles and 
 curves however, is most usual, and is found throughout 
 picturesque nature and art. 
 
 Those objects however in which the angles predominate, 
 such as ruins, trees and rocks, are more purely picturesque, 
 whilst those in which continuous curves predominate are 
 more confirmedly beautiful, as in birds, fish, many leaves, 
 flowers, the hulls of well-built vessels, and their inflated 
 sails, when for instance either of the last become broken 
 they become more picturesque ; and may we not, putting 
 all mental associations on one side, ascribe this to the 
 altered and more jagged outline they have gained. 
 
 As regards the power of straight lines in producing 
 beauty, where can we find an example? it would seem 
 that what most answers to beauty arises in any combina- 
 tion of straight lines, from their relative proportion, and 
 symmetrical harmony. For I can recollect no single form 
 of lines, any triangle or polygon, which by itself, gives one 
 the idea of beauty, which is inseparably connected with 
 harmoniously joined curves. 
 
 Although the obtuse angle in itself appears weak and 
 ugly, yet when it is formed into an obtuse angled triangle, 
 as in a pediment, this disappears, and the more obtuse, 
 according to the Greek practice, consistently with the 
 whole mass; the more did it fall in with the prevailing 
 character of their intention, the beautiful, and the more 
 obtuse these angles become, the more do they assimilate 
 
140 
 
 to the form of the circle, as seen in the octagon for in- 
 stance, and certainly we should admire that outline as a 
 pier ornament, more than we should a tetragon. 
 
 Straight lines without the aid of curves are incapable, it 
 would seem, of producing actual beauty, but they are 
 capable of producing actual picturesqueness, as before men- 
 tioned, and become fanciful and charming in the mosaic 
 work of the Moors and ancient Christians. Straight lines 
 then, are aids for certain developments of the beautiful, 
 seen especially in architecture, and curves are aids to the 
 picturesque. 
 
 Straight lines cannot produce beauty and are not in- 
 dispensable to it, but they produce picturesqueness, the 
 characteristic of which is irregularity ; this is certainly 
 true, but they produce also regularity, which constitutes 
 one of the architects principle means of pleasing the eye. 
 
 The square is the only regular and perfect form, bounded 
 by right lines, and from this does the architect work out 
 proportion. 
 
 Now the proportion made by right lines alone, as of 
 columns, in the elementary works on architecture, can be 
 nothing more than good, excellent, well-proportioned, 
 whatever expression of that nature you like, but never 
 beautiful. 
 
 For excellence of proportion is not beauty, though one 
 of its attributes in certain cases. 
 
 A double square may be more pleasing than a single 
 one, as an aperture ; but to call it beautiful would be to 
 call it what it is not. The proportions of a room are never 
 beautiful, but pleasing. Nor can right lines, or straight 
 lines, in themselves, or in forming squares, or in any com- 
 bination whatever with themselves, produce beauty. The 
 chief power of straight lines consists in their irregularity, 
 
141 
 
 and then in regularity, neither productive of beauty, which 
 must have at least a predominance of curved outlines. 
 That which is not beautiful in itself, cannot produce 
 beauty by any combination with itself, but it may and 
 does in this case assimilate to beauty. All we can say of 
 such forms is that they are well adapted to their particular 
 purposes. 
 
 Proportion certainly bears an analogous character to 
 beauty and grace, but in itself this analogous character or 
 quality is not strongly marked. 
 
 The adjustment of lines then in any combinations with 
 themselves alone does not produce beauty, and should be 
 carefully separated therefore from the idea of beauty. 
 
 But the assimilating power contained in the simplest 
 combination and division of right lines, as shewn in the 
 square, may be exemplified by this, that the square itself 
 is simply strong. 
 
 The double square assimilates well with beauty ; more 
 than the double square with grace, and less than the true 
 square with clumsiness ; inasmuch then, as there is an 
 analogy of proportion, we may not unjustly say, beautifully 
 or gracefully proportioned, although not truly beautiful in 
 itself. 
 
 The nearest approach to what one might term beauty, 
 as formed by straight lines, is to be found in some of the 
 Moorish and Byzantine geometrical mosaics. This is how- 
 ever the sense of actual regularity in apparent irregularity, 
 and the mind is delighted by weaving out an ingenious 
 system of order from apparent confusion. 
 
 Variety and irregularity, words which have just fre- 
 quently occurred, though constantly confounded by writers 
 on art, are two different things. 
 
 We should, I think, call the outline of the human body 
 the most varied, whilst we should call the outline of a 
 gnarled or leafless tree one of the most irregular. The 
 curve can produce both variety and irregularity ; the 
 straight line only irregularity. The continuous variety 
 of the curve produces beauty ; its incontinuous variety, 
 which is truly irregularity, and the irregularity of straight 
 lines, picturesqueness ; if one were to assert that irregu- 
 larity is beautiful, it is tantamount to saying that straight 
 lines are curves. 
 
142 
 
 The outline of the earth is picturesque in proportion to 
 its irregularity. 
 
 The outline of animated nature is beautiful in proportion 
 as it is varied. 
 
 Man’s formbeing the most varied is also the most beautiful. 
 
 Eocks and trees being the most irregular are also the 
 most picturesque. 
 
 We cannot be too particular in clearly defining what 
 our words mean, without it we address each other in vain, 
 and this laxness of expression which confounds beauty 
 with picturesqueness, and variety with irregularity, is 
 destructive of all chance of arriving at truths, wanted in 
 no art or science more than in architecture. 
 
 From what has been said, we arrive at the following 
 conclusions ; that there are two fundamental and different 
 means of producing form, viz. : curved lines and straight 
 lines. 
 
 Beauty is that character of form which is produced by 
 varied and continuous curves, and consequently exists in 
 any single curve and is cognate with it. 
 
 Though straight lines be introduced in combination with 
 them, still beautiful may be predicated of any form in 
 which the continuous curves predominate. 
 
 It is evident that if curved lines are indispensable to 
 this character and produce it without other aid ; straight 
 lines are not indispensable, and do not produce it without 
 other aid. 
 
 But straight lines do produce a character, which we may 
 define as picturesque ; irregularity has been shewn to be 
 its primary feature, therefore whatever adds to its irregu- 
 larity, adds to its picturesqueness. 
 
 Now broken curves are irregular, and perfect picturesque- 
 ness is formed of these, in conjunction with broken straight 
 lines, and though continuous curves even be combined 
 with them, yet wherever the two former predominate, the 
 picturesque may be predicated. 
 
 That straight lines, rectilineally adjusted, produce re- 
 gularity and proportion — into which bases the most 
 complicated arrangements of them can be reduced. 
 
 There is one character, that of grandeur, which requires 
 our attention ; it is independent of curves or angles to any 
 complicated extent, may be formed of either, and being 
 
143 
 
 equally producible by right lines, deserves especially for 
 architects a place per se. Magnitude, though bounded by 
 the outline of the pyramids or the rainbow alone (a simple 
 triangle and semicircle) will produce it, and in these cases, 
 it requires a very nice perception to see that one is beauti- 
 fully, the other picturesquely grand; an immense wall 
 formed at right lines is merely grand; magnitude and 
 apparent strength are indispensible to its production, and 
 will by themselves then, in the simplest possible form, 
 that last mentioned, produce it. In whatever grandeur 
 exists, if the continuous curves predominate, we get the 
 beautifully grand, seen to perfection in colossal statues, 
 less perfectly in some of the English mountains, Helvellyn 
 for instance, in the rolling waves of the Atlantic, and 
 domes. If the angles predominate, we get the picturesquely 
 grand, as in the outlines of the Alps, Capri, near Naples, a 
 pine forest, the spires and towers of Gothic architecture. 
 We find that in all these last cases, we must use a com- 
 pound expression clearly to define their character, whereas 
 in the rainbow and pyramids, independent of colour, we 
 should at once define them as grand, although as before 
 observed, they are not solely so in reality, yet the forms 
 are so simple that we can waive the adverb ; this being 
 the case it is evident that a certain degree of monotony is 
 inseparable from the simply grand, and as we have set 
 forth variety as the primary feature of perfect beauty and 
 irregularity of the perfectly picturesque, so we may con- 
 sider simplicity a primary feature of the perfectly grand. 
 
 To have a definite notion of the difference of each of 
 these qualities is what I have in view, and when once they 
 stand out clearly from each other in the imagination and 
 in fact, it is then time to enquire how they act in conjunc- 
 tion and opposition, and what is the effect so produced. 
 
 From what we can imagine of excellence in these 
 qualities, from the examples given us for study, it would 
 seem on first reflection, that to join the strongly marked 
 features of each quality in one subject, would be funda- 
 mentally wrong and actually disagreeable, yet in architecture 
 this is constantly done, and some in their dreams of a novel 
 style, have said, that the time may come, when some great 
 genius joining the peculiar excellencies of various styles, 
 shall form an original and new system of design, the asser- 
 
144 
 
 tion and the hypothesis may, I think, be demonstrated as 
 equally untenable. 
 
 It is presumed then that the best points of each character, 
 the grand and the picturesque, may be joined to their 
 mutual advantage and form- a more agreeable novelty. 
 Though bearing less undivided application to our purpose, 
 let us commence with the art of painting, and turn to a 
 great authority, Sir J. Reynolds, who with one or two 
 strange contradictions to his own words, speaks thus : — 
 
 “ Such as suppose that the great style might happily be 
 blended with the ornamental, that the simple, grave, and 
 majestic dignity of Baffaelle could unite with the glow 
 and bustle of a Paolo or a Tintoret, are entirely mistaken, 
 the principles by which each are attained, are so contrary 
 to each other, that they seem, in my opinion, incompatible, 
 and as impossible to exist together, as that in the mind, 
 the most sublime ideas, and the lowest sensuality should 
 at the same time be united.” Instead of “ impossible,” it 
 would be better to say “ disagreeable,” for such mon- 
 strosities have existed. Of Rubens, he says : “ The whole 
 is so much of a piece, that one can scarce be brought to 
 believe, that if any of the qualities he possessed had been 
 more correct and perfect, his works would have been so 
 complete as they now appear.” 
 
 Again of Poussin, in comparison with Rubens, “ however 
 opposite their characters, in one thing they agreed, both of 
 them always preserving a perfect correspondence between 
 all the parts of their respective manners, insomuch, that it 
 may be doubted, whether any alteration of what is con- 
 sidered as defective in either, would not destroy the whole 
 effect.” 
 
 But without speaking of what might or might not be, 
 let us turn to cases where this amalgamation has been tried. 
 
 Tintoretto professed to join the colouring of Titian and 
 the drawing of M. Angelo ; here one would say if such an 
 amalgamation to the benefit of each was possible, it would 
 succeed, for the character of the colouring was separated 
 by no very startling grade from the character of the draw- 
 ing, and the man himself who proposed to obtain this end 
 was a true genius. Now what is the result ? why that he 
 is honoured and we delighted, not by his success in joining 
 imitations of both, as he often does, most ably, but in so 
 
145 
 
 far as his own strong and individual character is marked 
 upon the canvass. 
 
 Carlo Maratti, according to Reynolds, “ knew and prac- 
 tised all the rules of art, and from a composition of Raffaelle, 
 Caracci and Guido, made up a style, of which the only 
 fault was, that it had no manifest defects and no striking 
 beauties, and that the principles of his composition are 
 never blended together, so as to form one uniform body, 
 original in its kind, or excellent in any view.” 
 
 Here we have a man of genius, and a man of compara- 
 tively if not merely mechanical power, trying this system 
 of the amalgamation of excellencies for the production of 
 an equal or superior excellence. In each case the result 
 is a failure. 
 
 Further, if the principle were correct, we might justly say 
 that Rembrandt being the most perfect master of light and 
 shade, let us give him Raffaelle’s perfection of form, and they 
 would mutually enhance each other’s charm. But a fair 
 consideration of cases where this has been attempted, assures * 
 us that they do on the contrary, mutually deteriorate 
 each other. Make up a landscape from the calm beauty of 
 Claude, the massive grandeur of Poussin, and the dotty 
 picturesqueness of some of our modern schools, and mutual 
 detriment would assuredly result. Fuseli in his endea- 
 vour to unite grace and grandeur in his women, produces 
 on me at least a most disagreeable impression. Michael 
 Angelo never attempted this — it is scarcely too much to 
 say that his celebrated female figures in Night and Morn- 
 ing are devoid of all grace or beauty, except that which 
 the necessary form of humanity involves. 
 
 As for ornament, he who should wish the minute 
 finishing, or the quantity of ornamental subjects in most 
 Dutch pieces or the early Italian school, in the works of a 
 Fra Bartolomeo, a Yolterra, or a Reynolds, must.be desti- 
 tute of all perception of fitness. 
 
 We cannot bring these three distinct characters together 
 for the production of an equal, or superior character, they 
 must detract from each other. This is perhaps not so evi- 
 dent in painting, because there are so many other adjuncts 
 to attract the attention. But even from these instances, I 
 think we are justified in arriving at the conclusion that, 
 form, light and shade, and ornament, have each, individu- 
 
146 
 
 ally the qualities of grandeur, beauty and picturesqueness, 
 and that when the form is picturesque the shadow and 
 ornament, should be likewise picturesque, and that the 
 same system should be carried out, through whatever 
 character, simple or compound, is meant to be expressed, 
 and that to make the form w T ell defined and graceful, the 
 shadow undefined and picturesque, and the ornament 
 massive and grotesque, would be to produce an eccentric, 
 but surely not a good effect. 
 
 Now let us turn to sculpture, and here we must in mere 
 • fairness, make another extract from Reynolds, “ the highest 
 perfection of the human form, is not to be found,” he says, 
 “ in the Hercules, nor the Gladiator, nor in the Apollo, but 
 in that form which is taken from all, and which partakes 
 equally of the activity of the Gladiator, of the delicacy of 
 the Apollo, and of the muscular strength of the Hercules. 
 For perfect beauty in any species, must combine all the 
 characters which are beautiful in that species, it cannot 
 consist in any one to the exclusion of the rest, no one 
 therefore must be predominant, that no one may be defi- 
 cient.” 
 
 This idea of a central form, from which all deviation is 
 deformity, consisting in the combination of distinct quali- 
 ties or characters, and exhibiting each in perfection, is one 
 of those loose and obstructive fancies, grounded on no 
 reasonable principles, nor on any analogous facts, which 
 serve only to puzzle and confuse us. Let us look around, 
 and first let us take the forms of trees. An artist may 
 make an ideal pine tree, from many well selected models, 
 more perfect in its special character than any we have seen, 
 he may do the same with the poplar, the oak, the willow, the 
 yew, but would any one allow or conceive that there is 
 a central form of a tree, more perfect than any existing, 
 gained by blending the respective excellence of each ? 
 
 If we take animated nature, it may be allowed that an 
 artist might make a lion more noble than any that ever 
 existed, a horse more beautiful, a gazelle more graceful, a 
 goat more picturesque ; but could any art make out of 
 these a central perfect and supreme form, expressing their 
 perfect variety in one perfect unity ? Would one not pro- 
 duce rather the horrible jumble of a disturbed dream. 
 
 It may be urged that I am enlarging the sphere of ope- 
 
147 
 
 ration and altering the meaning of the proposition ; but let 
 us take the words as they stand. “ Perfect beauty in a 
 species, must combine all the characters of that species, it 
 cannot consist of any one to the exclusion of the rest, no 
 one therefore must be predominant, that no one may be 
 deficient/’ The sphere of my illustration has certainly 
 been enlarged, but the sense and spirit of the reasoning 
 remain the same, viz., that opposite or various qualities, 
 must be joined for the formation of actual perfection, for 
 the Hercules, the Gladiator, and the Apollo, are as much 
 distinct species of one form, man, though it may require a 
 more delicate sense to perceive it, as the European, the 
 Asiatic, and the Negro, of the same form. The oak, the 
 elm, the aspen, of the tree ; or the mule, the zebra, and the 
 ass, are of the horse. Their characters are essentially dis- 
 tinct, and yet resolvable into one pervading form. And if 
 it is true, that no perfect beauty can exist, which does not 
 include all the characters which are beautiful in a species, 
 then even binding ourselves down to this word, beautiful, 
 which' is most indefinitely used, for surely the Hercules 
 would not be characterised as beautiful . We must join the 
 Asiatic to the European, the zebra to the horse, and the 
 aspen to the elm, to the improvement of each. 
 
 Now without further simile, it seems clear to me from 
 the former investigations that qualities strongly marked 
 and perfect or excellent in themselves, when amalgamated, 
 do not aid or improve, but do actually neutralise and even 
 destroy the charm of each. Let us take it in a common 
 sense view, and is it not a paradox to assert that perfect 
 beauty is not in the Hercules, the Gladiator, or the Apollo 
 alone, but in that form which partakes of the muscular 
 strength, of the activity, of the delicacy of each? That 
 which renders them separately so good, is the perfect de- 
 velopment of each quality singly, and is it not clear that 
 by blending them in the only way he can mean, through- 
 out the whole man, they at once lose those characteristics 
 perfectly developed in their respective forms, and become 
 imperfectly developed in a compound form. All com- 
 pound qualities are more or less inconsistent, and all single 
 qualities though made up of an infinite variety of forms, 
 are consistent. The expression of character, and not the 
 expression of beauty only, is what delights us in form, as 
 
148 
 
 in everything else, and in so much as any expression is 
 perfect in so much any admixture of another expression 
 detracts from its supreme merit and the pleasure it affords 
 us. Moreover, this principle of fusion, which Sir Joshua 
 considers would be the perfection of ideal humanity, has 
 been carried out in varied degrees, more gradually and 
 artistically by the Greeks, and more coarsely by the 
 Eomans, who in one case, that of combining manly beauty 
 and delicacy or grace, have produced those effeminately 
 graceful statues, which are to be met with so constantly in 
 the Italian galleries, and are more disagreeable than the 
 representations of a consistent deformity. These assertions 
 of Reynolds are diametrically opposed, the styles he 
 speaks of in painting are merely species or characters of 
 that mode of expression, and it seems to me that the 
 former are founded on fact and observation on truth, 
 whilst this latter is founded on no fact, truth, or reason. 
 The concluding remark especially confutes itself, for where 
 no character is predominant, even though none may be de- 
 ficient, no character exists. This is inconceivable and pro- 
 duces on the mind the idea of non-entity. Surely it was 
 not from precedent or example, that this is predicated as 
 the perfection of form, for there is no one celebrated work 
 of sculpture or of any other art, but what has some pre- 
 dominant character by which we distinguish it. And it is 
 just the predominant character of each statue he has 
 named which distinguishes them as excellent over all their 
 rivals. 
 
 Architecture I think shows the stubbornness and incon- 
 gruity of strongly marked qualities more clearly than the 
 other arts, there being less to confuse the ideas than in 
 sculpture or painting, and it exhibits better the gradual 
 almost imperceptible differences by which alone they are 
 made to harmonise and their antagonism rendered less 
 palpable. It must be premised that as art like civilisation 
 admits of no chronologically continuous development, but 
 shews various phases in various and unconnected periods, 
 in filling up and explaining the necessary gradations of 
 a particular class or style of building, we must be pre- 
 pared to put chronological order out of our minds. As one 
 for instance would be forced to commence the history of 
 
149 
 
 architecture with the comparatively modern remains of 
 Druidical times. 
 
 Let us commence then, with retaining what is beautiful 
 of the Italian, what is grand of the Egyptian, what is 
 picturesque of the Gothic, and how does the idea of the 
 most skilful fusion of them affect the mind ? Even unite 
 the graceful picturesqueness of Moorish leaf ornament and 
 the rough picturesqueness of a Gothic monument, and 
 could any imagination conceive an agreeable combination ? 
 In either of the cases would a superior or equal style be 
 educed ? or rather would there not be a hybrid conglome- 
 ration, destroying the charm of each. Sicilian and Spanish 
 Saracenic, have both been skilfully blended with Norman 
 and Gothic respectively. Yet, the architecture thus pro- 
 duced, however its novel effect may charm us, ranks in 
 each case lower than its primary and pure constituents, 
 and is universally allowed to be theatrical , in a lowering 
 sense of the word; it is here the same as before, the 
 different qualities of each are deteriorated in combination. 
 Let us now take an Elizabethan building, here we have 
 much that is allowedly coarse and grotesque ; here might 
 the breeder of styles say, “ is a fine opportunity for a cross 
 with the graceful, or the beautiful let him then put up 
 a Canova in the niche, or replace that grotesque column 
 with its Grecian type, and is he not on the right track to 
 ruin the whole building. It is not prejudice which would 
 affright the admirer of this style, were you to bring the 
 orders of ancient Greece for his use. 
 
 The building has one distinct quality or character, and 
 his sense of propriety or taste, at once tells him, that 
 these though good in themselves, are not good for his pur- 
 pose, but if carried out through the whole building, even 
 retaining the outline would ruin its charm. We may 
 assert the same as regards two phases of character in 
 the same style. There is a corresponding phase of Italian 
 architecture in Venice, as seen in many parts of the Doge’s 
 Palace. I mention Venice more especially, because the 
 Cinque Cento of that city bears more striking features of 
 resemblance to our Elizabethan than the Cinque Cento of 
 Italy generally, having amongst them those many curved 
 gables, so common with us. Now, were you to apply any 
 ordinary string course, niche, moulding or foliated orna- 
 
t 
 
 150 
 
 ment of the one to the other, they would be mutually out 
 of place, for the character of strong or grotesque pictu- 
 resqueness in the one will not amalgamate satisfactorily 
 with the grace, the delicacy, often the weakness of the other. 
 
 There is no more difference as regards the expression of 
 form between Grecian, Roman and Italian architecture, 
 or between Doric, Ionic and Corinthian, than there ’is 
 between the expression of form in the Hercules, the 
 Gladiator, and the Apollo. Yet, who would expect to form 
 a more perfect fourth, from the most skilful and artistic 
 combination of the three ; blend them as you will, and the 
 many attempts of this nature by various celebrated modern 
 architects, however satisfactory in themselves, all point 
 out the futility of hoping to excel or equal the excellence 
 of each as they are known to us in their separate charac- 
 ters. It would seem then essentially wrong to graft the 
 excellencies of one style to the excellencies of another in 
 form or ornament, and yet we have many buildings whose 
 size alone would render them grand, and arranged in the 
 grand simplicity of Grecian art, detailed out with the 
 spirit of Ancient Rome, of Palladio, and Vignola, nay often 
 with the weak delicacy of Cinque Cento, and the richness 
 of Gothic. It is but too usual to see the celebrated works 
 of the past, the models for our modern buildings, and while 
 the essential original forms are retained, the whole cha- 
 racter is deteriorated if not destroyed by that studied 
 refinement and variation of detail, which our books, our 
 travels, our studies render so easy of obtaining, and which 
 are so ruinous in their effect. 
 
 We cannot, I think, be too strongly impressed with this 
 truth, for such to me at least it seems, that works of art are 
 excellent and delight us, in so far as they express a cer- 
 tain quality, and that this delight becomes more strongly 
 impressed as the singleness of any quality becomes more 
 strongly impressed, whether it be grandeur, beauty, grace, 
 picturesqueness, grotesqueness, oddness, ornament, fancy or 
 strength ; and that it is the perfection of any quality worked 
 out harmoniously from a variety of forms, all expressive of 
 that quality, the greater the variety or irregularity, the 
 more perfect being the quality, which gives an indestructible 
 value to the works of all times and all nations, to the 
 Egyptian temple, the Italian palace, the Gothic spire, to 
 
151 
 
 the ornamental work of the Middle ages, to the Cyclopean 
 as to the Moorish wall, and this is the chief reason which 
 places Michael Angelo and Raffaelle, the sculptors of 
 the Apollo and the Venus, the architects of Greece and 
 Mediaeval Europe, so high in our estimation. 
 
 But that compound qualities do and must exist, and 
 that it is by the gradual introduction of these that we fill 
 up the otherwise too startling gaps between strongly anta- 
 gonistic qualities, and that there can be no stop in any 
 system of created and creatable art, which has all these 
 qualities to be expressed, but that there is or will be one 
 continuous imperceptibly linked series infinitely varied, 
 joining agreeably the now antagonistic features of each, 
 does seem to me, as certain as the world’s motion, as 
 clear as light ; and it is for this reason as absurd to ana- 
 themise one style to the exaltation of another, to pit 
 Gothic against Grecian, or Roman against Norman, as it 
 would be to declare, that because the yew is picturesque, 
 the elm is worthless, or because the chestnut tree is beau- 
 tiful, the oak has no charms — each one has its own. 
 
 Moreover does it appear, that works of art, though im- 
 perfect in many parts, are yet agreeable, when they hold a 
 consistent character throughout all their parts, and with 
 the pervading quality. 
 
 Whilst a work of art with all its parts perfect in them- 
 selves, but not consistent in character one with another, 
 nor with the pervading quality, is unsatisfactory, inferior, 
 and fundamentally wrong in principle and practice. 
 
 The perfections then of opposite characters cannot be 
 suddenly blended, for a greater or less degree of deformity 
 would be the result, the process must be gradual to be 
 agreeable ; no art could blend the Farnese Hercules and 
 the Medicean Venus, directly, yet indirectly and by 
 gradual stages their antagonism is adjusted; and these 
 three qualities of grandeur, beauty, and picturesquenes 
 in their perfection and transition, may be seen in the 
 Olympian Jove, the grand; the Laocoon, the sublimely 
 grand ; the Hercules grandly strong. The Apollo Belvidere 
 the beautiful, inclining in the Disc Thrower to the beau- 
 tifully strong, in the Diana to the graceful, and in the 
 Medicean Venus to the weak. Let Salvator Rosa represent 
 picturesqueness, who in his own productions is at times 
 
fanciful, at times sublime; but as many might disagree 
 with me as to the justice of these definitions, I would 
 refer to the whole series of Grecian sculpture, which will 
 show on investigation, the most wonderful and delicate 
 changes between these different characters, and rather 
 still to living men, and then to animals, where the chain 
 of graduated form is wonderfully shown, as seen in the 
 British Museum. This antagonism in architecture, which 
 is the cause of so much foolish party spirit, may be seen 
 reconciled to a degree in Italian and Grecian, early and 
 debased Gothic, but the more startling differences as be- 
 tween Gothic and Grecian. Elizabethian and Byzantine are 
 yet unreconciled, and it is to this end that modern art tends. 
 
 Venice I think, more than any other city I ever saw, 
 informs us on this matter, and has sufficient transition 
 examples in all styles, to prevent their strong difference 
 from being disagreeable. I say disagreeable, for here as 
 in reasoning, the mind is pleased with consequent effects, 
 and dislikes sudden and unconnected leaps. 
 
 Shadow and Ornament. 
 
 Having considered the nature of the forms productive 
 of beauty, &c., let us see how Shadow and Ornament 
 produce or aid the same. 
 
 Shadow is the inseparable companion of actual form ; it 
 is born as it were of it, by light, and becomes capable of 
 expression as it reflects its parent or defines its receiving 
 form. The wonderful and splendid power of shadow is a 
 thing which the architect of late times seems studiously to 
 have avoided ; it is as though the painter were to give up 
 his chiaro oscuro and depend on outline alone. 
 
 This is more excusable in the painter, for such is the 
 wondrous perfection of the beauty of the human figure, in 
 form alone, that it possesses singly a deep and overpower- 
 ing charm, but this perfection the architect cannot obtain 
 on account of the great admixture of straight lines in his 
 work; therefore it is, that shadow should be of such 
 consideration to him, and such is its power, that although 
 the building and ornament be actually bad, as regards form, 
 as in many of the ancient churches of Italy, yet this one 
 cause will by itself redeem them and excite a profound 
 
153 
 
 impression ; what then can be more unaccountable than to 
 neglect the study of it ? 
 
 In lands such as Italy and Greece, where the sun’s 
 constancy and the clearness of the atmosphere are pretty 
 well assured, the component parts of the buildings are not 
 remarkable for their power of shadow, it is the light which 
 predominates ; their beautiful outline touched by beautiful 
 light stands forth clearly and distinctly against a blue sky. 
 The beauty of form has been their aim, and most sensibly, 
 for it was a power peculiarly fitted for development in 
 their climates — and as the noblest power always received 
 the deepest attention from that wonderful race, the Greek 
 artists and architects, I cannot help thinking that this 
 was probably a chief motive in placing their temples on a 
 clear space, or on elevated spots. Not that they neglected 
 shadow, but rendered it as it ought abstractedly to be, sub- 
 servient to form, and ornament subservient to both, they 
 are indeed perfect works of art in those countries, for they 
 are excellently consistent with themselves and with all 
 nature around them. 
 
 Unfortunately, we live in a land peculiarly unfitted for 
 the development of sculptured art in the open air, both as 
 regards Form and Shadow ; because a clear atmosphere and 
 the sun’s light are requisite for each. It is in atmospheric 
 clearness we are most deficient, and our first consideration 
 should be how to suit form to it ; it is evident that the 
 profiles of Greek or Roman mouldings, perfectly expressed 
 in Greece or Italy, cannot be perfectly expressed in England, 
 nor can the perfection of mouldings or other parts have the 
 same effect here, for our misty atmosphere, especially in 
 cities, deadens the outline of the moulding, by assimilating 
 it to itself, and obscures our medium of sight, and the 
 projection whose effect depended on the presence of sun- 
 light cannot be equally fitted for the absence of sunlight ; 
 the same with recessions ; now is it not clear and rea- 
 sonable, that the predominant means of producing effect 
 should be the predominant cause of effect ? and if the 
 presence of the sun is more frequent than the presence 
 of atmospheric clearness, then the sun should be the 
 predominant cause of effect; but the sun though it 
 predominates does not shine constantly — and thus though 
 the building should be more adapted for sunlight than 
 
154 
 
 atmospheric relief, yet it should be independent of either 
 in their perfection. Sunlight and atmospheric clearness 
 are not concomitant with us ; it is no exaggeration to say 
 that our atmosphere never attains to the clearness of 
 southern countries, and is materially unfitted for the 
 proper development of true Grecian or Roman profiles. 
 The sun does often shine and is excellent for the expres- 
 sion of shadow, even in smoky cities, but the atmosphere 
 is never clear enough to be fitted for the development of 
 delicate profiles. Which then should claim our first con- 
 sideration in design ? Beauty of profile must succumb in 
 this country from its highest place and be content to reign 
 in conjunction with shadow, if not to be subservient to it, 
 and it was the perception of this necessity which forms 
 one of the great charms of Gothic and Norman architecture, 
 and was the under idea of Sir C. Wren, as evinced in the 
 detail, the ornament, and the massing of his buildings. 
 
 Bor shadow is so indispensable to the development of 
 perfect character in a building, that when nature is not 
 favourable to its production, all that human art can do 
 should be done to obtain it. 
 
 That the necessity for shadow is not however the 
 same in all classes of buildings, may well be supposed ; 
 for instance, the grander or stronger the character to be 
 expressed, the less need there is of it, we may see this, as 
 regards grandeur, in the Pyramids, in the wall of the Forum 
 of Nerva, and the walls of fortified towns ; and as regards 
 strength, in the Pitti Palace, Florence, and the generality 
 of Tuscan palaces, the Palazzo Thiene, Vicenza, the Palazzo 
 Farnese (north) and most of the Roman palaces. In all 
 these the simplicity of the form being essential to their 
 effect, it follows that the shadows should possess the 
 same character, and any complicate or broken shadows 
 given them would be wrong because not consonant with 
 the nature of the containing forms ; the most remarkable 
 union of strength and shadow perhaps to be seen is St. 
 Paul’s, Covent Garden. 
 
 But for the full development of a more truly beautiful 
 character, we may turn to the temples and monuments of 
 ancient Greece and Rome, where as before remarked, 
 shadow is carefully studied and expresses the beauty of the 
 various forms, as in the fronts of the Parthenon, Pantheon, 
 
155 
 
 the triumphal arches, the Coliseum; and in modern 
 works, in the Basilica, Vicenza, the Loggie of the Vatican, 
 the Palazzo Bevilaqua, Verona, the Lions Court of the 
 Alhambra, the Library of St. Mark, Venice, and Whitehall. 
 
 There can evidently be no rule for the quantity of shadow, 
 appropriate to so many different grades of the beautiful in 
 architecture, but we may be pretty sure from these ex- 
 cellent examples, that the shadow should be of a medium 
 power, not superior to the form, and consequently that all 
 projections and recessions in massing or ornament should 
 be of a medium character also, obtaining neither the 
 largeness of the grand, nor the brokenness and depth of 
 the picturesque. 
 
 To the picturesque however shadow is most necessary, 
 and to a great degree indispensable; the proofs are so 
 numerous in the architecture of the north that it seems 
 needless to mention them ; where is the Gothic building 
 that in its porches, arches, mouldings, ornament and plan, 
 does not show this ? 
 
 As to the relative examples of shadow, as adapted to 
 the expression of form among painters, one might mention 
 Michael Angelo and Daniel di Volterra as grand; Kaffaelle, 
 Leonardo, and Guido, beautiful ; Salvator, and Bembrandt, 
 picturesque. 
 
 Whatever style of architecture we adopt, it is not sensible 
 to make use of those exact forms of mass or detail w r hich 
 were intended for an entirely different climate, and for an 
 effect which we in England can seldom if ever hope to 
 obtain ; but the shadow 7 which nature has denied us may 
 still be gained by the effective, because sensible practice of 
 northern art ; by deeply cut mouldings, great recession of 
 apertures or great projection, if the nature of the wall does 
 not admit of the former, and ornament thoroughly pierced ; 
 all will hold shadow in themselves, strong and expressive 
 though no sun should touch them, and doubly charming 
 wdien so relieved ; it does seem a great fault in the archi- 
 tect’s education, that the importance of this subject should 
 be so generally neglected, and that his art should be taught 
 him as a matter of mere outline, form, or proportion ; that 
 in fact the effect of a single voice should be so cultivated 
 whilst the additional charm of a second is almost ignored. 
 
 But in designing it should be remembered that parts 
 
156 
 
 which hold shadow in themselves, such as mouldings, 
 ornament, &c., should not be confounded with those which 
 shadow another part, as in eaves, angles, walls, and de- 
 tached columns ; these do not hold darkness to nearly the 
 same degree, and tliis degree is weakened as they extend 
 or project ; I know of no case where the extra and needless 
 expense of detached columns is more seen than in the 
 School of San Rocco, Venice, facing the north. 
 
 As regards ornament, under which head we will not at 
 present consider mouldings, but the design and cutting 
 applied to them, and carver’s work in general ; the first 
 requirement is that the work should be good in itself, 
 consistent with the character of the building, and expres- 
 sive of its purpose, well and carefully cut as it approaches 
 the eye, more deeply and roughly cut as it is distant. 
 
 The actual objects to be applied, who shall determine ? 
 For nature in her infinite variety is given us for a store- 
 house, it is in the appropriation and application of her 
 resources that the true artist is shewn. In saying this I 
 do not say discard the standard ornaments of any style, in 
 every such style we and the world also have a fixed idea 
 from habit of the ornament fitted to it, which should be 
 deviated from with the greatest caution, because also it 
 grew with each style and in each fulfils its purpose, even 
 the extra depth of cutting necessary in some styles to 
 obviate the obscurity of the atmosphere should be carefully 
 done, or we shall do that which opposes the general 
 character of the building. Wren has shewn great judg- 
 ment in this respect. Italian architecture has been fitted 
 by him as far as it ever can be, in form, shadow, and 
 ornament, to the requirements of our land, and he who 
 should gothicise it still more would soon find himself 
 verging on another style, bearing more of what is called 
 Elizabethan character. It is necessary to mention one 
 custom of this period (Wren’s) which is earnestly to be 
 deprecated, viz., the exact imitation of the object repre- 
 sented : placing aside the cut up appearance it produces, as 
 may be especially seen in the festoons at Hampton Court, 
 it is against the just principle of consistency, for as archi- 
 tecture is in a great degree unnatural, that is, the exact 
 copy of no type in nature, so also should architectural 
 ornament not be the exact copy of any natural model. 
 
Moreover in choosing the model, great care must be taken 
 that it has in itself an expression analogous to the cha- 
 racter of the style, as shewn in the application of the ivy, 
 vine, sycamore, maple, thistle, and picturesque foliage and 
 figures in Gothic art ; and in the egg and tongue, volutes, 
 honeysuckle, and beautiful figures in Grecian art ; and here 
 it may be remarked that the pervading character of the 
 mass is constantly, if not always, exaggerated in the 
 mouldings and ornament, which not being so immediately 
 or individually perceived, aided nevertheless in producing 
 the effect. Thus, for instance, the mouldings of ancient 
 Greece or Kome, and any concomitant figures or foliage, are 
 more graceful than the expression of the general mass or 
 outline which is beautiful, and in northern architecture 
 are more grotesque than the general character, which 
 is picturesque. 
 
 That ornament should suit itself to the general cha- 
 racter of the building is easily allowed ; however, it should 
 not only serve a purpose in this respect, but also have a 
 meaning in itself. Yet, how does the case stand ? 
 
 At the entrance of few modern buildings would the 
 spectator find cause in this regard to suspect himself in 
 England, or in a northern or Christian country at all. 
 Grecian games, Roman triumphs, Heathen sacrifices and 
 symbols, to the people dead and unmeaning, to the in- 
 structed offensive and absurd. Does our past afford us no 
 scope for sculptured ornament ? Have we not our ancient 
 mythology, our times of romance, our history, our legends, 
 our literature, our present, dull only to the dull ? It is 
 true, we have got rid of the heads of sacrificial oxen, 
 Jupiter’s thunderbolts, and the grosser cases of anomalous 
 sculpture, but much, too much yet remains ; we may have 
 divested ourselves of the toga, but we still strut about in 
 the Phrygian cap, or Roman sandal. 
 
 This is as truly the fault of the sculptor as of the 
 architect, if not more ; in the same way as the architect has 
 allowed the engineer to encroach on his prerogative, has 
 the sculptor allowed the architect to encroach on his. 
 The sculptor should attend more to the benefit which 
 architecture might afford him, and the charm which he has 
 it in his power to give her, as exemplified by all ages, except 
 our own. This fault is now, however being remedied, and 
 
158 
 
 as the sculptor is becoming more employed on buildings, 
 we should earnestly impress on him the scope which the 
 history, literature, and customs of our country affords him 
 for the exercise of his fancy, the following out of which 
 principle renders Gothic sculpture a book as it were, in 
 which all may read, be delighted and instructed, and 
 makes the sculpture of the ancients, besides its other 
 merits, a valuable source of information to us and the 
 study of literati. 
 
 In the perception of this do the French vastly excel us, . 
 but the very boldness with which they apply modern sub- 
 jects to ancient forms, as in the Arc de l’Etoile, and the 
 Madeleine for instance, should act as a caution to us to go 
 not over fast ; it is enough to commence the change, and 
 it will glide on easily and agreeably into the fact of an en- 
 tirely different system from that whence it sprung. 
 
 The Gothic imitator is better and worse off in this respect 
 than the ordinary practitioner. One period of our his- 
 tory and literature he can well express, but out of that 
 everything becomes distorted and false, as in some dis- 
 eases of the eye where all colours are seen as though of 
 one unchangeable hue. 
 
 Bigots in any style are not to be commended, and are 
 equally wrong in making George the Fourth, riding almost 
 naked, and without reins, and in turning Victoria into a 
 Mediaeval dame. It is not that this or that thing is inca- 
 pable of application, although it may be difficult : the power 
 of applying it lies in the artist, not in the object. Does 
 anyone suppose that the human beings and graceful 
 drapery of the Grecian friezes, &c., are representations of 
 a national fact ? Does anyone really suppose that there 
 was this monotony of perfect beauty? have we not 
 heard of Socrates, of Thersites, of Diogenes, of iEsop ? It 
 was, however, the sculptor’s business to suit his work to 
 its continent form, and well as it been effected. 
 
 Do we fancy that the figures and dresses of the middle 
 ages were so invariably picturesque as they are shown, 
 or so charming in their angular quaintness; was dress 
 never in disorder, was ornament universal, were all cloaks 
 made of that material, which is best calculated to fall in 
 sharp small and angular folds ; assuredly there was scope 
 for diversity of treatment ; but again, it was the sculptor’s 
 
159 
 
 object to suit his work to the picturesqueness of its set- 
 ting, and it is done with a success in no way inferior to 
 the other. Neither the one nor the other, however, speak 
 of the last 200 years of English life, they are the glory and 
 exponents of the past, but it is for the sculptor of the day 
 to embody the spirit of the day, which is the spirit of the 
 whole national history. It is not this dress or that, but 
 the energy, the inventiveness, the religion, the literature, 
 the genius of an imperishable race extending in range from 
 its savage down to its present civilized state ; and here, let 
 us take to heart the words of an eloquent American philo- 
 sopher, Emerson — “ Beauty must come back to the useful 
 arts, and the distinction between the fine and useful arts be 
 forgotten. If history were truly told, if life were nobly 
 spent, it would be no longer easy or possible to distinguish 
 the one from the other. Beauty will not come at the call 
 of a legislature, nor will it repeat in England or America its 
 history in Greece. It will come, as always, unannounced, 
 and spring up between the feet of brave and earnest men.” 
 
 Architecture is as much a fine as an useful art, and 
 affords scope for the highest application of the sculptor’s 
 imagination ; not only then should the additional charm 
 of sculpture be sought, but we should seek that particular 
 class of character which suits the corresponding character 
 of the nation, and for this reason I cannot but regard the 
 beauty of ancient Greece or Eome, as partially unfitted to 
 our national perception. 
 
 The northern races are and have always been distinguished 
 for their perception of the fanciful, the picturesque, the irre- 
 gular, the original, the strongly marked : it is shewn in 
 their literature, their architecture, their painting, music, 
 sculpture, legends and history, it bears no analogy to the 
 genius of the south ; it is no deficiency, but a difference of 
 perception which marks them, and those who labour on 
 half despondingly, to evoke the spirit of beauty in the 
 people, must first of all educate and train them into a just 
 appreciation of it, for slightly does it enter into their 
 national character. The heart that bounds, or the eye that 
 glistens at the merry or plaintive strains of a correspond- 
 ingly tuned music, remains unmoved at the most regular, 
 normal, and merely beautiful composition of a nature 
 foreign in its expression to its own, and I have seen men 
 
160 
 
 to whom all the wonders of Grecian and Roman sculpture 
 were little better than dolls, who had no perception of art, 
 as art, stand entranced and delighted before the rough but 
 fanciful ornament of a sculptured Gothic tomb. It is very- 
 usual to run down the English as dull and slow in the 
 perception and love of art as a nation, but are those who 
 complain of this, sure that they touch the right chord of 
 the national feeling ? Are they not drumming Homer or 
 Sophocles into the ears of those who, dull and unrespon- 
 sive to the lesson, yet feel strongly and passionately the 
 irregular, but corresponding charms of a Shakspeare, or an 
 old balladist ? Do they not seek to make exclusively- at- 
 tached to cloudless skies, calm seas, and perennial springs, 
 those in whom the power of the storm and the gloom of the 
 mist, the roaring of the restless ocean, and the wildness of 
 the mountain path, are a love and a delight ? They speak 
 to us in a language we understand not, and complain of 
 our stupidity in not answering. How that the language in 
 which they would always address us begins by most intense 
 application to be understood, they look around with satis- 
 faction and hug themselves with the idea that the Beautiful 
 is taking root, and overspreading the land ; but I feel 
 convinced that whilst a Gothic monument, a single ballad, 
 an old sword hilt, or a broken lectern exists, there exists 
 also the hiding place of a power, the true sovereign and 
 genius of the people, which will at the proper moment, 
 and in due time, rise like one of the native heroes of the 
 past, and keep the stranger in subjection to its sway. 
 
 It is for this reason that the sculpture of a building 
 should address the natural feeling of the nation and speak 
 to them, not only in a language which they can under- 
 stand, but of facts with which they are most likely to be 
 acquainted. 
 
 As regards the proper points of decoration, we may see 
 that all junctions and angles are more legitimately such. 
 This is the case in Grecian, Roman, Norman, and early 
 Gothic ; the Tuscan palaces, in some of which the angle 
 wall has especially been studied. In the Roman palaces, 
 the same is seen in the angle rustication. Where an orna- 
 mental appearance is more particularly sought I cannot 
 but think that the decoration should be confined to the 
 principal features, the doors, windows, strings and cornice, 
 
161 
 
 for the massiveness or strength of the building is retained 
 by the breadth of the plain interspaces, and the eye more 
 agreeably runs over the ornamental character of the mass 
 in perspective, and can study each feature separately and 
 undistractedly ; as examples of this system, one might 
 remark the earliest palatial buildings of the north of Italy, 
 the terra cotta palaces of Ferrara and Bologna, the Town 
 Hall of Piacenza, the Hospital, Milan, the Podesta’s house, 
 Orvieto, and Norman architecture generally. Whilst the 
 effect produced by distributing the decoration more equally 
 over the whole surface, is to be seen in the later periods of 
 Gothic art, in many Elizabethan buildings, in the Town 
 Hall, Seville, the monasteries of Valladolid, and in Spanish 
 architecture generally (of the Eevival), and in Italian 
 Cinque Cento ; at the Doge’s palace, and palazzo Trevisano, 
 Venice, and the Certosa, Pavia; in all these the greater or 
 less quantity of wrnrk applied throughout the surface, 
 renders them (however admirable, as mere ornament) cut 
 up, weak, distracting, and deprives them of that idea of 
 solidity or strength, which should be inseparable to even 
 the most ornamental building that architecture can produce. 
 
 String courses should form a primary ornamental feature, 
 and are well shewn in the earliest palaces of the Revival, 
 at Cremona and Piacenza and other Lombard towns, they 
 are more reasonable subjects for good ornament than the 
 top frieze, which is too far off to be easily made out : indeed 
 they should partake more of the character of a frieze, with 
 protecting mouldings carried off by mouldings and spaces 
 into the wall, and ranging on the first tier of windows with 
 the balconies; all projecting mouldings may be advan- 
 tageously carved at angles into heads or figures, as was 
 often done in Tudor architecture, or heraldic shields, 
 somewhat after the Tuscan principla 
 
 There are many other methods of obtaining ornamental 
 effect, which take a secondary place, such as the formation 
 of geometrical patterns by receding brickwork ; a system 
 very effective in some cases, and most in use among the 
 Spaniards and Moors, for blank walls with brick cornices 
 on edge, it tells very well, specimens of it may be seen 
 more particularly at La Seu, and the leaning tower at 
 Zaragossa. 
 
 Different coloured and polished marbles should be most 
 
 M 
 
162 
 
 cautiously used in such a climate as ours, the more because 
 they appear unfitted for exposure, and the effect gained by 
 them is very dubious. The merit of the artist is little 
 benefited by such toyish adoptions. This and the system 
 of intaglio, either of marble or of artificial substances, are 
 more fitted for internal decoration : and then should be 
 used reasonably, and not placed so far from the eye as to 
 be seen with difficulty, as is often the case, at Florence, 
 Palermo, Monreale, and Orvieto, and in many modern 
 Gothic buildings. Geometric designs of the same descrip- 
 tion used by the Moors, are generally placed nearest the 
 eye, as in dado’s, &c., but this comes more under the head 
 of internal ornament, which we will not enter on. 
 
 It was the custom of the Romanesque builders to leave 
 the thorough stones, and not saw them off as is now done, 
 their projection gives additional picturesqueness to the 
 wall, affords room for sculpture, and in repairs may be 
 turned to advantage ; knockers, bell pulls, scrapers, water 
 pipes, lamps, railings, are all legitimate subjects for design, 
 and confer additional interest on a building, but as inferior 
 objects they should not be brought too prominently for- 
 ward, it is in the actual parts of the building itself, more 
 especially the portal and cornice, string courses and 
 windows, the chief ornaments should lie, and in all these 
 we should avoid flimsiness, shallowness, senselessness, and 
 extravagance. Neither should the same ornament be 
 indiscriminately applied to all buildings, it would be like 
 playing the same accompaniment to different airs ; we must 
 remember that ornament in itself is capable of various 
 expressions, and the antiquary from a few pieces of such 
 which are found in a ruin, may be informed of the general 
 character the building bore as clearly as when we find a 
 torso, a head, or an arm of a statue, we can conclude as to 
 the character of the form to which it belonged. 
 
 And for this reason, when original ornament is applied, 
 the particular leaf, flower, shell or figure, which assimilates 
 to the character of the building, should be carefully chosen, 
 and then drawn, altered and adapted for the further 
 development of that character, and for the production of 
 light and shadow. This is to be seen in Grecian, in 
 Gothic, and in most styles of the past, and we should 
 sedulously avoid the idea, that the actually beautiful is 
 
163 
 
 applicable to all purposes, for an object excellent in itself 
 is not always so in combination with a different nature of 
 excellence. 
 
 Construction. 
 
 Substances of various kinds are the architect’s means of 
 producing the form, shadow and ornament before treated 
 of, and it is certain that the nature of each substance, be 
 it stone, brick, wood, or iron, is adapted for a different 
 system of putting together, ranging as the substance varies 
 in size or strength, ductility or roughness, and that these 
 qualities ought to determine the nature of the construction, 
 and be the fundamental cause of any appearance, and con- 
 sequently of any idea such appearance or style may present 
 to the mind. Construction is the essential foundation of 
 true art, and to make a skeleton within which the external 
 form hides and does not express, is an architectural hy- 
 pocrisy, which can only please, until it is discovered, and 
 is a disgrace to the designer so long as it stands. There 
 are what may be called the enigmas or curiosities of con- 
 struction, which are harmless when merely meant as tricks, 
 and not hidden, as for instance, the entrance door to Fiesole 
 Cathedral ; but as a system, false construction is an un- 
 bearable and ignoble imposition, the unenviable distinction 
 of modern times. 
 
 Of all the glorious styles of the past, what one can be 
 named which originated or was perfected in deceit ? What 
 one can be named which does not derive its general cha- 
 racter and merit from its true construction ? 
 
 If we turn to the Grecian buildings and the earlier ex- 
 amples of Roman architecture, we find that the construc- 
 tion is what it appears to be, and is the basis of their 
 style, differing in character according as the size of the 
 material differed. 
 
 In all, simple repose is the system of construction, and 
 in all there is a general likeness. 
 
 Directly the arch was introduced in Rome, it was shewn 
 without reserve, and is the great feature which marks a 
 change of style. 
 
