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CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
NA2600.P9T"""'"""'"-"'"^ 
 
 Studies in architecturai styie, 
 
 3 1924 008 728 978 
 
 DATE DUE 
 
OLiN '■ 
 
V, 
 
 Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924008728978 
 
STUDIES 
 
 IN 
 
 AECHITECTUEAL STYLE 
 
 BY 
 
 RICHARD POPPLEWELL PULLAN, F.RI.B.A. 
 
 15, BUCKINGHAM STEEET, STEAND 
 
 1883. 
 

 CORNELL 
 
 I.UJMIl/ERSITYl 
 
PEEFACE. 
 
 I HAVE termed the accompanying collection of designs, " Studies," because, although 
 some of them have been executed and others submitted in competition, the greater 
 number of them are simply sketches made for the purpose of exhibiting the various 
 phases of architectural style. 
 
 As a whole, they tend to illustrate certain general principles which I have 
 always maintained ought to form the basis of all good architectural design. The first 
 of these is that certain styles are best suited for certain requirements ; for instance, 
 that the Gothic, or its roots and offshoots, such as Byzantine and Romanesque — whether 
 Teutonic, Norman, or Lombard — is best suited for churches and other buildings of 
 ecclesiastical character ; — that the Italian or French Renaissance is the most suitable 
 for public offices and such-like edifices in which light and air are the chief necessities ; 
 — and that the pure Classic, Greek or Roman is best for museums and other buildings 
 of a monumental character where dignity of effect has chiefly to be studied. 
 
 This seems to me a common-sense view, although it is opposed to the opinions 
 of those specialists who belong to either the Classic or Gothic schools, and more 
 especially to those of the Eclectic school, whose efforts to produce a nineteenth-century 
 style of architecture has resulted in designs which are medleys of the details of all 
 periods, and which are offensive to the man of educated taste, — who can recognise the 
 origin of every detail, — ^though they are tolerated by the general public, who are natu- 
 rally ignorant of a subject which it takes a whole lifetime to master. 
 
 Although I share with the Gothic school their intense admiration of the varied 
 and beautiful forms of the architecture which they practise exclusively, I cannot admit 
 the soundness of the argument they advance for its universal adoption — viz., that it 
 is our only national style ; — for this can only be affirmed of one period of it, — the 
 Perpendicular, — which alone is not to be found out of England, and which is but 
 sparingly used by them. The Gothic generally employed contains so many details 
 borrowed from French, German, and Italian buildings that it cannot be considered 
 pure, nor in any sense national. Amongst the numerous new churches erected in 
 London during the last five-and-twenty years I suppose there are not twenty that 
 are thoroughly English in general design, and details. 
 
 The Gothic styles are, as a rule, unsuitable for large public buildings requiring 
 much light and air, — especially when in confined situations. There is, however, one 
 notable exception — the Houses of Parliament. This magnificent palace, designed in our 
 really national style, standing on a free and open site, with sufficient uniformity to give 
 it dignity, and sufficient variety in the grouping of its towers and spires to give it 
 
( 4 ) 
 
 picturesqueness, in every respect suits the purpose for which it was intended, and is, 
 without exception, the finest building of inodern times. 
 
 The Classic men, on the other hand, can see no beauty in Gothic forms, and if 
 called upon to design a church, would prefer to produce one on* the lines of a basilica 
 in place of taking one of our stately minsters or simple parish churches for their 
 model. 
 
 Those architects who strive after novelty abhor the term " style," and profess 
 to despise those who adhere to precedent as mere copyists. They say that we ought 
 to cast off the trammels of bygone ages and invent an architecture of our own, on- the 
 ground that there can be no originality or variety in our buildings, if we in any way 
 imitate ancient examples. In reply to this it may be asserted that all the great 
 architects of preceding times — Michael Angelo, Raffaelle, Sansovino, Inigo Jones, and 
 Sir Christopher Wren — designed edifices of infinite variety and beauty, based upon 
 Classic forms. The palaces of Rome, Geneva, Vicenza, and Venice differ from one 
 another in general design and detail, and all bear the stamp of originality ; whereas 
 the efforts of the Eclectic school in England have resulted for the most part in 
 a reproduction of a degraded caricature of Classic forms used in the Low Countries, 
 in which sharp angle pediments, stunted or elongated columns, and outrageous mould- 
 ings are heaped together without the slightest regard to proportion. 
 
