264

THE DOUBTS REMOVED.

every instance, however simple they may be, display real architecture, thought and care. Of the thirteenth century, many of the remains of houses, both in cities and in the country, though never richly ornamented, are really noble specimens of architecture. In the fourteenth they became—though retaining a grand superiority of treatment-magnificent; while, in the fifteenth and sixteenth, the domestic architects strained every nerve to render their cities noble and picturesque, and their countryhouses beautiful additions to the scenery which surrounded them."

As far as relates to the decorative achievements of architecture, there may be some truth in this. And yet that truth is only partial, for the skill of architects, in the times to which Mr. Scott refers, was directed to endowed edifices, to public buildings, and to the mansions of the nobility-the remains to which he points, in corroboration of his opinions, were the exceptions, and not the rule. Only within a very recent period has the eye of the architect been turned towards the dwellings of the humbler classes of the community. In modern days thousands of people, having acquired means of moderate independence, have become the proprietors of their own houses. Of such persons, those who may be considered the middling orders of society, have been, for the most part, left to become their own architects. Hence the tardiness with which the improvements made in the accommodation, arrangement, and exterior beauty of the mansions of the wealthy, have found their way to the dwellings of the middling classes.*

fire

But let us test the challenge which has been offered by Mr. Scott, of comparing the buildings of "the very infancy of modern civilization" with those of the present day. Here is a house, ranking no higher than a gate-lodge, which, from a striking similarity of outline with the manor-house of the thirteenth century, may be contrasted therewith. The rude internal arrangement of houses of that period has been already described. Instead of a central chimney, rising over an open place, the middle of the roof is occupied by a group of chimney-shafts, communicating with each of the principal apartments. The house is of two stories, which are divided into six bed-rooms, a spacious living-room, a dairy, scullery, and closet. Every room is lit by a window, and the different shapes of the windows are made to contribute to the architectural elegance of the structure. The gables are extended beyond the walls, their extremities being brought to rest upon simple pillars, adding considerably to the beauty of the building, by throwing deep accidental shadows upon the walls, without burying the whole in

* Brook's "Cottage and Villa Architecture."

CONVENIENCES IN A MODERN COTTAGE.

265

shade. The projection, being continuous, protects the walls from wet, and affords a dry passage around the house in rainy weather. The windows on the ground-floor are placed low, so that light is not obstructed by the overhanging roof, while those above are either placed in gables or in the roof itself. Thus, in a mere cottage, in comparatively little space, the modern architect manages to combine internal comforts and conveniences, many of which were unknown even in the best houses of the Middle Ages. What we claim for modern architecture is, that

it has brought into the humblest dwellings of the people all the conveniences of the best buildings of ancient times, with many additions thereto everything, in fact, but their great dimensions-and it has accomplished this without necessarily sacrificing the beauty of the edifice. Wherever architectural design is in fault, the explanation may generally be sought for in causes wholly independent of the skill of the architect, or the aspirations of the times.

* The design of Francis Goodwin, author of "Rural Architecture."

As an example of the street architecture of the present time, we may invite attention to the buildings recently erected for the Sovereign Life Offices, St. James's, Piccadilly, a style which is daily extending, and supplanting the deformities of the old thoroughfares. Not only is

THE UNION INSURANCE OFFICES, CHANCERY LANE.

external decoration adequately regarded in these new buildings, but every attention is paid to internal economy, and to safety against fire. Few houses are, at this time, erected in the streets of London without

268

MODERN STREET ARCHITECTURE.

some attempt at decoration. The building of which we now give a view was designed by Mr. Horace Jones, architect. The fronts of the ground and mezzanine floors, and the cornices and dressings to the upper part are executed in Caen stone; the facing of the upper part is of Bath stone. The lower portion of this building is devoted to the uses of the Sovereign Office. The ground-floor contains the public office, secretary's and strong-room; the mezzanine floor, the board-room and lobby, directors' waiting-room, etc., and the medical officers' room; the basement contains washing-rooms for clerks, a second strong-room, housekeeper's apartments, and cellarage; the three upper floors are three separate sets of chambers, with three rooms, and requisite convenience to each set.*

Buildings of this type are constantly multiplying, not only in the more aristocratic neighbourhoods, but in the very centres of business localities: witness the new cdifices in Fleet Street and Chancery Lane, and the vast improvements in New Cannon Street, where the depôts of our merchants rise, not merely with the dimensions of the palaces of old, but with a solidity and grandeur which do honour alike to the wealth of the world's metropolis, and the science and skill of its architects and builders.

It has generally been objected to brick buildings, that their monotonous and gloomy appearance was ill calculated to give dignity to the aspect of our cities. Tavistock Chambers, represented in the following illustration, has been recently erected from the designs of Mr. Charles Gray, who has paid much attention to the adaptation of brickwork to street architecture. The fronts are faced with yellow malm bricks, and the gauged arches to the windows, cornice, and other parts are executed in red and black bricks. The ground-story throughout is built of red and yellow bricks, constructed in alternate courses. The string-course to the third story is ornamented with Minton's porcelain tiles, and the whole of the dressings to the windows, the porch, entrance, shafts, and caps of columns are executed in Bath stone. We have the assurance of the architect, that the total cost of the ornamental brickwork and stone dressings of this building did not exceed in amount the ascertained cost of covering the building with stucco, and the cement decorations generally put on a building of a similar class.†

It is unnecessary, we think, to do more than call attention to the excellent suburban residences of our gentry, and the merchant and *The Builder newspaper.

+ Ibid.