 In Romanesque and Byzantine Architecture the semi- 
 circular arch is the primary feature of their construction 
 
 M 2 
 

 164 
 
 and character, and it is this which renders the Cinque 
 Cento and Boman arched work so capable of amalgamation 
 with them, as may be more particularly seen at St. Mark’s, 
 Venice; the Cathedral, Siena ; at the Porte Noire, Besancon; 
 and the Porta dei Borsari, Verona. In Gothic, the pointed 
 arch or equilibration is the glory of its constructive power, 
 and the exponent of one fundamental character, however 
 varied in all its phases. The Horseshoe arch is the foun- 
 dation of Moorish construction, and enters even into the 
 character of the very ornament. The palaces of Tuscany, 
 the half timber edifices of Europe, and modern engineering 
 works, are likewise fine examples of character founded on 
 construction, and the more these are anatomised the more 
 is reason satisfied of the effect being founded on the actual 
 cause. 
 
 As progress in construction occurred a change in cha-. 
 racter occurred, and in none of the recognised styles 
 before the 15th century do we find the actual construction 
 hid or falsified in order to retain the appearance of a past 
 system, and consequently there is always a progression to 
 something new. 
 
 Now let us turn to modern Europe, more especially 
 England, and analyse a few of its largest buildings ; let us 
 strip them of their ashlar work, clamped on to the true 
 skeleton, and what do we find ? Arches of every size, in 
 every direction. It is most true, we have been grossly 
 deceived ; there are seldom fine blocks of stone like those 
 of Greece and Borne, no simple unscientific repose, but a 
 work of much scientific and ingenious contrivance. This 
 may be very clever and curious, but it is essentially a 
 vicious and inexcusable system. Is the arch an unsightly 
 invention that we should seek to hide it ? Is the nobler 
 work to be covered that the inferior work may be seen ? 
 It is unreasonable and absurd, yet such is the case with 
 many of the largest buildings in England, which are the 
 product of a system fundamentally false. It is the same 
 in Gothic and many other revivals of the day, the par- 
 ticular features arising from a necessary method of con- 
 struction are still retained without the construction which 
 produced them. 
 
 The commencement of this dates back some 250 years. 
 It was the revival of the Antique which produced it* and 
 
165 
 
 it reckons among one of its first adopters the justly cele- 
 brated name of Palladio. The same blind passion for an 
 imitation of antiquity, at the cost of reason and sense, 
 then began, and now more glaringly and grossly continues, 
 a system which, having no foundation on truth, must in 
 time fall. 
 
 What is past, is past ; let us only act up to the principle 
 of true construction. Let us only allow, as every ingenuous 
 mind must, that everything founded on deceit is unstable 
 and vitally wrong, and we shall by a little trouble, thought 
 and experience, rid ourselves of a disgrace, and lay the 
 groundwork of new and better things. For we may be 
 sure that the more science advances the more art advances. 
 New forms require new developments, and original con- 
 struction requires original art to aid it. Had Sir C. Wren 
 kept to the old Italian system of construction we should 
 have no such treasures as Bow and St. Bride’s, his know- 
 ledge of construction was the foundation of his originality, 
 and as regards the method of discovering original con- 
 struction, it is not amiss to use the very words of this 
 great, venerable and learned man. 
 
 “ Nature in the best of her works is apparent enough in 
 obvious things, were they but curiously observed, and the 
 key that opens treasures is often plain and rusty, but 
 unless it be gilt, it makes no show at court,” which sen- 
 tence would seem to imply that to nature we must turn 
 for hints and new ideas, in construction and science 
 generally, and that it is the province of art so to beautify 
 them, as to render them fit for public show. 
 
 Can there be any doubt that the invention of the 
 pointed arch and groined roofs, not only gave us the flying 
 buttresses and pinnacles, but that the style thus produced 
 evoked also a new style of ornament with it, and that the 
 primary feature, the pointed arch, is the soul, the vivifier 
 of the whole system ; and it is curious to remark that the 
 pointed boutell moulding came into use simultaneously 
 with the pointed arch. 
 
 As regards our own country we need only cast our 
 eyes around to know that brick is the principal building 
 material, not only plain and plastered, but even where 
 stone is the apparent material. Where stone is used 
 alone it is generally of small size. Bubble work and 
 
166 
 
 flint are not unusual ; now it is evident that the method 
 of spanning any ordinary voids with such materials is by 
 arching, and this in fact is the plan pursued in the great 
 mass of buildings, including that bungling method called 
 the straight arch. The power such forms have of produ- 
 cing ornament has been strangely neglected, and the poor 
 and pitiful custom of hiding the agreeable radiating joints 
 of the work by some meagre mouldings or architrave, stuck 
 on in compo, forms the usual sum total of invention, yet 
 they afford excellent scope for ornament in themselves and 
 combine well with a variety of other forms which may be 
 designed around them. The arch should be made more 
 than a semicircle for the sake of perspective, never to be 
 splayed more at the impost than head, as that makes it 
 seem to tumble, but may be higher at head than impost 
 mouldings as in the Florentine palaces. 
 
 It is not so much, however, in domestic architecture the 
 arch is to be advocated, it exists and wants only taste and 
 attention to render it ornamental ; but it is seriously to be 
 considered whether it should not be the grand and primary 
 feature of the noblest works architecture can produce — 
 whether all the styles of the past, unfitted to the habits 
 of the day, foreign to us, and requiring deceit and un- 
 necessary expense to produce them, should not give way 
 to true construction, to the noble and calm grandeur of 
 the semicircular arch, giving it that first place which it 
 deserves, and which it is pre-eminently fitted to retain, 
 and which, appreciating the value of varied mouldings, 
 and the friendliness of shadow would, in a short time, 
 bring forth a corresponding style of ornament, neither so 
 monotonous as classic, nor so grotesque as Gothic. 
 
 That such a style will partake much of Romanesque or 
 Norman character is doubtless, and indeed, founded in a 
 great measure, on the same principles, will yet carry out, 
 in a more perfectly scientifical and artistic manner, what 
 in them we can only consider as the commencement of a 
 grand system. 
 
 May the arch then be the foundation of our triumph, 
 and nature, ever varied and charming, with her leaves and 
 flowers, her treasures animate and inanimate, our Ency- 
 clopedia of ornament. 
 
 It would be impossible by writing to give any detailed 
 
167 
 
 account of the parts which form any style, and one can 
 merely point out those more striking features which are 
 to be avoided or sought. Every component part of archi- 
 tecture, forming a feature or subject by itself, should con- 
 sist of three divisions — base, body and capping. We see 
 this in dados, columns, entablatures and the building itself. 
 The same should hold good in string courses and balconies, 
 and any ornamental feature : consisting of the ornamental 
 part as principal, a projection to protect it in a measure, 
 and a band to carry it off into the wall. In walls too 
 much attention cannot be paid to the base. It is a feature 
 generally much neglected, its general character should be 
 firm, bold and striking. In many of the Venetian palaces 
 it forms a very remarkable feature. In Gothic architecture 
 also its value is well understood. The Strozzi palace ex- 
 hibits the result of its deficiency. Above all things a 
 diminished column — any one of the orders supporting an 
 arch, except on a small scale, is to be avoided ; this with 
 the superimposed impost is the great drawback to Brunel- 
 leschi’s architecture at San Lorenzo and Santo Spirito, 
 Florence. The same may be seen at the Town Hall, Lucca, 
 and its contrast at the Town Hall, Siena ; and more sig- 
 nally at the Cathedral porch, Lucca. At San Frediano, 
 Lucca, the effect of the arches resting on single columns, 
 is that of a crushing weight on an inadequate support. 
 The same at Pisa Cathedral. Its simplest contrast in the 
 round undiminished column may be seen in most early 
 Norman churches — Orvieto Cathedral and the Church of 
 the Frari, Venice. 
 
 The column, as designed by the Greeks, was for quite 
 another purpose, and never can be justly used for this as 
 it stands — even a single undiminished column — though 
 better, is not enough. We shall require rather piers than 
 columns, more approaching to the piers of the Loggia dei 
 Lanzi, Florence, and the piers of Cremona, Parma, and 
 Siena Cathedrals, which are of square form with semi- 
 engaged circular shafts on each surface. 
 
 Pilasters are equally to be shunned, as indefinite in 
 character and affording no scope for original embellish- 
 ment, they are neither truly ornamental or useful as 
 generally applied, yet something of the same nature, more 
 of a moulded buttress and with more capital would be 
 
168 
 
 highly effective. Nothing is so poor and unmeaning as a 
 single angle pilaster, but its constant introduction shows the 
 perception that something is wanted, and one might well 
 receive hints from the rusticated angles of Eoman palaces, 
 most examples of Gothic art, and some of the Tuscan 
 palaces. 
 
 Apparent weakness is to be decidedly avoided, however 
 strong the reality may be ; an arch containing two smaller 
 arches with no central support, a series of projecting 
 arches in the same way to form pulpit or balcony, the old 
 form of projecting sounding-boards, coved galleries without 
 bracketted supports, and the projecting eaves of railway 
 architecture, are all in bad taste ; for strength, apparent 
 strength is the first demand of the spectator. 
 
 Walls may be in many places strengthened by the in- 
 troduction of circular work, filled up or not, as fitness 
 d’ctates ; between arches of any size they should always be 
 used, and may be made very ornamental, besides relieving 
 the lateral thrust; care should be taken always to show 
 the radiating joints. 
 
 The introduction of iron and glass will also materially 
 affect the design, but these as being secondary means of 
 construction should be adapted to the character of the 
 whole building. In fine, whatever system of construction 
 is adopted, equilibrium, arch, corbelling, or simple repose, it 
 should form the key-note with which all the other parts 
 of the building, proportion, form, shadow and ornament, 
 should harmonize. 
 
 Mouldings. 
 
 There are two principles diametrically opposed for the 
 appliance of mouldings, viz. projection and recession ; 
 Classical architecture shows the first ; Gothic and Norman 
 have adopted the last, and in many cases combine both ; 
 this is as regards their relation to the face of wall. Again, 
 the southerns and their followers, have designed their 
 mouldings for the sake of light, the northerns for the sake 
 of shadow, this is as regards their actual forms. The rea- 
 son why the northerns did this would appear to be, on 
 account in the first case of the inclemency of the climate, 
 its destructive effect on any ornament too exposed to it ; 
 and in the second case from the fact, that light is not 
 
169 
 
 favourable with us to the production of effect, or the 
 expression of delicate outlines. The principle in both 
 respects as practised by our forefathers seems to be correct, 
 because adapted to produce the best effect and the surest 
 protection, but as the thickness of modern walls does not 
 often admit of the same depth of recession, it may be 
 necessary to practise it always in conjunction with the 
 southern principle; be this as it may, we are sure that 
 nothing is more important than the study of mouldings; but 
 this study so insisted on by all, is not what is usually meant, 
 viz. the production of a more beautiful example from a 
 known model ; not the making a cyna more delicately 
 exquisite in outline than any known : but the study which 
 shall give to each individual member the tone of the in- 
 tended expression, both in outline and shadow ; for it is 
 necessary that we should be impressed with the fact, that 
 even the most simple forms convey an expression of some 
 definite character to the imagination, the nature of this dif- 
 ference was shewn before in the three cyma rectas, (p. 137) 
 and the nice perception of this difference is always a great 
 merit in the artist. The effect of a building greatly de- 
 pends on the fitness of these outlines in form and shadow 
 for the development of its character, and they demand 
 the most careful attention, those which project should be 
 more studied in their outline, and those which recede in 
 their shadow. The number of classic mouldings is cer- 
 tainly insufficient for the multifarious ends to which mould- 
 ings must serve, and to the important place they hold in 
 architectural effect as shown by northern buildings, but 
 an excessive use of them is destructive of that breadth 
 of form and shadow which public buildings should possess, 
 for they cut up and render little the largest masses, as 
 may be seen in the decline of Gothic art, of which this 
 custom is one of the surest symptoms. The almost sole 
 attention given to the production of shadow in Gothic 
 mouldings renders them unsatisfactory to the admirers of 
 form ; indeed, their outlines are often positively ugly, from 
 them we may learn that mouldings of more than two curves 
 are to be avoided, for a third curve weakens the idea of 
 strength, and to gain this a fillet is necessary ; the idea of a 
 continuous number of curves in a classic cornice is evident, 
 but this continuity is rendered agreeable by the fillets 
 
170 
 
 which separate them individually, or to use a better ex- 
 pression, bind them together, and give them that feeling 
 of strength which architecture, from its great necessary 
 admixture of right lines, is calculated to express. The 
 horizontal direction of mouldings as predominant can only 
 be proper where simple repose is the principle of construc- 
 tion, for it is this (the means of construction) which justly 
 receives that decoration and placing forward, to which it 
 is entitled. In no case is this more clearly and beautifully 
 followed out than in Greek architecture. Nothing can be 
 more simple; the cornice, the frieze and architrave, are 
 here formed on the actual construction, and the supporting 
 columns are particularly studied ; but with all its merit, 
 how unsatisfactory in this respect is the basilica of 
 Vicenza, which over the arched system of construction has 
 another system, antagonistical in the necessary direction 
 of its mouldings, and which renders it difficult to say 
 which lines predominate. The arch here is the great 
 feature of its effect, and the disagreement of horizontal 
 lines with it is seen by the depressing appearance of the 
 comparatively heavy entablature which surmounts it ; this 
 building is, perhaps, the most wonderful and beautiful 
 combination of two most opposite principles which study 
 and genius could devise; and yet, I think, shows that 
 where the arch is used, the lines which best assimilate 
 with it are the vertical. This is a most important ques- 
 tion, for the congruity of character gained by the direction 
 of lines in connection with the construction is incon- 
 testible, and for the production of excellence one system 
 must predominate. In all mouldings which project, where 
 the character by means of form is sought, no better ex- 
 ample than Palladio can be chosen, especially in the 
 basilica, which rich as its general character is has not one 
 moulding ornamented; but for mouldings which recede 
 and which depend on shadow principally for their power, 
 ornament may be justly applied, and there should be 
 many projecting points to catch the reflected light, and 
 define more clearly their outlines. Not that the project- 
 ing mouldings are to receive no ornament, but that the 
 receding ones should receive more. Opposition of form 
 in mouldings is very agreeable to the eye, and increased 
 value is given to the general outline as seen in the curve 
 
171 
 
 of the Corinthian abacus against the straight line of the 
 architrave. The importance of this opposition of form is 
 well known to painters, and is one of their rules of com- 
 position. 
 
 Proportion. 
 
 In former remarks on the nature of beauty, the writer 
 came to the conclusion that right lines could not produce, 
 but might essentially aid its development in architecture. 
 The importance of proportion is undeniable, and its ana- 
 logous expression to the three principal qualities of strength, 
 beauty and grace, for instance, is certain, as shewn by 
 the three Grecian orders ; or rather in these three columns 
 we have the difference of proportion suited to three phases 
 of the beautiful. 
 
 Form may be called the melody of architecture, with 
 which proportion and all other aids should harmonize. 
 As the form alters, so must the proportion ; and for the 
 innumerable varieties of expression which form is capable 
 of producing, there must be as many varieties of proportion, 
 and every slight deviation in proportion will produce a 
 tantamount change in character. To give a strong massive 
 prison, the doors and windows of a Roman temple would 
 be wrong, merely from the incongruity of character as 
 expressed by proportion. It would be like giving to the 
 body of the Farnese Hercules, the beautiful limbs of the 
 Apollo. The Strozzi Palace, Florence, is allowed to he 
 a perfect work in its way, harmonious as a mass, and 
 pleasing in the idea of compact strength it presents to 
 the mind. The whole form of this building is rather 
 longer than a square, the cornice about one-thirteenth 
 of the whole height, the door and windows including their 
 component mouldings, average rather more than a square 
 in height. None of these proportions are beautiful in 
 themselves, but they have the proportion which assimilates 
 to actual strength, with an increase which tends towards 
 the double square, which is beautiful, and are excellent 
 for the expression of the required character. Proportion 
 is nothing by itself, as in plane geometry, for an artist’s 
 eye, but depends on the analogy of its character to the 
 building on which it is used, and is to be gained only by 
 
172 
 
 study and observation, very slightly, I believe, by innate 
 perception. The two former will certainly inform as to its 
 efficacy ; but the scientific rule which would determine it 
 is surely most suspiciously to be received, if it is true that 
 every variety of character requires a different proportion. 
 Moreover, the unreasonableness of such a rule as an 
 abstract truth must, I think, be evident. Alberti says 
 the width of a space being 4 feet, and its length 8 feet, 
 the proportionate height, or the height most agreeable t6 
 the eye, is 6 feet, as being equidistant from four and eight ; 
 but make this form, and it certainly has no particular 
 charm. Others say, the width being 4 feet, and the length 
 8 feet, the height should be three-fourths of the two added 
 together ; but the proportion thus produced bears in itself 
 no claim to the beautiful, even were they correct, as pro- 
 portion must vary to suit the character of the building, 
 these or any other rules can never be unchangeable. 
 Surely we have sufficient examples on which to ground 
 our knowledge of the general principles of proportion, 
 without shutting our eyes to the existing proofs of it, and 
 seeking blindly for its laws in any science. Take as an 
 instance the doorway of St. Sebastian, Mantua, by Alberti, 
 and the door of a house, Verona, by Sanmichele : here are 
 two apertures relatively proportioned, each being much 
 less than a double square, and with neither proportion 
 does the beautiful work around assimilate well. Yet of 
 the two is not the breadth and massiveness of Alberti’s 
 detail best? because the ornament and proportion nearly 
 approach each other in character. Here it is evident that 
 much less than a double square does not suit graceful 
 ornament ; but in Italian architecture generally, and in 
 Grecian too, a double square does unite with the beautiful 
 character of its surrounding work, and in Cinque cento, 
 where everything tends to grace, and even to weakness, 
 we find the proportions becoming more and more elongated. 
 This is as regards various changes of the beautiful, the 
 essence of which is variety ; and this enforces a degree of 
 regularity, without which it would run into irregularity, 
 which is the essence of the picturesque; that all things 
 which we may justly call beautiful are subject to this rule 
 of a varied regularity, may be seen by looking at the 
 proportions of human beings, and many other beautiful 
 
173 
 
 animals, and that the rule of irregularity prevails in the 
 proportions of the picturesque is seen in the branches of 
 trees, the edges of rocks, &c. For this reason, any archi- 
 tecture essentially picturesque in its character may be 
 more capricious in its proportions, without detraction to 
 its merit as excellent art, although in such a case the 
 fundamental effects of proportion should be known and 
 kept in mind. 
 
 The proportions of window openings and interspaces, 
 of openings and their architraves, are not to be set out 
 invariably on the dicta of any men. The first especially 
 must in practice materially depend upon necessity, and 
 moreover it may be remarked that even where windows 
 have only the same space as themselves between them, 
 the same idea of breadth and strength which more than 
 double their width between them gives, may be gained by 
 extra height between their heads and the cills of the next 
 floor openings, and though we owe much to the investi- 
 gators on proportion as to the effect of inter widths, we 
 have no data, if I remember right, about inter heights, 
 which, for a noble appearance in a building, should be 
 as great as is usually possible. As to the proportion of 
 architraves being not less than a sixth or more than a 
 fifth of the void, it is difficult to conceive on what grounds 
 it is asserted. Many most excellent openings, even in 
 Italian architecture, are more; the gate of Ghiberti, at 
 Florence, for instance. In other styles it would be useless 
 to particularise what should be the general rule. 
 
 Not that from this it is to be inferred that in Classical 
 art these rules of proportion can be harmlessly played with 
 by every one. Kules of whatever kind are most valuable, 
 when not meant to repress design, and as a starting point 
 from which we may see how we can effect improvement, 
 indeed though they have had the effect of making archi- 
 tecture a commonplace business, executed by commonplace 
 men, yet to one who has been tossed about in the uncer- 
 tainty of original design, they are like terra firma to his 
 unsteady footing ; these rules of proportion especially are 
 most difficult and most valuable, and that they have been 
 departed from at times with great success is no depreciation 
 of their use for the ordinary practitioner ; those deviations 
 were effected by men of great genius guided by study. 
 
174 
 
 Variety of proportion is however necessary, but the 
 difference will in ordinary buildings be of so slight a nature 
 as to be unperceived by the public, and can be easily 
 ascertained by taking the double square in voids for the 
 standard proportion, and so on in other fixed proportions. 
 That the proportion must needs vary, may be inferred from 
 the fact that a balustrade near the ground and a balustrade 
 over the cornice ought not to be the same ; that a column 
 perfect as a ground support would require an alteration 
 when placed on a basement, and that the Doric columns 
 of ancient Greece are not quite fitted for a balustrade, 
 without alteration, as I have often seen them. The necessity 
 for this difference of proportion in one subject is well 
 shewn by the different heights of the three orders. 
 
 An acute investigator of the principles of art, (Harding), 
 has asserted that irregularity of proportion is the cause 
 of beauty in architecture, and has brought forward a 
 Grecian cornice as a proof, but he has been misled by the 
 seeming irregularity of a portion of a whole — and however 
 varied a cornice may be in its inferior divisions, yet it 
 bears a regular proportion to the whole mass and to each 
 individual member of that mass, founded on a scale taken 
 from the diameter of the base of the support or column, to 
 which all the subjects of the composition, dado, base, shaft, 
 capital, and entablature, are referable in regular quantities 
 — there are other examples given, but none so apparently 
 confirmatory as this of a very dangerous error, viz., that 
 irregularity is productive of beauty ; were this the case the 
 most confused forms would be the most beautiful : irregu- 
 larity means without rule, and is only applicable to the 
 picturesque. 
 
 Foreground and Background. 
 
 Everything is enhanced or lessened in value by its 
 concomitants, “ setting off” to use a common expression, is 
 much neglected, often entirely disregarded, and yet is a 
 matter of much import. The toll of the cathedral bell 
 heard by night in some deep and gloomy valley, sounds 
 awfully and warningly, and has a terror in its measured 
 solemnity ; yet the same sound heard in the sunny cloisters 
 where the wild weeds grow and the lizard has no fear, 
 
becomes tranquillizing and melancholy, and as you rest in 
 some retired nook and catch the sweet voices of the 
 choristers and the pealing of the organ in harmony with 
 the rustling of the green leaves, you enjoy a holy pleasure 
 which the same strain could never impart in the crowded 
 hall though executed by the most celebrated artists. 
 
 The character of everything changes with the character 
 which surrounds or accompanies it.' Westminster Cathe- 
 dral has never been a Gothic cathedral to me, — even at 
 night the distant roar of the troubled world destroys that 
 feeling of serene and perfect quiet which seem to shadow 
 forth the quiet of Heaven ; this cathedral has never seemed 
 to me to belong to modern London, but rather to be the 
 valued, venerable, and glorious relic of a past state of 
 society, a past creed, and a past age, to which we of the 
 present day bear but a slight affinity. 
 
 In architecture this setting off, is gained by the fore- 
 ground and background ; every building to form itself into 
 a perfect picture must have these, and it seems to me a 
 great error even in the largest buildings to suppose that 
 they contain these advantages in themselves. Such build- 
 ings as Whitehall, or the Library of St. Mark’s, Venice, 
 the Farnese, &c., have evidently no claim to such an 
 arrangement, nor has an ancient Grecian temple, yet they 
 are considered perfect works of art in all respects ; in 
 these and in all buildings, the work itself does in reality 
 form the principal composition, to which the surrounding 
 buildings and figures, or nature, forms the foreground, and 
 the surrounding distance and sky, the background ; that 
 this is the case is allowed by painters, and is the method 
 of their making architectural pictures. How well does the 
 irregularity of Gothic outline harmonise with the jagged 
 clouds of a northern sky, with the sharpness and action of 
 our climate, and how well does the calm beauty of a 
 Grecian temple agree with the unclouded expanse of its 
 bright blue atmosphere, with the repose of a climate where 
 days and nights glide on equally serene, and equally 
 beautiful ; there is more in this analogy of character per- 
 haps than we are apt to believe : extending even to the 
 costume of the people who move around us, and which 
 makes the modern European’s dress seem ludicrously out 
 of place among the ruins of ancient Egypt. 
 
176 
 
 A neglect of the necessary accompaniments of a new 
 building, or a want of good taste, arising from a love of 
 novelty or a blind admiration for some particular style, too 
 often leads to the greatest anomalies in this respect, and 
 many buildings, excellent in themselves, are so placed as 
 to seem dropped by accident from some other world ; this 
 is a complaint under which we suffer, which has no cure 
 but time, but if we work up to the principle before ex- 
 pressed, we shall avoid over irregularity in a large city 
 whose size and grandeur demands a certain degree of 
 simplicity and massiveness, and keep our more fanciful 
 ideas for their picturesque and rural attributes, rocks, trees, 
 clouds, and running waters, and be likewise sure that the 
 picturesqueness of a castellated building on the Khine, 
 rock mounted and surrounded, is not the picturesqueness 
 which is fitted to a castle situated amid quiet lawns and 
 well-trimmed gardens. 
 
 That this principle should be advocated is the more 
 necessary, from the fact that those high in authority whose 
 influence the student feels, so often expressly denounce 
 anything but the study of the actual building in consider- 
 ing a design, and have by • this unsound teaching left the 
 breach open by which we are flooded with imitations of all 
 the styles of antiquity, without regard to their situation, 
 and have given ground for belief that all buildings possess 
 that advantage in themselves, which even St. Peter’s or St. 
 Paul’s but slightly attain to. 
 
 In making the rough sketch of an intended building, it 
 should be done from various points and always in relation 
 to the objects around it ; this having been once satisfactorily 
 made out, the building may then be a study of itself ; had 
 this been done we might have avoided having consecutive 
 buildings in the most widely separated and unharmonising 
 styles — disagreeable only from their juxtaposition — more- 
 over wherever great projections occur, the visual ray should 
 be projected from the ordinary point of sight, and all 
 ornament avoided within the angle it covers ; from want of 
 due reflection I have seen many instances of rich work being 
 lost ; it is better even to exaggerate the inclination of the 
 visual ray, than to put in ornament as though the building 
 could ever be seen in geometrical elevation. 
 
The Sublime and the Picturesque. 
 
 So many have written on Beauty, and it is such a vexed 
 question, that I shall not treat further of it, but there is 
 one quality so important and generally so cavalierly 
 treated, that I must say more about ; that quality is pic- 
 turesqueness. This is a very general expression, indeed of 
 European use, and calls to my mind the works of Salvator 
 Rosa, icebergs, rocks, ruins, withered trees, things iagged, 
 irregular, angular. 
 
 Now I think it can be shewn that this quality bears 
 more affinity to the sublime than to the beautiful, and 
 frequently forms an important attribute of it. 
 
 The ancient Greeks were masters of the beautiful, they 
 perfected it up to now, in itself purely and in all its 
 varieties ; in their most majestic effects there is little if 
 anything of that undefined terror which is justly held 
 to be one of the essentials of the sublime. Repose is 
 the pervading idea of all their noblest statues, the Her- 
 cules, the Saturn, the Olympian Jove, the River Gods 
 at the Vatican, the Theseus, the Illyssus, and more 
 strangely still, in the Laocoon. The very daemons of the 
 race were benevolent ; terror was a quality of which they 
 seem to have had no 'national comprehension, and consi- 
 dering this as essential to sublimity, I can fix on no work 
 of theirs which perfectly produces that quality, and the 
 same occurs as regards the picturesque, not that they never 
 touched on the two, for the Theseus, Illyssus, and Laocoon 
 possess certainly sublime features, and the drunken Fawn, 
 Cymbal Player, and many of their rural gods and daemons, 
 are picturesque ; but in both cases it is a mixed quality, 
 combined with the beautiful which is generally predomi- 
 nant. To find these characters more perfectly exemplified 
 we must turn to a later race, and a later method of 
 expression. How intimately the two are connected may 
 be seen in Schiller’s poem of the Diver. The group above, 
 the Diver himself, the site, a rocky promontory, are un- 
 mi stakeably picturesque, whilst the scene in the whirlpool 
 itself is full of mysterious terror and is essentially sublime, 
 the two forming one perfect composition to the imagination. 
 In Shelley’s “ Alastor,” we have the same excellent com- 
 bination of the two qualities : — 
 
I 
 
 178 
 
 “ Lo I where the pas9 expands 
 Its strong jaws, the abrupt mountain breaks, 
 
 And seems, with its accumulated crags, 
 
 To overhang the world ; for wide expand 
 Beneath the wan stars and descending moon 
 Islanded seas, blue mountains, mighty streams, 
 
 Dim tracts and vast, rob’d in the lustrous gloom 
 Of leaden colour’d even ; and fiery hills 
 Mingling their flames with twilight, on the verge 
 Of the remote horizon. The near scene, 
 
 In naked and severe simplicity, 
 
 Made contrast with the universe. A pine, 
 
 Rock rooted, stretch’d athwart the vacancy 
 Its swinging boughs, to each inconstant blast, 
 
 Yielding one only response at each pause 
 In most familiar cadence with the howl 
 The thunder, and the hiss of homeless streams.” * * * 
 
 “ One silent nook 
 
 Was there, even on the edge of that vast mountain, 
 
 Upheld by knotty roots and fallen rocks.” 
 
 The distance here is unmistakeably sublime, mysterious, 
 vast and awe-inspiring, whilst the foreground, though not 
 without sublimity also, is stronger in the picturesque, with 
 its pine rock rooted, its homeless streams, knotty roots, 
 fallen rocks and accumulated crags. 
 
 The same with the Alps, Mont Blanc itself being sub- 
 lime, whilst the mountain pine, the broken branches, the 
 twisting stream, rock divided, the wooden chalet with its 
 breaks and galleries, and the goats on the rugged declivity 
 for the foreground are merely picturesque. Substitute a 
 weeping willow or aspen for the pine, a normal Italian 
 villa for the cottage, a stream meandering through grass 
 enamelled islets (the swan’s home) for the rocky burn, and 
 some sheep on an undulating hill in place of the goats, and 
 the sublime character of the whole would be materially 
 destroyed. Nature to herself is in this respect always true 
 and consistent. It is in nature almost only that we per- 
 ceive the sublime, in the defiles and among the masses of 
 the Simplon or St. Bernard, St. Peter’s or the Pyramids 
 would afflict us with a sense of our own littleness, but 
 sublimity unlike grandeur does not require size as an es- 
 sential feature, and if we can find it in art, it is to Michael 
 Angelo we must turn. We may observe it I think most 
 strongly in parts of the Last Judgment, some of the Sybils, 
 and Jonah in the Sistine Chapel, the figures in the spand- 
 rils of St. Peter’s dome, the Brutus in the Uffizii, and 
 
179 
 
 above all in the statues of Lorenzo and Julian de Medici 
 at Florence. A mysterious dread is excited by all these 
 works, but it becomes terribly menacing in the Medici. 
 Now the outlines of all these and the celebrated statues on 
 the Medici tombs, contain much of the picturesque, much 
 that is roughly and sharply angular, but of beauty ’as ex- 
 pressed by the Apollo or Venus, little if anything ; indeed 
 it is no detraction from this wonderful artist’s merit, to say 
 that his idea of such beauty was of the faintest and 
 roughest kind, had it been otherwise he would not have 
 been what he was, the expounder of the sublime. 
 
 We may trace the downward change to greater pic- 
 turesqueness, still retaining much of the sublime in Tin- 
 toretto, who professedly practised his manner of drawing, 
 continued by S. Eosa, who carried it in his ordinary works 
 to actual picturesqueness, often verging on the merely 
 fanciful. We have here a chain of picturesque outline 
 which leads us to the sublime. 
 
 The graceful leads us up through the beautiful to the 
 majestic, the noble, the grand : but pass that barrier and 
 the beauty which decreased gradually as we ascended will 
 have almost disappeared. It is to this point Kaffaelle as- 
 cends, but his sense of the beautiful before the picturesque 
 prevents his more than approaching Michael Angelo in the 
 sublime, and of these two the most perfect expressions of 
 Form, each in his way is the most perfect master. 
 
 It is the same as far as my experience goes in architec- 
 ture. Gothic architecture being essentially picturesque, 
 does often in our most noted European cathedrals produce 
 the sublime. 
 
 “ How reverend is the face of this tall pile ! 
 
 Whose ancient pillars, rear their marble heads 
 To bear aloft its arched and ponderous roof, 
 
 By its own weight made stedfast and immoveable. * * 
 
 It strikes an awe 
 
 And terror on my aching sight. * * 
 
 Give me thy hand, and let me hear thy voice, 
 
 Nay, quickly speak to me, and let me hear 
 Thy voice, my own affrights me with its echoes.” 
 
 Though much of the sublime and shadowy dread which 
 characterises this passage, arises from the feeling of the 
 person speaking, yet I am sure that only a Gothic cathedral 
 could produce it, and it bears internal evidence of being 
 
 N 2 
 
180 
 
 a Gothic cathedral of which Congreve was speaking, 
 when he composed this fine passage, (from the Mourning 
 Bride). 
 
 The architecture of Greece has little that is picturesque 
 about it, as it stands for our consideration when restored, 
 but is eminently beautiful, as far as architecture can be, in 
 all its phases, ancient and modern, but the original existing 
 examples of that art being so few and so much being lost 
 to us, it is but fair to allow that it did probably express as 
 much picturesqueness as may be found in its better known 
 statuary. 
 
 Picturesqueness then, so far from being an inferior 
 quality to beauty, or synonymous with it, as I believe it is 
 not unfrequently considered, is I think a most important 
 and separate one, and seeing its close affinity with the 
 sublime, the noblest character an artist can express, should 
 form an especial object of our study. 
 
 Association of Ideas. 
 
 It seems to me that the architect should guard against 
 the dreamy pleasure excited by what is termed the asso- 
 ciation of ideas. Prom this blinding cause have arisen 
 many of the poorest imitations of the day. However much 
 the artist may delight in identifying himself with the past, 
 he should remember that it is past, that the public, that 
 the world has its tastes, habits, ideas, character and life, as 
 strongly shown and determined as they ever were in the 
 history of mankind, and that he cannot drive us back to a 
 period which, however it may suit his individual taste, is 
 not our period. In vain shall a modern Deucalion cast 
 stones behind him to vivify the dead, they will remain 
 lifeless. In vain did revolutionary Prance adopt the 
 names and dress of dead Rome ; in vain does this or that 
 man call us back to the days of a Henry or a Charlemagne. 
 We will adopt the garments of no past age or nation, as 
 we are we are. Whereof are we ashamed ? Is it of the 
 spirit of the age ? It should be our glory and thanks- 
 giving to have lived in this time, a time our fathers 
 longed to see, for which our great men wrote, and fought, 
 and suffered, and of which our architecture should be a 
 type. What do such men seek in the past, which the 
 
181 
 
 present may not afford them ? But they turn their backs 
 on us as dull and matter of fact, and carry that strength 
 to the imitation of the past, which should be used for the 
 development of the present. The future historian will 
 judge -of these aright, when he shall say, that those who 
 might have evoked the true spirit of art in these times 
 wasted their knowledge in the raising of lifeless ghosts. 
 
 In denouncing the pleasure of association of idea in 
 architects, we do not wish to abjure the proper enjoyment 
 of it, but only in so far as it leads to a bigoted belief in 
 the sole existence of any particular style, nor in advo- 
 cating novelty do we seek to destroy the past or the 
 existing. And in our study of those styles with which 
 are connected such names as Palladio, Wren, Wykeham, 
 Angelo, we may well love to be led and influenced by their 
 example, for they were a noble and deathless race, whose 
 spirits though invisible still exist, and by the strength of 
 their genius still live to us at this day, their courage, their 
 opinions, their intellect and imagination still influence us, 
 excite, encourage, instruct and delight us. By a careful 
 study of their lives and progress, we ourselves are led on 
 to the heights of excellence. To these men we owe ser- 
 vice not slavery, and of all servitude, that of the imagi- 
 nation is most difficult to compass. Imagination in its 
 essence is free, yet this is what the modern Gothic school 
 endeavours to effect. More even than in classic art is pre- 
 cedent and example required, these men may have the 
 hand and eye, but they lack the spirit, the divine part of 
 the artist- imagination ; yet we should not perhaps com- 
 plain, for man is subject to a higher control than his own 
 individual will, the part that each of us performs here is 
 for a purpose, to which we ourselves are often blind, and 
 certainly the revival of Mediaeval architecture and orna- 
 ment, however to be deprecated in its exclusive and 
 bigoted advocacy, has yet and does still fulfill its office, 
 for it has surely done much to raise us out of that stiff, 
 formal, normal, and cast-iron state we were in as regarded 
 architecture, and put us on the track of true art. With 
 the immense stores of knowledge we now have in archi- 
 tecture it is utterly impossible for the art to be restrained 
 in its development, and it is perhaps best to check its 
 career with a severe hand to save us from that extra- 
 
182 
 
 vagance, eccentricity and deformity, which an unruled 
 fancy might lead to. For different effects and different 
 purposes, different styles are necessary, and many phases 
 of architecture will yet arise fitted for particular classes of 
 buildings, and if a man can or will only design one style 
 of art, he should only erect those buildings to which it is 
 most fitted. 
 
 Much has been written of late on architecture, and with 
 much sense, acuteness, and fancy, but unfortunately the 
 most popular authors have not been professional men, 
 practically acquainted with their subject ; everything has 
 been done to unsettle but nothing to systematise the ideas 
 of the students of the day. With all due deference to the 
 studies of our predecessors, with all proper admiration for 
 the styles of the past, our present object, the object of 
 all professional leaders, should be to consolidate and ar- 
 range the knowledge which we are now in possession of, 
 and from the lessons thus gained, and the examples thus 
 given, to strike out a new path for the powers of the archi- 
 tectural artist, and bring back the art to its normal state, 
 which is one of gradual but certain progression founded on 
 scientific and artistic knowledge, . keeping a careful hand 
 over the wild and extravagant fancies of the more daring 
 minds, and guiding onward the unwilling and faltering 
 progress of the more timid. To teach that merit exists in 
 all styles and is irrespective of fashion, which is mutable 
 and often unjust, that the principles of our art are fixed 
 and certain, that however much rules may be altered, they 
 are not to be despised or disregarded with impunity. That 
 true construction is the vital principle of all progress, and 
 that besides the excellent ornament we already possess, 
 nature has still varied resources in store for our study : and 
 above all, that for the application of all these means, a 
 careful study, a right appreciation, a practical knowledge 
 of all art, is indispensably necessary, and can only be 
 gained by an industrious use of the hand and eye as well 
 as of the mind. 
 
 “ Banquet” of Plato. — Socrates in defining poetry says, 
 that the exercise of every inventive art is poetry, and all 
 such artists poets ; in fact, poet means in its original and 
 literal sense, a maker or creator. Surely then, architec- 
 
183 
 
 ture, which of all the arts is least founded on imitation, 
 whose analogies in nature are so few and distant as to be 
 scarce discernible, the whole component parts of which 
 have been worked out step by step by the labour of the 
 inventive and perceptive faculties, ought to be allowed as 
 the most noble of the arts, being in itself a creation. But 
 now no longer so, our Mediaeval and Classic sects equally 
 misunderstand the glory of this essentially progressive art, 
 and fall back on those bygone styles which each considers 
 himself incapable of doing more than imitate. 
 
 “ Banquet ” of Plato. — Socrates loquitur , “ and proceed- 
 ing from beautiful forms to beautiful habits and institutions, 
 and from institutions to beautiful doctrines,” &c. Surely 
 the contemplation of beauty is purifying and ameliorating, 
 nor do I believe it possible fully to appreciate the highest 
 degree of excellence without having progressed through 
 the initiative forms, as one cannot work out complicated 
 calculations without first understanding the elements of 
 arithmetic. For this reason, let us do all in our power 
 to assist in the development of the beautiful, from the 
 most trivial up to the most important matters. 
 
 Egypt. — Refer to Lane’s Egypt, and see the facsimile of 
 Byzantine work at Cairo, also the superiority of design in 
 panelling and general artistic application to the modern 
 ready manufactured system : (See “ Martinus Scriblerus ” 
 for the perfection of Architecture). Having said that the 
 glory of architectural art consists in invention and pro- 
 gression, you will perhaps demand my highest admiration 
 for such men as Piranesi and Bibiena, but these men and 
 their numerous followers in seeking originality, descend 
 into mere fantasy, their works bear the same relation to 
 true art as the dreamy and unmeaning, though highly 
 imaginative strains of Coleridge under opium power, or 
 Shelley under constitutional irregularity, to the noble, in- 
 structive, and well constructed works of a Shakspeare or a 
 Milton. 
 
 I cannot too strongly hold up construction as the 
 very foundation of true art, and where the constructive 
 fitness is ignored or put aside, all architectural design 
 is unsatisfactory ; for the human mind, recognises the 
 importance of practical use in all design, and admires 
 though it cannot approve of imagination if not founded on 
 
184 
 
 reason. On this account, before all things study construc- 
 tion, the greater your constructive knowledge, the more 
 varied will be your scope for artistical application. To the 
 multitude a perception only of the externally beautiful 
 is necessary ; to the contriver of that beauty, the internal 
 construction is its cause and foundation, and this varied 
 constructive power forms the beauty of a man, a horse, a 
 fish, a reptile, applying to them an external beauty founded 
 on, and a consequence of the internal construction. So 
 that all rules of constructive fitness being disregarded by 
 the before mentioned men, their works (designs) however 
 rich and effective still are most unsatisfactory to architects, 
 and we trust will remain so ; on the contrary, from excel- 
 lence in constructive arrangement and power arise some 
 of the highest beauties of Sir C. Wren, who in this respect, 
 is undoubtedly superior to all the architects of the Italian 
 school. Architectural ornament should not be taken from 
 nature lineally. I think sufficient character should be 
 retained to denote each particular kind of fruit, plant or 
 animal, and the actual representation avoided, that being 
 properly pictorial, and impresses us with an endeavour 
 on the artist’s part to induce us to think it the actual 
 substance, petrified as it were, or ligneated. 
 
 If we refer to Gothic ornament, we find this system, I 
 think, carefully attended to and from which it derives its 
 charm; for thus the artist communicates the peculiar 
 humour, or sense of beauty in himself to a subject, which 
 if treated as it is, must necessarily always bear the same 
 impress, for in nature similar subject are nearly identical. 
 Another charm of Gothic ornament is its variety in the 
 subjects chosen. The same system is still more clear in 
 Classic art, which however is vastly inferior in variety, 
 since there is a constant reiteration of certain beautiful 
 applications to certain mouldings. Mem. The generality 
 of Grecian and Italian ornament is at most on an average, 
 mezzo relievo. In England where the sun’s aid in casting 
 deep shadows is so uncertain and unfrequent, the orna- 
 ment requires full relief. Sir C. Wren (G. Gibbons) often 
 makes thoroughly pierced work. 
 
 Sir C. Wren has adapted many Gothic principles in his 
 style, buttresses at Christ Church, City ; mullion and 
 transom window near Bank, finishing moulding with heads, 
 
185 
 
 &c. St. Paul’s spires (generally) ornament especially, is 
 like Gothic, deeply cut and often thoroughly pierced. 
 Snow Hill, opposite Newgate, vaulted side aisles with 
 centre boss. 
 
 A mind educated in the knowledge of Italian and Gothic 
 architecture, and afterwards admiring and teaching itself 
 Norman and Romanesque art, must necessarily contain a 
 strange medley of ideas, and find it most difficult in design- 
 ing to free itself altogether from their influence ; indeed, 
 if actual originality is demanded in designing afresh we 
 had better not try, for into one of the established styles 
 we must run. That one man should form an actual origi- 
 nal style never has occurred, and, I believe, never will 
 occur; but he may lay the foundations for one, and in 
 every alteration he makes from his model, does so. I have 
 been careful to restrain too much fancifulness in designs, 
 and to give as massive and quiet a character to them as is 
 consistent with the ornament required to set them off. I f 
 fancy and richness of design is needed, nothing can sur- 
 pass Gothic and Moorish. The Florentine, Grecian and 
 Palladian styles are severe enough for anything, but the 
 intermediate style is wanting (Cinque Cento, note objec- 
 tions to it). Elizabethan is coarse and grotesque; Norman 
 good, but rough and deficient in beauty. None of these can 
 fix themselves into established styles ; they are weighed and 
 found wanting. No, nor can any style of the past be fitted 
 entirely for the present, but they all fill up their allotted 
 places in the museum of art, and as at the British Museum 
 you may see the gradual, nay imperceptible, change from 
 a marmot to a lion, so in some future time will archi- 
 tecture stand as a complete system, of which each style 
 forms only a separate link. Instead of Gothic architecture 
 we shall have Church architecture; instead of Italian, 
 Palatial ; instead of Elizabethan, Grecian, Gothic, Egyptian, 
 Romanesque ; we shall have street architecture, railway ar- 
 chitecture, bridge, shop, cottage and manufactory architecture. 
 
 Excellence of form in architecture does not proceed 
 & la Harding, from the variety but from the relative pro- 
 portion of various parts. The variety at least should con- 
 sist more in detail, as in the mouldings which form one 
 
186 
 
 grand feature which in its mass should be proportionate 
 to the other parts. Unequal divisions, unless worked on 
 the right principle (what is it ?), are analogous to dissonant 
 notes, touched at random on a piano by one ignorant of 
 the laws of concord — preferable to this is it that all should 
 sing in one key — which, though not agreeable to the ear, 
 does not actually pain it. Beauty in a general sense sig- 
 nifies what is agreeable, and gains much of its power from 
 the intensity of tone in which it is expressed. 
 
 Thus picturesqueness, grandeur, beauty (in its artistical 
 sense), have each their beauties — a blue sky, a sound, a 
 colour, an idea, have all their beauties — to give one prin- 
 ciple for the production of beauty as applicable to so many 
 opposite qualities is fallacious; here seems to me Mr. 
 Harding’s fallacy. His principles are excellent for the 
 development of the picturesque (into this quality fancy 
 enters most), but not for the beautiful (artistic), nor the 
 grand, which, the last more particularly, are produced by 
 an intellectual imagination. 
 
 Every part of architecture forming a subject or compo- 
 sition, a feature by itself, should consist of three parts ; the 
 column with its base or foot, its shaft or body, its finish 
 — capping or head. The inferior parts or mouldings form- 
 ing these integral parts, should, I expect, be proportioned, 
 or form, certain parts of some leading proportion in the 
 composition ; thus the mouldings forming a cornice, though 
 unequal to each other, should all be formed, I expect, of 
 numbers divisible in the main proportion. 
 
 That all masses of buildings and all actually separate 
 features, forming those masses, should, like every created 
 thing in nature, be formed of three parts — foot, body and 
 head, is borne out I think by precedent and trial. The 
 column has base, shaft, capital; the plinth, base, die, cornice; 
 the entablature, architrave, frieze, cornice; the balcony, base, 
 body, capping. 
 
 The building has a base, wall or body, and cornice. Of 
 these they must all consist, if not their appearance will be 
 fundamentally bad. String courses should be the same. 
 
 All the plastic arts exposed to the action of sunlight, 
 are excellent in proportion as form is most perfect, next 
 light and shade, then ornament. 
 
187 
 
 I have before likened form to melody in music; it is 
 the groundwork and principal component part of the 
 harmonious sound or appearance. One of the principal 
 qualities of melody is character , the same with form ; or 
 rather, one might go so far as to say that melody and form 
 are the character to which the other adjuncts must assimi- 
 late. Now there is and can be no rule for producing this, for 
 so many characters as there are, so many different propor- 
 tions must there be, and every slight variation in proportion 
 will produce a tantamount variation in character ; to give to 
 a strong and massive prison the doorway and windows of 
 an Italian palace would be absurd ; not from the ornament 
 only, but from the incongruity of character as expressed by 
 proportion ; it would be like giving to the outline of the 
 Farnese Hercules the beautiful members of the Apollo. 
 Character and not beauty should be the end and aim of 
 all design ; and all the minor parts should hold the same 
 character as the mass to which they belong. The funda- 
 mental idea of character in architecture is given by its 
 proportions, and those proportions must be continually 
 varied to suit the subject. Light, shade and ornament 
 must harmonize with these, and aid in their expression, 
 forming, as it were, the second and third voices in the 
 concerted piece. All character may be divided again into 
 three classes: Beauty, consisting of the standard of 
 beauty, say the Apollo, in the second division leaning to 
 the graceful, and from these to weakness and over delicacy, 
 as in the Venus de Medicis, more fully shown by Canova ; 
 and in the third division, as leaning to strength, as in the 
 Gladiator or the Disc Thrower. These are three definite 
 classes or attributes of one character, in which are included 
 the many and indefinite gradations of detail, which lead 
 almost imperceptibly to each ; but pass either of these 
 thresholds or barriers and you obtain a fresh character, on 
 the one side of the elegant, and on the other, of the grand ; 
 and although in ordinary parlance each of these would 
 be termed also beautiful, yet, correctly to designate them, 
 another expression is necessary, and another quality or 
 idea be impressed. Light and shade in painting possesses 
 nearly as much power as form, and gives us as strong an 
 idea of the sentiment to be conveyed to us. Rembrandt 
 and Raphael respectively evince this, but in architecture 
 
188 
 
 light and shade is accidental, that is, depends on the sun 
 or artifical light for its production ; nevertheless, so great 
 and enchanting is its power, that its aid should invariably 
 be given, and great projection and recession, consonant with 
 the fundamental character of the building, be used ; orna- 
 ment and mouldings, in a great measure, may be made to 
 hold their own light and shade, and in this regard Gothic 
 architecture is an excellent model for us. Greece and Italy, 
 both sunny countries, required less attention to this ; their 
 ornaments and mouldings consequently are dependant more 
 on form, are flatter in system, and show none of that under 
 and thorough cutting which Gothic architecture exhibits, 
 and the value of which was so well appreciated by Sir C. 
 Wren, and the able sculptors Grinling Gibbons and Stone 
 — but to return to form. 
 
 Let us take grandeur. This quality depends so much 
 upon size, that I would prefer taking an intermediate 
 quality, — for instance, massiveness. Let us take the 
 Strozzi Palace, Florence. The whole form of this is a 
 square, and one-third exceeding in length ; the cornice is 
 about one-thirteenth of the whole height: the entrance 
 door, including its component mouldings, a square and 
 one-third exceeding in height ; the windows, including 
 their component mouldings, average a square and a half 
 exceeding in height. The whole building as it stands, is, 
 I believe, allowed to be almost a perfect work, harmonious 
 in its parts, and pleasing in the idea of compact strength 
 and massiveness which it presents to the mind. Yet none 
 of these proportions are beautiful as regards the pro- 
 duction of beauty , but excellent for the expression of the 
 character required ; and the least variation — the placing 
 of a Palladian string course, or even the string course of 
 any Italian palace of the Kaffaelle or Peruzzi school ; the 
 substitution of a cyma for the present extraordinary ovoid 
 form of principal moulding of strings, — would I am con- 
 vinced detract from the perfect harmony which it holds 
 as it stands ; the character of the curve being massive, the 
 cyma being graceful. 
 