 It is to be hoped that this phase of fashion, together with its concomitant 
 craze for gimcrack furniture and dull colours, has had its little day, and that it, together 
 with everything falsely termed aesthetic,* will disappear before the reviving taste for 
 what is classical, correct, and academical in art and literature, f 
 
 Another principle which I venture to advocate is that a certain amount of 
 symmetry as regards the whole and of proportion as regards the constituent parts of a 
 building are essential to all good architecture, Gothic as well as Classic, for without 
 these architecture is but bad building. 
 
 It is an easy matter to make an elevation to suit an irregular plan, to put pic- 
 turesque doors and windows here, there, and everywhere, without regard to symmetry ; 
 but it is a most difficult task to design asymmetrical elevation to suit a convenient 
 plan. Symmetry is, as a rule, scouted by most architects of the Gothic School in 
 favour of the picturesque ; yet almost all the larger public buildings of the Middle 
 Ages were to a certain extent symmetrical. Such are the Town Halls of Brussels, 
 Ypres, and Louvain. Thus, the studied irregularity of many of our large Gothic public 
 buildings is a defect instead of a merit, a mark of inferiority instead of ability, on the 
 part of the designer. 
 
 * The teiTu " aesthetic" relates to a perception of the beautiful. A person of aesthetic taste is 
 one who can admire the perfection of form in the Venus of Milo and the Apollo Belvedere ; that of pro- 
 portion in the Parthenon and Salisbury Cathedral ; and that of bright colouring in the decorations of 
 the Alhambra and the pictures of Fra Angelico. He, on the contrary, who adores the realistic as seen 
 in the pictures of Teniers and the Death of the Pig in the late Paris Salon, who admires the corruption 
 of classical forms in Dutch architecture, and who dehghts in dull and muddy colours, is " anti- 
 aesthetic," and a worshipper of the ugly and vulgar. 
 
 t The popularity of Professor Newton's lectures on Classic Art at University College, the illus- 
 trations of classical costumes and customs, witnessed by thousands of the most enlightened people of 
 the day, in the Tale of Troy, performed at Lady Freake's, and the warm support given to the scheme 
 for estabUshing an archaeological school at Athens — all show the tendency of taste in this direction 
 
( 5 ) 
 
 As to proportion, Viollet le Due, the most profound student of Gothic build- 
 ings, has proved that all the chief cathedrals and churches of mediaeval times were 
 designed upon certain principles of proportion indicated by triangles (see the article 
 on Proportion in his " Dictionnaire de F Architecture "). The Cathedrals of Amiens, 
 Paris, Bourges, the Sainte Chapelle, and many other buildings, were undoubtedly 
 designed upon some such system, and it may be safely asserted that nothing gives such 
 an idea of the unity of design as the observance of certain fixed rules of proportion 
 throughout. 
 
 It is true that some men are endowed with such an eye for proportion that rules 
 are hardly necessary for them; Of such was the late Sir Charles Barry, who, no doubt, 
 owed much of his success to his possession of this great gift. All his works bear 
 witness to the correctness of his eye for proportion. He was not only the most 
 successful, but the greatest architect of modern times — no pettifogging specialist, but 
 one of broad and liberal views, who had the good sense to select the style most suit- 
 able for the building he had to design. 
 
 In the arrangement of the following plates, those of ecclesiastical architecture 
 come first, placed chronologically as to style — Romanesque, Byzantine, ■ Lombard, 
 First Pointed, Geometrical, Decorated, Perpendicular, and Renaissance. In the second 
 division the designs for secular buildings are arranged for the most part in order, 
 according to the periods at which they were executed. 
 
 At the end of the first division will be found a series of sketches of designs 
 for ecclesiastical furniture. 
 
 In all other countries but our own it has been the custom of the architect to 
 design the furniture for churches and houses. In England unfortunately this system 
 has not been adopted. At the time of the Gothic revival, when hundreds of churches 
 were built or restored, there was necessarily a great demand for fonts, pulpits, dossels, 
 screens, &c. And either because the architects were not competent to furnish designs, 
 or on account of the client's unwillingness to pay an extra five per cent., there arose a 
 class of manufacturers of ecclesiastical furniture who soon drove a roaring trade, 
 much to the detriment of the architectural profession — for donors of plate, vest- 
 ments, and furniture and decorations, — from economical motives, — generally made their 
 selection from the stock pattern-book of the manufacturer ; consequently our churches 
 became museums of various styles. It is not uncommon to see the reredos, pulpit, and 
 font in different styles — centuries apart as to date — in one church. Even architects 
 themselves, to save trouble, or because they could not obtain an additional percentage 
 for their designs, have been known to furnish their churches from the collection of 
 the ecclesiastical art manufacturer. 
 