 N.B. — This building shows the necessity of the three 
 parts before insisted on, the base being nothing in compa- 
 rison to the cornice, and when time is sdven to view the 
 whole at once as in a geometric view, what a drawback 
 this appears ! 
 
189 
 
 Again, take the form or outline only of the three orders, 
 and we have the medium or standard of beauty and 
 strength or manly beauty in the Ionic, leaning in the 
 Doric to beauty in which strength predominates 0 in cha- 
 racter, and in the Corinthian to beauty in which grace 
 predominates : each way beyond these we have° the 
 Tuscan, which in character is grander and more massive, 
 requiring size to aid its expression, as at St. Paul’s' 
 Covent Garden, and on the other Composite, which may 
 be decreased in size, and obtains more the character of 
 pretty. Again, the Pandolfiini Palace stands as the medium 
 of beauty, having the Farnese Palace as the stronger 
 development of the same character, and the Reform Club 
 house as a graceful development on the other side. 
 In the picturesque, the massive and the grand, or any 
 other definite quality, there are always these two off- 
 slidings to two other qualities, which, as before observed, 
 depend upon the variation of form fundamentally and in 
 parts, to the expression of which light and shade and or- 
 nament should be made subservient aids. 
 
 The attention to these in order — form first, then light 
 and shade, then ornament, and the manner they adjust 
 themselves to each other, so as to impress the idea or cha- 
 racter the building is meant to express, seem to me the 
 principles which should govern the architect in his design 
 and the critic in his analysis. 
 
 These are, I think, the abstract principles of all art; 
 but the rules which give a standard to every varied 
 character of each are unknown to us. That there are 
 standards of proportion for perfect beauty of form, 
 grandeur or elegance may very well be. Such rules can 
 only be obtained by great study and extensive investi- 
 gation : the true artist hits on them according to the 
 degree of power which nature has endowed him with. 
 The present rules seem to me very unsatisfactory. Alberti 
 says, the width of a space being four feet say, and its 
 length eight feet, the proportionate height — that is, the 
 height most agreeable to the eye, is six feet — as equidis- 
 tant from four and eight, or bearing a relative proportion 
 to each, but draw this form and in itself it certainly does 
 not appear so pleasing as a double square. 
 
 Others say, the width being four feet and the length 
 
190 
 
 eight, the height should be three-fourths, or three .feet 
 high : the reasonableness of these rules have to be shown, 
 and their good effect is most doubtful ; even if true they 
 can only express one quality, and, as follows from my 
 argument, different proportions are necessary. 
 
 Utility and propriety should influence an architect in 
 interior house design, or all design ; and beauty of propor- 
 tion should give way to this, — should be made to square 
 with such requirements as far as can be, but certainly 
 should be subservient : and in all that the architect does, 
 he has this drawback on the abstract principles of beauty, 
 whatever they are, which should guide his design. 
 
 As regards ornament: To use the same ornament for 
 every variety of building, as is done in Italian architec- 
 ture, is to play the same accompaniment to every style of 
 music. It is a fallacy to suppose that increase or decrease 
 of size changes the fundamental character. The world is 
 our legitimate storehouse for ornament ; but it should be 
 carefully chosen from that animal, flower, leaf or shell, 
 which most nearly approaches to the character we wish 
 our building to express, and then even it will be necessary 
 to re-design it so as to suit it exactly to our purpose, not 
 for character of form alone, but for the development of 
 light and shade, as is the principle in Grecian art ; and to 
 suit our atmosphere we adopt the principle of Gothic orna- 
 ment in light and shade. 
 
 Desiring to improve my perception of beauty by the 
 study of the human figure, I again left England, and 
 having been greatly struck when last in Paris with the 
 “Decadence of Koine,” in the Luxembourg palace by 
 Couture, I entered as a student in his atelier , and began to 
 draw assiduously from the life. I remained with him 
 from the autumn of 1850, till March, 1851, and received 
 his approval of my studies by the remark, that what I did 
 was tres biin pour un architecte ! Our hours were from 
 eight to twelve in the morning; and in the afternoon I made 
 numerous studies of ornamental art from the Hotel Cluny, 
 and from the antique at the Louvre. The life of a French 
 atelier was not to my ‘taste, and moreover, I had in view 
 a work on the Miraflores monuments, near Burgos; so 
 early in the spring left Paris, and soon found myself 
 
greatest masters are the closest observers, and in order 
 that such observation may be well impressed on the mind, 
 careful copies should be made. It is thus great artists 
 are formed, those at least who desire that their execution 
 shall carry out their inspiration, and these copies once 
 made, the peculiarities or principal characteristics well 
 noted, then it is, that the designer may vary from his 
 model as best suits, the purpose to- 'which it is to be 
 applied. The tombs of Miraflores are the richest and most 
 delicately worked specimens of that florid and picturesque 
 Gothic, which flourished so signally in Spain. Here is a 
 mass of work which almost defies accurate delineation cut 
 in marble and alabaster, forming two examples of architec- 
 tural sculpture, perhaps the finest specimens of decorative 
 art in the world. If it were for the labour alone, they 
 would be super-eminent, but in the minutest portions, 
 as in the most marked, the hand of a first-rate artist is to 
 be discovered ; and in their style of ornament they form 
 perfect models ; but I would not be understood as advo- 
 cating the indiscriminate use of this style, for it is evi- 
 dently unfit for massive broad effects. 
 
 The monuments at Miraflores explain little as to those 
 they perpetuate, but might not undeservedly form monu- 
 ments for Shakspeare. Fancy’s sweetest work in monu- 
 mental art might well be dedicated to the memory of 
 Fancy’s sweetest child. If Ghiberti’s gates are fitted to 
 be the gates of Paradise, these are worthy to be the monu- 
 ments of angels. 
 
 Most architects in the course of practice have felt the 
 want of a sculptor who understands and can execute their 
 wants, and it is truly a thing needed. Sculptors should 
 attend somewhat more to the scope which architecture now 
 daily affords them, without any derogation from that cold 
 imitative monotonous high art which they almost all totter 
 after, they might well exercise their powers on such sub- 
 jects and find matter worthy of their art. It is needless to 
 name the great sculptor architects of Italy, but I would refer 
 them more particularly to the north of Spain, and especially 
 to Burgos Cathedral, as containing specimens of what lies 
 in their power ; that vast cimborium overcharged, perhaps, 
 with sculpture is full of spirit and of life, grotesque, some- 
 what rude, and out of all rule, yet such is the energy 
 

 193 
 
 of idea and execution, that were I a sculptor they would 
 with their variety and fancy, afford a more inspiring 
 motive to my efforts than the classic inanities, too often 
 now the sole study of the unequal because dissimilar 
 hrtists. But whilst sculptors attend to form alone and 
 comparatively neglect the powerful aid of light and shadow, 
 they would work still in vain. This building contain- 
 ing many varieties of style from the earliest period 
 down to Renaissance, is still harmonious ; the reason is the 
 architects were all in turn so truly artists, that still 
 working each in his own way, they studied carefully the 
 character and detail of the then dominant mass, and so we 
 have the cloisters and older portions well studied in the 
 spires, the spires in the Constable’s chapel, and all in the 
 dome, which bears more witness to the genius and good 
 taste of the artist, for the manner in which the character 
 has been kept not imitated, than any building I know of 
 — a good lesson indeed to poor imitators, or bold defiersof 
 the buildings they are called on to enlarge or ornament. 
 I do not cite it as a precedent, since none but men of genius 
 could dare to venture or hope to succeed in the effort, for 
 the style is very fanciful and by no means to be fol- 
 lowed. The whole building is then a study for art, but it 
 is for sculptural architecture alone, that it can be re- 
 commended, for when we come to consider the immense 
 mass of work it contains, which is purely ornamental, we 
 must withhold much praise. Not of the severely utilitarian 
 school, still we should be careful not to expend too much 
 time or money on this taking part of art. Both the spires 
 are utterly useless ; yet who can blame the architect, since 
 they afford so much pleasure to the eye, and by night or 
 day, in storm and sunshine, rise so fairy like into the sky ? 
 There is nothing I regret more than being unable to give 
 drawings of the Constable’s Sacristy, but there is no vantage 
 ground, no balcony, no possibility of doing so, and the 
 windows are closely and strongly barred as shewn in the 
 drawings ; what I have done is all that could be effected 
 with the aid of an opera glass, and will give some idea of 
 the richness and grace which characterise the whole mass, 
 with no pretension to be more than careful sketches ; the 
 same applies to balcony between spires, yet it forms such a 
 remarkable feature in effect in the drawings published, that 
 
 o 
 
194 
 
 I thought it good to satisfy the architect as to what it 
 really is, and it serves not badly to explain the manner in 
 which the Renaissance has been given a Gothic character, 
 not only in this cathedral but generally in Spain. 
 
 Architects, after the time of Vanburgh, sank into mere 
 mechanics ; then came a change, and we had a semi-anti- 
 quarian mechanical school, which was a little better — and 
 but a little ; then men became thoroughly antiquaries and 
 possessed with a blind admiration of the Middle ages : 
 seeking only to reproduce its art in every point ; but beyond 
 all there is a point to attain, which we are fast succeeding 
 in, and that is, that architects shall become truly artists, 
 and that, too, of the first order, for theirs is the master 
 mind, which should direct all the art, which can enter into a 
 building, and includes painting, sculpture, and mere orna- 
 ment. For this purpose, to be a man of taste , is a great 
 object, but to be a man of creative power, still greater. 
 The prejudice, that an architect can attend too much to art, 
 must be overcome — too much he cannot. Never, however, 
 neglecting that education (without which his powers are 
 lost), in construction, mechanical improvements, and the 
 common details of his trade, which form the body in which 
 his spirit can alone visibly exist, for his art without science 
 is indeed a spirit without a body. 
 
 It has been said that we are overborne with works of 
 architecture, which only serve to depress and prejudice 
 true talent. I would agree heartily in this were such ex- 
 amples translated into England by mere imitation ; that 
 such should sometimes be the case is not the fault of the 
 author, the use of whose works is to excite curiosity, ad- 
 miration, and a desire to produce works equally noble and 
 artistical, and spread among that class who can afford to 
 build, a guide by which to form their judgment. It may 
 also be said that, between the time of the young architect’s 
 usual studies and that in which he can reasonably hope to 
 get into practice, lie some years which may well be spent 
 in travel and personal study of the most celebrated build- 
 ings of Europe; and I think he might do worse than 
 pursue such a course and make the results of his labours 
 public. 
 
 The metal work of Spain has been much lauded and 
 much beyond its desert. Whatever labour and costliness 
 
195 
 
 could do, combined with much power of execution, has 
 been done, but it is seldom in good taste or in a good 
 style of art, and one may meet with examples less grand 
 but more praiseworthy in Germany, France and England. 
 It presents however an elaborate and florid style of design, 
 much fancy and excellent execution. 
 
 This also is the case with the architecture — Renaissance 
 as well as Gothic — which flourished most in Spain, and taken 
 altogether, it presents more charms to the eye which de- 
 lights in the picturesque than to that which seeks real 
 architectural merit. The epochs of architecture in Spain may 
 be divided into six : Romanesque and early Gothic, which 
 flourished principally in the Northern provinces during the 
 dominion of the Moors, and of which examples are to be 
 seen in the Huelgas cloisters and South porch of Cathedral. 
 The florid Gothic which received much of its inspiration 
 from German sources, and which is rich in fine examples 
 throughout the country, and nowhere perhaps more so than 
 at Burgos, as seen in the Miraflores plates, the spires and 
 Constable’s Chapel, San Lesmes, and others which, though 
 full of blameable features, are remarkable for the band 
 of excellent architectural sculptors who worked them 
 out ; and the Renaissance or Plateresque, which partakes 
 more of a Gothic character than its analogous style in 
 France, England, and Germany, and is overloaded with orna- 
 ment, presenting many bad features yet still exerting the 
 same influence as its predecessors by means of the variety 
 and vigour of its sculpture. These are the only styles I have 
 illustrated, and my regret is that the first is so merely 
 hinted at, for it is excellent in effect, and can boast many 
 remarkable specimens in the north of Spain ; though un- 
 fortunately not much at Burgos. Then came the style of 
 Herrera or purified Italian, which answers rather to the 
 modified Grecian style in England of some years back, and 
 is large, massive, bald, totally devoid of ornament, and very 
 uninteresting. Then the Churrigueresque, which may be 
 seen in almost every church in Spain, and is simply 
 abominable. Besides these, is the Moorish style, which 
 completely a genus, per se, is full of beauties and delight, 
 and deserves the close study of all artists who require grace 
 and ornament and poetic feeling. In a former work which 
 treats exclusively of Renaissance and Romanesque, (Ar- 
 
19G 
 
 chitectural Art in Italy and Spain) the Plateresque style 
 alone was illustrated ; in this work my attention has been 
 centred principally on the florid Gothic, which, though not 
 perhaps very commendable as architecture, is most useful 
 for ornamental instruction. 
 
 Get over that disregard with which many buildings are 
 treated, because they are not of a pure style ; they may 
 even be bad and yet serve a purpose, namely, to increase 
 our knowledge ; whenever and in whatever style a real 
 artist has worked there is work also for us. 
 
 One purpose, I hope, these examples of ornamental sculp- 
 ture, will serve, and that is to strike the eye with its deep 
 and shadow filled cuttings. We cannot be too careful to 
 avoid such shallow ineffective ornament, as that which 
 barely dots all the new buildings of Paris, and which, often 
 graceful and varied is yet all but lost ; even in the Italian 
 style, much may be done as shown by the sculptors of Sir 
 Christopher Wren. 
 
 Paris, 1852. 
 
 Train over your windows by means of strings — creepers, 
 such as bean, convolvulus, clematis, &c. 
 
 Bed-room like mine at Hotel de Tours, Place de la 
 Bourse, paper striped blueish and brownish (light tint) 
 alternate with whitish cream between, stopping on cornice 
 with dark purple border, in which flows a blue leaf folia- 
 tion picked-out with lighter blue; cornice and woodwork 
 generally lightish rich brown picked-out with red ; bed- 
 room curtains, &c., white with border pattern; a commode, 
 a looking glass over marble chimney ; window as usual, 
 with iron balcony and wooden rail. The usual French 
 bed-room is square with partition for bed, and closet or 
 dressing-room. I like this plan very much. 
 
 For a shop with private or small windows, make revol- 
 ving cases to open with objects of trade and to close as 
 shutters. 
 
 A French window is generally a long oblong, and opens 
 up the centre, the window is closed and made firm by an 
 iron bar through up, which moves on two pivots let into 
 circular iron rings, the handle at centre is also moveable 
 on pivot, and clips into a piece of iron let into the framing 
 of window. 
 
197 
 
 I should think the principal • rooms at the Louvre are 
 about 45 ft. high including cove ; the long gallery about 35 ft. 
 The colour of the great saloon I don’t like, it is dark brown 
 patterned, dull dark red better for pictures and richer, 
 the angles are splayed and afford room for pictures. For 
 this reason the octagon a good figure. A gallery for 
 sculpture is good divided by plinths and columns, space 
 between columns for statues — light from one side bad for 
 pictures and statues — half the sculpture at Louvre lost 
 thus. Galleries both round halls and rooms have a hand- 
 some effect. The best ceiling at the Louvre is richly carved 
 oak, quite plain, with paintings on plafonds ; a little colour 
 on ornament, however, would be an improvement. 
 
 In a bed room — iron bed (if not dearer than wood), 
 light canopy, commode of two shelves with little drawer 
 for lucifers, washing table inlaid with white marble, at sides, 
 places (rowels) for towels, at back a looking glass, a cheval 
 glass or one big glass over chimney, parquet floor, centre 
 carpet, general character of room cheerful, hard-ware white 
 with rim pattern. 
 
 “ Talent is found in Academies — Genius by the road-side. 
 One is the carefully educed pride of the liot-liouse — the 
 other, an early spring violet of the forest.” 
 
 A common natural ability may by constant practice 
 and good education become first-rate, as a mere artist, 
 that is, a draughtsman and colourist, a knowdedge of com- 
 position, of effect, &c. ; but no education, no practice, no 
 patience, will give that spirit and sentiment, that sacred fire, 
 which attracts and warms, and which is called genius. 
 I have just said that genius is a fire that lights and warms. 
 Talent is a fire which only lights. It is the sun without 
 its heat, and I should as soon mistake the glare of the 
 electric light for the sun, as talent for genius. Genius 
 has little or nothing to do with imitation, it is not the 
 excellency of that quality which denotes the man of genius 
 — he may or may not have it, as Fate disposes — the man 
 of genius feels deeply, has a thought, a vision in view 
 which he must express to others; communicativeness is 
 necessary to genius, even if it is only to communicate to 
 himself, no matter how he expresses himself, he does it, and 
 succeeds even better than the correct imitator. 
 
198 
 
 All china I like white with slight colour at edges, and 
 initials, or crest, &c. 
 
 The women at the Halle sit in the centre of their stalls, 
 the water continually is running into the troughs. I could 
 not make out how it escaped, the troughs being always 
 full ; the passages between troughs too narrow and always 
 w r et, this might be avoided ; the fish are also kept in tin or 
 iron cases wired over, the troughs have wires in framing 
 to them also, which open and close. 
 
 Make a new plan of London : fresh streets, widen 
 thoroughfares and make cross lines, fresh bridges com- 
 mencing at Westminster, quays to river sides, narrower 
 but deeper channel. What has become of Pearson’s plan 
 for central station ? Fresh parks, Lambeth remodelled, 
 Holywell Street, Clare Market, Petticoat Lane, expurga- 
 tion ; manufactures isolated, markets re-arranged, slaughter 
 houses and cattle markets, public baths and wash-houses, 
 cemeteries, Cremorne a park, churchyards made open and 
 playgrounds; connect Hotting Hill, Hammersmith and 
 Fulham : re-grouping of boroughs with town halls to each ; 
 no vestry, every parish its mayor and corporation, fountains 
 and schools. 
 
 Arcade. — In a circular roofed gallery springing from a 
 cornice, grooves may be made on each side on top of cornice 
 to receive the wheels of a light iron bridge or scaffolding, 
 which can thus run easily over the whole length, and from 
 which glass may be repaired and cleaned. 
 
 Couture told us to-day, how attention was necessary to 
 see hidden beauty. He said that one day he went for a 
 trip into the country and was hanging over a little bridge 
 that spanned a still river, his eye was caught by the insects 
 which play on the surface of the water, their actions were 
 so pretty ; but in looking at them his eye perceived first a 
 tree, then a cloud, then a bird reflected in the water, until 
 bending more over and looking more closely, he saw a 
 whole mysterious fairy-like land and sky presented to him, 
 and this thoroughly absorbed him, so that he quite forgot 
 the little insects which had first attracted him ; so said he, 
 “ I saw that we must look below the surface for the sweetest 
 charms.” 
 
 The names of the artists engaged in manufactures to be 
 
199 
 
 placed on them in the Expositions — just and useful — many 
 French emigrated because not thus recognised. 
 
 Couture says, “ in drawing keep in view the * grande ligne 
 dominante ” same in colour, same in light, I would add.° 
 
 Enamels. — Let Limoges enamel into coffers, it looks 
 very well ; best ground purple madder, high lights, white 
 flesh only slightly coloured. Pictures copied in this way 
 look very well. 
 
 Prints. — The Hotel de Ville, Paris, is from the designs 
 of Domenico Cortona, Italian, under Francis I. and Henry II. 
 “ Maniement d’Arme de Nassau,” a.d. 1618, by Adrian van 
 Breen (use of the pike) very interesting. 
 
 Architecture. — Palazzo Farnese, court by M. Angelo, 
 1545 a.d. Ducerceau, too fantastic. Dieterlin, Elizabethan 
 run wild, very bad, but spirited, 1590 a.d. 
 
 Fireworks. — Fountains of five spiral columns, with 
 rockets, &c. from top, good; fine examples at the fete 
 given by the city of Paris at Louis XIVth’s daughter’s 
 wedding. 
 
 Arch at St. Etienne du Mont. — Archivolt much below 
 architrave, thus forming large keystone, good for arms with 
 foliage, &c. 
 
 Dormer Windows of the Sorbonne, Paris. — All such 
 should project well from mansard or high roof. Atelier : 
 Visited one to-day. Lower part chambers, the upper part 
 ateliers. Pent for atelier and appurtenances 600 francs, 
 two such on each floor; 1200 francs the whole floor (third 
 and fourth stories), two windows to each atelier, but only 
 one best, square head better than circular, and the sill 
 4 or 5 ft. from floor ; outside, busts on brackets between 
 windows not bad, and colour applied on external frieze dull 
 red on cream stone colour ; heads dull red in stone circle. 
 
 London. — Take away Temple Bar and place it over 
 Strand at Somerset House, with a corresponding arch for 
 another line of carriages, St. Mary-le-Strand dividing the 
 street like an island. Holywell Street down ; facade similar 
 to Somerset House on the other side, fine coup d’ceil. Path 
 across court of Somerset House, and foot bridge across 
 Thames, or quay carried up to Waterloo Bridge. Connect 
 Piccadilly and Victoria Street through centre of St. James’s 
 Park. 
 
 Le Potre. — Full of scenes for theatre. A rich imagina- 
 
200 
 
 tion but too pictorial for architecture ; good also for 
 furniture and ornament. 
 
 Course of Study. — Egyptian, &c., Greek, Roman, By- 
 zantine, Gothic, Renaissance, general construction and 
 perspective, shadows, plans, sections, working drawings, 
 specifications ; during the whole time drawing from the 
 Antique, &c. 
 
 Make a trellis down one walk of garden, and train over 
 it ivy, clematis, &c. 
 
 Enamel. — Gold lights instead of white on dark purple 
 ground look very rich; outlines always pretty firmly 
 marked in this style (Limoges sixteenth century). 
 
 Paris, 1852-3. — It is impossible, and if possible, most 
 undesirable, that we should disconnect the idea of archi- 
 tecture from such men as Michael Angelo, Raphael, 
 Balthazar Peruzzi, Sangallo, Sanmichele, &c. for these 
 men however much the taste of the day may be opposed to 
 their ideas, certainly studied architecture as an art, and 
 ennobled it by the enrolment of their names. To them 
 the student should always turn with admiration and en- 
 thusiasm as towards the great leaders of his art. • 
 
 Notre Dame des Lorettes : interior something of Santa 
 Maria Maggiore disposition. I have come to the conclu- 
 sion that the early Italian school of painting is not well 
 adapted for this style, which is a sort of Graeco Roman 
 Byzantinesque French style, and wholly, except for its 
 making use of painting and sculpture — wholly unworthy 
 of study. 
 
 Market. — The fish market at the foot of Rue St. Denis, 
 has large troughs in which are kept alive eels, and other 
 fish, the water is constantly fresh and bubbles in from a 
 pipe, very good plan, every salesman has one. 
 
 St. Denis has three very fine entrance doorways, Norman, 
 but not cut deep enough ; mark well, the lower parts of a 
 building should be darkest in colour, the highest whitest, 
 this should seriously be sought after, a dark colour adds 
 trebly to the effect of deep cuttings, vide St. Merri and 
 Notre Dame on one side, and St. Denis on the other. Some 
 of the chapels I like very much, the tomb of Louis of 
 Bavaria is an exquisite specimen of Cinque Cento. Stained 
 glass should be so managed as to let some parts be touched 
 by light, and others kept opaquely dark, so that the sun 
 
201 
 
 may not send a great flood of glaring bright colours around ; 
 nothing is more out of keeping in a fine old Gothic 
 building than patches all about of the brightest and most 
 glaring yellow, blues, and pinks. Been to the prizes at the 
 Beaux Arts, the paintings and sculpture good but acade- 
 mical, the architectural monuments of careful and excellent 
 drawing, and that is all; the time given to becoming a 
 draughtsman might well have been employed in the for- 
 mation of ideas. To mistake execution for art is a mortal 
 mistake. I see no symptoms of true architectural art open- 
 ing in France, everything is a clever copy or adaptation 
 without one grand leading idea. Been to the Hotel Cluny, 
 an endless source of instruction for the artist in interior 
 decoration, wood, iron, marble, porcelain, glass, ivory, 
 tapestry invaluable ; when building a mansion for a rich 
 and generous person, consult these excellent models. It 
 occurs to me that the reason why Gothic architecture, or 
 the buildings of the Middle ages possess such a charm, is 
 because their authors were most probably the men who 
 would have been painters or sculptors now-a-days ; but in 
 those times, when these arts were not practised separately 
 — the architect was really an artist — and for want of a 
 separate field, worked out his ideas in an architectural 
 form. 
 
 Leave hooks in roof for repairs, openings to ventilate 
 timbers, use as much iron as possible, place ornamental 
 bands for fire insurance plates. 
 
 Design. — In making a design, first form your large 
 masses of light and shade, into which work detail. 
 
 Ornament lost. — The river front of the Tuileries is a 
 mass of the most complicated ornament, so little as to be 
 quite lost a few paces off, a great fault in a large work. 
 Versailles, full of good ceilings and Gothic wood ornament, 
 also good sculpture. N.B. — Delacroix’s Taking of Constan- 
 tinople quite lost ; dark and rich pictures like that require a 
 room of similar tone, dark green curtains, dark red walls, 
 black and gold ceiling like the old Spanish ones. Colours 
 that tell well on each other as patterns are black on brown 
 red, or any red not crimson, gold or yellow on purple, and 
 gold on green ; dark blue with white edge on brown, and all 
 light tints on dark tints of same colour, or vice versd. 
 
 i 
 
202 
 
 Gothic Leaves. — It is not improbable that the crump- 
 ling of Gothic leaves arose from their being studied from 
 nature, as when brought in doors, they crumple up just in 
 the way there shewn. 
 
 Shop. — A Bazaar may be much magnified by cutting 
 into the area, as in the “ Aux Villes de France,” Bue Vi- 
 vienne ; when this is done there should be a broad landing 
 left after opening the street door, so that the steps down 
 may not open abruptly. 
 
 The “ concours ” for the prize at the Beaux Arts is a 
 Mairie, all the subjects are in Renaissance or bad Italian, all 
 high roofs like Tuileries, much room lost ; nothing remark- 
 able except beautiful work and colouring. 
 
 Interior Ornament. — Dulud’s shop has a finely ribbed, 
 panelled and ornamented ceiling in plaster (flat) nothing 
 very deep ; all white, but it might be coloured very taste- 
 fully, some of the old Elizabethan ceilings would be useful 
 to consult. All furniture except for drawing rooms, might 
 be of dark wood. I am sure the charm of half the old 
 furniture is because it is not whitey brown ; walls might be 
 partially covered with patterned leather, some excellent 
 examples at Dulud’s, one especially, large gold arabesque 
 pattern, gold on a rich red purple ground. 
 
 Booms. — Booms may have black or dark dies with gold 
 sparingly used, leather of gold pattern on dark red ground 
 up to frieze, frieze with niches &c., and ceiling like Dulud’s 
 of plaster coloured ; in case of fire proof floors, attached 
 plaster ornament on ceiling may be properly applied. 
 
 If there is a fine view have one piece of plate glass 
 framed, so as to make it a living picture. 
 
 It is more easy to say what is not art than what art is, 
 the word in itself has no derived meaning, like science for 
 instance, but this negative definition of art is of no small 
 service. Architecture combines three studies, art, science, 
 and trade : of which three, art is the most important ; 
 there have been various professors of this combination, 
 those in whom the spirit of art predominated are the men 
 who have ennobled it and placed it on a footing with 
 sculpture and painting and made them sisters; those in 
 whom the science predominated were grand constructive 
 mechanics, and hold an estimable place but of a second- 
 ary class, and those who only make it a trade are mere 
 
203 
 
 builders and traffickers in wood, iron, and stone, and by 
 no means are artists. 
 
 St. Peter’s. — It is extraordinary what a connection 
 there is between the spirit and the work ; how the dull un- 
 speaking material bodies forth the soul from which it is 
 formed. St. Peter’s is an excellent epitome of the Ilomish 
 religion, vast, nay immense in extent, it is a mass of sense- 
 less half Pagan •ornament, it is brilliant with stones rich 
 and rare, it seeks to hide its innate want of truth, of 
 nature by external show, barbaric pearl and gold. It 
 seeks to overpower the mind by a tremendous show and 
 appearance of art, whilst all the time there is no little 
 country Gothic church but what has probably more the 
 true artistic inspiration about it. It is a gaudy cope with 
 a common man beneath it, who denuded of his false finery 
 is not so handsome as an every day labourer. 
 
 Principles. — There is one grand principle applicable to 
 all the plastic arts, one true and eternal, namely, study 
 closely nature, and when well acquainted with what you 
 mean to use, then alter to suit particular requirements. 
 “ Art is made better by no mean ; but nature is that mean.” 
 To go on the other tack and say, give the general idea of 
 what you want by a conception without having copied, is 
 a principle which has led in the three arts to lamentable 
 results, only not equalled by the faithful imitator, who 
 changes nothing, both wrong. 
 
 Hotel de Cluny. — The new part is a perfect model 
 for a mansion. Some of the pavements are terra cotta in 
 patterns ; the girders rest on stone brackets, of a simple 
 curve, with a coat of arms painted thereon ; the stone is 
 left its own colour ; the ceilings are of a dark brown tint, 
 and the underside is decorated with a light line ending at 
 angles in leaves. This is the style of ornament pursued 
 throughout ; it answers almost exactly to the blue pattern 
 of my medal ornaments ; not only is it used on the wood- 
 work throughout, white on brown, but is used in the great 
 vaulted room, red on white ground, and in various soffits 
 variously coloured. The staircase is excellent, sufficient 
 for a good mansion ; on the landing is an opening, which 
 looks down on the great hall ; cushioned handrail pleasant, 
 stained glass used in centre only of windows, the rest plain 
 in diamonds, with a little ornament at angles. 
 
204 
 
 The great vaulted hall is lighted only from above. The 
 four ribs meet, but the upper portion near the centre is 
 glazed. 
 
 Visited an auction room ; a large oblong with flat ceiling 
 and large skylight all the way down. Light excellent, 
 good for a show room. Same plan pursued at the Exhi- , 
 bition, where it is more ornamented ; the names of the 
 grandees of art being inscribed in various ornamental 
 devices. The principal portion of this Exposition in the 
 yard of the Palais Koyal was begun and finished in about 
 six weeks or two months. 
 
 Coals in Kooms. — Every room should have a place pur- 
 posely made to receive coal scuttle, close to fire and curbed 
 in, so that the coal which falls when taken out in the 
 scoop should not fall about the carpet and get scattered 
 over the room. 
 
 Handkerchiefs. — Handkerchiefs and other ornamental 
 linen to have a small ring in the corner for initials. Some 
 might be ready stamped, alphabetically throughout. Bor- 
 ders and stripes preferable to all confused flower work 
 
 Hotel de Ville. — Very fine. Centre court rises to first 
 floor. I suppose there are cellars beneath. The use of 
 arcades, niches, and statues and brackettings very im- 
 portant. Good dormers and louvre. 
 
 Shop. — Staircase from shop with glass turned balusters ; 
 soffit covered and painted; good deal of looking glass — 
 telling. 
 
 Gas. — Lamps, with a metal trap in glass bottom. The 
 gasman comes round with long pole, pushes up the trap, 
 lights the gas, and shuts it again by a projecting spring. 
 This saves ladders in a crowded thoroughfare, and is very 
 quick and convenient. 
 
 Mounting Drawings. — Drawings or water colours are 
 best mounted on white paper, with a small gold or drab 
 edge about a quarter of an inch deep round them ; they 
 may be well bevelled round drawing ; a small gold edge 
 round drawing itself also good, the whole to be covered with 
 glass. Also thick paper, with grained gold over it, can be 
 cut into oval frame, or any form, and laid flat over drawing, 
 the square frame enclosing all. 
 
 Byzantine Ornament. — The ornament I allude to, 
 though Byzantine in style, was worked at Limoges, twelfth 
 
century. Appears to be founded especially in colour on 
 the lizard, green, blue and gold in scales, and serpentine 
 curves being most common. 
 
 Stained Glass. — The arabesques of armour, done with 
 black on a deep blue ground, very good, or yellow on a 
 gold rich sienna ground. Many patterns on wearing ap- 
 parel, Indian stuffs, &c., capable of being used; the best 
 colours should be rich and dark. The back of glass (out- 
 side) appears to be encrusted in some way, adding to the 
 richness of tint ; an encaustic of some kind was, I think, 
 doubtless used : see “ Builder,” for December, 1850, a letter 
 on stained glass. 
 
 Staircases — Of the Palais Royal are oval and oblong, 
 open through up, large and palatial. 
 
 Earthenware. — -When blue and white are alone used, 
 the blue should be of a slatish tinge, it otherwise looks 
 raw ; but if the white is slightly warmed, any blue may 
 be used : much may be done in these colours. The opus 
 Alexandrinum might be used for some purposes, and would, 
 I think, tell : might also be used for papers, intermixed 
 with other patterns. Much gold, if any, I don’t like ; the 
 best ornament is the colouring of earth itself. 
 
 China. — Black line ornament on a cobalt greenish 
 (verdigris) ground, very good for cups, vases, &c. — study 
 Etruscan form. The opus Alexandrinum might be intro- 
 duced with effect. All the arts aid one another. Study 
 armour for arabesques; and the handles of swords often 
 good for cups, jugs, &c. 
 
 Modelling. — It seems probable that Gothic ornament 
 was modelled before cut. 
 
 Arcade. — Gallery of Orleans, Palais Royal. About 
 40 feet wide. Series of arches, columns between, balus- 
 trade above ; circular iron ribs spring from every column ; 
 the glass roof is semi-circular, so are most of the Parisian 
 galleries ; good ventilation is generally gained at top. 
 
 Hotel Cluny. — In all the ornament, its superiority 
 over modern consists in its freedom from that thinness 
 and extremity of delicate grace so prevalent in modern 
 work : there is more solid art about it. 
 
 China. — Most of the earthenwares of the fifteenth and 
 sixteenth centuries explained their own use — a fowl for 
 birds, a bull’s head for beef, shells for fish, &c. I like 
 

 206 
 
 much some of the dishes, with fish and eels, &c., in them 
 in full relief, by Palissy. Plates to have at diagonals, in- 
 dents for mustard and salt. How was the brown shot 
 with gold got ? It has a metallic appearance. Introduce 
 well known pictures and sterling ; colour is as important in 
 earthenware as form, and here, as in stained glass, strong 
 rich colours are most ornamental. For want of this, the 
 designs in white by Summerly, &c., are deficient. Proof 
 of this, take the common pattern (drawn at Louvre), and 
 change the deep claret into a light green, or any delicate 
 tint, and see its loss. Moreover, polish is serviceable to 
 all earthenware with colour, but not so important, if even 
 good, where the ware is unglazed. Form is not so import- 
 ant as colour in china, papers, stained glass, enamels, &c. 
 Proof, the rough work of the middle ages, Dutch and 
 Italian, and much china. Nor in iron work, ivory and wood 
 ornamental carving, where fancy and grotesqueness are 
 more taking. Proofs the same. 
 
 Room. — For a room with a balcony round it, consult 
 the Alfajeria, Saragossa. 
 
 Colour. — For earthenware, &c., observe butterflies and 
 shells particularly ; for is it not reasonable that in ob- 
 serving with pleasure the great beauties our good Creator 
 has spread around us, we should learn also to put them to 
 some tangible use. 
 
 China. — Put globular earthenware into osier bands and 
 handles ; the effect is very taking, the pattern through 
 bars showing very prettily. Also in a steel cincture, with 
 chain or other handles. There is a very pretty specimen 
 at Cluny, emerald green jar in worked steel chains. In 
 place of having the spout opposite handle, it would be as 
 convenient to have it at side, for milk, &c. The ware in 
 metallic reflexion of white and gold looks well with a blue 
 centre and gold stars. The clear gold is not nearly so fine 
 as the metallic reflex. A cocoa nut, in steel lace cover, 
 like old sword handle, a shark’s head for spout. Don’t be 
 afraid of making dish rims too wide ; it adds much to their 
 appearance. 
 
 Furniture. — Small ivory or marble groups or figures 
 look very well on an ebony ground and gold frame, or in a 
 plain ebony frame and hung on walls, dark wood furniture 
 may well be inlaid with marble, not too much. 
 
207 
 
 Sainte Chapelle. — Fine but over done, too much colour 
 and too gaudy to please me. New buildings emasculated 
 and neat, a good model for an iron building, thin piers, all 
 the rest glass. 
 
 Ware.— J ugs, &c., in dark stone or marble, cut, inlaid, 
 slightly gilded at mouldings, enamelled or encameod, look 
 very handsome ; single deep red, large and simple pattern 
 on gold grained ground looks well on paper, why not on 
 china ? look at birds for arrangement of colours. 
 
 To do. — Plan for the improvement of London; plans for 
 county aggregate Institutes, model poor houses, ateliers 
 for artists, designs for furniture, earthenware, and stained 
 glass; designs for builders, designs for scene painting, roads 
 through Hyde Park and St. James’s, connecting north and 
 south ; flower, fish and meat suburban markets. 
 
 Furniture. — Small ivory figures in dark wood furniture 
 look well, all wood work for chairs, &c., is best dark. 
 
 China. — Large jars of clouded colours very handsome, 
 as a deep claret at foot gradually dying off at top and 
 clouded. The borders of plates only need colour, with a 
 centre ornament, leaving a white ground to eat off. Cameos 
 are very handsome left as cut on the shell, other shells 
 besides the usual ones might be tried. A globe made of 
 primroses or other flowers very pretty with device at top. 
 For straight jugs and stems, see Roman candelabra. Design 
 a dish for small fruit, almonds, raisins, &c., in compartments. 
 The enamel (black and white) of Limoges, I like better 
 than all the gaudy paintings at Sevres, a little colour may 
 however be introduced. I do not like much the imitation 
 cameos at Sevres, and the modern work generally is too 
 coloured, too delicate, too fine ; if extreme care in execution 
 made china good, these would be perfect. For arrangement 
 of colours observe broken flints. 
 
 Why not employ regular artists for earthenware, stained 
 glass, &c., this is done in France, and Delacroix, Deveria, 
 Yernet, &c., have designed much for stained glass ; it is to 
 this they owe much of their superiority. Thus too the 
 greatest artists of old worked, Cellini, Julio Romano, 
 Aldegrever, Albert Durer, Cousin, &c. 
 
 Nothing looks so clean as white ware, the white should 
 not be too cold, a very slight pattern may be used in 
 
208 
 
 centre alone, or rim alone, as cardinal’s hat on rim of a 
 broad rimmed white plate (Sevres Museum) tells well. 
 
 Fish Market. — The stalls in the fish market are double 
 with a seat in the centre, the troughs are supplied by a 
 tap formed of two dolphins, these troughs are partially or 
 at will altogether covered with a slab; the fish seem pretty 
 lively in them. 
 
 China of two kinds very delicate and neutral in colour 
 and body of fine earthenware carefully worked; or body 
 pretty rough and full of colour; in the first the Chinese easily 
 bear off the prize, the Turks, Persians, and Middle Ages, 
 the other. Transparent pattern on opaque ground very 
 beautiful, how is it done ? Feathers of birds, leading idea 
 in patterns. Could a lid be conveniently put to tea and 
 coffee cups, &c., to keep them warm ? 
 
 Parallel. — It is curious that when the original seat of 
 our doctrinal belief was Italy, our architecture bore no 
 analogy to that of Italy ; but that on our receiving oppo- 
 sitely derived doctrines, we brought into use the architec- 
 ture of Italy not only for domestic purposes, which might 
 be easily explained, but for ecclesiastical, and afterwards 
 a purified Italian for our churches. St. Peter’s and St. 
 Paul’s, exponents of different creeds, are much of the same 
 style in architecture. The fact is Italian purified architec- 
 ture is merely conventional and means as much one way 
 as the other, that is, means nothing. I look on Norman as 
 far superior to Gbthic, for explaining in stone the intention 
 and purposes of the Protestant religion. 
 
 Serlio. — Vindicates the artist education of the archi- 
 tect by noble references. He holds the square to be the 
 most perfect of forms bounded by right lines : an au- 
 thority. 
 
 Ornament. — The fault of modern ornament is that it is 
 not sufficiently solid, and requires more architectural and 
 pictorial knowledge; extreme elegance and delicacy of exe- 
 cution as well as redundancy of ornament, show the decline 
 of true art ; these prettily drawn and coloured bunches of 
 fruit and flowers are nothing to me, and Sevres, to my mind, 
 is the very bathos of decorative art. 
 
 Dumaresq’s father says, wherever the execution surpasses 
 the design you remain unsatisfied, but wherever the design 
 
209 
 
 is fully expressed, however rough the execution is, you are 
 pleased. 
 
 Curtains. — Each side of a window good with different 
 hut harmonizing colours, this may be carried out in all 
 furniture, no necessity for one chair to be brother to the 
 other, on the contrary, better different but harmonizing. 
 
 Statues. — Are very useless as ornament (detached) in 
 open air ; there are six along centre of Palais Koyal which 
 are lost, also in the Tuileries gardens, though numerous 
 yet they make little effect. 
 
 Door. — Door handles should be placed so far from jamb, 
 that the knuckles can not be grazed in shutting. 
 
 The Past. — Should always be studied as a teacher, not 
 as a model. The Theatre of Bordeaux seemed fine to me, 
 on my road from Spain to Paris, but on my way from 
 Paris to Spain, poor : we should be wary in our judg- 
 ments, since the past so affects the present. 
 
 Protestant Temple. — This seems to me may still take 
 a cross form, with a large dome however in centre, inclosing 
 a hollow tower which contains an organ and has room for 
 an orchestra; staircase leading up inside or outside at will, 
 conducts to the preacher’s pulpit, beneath which comes 
 the other for service, or only one. The great object in a 
 Protestant church is the same as in a theatre, to accommo- 
 date the greatest number consistent with hearing the 
 human voice ; well managed, four great bodies of people 
 may be instructed at the same time without incommoding 
 each other ; the outlets, as for all large assemblies, should 
 be numerous ; the galleries may be always three in number, 
 the musicians should be hid, for the effect of music is 
 thus more impressive. Darkness may be deep at the entry 
 as in the Spanish cathedrals, but within the dome all 
 should be light. It will be long I expect before people 
 will feel comfortable in a church formed like a theatre, 
 such is the power of habit and clinging to the past. Yet 
 how do St. Paul’s or Westminster Abbey suit Protestant 
 service ? 
 
 Bridges. — Should not the piers of bridges be thin in- 
 stead of thick ? the less resistance offered the better. They 
 may be gradually bracketted out thicker, and the stone 
 work thus spread wide enough over each side of arches for 
 the use of heavy traffic, the footpaths will be quite suffi- 
 
 p 
 
210 
 
 ciently strong if of iron and on iron brackets, or else 
 stone, as judgment may dictate. The fear is not that the 
 piers will not support the arches, the danger is from the 
 action of the water, and the greater the mass opposed to it 
 the more evidently has it room to work, something of this 
 kind at Paris, below Notre Dame ; how far weight necessi- 
 tates thick piers I do not know. 
 
 Art. — I have before given art the superiority to con- 
 struction ; yet they are perhaps equally noble ; certainly 
 art can exist without construction, as in painting, and has 
 that claim to superiority which poetry has, namely, a 
 power which no study can attain. Construction too can 
 well exist without art ; yet is then dull, heavy, cheerless, 
 as would be the bird, the fly, the flowers, without their 
 colours : in fine the world, in every respect as it is now, 
 but deprived of all that which renders it so charming, and 
 makes it to us the queen of beauties. 
 
 Streets. — Between Holborn and Strand, between Ken- 
 sington and Hotting Hill, through Hyde Park, gates and 
 bridge for foot passengers through St. James’s Park be- 
 tween Piccadilly and barracks. 
 
 Lines express contours as a matter of course : draw a flat 
 surface on a piece of paper, and express it by straight lines, 
 then you will see in whatever form you put the paper the 
 lines will follow it, flat, round, curved or angular — a good 
 lesson. 
 
 What struck me in the French Mus4e of Sculpture from 
 Louis XI Y. to Canova was its affectedness, both in atti- 
 tude and sentiment, its want of simplicity, and its minute 
 finish ; the portraits of Coysevox, not bad ; Pierre Puget, 
 strained and affected, but still with a spirit of life shining 
 through the body ; Canova, surely the finest ideas in the 
 world would be spoilt by such polished finicking. In 
 the old department, the statue of Chabot, ascribed to 
 Jean Cousin, is a fine simple work and grand ; Goujon’s 
 Diana, front excellent, back bad ; Paul Pontius Trebatti, 
 had a soul in his body ; the reclining figures at end of 
 room excellent (in stone). I like it better than marble, both 
 for the granulated surface it presents and its warm tone of 
 colour. 
 
 Couture’s Similes. — Weigh art in the balance, one side 
 value, the other execution, in so far as the last weighs the 
 
 
211 
 
 first down, the work becomes worthless. Raffaelle, like a 
 new beautiful banner in which you admire the silk, the 
 ornament, &c. Rembrandt like one of the old tattered 
 rags in the Invalides, the greatest charms in the last. 
 
 I returned from Burgos to London just in time for the 
 last day of the Great Exhibition, and at that time had 
 not the most remote idea that I should ever be en- 
 gaged in such undertakings. Before the year was ended, 
 Mr. McLean had undertaken to publish my work on 
 Burgos and Miraflores, the only money I obtained for 
 which was the payment for lithographing the plates (folio), 
 42 in number; they were completed in the autumn of 
 1852 ; and I have to regret that in my hurry to return 
 to my studies at Paris a very bad title-page was made to 
 that work. By the end of the year I was again in 
 Couture’s atelier , working on the same plan as before 
 described, and continuing my written notes, which are 
 now reproduced ; and here I must make my acknowledg- 
 ments to M. Couture for the great improvement in my 
 appreciation of fine art that I obtained from his conver- 
 sation and teaching. I had before this read Haydon’s 
 eloquent Essays on the Elgin Marbles, but had failed to 
 see the force of his remaks ; but Couture opened my eyes, 
 and couched them as it were, so that I could perceive now 
 their vast superiority over all the other remains of 
 ancient art which had been heretofore held unapproach- 
 able, and in the Panathenaic frieze and the grand though 
 mutilated figures of the Ilyssus and Theseus I learnt to 
 appreciate a degree of artistic excellence vastly beyond 
 that expressed in the Apollo or the Venus di Medici. 1 
 think there can be no doubt that Couture is one of the 
 greatest, if not the very greatest of painters as regards 
 drawing, colour and solidity of execution in modern 
 times. 
 
 Early in 1853 I returned to London, intending to settle 
 there and practice my profession, but was troubled with 
 so wearying a cough that I began to despair of being able 
 to live • in this climate. However, with summer came 
 health ; and in June I took a house at Brompton, to keep 
 up which it became necessary that 1 should make money. 
 With this object, I made drawings for architects and for 
 the “ Builder,” &c., filling up my leisure time with paint- 
 
212 
 
 ing in oil, to which I had become greatly attached. Up 
 to this time, from having been so engaged on Art and 
 from a naturally shy disposition, I had mixed very little 
 with mankind — even with my fellow -professionals — never 
 being of a gregarious nature ; but now in the autumn of 
 this year, I received a note from Sir M. Digby Wyatt, at 
 that time arranging the architectural courts at the Syden- 
 ham Crystal Palace, requesting me to call on him there. 
 I did so, and found that he wanted me to write a cata- 
 logue raisonnte of his department ; which I gladly under- 
 took to do, and continued at it till early in 1854, when he 
 informed me that the directors had changed the plan of 
 the catalogue and intended to produce a series of small 
 books, containing a general sketch of each particular 
 branch of architectural art, which he proposed to confide 
 to me ; and this resulted in the guide books to the Byzan- 
 tine, Komanesque, Mediaeval, Kenaissance and Italian 
 Courts in the Crystal Palace, the chapters on Polychromy 
 being wholly the production of Sir M. D. Wyatt. Our 
 hope that Sydenham might become an important centre 
 of education for the people, has not we believe been alto- 
 gether fallacious. And here I must in justice state, that when 
 I commenced writing these guide books, I had but a very 
 slight knowledge of the archaeological literature of archi- 
 tecture, and my task was greatly facilitated by the com- 
 pendious list of works in English, French, German, and 
 Italian, with which Sir M. Digby Wyatt furnished me, 
 and which up to that time were unknown to me. 
 
 This was my first introduction to active life ; there was 
 much I liked in it, much I did not. However, it gave me 
 more experience of men and their ways than I had 
 obtained heretofore ; and I was by no means sorry when, 
 after the opening of the Palace in June, 1854, I returned 
 to my former quiet life. During the winter I was en- 
 gaged in collecting materials for a “ History of Byzantine 
 Architecture,” one of a series which Sir M. D. Wyatt in- 
 tended, I believe, to issue, so as to form a complete history of 
 architecture; and the amount of reading required for this im- 
 portant and at that time, rather obscure period of art, was full 
 of interest to me and was also of great service in extending 
 my knowledge of early Christian Art in Eastern Europe, 
 Western Asia, and North Africa. The whole of this winter I 
 suffered so from the climate that, early in 1855, I gave up 
 
213 
 
 all idea of remaining permanently in London, and in 
 March again started for Italy, and went as quickly as 
 possible to Nice, but the bitter mistral accompanied me 
 all the way from Avignon ; nor was it till I found myself 
 at Florence, in May, that I recovered my health. From 
 this time till late in the autumn I was continually at 
 work on a series of drawings, with which I returned to 
 London in the same year and ventured to forward to 
 the Prince Consort for inspection : the result was a note 
 requesting me to call at Osborne, where the Prince was 
 then staying, and to let his Secretary know of my arrival 
 at Cowes. I did so ; and was told to call at Osborne on 
 a certain day, when the Prince would like to see me about 
 the drawings. 
 
 However, I felt too nervous at the idea of such a trial, 
 and sending an apology for my absence returned to 
 London. After this, I received a note to say that the 
 drawings had been forwarded to the authorities at South 
 Kensington and that I had better call there, when I 
 should hear further on the subject. This led to my first 
 acquaintance with Mr. Cole and Mr. Eedgrave ; and I was 
 then informed that the drawings would be purchased for 
 the Museum — or Library, rather — at a moderate sum, to 
 become the property of the authorities, with permission 
 however, on my part to publish them within a certain 
 specified time. I shortly found a publisher in Mr. Vincent 
 Brooks, for the work entitled “ The Arts connected with 
 Architecture in Central Italy,” consisting of 41 folio 
 plates, mostly in colour ; a few only in chalk I engaged 
 to execute myself. The rest were done in Mr. Brooks’s 
 office, and unfortunately I could not give them that super- 
 vision which was necessary, owing to my absence the 
 greater part of the time at the Manchester Exhibition. 
 Again, the title-page was most unfortunate, and I did not 
 see it till too late for alteration. I thought the title-page 
 also of very little consequence, but I do not think so now. 
 
 During my stay in Italy, besides the large drawings, I 
 continued to make notes — pictorial and written — of any- 
 thing that struck me as good or noticeable. Some of the 
 last are here appended : 
 
 Pistoia. — The Hospital bas-reliefs are divided from each 
 
214 
 
 other by figures of the Virtues, &c. 4 , very good. The com- 
 partments also return over the single arch of side entrance 
 of arcade. The whole is bad in effect, hard, cold and 
 shadowless. Luca della Robbia’s best are to my mind in 
 the white glaze, a very beautiful example of which exists 
 in the Church of San Giovanni in Riparata, of Christ and 
 Mary. Amongst other fine examples of this ware are — 
 in a chapel past cathedral towards Florentine Gate, Prato ; 
 the Lavatory of S. M. Novella ; and over a small church 
 doorway near Mercato Vecchio, Florence : some of those 
 preserved in the Academy Gallery also are excellent. The 
 pulpit of San Bartolomeo in Pantano, by Guido da Como, 
 very good, a kneeling figure in centre and animals on each 
 side. The sculpture by Gruamons over door of S. G. in R. 
 (the Last Supper) very bad, worse than Byzantine. Gio- 
 vanni Pisano’s pulpit at S. Andrea, very good ; this church, 
 of which the front is drawn in “ Architectural art ” a com- 
 plete basilica, with by no means bad composite capitals; 
 narrow side aisles windowless, small lights in clerestory, 
 and wooden roof. 
 
 Roof of choir of Prato Cathedral, by Filippo Lippi (?), 
 very fine ; the Apostles in the four vaultings with rain- 
 bows at back, tetramorphs, &c., very fine. Other valuable 
 earlier frescoes there. 
 
 Siena Gallery. — Very valuable collection of early 
 masters, from which might be formed a set of examples 
 of patterns of costumes, &c., very valuable. Baptistry, 
 much worn and defaced, still very interesting and effective. 
 The Siennese School deserving the closest attention and 
 highest praise. The bas-reliefs on the fountain by Vechietta, 
 Donatello, Jacopo, della Quercia and Ghiberti excellent. 
 
 The painting of the Sybil by Peruzzi, at Fonte Giusta 
 Church, well conceived and simply arranged, but much 
 overrated by Lanzi. At the Osservanza, a fine Coronation 
 of Virgin by Luca della Robbia, with architectural acces- 
 sories, good, but spoilt as usual by the glaze, which glitters 
 detestably. Beccafumi’s ceding at Palazzo Pubblico, not 
 nearly so well drawn as pavement, exaggerated in senti- 
 ment and bad in colour ; the chapel in the same a most in- 
 teresting and complete example of Gothic art, metal, wood 
 painting, and intarsi atura of wood. The intarsiatura of 
 wood of stalls at cathedral clever, but all in perspective, 
 
215 
 
 unpleasant to lean aghinst with doors seeming to jut out 
 against one. Curious inlay at Palazzo Pubblico, some 
 very good. The fresco by Sermino di Simone in 1287, 
 of the Virgin beneatli immense baldacchino supported by 
 Saints, excellent, with good border also, but repainted by 
 Memmi in 1321 and difficult to say how much, otherwise 
 would be very valuable, in some of the figures much sim- 
 plicity, beauty and dignity. Frescoes by Spinello Aretino, 
 full of bits of ornament (in Town Hall). The Assault of 
 Monte Massi by Guido Ricci, covers one side of Sala del 
 Consiglio, it is all brown, full of good suits of armour. &c., 
 and is attributed to Simone Memmi. Razzi’s altarpiece, a 
 Holy Family in the little Chapel, and his Christ at the 
 Gallery, are perhaps his masterpieces of those I have seen. 
 He is not enough known; great dignity, simplicity, ex- 
 cellent drawing, and a sober, good style of colour, without 
 being very remarkable, yet better than the Tuscan School 
 in general, which is stronger in drawing than colour. 
 
 Razzi may truly be called the Raphael of Siena, he is 
 much superior to Beccafumi in colour, sentiment and pro- 
 priety ; besides his works mentioned, are a very fine armed 
 figure (St. George), with accessory figures, conceived in the 
 highest style of art and beautifully painted (fresco) ; also 
 a Christ rising from the Sepulchre, in the Sala Bicchierna 
 (Town Hall) ; and an early example, somewhat like Signo- 
 relli, a Descent from the Cross, at San Francisco, and 
 numerous other specimens in other places. 
 
 Sangallo’s portfolio or sketch book— very interesting 
 architectural figures, ornaments and machinery ; but better 
 still Peruzzi’s, full of very fairly drawn figures in a bold 
 free style yet very exact. The St. Sebastian at the Town 
 Hall is a remarkably fine work. At the Library (Public) 
 an exceedingly fine example of Byzantine metal work, the 
 cover of the Greek Gospels, of great richness, attributed to 
 about the year 1000, and brought to Italy at the com- 
 mencement of the fourteenth century ; it was kept in the 
 Eoyal Chapel at Sta. Sofia, the painted ornaments are not 
 very good, but writing excellent. Other Greek objects 
 preserved at the Hospital Chapel from the same church, 
 are to be seen on application to Gonfaloniere and Rettore 
 of Hospital. 
 
 Hospital itself roomy, airy, and finely situated. A model 
 showing how much the old Sienese attended to the wants of 
 
 
216 
 
 the sick and poor ; beneath the fine frescoes and painted 
 vaulted roof of Domenico Bartoli, lie the patients ; all very 
 clean and neat. Peruzzi, always good, whether in propor- 
 tion and good taste, as at the Massimi Palace, Home ; or in 
 delicacy and refinement of ornament, as at high altar and 
 pulpit, Siena; or as at the simple and largely designed 
 doorway of San Francesco, Siena. 
 
 A Madonna and Saints by Pachiarotto, at San Christo- 
 foro, near Palazzo Tolomei ; very good, dark and sober, 
 well drawn, good expression, good taste. 
 
 The Fonte Goia is past all restoration, no doubt from the 
 crowds at the great fetes in the Square, especially the 
 Palio, August 15, when the heads of figures, mouldings 
 and ornaments formed stepping places for feet. Brum's 
 drawings preserved at Town Hall, very nicely done, and 
 supposed to restore it to its former state, but too good, 
 failed to catch the spirit of original — made quite antique 
 models; how far his restorations are warranted can’t say; 
 so very little remains, and no trustworthy prints that we 
 are aware of. The little boy beneath Madonna apocliry- 
 phal ; a little pedestal, however there is, evidently for some 
 such small object : the man no longer existing, and all the 
 ornament more or less defaced, the greater portion entirely 
 destroyed. The inlay of wood very curious at Chapel of 
 Town Hall. God creating the World, the Sun, &c ; Old 
 and New Testament, other bits about also, such as door of 
 Great Hall, all much worn (in Chapel) and tarnished. The 
 Wheel of Fortune, on a side door close to the beautiful 
 iron railing. Taddeo Bartoli, the painter of chapel, not 
 to be confounded with Domenico Bartolo, painter of 
 Pilgrim’s Hall, at Great Hospital. Bartoli in 1414, already 
 full of old Rome. Porcius Cato, J. Caesar, and all the 
 Roman worthies there life size ; and Aristotle with a long 
 laudatory inscription, in a great niche all to himself. 
 Stalls of Cathedral also good inlay, very clever and intri- 
 cate, but spoilt by perspective. 
 
 Stained glass in Prato Cathedral, elaborate, but coarse 
 and crude somewhat ; choir, fine ; painted roof, very fine, 
 with Evangelists by Filippo Lippi. Stained glass in Siena 
 Cathedral, not much left of it, though fine. Perino del 
 Yaga's design, a Last Supper (?) not anything remarkable 
 in composition and poor in colour. 
 
 If the Palazzo Ptolomsei was erected in the year 1205, 
 
217 
 
 as Murray says, it shows Gothic in full bloom in Italy prior 
 to any complete example in the North, but the thing 
 appears impossible ; perhaps 1305 should be the date— see 
 about it. 
 
 The general characteristics of the Italian Gothic style of 
 decoration are, a die or base panelled with various imitations 
 of marble with mosaic borders, and (at times) with central 
 designs of intricate ornament. About 6 ft. from the ground 
 is a cornice with brackets, all put in perspective from the 
 centre (very bad effect). Then pictures in compartments, 
 also with mosaic borders, &c., with descriptions written in 
 a peculiar Gothic letter (very good) beneath each ; the 
 whole space is covered thus, and the ribs of vaulting are 
 also ornamented with rolled leaves, &c., and borders of 
 imitation mosaic and foliage. The spandrils or compart- 
 ments of the vault itself are ornamented with figures on a 
 blue ground studded with gold stars ; the bosses are small 
 and ineffective though richly carved, with rings for lamps ; 
 the effect must have been fine when lighted up. The 
 figures though somewhat stiff and monotonous, evince much 
 feeling for the beautiful and natural, they have usually 
 written scrolls descriptive of their characters ; sometimes, 
 as at Siena Town Hall, the names are written on the clouds 
 from which they rise. The general ornament is a mixture 
 of mosaic and Eornan reminiscences, especially in foliage 
 and nature, the two first dominant, colours well arranged, 
 and accessory ornaments, as dresses, buildings, horses, &c., 
 very gracefully designed and minutely expressed. Palazzo 
 Saracini, curious and large collection of paintings, porcelain 
 and drawings by old masters, well worthy of a visit. A fine 
 Christ rising from the Grave, by Sodoma ; the Sodoma in 
 the Chapel (fainting of Mary), not so good, early probably. 
 
 The reliquaries at the Hospital nothing. 
 
 At Volterra, “ Mino de Florentia ,” on beautiful marble 
 ciborium like his pulpit at Prato (which looks like a 
 beaker, being without a staircase), the sculpture on it is 
 very graceful and delicate but wanting in force and shadow. 
 
 The alabaster font by Andrea Sansovino, a very good 
 work of his. The facades both of cathedral and octagonal 
 baptistry very ancient rough Komanesque, not alternate 
 masonry, long and narrow windows, the door of Cathedral 
 probably of same date (being much in the same style. 
 
218 
 
 alternate masonry) ; an inscription on front of Baptistry 
 appears to define it as 1257, when “ Geroldus Lucano me 
 fecit/’ the remaining parts evidently of much earlier date. 
 The pulpit in Cathedral very interesting, scripture subjects 
 on panels, with names, “ Mar’a,” &c., curiously contracted 
 over respective figures, big heads, small bodies, stiff drapery, 
 probably of the twelfth century, the ornament Romanesque. 
 
 At Pisa must have been great Roman remains ; churches 
 generally supported internally by antique columns and 
 capitals, often not fitting each other ; above capital a broad 
 fiat slab, then arch ; this the oldest, perhaps, and simplest 
 adaptation of Roman work seen very well at Church of 
 the Misericordia, via San Frediano, and at Duomo. In 
 Cathedral before choir and in baptistry, good opus Alex- 
 andrinum pavement of the kind so well illustrated by 
 Wyatt ; this is decidedly the best kind for pavement, but 
 may be more varied in Moorish patterns, like bit in Campo 
 Santo, and bit also in Baptistry. Noble paintings in 
 Cathedral, models for that sort of thing. A Virgin and 
 Child by Perino del Vaga, exceedingly beautiful, nothing 
 of vulgarity as at Genoa, lovely and pure. In draperies, 
 &c., have everything dark, lights the exception. 
 
 The dos d’ane top of sepulchre is common in Etruria and 
 Rome. The guilloche already noticed as like a wave, used 
 in Etrurian sarcophagi as significative of the sea with 
 dolphins over it ; palm branch ancient award of victory, 
 evidently of Oriental origin from its nature, but common 
 in Etruria and Rome. The Etruscan sculpture appears to 
 have been coloured and gilt. A terra cotta sarcophagus at 
 Volterra, with typhon, red body, blue tails ; on a marble 
 tomb gilding still left in parts. At Pisa, early Christian 
 painting, eagle, &c. in crypt of San Michele in Borgo, 
 nothing left but pattern, coloured and destroyed, not much 
 of it ; given in Morrena, “ Pisa Illustrata,” Lasinio’s (figlio) 
 <c Raccolta de Sarcofagi ed altri Monumenti nel Campo 
 Santo.” — worth buying. 
 
 San Piero — plain corbel table as at San Sisto at sides ; 
 but every third one in apsides with strip pilaster and 
 moulded base. 
 
 San Paolo ripa d’Arno, a complete three-aisled and 
 domed basilica with wooden roofs and zigzag on two 
 pointed arches of facade, very interesting, may be earlier 
 
210 
 
 than Duomo San Piero in Grado. Sea once came to here; 
 and the step and grating to which St. Peter’s ship was 
 traditionally moored, still preserved in centre aisle. A 
 basilica, more “Romano” style; not unlike our old Anglo- 
 Saxon towers is its tower with rough balusters, all of stone 
 and good masonry, mouldings few and simple ; externally 
 old pottery let in between each corbel arch; but most 
 remarkable perhaps for frescoes, much destroyed, but still 
 showing a complete resemblance to Anglo-Saxon manu- 
 script drawings in style and costume, though of com- 
 mencement of thirteenth century probably. Some bits, 
 however, appear later and have trefoiled arches ; the 
 writing also very Gothic : best example, however, of early 
 Romanesque decorations I know of. 
 
 San Piero in Grado has three apsides at east end ; all 
 its columns and capitals are taken from antique Roman 
 buildings, and made to fit into each other anyhow ; two 
 steps to chancel : the pottery made on purpose, as shown 
 by the ship and chains figured thereon ; not a distinctive 
 mark of antiquity, and found equally on San Sisto, built 
 at commencement of thirteenth century by Giroldo da 
 Lugano, same as found on inscription at baptistry, Vol- 
 terra ; thus fixing the date of the black and white faQade 
 at close of twelfth or beginning of thirteenth century. 
 
 The lion with kid or lamb in his claws, found on Roman 
 sarcofagi, as at Campo Santo, Pisa (twice). 
 
 Ascertain well the dates of La Spina and baptistry at 
 Pisa, and as regards additions or restorations ; these alone, 
 and Casa Tolomei at Siena, if certified, sufficient to prove 
 Italy’s claim to Gothic ; the arches of N. Pisano’s pulpit, 
 Pisa, circular but trefoiled, 1206, note and mnke out how 
 far N. Pisano impelled the new style : compare Rlieims 
 statues (men) and K Pisano. The pottery above men- 
 tioned appears only to have been a cheap mode of deco- 
 ration in place of marble inlay. It affords no mark of 
 peculiar antiquity, and does nothing for San Michele, 
 Pavia. As to its being brought from the East by cru- 
 saders, that is disproved by style and by ship and chain 
 at San Piero, near Pisa. Stained glass in Pisa Duomo, 
 brilliant but not a model ; no shadows, all flat, too con- 
 fused and too small, i. e. number of little figures confused ; 
 woodwork of stalls said to have been destroyed by fire, 
 
220 
 
 according to Grassi, in description of Duomo, and present 
 probably, copied after remains of the old ; don’t think so, 
 however, and consider these stalls as the original work 
 of early part of fifteenth century, the parts restored being 
 still clearly marked by clumsiness and difference of 
 colour; thus, St. Andrew’s projecting arm in the original 
 is blueish. 
 
 On the jambs of door of baptistry, the months, single 
 figures with abbreviations, as J. A. (Jan.), F. E. (Feb.), 
 A. P. (April), &c. ; on the opposite side David, Saviour, 
 Apostles, &c. ; on facade, “ Rainaldus prudens operator et 
 ipse magister;” good. 
 
 Pretty good bit of painted glass at church of Fonte 
 Giusta, Siena ; also in choir (apse). 
 
 San Paolo ripa, &c. Pisa : the modem work, crude in 
 colour and too light ; architectural and ornamental details 
 bad. 
 
 At Lucca, Fra Bartolommeo’s paintings in San Romano 
 and cathedral extremely beautiful ; distinct yet vapoury, 
 bright yet sober in tone. Ghirlandaio in sacristy good and 
 interesting. Chapel in San Frediano by Aspertini also 
 pretty good, nearly all figures, and but little ornament: 
 mosaic on San Frediano, Italian on Byzantine models. 
 San Frediano itself very remarkable Romanesque, of 
 twelfth and thirteenth century, with the exception only 
 perhaps of columns and walls of great nave, the imposts 
 of small circular windows of which appear to be of 
 different style to other imposts; the tower up to about 
 20 feet may be more ancient, plain stone work with rough 
 attic base ; this attic base, however, is very common on 
 many Lucchese churches of twelfth century, and is seen 
 also on facade of San Frediano itself. The imposts over 
 abaci of columns, cavetto bevelled, as are those of San 
 Giovanni, probably thirteenth century : the round-headed 
 windows filled in with shells, evidently comparatively 
 modern. The tombstone of San Frediano preserved in 
 church, very curious ; inscription on top and side identify- 
 ing name and purpose, but rest so defaced as hardly to be 
 made out. At the end is a letter M, which may stand for 
 a.d. 1000; letters Roman and much contracted and run 
 into each other. The large old font very curious, covered 
 with sculptures by “ Robertus magister;” date destroyed 
 
221 
 
 
 but, from two templars (?) on a horse, probably close of 
 twelfth or beginning of thirteenth century. Knights cross- 
 ing a sea ; a templar on horseback trampling on a naked 
 body, probably an infidel: this may be the meaning of 
 same subject so often lound on French Romanesque 
 churches, Civray, &c. ; other figures under early-pointed 
 arches, apostles, &c., Christ and angels. Early Jacopo della 
 Quercia, Madonna and Child, very like Siena one, and 
 saints under niches, with very delicately-worked small 
 new Testament subjects beneath; exceedingly good and 
 interesting. San Frediano tower, though rough, and with 
 small columns and remarkabty spreading imposts, with 
 four lights at top, and on one side eight, divided by a 
 central pier, certainly Romanesque. The Lombard towers 
 we suspect were generally of single arch openings, some- 
 thing like San Romano : more apparently Lombard is a 
 side bit of San Pietro Somaldi, large masonry, edges neatly 
 worked, and very long slit window with round arch, one 
 stoned head, and impost plain moulded. 
 
 Many other interesting small churches : — St. Giulio, 
 St. Anastasio, San Salvatore, besides those mentioned in 
 “ Murray.” Duomo : exterior chiefly thirteenth century ; 
 large ornamented columns of exterior, however, apparently 
 earlier ; very rough work, one with tree of Jesse. Civi- 
 tali’s work internally, delicate and varied but somewhat in- 
 effective ; his figures, however, remarkably good. St. John, 
 St. Sebastian, Pietro Noceto, &c. : pulpit rather poor ; 
 stained glass rich but much destroyed ; mosaics common- 
 place ; that of St. Frediano (at altar), good opus Alexan- 
 drinum ; church much hidden by hangings owing to fes- 
 tival of Yolto Sacro, which is apparently not Byzantine 
 but Early Gothic. Palace of Guinigi, very fine example 
 of fourteenth century Gothic, red brick, trefoiled windows 
 and massive tower. Good stained glass in San Giovanni, 
 nearly destroyed, however. 
 
 San Alessandro, Lucca, appears more Lombard : door- 
 way rough antique ; mouldings shallow and antique, ditto 
 ornament ; no imposts over piers as in Romanesque 
 churches ; material marble ; windows little and light ; one 
 stone head ; slight mouldings, looking like lines. San 
 Romano, where left, plain impost to arched one light 
 windows (long) now blocked up ; arches often more than 
 
092 
 
 semicircle. St. M. Fuori porta now inside porta, a very 
 line example of Romanesque, probably of eleventh or 
 twelfth century : a domed, vaulted, transepted basilica, 
 bearing a strong general resemblance externally in style 
 to Pisa cathedral, more interlaced work externally than 
 is usually seen in Tuscany ; windows same character as 
 San Pietro Somaldi bit ; arches, as usual in Lucca Roman- 
 esque, higher at apex than at haunches; the mouldings 
 same in character as San Alessandro, but stronger, more 
 developed. There is probably no Lombard work at Lucca : 
 what has been deemed so is early Romanesque, probably 
 of eleventh century (close of) or twelfth century. 
 
 Another characteristic of Lucca Romanesque is abacus 
 of impost curved beneath flat slab, as at San Mich elletto 
 Fuori, on lateral part of which some interesting early rem- 
 nants. There are at least three marked epochs : the Lom- 
 bard, of which nothing or little left ; Early Romanesque, 
 Sail Alessandro, San Romano (blocked up), San Piero 
 Somaldi, of the eleventh or early twelfth century ; and 
 Romanesque, S. M. Fuori’s portion of close of eleventh to 
 end of twelfth, and San Michele thirteenth down to early 
 fourteenth century. 
 
 The moulding of window of San P. Somaldi, so like 
 Lombard work, has its counterpart in works certainly 
 Romanesque, as on piers of doorway at San Salvatore ; 
 inscription in San Alessandro, stating that church to be 
 dear to Longobardi (wrong) ; it contains, however, a very 
 <?ood modern mosaic of the Virgin and Child, with Saints 
 Alexander and Ludovico kneeling at her feet : presented 
 by the late Duke. 
 
 The doorway of San Alessandro, also probably Roman- 
 esque : such imitations of antique not unusual in that 
 period. 
 
 The inscriptions under porch of Lucca duomo, let into 
 wall, have as dates : “ Templum fundamento facto, mille 
 que sex denis,” (1060) — Money changers forbidden there, 
 1140. 
 
 The mosaics (1233) all appear of same date, as far as 
 look of age goes ; the last, however, in Gothic and Latin 
 letters : this shows how difficult it is to decide real dates 
 by inscriptions. 
 
 'Florence. — Santi Apostoli, quite modernised exter- 
 
223 
 
 nally, but still retaining internally the columns and 
 arches, on which it is said Brunelleschi founded his style, 
 indeed they might almost pass for his. Also contains 
 a very good specimen of Luca della Bobbia, an altar 
 piece, very clever and picturesque. The altar at the 
 Guarda Boba, and crucifix, the finest examples of metal 
 work I have ever seen : the crucifix by the Pollaiuoli 
 especially ; Benaissaace gothicised, wonderful work and 
 taste: the altar is Gothic (silver), inlaid, like the cross, 
 with enamel work, and ornamented with figures by the 
 best artists; many by Ghiberti, very interesting; appa- 
 rently early, still exhibit his peculiar manner. Maestro 
 Cione, Verocchio, Salvi, Ghiberti, the principal contri- 
 butors. 
 
 Painted glass in San Michele deep and rich but rough 
 and unshadowed ; probably fourteenth century, early. Lasi- 
 nio’s work on San Michele well engraved and got the 
 character, but wants colour, and the architectural portions 
 are not equal to sculpture. 
 
 Arezzo. — S. M. della Pieve : very rough, battered, 
 Bomanesque ; Murray’s description good, except tower, 
 the capitals of which are a plain sort of Doric -; fa£ade 
 rich, and ornamented with sculptured foliage and figures, 
 very rough and antique looking, yet of twelfth or thir- 
 teenth century (early), a time of greatest declension of 
 Italian art; vide Biduino (Pisa baptistry, &c. always 
 exceptional). Under the principal door curious allegory of 
 the months in four rows, three figures in each row : date 
 on door of S. M. della P., 1224, apparently coeval with 
 the rest. 
 
 Cathedral: painted windows fine; the lancets of choir 
 not by William of Marseilles, but earlier, consist of single 
 figures in niches, more like the side aisle windows of Sta. 
 Croce, Florence: not to be compared in drawing or colour 
 to S. M. Novella, Florence, or Lucca choir. The south side 
 aisle windows, by William of Marseilles ; great lucidity ; 
 pretty good drawing and composition; architecture and 
 heads good, but colour more of N. Poussin school ; a few 
 are dark and rich as in Venetian school, and fifteenth 
 century painted glass, but varied and light tints. Some 
 of the compositions very good, but unfortunately spoilt by 
 broad central pier. Vasari’s praise much more due to 
 
224 
 
 Florence or Lucca than Arezzo, but then he was an Aretine. 
 Tarlati’s monument very fine, sculpture of fourteenth cen- 
 tury. Giovanni Pisano’s high altar, a wonderfully rich 
 and excellently sculptured Gothic shrine, inlaid with same 
 vitreous mosaic and marble as at San Michele, but not so 
 neat in studied ornament : this and glass alone repay 
 a visit to Arezzo. Fine rich old Gothic sepulchral altar of 
 the Dragomanni in San Domenico. Front of Fraternita 
 in Piazza Maggiore, not Gothic but mixed Gothic and 
 Renaissance, latter dominant ; elaborate, but not good. 
 
 Florence. — Guarda roba, Duomo. — The altar consists 
 of twelve panels, in two rows of six, one over the other, 
 divided by rich buttresses and a magnificent centre niche 
 extending up to the row of small niches which forms a 
 continuous border at top, it is byMichelozzi di Bartolommeo. 
 Every available space is inlaid with enamel, delicate and 
 bright ; the altar is dedicated to St. John, and contains the 
 following subjects in its panels : — Elizabeth and Zaccharias 
 meeting the Virgin, Jacopo del Pollaiuolo; Birth of St. John 
 the Baptist, (do.) ; St. John sends his disciples to Jesus, 
 Lorenzo Ghiberti ; St. John in the desert, (do.) ; Baptism of 
 Jesus Christ, (do.) ; St. John preaches the new baptism, 
 Ghiberti and Cione ; Reproves Herod, (do.) ; Visited by 
 disciples in prison, Cione, And. Verocchio, and others ; 
 the Decollation (very fine), Francesco and Giov. Salvi ; 
 John’s head presented to Herod, And. Verocchio. 
 
 The magnificent silver enamelled crucifix, by Berto di 
 Francesco, Milano di Domenico Dei, and Antonio del 
 Pollaiuolo (the base). 
 
 Arezzo. — The stained glass in Santa Annunziata, very 
 fine, small but better than cathedral in composition and 
 colour; the Spozalizio, excellent, near door on right en- 
 trance ; circular window in San Francesco also good ; flat 
 roof painted in perspective as a cupola at La Badia, simply 
 absurd. 
 
 Perugia. — Fountain too low, basons too close on one 
 another. X. Pisano’s superiority over his son Giovanni, 
 seen well on lower bason ; pulpit (open air) near door of 
 cathedral, very pretty, Gothic inlaid with opus Alexan- 
 drinum ; foliage of lower part very original, not very good, 
 and curiously resembling the quips and cranks of Louis XV. 
 French. Rafifaelle’s first fresco, very interesting, Christ in 
 
centre seated with holy dove overhead and three saints 
 each side, good composition and drawing, pose of heads 
 excellent ; Eternal Father above, destroyed. 
 
 Woodwork at Sala del Cambio, chapels on each entrance 
 of cathedral and at San Pietro, all very fine and all much 
 alike, dark walnut set off with gilding having a very rich 
 effect: remarkably delicate and fanciful carving and grace- 
 ful arabesque inlays ; the choir of Raffaelle at San Pietro 
 particularly fine, the reading desk even better and the 
 organ gallery very good; the wood work at Perugia would 
 form a compendium of Renaissance ornament; Sala del 
 Cambio very effective, it is now being drawn for pub- 
 lication by some engravers at Rome. Giovanni Pisano’s 
 monument in San Domenico, neat, good, and studied, but 
 the poorly twisted columns with mosaic inlay look very 
 bad; the painted window of choir is the finest Gothic 
 example I have seen in Italy, rich deep colour, pretty good 
 drawing, flat shadows, general effect splendid, resembles in 
 style, but not so rich or grand, the glass in Florence Duomo. 
 
 San Pietro possesses some of the finest illuminated 
 books I have seen, better than Siena, more varied, twenty- 
 one in number, fine bits of ornament in letters; dates, 14th, 
 15th, and 16th centuries. The sacristy, beautiful little 
 Perugino’s, which I like better than any I have seen of his. 
 A small Christ and St. John, by Raffaelle, a little treasure ; 
 the pavement in tiles, once a fine example of late 16th 
 or early 17th work, now too destroyed to make out. The 
 (town) gate of San Pietro, a fine example of Cinque Cento, 
 bold, massive, and Roman like. 
 
 Wood work in chapels each side of cathedral entrance, 
 very fine ; best in Sala del Cambio, on the intarsiatura of 
 the doors is written “ Marcus Antonius Mercatelli,” who 
 the custode says was an artist of La Marca, between 
 Spoleto and Imola, or thereabouts ; stained glass of chapel 
 in cathedral good composition, not bad colour. 
 
 “ Gli ornati della chiesa di San Pietro, typas Crispino 
 Puccinelli. Traversal! dis. Bianchi inc.” Roma, 1845. 
 
 The chapel in town hall very beautiful, prefer it to Sala 
 del Cambio, colours beautifully arranged ; artists, Raffaelle 
 and Perugino. 
 
 Assisi. — Perfect example of Gothic colour, wants illus- 
 tration, especially painted windows which are numerous 
 
 Q 
 
226 
 
 and varied; long pulpit, twisted columns, and opus 
 Alexandrinum in lower church ; ditto, angular in upper 
 church; below too dark and injured to render perfectly, 
 much must he supposition ; the lower church, a museum ; 
 in the upper, excellent inlay stalls and carved ornament, the 
 arabesques of Raffaelle prefigured: lectern especially good. 
 Walls painted, lower part with diapered drapery, above 
 series of paintings, above that another series of paintings, 
 then vaulted roof, all coloured ; rose window, good, in the 
 mass of dark circular masonry the lights effective; the 
 most beautiful circular window however is over entrance 
 door of the lower church. 
 
 Santa Caterina chapel, a perfect bit of colour, by Matteo 
 de Gualdo, about 1470. San Pietro, interesting facade, 
 date 1270 or thereabout. St. Rufinus, facade, probably of 
 close of 12th century, curious, panelled, three doors and 
 over centre one a Christ in circular glory, with Virgin 
 and Child one side, very odd and rough. Best painted glass 
 in lower church, all ornamental; figures generally more or 
 less accessory ; modern glass by Bertini of Milan, fairly 
 good, deep colours and rich enough, but too like a trans- 
 parency, the necessary black lines being hidden as much as 
 possible instead of being shown and aiding effect. Where 
 light is required, this ornamental glass in which white 
 occurs largely is desirable, otherwise not comparable to the 
 Renaissance, in which the ornament is quite unimportant 
 and colour everything ; the Venetian school of colour is a 
 true model of this period ; at Arezzo, in Santa Annunziata 
 Perugino’s influence is seen, the mantling red and crimson 
 of Basaiti, Carpaccio, &c., wanting. 
 
 The lower church windows stated in description pub- 
 lished by the Frati to be by Donino of Assisi, Ange- 
 letto, and Pietro de Gubbio, who it is stated did others 
 at Orvieto and Siena cathedrals, no date given. The 
 windows of upper church were contemporary with the 
 building, but restored and often replaced by Terranova, and 
 L. da Udine, close of 15th century. 
 
 The frescoes in choir and transepts of upper church, by 
 Giunto da Pisa, terminated according to guide book in 
 1252, corroborated by the style of Giunto at San Piero in 
 Gradine, fuori Pisa: the same angular folds, Byzantine 
 lankiness and domed buildings. 
 
227 
 
 San Rufino, Assisi, was finished by Giovanni da Gubbio 
 in 1140, and was consecrated by Greg. IX. in 1235, of 
 which date probably is the doorway and facade; the crypt 
 and cloisters are of the 11th century. The Overbeck at gli 
 Angeli nothing ; the frescoes by Lo Spagna in Stanza di 
 San Francisco, very good but much ruined; the woodwork 
 in sacristy done by a monk in 17th century, very bold and 
 effective, thorough cut. Church of Sant Angelo, Perugia, 
 circular with ancient columns, above that late Romanesque, 
 above that wooden modern roof. Church of St. Agostino, 
 Perugia, fine wood carving and intarsiatura in choir. 
 
 The windows of Assisi, too ornamental and cut up, they 
 dazzle the eyes and want that warm, rich, comforting tone, 
 found especially in the Renaissance period. 
 
 Italy, 1855. — Notes for the “Arts connected with 
 Architecture in Central Italy.” 
 
 Architecture is mainly deserving of being ranked amongst 
 the Fine Arts when it calls into action the varied and in- 
 genious resources which the art of man has discovered and 
 perfected. It is barely half a century since, that the archi- 
 tect required, even for some of his largest works, churches, 
 public buildings and palaces, little else than good masons, 
 bricklayers, carpenters and plasterers. The bald and meagre 
 imitations of ancient styles (excellent in themselves) which 
 occupied the attention of most of the architects of the 
 18th century, to draw no nearer our own time, afforded no 
 scope for artistic talent, and the works then executed, with 
 a few exceptions, will never confer on their designers the 
 ennobling title of artist. Thus no artists themselves, they 
 called in no art to their aid, and the country was cumbered 
 with ugly masses of stone and wood, in which the builder 
 and not the artist alone triumphed, and to which the name 
 of architecture in its full meaning is quite inapplicable. 
 True architecture includes the practice of all the arts, and 
 those buildings are the noblest, most satisfying and most 
 interesting, which have required and received the aid of the 
 artist in marble, stone, wood, colour, metal, mosaic work, 
 &c. The last named branch of art has been entirely ne- 
 glected in our own country until of late years, when it has 
 received some attention, for which we are indebted princi- 
 
 Q 2 
 
228 
 
 pally to the industry and talent of Digby Wyatt. In the 
 adaptation of various coloured -marbles, to this particular 
 and perfectly normal species of decoration, no people have 
 so distinguished themselves as the Tuscans, who have prac- 
 ticed it with signal success, in more or less good taste, for 
 many centuries. Of a peculiarly durable nature and ca- 
 pable of producing the most varied and charming effects, 
 it has been applied by them to almost every purpose of 
 external and internal ornament. Although the Duomo and 
 Campanile of Florence are nearly covered with inlaid mar- 
 ble, sometimes in very beautiful designs, we do not think 
 it well fitted for external use, except on a very small scale, 
 even in so fine a climate as that of Italy ; and although 
 now, degraded by a false idea of its capabilities, to the in- 
 laying of tables with foolish and unmeaning representations 
 of such subjects as books, music, pictures, &c., it was at 
 one time, especially from the thirteenth to the sixteenth 
 century, applied principally as an adjunct to architectural 
 effect, and presents a large and interesting series of very „ 
 beautiful designs, principally executed in black marble on 
 a white ground : the earliest examples are still the finest, 
 and the inlaid pavements of San Miniato al Monte and 
 of the Baptistery, executed at the commencement of the 
 thirteenth century, exhibit fine specimens of its excellence 
 and durability. The examples which we have chosen are 
 taken from pavements and memorial slabs ; as regards the 
 former we need proffer no reasons for its use, wherever 
 the application of an ornamental stone floor is required, or 
 its substitute of terra cotta ; but as regards its application 
 to memorial slabs, we shall be excused for offering a few 
 remarks. 
 
 We conceive that the chief object in a commemorative 
 monument is durability, and that it should make known, 
 for the longest possible period, the object for which it was 
 executed. This can only be done through the medium of 
 inscriptions, and in that case inlay of marble is far more 
 durable than engraved letters, which soon become defaced 
 or filled up with the accumulated dust and dirt of years ; 
 indeed, nothing but wanton violence can destroy letters 
 and ornament formed by flat inlay. A great number of 
 memorial slabs of this description in the churches of Santa 
 Croce and Santa Maria Novella, at Florence, have been 
 
229 
 
 walked over by the feet of many generations, and are as 
 perfect as when first executed, whilst raised bronze is gone. 
 
 The interest attached to these memorials is rendered 
 doubly great by the addition of sculpture, and the effigy 
 of the deceased lying within a framework of inlay orna- 
 ment and inscriptions, characterises a great number of 
 monuments during the fourteenth and fifteenth centuries. 
 These executed in marble or bronze and let into the pave- 
 ment of the churches above mentioned, have been sadly 
 worn by the feet of the living, and are generally so much 
 defaced as to render them almost useless ; nevertheless, the 
 principle is excellent, and in the chapels attached to our 
 great cemeteries, monumental figures in bas relief of tliis 
 description surrounded by an iron railing, would form most 
 appropriate adjuncts. The expense of this method as far 
 as material is concerned, would not be great, as our own 
 country affords sufficient resources for such purposes, and 
 workman would be more difficult to be found than marble. 
 
 The church of Santa Croce is especially rich in examples 
 of this combination of sculpture and inlay, and were not 
 the effigies so worn away by the feet of devotees, would 
 form a most interesting series of costumes of laymen, 
 priests, warriors and ladies : those which we have chosen 
 will serve to give an idea of their general character. 
 
 I have drawn a portion only of the memorial slab of Bishop 
 Ketterich or Catric, as it is spelt, Ambassador from Henry 
 Y. to Home, who died at Florence, on his return in 1419. 
 The Renaissance memorial of a Monk, has its arabesque 
 ornament in slight relief, by which nothing is gained 
 either in durability or appearance ; the inscription, owing 
 to its being engraved instead of inlaid, is partly illegible ; 
 the name gone and the date illegible. We should place it 
 about the beginning of the fifteenth century from its style, 
 although the date, as far as we can make it out, gives the 
 year 15 ? ? The memorial stone of Biordo de Ubertini 
 had a very beautiful effigy of the Knight, but too much 
 defaced at this day to be valuable as costume. The original 
 date is 1358, the engraved inscription is a restoration of 
 the year 1557. 
 
 The pavement of the Baptistery was executed about 
 the year 1200, and although shamefully knocked about 
 by great wooden forms, is still very perfect and beautilul. 
 
230 
 
 
 The circular subjects, enclosing coats of arms, form centre 
 ornaments in memorial slabs, for a complete representation 
 of which see “Architectural Art in Italy and Spain,” by J. B. 
 Waring and T. R Macquoid. These centre pieces are of 
 great variety and beauty, and underwent but little change 
 of character, as regards the running foliage, down to the 
 sixteenth century. In the seventeenth century a complete 
 change occurred and the whole design of these memorials 
 was enlarged. They became more grand and less artistic, 
 a greater variety of marbles was introduced, and engraved 
 slabs in the same style as the celebrated engraved pave- 
 ment in Siena Cathedral became common, and the practice 
 finally fell into comparative disuse at the time of the decay 
 of all art in Italy during the eighteenth century. Excep- 
 tions are to be found in this respect ; two very remarkable 
 and fine inlay slabs of the respective dates, 1764 and 
 1821, are to be seen in S. M. Novella, where also (near 
 the Capella Strozzi) is a very well designed monument 
 executed during this century, after the manner of an 
 engraving. 
 
 Amongst other useful accessories to architectural orna- 
 ment, the employment of heraldic and other insignia has 
 fallen into nearly complete disuse at the present day, ex- 
 cept in the case of buildings in the Gothic style, and we 
 consider it a great loss, for both in point of utility and 
 ornament, they are very valuable. A shield of armorial 
 bearings very often decides at once the date of a building 
 and the person by whom it was erected ; thus the Biscia of 
 the Visconti, the Palle of the Medici, the Winged Bull of 
 St. Mark, the Florentine Lilly, Giglio della Communita, 
 the /Tudor Bose and Portcullis, the nodo of Alonzo el Sabio, 
 the Sheaf of Arrows of Isabella la Cattolica, all speak as 
 it were to the spectator, and tell him the origin of the 
 building on which they are found ; nor are they less useful 
 in the case of particular individuals, whose family history 
 they often serve to perpetuate. In Italy and Spain ex- 
 amples of their application as ornament abound. Origi- 
 nally they were placed in a central position, in some cases 
 they are used as a frieze or between the spandrils of arches, 
 and in the Florentine palaces of the fifteenth and sixteenth 
 centuries, were applied with good effect as an angle orna- 
 ment. They are capable of very varied treatment, as will 
 
231 
 
 be seen from the sculptured examples which we have col- 
 lected. Designs of a more florid character are to be found 
 in the engravings of the jpetits maitres of the German 
 school particularly, to which the student is referred, as- 
 sured as we are, that not in this particular case only, but 
 for several other subordinate ornamental features applicable 
 to Architecture, he will find therein many valuable ideas. 
 We would suggest that any mottoes or inscriptions con- 
 nected with them should be made with inlay instead of 
 being engraved, for the sake of its superior durability. 
 
 The windows of the Cathedral executed by Francesco 
 Gambassi, at Lubeck, in 1434, are formed of very small 
 pieces of the most irregular forms, some of them, the 
 upper ones especially of the transepts, are remarkably rich 
 in colour and contain figures of the prophets and heroes 
 of the Old Testament clad in the most picturesque and 
 striking costumes, such as Freiligrath speaks of in his 
 “ pictured Bible,” and call to mind Milton’s “ storied win- 
 dows richly dight;” the windows of the transepts are 
 clearly of earlier date, the architecture is Italian Gothic. 
 
 We may remark, that there is no extreme delicacy of exe- 
 cution here, nor depth of shadow, the effect being obtained 
 by a rich combination of colours excellently arranged, very 
 much in accordance with the scientific principles enun- 
 ciated by M. Chevreul ; the robes are seldom of one plain 
 tint but are richly worked with ornamental designs of a 
 bold and effective character, the colours are generally the 
 brightest attainable, the drapery and faces very slightly 
 shadowed, the features of the heads not strongly marked, 
 and indeed, as seen in places not unfrequently ludicrously 
 rough and malformed; owing however to their distance 
 from the eye this defect is not observable, and the result 
 which the artist evidently aimed at chiefly, namely a 
 rich combination of colours, is perfectly obtained; the 
 mosaic effect irregular and not altogether pleasing, caused 
 by the use of little bits of glass welded together in dark 
 leaden lines, is also lost by distance, and moreover one 
 important result is obtained, which distance does not 
 destroy, which is, that by means of these black outlines 
 a much stronger effect of colour is arrived at ; it gives in- 
 creased contrast and distinctness to the separate colours 
 and to the entire composition, which if not treated in this 
 
232 
 
 manner would clearly become confused and unmeaning, 
 even at a short distance ; the blending of tints, unless in 
 subjects pretty close to the eye, should never be attempted 
 in painted glass, it is simply lost labour. 
 
 The painted windows of Santa Maria Novella, in the choir 
 and transepts, are amongst the remarkable and effective 
 examples to be found in the Eenaissance style ; they were 
 executed by Alessandro Fiorentino in the year 1491. They 
 are characterised by great depth and brilliancy of colour ; 
 the triple window of the choir, each side light containing 
 three saintly figures in niches, one above the other, sur- 
 mounted at the top by a dome, presents a mass of rich and 
 brilliant colouring, an excellence of design and execution, 
 a depth of shadow, such as are seldom to be seen ; indeed, 
 when the setting sun sends its rays full on this window, 
 nothing more wonderfully gorgeous can be conceived, and 
 it is then we perceive that it is in glass only that the 
 colourist can hope to obtain effects which almost equal 
 the most beautiful tints of nature as seen on birds, fishes, 
 shells and jewels. 
 
 In these windows the designs are still formed of irregular 
 pieces of glass, without any regard to where the lead-line 
 of junction may come, except in the case of faces, and 
 even then, as may be seen by reference to the head of the 
 infant Christ in Plate 7, the artist was not over particular; 
 the pieces of glass however are larger than those in the 
 cathedral. There are very few perfectly white bits left, a 
 rich cream or straw tint giving warmth to such, and their 
 shadows are always marked with rich brown lines, not 
 with a wash, but by hatchings, the skin is generally of 
 a rich deep tint, reddish siena with warm brown shadows : 
 and we may here remark that all shadows, more especially 
 those of the draperies, are well and strongly marked ; and 
 indeed the whole system of colour employed in them 
 reminds one especially of that great school of Venetian 
 colourists which is represented by Cima da Conegliano, 
 Marco Basaiti, and Carpaccio. The features and the ana- 
 tomy (where shewn) are excellently drawn, and the faces are 
 characterized by a manly nobility of look in the men, and 
 by much sweetness and grace in the women, the artist has 
 felt himself at liberty (and we think with perfect justice) 
 in applying colour to his architecture at will ; there is 
 
233 
 
 little attempt to be matter of fact in these aerial works, 
 these palaces in the air, and they glitter with all the splen- 
 dour of a work composed with precious stones ; we remark 
 in the draperies two particular kinds, the one black, which 
 lightened with some pattern, such as white stars, becomes 
 of essential service as a key and a contrast to the bright 
 colours ; and secondly, dark rich purply puce tint, which 
 is of incomparable magnificence, a small bit is to be seen 
 on the right hand plinth of the Virgin (Plate 7). As we 
 have before remarked at the cathedral, a more brilliant 
 effect is given to the whole composition by the outlines 
 being formed with strongly marked lead junctures ; when 
 masses of colour occur in architecture they are generally 
 rendered luminous by small bright dots on a darker ground 
 of the same tint. The “ dim religious light ” of these 
 painted windows, however poetical, is not calculated to 
 aid the draughtsman ; and the richest in effect are gene- 
 rally the deepest in tone, and the most impervious to light. 
 What are the grandest buildings without mosaic work, 
 painted glass, carved wood and stone, inlay of wood, in 
 fact, ornament of every nature ? mere skeletons that want 
 filling up. Imagine Nature, the world, thus created with 
 regard only to the purely useful — what a dull, blank, 
 cheerless universe would it be ! and is it only in Roman 
 Catholic churches these important and beautiful aids to 
 architectural effect are to be used ? are they alone to be 
 dedicated to the honour of God? every work of man’s 
 hand should have that purpose, and it is not the temple 
 only which should exhibit richness in honour of the Deity ; 
 even as our daily acts should be guided and governed by 
 our religious principles, and their influence not be confined 
 to any one particular day of the week. 
 
 Notes on Ornamental Art. 
 
 “ Art is the revelation of man, and not merely that, but likewise the 
 revelation of nature speaking through man. Art pre-exists in nature, 
 and nature is reproduced in art. . . . Art and nature are not then 
 
 discordant, but ever harmoniously working in each other.” — Longfellow' s 
 Hyperion. 
 
 “ The beauty of nature re-forms itself in the mind, and not for barren 
 contemplation, but for new creation.” — Emerson. 
 
 “ Thus is art, a nature passed through the alembic of man.” — Ibid. 
 
 The Egyptians were remarkable for the excellent man- 
 ner in which they combined a profusion of ornament with 
 
234 
 
 the most grand and impressive effects in architecture. In 
 its way this school of ornamentation is very conventional, 
 unique, and perfect. 
 
 The Greeks sought a fresh inspiration in nature, still, 
 however, keeping a tight rein on merely imitative ren- 
 derings. Their gracefully arranged acanthus leaves, the 
 honeysuckle, the echinus, and running foliage, are all more 
 or less conventional in character. The fret and the curved 
 guilloche are purely geometrical, although the latter brings 
 to mind somewhat the graceful curve of a large wave as 
 it is about to break. 
 
 Amongst the Romans* ornamental art obtained a much 
 more extended scope ; and nothing can surpass the good 
 taste and happy application of natural forms which cha- 
 racterizes much of their work. We allude especially to 
 sculptured ornament, since in painting their fancy ran 
 somewhat wild, and finally fell into a confused medley of 
 capricious scherzature. We may safely assert that the 
 numerous marble and bronze candelabra, altars, colonnettes, 
 tripods, &c., which are still preserved to us, present some 
 of the most graceful and felicitous adaptations of natural 
 subjects, which the world can show. Ornament, however, 
 fell more speedily than anything else into that decline of 
 true art which was consummated by the removal of the 
 seat of empire to Byzantium. Nature was forgotten in a 
 barbarous but rich blending of ancient Roman, Greek and 
 Persian art, and in place of those varied and charming 
 models to which the mind of the ornamental artist had 
 lent an extra charm, we have predominant an imitation of 
 Persian foliage ornament, the interfacings of braided rib- 
 bons, a profusion of jewels and studded with beads; the 
 whole redeemed, however, by no slight ingenuity and by 
 an extraordinary gorgeousness of colour applied in bold 
 masses which contrasted most favourably with the thin 
 and wiry elegance of coloured ornament in the late Roman 
 style. With few exceptions, both in the east and west, 
 nature was neglected for many centuries, and just in pro- 
 portion as it was neglected, did art itself continue in a 
 poor state, relieved here and there by the graceful fancies 
 of the painters of illuminated manuscripts, amongst whom 
 
 * The sculptors of Rome were generally foreigners, and principally 
 Greeks. 
 
235 
 
 those of the early Irish school hold in our opinion the first 
 place for easy and ingenious originality. By the twelfth 
 century Art once more returned to Nature for aid and in- 
 struction, and now there rose gradually a school of artists 
 who might claim comparison, and in many respects out- 
 shone, the ancient Greeks and Boinans. Fresh from the 
 depressing bondage of a formal conventionality, these re- 
 storers of art appear to have been enthusiastically im- 
 pressed by the excellence and variety of the models 
 presented to their gaze ; they were as blind men whose 
 eyes were suddenly opened, they looked forth on a 
 world where the meanest object presented to their charmed 
 attention some feature of beauty, and the commonest 
 plants served to excite their newly aroused sense of the 
 art of God. In this revival of art — and we may take it as 
 a general rule that wherever nature is studied art does 
 revive — in this revival, vegetable nature it was which more 
 peculiarly exercised the powers of human appreciation, and 
 so numerous are the various leaves, plants and flowers 
 wrought by the sculptor’s hand on the early Gothic 
 churches, that they might almost serve to illustrate a 
 manual of botany. During this period nature was copied 
 with truth, fidelity and spirit ; but this would not, by 
 itself, have given the ornamental art of the period the 
 great charm which it possesses and which we all admire, 
 had it not been combined with conventional forms, and its 
 merit and beauties were enhanced by a judicious com- 
 bination of architectural or conventional features, such as 
 mouldings and tracery. About the same period another 
 style arose, which constitutes the triumph of the artificial 
 school, and to the Arabs is due the formation of a system 
 of ornament, which, so far as it goes is without a rival. 
 It is essentially a geometrical style, depending on an 
 elaborate and most ingenious combination of lines and 
 curves guided by a wonderfully refined taste and exhibit- 
 ing the highest sense of the beautiful. Both in outline 
 and colour it is perfect, but it is also monotonous — no 
 light and shade. Excluded from the great school of ani- 
 mated nature, it speaks but in one tone ; it bears but one 
 character ; is limited in its scope, and addressing the sense 
 alone, excites no emotion of the heart nor association of 
 idea in the mind. It would be untrue to say that all 
 
236 
 
 study of nature is given up, for the leaf-work, though 
 conventional, is still founded on nature. The coved angles 
 and ceilings of rooms appear to be inspired by the idea of 
 stalactites ; the pine cone and the pomegranate at times 
 occur, and the roofs, dark and lofty, are frequently pierced 
 with openings which have much the effect of stars in the 
 heavens by night. 
 