 As regards house furniture, matters were even worse. As the architect was 
 content to leave his client with bare walls,, the client either indulged his taste by 
 forming an " omnium gatherum " at a bric-^-brac shop, or went in for the gimcrack 
 furniture of the period. We find Classical, Gothic, and Italian mansions abounding 
 with chairs, tables, bookcases, and wonderful erections over chimney-pieces in one 
 uniform style called the " Queen Anne," but really the Dutch — Boerish or boorish. 
 
 That rara avis, the man of consummate taste, if he built a house in good style, 
 
( 6 ) 
 
 would not be satisfied unless his furniture and decoration were in keeping. He would 
 not trust to the judgment of the upholsterers for his furniture, and order it by the 
 cartload, any more than he would order his pictures by the yard. But he would 
 employ the architect of his house, pay him well, and tell him to lavish as much study 
 on the furniture as on the house itself This system would cost him money, but the 
 interior of his house would then be faultless. The best architects have always attended 
 to the matter of furniture. Mr. Burges was especially particular in this respect, and 
 carried out the principle of thoroughness to such an extent, that in his own house the 
 tables, chairs, wardrobes, bedsteads, and even knives, forks, and spoons are in the style 
 he chose for his house itself — that of the thirteenth century. 
 
 The objection to the employment of the architect to design the furniture is 
 principally the expense. Five per cent, on the cost of a rich wardrobe would not pay 
 for the drawing required, consequently the custom has been to charge ten per cent., 
 as the drawings for an elaborate piece of furniture take as much time as those for 
 a house, and the cost of the former is, of course, infinitely smaller than that of 
 the latter. 
 
STUDIES IN AECHITECTUEAL STYLE. 
 
 PART L— ECCLESIASTICAL. 
 
 Plate 1. — Bay op a Romanesque Church. 
 
 The primitive plan of the church was that of the basilica, or Court of Justice. It 
 was extremely simple, consisting of a wide nave divided from the aisles by colon- 
 nades, and an apse at the end where stood the altar (this -was not always the east end, 
 for the basilicas of Rome were not, as a rule, orientated), and a narthex and atrium 
 at the opposite extremity. Of this description are the basilicas of St. Paul's-without- 
 the-Walls, Sta. Maria Maggiore, and San Lorenzo at Rome. In the later churches, 
 such as St. Agnese and San Clemente, arcades were substituted for colonnades. This 
 change took place in the fifth century. The Cathedral of Nervi presents a curious 
 example of the transition from the architrave to the semicircular arch. There the 
 arches are flat. 
 
 The basilican type was foUowe'd in Italy up to the latest times. Owing to the 
 simplicity of the architecture, whatever richness the basilican churches exhibited was 
 owing to the use of varied marbles for the columns and wall linings, and of mosaic and 
 fresco above them, as in Sta. Maria Maggiore. The spaces above the arches were 
 occasionally adorned with processional figures, as at St. ApoUinare at Ravenna. The 
 windows had no glass, but in its place, slabs of pierced marble. Examples of these 
 may still be seen in the crypt of San Martino in Rome, and elsewhere. 
 
 Plate 2. — Bay op a Byzantine Church. 
 
 In the Byzantine churches the plan was considerably altered, for although the 
 churches erected by Constantine at Constantinople and in the Holy Land were on the 
 basilican plan, those built by Justinian were on the form of the Greek Cross ; and in 
 later times, at Salonica and elsewhere, we find almost every variety of plan. 
 
 This style admitted of even greater richness of decoration than the 
 Romanesque. In place of the carved mouldings of the cornice were substituted 
 bands of coloured mosaics, replacing architraves, archivolts, friezes and cornices ; and 
 the domical surfaces were resplendent with figures and architectural compositions, such 
 as we see at St. George's, Salonica. 
 
 On account of the necessity for very thick walls and massive piers to support 
 the domes, the Byzantine style is so expensive in application, that it is rarely used for 
 modern churches. 
 
( 8 ) 
 
 Memorial Church at St, Petersburg. 
 
 The Corporation of St. Petersburg being desirous of erecting a monumental 
 church on the spot where the late Emperor Alexander II. was murdered, invited 
 designs from architects of all countries in 1882. 
 
 The site for the proposed edifice was entirely open, adjoining a park. In the 
 instructions it was stipulated that the exact spot where the Czar fell — which was 
 within a few feet of a canal — should be included within the sacred edifice. The 
 church was to be large enough to contain a thousand persons standing, it not being 
 the custom in the Greco-Russian Church for the congregation to be seated. 
 
 I considered this would offer an unique opportunity for the erection of a church 
 in the pure Byzantine style — in the mother style of the Greek Church, — and so 
 arranged the plan, with atrium and narthex, — that the Emperor's monument — a high 
 cross, like those Saxon crosses that are to be seen in some of our churchyards — should 
 be at the west end of the atrium, enclosed by a stout grille, so as to be visible to the 
 passers by, as well as to those who were within. 
 
 The Corporation, however, preferred a design in the modern Russian style. 
 
 Plate 3. — Memorial Church, St. Petersburg. 
 
 General view from the west. The only feature in the design not purely 
 Byzantine is the conical spire. 
 
 Plate 4. — Memorial Church, St. Petersburg (Ground Plan). 
 
 Plate 5. — Memorial Church, St. Petersburg (West Elevation). 
 The fagades were to be adorned with mosaic and marble inlays. 
 
 Plate 6. — Memorial Church, St. Petersburg (South Elevation). 
 
 Plate 7. — Memorial Church, St. Petersburg. 
 
 1. East Elevation. 
 
 2. Transverse Section through the Dome. 
 
 Plate 8. — Sections through the Atrium. 
 
 Plate 9. — Views op Churches at Bavbno and Pontresina. 
 
 Baveno Church. — This is an octagonal church in the Lombard type of Roman- 
 esque, erected by Mr. Henfrey, in the grounds of the villa which he lent to Her 
 Majesty during her sojourn on the Lago Maggiore in the spring of l'882.- The choice 
 of an octagon for the plan was partly necessitated by the nature of the site, which 
 did not admit of a building in the form of a parallelogram. There are examples of 
 Lombard churches of this form, such as those of San Tomaso, near Bergamo. 
 
 The church is constructed of white marble, with alternate courses of Baveno 
 granite. The internal columns are granite monoliths, the colonnettes are of black 
 
( 9 ) 
 
 marble, the whole of the interior is polychromatised, for the most part in positive' 
 colours, and it illustrates what I, maintain is the correct principle of decoration. (See 
 my pamphlet, " Remarks on Church Decoration.") 
 
 Church at Pontresina. — During a visit to this charming spot in 1872, proposals- 
 were made for the erection of a small church for the English community. We got up 
 a committee, and, as funds were not very flourishing, I offered to give the designs. 
 However, the matter remained in statu quo until the year 1880, when the Rev. A. J. 
 Ayre, of St. Mark's, North Audley Street, took up the matter very warmly, and as by 
 that time the English visitors had tripled in number, he asked me to design a much 
 larger building. This larger edifice was consecrated in August, 1882. The walls are 
 of local stone, but the piers, nave arches and clerestory are of pitch pine, which 
 gives a novel character to the interior. 
 
 The altar frontal (see Plate 48) was the gift of H.R.H. the Princess Christian,. 
 and it was worked by the ladies of the South Kensington School of Needlework. 
 
 Plate 10. — Baveno Church. 
 Interior view from the Architect. 
 
 Plate 11. — Baveno Church. 
 
 Details of ornament: 1, 2, 3, Spandrels above the nave arches; 4, 5, Scrolls 
 on the roofs painted on the natural wood ; 6, Diaper on the walls of the nave. 
 
 Memorial Church, Constantinople. 
 
 This design was sent in competition for a church to be erected at Pera in 
 memory of the officers and soldiers who were killed in the Crimean war. 
 
 As I had visited Constantinople and the Crimea during the war, I naturally 
 took a keen interest in this competition, and prepared a plan to suit the requirements of 
 the climate. The north wind from the Black Sea blows constantly during the 
 summer months, and tends to moderate the great heat, consequently the windows were 
 made large on the north side to receive the breeze, and small on the south side to keep 
 out the sun. 
 
 This design received special mention from the judges appointed, by the S.P.G. 
 Professor Willis, Sir Charles Anderson, Mr. Beresford Hope, &c. Mr. Burges 
 received the first prize, but Mr. Street, who received the second prize, eventually 
 obtained the building. 
 
 I submitted two designs, one less expensive than the other. 
 
 Plate 12. — Memorial Church, Constantinople (View of Design No. 1 from S.E.). 
 
 Plate 13. — Memorial Church, Constantinople (Transverse Section). 
 Plate 14. — Memorial Church, Constantinople (View of Design No. 2 from N.E.). 
 
 Plate 15. — Memorial Church, Constantinople (Transverse Section). 
 
 Lille Cathedral. 
 