 In the 14th century a fresh impulse was given in Italy 
 by Cimabue and Giotto, to the study of nature ; and a new 
 phase in the history of ornamental art opens to us, founded 
 on a happy combination of the Transalpine school of 
 nature, the affection for classic antiquity, which had been 
 spread by the great Mcolo Pisano and his followers in the 
 preceding century, and by a deep appreciation of nature in 
 her unadorned simplicity ; the results of this combination 
 were of surpassing beauty, and at a period when Gothic 
 ornamental art was being dragged down to ruin by the 
 swift decline of that architecture, to which it had lent and 
 still gave so powerful a charm, another flower of equal 
 beauty budded on that tree of art, which flourishes sempi- 
 ternal under the good genius of nature. At first the spirit 
 of the Transalpine school was perhaps the most powerful 
 element, but in the 15th century nature and the models of 
 antiquity became prominent, and were so equally balanced 
 that it is hard to say which has the strongest hold on the 
 artist’s affections. To Lorenzo Ghiberti, whose genius, 
 taste, and industry are equally wonderful, is due the 
 honour of a complete system, a perfected style founded on 
 these inspirations, and his masterpiece, the bronze gates 
 executed by him for the baptistery of Florence, are unap- 
 proached as models of ornamental art, amongst all that we 
 can name of the past or present : they are not only the 
 glory of Renaissance art, but the glory of all art, and the 
 masterpiece of all works founded on the great school of 
 nature.* But it is not in the power of any one mind > 
 however wonderfully gifted, to turn the advancing current 
 of human thought, and now whilst the school of Nature 
 
 * These gates are said to have been gilded, but we cannot but think they 
 are more favorably seen in the pure material ; the ornament on the first 
 executed gate is quite equal to that of its better known companion. The 
 bronze gate of the sacristy in the cathedral, also by Ghiberti, though 
 without ornament, may boast of groups of figures worthy of any age or 
 country. 
 
237 
 
 was thus illustrated by its noblest pupil, whilst the orna- 
 ment of the Transalpine schools was dying out in glory, 
 different but scarcely inferior to that of its most prosperous 
 age, the revival of antiquity carried all before it, and the 
 spirits of the age bowed down in enthusiastic worship 
 before the unveiled genius of ancient Rome. This result 
 however was not consummated in a few years, and the inter- 
 vening period is characterised by a style of ornament in 
 which nature only gradually gave way to classic reminis- 
 cences and the caprices of unfettered fancy. Until after 
 the first quarter of the 16th century, nature still lent a 
 great charm to works of ornamental art. Italy was 
 irradiated with its dying emanations, and the race of Petits 
 Maitres in Germany, France and the Netherlands, then 
 and during the succeeding century, continued to sustain 
 its power by their numerous and graceful inventions. In 
 the 16th and 17th centuries, ancient Rome reigned trium- 
 phant in Italy, and the fate of all imitators came upon the 
 artists who servilely copied its features ; they were inferior 
 to their models and sank into a state of formal convention- 
 alism, characterised by platitude of thought and a complete 
 absence of original design. In the 17th century, the artistic 
 mind made an effort to release itself from this unnatural 
 state, but neglecting to take nature for its model, fell from 
 bad to worse, especially in France, and was lost in the 
 unmeaning vagaries of an uneducated fancy, in the un- 
 meaning and tortured forms of the styles of Louis qur 
 torze, quinze, and seize ; it is unnecessary to follow the 
 wanderings and errors of declining art through the 18th 
 century. It is sufficient that the best style was that which 
 still adhered blindly to antique models, or to those adap- 
 tations of them which originated with the great Italian 
 artists of the 16th century. At the close of the 18th 
 century the newly discovered remains of Grecian archi- 
 tecture drove men still further back into antiquity, and 
 during the first quarter of the 19th century ornamental 
 art imitated the purity and simplicity of what was sup- 
 posed to be the ancient Greek taste, and nature was less 
 regarded as a model than ever.. From that period, up to 
 within the last few years, we have had revivals of every 
 kind, each endeavourirg in turn to bind the artist down to 
 its own particular sysuem of art ; but imagination, less 
 
238 
 
 than any other quality of the human soul, can suffer the 
 restraints, the unreasonable restraints thus sought to be 
 imposed on it. The true artist is so, by virtue of his 
 appreciation and love of nature, the art of God. Nor were 
 true artists wanting to this century in which man starts 
 afresh, with greater vigour than ever on the path of progress 
 in every pursuit which engages his attention. 
 
 To France and Germany is due the great credit of 
 leading the way in this return to the great school of 
 nature, and to this cause is due the excellence of those 
 innumerable works in every branch of ornamental art 
 which have served as models and incentives to neigh- 
 bouring schools ; to which Europe owes its best productions, 
 and which English artists may rival and even surpass, not 
 by imitation and reproduction, but by returning to nature 
 herself, and by observing with attentive eye and appre- 
 ciative soul, the models perfect or suggestive which lie 
 scattered so profusely around them. 
 
 Although we have in the foregoing sketch alluded 
 chiefly to the greater or less application of vegetable na- 
 ture to ornamental design ; yet animated nature had also 
 a large share in the studies of the decorative artist, and 
 birds, animals, etc., were freely inwoven with plants and 
 flowers, in combination with those appropriate subjects, 
 which related to the work in hand, and which served to 
 illustrate the society or individual at whose cost it was 
 executed, or the purpose to which it was especially ap- 
 plied ; a practice highly laudable and founded on good 
 sense. Thus we find the instruments of sacrifice serving 
 as ornament to the temples of antiquity, and weapons on 
 their triumphal monuments. The cross, spear, and crown 
 of thorns, the sacramental cup, &c., became fertile sources 
 of ornament to the mediaeval artists, and heraldic badges 
 have gone far to distinguish a peculiar style of Gothic 
 architecture (the Tudor). It was reserved for the sixteenth 
 century in its rage for close imitation to adopt unmeaning 
 ornament, — a system which has not even yet died out, 
 and a strange example of which may be seen in one of the 
 chief streets of the chief city of Europe, where a Christian 
 chapel* is decorated with the garlanded skull of the sacri- 
 ficed bull of heathenism. Nor should we forget to notice 
 * In Waterloo Place, Regent Street. 
 
239 
 
 the use of emblems as ornament. Emblematic or symbolic 
 decoration has entered largely into many styles, but then 
 its meaning was well known and easily read ; there was a 
 language so to speak of emblems, to our mind eloquent 
 and full of expression, and it is with regret that we record 
 its utter decline during the last centuries, but have no 
 doubt that it will ere long be once more systematised. 
 The Mythraic symbols, the human-headed and winged 
 bulls of Assyria, the globe and wings of Egypt, the coiled 
 serpent, the circle and triangle, the phoenix within a 
 circle, the pelican and young, all those symbols which have 
 a universal application and are not the exponents of any 
 one sect or of one exclusive system of thought, are worthy 
 of being made use of by the ornamental artist, and deserve 
 to be understood by every observer. This, however, must 
 be a work of time. At present, emblematic ornament, 
 though frequently made use of by the illustrators* of 
 printed works, is usually passed over unnoticed and is 
 seldom understood. An illustrated work of popular and 
 universal emblems, is a desideratum in our literature, nor 
 do we think it would remain unheeded, for there is 
 nothing pleases the human mind more than to discover 
 a hidden analogy between matter and spirit, and to detect 
 as it were an idea in disguise. 
 
 In the following observations on ornamental art, we 
 shall speak of form, light and shade, chiefly, for were we 
 to enter on the question of colour it would lead us aside 
 from our purpose, and we should require illustrations 
 which are out of our power to present to the reader. 
 Nevertheless colour does indeed form a grand feature in 
 the effect obtained by ornamental art, and here, as well as 
 in form, nature places before us an extraordinarily varied 
 and magnificent series of models in which we cannot per- 
 ceive that she has restricted herself to the three primary 
 colours, but now obtains the most beautiful effects by 
 harmonious combinations of varied tints of a single colour, 
 and now startles us by the boldest juxtaposition of bright 
 colours strikingly opposed to each other and yet brought 
 into harmony by one of those slight balancing touches of 
 another tint, such as she alone knows how to apply. Truly 
 the colourist halts hopelessly behind Nature, and poor 
 indeed are his grandest efforts in comparison with the 
 
240 
 
 prodigal gorgeousness, the inconceivable brightness, har- 
 mony, variety, purity, and delicacy of nature’s painting. 
 We sometimes wonder how it is that with sunsets and 
 sunrises, the inimitable delicacy of the human skin, with 
 birds and flies, and shells and flowers, placed mockingly 
 before him, the artist does not renounce his brush for ever, 
 and be content to move along the world in perpetual ad- 
 miration at that gallery of pictures, which he may for ever 
 imitate but can never equal. It is somewhat remarkable 
 that this does not hold good as regards form, and that by 
 means of the models which nature affords him, he often 
 equals and not unfrequently surpasses his instructress, 
 composes novel combinations, and in a certain degree be- 
 comes a creator himself. 
 
 Thinking thus we percieve sufficient scope for a farther 
 expansion of ornamental art, since Antique ornament, 
 though most beautiful in form and not deficient in light 
 and shade, was, so far as we can form an opinion of it, 
 mediocre in colour. 
 
 Byzantine and Romanesque ornament was generally 
 poor as regards form, that is, if drawn in outline merely it 
 would not excite much admiration, yet was it very remark- 
 able in power of colour and light and shade. 
 
 Gothic ornament was excellent in light and shade, good 
 in form, and as regards industrial works, by no means 
 deficient in beauty of colour. 
 
 Arabic ornament is excellent as regards form and colour, 
 but almost entirely deficient in light and shade, and the 
 same holds good with the works of the Italian Renaissance 
 school, in which the outlines are often exquisite and the 
 colouring admirable, whilst effects of light and shadow are 
 altogether, or nearly altogether neglected. 
 
 In November, 1856, whilst engaged in the “Arts con- 
 nected with Architecture,” I received a letter quite un- 
 expectedly from the Committee of the Art Treasures 
 Exhibition, at Manchester, stating that they thought of 
 appointing a superintendent of works of ornamental art and 
 sculpture in the Exhibition, and requesting me to be present 
 at a meeting on a certain day. Thither I hied as requested, 
 and at the same meeting was appointed to the post of 
 Superintendent at a liberal salary. I believe it was to the 
 
 - 
 
241 
 
 friendly recommendation of Mr. G. Scharf, who had known 
 me at Sydenham, and who was Art Secretary to the Ex- 
 hibition, that I received this appointment, which once more 
 led me into active life and gave me much more insight into 
 men and manners than I had heretofore obtained. Without 
 the assistance of Messrs. Bedford, Dudley, and Chaffers, it 
 would have been impossible to have formed so large a 
 collection of minute works in time for the opening of the 
 Exhibition on the 1st of May, 1867, it was done however, 
 and successfully ; but it brought me no rest, for whilst 
 engaged in arranging the Museum of Ornamental Art, as it 
 was called, Mr. Day, of London, the well-known publisher, 
 called on me, and proposed a work on the Exhibition, 
 which resulted in the “ Art Treasures of the United King- 
 dom,” a rather vague title for a work of 100 folio coloured 
 plates, numerous woodcuts, and essays on various branches 
 of the arts by Messrs. Owen Jones, Digby Wyatt, G. Scharf, 
 A. W. Franks, J. C. Robinson, and J. B. Waring. The selec- 
 tion of the subjects, their arrangement, photographing and 
 supervision, &c., fully occupied me till the appearance of 
 the book in June, 1858; but I had other engagements 
 besides which rendered this an over busy time — such as 
 the compilation of my portion of the Catalogue, Articles 
 on the Exhibition for the “ London Daily News,” and the 
 “ Manchester Guardian” (the last reprinted separately with 
 the articles of other writers) and a charge , upon some of 
 the Pre-Raphaelite pictures in the Exhibition, roughly 
 drawn on stone, with text in verse, called “ Poems inspired 
 by certain pictures,” &c., written without the slightest ill 
 feeling towards the artists, not one of whom did I know 
 personally, but inspired by that mixture of indignation 
 and contempt which must have filled the mind of any one 
 who was acquainted with the great works of the Old 
 Masters and of the modern, such as Delacroix, Delaroche, 
 Couture, Kaulbach, and men of that calibre, and then 
 heard these monstrously affected, petty, and often vulgar 
 productions, lauded us the only true art of the day. At 
 this time, Mr. T. Fairbairn, from whom I have to record 
 repeated acts of kindness and good feeling, proposed to 
 me that I should settle as an architect in Manchester, 
 but I felt that Manchester itself and I could never agree. 
 More and more I felt not only in Manchester, but in 
 
 R 
 
242 
 
 London, and in England everywhere, that want of feeling 
 and appreciation of art to which I had become accustomed 
 abroad and especially in Italy, where the commonest 
 person seems to take a lively interest in art, and to regard 
 every artist with affection and respect. True, artists of 
 every kind if they are celebrated, are perhaps, no where 
 more lionised , or must I say, patronised ; but that is not 
 for the sake of art, hut for the sake of the man as a dis- 
 tinguished character. Success is no where more worship- 
 ped than in England. During my stay at Manchester, I 
 received a note from Mr. Lemon, then editor of “ Punch,” 
 to whom I had been named as the writer of the “ Poems on 
 certain Pictures,” requesting me to contribute to that paper ; 
 this, as a compliment was highly gratifying, and I did indeed 
 contribute one paper, “ Specimen of a Cyclopaedia,” &c., &c. 
 March 20th, 1858, and commenced some initial letters 
 also, but events occurred at this time which caused me so 
 much trouble, extending over many years, that I lost all 
 feeling for mirth and fell into a morbid and gloomy state of 
 mind, which caused me once more to seek relief in foreign 
 travel. Before going however, I published anonymously 
 “ Poems by an Architect,” most of which had been written 
 in 1846, in London, and in 1847-48, in Italy ; these perhaps 
 hardly deserved the title of poems, being mostly mere 
 sketches as it were, in verse, nor did I take any steps to 
 push them, beyond sending copies to a few periodicals, by 
 which they were favourably noticed. The “Athenaeum” de- 
 scribed the poems as wanting “ neither fancy nor feeling,” 
 and the “ Critic” spoke of them as being written with taste, 
 and with a lively sense of melody.” About this time also, I 
 was engaged by Mr. Owen Jones, to do the Byzantine and 
 Romanesque section of his fine “ Grammar of Ornament,” 
 which I believe was done to his complete satisfaction. 
 
 As soon then as the publication of the “ Art Treasures ” 
 permitted, I left London for a tour through Holland and 
 Germany, which I made under the disadvantage of a very 
 severe winter, returning to London early in 1859, much 
 better in mind and body, for I have always found travel- 
 ling to be the best of medicine ; it takes your thoughts 
 from off yourself and your own little miseries, and provides 
 just that amount of continuous activity of mind and body 
 
243 
 
 which is most conducive to liealtk The following are 
 some of the notes made during this tour : 
 
 Holland. — The tower of St. Laurence, Rotterdam, is 
 very fine ; of brick, with bands of white stone, about 6 ft. 
 between each. Its base, which slants, and is of massive 
 construction, greatly adds to its appearance, and gives a 
 great idea of strength ; interior all whitewashed. All the 
 Dutch churches are whitewashed: the architecture ap- 
 pears to have been simple and massive, the roof circular, 
 and walls at top connected by large ties of wood resting 
 on the single cylinder (of later date, I think) stone 
 engaged columns, exhibiting a curious retention and 
 adaptation of the Romanesque system Gothicised. 
 
 One of the most interesting buildings is the old 
 Shambles in the Kaasmarket, red brick and white stone 
 dressing : on one side of doorway a butcher with his axe ; 
 on the other, a woman calling out “meat.” Round the 
 arch, on voussoirs, implements well arranged, belonging 
 to butchers’ trade, and in a piece of sculpture over door 
 a butcher and assistants killing an ox. 
 
 All the houses are clamped with ornamental iron work 
 on the broader spaces. 
 
 The floor of Rotterdam church, as of those wherever I 
 have been here, is covered with monumental slabs (stone) ; 
 some few with brass arms inlaid, with arms cut up to the 
 level ; rich and bold foliage round, and inscriptions, some 
 very good ; a few Gothic, and very interesting merchants’ 
 marks, &c. 
 
 Gouda. — Windows very fine ; see the notes in guide 
 book. Architecture good, the best I have seen. Spire, 
 like all the Dutch, effective, but too much cut up, nor do 
 I like the onion- shaped finial so common. The Town-hall 
 curious and effective. A good specimen of Rotterdam or 
 Dutch house of seventeenth century at the back of church, 
 dated 1642, and a doorway near it, with a good piece of 
 coloured sculpture over it; this coloured sculpture com- 
 mon. A good bit too over door at Leyden, in the place 
 near the new church. 
 
 Delft. — Not much. Slanting tower of old church and 
 houses generally in Holland slanting about in every way, 
 owing no doubt to bad foundations, but I am told they 
 
 r2 
 

 never fall. The most Remarkable architecture a flamboyant 
 Gothic house, near old church, apparently a quondam 
 civic building ; covered with coloured coats of arms. 
 
 In Museum at Leyden there is an Egyptian necklace, 
 with heart-shaped gold pendants, filled in with colour, 
 apparently champleve enamel, but probably glass : the same 
 applies to an Egyptian coronet, also preserved in same 
 case. The fine gold work common in Etruscan jewellery 
 also to be seen in Egyptian jewellery here. 
 
 In same Museum the tomb of Bishop Marcellus, from 
 Rome, with sacred subjects (life of Christ) in shallow 
 niches between spiralled columns, like those given in 
 Scharf s paper ; sculpture very good. 
 
 Hague. — Nothing particular, except the hall of the old 
 Town-house; fine wooden roof of same class as West- 
 minster, but much injured. Only enough sculpture and 
 colour left here and there to show its former rich appear- 
 ance. A good picture of it in the Museum by a Dutch 
 seventeenth century painter (Palamedes) : see Catalogue, 
 No. 28. The town-hall, picturesque Renaissance. The 
 Museum very interesting, but wretchedly arranged, and 
 would, if properly spread out, fill half as much space again. 
 
 Gouda. — Art Academy contains some good portrait 
 groups, by Ferdinand Bol. One of officers, about 8 by 
 7 ft., very good : amongst them a Captain Immerseel, 
 whose glass, curiously engraved, and beaker of silver, are 
 also preserved there : worth a visit. Leyden not much. 
 Town-hall same period and style as the Hague, but much 
 larger ; very picturesque: raised doorway with staircase to 
 it, good. Within are two rooms, still well preserved, hung 
 with arras of the sixteenth or seventeenth century, old 
 chimney pieces somewhat plain, and good paintings of 
 burgomasters, &c. Posts of stone all through Holland 
 chiselled in every way with ornament left slightly in 
 relief, highly polished and black in comparison with tooled 
 work. 
 
 Dutch bond, I like the effect of very much when well 
 pointed. 
 
 Slabs abound in all churches : worth a selection, but the 
 princple bad ; likely to make people tumble. 
 
 Amsterdam. — A complete seventeenth century city, and 
 on this account very interesting, also very picturesque, 
 
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 KU 
 
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245 
 
 but there is a great similarity both in houses and cities ; 
 the sky line formed by the gables of houses very good, a 
 sort of fringe to my mind much preferable to heavy 
 cornices, formed by keeping to our own ordinary house 
 style, only with one or more dormer to each, presenting 
 much variety and richness of line. Of course this demands 
 a high pitched roof. A main difference consists in the 
 windows being so much closer together in Dutch houses, 
 giving better light. On the old part of the Prinzen 
 Grach t some good old warehouses, with pieces of sculp- 
 ture let in. All these warehouses have signs, as the Eagle, 
 the Hope, &c. ; one has a quaint bit of coloured sculpture 
 of two men and a golden chariot drawn by two horses, 
 coloured : this is De Packhuys van de Gouwe Wagen. 
 These signs are sculptured in the wall, and don’t project 
 like ours. 
 
 I also like the doorsteps placed sideways, with small 
 windows to ground floor : here generally I think only 
 cellars, and water for servants to fill buckets at side. 
 
 The Palace has one fine room : the old justice hall, of 
 two orders and rows of windows, with semicircular 
 painted roof — a fine hall, but not quite proportionable to 
 my eye : the whole of the sculpture, which is more than 
 ordinarily good, by A. Quellinus, some very apropos , as 
 Icarus for the Bankruptcy Court, Silence and Fidelity 
 over the secretary’s doorway. The building itself nothing; 
 and the great Atlas over main entry oppressed with an 
 enormous globe. Some bas reliefs also over the interior 
 doors of Gouda town-hall appear to me to be his. 
 
 Waterclosets to be lined with Dutch tiles. A good 
 house, with square well-hole through up and skylight, 
 gives good light and ventilation. 
 
 Generally a great architectural monotony in Holland ; 
 there does not appear to have been that spirit of osten- 
 tation and social competition amongst them which leads 
 our Manchester and other men to build every one a finer 
 warehouse than his neighbour. They appear to have been 
 content to be as the rest, in this respect unlike Italy, also ; 
 besides, it is mainly seventeenth century work every- 
 where. Very little Gothic left, and what there is all 
 whitewashed internally: as to locks, chains, rails, rood- 
 screens and all accessories, the return is nearly nil. 
 
240 
 
 Villas. — Curious little places surrounded with water ; 
 two stories, one floor with dormers; green palisadoes tipped 
 with white ; red brick and white facings. Trees trained 
 on laths, extending horizontally from tree to tree. 
 
 Painted glass in the Oude Kerk (Amsterdam) is splendid ; 
 ascribed to Dijgman, 1555. Five mullions in each window, 
 do not interfere with the subjects, which are generally 
 three stories high. The festoons and architecture of the 
 two biggest are very rich, colouring and drawing in all 
 first rate ; the figures of the Popes and prelates, and the 
 subject of extreme unction, struck me as particularly 
 fine : they are better, I think, than those of Gouda. The 
 general principle is dark at base, getting gradually lighter 
 at top, architecture, &c. ending with the sky ; the coats of 
 arms merely leaded in juxtaposition, don’t look bad ; they 
 come down to as late as 1762, and are instructive as to 
 decline in glass colouring. 
 
 Tombstones, as mentioned before, are of Gothic origin ; 
 several of the fifteenth century in the pavement of the 
 Oude Kerk, Amsterdam, and the Cathedral, Utrecht, the 
 latter really fine. In the old church are also several 
 raised brasses (this appears a German fashion more, if I 
 may judge by Hildesheim). 
 
 Amsterdam. — Great pulpit of the wildest Italian, about 
 40 ft. diameter of sounding board. In this church also 
 (Neuwe) is a fine painted organ case, covered over with 
 musical subjects. The brass screen here is, though rich, 
 of the» worst florid, late seventeenth century style. 
 
 Town-hall. — Civic insignia, grand silver drinking horn 
 and stand of seventeenth century; fine salver embossed 
 and engraved, also seventeenth century ; very finely 
 worked chains and badges, silver ; maces, silver, wood and 
 metal; statues, fifteenth century, very spirited and quaint; 
 and seven great pewter beer pots, about 2 ft. 6 in. high, 
 of good form. Portrait pieces by Jacob and Adrian 
 Bakkers ; by Honthorst (the Marie de Medici, under a 
 canopy, about 12 ft. by 6), Franz Hals, Sandrart, Karl du 
 Jardin, Go vert Flinek, and facile princeps B. Van der Heist, 
 about 24 ft. by 8 ; 32 portraits. Better I think even than 
 the Museum one : a grand piece, wonderful. 
 
 Lingelbach’s building of the palace, a complete seven- 
 teenth century scene in a public place, about 6 ft. 6 by 5 ; 
 
 l 
 
 f 
 
 
 
247 
 
 a chef d’ oeuvre, well followed up by the Palace when 
 finished by Jacob van der Ulft, 1667; smaller. Peter 
 Saandrem or Saanredam’s oil picture of old Stadthuis ; 
 very quaint and good, no shadow at all. 15 ft. by 9 is an 
 ordinary size for these large portrait groups, of which 
 there are enough in the Town-hall to form a complete and 
 large gallery. 
 
 Haarlem. — Cathedral brass screen, good of its kind; 
 (drawn). Several good seventeenth century raised monu- 
 mental slabs ; the roof of church fine example of elaborate 
 timber work; spire very elegant, but too small for church; 
 made of wood, covered with lead, having graceful iron 
 crocheted crown at top. Curious models of ships, coloured 
 and rigged ; give a good idea of seventeenth century vessels : 
 organ case, rough and eccentric (early eighteenth century ?), 
 good brass lectern of Pelican in her piety. Good Gothic 
 bits at cathedral externally ; no buttresses. Good seven- 
 teenth century house in a good, state, in street from railway 
 to cathedral. 
 
 There is a very fine red and white faced brick building 
 here ; detail worth having, date 1605. Some of the Haar- 
 lem finials very good; two old gates very picturesque. It 
 is the red and white does much of this. 
 
 Sixs’ house (Amsterdam) most interesting. Besides his 
 unequalled paintings, some good old bits of virtu and a 
 fine big seventeenth century marriage-chest with flat raised 
 figures and ornament in wood. 
 
 Utrecht has the finest Gothic I have seen in Holland ; 
 also with buttresses, which are not common. Cloisters 
 also good. All rich late fourteenth century, or early 
 fifteenth : not much otherwise in Utrecht. Some excel- 
 lent raised Gothic stone tablets in cathedral; tower 
 remarkable, but hardly good. 
 
 Arnheim. — A good Gothic flamboyant bit or two out- 
 side cathedral. Curious house near in market plaatz, with 
 busts and projecting window over doorway. 
 
 Hanover. — “Silber kammer” in the castle, immense col- 
 lection of silver and gold, not much old ; a filagree silver 
 and enamelled spire like ostensoir; a grand silver gilt 
 hanap, bulbous with flowers, enamelled at top, usual style, 
 about 3 ft. high, of this class a great quantity ; of less size 
 however a fine scollop shell spice, &c. holder, of three 
 
248 
 
 stages, also a fine perfume sprinkler, seventeenth century, 
 perfume spouting into shells through woman’s breasts ; 
 two excellent small ships and a windmill ; five or six good 
 church chalices, fiteenth or sixteenth century ; a three pine 
 apple confiture holder on one stand, Adam and Eve beneath, 
 about 2 ft. high, enamelled ; several of this class, and a 
 good ivory beaker or two, the most noteworthy in the set 
 (as yet have not seen the Schloss Kapelle, the Ober Hof 
 Commandant being laid up) ; palace has good parquetted 
 floors, and in the Eitter Saal good table, candelabra and chan- 
 deliers, silver, early eighteenth century ; city full of quaint 
 bits, monumental slabs let into the plinths of churches, 
 good. Leibnitz’s house the best perhaps, 1652, boys 
 sculptured on it, Eke my etching; red, blue, and black brick 
 general, top of bay window Adam and Eve, subjects in 
 friezes beneath : Sacrifice of Abraham, Jacob’s Dream, 
 Crucifixion, Entombment, &c., the centre being occupied 
 by a coat of arms; the general ornament is sculptured 
 figures in panels, cherubs’ heads, and columns. All these 
 houses have projecting square bay windows, they are very 
 convenient for seeing up and down a street ; most, indeed 
 all of these old houses, have inscriptions on their friezes. 
 Gothic letter, Eoman, and cursive, almost all have a 
 religious tendency, this is one of many : “ Habe Got vor 
 augen und treu ine alien dingen, sodan es dir nicht mis- 
 gelingen.” The Hanoverian houses of sixteenth century, 
 red and black brick. The Palace floors are very fine speci- 
 mens of parquetry, in the Eittersaal especially. 
 
 Hildesheim Dom. — Very fine treasury, good bronzes in 
 cloisters, also many curious things ; the rich Eenaissance 
 screen in stone by Arnold von Frey tag, not bad sculpture ; 
 curious piece of spirited Gothic wood sculpture in choir ; 
 fine bronze monumental slabs in cloisters ; the other 
 churches worth also a visit, but the main feature of Hilde- 
 sheim is its old houses, sixteenth and seventeenth century, 
 generally of wood, elaborately carved and of many stories ; 
 this is generally a characteristic of the old houses, and 
 they appear to have been of great size, with extra- 
 ordinarily high roofs, containing three and even four rows 
 of low dormers. The inscriptions are all religious or 
 nearly so, over the doorways are often placed the arms of 
 the master and mistress, with their names in full length 
 
249 
 
 an cl date ; some are covered with gods and goddesses in 
 panels; or most with scripture subjects, some with the 
 occupations of daily life, some with the Roman Emperors, 
 some with later worthies, and some with allegorical 
 figures of all kinds— Faith, Hope, Charity, Fortitude, 
 J ustice, &c., and in one 1 remarked even “ Gustus,” a man 
 and woman drinking, and “ Olfactus,” a woman holding her 
 nose at something presented to her by a man ; such sub- 
 jects as are frequently found in the Petits Maitres. The 
 paintings of the lower overhanging soffit in the newly 
 restored house in the Rathhaus place, are executed by 
 Bergman, in oil, and very well indeed. 
 
 The Dom Kirche all fritter and pictures inside; San 
 Godehard, exceedingly plain, now being thoroughly re- 
 stored. 
 
 Hildesheim. — Full of old fifteenth and seventeenth 
 century houses of seven or eight stories, usually half 
 timbered, and brick bases, sometimes of stone rusticated 
 and diapered ; these houses are elaborately covered with 
 sculpture, the great objects are however the two crown 
 chandeliers of the dome and the treasury, the most re- 
 markable subjects being some early processional crosses, 
 richly open cut, studded with jewels and filagree work ; 
 two remarkable ivory inlaid book covers, studded with 
 crystals and precious stones ; very interesting ivory carving. 
 The ivory crosses and the shrine of St. Oswald, reliquary 
 heads and arms, a model of the dome in silver gilt, as 
 originally existing (now burnt), some fine enamel caskets 
 and slabs with scripture subjects, early German ; rich book 
 covers &c., amongst which are seen many antique gems 
 set, some very good ; the grand shrines of St. Bernard, and 
 St. Somebody standing each side of the altar under cover ; 
 the vestments, some of which are very rich and curious. 
 St. Bernardus seems to have done everything, from casting 
 bronze gates to illuminating missals, the illuminated works 
 are however rather rough, some of the chalices are good, and 
 Bernardus (or Henry the Lion ?), his horn, in late setting, 
 curious. 
 
 Brunswick. — A good deal of the same domestic archi- 
 tecture as at Hildesheim, but the . more ambitious pieces 
 are of more Elizabethan character ; such is the very fine 
 stone front with all the orders and terminals, near the 
 
250 
 
 Fountain place ; the Town-hall effective and good Gothic 
 with a cloister, large traceried gallery running round it. 
 The fountain in the Alt Stadt market, very graceful and 
 pretty ; the churches generally of good massive Roman- 
 esque foundation with Gothic tops. The Brudern kirche has 
 curious choir with portraits of great churchmen, full length 
 at back of each seat, also an effective Renaissance (1594), 
 wood screen, richly carved and gilt, with figures of cruci- 
 fixion, &c., standing clear in the open space, effect good; also 
 a bronze fount, very curious and pretty, fifteenth century, 
 with excellent ornamental iron railing round it ; a few 
 interesting mural Renaissance coloured monuments. In- 
 scription on house : “ Wodie Herren nicht das haus bawt 
 so umsonbst arbeitet die darin bawt.” Inscription on 
 country house : “ Hoc, erat in votis,” (modern). Henry 
 the lions, lioness for such it seems, vefy good for period. 
 St. Martin’s Church has a good pulpit, a few pews and organ 
 loft (Renaissance), the laten font which closely resembles 
 that of the Brudern kirche is a fine fifteenth century Gothic 
 piece, surmounted by a seventeenth century, heavy laten 
 cover with columns and arches spoiling it ; here and at 
 cathedral good coloured mural Renaissance monuments, 
 very rich. The cover of Hildesheim font shows what the 
 covers of these Brunswick fonts probably were, as the rest 
 are of same type with water carriers. The Egydien kirche, 
 good Gothic, massive and rich outside, could not get in. 
 St. Catharine’s church, also fine painted mural monuments, 
 in some cases (late) only oil portraits. Painted windows, 
 nothing particular in Brudern kirche; the worthies of the 
 church are painted in oil in stalls, including Luther, 
 Melancthon, &c. ; one monument to Valentin von Maren- 
 hohe, 1593, especially rich. Slates used here like bricks 
 at Brunswick, &c., placed in patterns. 
 
 Wolfenbuttel. — Fine seventeenth century fantastic 
 high gabled church, very effective though bad architecture. 
 In the library, a splendid Florentine missal, belonged to 
 Mathias Corvinus, of Hungary, enamelled leather and rich 
 pictures, &c. ; Byzantine, eleventh and twelfth century 
 covers good. A Bible (?), printed on vellum, 1477, fine 
 pressed leather cover, grand pressed leather bible covers 
 in coloured and gilt compartments, subjects in raised gold, 
 etched black. Martin Luther’s plain Bible, faded notes. 
 
251 
 
 Gutenberg’s first Bible, finely printed, small ducal set, good 
 gold open worked covers on red velvet ; a large cover, 
 leather pressed with centre of saints on glass over gold 
 and red foil, leaves of which (as of many) gilt and covered 
 when closed with ornament or scripture subjects ; ivory 
 inlay covers and metal, very fine, antique and interesting ; 
 splendid chased silver cover, 1596, another of laten, sunk 
 centre, Christ in glory, thirteenth or early fourteenth 
 century ; a little Bible with fine niello medallions and 
 clasps. No student of art should miss these, plenty more 
 if searched for there. 
 
 Brunswick. — Fine collection of ivories and wood of 
 seventeenth century. Fine horn of old type ; good painted 
 wood salvers, sixteenth century. Albert Durer’s St. John 
 preaching, first-rate. A great seventeenth century brass 
 architectural clock, with moving drummers, processions, 
 music, &c., very fine of its kind. Another of better design, 
 about same date. A few good early open-work candle 
 stands, ivory box, majolica (late), a great number of good 
 Renaissance Italian little bronze and marble sculpture; 
 Tavernier’s enamels, very good, mostly second Limoges 
 period. 
 
 Pictures. — Grotius and Wife, by Rembrandt, first-rate, 
 fine work. Jan Steen’s Jewish Wedding, a big and first- 
 rate piece. Procris and Cephalus, Guido (?), very fine. 
 Esther and Haman, by Victor (a follower of Rembrandt), 
 very fine and rich. Adam and Eve, ascribed to Giorgione, but 
 not over-like, fine life-size finished painting. Rembrandt’s 
 Entombment in grey, grand effect. Two very fine poetic 
 Waterfalls by Ruysdael, about his best. A very fine poetic 
 Landscape, ascribed to Rembrandt, and likely. Several fine 
 Holbeins ; item: two portraits by Albert Durer, of himself, 
 and some others by him, very remarkable. 
 
 Magdeburg. — Towers, bad; chancel, very fine. Early 
 Gothic and curious early sculpture, large figures. Two 
 very remarkable early bronze life-size figure slabs, early 
 thirteenth century (?), in choir gang. The Otho and Edith 
 (so-called), and likely, in curious early Baptistry, excellent, 
 but especially good for period, which seems late thirteenth 
 century. Round the apse are several very interesting pieces 
 of early Gothic sculpture ; very rich bronze, marble and 
 coloured mural monuments of seventeenth century mainly ; 
 
252 
 
 several of the best inscribed — Bastian Ertle, Steinmetz, 
 f. 1601, 1605, and 1610 ; cloisters full of them, but none 
 good though curious ; one side of cloisters is Bomanesque. 
 The pulpit ascribed to Extel by Murray, but tradition- 
 ally the work of Christopher Karputz of Nockhausen in 
 the Harz, has a shield with monogram and C. R on it, it is 
 very fine, but like all these Benaissance works here, some- 
 what coarse, eccentric, and overdone with sculpture. Vis- 
 cher’s monument of the archbishop, first-rate, dated 1510. 
 
 Berlin. — Picture Gallery: side lights — no top — pictures 
 at back consequently dark, also pictures placed too high. 
 Item. — The Dutch picture galleries have all name and date 
 of artists clearly placed on them — Berlin, not. All gal- 
 leries for the public should have this. 
 
 The New Museum, like all late German architecture, 
 cold and cheerless ; Schinkel, his Gothic also wretched, as 
 seen here at Berlin. The views of Greece, Borne, &c. and 
 allegorical subjects, very fine, but also too high up, and 
 there is much too much luxury in the rooms, with their 
 fine and slippery mosaic floors, splendid marble columns 
 and lavish painting — people look at the rooms, and not 
 their contents. Majolica, first-rate, not much very early, 
 but placed too high, that is 9 or 10 ft., they otherwise 
 stand well in grooved ledges, fine mahogany cases, brass 
 rails, all that luxury can give, but the whole Museum 
 wants chronological arrangement. 
 
 Fine examples of black ware with gold ornament ; a very 
 fine early green and white basin of late sixteenth century, 
 and good, but few early lustre pieces. A Latticinio salver, 
 about 2 ft. 2 in. wide, splendid first-rate enamelled and 
 etched glass. Sebald Beham’s great compartment picture 
 table, 1534, finely copied by Fr4my. Venetian enamel ware, 
 very fine (also some at Brunswick) ; enamels placed too high. 
 Two splendid horns like the Edinburgh one, and two 
 others, one of which seems certainly Oriental. Albert 
 Durer’s head, in box, on pedestal, about 6 in. high, deserves 
 to be called a grand work ; many other works here by him, 
 with his monogram in wood and steatite; all these German 
 bust medals in wood are wonderfully fine, the little soap- 
 stone profile, signed A. D., first-rate. Four bronze animal 
 early vases ; the fellow of Hope’s ivory salver ; another, 
 bigger and plainer, but very fine, and finer still, a grand 
 
253 
 
 laten salver with inlay ivory medallions, oval, about 3 ft. 
 diameter, seventeenth century, Scripture thorough cut sub- 
 jects, a miracle of carving, seventeenth century. Benvenuto 
 Cellini, enamel work on mount of engraved rock crystal 
 vase, very delicate ; good mother-o’ -pearl and ivory en- 
 graved work ; a “ memento mori ” head, half skull, half 
 face, seventeenth century. No. 4048. A wonderful 'little 
 Gothic silver shrine, beautiful amber work. Splendid 
 example of silver chased seventeenth century clock; 
 Pomeranian cabinet, rich, but> barely good; a narwahl 
 horn, made into a trumpet and cut into cups. A noble 
 collection in square room, of Gothic work in metal, wood, 
 textiles, &c., including the grand Gothic shrine' of St! 
 Patroclus. A fine ivory fourteenth century pastoral staff; 
 translucent enamel Gothic cross, fifteenth century (early), 
 and an altar piece, coloured sculpture by Lughesius de 
 Santo Paulo, 1456 a.d. ; first-rate ostensoir, &c. Two mira- 
 culously carved ivory tankards, seventeenth century work; 
 small figures, thorough cut (one like them at Dresden). 
 Models of churches and houses throughout Germany, 
 beautifully done, coloured, exceedingly useful. Good Ger- 
 man and Swiss plate glass ; and a first-rate ivory inlay 
 chair, like Soulages one. 
 
 Schinkel, poor, even his Bau Akademie in terra cotta ; 
 beautiful bricks, each beaded at joint, with lines of glazed 
 light purple bricks at intervals and terra cotta sculpture, 
 wants effect : it is, however, his best exterior to my mind ; 
 rest, all bad. Interiors very rich and studied, especially 
 the Museum; where, however, the light coming so fre- 
 quently from windows on each side is bad, but the domes 
 and compartments by themselves very beautiful. His chef- 
 d’oeuvre is, however, the interior of the Royal Opera, this 
 appears to me almost perfect, rich enough, not too rich, 
 every portion carefully studied and adjusted; ornament, 
 white ground with sufficient gold work on it, beautiful 
 curves, stage boxes propped on small Greek fluted Corin- 
 thian columns, hangings of these boxes red ; drop curtain 
 hangings red, a red rim round upper tier of boxes, and red 
 hangings on king’s box, centre opposite stage ; to counter- 
 balance this, compartments in ceiling, proscenium, ceiling 
 of king’s box, and by-stage boxes, light figures on blue 
 groundwork of sky, very delicately shaded off ; thus, blue. 
 
254 
 
 red, white, and gold, may be said to be the only means of 
 colour. The pit is divided down the centre by a rail, so that 
 much inconvenience in coming out and in is avoided ; only 
 a man must be stationed at entrance to say, right or left. 
 For perfect beauty this theatre seems to be unsurpassable, 
 and its construction and adaptation to sound, first-rate. 
 Gas in bunches on chandeliers looks very rich. 
 
 Prince Karl’s collection of arms, one bold repousse iron 
 gilt (?) heart-shaped shield, early seventeenth century. 
 Fine damascened Milan box, raised figures. An ivory 
 horn of the Ulphus type ; fine rapiers with pistols in han- 
 dles ; splendid pair of steel spurs, German, seventeenth 
 century ; fine old matchlocks, as usual ; some good stained 
 glass and some very good beakers and lamps, silver gilt, 
 &c., of the sixteenth or seventeenth centuries. Good 
 Oriental collection, but small. Dome, red maroon, walls, 
 light yellow, columns white, capitals gilt, metal rail, bright 
 stained wood die, tapestries of Raffaelle. White dome 
 with light red panels ; figures and ornaments white, shaded 
 red ; open glass centre, statues between columns, and large 
 bronze statue in centre. Royal Theatre, plain white and 
 gold, too plain. 
 
 J oannes Yischer’s bronze monument in Cathedral excel- 
 lent (1510). In the Palace not much; amongst the plate, 
 the most remarkable bits are a silver gilt Renaissance lianap, 
 seventeenth or eighteenth century, about 3 ft. high, Diana 
 on lid ; a grand tankard, silver and inlaid medallions, used 
 as a beer jug, with tap, height about 4 ft. ; several others 
 of the same class, about 2 ft. high. 
 
 Dresden. — Grime Gewolbe, ivories, &c. Two fine By- 
 zantine plaques ; splendid great ship in full sail, by Jacob 
 Zeller ; several exquisite boat-shaped bonbonni&res. Cup, 
 fight of angels, 146 small figures, clear cut, by Yasalota of 
 Padua ; two grand wood and ivory groups, by Troger of 
 Munich ; the Rape of Proserpine, and Sacrifice of Abra- 
 ham, fine seventeenth and eighteenth century turned work. 
 Permoser, very fine, especially Jove with eagle group, and 
 Lion attacking Horse ; a cup, with stags’ and dogs’ heads 
 alternate in ivory, projecting round metal rim, and boy with 
 horn on top, very good (modern ?) ; ostrich eggs, carved and 
 set in every manner, very good ; one set in metal as an 
 ostrich, excellent ; nautilus shells, also carved, etched and 
 
255 
 
 S6t, 0116 as a peacock, another as a ship, and so on ; fine 
 double woman cup, she metal, the other cup on swivel a 
 nautilus shell ; ostrich egg, carved and inlaid with stones, 
 set as hanap, &c., excellent; two mother-of-pearl salvers 
 with embossed metal gilt rims, very good seventeenth 
 century ; metal Centaur with woman on back, do»s, &c., 
 excellent, seventeenth century ; Jamnitzer’s casket, gold! 
 silver, stones and enamel, about 1 ft. 9 long, about 2 ft. high’, 
 wonderful ; elephant and castle with men in it, and one 
 driving on head, set with mother-o’-pearl and stones, excel- 
 lent ; Kellerthaler of Nuremberg, has pretty good works ; 
 Leibgeber’s iron St. George, not so good ; the so-called Cel- 
 lini’s Christ, first-rate, but this and all Michael Angelo’s 
 in ivory seem to me very doubtful. In Augsburg, 
 enamelled vase supported by stag, excellent ; grand Augs- 
 burg table clock, late seventeenth century, studded with 
 precious stones and hours made of them ; fine repouss^ 
 silver gilt salver by Kellerthaler, raised figures round rim ; 
 splendid chalice and horn, silver gilt, set with precious 
 stones and enamelled (unknown artist) ; Kellerthaler’s chef- 
 d’oeuvre, a trilobed silver and silver gilt salver ; Dellau (?) 
 of Augsburg, a silver gilt embossed salver, good; grand 
 mirror in architectural and figured frame, metal set with 
 stones and enamel. Schlotheim (?), Augsburg, large 
 curious tower clock Cups by Dinglinger, good ; his vase 
 in pewter, of beautiful form and ornament, about 1-6 ft. 
 high ; enamelled silver gilt clock by Kohler (pupil of 
 Dinglinger), good ; small figures made of pearls in great 
 number and variety by Dinglinger, wonderfully clever. A 
 great collection of rock crystal, amongst which a small cup 
 by Daniel Vogt (?) of Breslau, very fine, nineteenth cen- 
 tury (?) ; an egg cup, then egg, then crown, set in brilliants, 
 then a splendid diamond ring, beautiful work by a Danisli 
 artist, unknown, about 2 \ in. high in all, silver gilt and 
 enamel. Two pieces in wood by Colin of Mechlin, about 
 5 in. and 3 in.; walnut-shaped double Crucifixion and Birth 
 by Wohlgemuth, wonderful wood carving; wonderful enamel 
 axe, sword, cartouch box, buckler, &c. by Berckmanshut (?), 
 1687. Dinglinger’s two vases, Hercules resting and Her- 
 cules and lion, bodies of agate and jasper, very fine. His 
 great Mogul’s Court, about 5 ft. diameter each way ; but 
 his chef-d’-ouvres which best show all the resources of the 
 
256 
 
 goldsmith’s art, are I think, the buffet about 3 ft. high, and 
 the Egyptian monument ; in these everything is brought 
 into play, enamels, stones, jewels, cameos, painting, silver, 
 gold, &c., of rich and varied design. Dinglinger’s son not 
 equal to his papa. 
 
 The collection of jewels wonderful, and amongst them 
 about two dozen of the most beautiful Kenaissance en- 
 seignes, brooches, &c. ; the chased and enamelled sword 
 handles unequalled also. 
 
 Opera House. — Good design, but grey and dirty ; wants 
 white and gold ; double row of hollow niches over boxes, 
 good; drop scene excellent; outer border white ground 
 with bunches of flowers, &c., spandrils, blue ground with a 
 muse or something each side ; border of arch, white mould- 
 ings, picture, and large figures, blue ground, trees, &c. ; 
 ornament under, in centre, from which depend masks, 
 tragedy and comedy ; all the great characters of the drama, 
 small, beneath, on blue ground ; no accessories. The seats 
 at Berlin Opera only keep down by your sitting on them, 
 so that when you stand up you can make double room for 
 lady to pass by letting your seat fly back to its natural 
 position. This plan, however, seems inconvenient to me, 
 like the making flap of water-closet fly up by entering the 
 place, and letting water out by opening the door. It is an 
 evident attempt to be over clever, which defeats itself ; 
 the simplest way is always the best. 
 
 Berlin Library, Ivories, &c. — Diptych, Consul Kufino 
 Probianus, third or fourth century, very good sculpture ; 
 Codex Wittikindi, rather rough work; splendid Persian 
 illuminated work ; Koran in fine Arabic, pressed, and gilt 
 leather cover ; four Evangelists in ivory, early ; four panels, 
 Merovingian (like Mayer’s), open worked background, gilt 
 inside; subjects — Life of Christ, very fine, early work; 
 Crucifixion and Interment of Christ ; one fine Christ En- 
 throned, Greek letters over head ; Mary, J oseph, Michael 
 and Gabriel ; one fine, Christ in double glory, in rich foliage 
 border, Greek. One fine Christ, silver gilt, about 9 in. 
 high, in hollow panel, raised, with fine border of heads, and 
 clasps, all metal, evangelists at corners, early fourteenth 
 century. 
 
 Museum. — Very good ivory serpent cups, two of the 
 Newcastle type, with pendant serpents, the biggest about 
 

 257 
 
 1 ft. 9 in. high; these are, in the China, Tartary, and 
 Thibet case, very fine. Porcelain, Chinese, amongst which 
 a splendid azure kylin. Grand Persian or Arabic scallop 
 edged gold and silver damascened on steel (?) bowl; about 
 
 2 ft. 6 in. wide ; a marvel of art. 
 
 Engravings, &c. — Knight in colours, by Durer, not so 
 good as etching. Melancholy, in a deep rich blue dress. 
 
 Petit Maitres. — Gabriel Meyer, jugs, &c. ; Joh. Hal- 
 ueven, ornament; Erasmus Hornik, jewellery; Hirschvogel, 
 ornament; Wenceslaus Jamnitzer, jewellery; F. Binck, 
 ornament. 
 
 If nothing is more pleasing than fancy, nothing more 
 quickly wearies us. A variety, fancifulness of design, of 
 form especially becomes soon tiresome. The mind, as 
 well as the body, wants repose. In late Gothic it is pecu- 
 liarly toujours perdrix with sauce piquante ; but this will 
 not satisfy long, nor satisfy entirely. More substantial, 
 plainer, and nutritive fare is wanted. Greek art, as we in 
 Europe have practised it, is too simple. Mediaeval (late), 
 too fanciful. Italian hits the just medium : giving us 
 enough of repose in studied beauty of form, and of variety 
 and fancy, in its minor details. Ornament is, or should be, 
 the accessory, not the main feature of a good architectural 
 or other artistic work. These curiously crinkled robes, 
 these varied and quaint head dresses, these contorted out- 
 lines, unexpected twists and turns, this constant aiming 
 after variety, looks like trying to force oneself on public 
 notice by grimaces and eccentricity. This we find in no 
 slight degree in late German Gothic especially, and I think 
 it is not to be admired or followed. The same spirit, in a 
 different form, crops out in the Louis XIY. and XV. ; but 
 there it is outrageous and offensive. 
 