 In 1856 there was an international competition for a cathedral to be erected at 
 Lille. The judges were the most eminent antiquaries in France, Belgium, and Ger- 
 
 B 
 
( 10 ) 
 
 many, and a deputation from the Ecclesiological Society was sent on the invitation of 
 the Committee to represent England. This deputation pronounced the accompanying 
 ■design submitted by Mr. Evans and myself " worthy of consideration for the second 
 if not the first prize " (see their Eeport in the " Ecclesiologist " for April and June, 
 1856). The committee, however, did not act upon this report, but gave the first 
 prize to Messrs. Glutton and Burges, the second to Mr. Street, and the third to M. 
 Lassus, of Paris. This design obtained a silver medal. The following qualities were 
 claimed for it — 
 
 1. Compliance with the programme. 
 
 2. Unity of style (that of the first half of thirteenth century French Gothic 
 was specified). 
 
 3. Richness of effect with simplicity of detail. 
 
 4. The employment of a true principle of proportion throughout similar to that 
 used in Westminster Abbey, Amiens Cathedral, and the Sainte Chapelle. 
 
 The building was to be of brick with stone dressings. 
 
 Plate 16, — Lille Cathedral (Ground Plan). 
 The scale annexed will serve for the elevations and sections. 
 
 Plate 17. — Lille Cathedral (West Elevation). 
 
 Plate 18. — Lille Cathedral (East Elevation). 
 
 Plate 19. — Lille Cathedral (North Elevation). 
 Plate 20. — Lille Cathedral (Longitudinal Section). 
 Plate 21. — Lille Cathedral (Transverse Sections). 
 
 Plate 22. — Lille Cathedal (Diagrams). 
 
 Illustrating the Geometrical principle on which it was designed. The same 
 angle gives all the principal points in the plan elevations and sections. An identical 
 angle seems to have been used in the designs for the cathedral of Amiens, Westminster 
 Abbey, and other contemporary buildings of the thirteenth century. For further 
 illustrations of this principle see my " Lectures on Christian Architecture." 
 
 Plate 23. — Lille Cathedral. 
 
 Elevation of a portion of the north side, showing the application of the principle 
 on a larger scale. 
 
 Plate 24.— Lille Cathedral (Principal Doorway), 
 
 The subject of the sculpture in the tympanum is the Last Judgment. Angels 
 holding emblems of the Passion occupy the niches in the voussoirs. The figures below 
 are those of St. Longinus, St. Helena, &c. 
 
( 11 ) 
 
 Plate 25. — Lille Cathedral (Organ Gallery and Stoup). 
 
 It was proposed to place the larger organ, as in most cathedrals, at the west- 
 end. The entire design for it may be seen in the Transverse Section, Plate 21. 
 
 Plate 26. — Lille Cathedral (Altar and Baldachin). 
 
 The altar is shown of stone with a chest for relics beneath it, and on it stands 
 a rich tabernacle for the reception of the Host. The whole is surmounted by a 
 baldachin, supported by columns, in front of which stand figures of the Pour Evan- 
 gelists with their emblems beneath. The whole was intended to be richly decorated 
 Avith colour. 
 
 > 
 
 Plate 27. — Lille Cathedral (Font with Lofty Wooden Cover). 
 
 Plate 28. — Lille Cathedral (Pulpit). 
 The sculptures relate to the Passion of our Lord. 
 
 Plate 29. — Lille Cathedral (Stalls and Banc d'OEuvre). 
 The latter is a sort of churchwarden's seat placed in the nave. 
 
 (I 
 
 Plate 30. — Lille Cathedral (Organ). 
 
 The upper part of the organ is shown. It is ornamented with figures of angels 
 playing upon musical instruments. 
 
 Plate 31. — Lille Cathedral (Grilles). 
 
 These are screens of metal work, enclosing the choir and various chapels. 
 1 and 2, Choir screen and details ; 3, 4, Chapel screens and details. 
 
 Plate 32. — Lille Cathedral (Pavement of the Sacraridm). 
 
 This was to be a dallage like that at St. Omer. In the circle in front of the 
 altar is a figure of the Church, in the circle, nearest to the centre, there are repre- 
 sentations of the Virtues, and in the outer circle, of the Vices fleeing. 
 
 Plate 33. — St. John's Church, Hawarden. 
 
 This is one of the first churches in the country that was thoroughly decorated 
 with polychromy. The designs were made in 1848, and the drawing from which the 
 plate was taken was subsequently exhibited in the Royal A cademy. 
 
 My design was modified in execution by the introduction of tempera pictures 
 which, together with the other decorations, were executed by Rev. J. Troughton, the 
 Incumbent. I am not responsible for the architecture, as the church was, built some 
 years previously by Mr. Buckler. It is Early English in style. The decorations are 
 somewhat later in style, therefore the plate is introduced in this place. 
 
( 12 ) 
 
 Truro Cathedral. 
 
 In the spring of 1878, seven architects — viz., Messrs. St. Aubyn, Bodley and 
 Garner, Surges, Pearson, Scott, Street, and myself— were invited to submit drawings 
 of churches to the Committee for the erection of a cathedral at Truro. Mr. St. 
 Aubyn, Mr. Bodley, and myself were the only architects who prepared special designs 
 for the purpose. Although no sum was officially stated as the cost of the building, I 
 heard incidentally that £70,000 was about the amount expected to be collected. I 
 accordingly made a design for a building that could be erected for that sum, 
 which was really much below the amount eventually I'aised. In order to give 
 dignity to the interior, I omitted the triforium and employed a small clerestory, 
 thus gaining height for the piers and arches. The Early Decorated style was chosen, 
 because it admitted of the use of Cornish and Devonshire marbles in the detached 
 shafts of the main piers and in the windows. These detached shafts would not be 
 admissible in the later styles of architecture. 
 
 The site was confined as to width, as it was bounded by two roads ; hence the 
 necessity for an elongated plan, without a projection for the Chapter House. 
 
 Mr. Pearson was eventually chosen to be the architect, and he has produced a 
 design for an edifice which will be an honour to our country. 
 
 Plate 34. — Truro Cathedral (Ground Plan and Transverse Sections). 
 
 Plate 35. — Truro Cathedral (West Elevation). 
 
 Plate 36. — Truro Cathedral (South Elevati9n). 
 
 Plate 37. — Truro Cathedral (Longitudinal Section). 
 
 Plate 38. — A Bay op a Church without Aisles, 
 
 In the Italian Gothic style of the thirteenth century, decorated after the fashion 
 of the Arena Chapel at Padua, — Giotto's greatest work. The subjects of the pictures 
 are — The Adoration of the Magi, Christ disputing with the Doctors in the Temple, 
 the Baptism of our Lord. 
 
 The seated figures in the dado are symbolical of the Christian virtues. 
 
 Plate 39. — Sketch op a Group of 13th Century Churches, 
 Showing the various forms which were most common at that period. 
 
 Hawarden Church, Flintshire. 
 
 In the year 1856 I was commissioned by the late Sir Stephen Glynne, — the first 
 archaeologist of his day, — to prepare plans for the restoration of his parish church, 
 which was a building in the Perpendicular style. Shortly after the plans were pre- 
 pared and approved, I was appointed architect to the Boudroum Expedition, 
 and during my absence in the East, Hawarden Church was burnt down, and Sir 
 Gilbert Scott was called in to rebuild it. This he did in the Decorated style of the 
 thirteenth century. The views show the alterations I proposed, viz., the substitution 
 of new roofs and windows to suit the character of the then existing parts of the edifice. 
 
( 13 ) 
 
 Plate 40. — Hawakden Church (View looking. East). 
 Plate 41. — Hawarden Church (View looking West). 
 
 Plate 42. — Renaissance Church. 
 
 This IS a study for the decoration of the chaacel arch and apse of a large 
 Renaissance Church in the Italian style of the sixteenth century. The subject chosen 
 is the Last Judgment. In the tympanum is our Lord surrounded by Saints and 
 Angels ; in the frieze, Angels separating the Wicked from the Good ; and in the 
 spandrels, the Resurrection and the Doom. 
 
 St. Paul's Cathedral, London. 
 
 When the Committee for the Restoration of St. Paul's decided not to employ 
 an architect, but to fall back upon a model left by Stevens, the sculptor, for the 
 adornment of the dome of St. Paul's, I proposed to my friend, Mr. Heath Wilson, 
 of Florence — (who had been employed by the Commission for the decoration of the 
 Houses of Parliament in 1844 to report upon the fresco decorations of Italy) — that we 
 should conjointly prepare a design, of thoroughly architectural character, based upon 
 the Te Deum, which seemed more appropriate than the Apocalypse, — the subject chosen 
 by the Committee as the theme for their project, — and that we should submit our 
 design to the Committee and to the public. 
 
 A large drawing, one-eighth the size of execution, was accordingly prepared. 
 This was exhibited in the Egyptian Hall, also at the Institute of Architects, where I 
 read a description of it, too long to be given here, but which may be found in the 
 " Transactions of the Royal Institute of British Architects " for December, 1882. 
 