 Koofs. — The snow and ice, in a thaw, fall off these high 
 German Gothic roofs so as to render the streets almost 
 impassable : rain just as bad. The fact is, in the middle 
 ages, I expect, it was usual to walk in the middle of the 
 street, as it is still in Italy. There were no proper trottoirs , 
 and in any bad weather, or at night, the middle of the 
 street was the safest part of it. 
 
 Dresden, Armoury. — Splendid ebony and ivory etched 
 and carved cabinet with spinet ; horns in great number 
 (not ivory) set in metal ; fine buhl cabinet ; another, brass 
 
258 
 
 and mother-o’-pearl ; great quantity of fine German ena- 
 melled drinking glasses ; excellent flat relief Renaissance 
 carved wood work, tables and panels ; splendid backgam- 
 mon board; pieces with emperors in relief; busts; coloured 
 wood set in gold border ; enamelled amber box, handles, 
 &c., very delicate; excellent embroidered gip^ieres and 
 pouches of every kind ; ivory inlaid axe and arbalast ; 
 ivory inlaid sheath and sword handle; tremendous state 
 sword, about 7 ft. long, grand; open work lances, metal 
 and carved wood handles ; Renaissance ; fine set of painted 
 and damascened shields ; steel openwork ; Kolman’s Augs- 
 burg suit, iron with embossed gold, wonderful; Italian 
 man and horse suit, gold ground and raised steel, marvel- 
 lously fine ; the ancient plumes and trappings add much ; 
 some in new suits, but well done ; heart shaped Medusa’s 
 head steel shield, very fine ; Sobieski’s armour, like large 
 Sikh, scales and rings alternate : about two dozen L. Comi- 
 nazzo’s pistols, damascened barrels, very fine; first-rate 
 collection of old embroidery mitres, shoes, robes, &c. ; one 
 tourney shield, set in jewels, motto — “ Priuli di te memoro;” 
 marvellous jewel set of trappings of horses, Renaissance ; 
 fine pressed and gilt leather chairs; splendid jewel set 
 mitre, early sixteenth century ; collection of saddles, metal 
 and embroidery, very rich; in the Turkish tents the 
 Orientals still hold their place; the Chinese parade hal- 
 berds really fine; painted staves; finally, a marvellous 
 collection of sword handles, mainly German, worthy of 
 close inspection. See catalogue. 
 
 Z winger Porcelain. — Mosaic on glass body, complicated 
 and very good, ascribed to Palissy ; the engraved glass of 
 Augustus the Strong, about 3 ft. high ; a fine raised opal 
 Venetian piece; the white beasts and birds are modelled 
 by Kandler, Bottcher’s successor ; grand china, and above 
 all, Japanese porcelain, splendid Nankin, and gold on blue ; 
 Bottcher did a lot of imitation terra cotta china pots, &c. ; 
 these and early Dresden imitations of china hard to dis- 
 tinguish from genuine ; usually, however, crossed swords ; 
 his ware was first brown biscuit, then polished, then black 
 polished gilt and coloured, imitation white raised and 
 open work china (like Queen’s) and one at Dresden ; there 
 was also good imitation Nankin ; Kandler’s monument of 
 Augustus II. ; fine piece of white glazed ware. After 
 
Kandler came Dietrich. Kiindler’s groups of the Seasons, 
 after R. Mengs, wonderful work. The brown china, with 
 blue and white medallions on it is from Canton ; two or 
 more grand turquoise and purple kylins and stands, mar- 
 vellous colour. The Mandarin china, early and famous, 
 consists of delicate light red and gold patterns on white 
 ground, forms very good. The Crackle and Celadon are 
 called older still ; but I doubt it. Their forms, however, 
 are certainly simple ; the imperial yellow is a very peculiar 
 dullish light greenish yellow. Only three pieces there, 1 
 think. Modern German common earthenware has a very 
 fine deep blue, dabbed and then mottled off into grey 
 sometimes on coarser pieces. The Japanese beat all in 
 their bold rich colours. 
 
 Dresden Gallery, Petites Maitres, &c. — Etienne de 
 Laulne, jewellery, &c. ; Noel Gamier, grotesque orna- 
 ments; Hendric Goltzius, ornament round figures, excel- 
 lent ; Giovanni Andrea, Italian ornament. 
 
 Israel von Meckenen, Lucas Cranach, Bartholomey and 
 Martin Schon (mediae val), Kickhart van Orley, of Brussels, 
 has some fine pistols, full size, minutely drawn in Indian 
 ink, and slightly shaded with brush, each side full drawn ; 
 J. Van Eyck uses very light sepia and fine. 
 
 Dresden Library. — In A. Durer’s note book. Designs 
 for architecture; goblets, Gothic and Renaissance, &c. 
 A mathematical genius ; careful and thoughtful. Every 
 artist should see this. Date about 1512. Rent’s Book of 
 Tournaments ; very interesting, incomplete. Holbein’s 
 sheath. Dance of Death, grey painting, white lights, dark 
 blue ground. A beautiful etching, by Balthazar Peruzzi, 
 nude figure, profile for caryatid. 
 
 Dresden Print Room. — About 30 ft. square, field of 
 walls, drab green ; roof entablature, architraves, drab grey ; 
 spandrels, drab puce ; ornament, white shaded with drab 
 grey ; medallions on vault and ornament on pilasters, white 
 on gold ground ; all very light, very pretty, but not good, 
 too much of it. 
 
 Bamberg. — Fine alabaster gilt and coloured fifteenth 
 century monument of Henry and Cunigunda : a monarch 
 on horseback, life size, under canopy at entrance ol choir, 
 left side, against wall. Very interesting sculpture round 
 choir, late thirteenth century (?) once coloured. Grand 
 
260 
 
 crypt : Clement the Second’s tomb, very curious, figures 
 pouring water (Cahier and Martin (?), emblematic of 
 Christening (?) see figures of Hildesheim and Brunswick 
 fonts; he died 1047, but date of tomb (?) Visscher’s brasses, 
 very good ; inlaid bronze figures on stone, bronze border 
 and foliated canopy. Curious coloured wood sculpture 
 of stalls, very rough, flesh and green colour mainly : ivory 
 Christ over altar, said to have been brought by Henry II. 
 from Palestine, very weird, extraordinary, very long arms. 
 Grand set of brasses or bronzes in burial chapel, thirty- 
 four without small tablets, several by Jacob Weinmand, 
 a.d. 1610, and about then. Treasury very interesting. 
 
 Nuremberg. — Two enamelled caskets : one with twelve 
 apostles in ivory, the other with twelve apostles and Virgin 
 and Christ, all in enamel. German, I think, decidedly, 
 from the white and green on it, and pattern, which is very 
 geometrical Byzantinesque, exceedingly good and inte- 
 resting, probably twelfth century or earlier, about 10 in. 
 long by 4 in. The combs of Cunigunda, so-called, body 
 carved with emblems, two birds drinking out of one 
 vase, &c., very curious, about J in. thick in centre. Good 
 Limoges enamelled staff. 
 
 Fine Bomanesque bronze candlestick, about 5 ft. high, 
 open-worked dracontine type. Henry’s cope, blue ground, 
 gold worked religious subjects and ornaments in circles, 
 very fine (see Cahier and Martin) ; also some Mediaeval 
 copes. Hans Culmbach’s coloured wood carved altar- 
 piece, not bad (Burial chapel). In sacristy, a black Ma- 
 donna and Child, gold ground (real Abyssinian ?) the lips 
 look red, too dark to see well. Modern sculpture round 
 altar and pulpit of Schwantaler’s School, excellent, only 
 as usual overdone. Seventeenth and eighteenth century 
 great flourishing stone mural monuments at the Michaels- 
 burg church ; excellent square tower and choir (decorated) 
 to Oberpfarrkirche ; here also mural monuments round 
 outer wall, and good wood carving (Veit Stoss?); inside. 
 Lower down the hill, is an eighteenth century palace, so 
 fat and bold as not to be despised. 
 
 Meissen. — Bronzes : table tomb of Friedrich der Streit- 
 bar, 1424, with alternate incised and raised figures round 
 sides, not bad ; Herzogin Amalia, incised, 1502 ; Herzog 
 Friedrich, 1507 ; Herzogin Sidonia, slightly incised ; 
 
261 
 
 Friedrich der Sandmudiger (?), slightly incised; Herzoo- 
 Albrecht, incised; Herzog Johan; Herzog Georg and his 
 wife Barbara, he raised, she incised, circa 1539 ; Bishop 
 Sigismund, very good, 1453, likewise Reisenbach, fifteenth 
 century ; Yon Mellerstadt, 1433 ; Yon Sclionberg, 1426 ; 
 Yon Hildebrandt, 1412 (round, with a curious small 
 centre figure), all church officers, some others in stone and 
 bronze. Spire not much, and lost from its great height. 
 At Leipsig, really nothing ; Heideloff’s new R. C. Gothic, 
 red brick church, utterly wretched, not a redeeming point, 
 he is however a little better at Nuremberg. 
 
 Nuremberg. — In the museum on the Burg a fair collec- 
 tion of medals in wood and metal, models and casts of Ger- 
 man and Italian fifteenth and sixteenth century sculptors ; 
 a curious engraved laten cabalistic bowl, horoscopes inside 
 and out. More like an old curiosity shop than a museum. 
 
 In the Palace many fine sixteenth century stoves, and 
 later, about 12 ft. high, subjects: Europe, Asia, &c., the 
 Four Seasons, Labours of Hercules, &c., one of the best 
 has gold ornament on black ; one of two orders of archi- 
 tecture ; one, green and white on yellow. In the pictures, 
 (early German), good robes and ornament ; so late did this 
 style last, that a picture by Amberger, dated 1560, might 
 pass for 1490. A painting of Constantine and Helen, on 
 gold ground, good Byzantine. In Ottinar’s Chapel, very 
 good, prest and gilt leather chairs, the carving by Adam 
 Kraft. Pharoah in Red Sea, minute work, but not good. 
 The modern key, beaker, and hanap presented to the king, 
 all very excellent examples of new art, in old German style. 
 St. Lorenzkirche and St. Sebald, first rate stained glass in 
 the former, restored in 1655 and in 1839. The window 
 presented by the Yolkhammer family in St. Lorenz, won- 
 derfully fine. Heideloff, here also good in his new things, 
 but still flattish, lots of old embroidery in St. Lorenz, 
 mainly of late fifteenth century. 
 
 St. John’s churchyard, general style of slab, plain oblong 
 sarcophagus or moulded, with fine bronze inlay medallions 
 on top in great variety, trefoils, quatrefoils, wreaths and 
 tablets with arms in centre ; covered with snow mainly 
 when I was there, names of some of the sculptors are Se- 
 bastian Denner, 1678 ; Paumgartner, 1679 ; G. G. Conradt, 
 1679 ; Huthaterst, Stephen Werner, Scheusselfeld, very 
 
262 
 
 good, early seventeenth century ; M. Brieul, seventeenth 
 century; Burgschmiet, 1829. 
 
 Town Hall. — Small hall is of drab ground, black archi- 
 tecture, gold ornament and full length portraits, in panels 
 made express. Second story gallery : curious instance of 
 work thrown away, pourtraying in plaster in relief ; some 
 parts quite clear, such as arms, heads, &c. ; twelve sets 
 of jousts, life size, each cavalier with his attendant jester, 
 and often little dogs, the coats of arms only coloured. 
 Great Hall (about 120 ft. by 40) (?), painted on one side, 
 with curious allegorical triumphal Imperial procession: 
 Emperor in car accompanied by Justice, Fortitude, Cle- 
 mency and other female figures; the wheels inscribed 
 “ Magnificentia ” and “ Dignitas ;” it is driven by “ Eatio ” 
 in front, who, with the reins “ Nobilitas” and “ Potentia,” 
 guides the horses (Moderatio et Prudentia), Alacritas, 
 Opportunitas, Magnanimitas, Audacia, Fortitudo, Yelocitas, 
 Acrimonia, Virilitas, Experientia, Solertia ; eight pair, all 
 gallantly comparisoned ; the wood dado is about 10 ft. high; 
 then the paintings about 14 ft. ; then wood cornice, from 
 which springs semi-circular wooden roof with centre dia- 
 mond panels ; round the walls are mottoes, such as “ Salus 
 populi suprema lex esto;” “Festina lento;” “Duce Yir- 
 tut6,” “ Comite Fortune,” “ Parcite subjectis,” &c., with 
 great instances of antique valour and virtue. In the pic- 
 ture gallery near St. Sebald : Birth of Christ, by Israel 
 von Meckenen : a canopy bed, credence, linen coffer, clogs, 
 salver, &c., of late fifteenth century, Seitblom, Schwarz of 
 Eothenburg and Melchior Feselen, Hans von Culmbach, 
 H. Burghmayer, black outlining on gold ground frequent. 
 Hans Grumer (portraits) ; I like best ; this and all old 
 German paintings rich in stuff patterns. 
 
 In the Academy Picture Gallery. A great Feast in the 
 Nuremberg Town-hall, by Joachim Sandrart, 1650, shows 
 the buffet, with ornamental plate, wine bearer with silver 
 gilt cup, table with dishes of architectural design, &c., 
 leaves on floor, each man with his cloak on the back of his 
 chair, and music by the buffet. Will-Klaus Heda, 1598- 
 1678, fine grey, metal, glass, and fruit painter. In a paint- 
 ing at Chapel Gallery, of Wohlgemuth's time and style, is 
 a horn set like the Amsterdam one. Charles the Great, 
 and Sigismund, very interesting, by Durer ; the first in his 
 
263 
 
 coiT6ct costume, colossal three-quarter size. My window 
 from the Turkenhaus, date 1533 (on house). 
 
 One of the saints on the north wall of St. Sebald has 
 his back bare, ribs and entrails showing, knee-bone out of 
 shape, and a snake or large worm crawling up his leg ; what 
 saint is this ? or is it an old memento mori ? in front he 
 wears a long robe. 
 
 In St. Egidien Church behind high altar, is a Christ and 
 Maries after Crucifixion, signed p. *f- v. normberge, 1522 ; 
 this if by Peter Yischer, is perfect' Renaissance but rather 
 poor sculpture. In torture instrument collection on the 
 Burg, is a cask ajid bar red helmet for drunkards ; branks 
 for scolds, and guitar or viol, for quarreling women ; the 
 Holy Virgin and other horrible things for torture. Amongst 
 the books, “ Constitute Criminalis Teresiana, Vienna, 1769,” 
 with plates. 
 
 Cliristiani Ulrici (?) de application^ tormentorum, plates, 
 Hanover, 1754. At Burg, rich brown wood panelling, above 
 that, dark-green paper, with gold bead and rich brown wood 
 ceiling, looks very well. 
 
 Ammon, Vischer, and Krafft, still common names at 
 Nuremberg. 
 
 Motto on window, Dresden. — “ Corrige prceteritum, pre- 
 sens rege, cerne futurum.” 
 
 Stained glass at Academy Gallery, by Christoph. Maurer, 
 (1558-1614), pupil of Tobias and Christoph. Stimmer, 
 (Tigur), very rich; subjects here are from 1593 to 1698. 
 
 At Augsburg we come full on the south (began at Bam- 
 berg) we come on pictures, priests, monks, mock bronze 
 candelabra on stairs, glaring frescoes, colour on houses ; in a 
 word, the richness and glare of the south, very cheering and 
 genial, however much in bad taste ; a bit of colour out of 
 doors does one wonderful good. Augsburg is an Italian 
 city almost, it is quite different to Nuremberg, and I 
 almost like it better. Maximilian Museum full of fine 
 Mediaeval work of every kind, one of the best I have seen. 
 Great lithographic stone table, about 3 feet 2 square, 
 with a calendar, incised and flat raised work, very good ; 
 inscribed Andreas PI . . inger Ratisbon, 1600. Fine tra- 
 ceried cupboard, fifteenth century; a fine coloured and carved 
 retable like Wiseman’s ; good wood piscina and credence 
 over, late fifteenth century ; two wood open worked 
 
264 
 
 linen or meat holders ; metal work, jewellery, excellent 
 early German enamel pictorial cross. Good collection of 
 Renaissance daggers, steel and iron. German glass, late, 
 enamelled ; a very fine coloured portrait on Venetian bowl, 
 about 1520 ; gold double spheres (held ashes ?) each about 
 7 in. long ; fine early bronze, gold and enamel ; and large 
 and good collection of seals, especially Mediaeval and Re- 
 naissance. 
 
 Cathedral. — Lots of good Renaissance iron work ; very 
 good stained glass window, 15th century, in north aisle ; 
 skeleton monument here and at St. Moritz, 1530 ; good 
 gilt and coloured leather at back of stalls ; splendid laten 
 Mediaeval chandelier ; in centre a pinnacle open worked, 
 branches curved, men with banners on one row. Birth of 
 Christ in cloister by Petel, sixteenth century, very good, 
 especially the side panels, Adoration of Magi, and Mary 
 and Elizabeth; a very fine ivory Christ in one of the 
 chapels near Sacristy ; good Mediaeval stone and marble 
 monumental slabs in cloister. In Treasury very good 
 eighteenth century work in host and chalice, 1751 and 
 1720, signed Franz Xavier Quinzer, goldarbeiter, fecit 1751. 
 Gothic crucifix, Mary and John each side; rich pax set in 
 gold and jewels, with good carving of Last Supper in 
 mother-of-pearl. 
 
 Old circular headed stone canopy on pillars in west 
 choir, probably once over the old chair. 
 
 S. Ulrich’s treasury has a fine crucifix engraved and set 
 with stones, inscribed “ Nicolaus de Seld de Augsburg, 
 1493.” (see Hefner and Becker). The so called Conrad’s 
 tomb, early kind, like Bamberg ones ; lion and boar fighting 
 one side, horsemen fighting on other. Good incised seventh 
 century ivory coffer for relics. 
 
 St. Ulrich, excellent metal work ; characteristic Renais- 
 sance, and small but good stained glass. An example of 
 broken moulded Gothic, bad ; great railing in perspective 
 about 1600. St. Anna, Christ and Children, by De Witte, 
 in lithographic stone, very good ; Raising of Lazarus, by 
 Burgmayer, good ; panels of organ here by Holbein. Round 
 Fuggers chapel, characteristic and good, seventeenth cen- 
 tury, lithographic stone or marble carvings; good chains to 
 lamps. Gilt architecture, etched in black, in Burgmeyer and 
 Holbein at Gallery, rich in accessories of all kinds. In old 
 
 
265 
 
 Holbein’s Life of Christ we see general style of fifteenth 
 century ; and fourteenth century wall painting in Schaff- 
 ner’s Adoraration. Altdorfer is rich in jewellery, metal 
 work, &c. Satan in shape of blue devil is dragging the 
 naked body (soul) out of cursing thief’s mouth, a lot of 
 little blue devils flying round. Peter and Saints (Burg- 
 mayer), rich in gold mantles, &c. very fine. Gerard Lairesse’s 
 twelve sketches in grey, of antique triumphal procession, 
 very good indeed ; girl’s head, ascribed to L. da Vinci, and 
 probably his ; very beautiful Paul de Vos, Venus and Cupid 
 in a mass of armour and weapons. Cannon at Zeughaus, 
 inscribed “ Martin Frey in Minchen goss mich.” “ Sebald 
 Herder zu Neupurg hat mich gosen da man zalt, 1524,” 
 “Hans Meisner zu Landshut, sixteenth century” (1543). 
 See German Guide. Interior of Town -hall, good wood pan- 
 elled ceilings, good example of seventeenth century, red 
 marble shafts and bronze caps and bases, looks well, with 
 dark brown roof, also at Drei Mohren, good ceiling. 
 
 Ulm. — A grand Cathedral, vestibule excellent, some 
 parts inside bad, such as side aisle columns, with naked 
 capitals. Splendid Sacramentshaus and pulpit, see Ger- 
 man account. In chapel (north) old incised stone slabs, 
 like Brunswick, more perfect ; grand foliage brackets. The 
 Jesse window and Life of Christ above, wonderful; mag- 
 nificent, fifteenth and fourteenth century stained glass 
 here, the last too cut up ; iron work of doors, rich six- 
 teenth and seventeenth century, no name or date, only on 
 one D. W., 1638. Great variety of heads, &c., in stalls ; 
 fine naturalistic German ; inscription : “ Jorg Syrlin, 1575, 
 complevit hoc opus,” on the chair (St. Georges’ so called), 
 “ 1468,” for all this see German book. Syrlin’s font not so 
 good, I think ; in these stalls there are also small diamonds 
 of geometrical wood inlay, very nicely done. Bathliaus 
 curious but not good. Fountain very finely carved, double 
 twist, clear cut out. 
 
 Augsburg. — The sculpture of the Augsburg doors is very 
 beautiful, better I think than most of the Nuremberg 
 school, more simple. There are tones of form, as well as 
 of music and colour, and these are better toned. 
 
 Munich. — Think little of Von Klenze, Gartner, or any, 
 except the architect of St. Boniface. This pleases me as 
 
266 
 
 much, if not more, than anything I have seen (internally) ; 
 externally very unpretending ; all red brick, hut front with 
 stone columns, architraves, &c. ; the gold ground excel- 
 lent. The great bronze figure of Bavaria at the Eume- 
 shalle, much too big for architecture, which itself is poor 
 and cold, Grecian Doric, without colour, except corridor 
 wall, red, with badly arranged white busts and brackets ; 
 roof coloured, but nothing particular. Bavaria herself 
 clumsy, and much too big for place, also should have been 
 set much in front of portico ; as it is, you see the head 
 towering over the portico before you come to it. It looks 
 ridiculous. Liebefrauenkirche positively ugly; stained 
 glass excellent. Lots of outer mural slabs, each with 
 little holy water holder, some not bad ; good iron work 
 here and at St. Peter’s church. St. Michael’s interior, 
 though not in a style pleasant to me, yet very imposing, 
 and gives a great idea of size. The miniature portraits of 
 the Pitti Palace; of the Loggia of the Lanzi; the imi- 
 tation Eoman arch, and old Vasari’s Post-office — mere 
 nothings as to merit in the artist. Railway station better; 
 Byzantinesque but well adapted, brick. Some good varied 
 and moulded brick and other modern houses ; the Wittels- 
 bach Palace, witol’s work. I like all this fresco painting 
 here much, especially the gold ground work ; the white 
 and gold Greek ornamented coves of Klenze’s Pinacothek 
 ruin the pictures. The arrangement of Pinacothek, and 
 also at Dresden, large and small rooms, side by side. Glyp- 
 tothek, very beautifully arranged and ornamented interior, 
 generally of four side arches and centre dome, with upper 
 light. The church of Sta. Maria hilf; poor detail as 
 usual in modern German Gothic ; very beautifully painted 
 windows, chef d’ceuvres in their way, but wanting the 
 fine tones of the sixteenth century as seen everywhere 
 and here in the Liebefrauenkircke, where also the 
 Emperor Lewis’s tomb, in bronze, by De Witte and 
 Kreuzer (1622), very effective ; the armed figures at corners 
 first rate, very spirited : also very good work of De Witte’s 
 in the bronze St. Michael, front of St. Michael’s church ; 
 the arms and cherubs with festoons beneath, also in 
 bronze, excellent ; the bronze fountain, with armed knight 
 at top, and children on sea animals, nymphs, and tritons ; 
 
267 
 
 also very good character, seventeenth century ; the small 
 Perseus fountain in bronze, adapted from Cellini’s, also 
 very good and clever. 
 
 Koofs of Sta. Maria hilf and Ludwig’s kirches in coloured 
 tiles I don’t much like, overdone ; where all the rest is 
 monotone, not harmonious either. 
 
 Liebefrauenkircke : in chancel a curious skeleton mo- 
 nument, with worms and snakes crawling on it. 
 
 Amongst drawings in Pinacothek, good fully armed 
 knights, in water colour, by Hans Burgmayer ; boys and 
 festoons, &c. architectural ; brown ground, white lights, 
 Lucas Penni, excellent ; martyrdom of St. Laurence, 0 red 
 chalk, first rate, Bandinelli : some of his sketches in ink 
 difficult to distinguish from M. Angelo. Fra Bartolommeo: 
 one of the broadest, finest of draughtsmen. Fine ciborium 
 and altar by Sansovino. Other interesting pieces by dost 
 Ammon, Goltzius, Leyden, the two Holbeins, and Clouet 
 (Janet). 
 
 The Ludwigs-strasse shows how much may be done 
 with how little effect — Florence toned down; no projections 
 and no height, poor, tame and flat: interiors generally 
 very good, Germanised Poman Italian, but want colour 
 more in masses, white ground the rule. Staircase of 
 library, first rate effect, one of the best things here; 
 the arrangement also is good : to be seen also at library, 
 good Arabic or some such laten engraved salver; good 
 miniatures by Hector Meyer of Augsburg; a complete 
 tournay of many knights, all in black armour, sixteenth 
 century; Boccaccio, by Fouquet of Paris, fifteenth century; 
 Oriental illuminations, good ; Giulio Clovio, very poor — 
 not liis, I think; Sinibaldi of Florence, and Hemling, 
 book of prayers; Albert Durer, ditto; very finely and 
 surely sketched figures and ornament in one coloured 
 ink (purplish). The cover of Charles the Bold’s prayer- 
 book, gold beaten out, set in gold filagree ; Greek enamels 
 and stones ; Christ here, too, in a double glory, as at 
 Berlin, about 16 in. by 12 in. The Bamberg ivory covers 
 very fine, Byzantine ivory work on red ground (thorough 
 cut), finely set in gold ; Greek enamels of Apostles, 
 &c., and precious stones: amongst all these are to be 
 found some antique gems. 
 
 In the Palace, amongst curious antiquities, the Spiegel 
 
268 
 
 Cabinet in the Oldbau, with ivory turned chandelier and 
 300 pieces (small) of very pretty Chinese porcelain rest- 
 ing on projecting brackets from mirrors. The miniature 
 cabinet, with 130 miniatures, enamel, after the great 
 masters, set in wood ornament ; open work, gilt on a red 
 ground. Here is also a very fine small ivory chandelier 
 of five lights, open cut, with mythological subjects, sur- 
 mounted by a statuette of Hercules, said to be by Maxi- 
 milian himself — but hardly so, I should think. This 
 cabinet is a model of Louis XY. style, perfect, pretty, and 
 as originally made, it is not without many charms. The 
 new rooms : Barbarossa frescoes, &c., concluding with 
 Tron Saal ; good, but cold, the latter especially, though 
 certainly nobly designed, with its great masses of white 
 and gold — does not please my taste, and owes much of 
 what effect it has to Schwanthaler’s fine bronze gilt 
 statues. The Niebelungen rooms are as near perfection 
 I think as may be (Yon Klenze) : here the ground is no 
 longer white, as usual at Munich, but rich and broad in 
 colour — a sort of Romanesque on Italian palatial plan; 
 the frescoes are not unworthy of them (by Schnorr) : and 
 especially was I pleased with some allegorical figures and 
 ornaments, wreaths, festoons, &c., by Neureuther. These 
 lunette pieces are generally, if not always, on a gold 
 ground. The Alleheilige chapel (interior), also by Klenze; 
 perfect, massive and solemn. 
 
 In the Schatz Kammer, amongst many beautiful things, 
 are a model of Trajan’s column, gold repouss^ on lapis 
 lazuli ground and marble plinth, &c. ; it bears the name 
 of Yaladier on the plinth, but on the gold work is in- 
 scribed Barth-Hecker, 1770 (?) Two splendid silver gilt 
 enamelled cups, made at Augsburg and Spires, sixteenth 
 or seventeenth century. Fine jewellery, enseignes, rings, 
 &c., chiefly Benaissance ; the largest silver and silver gilt 
 salver set with stones and enamel, I think I have seen. A 
 vase of gold arabesque on white enamel ground, other- 
 wise richly worked in silver gilt and enamel ; Nuremberg 
 work, sixteenth century or early seventeenth, one of the 
 finest pieces imaginable. Repousse gold piece (Adam and 
 Eve ?), small, said to be by Durer ; Albert’s father, I sup- 
 pose. Splendid work of boats, some double, of rhinoceros 
 horn, set in metal. A beautiful enamelled ornament in 
 
269 
 
 silver gilt ; a chalice, small, by Cellini, most delicate 
 work ; some very fine examples of early metal work ; the 
 so-called crowns of Henry and Cunigunda: also others 
 most interesting of varied design. Two very remarkable 
 ivory coffers, set in metal enamelled bands, panelled with 
 subjects from life of Christ, Indian (?) workmanship, fine 
 and curious : all seen under great disadvantage and as 
 a particular favour ; merit a close and complete inspec- 
 tion. The fine buhl, or-molu and mosaic table — a master- 
 piece of its kind — with the arms of Bavaria enamelled on 
 it (4), is by Lucas Kilian (the engraver), who most pro- 
 bably engraved the allegorical figures, which are all finely 
 and boldly cross-hatched (though Kilian’s style as an 
 engraver is with single lines) and Hestel, both of Nurem- 
 berg ; the date, I think, was 1644. If so, was not this 
 before Boule ? The whole mosaic, metal and enamel, &c., 
 is on a wood slab. 
 
 Item. — A very beautiful niello cup of most delicate 
 workmanship, on metal foot, said to be German, fifteenth 
 century ; and a chain of gold hearts with sacred subjects 
 on them, in translucent enamel, small and good, probably 
 Italian, early fifteenth century, or late fourteenth. 
 
 Salisbury. — At Salisbury, as at Exeter Cathedral, a 
 semi-skeleton monument. These may be noted as com- 
 mon late fifteenth century things, the local tradition is that 
 the commemorated fasted forty days in imitation of Christ ; 
 see notes in Germany. Two fifteenth century chimney 
 pieces at Salisbury, one at John Halle’s, the other at the so- 
 called Barracks. Some of the old houses here I like very 
 much. 
 
 Be careful to keep your principal facades to the sun. 
 
 Vereinigten Sammlungen; four Egyptian bracelets, of 
 which Labarte gives one as enamel, but true enamel hardly, 
 a vitreous inlay however, rich nevertheless and master- 
 pieces ; several Egyptian brooches also with blue inlay ; a 
 glass cup, like that at Berlin, but bigger and more perfect, 
 surrounded with open work, all formed of one piece, singular 
 and beautiful, both found I think at Cologne ; a most 
 lovely gold beaten ivy branch, a true gem, Grecian ; also a 
 grand wreath of fine beaten gold with a winged figure of 
 Victory, wonderfully beautiful. I question whether these 
 two can be surpassed : both Grecian or Etruscan Greek ; an 
 
270 
 
 j 
 
 ancient Grecian bronze chariot, pieces however disjoined 
 and some few in other places, as at the Glyptothek ; also 
 a complete suit of bronze armour, with anatomy finely 
 shown on it : this Greek collection and Etruscan, first rate ; 
 a very remarkable, good, and interesting Japanese and 
 Chinese bronze collection, in some of which the Byzantine 
 influence and even Greek strongly defined, as in candle- 
 sticks, vases, &c. Fiammingo’s boys excellent, groups 
 and covers of hanaps, amongst these' fine pieces is a cup, 
 German late fifteenth or early sixteenth century, very fine ; 
 some pieces signed “Antonius Leoni, Venetus (late six- 
 teenth or seventeenth century) ; grand Trogers, a fine oval 
 salver about 2 ft. 9 in. long; a carved and inlay wood cabinet, 
 small but rich, signed “Georgius Boksch, in Dolz., 1611 
 first-rate $mall ivory and wood carvings, and some most 
 choice sword handles, also fine models of buildings, ancient 
 and modern; this collection deserves close study, but 
 much more that of the National Bavarian Museum, now 
 in the Pfandthaus but about to be removed to the Maxi- 
 milian Strasse in a new building. It unfortunately has no 
 catalogue as yet, but is to have one ; it however contains 
 one of the most extraordinarily varied, interesting and 
 useful series of works, of all kinds and periods, wonderfully 
 full and complete, from the Byzantine to the Louis XVII. 
 one can imagine. Its weak points are pottery and Ger- 
 man laten work, otherwise it merits alone a sojourn from 
 all artists at Miinchen, who wish to know what has 
 been done in furniture, domestic and ecclesiastic, and in 
 the industrial arts generally ; it is perhaps unique and not 
 the less interesting from its very full illustrations in all 
 branches of the eighteenth century art, which are rich, 
 ingenious, and not without feeling, however much at 
 present decried; moreover it has excellent casts, photo- 
 graphs and drawings. Dr. von Hefner Altenek’s collection 
 also most valuable and interesting archseologically and 
 artistically; he says, “I ought to have seen Picart’s at 
 Nuremberg, that it is chock full of curious matter,” how- 
 ever, so it is. Modern Munich metal work, principally 
 for ecclesiastical purposes, is just as good if not better than 
 old, and merits great praise. In St. Michael the shrine 
 of SS. Cosmo and Damian, fourteenth century, repouss^e, 
 gold or gilt, and enamel and stones, is as fine a work as I 
 
271 
 
 have seen ; how on earth did it get there ? It is about 
 2 ft. 6 in. or 9 in. long, and a chef d’oeuvre; the brass 
 candelabra here and at the Egydienkirche, Nuremberg, 
 are fine German sixteenth or seventeenth century work 
 about 5 ft. high. 
 
 The interior of the Ludwigs Kirche, very ineffective in 
 spite of great ornament, owing mainly to the drab coloured 
 diapered walls ; the side aisles are better, but still nothing 
 to speak of. Gartner is neither so good here nor at the new 
 cemetery, as at the Library. The new cemetery is brick, 
 in patterns on front, proportions bad and details poor - 
 both here and at Ludwigs kirche, wonderfully deficient 
 in projection and recession. The loggie of the Pinakothek 
 are in themselves excellent (Klenze), but the vital error, 
 because against common sense, is made of placing the mere 
 decoration on the walls and the pictures on the vaulting, 
 so that however good and interesting, it is positively 
 painful to go through even part of the series. The system 
 of Byzantine coloured decoration I still think one of the 
 best and most effective ; colour in masses, relieved by detail, 
 the other system here being colourless masses relieved by 
 detail; there is something too tawdry in r all the last (Boman 
 school), these painted things fade and get rubbed and look 
 like some old Vauxhall work; as much as possible let 
 colour be ingrained, i. e. in the materials. 
 
 In the Bavarian National Museum is some fine stained 
 glass from the fourteenth century on ; some seven or eight 
 first-rate armoires, fifteenth and sixteenth century, rich in 
 tracery, foliage, colour and ironwork ; on a fifteenth century 
 one there is also marqueterie ; a great quantity of very 
 well preserved tapestry with gold thread and embroidery 
 from the fourteenth century down to the eighteenth ; 
 several finely cut chests on legs; boldly carved bench, 
 Gothic, with ledge back and cupboard seat, date 1513 (?) ; 
 much good pressed leather, amongst which several chairs 
 and a mitre case; great number of carved wood boxes, 
 very effective ; splendid silver gilt medallion, Adoration of 
 Magi, probably a pax, about four inches diameter ; also a 
 morse silver gilt, Virgin and Saints, deep cut, under 
 canopies, early fifteenth century. Ivory, much and curious, 
 a skeleton kneeling holding crucifix to a naked woman 
 in head dress of early fifteenth century ; beautiful Arab 
 
272 
 
 damascened salvers, bowls, &c., and especially an oblong 
 box with lid of exquisite work enriched with ornament 
 and inscriptions, having on each side the arms of Charles 
 the Fifth, in niello, added; a beautiful small wood re- 
 table, thorough cut, fifteenth century, subject, Crucifixion, 
 under square and traceried canopy; fifteenth and sixteenth 
 century small earthenware coloured models for stoves ; 
 splendid inlay chair (like Soulages) smaller, and finer, 
 with pressed leather seat, &c., having Arabic patterns (see 
 Hefner.) Venetian glass ewer and salver, enamelled with 
 ornaments, busts, &c., very fine. A large salver of same 
 description, first rate, and a latticinio salver of perfect 
 work, about 18 J in. diameter; German enamelled pocal, 
 about 2 ft. 9 in. high, and decorated with rough ornament 
 and figures. A ladies’ side saddle, sixteenth or seventeenth 
 century; a richly ornamented gridiron, seventeenth century, 
 all open work. Large coloured stove with sacred subjects 
 in compartments, early sixteenth century ; musical instru- 
 ments, Eenaissance and later, rich in ornament; grand 
 boule cabinets and secretaires; a very fine cabinet and 
 clock, lapis lazuli, tortoiseshell, enamel, steel, brass, wood, 
 &c., also two grand Augsburg clocks of same description as 
 the Queen’s but much larger and richer, about 10 ft. high 
 with stand ; one signed Cristoph. Schener, Augsburg. A 
 very fine boule clock surmounted by equestrian king and 
 victory, (belonged to a Maximilian, eighteenth century 
 early,) signed G. de Gros, 1714; a stag’s brass collar with 
 “ Lieber jager lass mich leben, der kurfurst hat mich frey- 
 heit geben, 1609.” A tournay spear in its old silk covering ; 
 several fine carved and coloured large fifteenth century 
 retables, reading desks, &c. ; candelabra (wood coloured), 
 fifteenth century; and interesting crucifixes, reliquaries and 
 pyxes; early German and Limoges enamel; some fine metal 
 work, and altogether very curious and interesting illustra- 
 tions of social life during the Middle ages and the Eevival. 
 
 The Eailway Station is I think one of the best things in 
 Munich, Byzantine and Eomanesque features adapted with 
 great taste and study to their purpose, the roof magnificent, 
 certainly the finest thing here, nor the worse I think for 
 being a little, perhaps, unnecessarily strong in ties and 
 scantlings; walls principally coloured brick, with stone 
 columns, architraves, brackets, &c. The same architect is 
 
273 
 
 building the new museum in the Maximilian Strasse. At 
 the glass painting house, St. Catharine and Barbara, by 
 Fischer, under canopies, very good ; also the Blue Grotto, 
 Capri, on four different glasses; these last are shown 
 on slides running in grooves, with light at back only, 
 very effective. 
 
 Good sixteenth century ornamental iron work round 
 fountain in Salzburg. Tyrolean houses, good models for 
 woodwork; great and good variety of carved borders and 
 mouldings of balusters (flat and round) ; on account of the 
 quantity of wood here and in Austria, its use in building is 
 frequent, it enters largely into all the Station designs 
 especially, and one near Vienna, the first I think on the Linz 
 line is particularly remarkable for its large and tasteful 
 application. 
 
 In Vienna the new buildings are distinguished by more 
 taste and originality than any I have seen; especially to be 
 noticed is the Arsenal, an enormous block of building of red 
 and white brick with stone facings ; the key note of the 
 design, Lombard thirteenth and fourteenth century Gothic, 
 the only drawback is a general want of massing, a certain 
 dumpiness, and piers of great door of court slanting (very 
 bad) ; every style furnishes some of its best points, but more 
 especially Saracenic, particularly the Saracenic of Sicily and 
 South Italy ; there are Gothic cusps, Flemish cramps, 
 Moorish arches, Cinque Cento caps, and Gothic, but only 
 in character, no actual copies; certainly a grand work; the 
 interior (Armoury), is splendid, resplendent with marbles 
 of every kind, and most excellent iron work, indeed the 
 iron work designs of this master are unequalled I think, it 
 is a noble and very original work, and seems wonderful 
 how it should all have been completed in eight years, it 
 was begun in 1849, and completed in 1857. The new 
 Jewish Synagogue is I suppose by the same master ; it is 
 on the same principle, coloured brick and stone dressings, 
 but though very original and good the character is more 
 markedly Saracenic. The Greek Church near the Alte 
 Fleisch Market is also a most remarkable work, mainly 
 Byzantine, with some particularly Greek Church points, 
 as seen in the Greek Church work, it is generally brick of 
 light tint, stone dressings and a great deal of external 
 gilding with some gold ground deep tinted paintings. The 
 
274 
 
 new barracks by the Post Office and new gateway, red 
 brick and stone, the gateway all stone and very original 
 Renaissance; the barracks an enormous and noble mass of 
 rather plain work but good. The new Renaissance arcade 
 in the Freyung, also very original and good (stone), the iron 
 work first rate, founded on the sixteenth and seventeenth 
 century interlaced style. Indeed modern architecture 
 here seems in a flourishing state and promises well ; of the 
 old it is enough to say that St. Stephen’s interior, towers, 
 and sides, are the glory of late Gothic. I can hardly con- 
 ceive anything in its way finer ; the little church of Maria 
 Stiegen with open work turret is also good, good stained 
 glass in both churches. In the doorway of the Italian 
 Church is a remarkably beautiful female saint amongst 
 others. The churches however have been dreadfully 
 modernised, and there is a remarkable want of iron work. 
 Fischer, of Erlach, a regular eighteenth century architect, 
 ambitious in idea, but ideas bad, the best things are the 
 great hall of the library and the riding school, the last is 
 best because most Italian, his construction may be good, 
 but art poor, though no means were left untried for effect, 
 as witness his two great Trajanesque columns, each side of 
 the Karl Church, the sculpture on which is interesting. 
 
 Schwanthaler’s fountain wants architecture, his original 
 idea which he carried out more than twice is a centre tree 
 with interlaced leaves; all Schwanthaler’s works want 
 architectural adjuncts ; sculpture seems to me indeed as a 
 rule to lose half its effect by itself; go through a museum 
 of statues and the feeling is one of bareness, coldness, 
 something wanting, that something is architecture, to set 
 them off, and colour. 
 
 Prague, altogether peculiar, the tow T ers of the Theinkirche 
 with projecting slate louvres, very spiky and effective; very 
 good sixteenth century iron work of the interlaced kind on 
 fountain near Town Hall (at back) and round Maximilian’s 
 (?) tomb in St. Yeit, for St. Yeit see Ambros’s book. The 
 “ Treasury” contains numerous very interesting ancient 
 examples of industrial art, for which see Ambros, “ Der 
 Dom zu Prag.” Colins’s tomb third rate. The bridge one of 
 the finest, but the groups of statues want all to be placed 
 back in recesses instead of being on line of path ; old gate- 
 ways very rich and effective. The Hradschin palace a 
 
275 
 
 disappointment, good iron work over well in first court. 
 Wallenstein’s palace, bad seventeenth century work; 
 curious and very fine clock in Town Hall ; door and 
 window all that is left from fire of old building, and ex- 
 ceedingly good; in Town Hall nothing to speak of. 
 
 Frankfort. — Fifteenth, sixteenth and seventeenth cen- 
 tury houses very picturesque, plenty of iron work scattered 
 about cathedral ; a lot of newly painted old Gothic mural 
 monuments look crude and bad ; fine late Komanesque 
 doorway in St. Leonhard Church, and two good turrets. 
 Heidelberg, excellent. 
 
 Strasburg. — Interior, grand ; the most perfect idea of 
 a Gothic temple I remember ; the stained glass a treasure 
 of thirteenth and fourteenth century work ; colossal figures 
 in elaborate drapery, diapered &c., two very old pieces in 
 sub chapel near clock, light of tint and Komanesque, they 
 are two saints under round headed arches. The figures of 
 the pulpit all appear modern; the railing plain edge, thus 
 unlike Ulm with its birds and reptiles, and Vienna with 
 its frogs, toads, and lizards; the idea of Strasburg exterior 
 seems to have been to make it as pierced as possible, even 
 outside the town you see the sky through tower and spire, 
 don’t like this, don’t think the tower to be compared to 
 Vienna, the top especially of bad design and proportion, 
 nor do I see the meaning of covering all the real walls 
 with an outer work of stone lace, which is also so slight 
 and ineffective that when the sun does not shine you 
 would hardly notice it, and when it does, no masses of 
 shadow are cast inside, but frittered light and shade. (Font 
 good), interior however noble, nor least of all the Komanes- 
 que transept, stick to Komanesque. All the faces of this 
 school and period have a peculiarly Chinese character, how 
 was it ? it is not a local or national type of face at all, 
 and all smirk. 
 
 On my return I commenced a design for the facade oi a 
 “ National Institute of Art and Science,” to occupy the 
 site of Burlington House, showing the front in Piccadilly. 
 In this I carried out my ideas ol the style I would use, 
 combining construction in stone, terra cotta, iron and glass. 
 It was exhibited at the Koyal Academy, and favourably 
 noticed by the papers, but not noticed at all by the autho- 
 rities, who had the appropriation of that site. 1 his, and 
 
276 
 
 a large design for a club house in the Italian style, were 
 again exhibited at South Kensington in 1862. 
 
 The following notes were made during a tour through 
 France in 1860. 
 
 Louvre — N otabilia. 
 
 Metal. — Two sixteenth century circular shields, painted 
 with figures and damascened, something like the so-called 
 Bolognese platters of Mr. Ford (of Spanish fame). Two 
 fine Venetian enamel bowls and ewer to match ; the ewer 
 of Oriental form, common also in Chinese and late Bra- 
 zilian metal work for churches, as seen in the Marine 
 Museum. 
 
 Ivory. — A horn like the Newcastle one. A grand ivory 
 shrine, inlaid with Marqueterie ; three compartments, con- 
 taining in all seventy-nine panel subjects from the life of 
 Jesus, twelve apostles beneath, &c. Very curious late 
 Roman ivory plaques, about 12 in. by 2 in., actors and 
 musicians, six on each plaque. A diptych (present to a 
 public functionary ?). 
 
 Pottery. — A magnificent collection of Palissy ware of 
 every class. 
 
 Glass. — A very beautiful bowl, about 3 ft. diameter, 
 given by M. Pelet; found at Nismes; glass paste (sic) 
 figures raised as medallions on translucid ground, greenish, 
 and I should have thought all true glass (Roman?). A 
 collection of interesting seals. 
 
 Ivory. — King in full relief (twelfth century?), about 
 12 in. high, standing with one foot on a human head (the 
 evil one ?), straight narrow folds emerging in style from 
 Byzantine. 
 
 Metal. — Circular dish in gold (gilt ?), with lizards, crabs, 
 snakes and rock work in centre, of Palissy ware. A very 
 interesting gold Greek plaque, and a grand embossed salver, 
 about 2 ft. 6 in. diameter, Exquisite dish and ewer (six- 
 teenth century), the latter ornamented with enamel. The 
 head of Minerva is in one of my small sketches. A most 
 beautiful salver, with inlay cameo portraits, three rows in 
 juxtaposition round the border; grand cameo equestrian 
 figure (Ferdinand III. of Austria), surrounded with ena- 
 melled trophies ; open work enamel border round all. A 
 beautiful sardonyx body ewer and enamel (head sketched, 
 
277 
 
 the one with a dragon top). A grand shrine, enamelled 
 and jewelled, about 4 ft. 3 in. long, from Sens, thirteenth 
 century. Splendid ciborium, enamelled and jewelled, thir- 
 teenth century. A very remarkable shrine (eleventh or 
 twelfth century ?), low, with fine depressed arcades, Ma- 
 donna and Child in centre. Remarkably fine collection of 
 rock crystal; especially the crystal vase set in metal gilt, 
 ornamented with enamels and precious stones, given by 
 Eleanor of Aquitaine to Louis VII. (twelfth century), ex- 
 cellent filagree mount, with fleur de lys, &c. Handles of 
 swords of Charles IX. and Henry IV., the last inlaid with 
 cameos (exquisite). The arbalete of Catharine de’ Medici, 
 a most finished example of Renaissance art (about 2 ft. 9 in. 
 long). Masse d’armes of Henry IV., damascened gold on 
 iron; very Oriental in style. Helmet and buckler 'of 
 Charles IX., finest example of gold and enamel work. 
 Grand straight sword of Henry II. Armour, fine examples 
 of gold and enamel and damascened work. Sceptre of 
 Charlemagne, gold, magnificently chased and jewelled. 
 Sword, spurs and hand of justice of Charlemagne, good 
 and rich massive gold work, design simple, and excellent 
 proportions, especially the hand of justice. Sword, &c., 
 found in Childeric’s tomb (fifth century), good and mas- 
 sive, inlay of glass like the Anglo-Saxon brooches, &c., 
 round the sheath and guard. Queen Hunalde’s crown 
 (eighth century) very plain, fleur de lys ornament, and that 
 only. A candle holder or bougeoir, in silver gilt, perhaps 
 the finest example of its kind; given by the Republic of 
 Venice to Marie de’ Medici. 
 
 Furniture. — The jewel wardrobe of Marie Antoinette, 
 the finest specimen I have seen of work like the Queen’s 
 chest at Manchester. The coffre of Louis IX., from the 
 Abbey of Lis, brass nails and circular medallions, with 
 raised figures in them, and enamelled shields of arms ; the 
 enamels (red, white and blue) are not of Limoges character, 
 the wings of the dragon seem later. 
 
 Bookcovers. — The “ Hours” of Charlemagne, a.d. 780, 
 from S. Sernin, Toulouse. Charles le chauve, ivory plaque, 
 with border of gems. Les heures de la Croix , by Robert 
 du Herlin of Tours. Charles VIII. and Louis XL, raised 
 leather and stamped. 
 
 Magnificent coronation robes, device, a true lover s knot 
 and salamander with crown (Francis I.) 
 
278 
 
 Chapel. — Service complete from the Chapel of the Order 
 of the Holy Spirit, founded by Henry III., in 1578, altar 
 cloths and other silver and gold interwoven embroidery. 
 Pestle and mortar, in silver gilt and agate, about 6 in. high. 
 Crystal and metal gilt candlesticks. Shrines, inlaid with 
 enamels and cameos, &c. 
 
 Armour, &c., of Henry III., parcel gilt, very small 
 diaper, in low relief. Henry II.’s shield, same as his 
 armour, but damascened. Francis I., plain steel with 
 large jleur de lys bands, square toes, borders in gold ara- 
 besque. Charles IX., a very delicate gold arabesque suit. 
 Henry II. (bis.), iron suit, inlaid with steel or silver; 
 beautiful Renaissance arabesques. Louis XIII., iron 
 picked out with gold, jleur de lys (small), nail heads gold, 
 stirrups magnificent open work, chased and gilt. The 
 marriage sword of Henry IV., damascened and inlaid with 
 cameos and gems throughout blade and handle; finest 
 known, I should say. Henry II., splendidly embossed 
 and gilt helmet, gorget and greaves. Louis XI V., engraved 
 steel, heavy and bad. 
 
 St. Louis. — His baptismal bowl, about 2 ft. 3 in. dia- 
 meter, executed probably for the occasion by native artists; 
 incised figures round the body, and inside the border, 
 knight, soldiers, &c. ; also St. George and the Dragon in a 
 circle (the raised arms on medallion let in much later). 
 It is a very fair specimen of period, though rather rough. 
 