 Plate 43. — St. Paul's (Design for the Decoration of the Dome). 
 
 The following extracts are from a description of our design written by Mr. 
 Heath Wilson : — 
 
 " We have prepared a drawing — one-sixth of the full size — of an eighth part of the dome. 
 We propose to divide the entire circle into eight equal parts by means of ribs, richly decorated 
 and of considerable proportions. They spring from eight thrones, on which are seated figures 
 of prophets, which, if erect, would be eighteen feet in height. These would form noble themes- 
 for a great artist's powers of design, admitting of exalted idealism and thoughtful action, 
 combined with religious sentiment and fervour. The angels erect over the thrones with 
 extended wings atid hands . pointing heavenward, typify the union of the prophets with the 
 spiritual world. Considered in a decorative sense only, these angels placed like statues round 
 the dome resemble each other, yet with some variety of action, whilst their brilliant garments 
 and wings contrast with the rich dark tones of the ribs. These dividing ribs bend inwards 
 towards a common centre ; they have foliated capitals at their summits, supporting an arcade, 
 over which, surrounding the aperature of the dome, is an entablature adorned, in the frieze, 
 pendentives and arches beneath, with winged cherubs, seraphs, and appropriate decorations of 
 the usual forms and colours. We are unable to show the section of the visible portion of the 
 outer dome or of the lantern ; but we contemplate brilliant gold grounds to contrast with the 
 azure beneath, embellished with heads of angelic beings, and in the summit of the lantern, as 
 apex of the design, the Lamb as usually represented in Christian Iconography. 
 
 " The spaces between the ribs are occupied in the lower portions of the curve of the 
 dome, with an architectural composition in two zones consisting of a podium or basement with 
 
( 14 ) 
 
 a corridor above, intended in some measure to recall, but with much simpler forms, the general 
 design of Sir James Thomhill, which may have been approved by Sir Christopher "Wren. This 
 structure, with a baldachin in each central space, is meant to serve as background to the 
 figures which throng this portion of the cupola. An Apostle is enthroned under each 
 baldachin. 
 
 " • The glorious company. of the Apostles praise Thee.' 
 
 The Martyrs are grouped on each side, and in front of the basement. 
 
 " ' The noble army of Martyrs praise Thee.' 
 
 The architectural forms, the ascending aerial perspective of which we have graduated with 
 much care, reHeve against the pure azure of the whole upper curvative of the dome, on which 
 we depend in a considerable measure for the beauty of this part of the design. As the azure 
 descends, it becomes paler till it melts into pure white. On the surface of this azure are 
 arranged, rank above rank, illustrating the verse of the hjrmn — 
 
 " ' To Thee all angels cry aloud.' 
 
 Eecalhng an arrangement in the cathedral of Orvieto, it occurred to us, in this also following 
 more ancient examples, to place the virgin martyrs apart. They stand under the corridor ; but 
 we would again remark that these figures are not arranged in a final and arbitrary manner. 
 Our design is a first composition in which we have been more impressed with the importance of 
 demonstrating the great leading principles of monumental and decorative art, than in fixing any 
 precise selection of verses from the hymn itself in this first essay. We have introduced angels 
 and other powers of heaven, apostles, prophets, and martyrs, as appropriate and as eminently 
 suitable for pictorial or decorative treatment ; but we are conscious that other noble themes 
 present themselves, especially the verse, ' The Holy Church throughout all the world doth 
 acknowledge Thee.' This subject, but for press of time, would have received our earnest 
 attention and study, for when we consider the vast extent of the British empire, and the 
 number and variety of races under its sway, we are sensible of the fitness of recalling in our 
 principal national temple the great national duty of the gathering-in of these peoples, and the 
 verse which we have quoted offers a magnificent subject for illustration, and for introducing 
 members of various races of mankind to be 
 
 " ' Numbered with Thy saints in glory everlasting.' 
 
 We, however, propose that ' The Holy Church throughout all the world ' shall be represented 
 by processional figures of various periods and costumes on the drum of the dome below the 
 windows." 
 
 Ecclesiastical Furniture. 
 
 As I have before mentioned, there is often a lamentable want of accordance 
 between the style of our churches and that of their furniture. The following sketches 
 are of designs for the furnitui-e and fittings of ecclesiastical edifices, arranged accord- 
 ing to subject and date. 
 