 Coffer, given by Richelieu to Anne of Austria, is, I 
 suppose, the finest piece of chased gold work in existence; 
 most elaborate top and sides, all open foliage, and all most 
 minute, delicate, and tasteful (on dark ground), about 
 2 ft. 3 in. long, and 12 in. or so high. Dagobert’s chair, I 
 think, is late Roman. Look again at Cahier and Martin. 
 
 Sevres. 
 
 Persian tiles, like Persian ware, very good indeed, some 
 splendid pieces, especially an ewer. 
 
 Spanish Earthenware. — Remarkable for its intricate 
 figures, leaves, flowers, &c., in full relief. 
 
 Beauvais. — Also of old repute, but plain ware. 
 
 Imitation Majolica, by the Marquis Ginori, at Doccia, 
 Tuscany, pretty good, but poor in spirit, and tame in exe- 
 cution. 
 
279 
 
 Nevers. — Generally white ornament on blue ground, or 
 vice versd, picked out with brown. Potteries still exist, 
 and employ about 700 workmen. (P.S. — I visited Nevers 
 in 1869, and found a fine collection of its ware in the 
 Museum ; only there can a complete idea be formed of its 
 character). 
 
 Palissy. — Good. Amongst them a fine oval dish, white 
 field, animals, &c., coloured. 
 
 Rouen. — Ware, more colour, and not so good in its 
 forms as Nevers. 
 
 L. della Robbia. — Fine circle. Madonna and Child, 
 white on blue, within a coloured garland. 
 
 Venetian Glass and Limoges Enamel. — Some good 
 pieces. The whole collection very valuable, but wants 
 weeding and re-arranging, as well as treble space ; at present 
 it is nearly as bad as lost. 
 
 Marine Museum. 
 
 Chinese Enamel. — Very fine examples, especially two 
 most elegant pricket candelabra, about 5 ft. high. A few 
 but choice specimens of crackle and dipped mottled ware. 
 Curious instance of how natural it is to copy nature — the 
 shell used as a drinking vessel in Africa is to be seen 
 copied in Mexican earthenware, they probably having used 
 it for the same purpose. 
 
 Miniatures in Crayon. — Jean Clouet, dit Janet, first 
 rate, delicate, yet firm and full of character. Daniel du 
 Moustier, good. Lagneau, bold and full of character, espe- 
 cially a head, No. 9437. Robert Nanteuil (seventeenth 
 century), exquisite. Coypel, Le Sueur and Le Brun were 
 excellent draughtsmen. Cochin, painter in water colours 
 of fashionable life, masks, routs, &c., eighteenth century, 
 very good. 
 
 Hotel Cluny. 
 
 A very good copper gilt sixteenth century dish, with 
 Adam and Eve in centre. A small oblong shield, with 
 raised central portion through-up, wood, painted with St. 
 George and the Dragon on a gold ground ; three others, 
 very fine, of different shapes, with paintings on gilt and 
 
280 
 
 black grounds and hatchings. A good wooden circular 
 buckler (Renaissance) carved in half relief. Fine circular 
 two-handled bronze bowl, 21 in. diameter, inscription diffi- 
 cult, but seems to be “ Rogierus de Amiens me fecit,” round 
 the body are plain round arches and fleurs-de-lys, probably 
 thirteenth century work. A horn, mounted in copper gilt, 
 elegant fret and diaper ornament, apparently Oriental. A 
 fine circular shield, steel relievos on a gold ground. A splen- 
 did damascened looking glass, gold and iron, embossed 
 figures, &c. round it. A very curious ivory Christ in an 
 aureole, and four corner emblems (twelfth century ?); 
 another, with six jongleurs on it, low relief (fourteenth cen- 
 tury ?). An “ Indaco” casket, in every way good and well 
 preserved; two others, smaller. A beautiful stamped leather 
 casket (fifteenth century). A very prettily painted and 
 well preserved cithern. A small violin with mother-o’-pearl 
 inlay, &c. at back, and inlaid handle, very elegant. A 
 splendid piece of Florentine furniture, ornamented with 
 paintings, enamels, &c. (seventeenth century). 
 
 Rock Crystal. — Very fine chess board, and pieces in 
 metal gilt mounts. 
 
 Stained Glass. — The best Swiss is of the close of the 
 sixteenth century. Early in the seventeenth the drawing 
 becomes coarse, though colour remains good; even in 1663 
 (so dated), the colour is still very rich. 
 
 A beautiful metal gilt chased and jewelled girdle, and 
 fine gibqiere. Beautiful and fanciful metal work of the 
 fourteenth or fifteenth century. 
 
 Enamel. Two small exquisite portraits, inscribed “ Quos 
 deus conjunxit homo ne separet. a.d. 1592.” A beautiful 
 metal and jewelled morse. Curious dice in form of figures 
 doubled up. Fine Romanesque ivory casket, from the 
 Soissonais (twelfth century). Splendid carved and coloured 
 ivory casket of the fourteenth century, with fifty-one sub- 
 jects from the Old and New Testaments. Exquisite four- 
 teenth century metal gilt casket, lions in circles on dos d'ane 
 roof. Splendid Venetian Moresque bowls and tazza, one 
 bowl especially with enamelled figures in centre. Early 
 German enamels, lots of green. 
 
 Harpsichord of thirty keys, very delicate arabesques of 
 inlaid wood, inscribed “ Joannis Antonius Baffo, Venetus, 
 m.dlxx.” Another later and long, seventeenth or early 
 
281 
 
 eighteenth century. A silver gilt vessel, with Charles V. 
 in state on deck, enamelled band of music, sailors, &c., 
 a good deal of colour on gilding, not bad. 
 
 Mirror. — A magnificent one, with Limoges enamel 
 plaques in frame, and metal ornament on ebony. 
 
 Tapestry.— Teniers reproduced from the Chateau Ros- 
 ney, Beauvais ; also ten magnificent pieces of Flemish 
 manufacture, time of Louis XII ; vestments, cloths, &c. 
 Mediaeval and Renaissance. 
 
 Chapel. — Curious ancient bronze baptismal font, sup- 
 ported by three figures, the Crucifixion and emblems in relief 
 round the body, about 2 ft. 8 in. high by 2 ft. 2 in. diameter. 
 Iron candelabrum and lectern (given in Le Due’s “ Furni- 
 ture”). Grand examples of carved wood thrones with 
 lecterns. In another room a very beautiful and interest- 
 ing series of crowns, &c. set with pearls, found in 1859, at 
 La Fuente de Guarrarar, near Toledo ; the largest is that 
 of King Treccesrinthus, stated to have reigned a.d. 649-672, 
 it is rather roughly stamped with patterns, some of which 
 seem to be of much later character. Most of the crowns 
 appear evidently not for human beings, being (all but two) 
 very small, not large enough for children even, almost 
 armlet size. The letters forming the name of Treccesrin- 
 thus are pendent round the lower rim of the crown, and 
 the rims have been filled in with enamel or glass of the 
 same zig-zag pattern as Childeric’s sword, and Anglo- 
 Saxon brooches (Faussett Collection) ; from these letters 
 jewels or rich stones also hang. Where they not crowns 
 for statues ? The cross pendent from the centre of Trec- 
 cesrinthus’s crown is thus inscribed : “ In domini nomine 
 — offeret Sonnica. Sancte Marie in sorbaces.” Evidently 
 a votive offering. 
 
 Metal. — Grand Arab brass salver, rim and centre orna- 
 mented as usual, about 2 ft. 5 in. diameter. 
 
 Frieze. — Sculptured figures painted on a diapered ground 
 form a very beautiful frieze, as seen in the Retable of St. 
 Germain, a.d. 1259. 
 
 A fine sacristry “ dressoir,” grand piece of carving from 
 St. Pol-de-L4on (the bits of open work I have drawn 
 before are from this). Pavement, white pattern on blue, 
 and hatched, very curious. 
 
 Bookcover. — Put gold or silver medallion of the author 
 
282 
 
 in centre. Opus Musivum of St. Genevieve, &c. good, but 
 irregular. Lucca della Eobbia ware, large and beautiful 
 example, about 5 ft. b in. diameter, white figures on blue 
 field in coloured garland. A most beautiful Madonna 
 and Child in coloured wreath, surrounded by cherubs, 
 white on blue. 
 
 Hispano Moorish Ware. — A very rich collection, of 
 which more anon. A good, bold, roughish circular Italian 
 piece, inscribed as made for Nicholas de Easnolis in honour 
 of God and St. Michael, 1475. Beautiful tazza and cover 
 of Henri Deux ware. Ancient Arabian lustre ware, some 
 of which I have formerly drawn, very good indeed. His- 
 pano Moorish ware, fine specimens (some drawn). The 
 one with blue leaves and sprigs, with interlacing gold 
 flourishes, has in centre a shield of arms, of common 
 Italian Eenaissance shape, with three fleurs de lys (or) on 
 azure chief, and azure sprigs springing from rocks on 
 argent field. (Is this the escutcheon of the Torrigiani ?) 
 Another has a Cinque Cento form of shield, party per pale; 
 dexter, fish argent on azure field ; sinister, barry, azure on 
 argent field (is not this also over a doorway in Sta. Croce, 
 Florence?) Another, barry, sable on field, or (the Strozzi ?) 
 Another of common Cinque Cento form, with the palle of 
 the Medici, or on argent. Another of later date, with 
 figures and central shield, with a cardinal’s hat. All these, 
 together with several convex-shaped jars, speak of Italian 
 design in the fifteenth and sixteenth centuries, and point 
 out the pieces as possibly Italian imitations of Hispano 
 Moorish ware, of very good execution. 
 
 Paris. — Very fair sixteenth century and earlier painted 
 glass at St. Gervais (somewhat confused), also at St. 
 Eustache. 
 
 Fontainbleau. — Bronze statues by Germain Pilon in 
 the chapel, and Henry IV. over the chimney, half-relief, 
 good. Tapestry (Gobelins) from Don Quixote, like the 
 Queen’s at Manchester. 
 
 Sens. — Cathedral, north transept, a fine stained glass 
 rose window, with angels playing all the musical instru- 
 ments of the fourteenth and fifteenth centuries, also shews 
 the manner of holding them. Some thirteenth century 
 stained glass, good ; also early sixteenth century, not bad ; 
 Jean Cousin has but one window in a side-aisle, inferior 
 
283 
 
 sixteenth century work generally, and hardly worthy of 
 him (dated 1530 A.D.). Cousin was born near Sens, about 
 the year 1500, and died there about the year 1589. A 
 transition Gothic house at the corner of the Iiue Jean 
 Cousin— good model for angle, with Tree of Jesse. The 
 base of Sens Cathedral porch consists of three divisions. 
 Popular subjects mostly in centre, natural history subjects 
 beneath, allegorical subjects above. Amongst the natural 
 history subjects are a cameleopard, griffin, mermaid, Arion 
 and dolphin, elephant and castle, a big footed human monster 
 (see “ Moyen Age,” “ Croyances Populates, ” vol. I). Bear 
 and man wrestling (this also at Semur), Centaur, &c. A 
 few thirteenth century hinges, not bad. Among the “ Tre- 
 sor,” a good Christ by Girardon. Becket’s things, good. 
 
 Auxerre. — St. Pierre, rough but effective stained glass, 
 date 1615-1624, this last much the worst. Cathedral, 
 round the choir and clerestory, splendid thirteenth cen- 
 tury mosaic stained glass, dark and intricate, only just 
 space enough left for the figures in panels and hardly 
 that ; richer than Renaissance work, but very dark and too 
 confused by smallness of figures and detail. In the lower 
 row are small figures in panels, and above, large figures, 
 life size or more : blue, red and yellow, preponderating 
 colours, rest picked-out with shades of green, violet and 
 brownish colour : some restoration appears to have taken 
 place in the upper series, as there is a date there of 1573. 
 Where more light was required the pattern was outlined 
 in lead lines, and .the subjects hatched on greenish white 
 glass. In the north and south transepts, rose windows of 
 splendid rich late sixteenth or early seventeenth century 
 painted glass, confused however. Subjects from the Old 
 and New Testaments, each subject having a border of 
 angels playing, &c. round it : the Sun and Deity in centre 
 as at Sens, and (in sculpture) round the portals of Lyons 
 and Vienne. 
 
 Sculpture. — Three grand portals. First, to left, Creation 
 of the World down to Noah in the Ark. Adam and Eve, 
 nude and poorly executed; such heads as are left are 
 rather rough, but the attitudes and drapery simple and in 
 excellent taste and spirit (fifteen compartments). Centre 
 portal: double figures seated in niches, not recognisable, 
 all the heads and arms generally being destroyed, but the 
 
284 
 
 draperies are fine, and figures in full relief have much 
 nobility of character. Below these in small panels, in low 
 relief, comes the History of Joseph, good but more com- 
 plex ; more like usual fourteenth century work. The figure 
 of Sampson (drawn) quite antique in style, the muscles 
 well and clearly shown, very fine. The figures up each 
 side of the door are excellent studies of drapery, attitudes 
 graceful ; all these terribly mutilated. Bight portal : very 
 beautiful figures between canopies (two drawn) quite an- 
 tique in style. Eight Virtues, four each side. The subjects 
 in niches are apparently legendary, from life of Stephen, 
 &c. In the spandrils are mermaids, monsters, &c., pure 
 fancy. All the lower portion of portals dreadfully defaced, 
 subjects apparently from the Old and Hew Testaments 
 (early fourteenth or late thirteenth century). The foliated 
 capitals and pendants of the choir are worthy of study, 
 graceful, effective and varied, (good Flora) traces of colour. 
 The attitudes and draperies of figures in the transept are 
 good, middle fourteenth century (?). The construction of 
 the Lady Chapel, at back of choir, is peculiarly elegant 
 and light, a model of vaulting; and the general proportions 
 of the Cathedral, especially inside, are excellent. St. 
 Eus&bie, though modernised, has a good Bomanesque tower 
 (drawn). St. Germain, you go down into it by steps — 
 peculiar arrangement — high raised apse and curious crypts ; 
 the tower (twelfth century) very good (drawn), beautiful 
 proportions, and stone spire with entasis. St. Pierre, pic- 
 turesque Benaissance portals of the sixteenth century, 
 much injured. 
 
 Curious angle bits of old houses (fifteenth century) in a 
 street near the Hotel de Ville (towards the river). 
 
 Vezelay. — All restored, and however well, it quite 
 destroys the authenticity of the place. The sculpture over 
 the door represents Christ and the Apostles (twelfth 
 century) ; style heavy, and poor draperies ; bases of 
 columns foliated and otherwise carved. St. P&re is in a 
 light Transition style; good, but in a dreadful state of 
 ruin. 
 
 Vermanton. — Good Bomanesque tower, like S. Ger- 
 main, Auxerre, which seems to have been a type in this 
 district. 
 
 Semur. — Some curious old houses, but generally much 
 
285 
 
 modernized. Fine remains ot mediaeval fortifications, 
 striking and picturescjue. Cathedral, very interestin' 1. 
 Early Pointed : a very good Renaissance chapel and shrine 
 to the left on entering, but much defaced. Interesting 
 sculpture on the portals, also much mutilated. Elephant 
 and Castle, David, falconry, monsters, &c., deserves a visit. 
 
 Dijon.— Cathedral very good, late Early Pointed, hut 
 like most French churches dreadfully modernized and 
 plastered. In Notre Dame is some good thirteenth cen- 
 tury stained glass, and very remarkable grotesque sculp- 
 ture, monsters, human heads, &c. (For Museum see 
 Notes in Guide.) S. Michael, heavy and not to be imi- 
 tated : the “ Puit de Mois&,” very fine, large and effective; 
 Palais Chambellan, Rue des Forges, good fifteenth century, 
 (drawn). The portions of Ducal Palace left are very plain. 
 Coloured tile roofs general. 
 
 Lyons. — Cathedral is worthy of study ; the sculpture of 
 the three portals very remarkable : 60, 80 and 60 square 
 panels, besides smaller ones beneath, and trefoil heads 
 with angels above ; side portal subjects, legends and 
 grotesques ; centre portal, scripture — Old and New — in- 
 termixed : in lower range, grotesques, zodiacal signs, 
 natural history subjects, &c. (several drawn). Internal 
 proportions of cathedral excellent ; in the transept roses, 
 and the choir is some good old stained glass. The Chapelle 
 Bourbon, rich, especially the balcony, but much injured. 
 In a chapel to the right on entering is some early and good 
 tracery: the whole of this building has been cruelly used. 
 St. Paul has a good Romanesque octagon tower, and other 
 bits internally; the rest modernised. S. Pierre: quite 
 modernised, only the doorway left ; curious early Roman- 
 esque, eleventh century or earlier. Abbey church of 
 Ainay : very curious and interesting, but being restored, 
 one doesn’t know what to trust: it is certainly earlier 
 than I thought, the columns of the interior are, some 
 Roman, and others made to match, rough, low, heavy, 
 unserrated Corinthian capitals ; archivolts quite plain ; 
 dome coved at angles, springing from a square ; old mosaic 
 at the altar, very interesting, but has been restored. For 
 tower of facade, see Institute Papers, March 4, 1861. 
 
 Museum. — Madonna and child within a vescica jAscis on 
 her lap, carved in ivory, 14 in. high, solid, opens up the 
 
286 
 
 centre, and forms a triptych carved with subjects from the 
 life of Jesus and his crucifixion in the centre, appears to 
 be of the twelfth century. Two very good ivory plaques , 
 twelfth century or earlier. A very beautiful early four- 
 teenth or late thirteenth century triptych, with Jesus 
 in the centre, with angels holding the instruments of 
 crucifixion on each side. The Madonna and Child with 
 angels holding candelabra beneath, excellent French work ; 
 the valves with hatched and gilt subjects on plain ivory 
 ground, curious. A plaque with three subjects from the 
 life of Jesus, rich and bold cutting. Ivory early seven- 
 teenth century of a woman on one side and a skeleton on 
 the other. 
 
 Enamels. — Early and late Limoges, a jewelled triptych 
 and two plaques, gold hatched, the Adoration of the Magi, 
 and Mary and Joseph, fine and good examples. Three 
 fine late Limoges salvers and ewers, some good Venetian 
 glass and pewTer embossed work a la Briot. Some remark- 
 ably fine and good Oriental china, especially the Nankin 
 ware. A very good copper gilt chalice and silver small 
 translucent enamel. A collection of rings, seals, and medals, 
 some very good, e.g., Louis XII. and Anne of Brittany, 
 a.d. 1499. In the picture gallery a sketch of the Graces 
 in terra cotta by Canova, and “ Corinne ” bequeathed by 
 Madame Recamier. (For the Roman tombs preserved 
 here, see my article in Chambers’s Journal: “A curious 
 grave yard,” 1872). In the Rue Juiverie, is a good fifth- 
 teenth century circular stone staircase ; the houses in this 
 street and other old parts of the city, must have been 
 large and high, three stories often still remaining, and 
 some probably were higher still. In the church of St. 
 Nizier, a remarkable foliated triforium. In a church- 
 place des Cordeliers (in course of restoration), some good 
 late tracery. 
 
 Vienne. — Cathedral, rich middle Gothic portals, almost 
 all the foliage springs from animals and human heads 
 hooded, and here are the hares chasing each other again 
 as at Lyons. On the north side door are very ancient 
 figures of Apostles, tenth century perhaps or even earlier, 
 and at the side door is also a bit of zigzag ornament like 
 the Anglo Saxon work, carved in stone, and a frieze with 
 the signs of the zodiac (curious) portions probably of an 
 
287 
 
 older church. St. Andre le Bas has an effective Roman- 
 esque tower, bold buttress and curious window (south 
 front) (See “Institute Paper, March 4, 1861”) As to 
 Roman and Moorish influence in early work, the first is 
 noticeable, the last slight (see my Sketches of the Tower of 
 St. Pi&rre, and choir of Valence). Roman remains here 
 interesting, otherwise there is not much. It is curious, 
 that here and throughout the district, no ironwork is left 
 and no memorial slabs of importance occur. 
 
 Valence. — A late Gothic house in the Grande rue, rich 
 and interesting, hut much ruined externally. There is a 
 rich Renaissance external staircase Rue de la Peirollerie, 
 worth drawing. Romanesque Cathedral plain and ancient, 
 vaulting curious as construction but not a type, interesting 
 portions, but much defaced and is being restored. St. 
 Jean, a few curious old bits but hardly repays a visit. 
 
 Orange. — With the exception of the Roman remains, 
 next to nothing here, and that little has been modernized. 
 
 Avignon. — Cathedral has an arched dome springing 
 from a square. All the churches here are too dark for 
 drawing. In the Museum, some curious and interesting 
 pieces of antiquity ; a great quantity of keys, some how- 
 ever very remarkable. Good collection of Roman glass, 
 an Indaco flask, a large bronze of Michael Angelo’s Moses 
 (good). A fine large Limoges enamel (of the snake type), 
 Bishop’s crook (for pictures, see Catalogue). Papal palace 
 grand, but cannot be properly seen inside. Pulpit in St. 
 Pierre, pretty good (late Gothic), but much mutilated, 
 Some old houses of the fifteenth century. Remains of 
 Mediaeval bridge, the width of its roadway is about 16 ft. 6, 
 the arches are formed of four separate projecting square 
 ribs, about two feet apart ; voussoirs about 2 ft. 6 deep, 
 look too small. No iron work or little left in the city, as 
 usual ; the whole place however, though there may not be 
 much strictly architectural work to study is strikingly 
 picturesque, and the cathedral, the palace, the fortifica- 
 tions and the bridge form a complete Mediaeval picture. 
 Villeneuve les Avignon, across the river, well worth a visit ; 
 the castle a fine example of Mediaeval art. The Pope s monu- 
 ment (Innocent VI. a.d. 1362), has three high open worked 
 pinnacles above an altar tomb, with reclining figure of the 
 Pope whose feet rest on a lion, very good, well worth a 
 
288 
 
 visit. In the parish church choir, is a marble chair, with 
 cherubs’ heads above lion’s legs (seventeenth century), not 
 bad, formed on an old model. 
 
 Arles. — Museum very interesting; a number of early 
 Christian tombs, from the fourth to the seventh century, 
 or thereabouts. The plumb line and hammer, so often 
 seen on them, were, I thought at first, signs of masons ; 
 but they occur too frequently. Have they an emblematic 
 meaning of the levelling power of Death ? The style of 
 these sarcophagi is purely Roman, though the heads are 
 large and the hands large and clumsy, and a certain con- 
 ventional character runs through them all. Yet is there 
 a simple and noble impress about them, not by any means 
 to be despised ; and here and there so much character and 
 individuality as to give the idea of portraits. As com- 
 pared with the sculptures at S. Trophime, what “ a falling- 
 off is there” in the latter; really much of this last is 
 little better than the Kilpeck arch. The Mythraic torso 
 is very curious. The subjects most in vogue on the 
 tombs are the good and bad shepherd (some very curious), 
 Jesus and the apostles — sometimes in a close row, at 
 times separated by columns. The miracles of Jesus, also 
 consecutive as well as in separate compartments, Jesus 
 alone been seen or at most one disciple ; in the centre is 
 usually a female figure with outstretched hands, no doubt 
 the Virgin receiving notification of her selection. From 
 the Old Testament: Moses striking the Rock, Pharaoh 
 drowning in the Red Sea, Noah in the Ark, and Daniel in 
 the Lions’ Den. The so-called tomb of Constantine II. 
 has in front the Twelve Apostles, with crowns held over 
 their heads by lions’ claws, and stars in clouds ; in the 
 centre a wreath and cross beneath with (labarum ?), above 
 are winged genii or angels supporting a circular medallion 
 of a man and woman in profile (Constantine and spouse ?) 
 and in the very centre genii holding a plain oblong tablet 
 (no inscription) ; at each angle are masks for acroteria. 
 On one side John baptising, and Moses striking the rock 
 on the other. The art of this sarcophagus is of a good 
 type, but roughish, and the proportions are heavy and 
 dumpy. Some of the faces are strongly Roman in charac- 
 ter, and sometimes Jewish; only one nimbus occurs, and 
 that is on a very rough tomb with Jesus in the centre 
 
289 
 
 having a plain nimbus , and an apostle at each angle. The 
 dress is universally the toga or pallium, and sandal, and 
 the lettering is also Roman ; no dates are given unfortu- 
 nately, and there are no means of accurately fixing any 
 particular one by means of the name. All the eyes° have 
 holes punched in the pupils, and many have holes at the 
 base (side) of the nose to give expression : the whole 
 character is strongly marked Roman, by no means of a 
 bad type, and illustrates a School of Sculpture in this 
 district, at an early Christian period, the best then existing 
 probably, and which was only gradually displaced by the 
 minute folds and formal plaits, the streaky hair, and 
 stupid faces, the richly worked and jewelled borders 
 derived from a Byzantine source, and which was at the 
 depth of its decline in the twelfth century (in the south 
 of France). Indeed, Pagan traditions lingered longer in 
 the south of France than they did in Italy itself ; and even 
 now, in the Arlesienne’s head-dress, we may perceive the 
 form of the old Phrygian bonnet, and in the vessels which 
 navigate the Rhone, some traces of the antique galley. 
 
 St. Trophime is very plain internally; slightly projecting 
 flat piers or pilasters from the ground, with plain archi- 
 volts, and between each arch an angular or round column 
 engaged with the wall and resting on a corbel, supporting 
 plain ribs of barrel-vaulted roof. The same arrangement 
 is to be seen at N. D. de Mont Majeur, and if we are to 
 judge of development as seen in combined parts, this 
 should be very early ; it seems, however, to have been the 
 custom here, as the same occurs at N. Dame de Grace : 
 compare these with the Romanesque churches of Cologne 
 (Boisser^e). 
 
 The wall brackets in the cloisters are in the following 
 order, proceeding to the left on entering : 1. A goat ; 
 2. A man (jongleur ?) ; 3. A woman (jongleur ?) ; 4. A 
 bird, much mutilated, seems to have been an eagle or a 
 cock ; 5. A mule or donkey ; 6. A lion, with a human 
 head in his claws ; 7. A woman ; 8. A lion ; 9. An angel ; 
 10. A goat or ibex. These are the old ones ; the others 
 are of the fourteenth or fifteenth century. Subjects of 
 sculpture (on entrance) : Ascension of J esus at top ; angels 
 at tomb centre, soldiers sleeping beneath. On the return 
 the three Maries above, Judas receiving money below. 
 
 u 
 
290 
 
 Left angle: Angels above; Transfiguration of Jesus in 
 centre, disciples beneath. Beturn : the Martyrdom of 
 S. Stephen, to whom the church was originally dedicated. 
 Next side: the Kiss of Judas above, The Last Supper in 
 the centre, Jesus washing his Disciples’ Feet beneath. 
 Beturn: Jesus above, and Devil (on the Mount?) below. 
 John baptizing Jesus. The arches are both round and 
 pointed. The brackets on the w r all side in the cloister are 
 higher than the capitals of the columns opposite them, as 
 at Bemy, where also is a curious and interesting small 
 Bomanesque church (Asile des Alienbs), of which more 
 anon. 
 
 Besides the great sculptures of the porch, are at top 
 Adam and Eve; beneath, an Angel weighing Souls in 
 scales; beneath that, the Devil holding the damned upside 
 down, which seems to have been a favourite form of 
 punishment with sculptors here : under these again, a 
 large reclining figure with an animal’s skin on his back, 
 holding a lion by the hind leg. This subject, the man 
 however dressed, occurs at St. Gilles, in the same place, 
 the pedestal ; and as on the opposite pedestal are scenes 
 from the life of David, perhaps this is meant for Samson. 
 
 On the other angle are rams, goats and dog (?) symbolic 
 of bad ones : beneath whom stands the great devil himself, 
 holding the damned topsy turvy and in other unpleasant 
 attitudes ; he stands upon a dragon, and beneath all are 
 flames of fire. 
 
 On the left of entry is the stoning of Stephen, to whom 
 the church was originally dedicated, and on the right 
 angels bear his soul to heaven. 
 
 As regards St. Bemy, the side aisles are formed of half 
 arches and are barely wide enough for one to pass through : 
 some of the capitals in this cloister are much more graceful 
 than those of S. Tropliime, they consist of foliage, monsters 
 and grotesques ; inscriptions of the twelfth century, are let 
 into the walls. 
 
 Beaucaire. — The chapel of St. Louis, in the castle of 
 Beaucaire, in which he is said to have heard mass before 
 leaving for the Crusades, is also a most interesting Bo- 
 manesque building, and I fancy a very early example, 
 probably of the eleventh century, (see sketch). Here also, 
 as at Arles, the big brackets of outer cornice represent, to 
 
291 
 
 left : 1. a goat (lust ?) ; 2. a cock’s head (pride ?) • 3 very 
 delicate foliage (elegance ?) ; 4. an eagle (rapine’?) • 5 a 
 sheep (fear ?) ; 6. foliage; 7. a lion holding a head (lawless 
 force ?) ; 8. a monster mutilated (some vice ?) ; 9. the devil’s 
 head nailed and something else, mutilated, as at S. Tro- 
 phime and at Dijon ; compare the mouldings here and 
 those of the apse windows at Montmajour with those of 
 S. Alessandro, Lucca. The two small side windows of St. 
 Louis’ Chapel are plain, round headed, and beaded. Inside 
 is only a barrel vaulted room. The cloister corbels of 
 Montmajour are : a bear, goat, bull, human and monster 
 heads, and foliage ; the small capitals of columns have 
 historiated work and foliage as usual. 
 
 Tarascon. — A good but late Eomanesque porch, tooth 
 moulding, quatrefoil, ovolo and nailhead ; angles, columns, 
 and frieze, like S. Trophime, but the last now nearly des- 
 troyed, above is a blind arcade in a rich string (good) ; in 
 the chapel of S. Martha, a Eenaissance tomb, date about 
 1472, but, as usual, too dark to see to draw. 
 
 St. Gilles. — Three portals : in the left semicircle, the 
 Adoration of the Magi. Centre : The Almighty, or Salvator 
 Mundi seated in clouds on a rainbow, with starpoint and 
 flame nimbus ; the emblems of the Evangelists in the 
 corners. On the right, the Crucifixion, great frieze, the life 
 of Jesus throughout, with a band under the frieze of 
 crouching animals and heads ; two evangelists on each 
 side of the centre post, on lions, with the twelve apostles. 
 On the extreme right, the archangel Michael, standing on 
 the devil. Extreme left: a winged figure (St. George?) 
 spearing the dragon. Left side of great portal, small 
 figures, Cain, and Abel, &c., right side, centaur and stag, 
 hen and chickens feeding, disturbed by a figure (destroyed) ; 
 David feeding sheep, David and Goliath. The mouldings 
 are all Graeco Eoman, pedestal and columns fluted, drapery, 
 Byzantine, capitals mostly composite. 
 
 At St. Gilles and at Nismes, the interiors are plain 
 pointed, the side aisles are often only half arched, of which 
 a very curious example occurs at St. Eemy (Asile des 
 Alienas) otherwise generally there is nothing remarkable 
 in construction, which in the case of many domes and 
 octagons is clumsy, indeed, as at Avignon (for this see 
 Petit and Yerneuil) as regards symbolism, it is to be 
 
 u 2 
 
292 
 
 remarked that the supports of the body of the church, (the 
 external wall corbels) almost regularly exhibit the lion, 
 bull, eagle, angel— amongst others, of which we see the 
 devil, coat, running figures of men and women, some in 
 somersault, as at St. Trophime ; it is somewhat difficult to 
 account for this arrangement, which occurs so regularly 
 here as to give the impression that it is not mere fancy, 
 but has a certain meaning, and it is remarkable moreover 
 that these occur externally, and not in the interior which 
 indeed is generally too plain to want them, were it not for 
 goat, devil, jongleurs (?) &c., we might suppose lion, bull, 
 angel, and eagle, to mean the four supports of the whole 
 church, the Evangelists; but were this so, the bull and lion 
 would surely be winged , so, without wings which has always 
 signified the object represented, whether man, horse, bull, 
 or lion, as being gifted with superior if not inspired wisdom 
 and divinity, we must conclude that these corbels mean 
 not the supports of the church, but the bad human qualities 
 which it represses and endeavours to keep in subjection. 
 In this sense we understand their meaning as a general 
 rule, though as in the angel, or winged female figure in 
 foliage, and a human head in foliage, and others of this 
 class, the meaning is uncertain; we must remember the 
 lion has several meanings, and it is necessary to discri- 
 minate by his position and attitude, his meaning ; thus on 
 the band beneath the life of Jesus at St. Gilles, he is seen 
 slinking, crouching, head to the ground, and tail always 
 between his legs, he is also in company with human heads, 
 some of which with an expression of fear and terror, turn 
 away from him, with bulls, tigers, serpent, and dragon, so 
 that he represents here the Evil one, who roams about like 
 a lion seeking whom he may devour, but crouches in sub- 
 jection beneath the feet of Jesus and his apostles ; now 
 the lion also represents, I believe, simply force or power, 
 and when he is shewn with a figure or human head in 
 mouth or claw, abuse of power , and indeed I would say, 
 when not winged, always Force in some one or other un- 
 sanctified or unecclesiastical form ; but again we find him 
 constantly used as a support to the Evangelists, as at St. 
 Gilles, where amongst the Apostles, these four alone stand 
 on lions, and we might thus conclude them to be repre- 
 senting the lions of the church, were it not that we find 
 
293 
 
 them not winged, of fierce and terrible aspect, and rending 
 human figures, and sheep, &c., at St. Gilles a man, a 
 woman, and a ram or sheep (horned), the fourth is quite 
 destroyed, and it is also to be remarked that they do not 
 serve as immediate support to apostles who are placed on 
 moulded bases, which depress the lions’ backs, so that one 
 might suppose them as evil qualities, subjected to the 
 apostles, were it not that the lion at St. Gilles has one 
 paw on the sheep’s back and another on his head, resting 
 and not grasping , that it is rather an attitude of protection 
 and one could clearly understand thus that it is this lion 
 of the church ready to defend Jesus or a Christian, as 
 symbolised by the lamb (of God), who rests evidently 
 content and at ease beneath his protection ; now next to 
 him comes the lion clutching the man, who is naked to 
 waist, and from thence has a sort of antique trousers ; there 
 is no mistake here, the lion savagely grasps one arm in his 
 mouth and with his right paw, claws outstretched, drags 
 the flesh of the man’s side in well defined scratches, the 
 head of the man is unfortunately broken, but beneath him 
 (or from his mouth, perhaps, originally) creeps off a dra- 
 contine animal ; whether this means the lion of the Gospel 
 destroying the evil one who escapes from his human 
 habitation in his own original shape, and the lion who 
 protects the good, is difficult to say ; on the left porch the 
 bases of small columns rest on two lions couchant, who 
 with reverted heads gnaw at the base ; the meaning here is 
 clearly the evil which the Church keeps down, but which 
 is gnawing at its bonds. Amongst other pedestals to bases 
 at St. Gilles are three running figures; three squatted 
 bears with backs turned to us, human figures (half) close 
 pressed between ; and lions walking one after the other ; 
 the lettering on the scrolls and niches is of the twelfth or 
 thirteenth century. 
 
 The old church as it was called, seems from its remains 
 to have been of later date than the one standing, though it 
 looks fresher and the masonry is better, the detail of caps 
 is more early Gothic, the arches pointed ; the walls and 
 piers are as usual very thick, formed by two faces of 
 dressed stone of usual squarish oblong shape, filled m 
 with rough stones, rubble and mortar, forming a compact 
 mass, about 12 ft. thick; the piers of choir being about 
 

 294 
 
 12 ft. square at base, and this is all that is left of them; 
 this shows that great violence must have been used so 
 completely to destroy the building. 
 
 St. Gilles. — The crypt beneath the present church is 
 very fine, and extends throughout the same size as the 
 church above, it is also furnished with doors and windows; 
 the groins of the vaulting have many of the same orna- 
 ments as are seen in the ruins of groins of the old church 
 above. The exterior corbels of St. Gilles, commencing at 
 the left, are : — 1. a small angel in foliage ; 2. a head in 
 foliage ; 3. a ram ; 4. an eagle with a sheep in its claws ; 
 5. a lion’s head ; 6. a bull ; 7. a figure running (as at S. 
 Trophime) ; 8. a leaf. Four each side of the central portal 
 (above.) 
 
 Nimes. — The Cathedral faqade, though nearly destroyed, 
 is very curious, quite a Boman pediment with sculptured 
 frieze, of much older character than Arles or St. Gilles, 
 probably the eleventh century or earlier (see sketch). Of 
 about the same date are, probably, the remains of a house 
 formerly the Bishop’s palace (?) at the corner of the place. 
 See also the Bishop’s palace at Lyons. 
 
 Boman Bemains. — Those at Nimes, Arles, St. Bemy, 
 Orange, &c., are of a much grander and nobler character 
 than any Gothic work, which like the priests, who in- 
 vented or adopted it, is emasculate, i.e. } in its later develop- 
 ment. Gothic is feminine, Classic is masculine. 
 
 Les Baux. — Perched high on a scarped rock, most 
 curious, interesting, and picturesque ; all in ruin. Most of 
 the best houses are of the sixteenth century or later ; some 
 fifteenth, and a few even fourteenth century, such as the 
 castle and great hall. A curious columbarium here, four 
 walls pierced with holes for pigeons, partly in wall, partly 
 in the rock. The usual arrangement of a room is to have 
 a large chimney place, washing place, recesses for dishes, 
 sink, and recess for a bed. 
 
 Local Styles. — At Avignon and Nimes, old Boman 
 facades, pediments, &c. At Arles, St. Gilles and Tarascon, 
 deeply recessed portals. At Narbonne, Carcassonne, Tou- 
 louse, simple span, wooden roofs, and long lancet windows. 
 Also at Toulouse, brick work, and angular headed stone 
 aperture ; this is here a common method of stone construc- 
 tion, and seems capable of bearing very heavy weights. 
 
295 
 
 Narbonne. In the Museum some early Christian 
 tombs of a different type and later than those at Arles • a 
 richly sculptured tomb of this class (behind the choir at 
 Moissac). They hold a middle place between those at 
 Arles and those at Toulouse ; they are rather rou<di. In 
 the cathedral, the tomb of a prelate (good) has remains 
 of colour; chairs nothing; massive old castle. Some 
 good bits of domestic Renaissance near St. Paul, and a 
 Madonna niche in marble at the end of canal, near the 
 gate, very good. In the Museum, also, is a fair collection, 
 illustrative mainly of the eighteenth century work. A 
 curious ivory bishop’s staff, with angel regarding an empty 
 chair (figure of Mary no doubt destroyed). Two very good 
 bronze censers, early thirteenth century, like Dr. Rocks. Ta- 
 pestry six pieces, sixteenth century, excellent. St. Vincent 
 and St. Michael, both broad and fine ; one span internally, 
 no side aisles, only side chapels. St. Michael restored 
 and decorated by Le Due, ground, cream colour, coarse, 
 crude and dull ; iron and wood work all poor, no depth or 
 strength. 
 
 Carcassonne. — Corbels of Romanesque door of High 
 Church, grotesque, grinning monsters, no apparent meaning ; 
 iron work of altar rail by Le Due, again very poor. Same 
 remark applies to the wall of altar. The bishop’s monu- 
 ment, upright on wall, late thirteenth century (?) veiy good, 
 mourners (priests) below chaunting from books, all smiling. 
 I do not like this style of restoration at all, it is wholesale 
 destruction of the old work. Some good thirteenth and 
 seventeenth century stained glass, the new glass poor. 
 Early Gothic capitals of choir very beautiiul. The fortifi- 
 cations lack massiveness and macchicolations like Avignon, 
 which give the effect of a fine cornice. 
 
 Toulouse Museum. — Roland’s horn seems to be rough 
 Oriental work of the eleventh century or so, Hispano- 
 Moorish ware, gold and some blue, good examples. An 
 Indaco casket and some good ivories French Mediaeval and 
 Venetian; good locks and keys and iron work generally. 
 The fellow of Attenborough’s enamel salver, but in a bad 
 state. Small but choice Chinese collection. Fine Roman- 
 esque collection of pieces from suppressed churches, &c. 
 Architecture : angle staircase windows common but not 
 good. Domestic Renaissance by Domenic Bachelier in the 
 
296 
 
 Rue des Couteliers, Guepin and Arthur, sculptors, dated 
 1612, effective but bad style. Portal of the church of La 
 Daurade very good (now under restoration). A Portal 
 beyond, with big balls and diamond work, fairly good and 
 picturesque. On the Place d' Arsenal, is perhaps, the finest 
 house here, and in the Rue du Vieux Raisin, Place des 
 Carmes, another good example (seventeenth century). 
 The present Lyc4e is a building of the fifteenth century, 
 with fine tower, gateway, and courtyard, very effective and 
 picturesque (early Renaissance). A brick house close to 
 S. Sernin (fourteenth century ?) crenellated and arcaded, 
 with angle turrets ; now a good deal altered and spoilt. 
 Other good bits about the Rue de la Pomme and in that 
 direction. The Cathedral has a Romanesque nave of early 
 character ; inside one pointed and wide vault. Some 
 rough but effective fifteenth or sixteenth century stained 
 glass in the choir ; very rich triforium ; tower like one at 
 Carcassonne, i.e ., the walls much longer one side than 
 another, more than a treble square on plan — does not this 
 mark a period ? 
 
 Moissac. — Portal, all arches broad pointed. Sculpture 
 on left side of entry at top. 1. A figure pointing to a 
 scroll. 2. Lazarus (very small) in Abraham’s bosom. 3. 
 Lazarus and dogs licking his sores, an angel above him. 
 4. Dives feasting, opposite side, Flight into Egypt ; figures 
 falling from watch towers as they enter a city (see Apocry- 
 pha). The Return (?) grotesque corbels on each side, on 
 the left is to be remarked a devil’s head with a human 
 figure in its mouth, and a horribly goitred head. The 
 capitals of the small columns all about devils with bellows 
 blowing the flames for roasting the damned, &c., with inter- 
 lacing foliage. Principal groups on left, Devils punishing 
 the avaricious. The Soul of a Miser carried off by one 
 Devil and his treasure bag by another ; he is seen on his 
 death-bed, his wife kneeling beside him weeping ; beneath 
 this, a Devil mounted on the shoulders of a miser ; in the 
 next grinning over a naked woman, to whose hanging 
 breasts cling serpents; out of his mouth comes a toad, 
 (avarice and lust). Opposite subjects to these, Adoration 
 of the Magi in two groups ; beneath, the Annunciation 
 and Elizabeth meeting Mary. So far, this may be called 
 the devil’s doorway ; and the right side (scripture subjects) 
 
297 
 
 is not nearly so effective as the left. Centre: Jesus 
 crowned and nimbused within an aureole ,* round him the 
 emblems of the four Evangelists, Seraphim, Angels, Kin-s 
 and Prophets with lutes and vases : these are all in the 
 clouds. Beneath are fourteen crowned figures with \ i « . ] < 
 and vases in a row, similar to those above; all drapery, 
 broad folds and few, marked with the round crease, and 
 heads often very good; the devils especially evidently 
 gave the sculptors particular pleasure. On the left of the 
 door is St. Peter and on the right St. Paul (?) with a scroll 
 inscribed “ Ecce virgo conferet,” &c., the rest defaced. 
 Central pier : on each side lanky figures, one holding a 
 book, the other a scroll, no nimbus. The wall angles are 
 splayed through up, and are ornamented with separate 
 single pieces of foliage, fruit, fish, (some of which have 
 ducks, and foxes’ heads, &c.) birds and beasts (the animal 
 and vegetable kingdom?) Twenty-five corbels over the 
 door, all of a grotesque character ; amongst them a man 
 and woman kissing, a Trinity head, a figure holding his 
 mouth wide open with his hands; a head with water 
 covering one eye ; one scratching his head ; one laughing ; 
 a fox; monsters, &c., and foliage. Interior of entrance 
 porch : capitals large and massive ; subjects, lions with two 
 or three rows of curls, with stag-head angles ; men break- 
 ing open animals’ jaws (not lions); foliage and interlaced 
 work ; two lions with one angle-head. The cloisters have 
 a lean-to roof, no side wall brackets. The large figures of 
 the piers all have the raised rounded fold on their drapery, 
 not minute, very coarse, heavy and unartistic, the portal 
 ones much better. The capitals of collonettes are gener- 
 ally historiated, scriptural and legendary subjects com- 
 bined with foliage; the subjects generally are written 
 confusedly on the abaci and capitals ; there is more fancy 
 than meaning in the ornament; let us take two of the 
 most remarkable ones. First : a capital formed of the 
 emblems of the evangelists ; the necking is a cable which 
 may mean something, but I doubt it, it is a common 
 Eomanesque ornament. Scrolls at the angles, and eight 
 lions on the abacus with interlaced tails and foliage. 
 Second : an angel descends from the clouds leading a 
 dragon captive by a chain, inscribed “ Serps anticus qui 
 est diabolus.” On the other side, two men in ordinary 
 
2.98 
 
 costume appear to be soothing or deprecating a monster of 
 the dragon genus, which issues from a porch or building, 
 under the men is written “ Gog ” and “ Magog,” under the 
 monster, “ Golias.” Scale and foliage ornament on abacus ; 
 necking, plain ; base, nothing particular. There certainly 
 seems to be more meaning in this than most of them. 
 
 Agen. — Very little : an old arcaded street, parts are of 
 the fourteenth century, most however later, but all built 
 on the original plan, no doubt ; space between the arches 
 about 20 ft.; breadth of arcaded passage 25 ft.; breadth of 
 roadway, about 40 ft. ; good bits of Romanesque and Early 
 Pointed in the transept of S. Caprais ; corbels of apses all 
 -alike, about 5 or 6 repeated over and over again. This 
 church is being restored, and the painted decoration of the 
 -apse is about the best example of modern work I have 
 met with ; the capitals however, to my mind, are ruined 
 by being coloured. 
 
 Bordeaux. — St. Croix has three archways (for centre, 
 see sketch), subjects on the small archway to left. Fine 
 groups of women and devils (Lust), the woman with toads 
 and serpents at her breasts, but she is dressed, not nude as 
 at Moissac. Corbels of animals, monsters, human heads and 
 foliage. All the figures are very roughly executed and 
 curiously Eastern or Assyrian in character. The interior 
 has clustered Romanesque and early pointed columns. 
 Saracenic influence inside and out. 
 
 St. Seurin. — Early pointed three-arched porch, very 
 good. Jesus with angels in arch, the Resurrection beneath ; 
 under this, round the trefoil arch, a tablet inscribed “ a.d. 
 1200, &c., died Raymondo de Fonte canonicus, &c.,” the 
 usual date given to this porch is about 1260, if so, the tablet 
 must have been taken from somewhere else, and reinserted 
 here. Twelve apostles ; large but poor, sculptured along 
 the main face, with a figure of the Old law to the right, 
 New law to the left. In side arches, the Resurrection of 
 Jesus to the left, and some legendary subject on the 
 right. Round all the arches are angels and priests, 
 playing and ministering, with interlaced foliage, which 
 last indeed, is excellent. Some good alabaster fourteenth 
 century sculpture inside. The sedilia seem good but too 
 •dark to draw. Painted windows, according to my taste, 
 bad. Very elaborate stone throne for bishop (see sketch). 
 
299 
 
 Cathedral.— Fine tombs (fifteenth century), and the 
 Romanesque portions of the nave, interesting. Foliage of 
 choir, chapels, &c., very good indeed. On the quay are 
 two most picturesque old gates and Gate Chapel. St. 
 Michael, good, with very rich transition Gothic altar 
 (semi-Renaissance). In a chapel (north) near the altar, is 
 some wonderfully elaborate sculpture. 
 
 Museum. — Two curious iron masks, one of a negro. 
 Delacroix’s “ Lion hunt,” fine. Lagnier’s wood carving, a 
 prize in the 1855 Exhibition. The modern stained glass 
 at Bordeaux, remarkable, principally figure subjects seen 
 against the sky. 
 
 Le Mans. — Romanesque cathedral, corbels (exterior), 
 grotesque animals, and human heads, knops, flowers, 
 volutes, &c. Interior side walls, very ancient and interest- 
 ing (eleventh century ?) Nave, fine Romanesque. Mag- 
 nificent thirteenth century stained glass in choir; sub- 
 jects larger than usual and consequently more telling. 
 Transept and roses, late fourteenth century stained glass, 
 saints, &c. in canopies ; all architecture of stone colour ; 
 much clearer and lighter than the thirteenth century glass 
 which is so dark as to produce gloom. Frieze of Bellay’s 
 sarcophagus, with triumph of Venus, tritons, &c., very deli- 
 cate, low relief. Capitals and bosses of triforium and choir, 
 very good, the first with foliage in spandrils and cusped 
 openings, first rate. South porch, Jesus in an aureole , and 
 four Evangelists (under arches) beneath, like the Arles and 
 Burgos tomb (see sketches). Angels ministering round 
 the inner tier ; sculptures and legendary subjects on next 
 three tiers. Saints Peter and Paul, each side of the door, 
 and eight large figures of saints, &c. West portal of early 
 Romanesque type. 
 
 The churches here, have all a blank arcade on the ground, 
 of very early character, arches round and plain and bases 
 like inverted capitals. At the Cathedral and N. D. du 
 Pr4, and at the back of choir N. D. de la Couture, seems 
 to me to be decidedly eighth or ninth century sculpture, of 
 very rough interlacing and grotesque animals and foliage, 
 very badly executed. 
 
 N. D. la Couture. — Entrance, Jesus in arch and angels ; 
 Resurrection beneath ; angels and saints ministering round 
 arch. Six large figures of the Apostles each side, standing 
 on brackets of human figures. 
 
300 
 
 Museum. — The enamel plaque of Geoffrey Plantagenet, 
 is about 24 in. by 15 in. Fine bronze medallion of 
 Louis XII., and Anne of Brittany, about 3J in. diameter, 
 with Latin inscription, stating it to be presented by the 
 city of Lyons to the king, a.d. 1499. Gold medallion of 
 Henry II., about 4 in. diameter, stamped with his device, 
 a crescent over the letter H. Amongst the medals, an in- 
 teresting profile “ Victoria Columna,” M. Angelo’s love. 
 Louis XII. (gold) and Louis XIV. as a boy and his 
 mother, large and very good. Good arms, metal work, &c. 
 Amongst the pictures two new names to me. Brize (see 
 Descamps), circa 1650, and Rokes, surnamed Zorg, died 
 1682, sombre, grey, excellent, and interesting. 
 
 Libourne. — An old Villefranche, arcade of principal 
 square, twenty-one feet wide, about fourteen feet between 
 piers, arches very low ; the square itself, about 180 feet 
 or more, with a fountain in centre. Hotel de Ville at 
 the corner, all the houses but the Hotel de Ville are 
 modernised. 
 
 Tours. — For a thirteenth century sacred picture book, 
 see the stained glass of the choir of cathedral, about 
 twenty windows in all. The marble tomb by the Justes, 
 very delicate and pretty. Fountain in the square, also by 
 the Justes, not bad, of the candelabrum type. In the old 
 town near the towers, are some very interesting fifteenth 
 century houses, in which are carved religious subjects and 
 grotesques, as in the churches ; good fifteenth and sixteenth 
 century glass in Notre Dame de la Riche. 
 
 Poitiers. — Cathedral : on lintol of left porch, the death 
 of the Virgin, and above in arch the coronation, angels, 
 priests, bishops, &c. ministering around with music and 
 books. Centre porch, Jesus, and angels ministering be- 
 neath in two rows as usual ; angels, priests, &c., as in 
 others. Right porch, translation of a holy house in clouds, 
 groups worshipping around and beneath, priests, bishops, 
 and laymen ministering round archivolt as before. All 
 the large figures throughout centre of porches, destroyed 
 or never completed. Sculpture, good early pointed, of 
 which the church itself is a complete and pure example. 
 The interior is remarkable for breadth and simplicity ; the 
 wall arches round it are transition Romanesque ; there is 
 a mine of corbels and capitals, larger than usual ; some 
 
301 
 
 transition, some good early pointed, magnificent thirteenth 
 century stained glass; grand apse windows, with the 
 Crucifixion, and Jesus above in glory, very fine. Small 
 mosaic pieces are unfitted for nude figures, as seen here 
 where Jesus, on this account appears as though rolled up 
 in black net work. The corbels inside, about 300 in 
 number, are of wonderful variety, fancy, and character; 
 plenty of symbolism here if anywhere, but it is difficult to 
 interpret among so great a number ; we find however all 
 kinds, one of two birds with a single human head ; a pig 
 playing a hurdy-gurdy, a countryman with staff, a sheep 
 and lamb at play facing each other, a man with pestle and 
 mortar, a grotesque head on four legs, a figure holding cup 
 and dagger, a countryman killing a snake, a monster, a 
 countryman with a hatchet and pig, a man playing a harp, 
 two grotesque men, one suffering from toothache, a man 
 with a devil whispering into his ear, a monster’s head, a 
 monkey, an angel, a bishop, a grotesque figure, a bishop’s 
 head, his eyes closed (asleep or dead ?), a grinning monster’s 
 head in foliage, &c. In the chapels the corbels are princi- 
 pally grotesques and monsters ; also eagle, angel and bull 
 witji books (Evangelists emblems ?), a man cutting his toe 
 nails, or taking a thorn from his foot. Some of the capitals 
 on the corbel line at the choir end, are of the broadest and 
 drollest caricature, very boldly cut and full of character. 
 
 Notre Dame de Poitiers. — Internally all has been 
 repainted and well, the capitals left white and red only, 
 are much better I think than with gaudy colours which 
 destroy the design ; the choir is stilted like S. Hilaire, S. 
 Radegonde, Valence, Chartres, &c. A very beautiful new 
 stone altar at back of choir (in the Chapel Expiatoire) fine 
 fifteenth century crockets and finials. 
 
 In S. Radegonde are upwards of 200 corbels of the most 
 wild and grotesque character; capitals, very fine; (early 
 pointed) good early stained glass ; wall arrangement of 
 nave similar to the cathedral. 
 
 St. Hilaire. — A very remarkable plan and interior; 
 eight steps to a narrow cross aisle before the choir, and six 
 others to altar level ; corbels alike internally and exter- 
 nally, the arches of apse (choir) stilted like \alence, and 
 very curious early capitals, rather heavy. 
 
 The “ Prevote ” in me of that ilk, has a fine exterior of 
 
302 
 
 latish Pointed period. For triple chimneys in Salle des 
 Pas Perdus, see drawing. The interior of the Jesuits new 
 church is very good. 
 
 Angouleme. — Abbadie, very good at the new Hotel de 
 Ville (Early Pointed). (Crocket your gables.) Cathedral: 
 principal cornice Eenaissance. Sculpture : Jesus and em- 
 blems in top centre, angels in clouds above ; ten (?) 
 paterae of busts of prophets beneath. Twelve paterae of 
 busts of apostles on left (in arches), six ditto on the right, 
 the rest foliage. Two paterae with busts by each jamb of 
 arch, and angels ministering round the archivolt ; angels, 
 scriptural and allegorical subjects, in small arches be- 
 neath and around; capitals of composite character. Sculp- 
 ture, with the draperies hung upon pegs, as at St. Gilles. 
 In the big arches, Christ the Teacher ; foliage, hunting 
 and monsters below : character of folds and figures strongly 
 Byzantine, almost Assyrian. Tower very fine, with fine 
 arcades of mixed Byzantine, Roman and Norman cha- 
 racter. 
 
 Chartres. — All the work on spire openings, corbels and 
 capitals, above the first arcade, lost (too small). Round 
 and pointed arches are here together ; arches of the choir 
 stilted and narrow, as usual. Transept windows and roses 
 (figures large) unrivalled of their kind : still they make 
 the interior too dark, though lighter than usual ; this in a 
 measure arises from the depth of the blue. Internal 
 sculpture, capitals, bosses, &c., mostly foliage ; very little, 
 if any statuary. Proportion rather too high for width ; 
 sculpture of screen round the choir excellent in parts 
 (late). Renaissance sculpture of screen exceedingly deli- 
 cate, figures good, and the whole not inferior to the best 
 Italian examples, whether for design or execution. The 
 brackets and capitals especially good and varied, and 
 being all near the eye can be appreciated, whilst the 
 lowest windows even of the Cathedral could never have 
 been distinctly made out. The big statues of the portals, 
 though draped with thin and poor folds, and their faces 
 showing a strong family likeness, are still a great improve- 
 ment on the Byzantine school type, and hold an interest- 
 ing middle place between them and such works as those 
 of the Pisani, Lincoln choir, Auxerre, &c. The small 
 figures of the portal are much better than the big ones. 
 
303 
 
 The whole building, which is grand and massive by nmht 
 is cut up, when seen by daylight, by numerous buttresses' 
 counterforts, pinnacles, gurgoyles and ornament, and sins 
 against the very first principle of grandeur, viz.— simpli- 
 city form and ornament : still it is very picturesque 
 and effective. 
 
 Gothic. — I object to statues round arches, as appearing 
 ready to tumble out and deposit themselves on our heads. 
 
 Varia.— T he tower of St. Mary, Warwick, 1694. The 
 hospital a very good half-timbered building, a.d. 1571. A 
 fifteenth century stained glass window in the Beauchamp 
 chapel, very good. The fine tomb has good translucent 
 enamel in armorial bearings, in circles at end of the 
 hearse covering, and also in large arms in panels at the 
 base. 
 
 Kenilworth. — Transition Gothic chimney piece in 
 white marble, a.d. 1571, with Bear and Ragged Staff and 
 R. L., almost entirely Renaissance. The ragged staff was 
 also borne by the Duke of Orleans, on which account 
 Jean Sanspeur of Burgundy bore the robot, or plane, with 
 which to smooth that ragged staff. 
 
 Enamel Cross. — Queen Dagmar’s pectoral cross, in the 
 Copenhagen Museum, of the twelfth century or so, re- 
 sembles Beresford Hope’s. 
 
 Trade. — The old Oriental trade with North Europe was 
 by the Black Sea, Volga, Novorogod and Gothland from 
 the eighth to the eleventh century. There are 20,000 
 coins of Persian caliphs in the Stockholm Museum. The 
 southern route was by the Levant, Marseilles, Aigues 
 Mortes, Bordeaux and St. Denis (fair). In the “Anti- 
 quaries du Nord ” the vessels on several Danish incised 
 monuments appear to be placed on skates : w r as it so ? 
 
 Carlisle. — A Renaissance open worked screen in the 
 cathedral (not bad). 
 
 “ There are two opposite, which together display differ- 
 ent charms, and the beauty of one appears from contrast 
 with the other.” (This is applicable also to design in 
 architecture.) — Neameh and Noam., Lane’s “ Arabian 
 Nights,” &c. 
 
 In a round arched opening, the faces of bands should 
 increase as they ascend, and the soffits decrease, otherwise 
 all looks unequal and not concentric. For an example see 
 
304 
 
 the apse of St. James’s Hall, London. The jambs of the 
 soffits should decrease as they ascend, to obviate this bad 
 effect. 
 
 Emblems. 
 
 Animal Creation. — Lion, power ; tiger, fierceness ; dog, 
 faithfulness, intelligence; squirrel, activity; pig, greedi- 
 ness and sloth ; wild boar, savage rage ; horse, docility ; 
 greyhound, speed ; bull dog, combativeness ; St. Bernard’s 
 dog, benevolence ; seal, affection ; elk or stag, swiftness ; 
 hare, timidity ; lizard, grace ; fox, cunning ; wolf, lawless- 
 ness ; pike, voracity ; bee, industry ; ant, economy ; and 
 so on. 
 
 Flowers. — Bose bud, youth and beauty ; tulip, worldly 
 pride ; violet, humility ; jasmine, sweetness ; sensitive 
 plant, timidity ; peony, boldness ; &c. 
 
 Trees. — W eeping willow, grief; poplar, grace; oak, 
 strength ; ivy, affection ; palm, triumph ; cypress, immor- 
 tality; &c. 
 
 Discouraged and uncertain what course to pursue, I lost 
 the greater part of the year 1860 ; at the close of which, 
 however, I made a tour round France, visiting the prin- 
 cipal southern cities, and made notes with pencil and pen, 
 of which latter most are here appended, and returned to 
 London at the end of the year. In 1861 I applied both 
 to South Kensington, and to my old friend Mr. T. Fair- 
 bairn, for employment on the approaching International 
 Exhibition, and through the kind interest of the last 
 named was appointed, in April, Superintendent of the 
 Architectural Gallery in the Exhibition and of the Classes 
 for Furniture, Earthenware and Glass, Goldsmith’s Work 
 and Jewellery, and Objects used in Architecture. 
 
 This fully occupied my time till after the opening of 
 the Exhibition in May, 1862. 
 
 Mr. Day, who had published a large work on the 
 Exhibition of 1851, by Mr. M. Digby Wyatt, “ The Indus- 
 trial Arts of the Nineteenth Century,” was desirous of 
 producing another but much larger work of the same 
 description on the Exhibition of 1862. He applied to me 
 in the matter, and the result was “ Masterpieces of Indus- 
 trial Art and Sculpture,” consisting of 300 coloured plates, 
 
juev^T traders. 
 
305 
 
 each of which was accompanied with a page of descriptive 
 letter-press in English and French : this was a most 
 laborious work, as I had to obtain, arrange and photo- 
 graph, &c. all the numerous subjects, and wrote every line 
 of the text myself, besides revising the French. My 
 labours, however, were not unappreciated by Mr. Day, 
 who very liberally presented me with more than the 
 already liberal sum he had engaged to pay for my ser- 
 vices : this work was unfortunately brought out too 
 rapidly to be what I wished. It was completed in 
 November, 1863. At this time, thinking my name must 
 be pretty well known to the principal manufacturers, I 
 sent to most of them a lithographed circular, stating that 
 I undertook ornamental designs of every description, 
 which, however, produced no result whatever. 
 
 It was now my turn to propose a work to Mr. Day, 
 viz., “ Illustrations of Architecture and Ornament,” to be 
 executed by myself on copper from the notes I had made 
 in my various tours. This work, which consisted of 70 
 plates, with letter-press, occupied me fully up to the 
 spring of 1865. During the rest of that year and the 
 greater part of 1866, 1 did little, with the exception of my 
 work on “ Stone Monuments and Ornaments of Demote 
 Ages,” which I got nearly into shape also. About this 
 time I tried, but in vain, to obtain a place in the compe- 
 tition for the new Law Courts, of which I am now glad, 
 for I certainly should not have made a Gothic design. 
 
 In the autumn of 1866 my services were again required 
 by Mr. Day for the production of a work on the approach- 
 ing French Exhibition of 1867 ; and I visited Paris twice 
 to engage a photographer, artists, &c. Owing to the diffi- 
 culties of the Company (Limited) which had taken up 
 Mr. Day’s business some time previously, tliis project 
 hung fire, and when I was engaged in November by the 
 Committee at Leeds as Chief Commissioner of the Exlii- 
 bition of Works of Art to be held there in 1868, the 
 Company determined to renounce the project altogether. 
 By this time I had made various designs for furniture, 
 &c., some of which having been seen by the Messrs. 
 Trollope, they commissioned me to make a design for the 
 interior of a library, including the fire-place, intended for 
 
306 
 
 the Paris Exhibition ; this also, to my regret, was never 
 carried out. By the beginning of 1867, I had, in con- 
 junction with Mr. W. Beckett Denison, of Leeds, and the 
 Committee, laid out the plan of the proposed Exhibition, 
 and was engaged by them as Chief Commissioner for two 
 years. There were great and peculiar difficulties in the 
 way of this undertaking, which caused me more annoy- 
 ance and anxiety than anything in my life : the Com- 
 mittee could not give up much time to it, being all 
 engaged in business, and the whole burden of the work 
 fell upon the Chairman and myself. With the desire of 
 giving it a national character, our offices were established 
 in London, which led to much indifference on the part of 
 the Leeds people, who moreover had in the mass no 
 interest in Art ; there was, I found, also great local — or I 
 might say, county — jealousy of the prominence of Leeds. 
 It was found impossible to obtain any works from Castle 
 Howard, which was at that time in the hands of trustees, 
 who had no legal power to act. Mr. Fawkes, of Farnley, 
 had a standing quarrel with Leeds about some water- 
 works, and absolutely refused to lend a single thing. 
 Earl Fitz william, though President of the Exhibition, 
 would send nothing of importance ; whilst the then Marquis 
 of Hertford, who was closely connected by family and pro- 
 perty with Yorkshire, although he received a deputation 
 from Leeds at Paris, where we went expressly to see him, 
 and appeared favourably disposed towards the under- 
 taking, finally threw us over altogether, as did the Duke 
 of Hamilton and the Marquis of Lansdowne, from whose 
 fine works of art at Hamilton Palace and at Bo wood we 
 had hoped to obtain a selection. In spite of such nume- 
 rous and serious disappointments, the Exhibition, from an 
 Art point of view, was very remarkable and interesting : 
 that it was not a financial success was owing to various 
 circumstances, which were most unfortunate and in a 
 great measure unavoidable, one main cause being doubt- 
 less the want of interest in Art felt by the great mass of 
 the people of the north, which led to an enormous defi- 
 ciency as regards the number of visitors on which the 
 Committee had calculated. 
 
 Wearied and most painfully affected by many labours 
 
307 
 
 and incidents which will always cause me regret, some 
 connected with the Exhibition, some purely personal, I felt 
 that a tour on the continent would best heal my wounds 
 I set out in February, 1869, and made the circuit of Italy, 
 which country both from its architectural monuments, its 
 wonderful picture galleries, its pleasant climate, and its 
 people, whom I love, is always delightful to me. Before 
 starting, Mr. Roger Smith, at that time Editor of “ The 
 Architect,” called on me with a request to write in that 
 periodical, and consequently I forwarded him a series of 
 notes during my tour, which appeared in “ The Architect.” 
 
 Milan, 1869. 
 
 Coloured Sculpture— If the object of art is merely to 
 impress the beholder with the most vivid possible appear- 
 ance of reality, where are we to stop ? I think there can 
 be no doubt, that not only upon the multitude, but upon 
 educated persons also of a sensitive nature, coloured 
 sculpture produces more effect than ghostly white marble, 
 or any single tinted material. The coloured sculpture of 
 Spain especially, during the seventeenth century, practised 
 by such men as Juan Juni, Hernandez, and others, is cer- 
 tainly most impressive and life-like. Badly done, it is 
 wretched stuff, as seen, for example, in the Baptistry at 
 Novara ; but a very striking example is to be seen still in 
 San Satiro, Milan — “ The Deposition from the Cross,” 
 which must assuredly affect people more than a marble 
 group could do. For high art, no colour ; for popular art, 
 paint. The Church declares it, and the Court allows it, 
 faciendum ! 
 
 Rome, 1869. 
 
 Flowers to be grown in bed round tazza of fountain, as 
 in the Baths of Titus. 
 
 Make a small column of water fall on slate or iron strips, 
 flat and round, and of various widths, and it will give out 
 a sort of chime. I saw and heard this at the Capitol, 
 Rome, in the court leading to the Picture Gallery. 
 
 Museum, Naples, 1869. 
 
 The mosaic pictures from Pompeii, are characterised, 
 like the sculpture, by wonderful truth to nature and clever 
 
308 
 
 execution, not too neat ; they present all sorts of subjects, 
 history, fable, social life, genre , animals ; one piece re- 
 presenting a scene in the sea, with all sorts of marine 
 creatures, a striking incident being a fight between an 
 octopus and a lobster. In late cases, columns are encrusted 
 with very beautiful ornamental designs and figures ; most 
 effective. 
 
 The paintings are of every class in subject and execu- 
 tion, from the roughest sketch to the highest finish, forming 
 a worthy wind up to the great works of the Greek School, 
 as seen on the earlier vases. The same rule holds good 
 in classic as in Christian art, there was a regular mode of 
 representing certain subjects, varied according to the ability 
 and good taste of the artist. Thus we meet with many 
 repetitions of one subject, slightly dissimilar, such as 
 Perseus and Andromeda, Hercules, Mercury, Bacchus, &c. 
 Some outlines of designs, slightly touched in with sepia, 
 are very interesting, showing a similar process to our own. 
 The free hand drawing, both of figures and ornament, is 
 perfectly extraordinary, and proves what great practice the 
 artists must have had. Great praise also is to be awarded 
 to the raised stucco work ; the modeller, the painter and 
 mosaicist were equally expert ; the only part we object to 
 is the architectural frame work, so to speak, which is often 
 poor, weak, and capriciously designed. The variety, fancy, 
 and cleverness of execution which distinguish the others, 
 do not suit the sterner art of architecture, and, of course, 
 truth to nature finds no scope here. 
 
 As regards the sculpture, it is truly wonderful, so nume- 
 rous and so fine are the subjects, in marble, terra cotta, 
 and bronze, that one can hardly select. 
 
 The bronzes are all very dark and stand out well against 
 a yellow wall : many of them have coloured eyes, and I 
 do not dislike their effect, which indeed, is very striking. 
 The terra cottas also were coloured, as many and important 
 examples here prove, and the lamps were gilt, silvered, &c. 
 These terra cottas are most amusing, for the greatest works 
 are to be found caricatured amongst them, with a fine 
 spirit of fun. The richness of fancy, variety, and truth to 
 nature, the vigour and life of all this sculpture, especially 
 the bronzes, must be seen, words fail to express their merit ; 
 they are full of inspiration for every lover and student of 
 
309 
 
 art. These remarks apply also to the 
 of Etruscan and Greek vases. 
 
 wonderful collection 
 
 Perugia Museum. 
 
 The works of Lo Spagna and Giannicola Manni pupils 
 of Perugino, closely resemble that of Raffaelle ami would 
 not be unworthy of him. The miracles of S. Bernardino 
 by Fiorenzo di Lorenzi, a.d. 1473 (eight pieces), are very 
 good ; architecture carefully designed and drawn, and 
 much Renaissance costume. Others by Benedetto * B 011 - 
 figli, full of costume (circa 1461), Boccati da Camerino, is 
 of the Fra Angelico type, his name inscribed, “ Opus Johis 
 Bochatis de Chamereno,” is new to me. There is here a 
 beautiful wood panel from S. Agostino, designed by P. 
 Perugino, and carved by Baccio d’ Agnolo. 
 
 Italy, 1869. 
 
 The serpent formed door handle is common in Verona. 
 Lombard architecture is, I think, finer than any. Make 
 all balconies open work, no balusters. Use different tints 
 of stone irregularly placed in masonry, so as to give colour, 
 and have a large coloured frieze in encaustic tiles under 
 projecting eaves. Adopt the Florentine projecting eaves ; 
 they are good for effect and shade, and against rain. 
 Sgraffito work would be excellently suited to England. 
 
 The hand bells used by the country people of South 
 Italy, tending sheep, &c., are of the same flattened and 
 tapering form as the old Irish bells. 
 
 The stone staircase leading to the Town Hall, Cortona, 
 is about 32 ft. wide, without including the side balus- 
 trades, very fine. 
 
 The Practice of Architecture. — An architect in ex- 
 tensive practice should divide his work into three distinct 
 sections. (1.) Art. (2.) Construction and material. (3.) 
 Finance. Each of these should have a reliable and com- 
 petent superintendent, answerable to the architect for any 
 shortcomings in their respective departments. It is the 
 architect’s duty and interest to seek out and employ such 
 men. If he tries to do all, and to see into everything him- 
 self, he undertakes more than one man can perform. 
 
 His duty above all is to his employer, and he must not 
 
310 
 
 only be sure that the work confided to him is in good 
 hands, but he must daily, or at short intervals, inspect 
 each department, and should visit every work in course of 
 execution at different times and without giving notice, to 
 be assured that all is going on properly. 
 
 In the summer of 1869, 1 returned to London, with no 
 defined plan, but meeting Mr. John Day, who had set up 
 in business for himself as publisher, printer, &c., he en- 
 quired what I had done with my proposed work on the 
 Druidical Monuments, which he had seen before I went to 
 Leeds. I told him it was locked up in the warehouse 
 with my books, &c., for as I had been unable to obtain a 
 sufficient number of subscribers to justify me in publishing 
 it myself, as I had intended, I had given up all idea of 
 proceeding with it. He then offered to take it up himself, 
 to which I readily agreed, and was busily engaged in re- 
 casting the whole work so as to make it more complete, in 
 re-writing it and in superintending the execution of the 
 lithographs up to its publication in May, 1870. I was also 
 during this time, and in 1871, engaged in amplifying the 
 letter-press for “ Illustrations of Architecture and Orna- 
 ment,” for Messrs. Blackie and Son, who had purchased 
 the plates and copyright of that work at the Company’s 
 sale, and were now reproducing it in parts. In February, 
 1871, I received notice from the American Institute of 
 Architects that I was elected a honorary member of their 
 body, a compliment which gave me the greatest gratifica- 
 tion, as it was the first public mark of approval of my 
 labours which I have ever received, and was quite un- 
 sought for on my part. In 1871, I wrote a pamphlet on 
 “ The Separate System of Sewerage,” which I believe will 
 in future years receive that attention it deserves, but which 
 it failed of obtaining then. 
 
 Also, in 1871, I sent designs, and a written plan for re- 
 building the city of Chicago after the fire, to the mayor of 
 that city ; but, nothing came of it, the city was rebuilt at 
 haphazard as before. My ideas on the subject are embodied 
 in a paper read at the Institute of British Architects in 
 1873. In this year also was published “ Pottery of De- 
 mote Ages,” &c., which, together with the volume on 
 “ Stone Monuments and Ornament of Demote Ages,” will 
 
311 
 
 form, I trust, a useful resume of the whole subject of early 
 or pre-historic antiquities. 
 
 My last attempt at obtaining employment was made in 
 the competition for the New Parliament House at Berlin, 
 in 1872 ; but whether my drawings were ever exhibited 
 I don’t know, as no acknowledgment of their arrival 
 was given to me, and indeed, I never got a line on the 
 subject from any one. After this— the only important 
 competition for which I ever made any drawings— 1 
 determined to try no more. I had done mv I, ml 
 
 fitted myself by diligent and prolonged study o i my 
 profession for producing works of art which might have 
 done credit to myself and my employers. 1 had always 
 acted upon the maxim of La Bruyere “ nous devons tra- 
 vailler a nous rendre tr&s dignes de quelque emploi; le 
 reste ne nous regarde point; c’est l’affaire des autres” 
 But it was a mistake : in this age of competition, unless 
 artists are of known and approved merit, they are obliged 
 to seek for business like other people ; the public will not 
 apply to anyone, unless he has a name ; and in architecture 
 especially, where it is impossible for a man to show what 
 he is capable of, not to seek employment is to court neglect. 
 These memoirs are not written, then, to blame others or to 
 excuse myself — the object I have had in view, is to let 
 others know, my descendants, and some perhaps, who will 
 be or have been my maligners, that I have done my 
 duty in my profession, and have studied it as an art assi- 
 duously and to the best of my ability. My time has not 
 been idly spent; and my engraved and printed works 
 may, I trust, be of use to many students yet in the old 
 world, and the new world also. Unto the world of Art, 1 
 now — for a time, at least, — say “ farewell.” 
 
 i 
 
 DRYDEN PRESS: J. DAVY AND SONS, I37l DONG ACRE. 
 
NOTES AND CORRECTIONS 
 
 TO 
 
 “ A RECORD OF MY ARTISTIC LIFE.” 
 
 p. 13. For “ in y ” read “ in y e " 
 
 „ For “ Liberia ” read “ Libreria ." 
 p. 19. For “ ill of either ” read “ ill of her." 
 
 p. 22. For “ good palaces and churches ” read “ churches and good 
 palaces'' 
 
 p. 24. For “whose echo ” read “ the echo of which." 
 p. 28. For “ pleased the most” read “ pleased me most." 
 p. 29. For “ gay ” read “ light." 
 
 p. 61. For “ town hall, splendid mouldings ” read “ town hall splendid 
 p. 85. For “ confusing " read “ conf used." 
 p. 96. For “ one large gold cornice ” read “ a large f etc. 
 p. 99. For “ there is nothing at Marseilles,” etc., read “ there is nothing 
 in the way of ancient architecture," etc. 
 p. 112. For “ this chapel del Zancarron” read “ the chapel ," etc. 
 p. 208. For “ as cardinal’s hat ” read “ a cardinal's," etc. 
 p. 216. For “ Goia” read “ Gioia." 
 p. 219. Full stop at “ Duomo,” comma after “ Grado.” 
 p. 223. After “ Guarda Roba ” insert “ (Duomo).” 
 
 p. 247. For “ bulbous with flowers, enamelled,” etc., read “ bulbous , with 
 enamelled flowers ," etc. 
 
 p. 287. For “ some however ” read “ none however." 
 p. 296. After “ Agen ” add “ an old Villefranche, very little left.” 
 p. 309. For “ that of Eaffaelle ” read “ those of." 
 p. 310. As to “ Pottery of Remote Ages,” etc., which was to have 
 appeared in July : it is not yet published (September) ; but 
 will be, I hope, in the course of the year. 
 
T HE following notes were intended to have formed a 
 portion of “A Record of my Artistic Life,” but 
 were overlooked. For other remarks on architecture, see 
 papers by me in the “ Proceedings of the Royal Institute 
 of British Architects,” November 16th, 1857; March 4th 
 1861 ; and March 31st, 1873. 
 
 SKETCH OF A PLAN FOR THE REBUILDING OF CHICAGO, 
 
 ILLINOIS. 
 
 The main plan to be on concentric circles, or rather 
 semicircles, divided into sections by radiating streets, on 
 the principle of a spiders web ; for thus the living creature 
 gets most speedily to every part of his domain. These 
 zones, thus divided into sections by radiating streets, are 
 to have complete fire safety arrangements and sanitary 
 inspection for each section, corresponding to our ancient 
 wards or guards. 
 
 The centre or heart of the city to be at the junction of 
 the Chicago river. Here, in open spaces, well divided in 
 fact, even if conjoined in appearance, i.e. y by means of 
 arcades, &c., are to be grouped the principal State build- 
 ings. The Court House, Post Office, Exchange, &c. The 
 streets to the east lead to the principal quay or embank- 
 ment; smaller quays are to line each side of the three 
 arms of the river, leaving a special broad embankment at 
 their junction. These should be at a moderate distance 
 from the chief centre, and easy of access to people from 
 all parts of the city. Separate markets for grain, vegeta- 
 bles, fish, and meat, and miscellaneous, as at Leeds. It is 
 a question whether all bake-houses, with other trades re- 
 quiring great fires should not be confined to the outskirts 
 
2 
 
 of the city — the great fire of London commenced, it is said, 
 in a bakehouse — in that case there should be a special 
 bread market, which might be attached to the grain 
 market. The cattle market should be in the suburbs. 
 
 The churches should be arranged so as to add effect to 
 the architectural picturesqueness of the streets and open 
 spaces. 
 
 Special buildings required are, court house and public 
 hall, exchange, post office, bank, theatres, university, public 
 library, general musuem and picture gallery, houses of 
 detention, prison, hospitals, baths and wash-houses, and 
 public bakery to each ward. Fire-brigade stations and 
 fire-escapes, school houses, all for each ward. 
 
 All dangerous and noxious manufactures should be 
 placed on the outermost zone, including gasworks. 
 
 Beyond these should be the small-pox and infectious 
 fever hospitals, and cemeteries, prisons, abattoirs, &c. 
 Beyond these, and apart from them, should be the Alameda 
 or public garden and promenade, parks, play-grounds, 
 zoological and experimental botanical gardens. The hospi- 
 tals should be on the pavilion and cottage system com- 
 bined, and have a sanitarium or convalescent home not 
 too far away. 
 
 Warehouses and corn elevators should as far as possible 
 be detached, have external stairs, be built in solid compart- 
 ments, and of the most fire-resisting materials. 
 
 Round the whole city is to run a grand circular boulevard 
 and railway, connected here and there with the heart of 
 the city by broad streets and arcades with tramways, such 
 as may surpass that of Milan. There might be three of 
 these, one to the cemetery ; two, public park ; three, scien- 
 tific gardens. 
 
 The park to have a long avenue to the lake, ending with a 
 rond pointy fountain, statues, and causeway to Isola bella, 
 or terraced island on the lake. 
 
 Midland Station, 81 paces wide, or about 80 yards ; 
 100 feet high. Main platform, 12 paces wide. Booking 
 hall, 32 paces long by 21 paces wide. Railway gauge, 
 4 feet 8J inches. 
 
3 
 
 Regent Street, between the gas lamps, 38 paces, (alter- 
 nate sides.) 
 
 Waterloo Bridge, gas lamps, about 48 paces apart, and 
 opposite each other. 
 
 Oxford Street, about 38 paces apart. 
 
 Fleet Street, about 40 paces apart. 
 
 Edgware Road, about 60 paces apart, (alternate sides.) 
 
 The width of Charing Cross Station is 60 fair paces 
 across from wall to wall. 
 
 Coutts’ Bank (ground floor) is over 30 feet high, and is 
 furnished with ventilating shafts, having circular gas jets 
 at base. Architect, P. C. Hardwick. 
 
 Portland Place is (paces) 9J pavement, 27 road, 
 pavement, from wall to wall, including open areas on 
 pavement side. Lighted by single gas jets, 28 paces 
 apart. 
 
 Westminster Bridge, extreme width 85 feet, length 
 .914 feet. Space of centre arch 121 feet. 
 
 Waterloo Bridge, length 1,380 feet in all ; nine arches, 
 120 feet space. 
 
 Old Hungerford Suspension Bridge, centre space 676 
 feet. 
 
 Paris (14 paces make 10 metres), Boulevard Sebastopol, 
 footway 10 paces (30 feet), roadway 18 paces (54 feet), 
 from tree to tree, 7 paces. 
 
 Boulevard des Italiens, footway 12 paces (36 feet), road- 
 way 22 paces (66 feet), from tree to tree, 9 paces. 
 
 Diameter of Euston Station portico columns, about 8 
 feet. 
 
 Cattle market, Islington, main square 280 paces each 
 way, road and pavements 20 paces, pavement 3 paces, 
 gates 3 1 or 4 paces, iron railing about 8 feet high. 
 
 Diameter of British Musuem reading room 140 feet, 
 height 106 feet, accommodates 300 readers, cost £150,000, 
 all iron and brick. 
 
 The measurements of the New Road, where the houses 
 are set back, are, garden before house 16 paces, pavement 
 5 paces, road 17 paces, pavement 5 paces, garden 10 
 paces. 
 
 Regent Street, pavement 7J paces, roadway 19 pace* 
 (57 feet), pavement 7 paces (21 feet). 
 
4 
 
 Holborn, at Lincoln’s Inn Fields, pavement 4 paces, 
 roadway 14 paces, pavement 5 paces. 
 
 Oxford Street, pavement 6 paces, roadway 18 paces, 
 pavement 6 paces. 
 
 Strand, at Waterloo Bridge, pavement 4 paces, road- 
 way 16 paces, pavement 5 paces. 
 
 Albany Street, pavement 6 paces, roadway 11 paces, 
 pavement 6 paces. 
 
 Covent Garden colonnades, between piers, 7 and 8 paces 
 wide. Spoilt internally by depressed arches. 
 
 New Blackfriars Bridge, footway 15 feet, road 45 feet, 
 footway 15 feet. 
 
 Population of London, according to King, quoted by 
 Macaulay, 530,000 in 1685, “ Notes and Queries,” January, 
 1872. (There must be some mistake here). 
 
 Population of London in 1666, taken August, 1631, was 
 130,178. Strype and Stow, 1720, p. 440. vol. ii. 
 
 Of Marylebone parish, in 1851, nearly 400,000. 
 
 The whole population of Great Britain in 1631, was 
 between four and five millions. 
 
 Great hall of Augsburg Town Hall, by El. Holl, 50 schuh 
 high, 59 broad, 112^ fuss long. 
 
 St. George’s Hall, Liverpool, lower part of hall 150 feet 
 long, 80 feet wide, 70 feet high ; the upper part, 216 feet 
 long, and 80 feet wide, with semicircular concert plat- 
 forms at each end. 
 
 Westminster Hall, 270 feet long, 74 feet wide, 90 feet 
 high. 
 
 O 
 
 Lincoln’s Inn Fields, an area of 12 acres, about 300 
 paces north side, and 230 east side, long. 
 
 Russell and Belgrave Squares, 10 acres, others from 7 
 to 3 acres. 
 
 Piazza San Marco, Venice, 576 feet long, greatest width 
 
 269 feet, least width 185 feet. 
 
 TOWERS. 
 
 Feet high. 
 
 Tower of Cremona 
 Tower of Venice, St. Mark 
 Tower of Bologna, Asinelli tower 
 
 396 
 
 350 
 
 312 
 
o 
 
 Tower of Florence 
 
 
 Feet high. 
 
 273 
 
 178 
 
 909 
 
 Tower of Pisa 
 
 
 Monument, London 
 
 
 Cologne Tower 
 
 
 514 
 
 Ulm Tower 
 
 
 491 
 
 Strasburg Tower 
 
 
 452 
 
 Vienna Tower, St. Stephen’s 
 
 
 465 
 
 Salisbury Tower 
 
 
 404 
 
 Victoria Tower, Houses of Parliament 
 
 33G 
 
 Clock Tower ditto 
 
 
 31G 
 
 St Mary-le-Bow 
 St. Bride’s 
 
 
 223 
 
 ... 
 
 230 
 
 DOMES. 
 
 Rome, St. Peter’s 
 
 Feet High. Diameter. 
 
 330 
 
 ... 139 
 
 (Total external height, 387 ft.) 
 
 London, St. Paul’s 
 
 215 
 
 ... 112 
 
 Florence 
 
 310 
 
 ... 139 
 
 Pantheon, Rome 
 
 143 
 
 ... 142 
 
 Baths of Caracalla 
 
 116 
 
 ... 112 
 
 Paris Pantheon 
 
 190 
 
 67 
 
 British Musuem Reading Room . . . 
 
 O 
 
 10G 
 
 ... 140 
 
 Motto for a City : — “ Space, Air, Trees.” 
 
 Continuous tramways in streets for railway carriages. 
 
 New streets to have houses set back in garden, then 
 pavement, road for horses, &c. Central tramway for railway 
 carriages, but no steam. Then, again, roadway, pavement, 
 garden, house. 
 
 No enclosed blocks of houses, all to be open at angles. 
 
 A back roadway to all houses and terraces. A back 
 road to a large street is as necessary as back stairs to a 
 large house. 
 
 ARCHITECTURAL MAXIMS. 
 
 Grandeur of mass, harmony of proportion, beauty of 
 detail, are absolutely necessary for a fine work. 
 
6 
 
 Stone should never take the form of flexibility without 
 a break at springing point of curves; Vide the brackets 
 of principal doorway, Freemasons’ Tavern, and the north - 
 wall ornaments of the Bank of Englaud. 
 
 All supports should not only be strong, but appear to 
 be so, vide the overhanging canopy of stalls in the House 
 of Lords as a warning. 
 
 Architecture is more properly a science than an art. 
 Music, painting, and sculpture, really arts, touch the feel- 
 ings, move the sentiments and even passions of men. The 
 finest architecture in the world fails to do this, it can only 
 impress the mind with a sense of grandeur or pretti- 
 ness. Art proper is to be found chiefly in the orna- 
 mentation of a building, rather than in the building 
 itself 
 
 A building can be rendered ornamental by the following 
 means : 
 
 1. By marble and stones of various tints. 
 
 2. Stone and brick combined. 
 
 3. Various coloured bricks and tiles, and terra cotta. 
 
 4. Incised ornament on stone, gilt or coloured. 
 
 5. Painting on compo. 
 
 6. Compo and brick. 
 
 7. Sgrafitto work. 
 
 8. Brick and woodwork. 
 
 9. Brick and ironwork. 
 
 10. Ironwork : ridges, clamps, basement guards, rails, 
 
 &c. 
 
 11. Bronze ornaments. 
 
 12. Lead, zinc, &c., pipes, &c. 
 
 Furniture of wood may be inlaid with marble and 
 metals of all kinds ; ivo^, wood, tiles and glass, with the 
 addition of sculpture and painting. 
 
 Make butchers’ and fishmongers’ shops tiled with white 
 tiles and coloured animals, fish, &c. Other trades on same 
 system. 
 
 Attenborough’s shop-front, Piccadilly : dark and red 
 veined marble pilasters, with bronze bands, capitals, &c. 
 Very good. 
 
7 
 
 Peter Grahams, Oxford Street: polished granite shafts 
 and bronze capitals and bases, &c. Good. 
 
 Perry s. shop-front, Strand : metal columns, and orna- 
 ments impressed and gilded. Good. 
 
 Mudie, Oxford Street: windows of ground-floor haw 
 revolving shutters, with glass top to light inside, and a 
 ventilator at head of each window. Good. 
 
 LONDON. 
 
 Great Plague in 1GG5, when 68,592 persons perished 
 The fire, September 2nd and following days, in 1666. 
 destroyed an area of 436 acres, and about 13,200 houses, 
 value three million nine hundred thousand pounds sterling 
 — 1 cathedral, 87 parish churches, Exchange, Guildhall, &c. : 
 originated in a baker’s house near where now the column 
 stands. Sir C. Wren and J. Evelyn both made new plans. 
 
 Wren proposed three kinds of streets, of 90 feet, 
 GO feet, and 30 feet wide. “All church-vards, gardens, 
 and unnecessary vacuities, and all trades that use* 
 great fires or yield noisome smells” to be placed out of 
 town (“ Parentalia,” p. 268). 
 
 A canal to be 120 feet wide, the quay only 40 feet. 
 
 The column is 202 feet high. 
 
 Wren had Grinling Gibbons for sculptor, who besides 
 his ornamental woik did the bronze statue (very good) of 
 James II. at Whitehall 
 
 A boulevard along the Hudson River is 100 feet wide. 
 
 Unter den Linden, 2,744 feet long, 174 feet wide. 
 
 Thames Embankment, pavement oh paces, roadway 22 
 or 23 paces, and pavement (river side) 7 paces. 
 
 Place all sculpture on fatjades out of reach of hand. 
 
 Make a sunk or fenced-in space for coalscuttle. 
 
 In theatres or other public buildings have sliding doors, 
 single or double as needed. 
 
 Principles of architecture : 1. Simplicity. 2. Largeness 
 
 of parts. 3. Proportion. 4. Repetition. 5. Variety. 
 G. Harmony. 
 
 All ground-floor shutters metal, revolving. 
 
 
8 
 
 Glass in English lights to be as near wall face as possi- 
 ble; in Gothic they are placed far back, and the soffits 
 and jambs of openings obstruct light greatly. 
 
 Some stones receive moisture much sooner and retain 
 it much longer than others ; such are least fitted for 
 paving. 
 
 CAUSES OF FIRE. 
 
 1. Spontaneous combustion. 2. Careless or improper 
 storage. 3. Gas escapes. 4. Dangerous trades : gun- 
 powder, fireworks, phosphate stores and manufacture, 
 bakeries, &c. 5. Lamps and candles. 6. Matches of all 
 
 kinds. 7. Smoking. 8. Accidents of various kinds. 
 
 Against fire we have to consider the means of prevention, 
 extinction and escape. 
 
 REFUSE, ITS VALUE AND UTILITY. 
 
 Soot, 6d. per bushel, Is. 6d. the sack. 
 
 Sawdust, Is. for three bushels or a sack, 12 sacks for 106*. 
 
 Pit sand, 9 d. the sack. 
 
 Bones, Id. for 3 lbs. 
 
 Rags, white Id., or JcZ. a lb. generally. 
 
 Paper, from 6s. to £1. a cwt. for the best white. 
 
 House dust, ashes, and cinders: breeze from this for 
 forges, about 10 d. per cwt. 
 
 Oyster and egg shells. 
 
 Tobacco ashes. 
 
 Ammonia. 
 
 Vegetable refuse should be burnt and ashes made use of 
 in gardening, &c. 
 
 A company might be formed for the collection and utili- 
 sation of all refuse, including excreta, on a systematic and 
 scientific plan, from which I believe good profits would 
 accrue, and cities be greatly benefited. 
 
 What we want are chemists and carriers, not engineers, 
 and our motto is “ no more sewers,” except for surface 
 L drainage. 
 
 Item. — I have been informed, by a competent engineer, 
 that London could be supplied with salt water at an ex- 
 
9 
 
 pense of about £000,000, and a thousand householders 
 taking it at a £6 annual rate would make it pay For 
 childrens morning baths, hospitals, baths, &c.; surely it 
 would be worth that sum. J 
 
 Earth requires food like a living being; if it contains 
 not, or you do not supply it with, lime, phosphorus, 
 nitrate of soda, potash, ammonia, &c., &c„ it is barren 
 It also requires drink, which is given by means of irri- 
 gation. Market gardens round cities to be manured 
 with the city sewerage. Ground is called “hungry” 
 very properly when deficient in pabulum for its ferblisa- 
 tion. 
 
 When it is stated in “The Record of my Artistic Life,’, 
 that I etched the “ Illustrations of Architecture and Orna- 
 ment” on copper myself, it is only proper to add, that they 
 were not bitten in by myself; that most important part of 
 the etcher’s task having been done in Mr. Day’s establish- 
 ment at Gate Street. 
 
 It was not my intention to allow “ The Separate System 
 of Sewage ” to fall so flat, as it did at its appearance 
 before the world, without an attempt to put it on its legs; 
 but one becomes wearied with addressing people in vain 
 on subjects which are of the most vital importance to the 
 welfare of mankind, and to be met with indifference, or be 
 treated with levity and derision ; moreover, to a man, who 
 has only just enough to live on, and to whom every pound 
 is of consequence, it becomes no slight sacrifice to expend 
 hundreds in vain efforts to induce people to listen to him. 
 It is truly disheartening; and yet we will not give in, 
 because our cause is good and quite capable of practical 
 application. It is the welfare of men’s bodies, as well as of 
 their souls we are striving for, and we will do what we can for 
 them though they themselves are neglectful or indifferent. 
 We contend also that it is quite within the province of the 
 architect to design every building with a view to the 
 collection and distribution of the refuse matter caused by 
 its inhabitants. Nay, we hold that in a sanitary point of 
 
10 
 
 view, it is one of his first duties to consider the subject 
 carefully. For this purpose it is not enough for him to 
 arrange for the collection of refuse, but he must inform 
 himself how it may be best treated so as to fit it for its 
 principal object, viz : its application as manure ; and thus 
 the designer should also have a general knowledge of the 
 art of preparing land for cultivation by means of liquid 
 and solid applications. 
 
 One of the best books we have met with on this subject 
 is “The Muck Manual/' published by Murray, of Albe- 
 marle Street, in 1845, but we have no space here to make 
 many extracts, which we should have desired to do ; the 
 student must get the book and read it carefully. Another 
 valuable work is P. L. Simmonds’s “ Waste products, &c.,” 
 Hardwicke, London, 1862, from which we have made 
 selections too numerous to reproduce.* 
 
 We may at some future time return to this subject, at 
 present we content ourselves with pointing out that the 
 main objects we have in view are the design of every 
 building with a view to the collection and storage of all its 
 refuse. The formation in every house of a Refuse closet 
 instead of a water closet only. The application of chemi- 
 cal agency to bring refuse as far as possible into its most 
 condensed and portable form in sit'd. The best means of 
 its carriage and disposal either within or beyond its locality. 
 We conclude with declaring our conviction that the present 
 system of sewerage practised in Great Britain is bad, because 
 founded on error, wrong in itself, and fraught with pernicious 
 and fatal results, besides involving an expenditure of the 
 most lavish description with little corresponding results, 
 one, however, being typhoid fever. Again we urge it is 
 not engineers but chemists we require to help us in this 
 matter. 
 
 When I commenced “ Designs for Civic Architecture,” 
 it was my intention to have given fa 9 ades as well as 
 various members of a design, but several causes prevented 
 my so doing. The principles, however, on which I based 
 
 * See also an excellent article on “ Sanitary economy,” in Ure’ 8 “ Dic- 
 tionary of Arts, Manufactures, &c.” 
 
11 
 
 my style were these : care in propoition ; broad masses 
 of surface; concentrated and deeply cut ornament com- 
 bined with larger masses of flat * ornament ; thick but- 
 tresses and thinner intervening walls ; doors with porches ; 
 windows close to the outer face of wall, for the sake 
 of light ; well-defined bases : open and blind arcades, 
 and generally the style of Romanesque, Lombard, and 
 Norman architecture, combined with modern construction, 
 having special regard to the capabilities of iron and glass 
 for covering large spaces. Ornament all to be founded on 
 natural models suitable to the purpose of the building, but 
 all conventionally treated. In practice, I proposed to have 
 an assistant who would take charge of and be responsible 
 for all matters of construction, and another the selection of 
 materials, their soundness and price. To use an ecclesias- 
 tical simile, I proposed as architect to be Archbishop, or 
 overseer-in-chief, with my Bishop of construction, and my 
 Bishop of material, other minor officials to follow in their 
 regular course. 
 
 To the list of works published by Messrs. Triibner & Co., 
 is now added 
 “THE STATE,” 
 
 Price 3s. 
 
 Being a Sequel to “ The Universal Church,” with a 
 Supplemental “ Record of Thoughts,” and some “ Essays/’ 
 By J. B. Waring. 
 
 As regards the diagram of a circle divided into revolu- 
 tions of government in “ The State,” we would now pro- 
 pose another circle divided into five sections . 1. Anarchy. 
 2. Monarchy, or power wielded by one. 3. Oligarchy, 
 or power wielded by a minority of the community. 4. Poly- 
 cracy, or power wielded by a majority of the community, 
 this would include most constitutional monarchies. And 
 5 Democracy, which besides a pure Republic, may include 
 some forms of Constitutional Monarchy. Between each of 
 these phases come naturally epochs of transition, always 
 accompanied with more or less commotion and trouble. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 ' 
 
 
BOOKS WRITTEN BY J. B. WARING. 
 
 7 x. 6 d. 
 
 THE UNIVERSAL CHURCH : 
 
 ITS FAITH, DOCTRINE, AND CONSTITUTION. 
 
 “ An extraordinary book Every page bears the impress of 
 
 thought and culture .” — The Weekly Dispatch, January 16, 1870. 
 
 “ No one can give half-a-dozen hours to an examination of the ideas 
 contained in this book without receiving useful, and, possibly, most 
 valuable contributions to mental and spiritual health .” — The Truth- 
 seeker, June, 1870. 
 
 “ Till this new St. Paul brings better letters of recommendation than 
 anything we have yet discovered, we shall keep to the obsolete faith 
 which he despises .” — The Spectator, July, 1870. 
 
 TRUBNER & CO., 57 & 59, LUDGATE HILL. 
 
 2s. 6 d. 
 
 BROADCAST. 
 
 “ A collection of eleven essays on striking subjects. All are good, 
 but here and there we come to passages of rare beauty or surprising 
 force . — The Ti'uthseeker, September, 1870. 
 
 TRUBNER & CO., 57 & 59, LUDGATE HILL. 
 
 2s. 6 d. 
 
 POEMS BY AN ARCHITECT. 
 
 ‘“The Deserted Shrine’ is of a sweeter southern melancholy.”— 
 Athcnceum, 1858. 
 
 “Written with taste, and with a lively sense of melody.”— Critic, 
 July 31, 1858. 
 
 “ Wc most admire ‘ The Monk in the Desert, and * Karin,’ a Swedish 
 story.” — Freemasons' Magazine, June 16, 1858. 
 
 HARDWICK, 192, PICCADILLY. 
 
Is. 6d. 
 
 THE ENGLISH ALPHABET 
 
 PHILOSOPHICALLY CONSIDERED. 
 
 BY A GREAT FOOL. 
 
 “ Like Touchstone of imperishable memory, the author uses folly as 
 his stalking-horse.” — Weekly Dispatch , 1870. 
 
 This Pamphlet contains several predictions, some of which have come 
 to pass, e.g., the fall of Louis Napoleon and of the Pope’s temporal 
 power (p. 36); the evacuation of Rome by the French (p. 43); Rome the 
 capital of Italy in 1871 (p. 79); the completion of German nationality 
 (p. 78.). Amongst the unfulfilled ones, we would draw attention to the 
 Anglo- Teutonic League (p. 78). See also pp. 70, 76, and 82. 
 
 JOHN B. DAY, 3, SAVOY STREET, STRAND. 
 
 In 2 vols., 12 s. §d. 
 
 A RECORD 01' THOUGHTS. 
 
 From 1843 to 1873, 
 
 ON 
 
 RELIGIOUS, POLITICAL, SOCIAL. AND PERSONAL SUBJECTS. 
 
 TRUBNER & CO., 57 & 59, LUDGATE HILL. 
 
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