 Many of them here have been published in a pamphlet I wrote at the 
 time of the controversy on the baldachin. That the baldachin or canopy over 
 the altar was used in the early ages of Christianity we have proof in the mosaics of 
 St. George's " Salonica," published by M. Texier and myself (see Byzantine Archi- 
 tecture, plates 30 to 34). In the eleventh and twelfth centuries the baldachino was 
 common in Italian churches. I have met with examples at Toscanella, Terracina, 
 Perugia, and elsewhere in buildings of those dates. Sir Christopher Wren was aware 
 that the baldachin was the crowning ornament of a basilica, and he left a design for 
 one to be erected in St. Paul's, which no doubt will be executed when the Cathedral is 
 completed. 
 
( 15 ) 
 
 Plate 44. — Altars. 
 
 This Plate shows a series of east-ends of Churches, with appropriate altars and 
 dossels of the twelfth and thirteenth centuries. 
 
 Plate 45. — Altars. 
 A similar series, of the thirteenth and fourteenth centuries. 
 
 Plate 46. — Baldachins op Various Dates (Romanesque, Byzantine, and Lombard). 
 
 Some of these are pseudo-baldachins — that is to say, canopies attached to the 
 wall. Others are French Gothic baldachins, of the thirteenth and fourteenth centuries. 
 
 Plate 47. — Altars. 
 Of the thirteenth, fourteenth, and fifteenth centuries. 
 
 Plate 48. — Reredos at Pontresina. 
 
 This is executed in pitch pine, and ornamented with painting on the natural 
 wood. The frontal shown is that presented to the Church by Her Royal Highness 
 the Princess Christian. 
 
 Plate 49. — Reredos at North Tuddenham (Norfolk). 
 
 The Church is early Perpendicular in style. The Reredos is of Bath stone, 
 with mosaic inlays. It was executed by Mr. NichoUs, of Lambeth, and the altar-cloth 
 by Messrs. Harland and Fisher. 
 
 Plate 50. — Fonts. 
 Two Fonts, with their covers. Thirteenth century. 
 
 Plate 51. — Pulpits. 
 Two stone Pulpits. Date, the first half of the thirteenth century. 
 
 Plate 52. — Pulpits. 
 
 One of stone the other of wood, on a stone basement. This Plate was originally 
 published in the Building News. 
 
 Plate 53. — Pulpits. 
 
 One of stone, and the other of wood decorated with painting ; the former for 
 the angle of a church, the other to project from the wall. 
 
 Plate 54. — Pulpits. 
 
 These are later in style, being of the second half of the thirteenth or beginning 
 of the fourteenth century. 
 
 Plate 55. — Lectern. 
 
 Three brass Lecterns. Twelfth and thirteenth centuries. 
 
( 16 ) 
 
 PART II.— SECULAR. 
 
 On j^ccount of the difficulty of classifying the following classical designs 
 according to the date and style, they are given for the most part in the order in which 
 they were executed. 
 
 Government Offices. 
 
 This great international competition took place in 1857. Two hundred and 
 eighteen sets of plans were sent in. Although one condition was that the motto 
 system should be adopted, the authorship of many a design was recognised by the 
 style of drawing, and that of others openly talked about. The Commissioners, instead 
 of acting upon the common-sense principle of deciding which style was most suitable 
 for the purpose, and rewarding the best designs in that style, gave prizes to the 
 authors of designs in Classic, Gothic, Tudor, and Renaissance styles indiscriminately ; 
 and, finally, the building was given to a distinguished Gothic architect, with the 
 proviso that he was to erect a building in the Italian style. 
 
 The accompanying design was classed amongst the twelve best by a foreign and, 
 therefore, probably an unbiassed critic. 
 
 The following extracts from my report describe its character : — 
 
 In consequence of the rooms in the Foreign ■ being larger than those in the War Office 
 and the ceilings and windows therefore higher, it has been thought advisable to separate them, 
 instead of uniting them in one vast quadrangle. It followed, as a matter of course, that a 
 similar system of arrangement should be adopted throughout. The necessity for Official 
 Eesidences attached to the Public Offices, and yet not overlooked by them, was also a reason for 
 the adoption of this system of separate Blocks, in preference to the quadrangular arrangement. 
 
 It is proposed that the present Treasury Buildings be partially retained, together with 
 some portions of the buildings behind, which look on to the Park. In this way there will be addi- 
 tional space gained in the vicinity of the Houses of Parliament, and there would be also room 
 for the erection of extra buildings, containing 37,606 square feet, to be appropriated as the 
 Commissioners direct. 
 
 The approximate number of square feet allotted to each Department, according to this 
 plan, would be 
 
 The Treasury, including Official Eesidences for the First Lord and for the 
 
 Chancellor of the Exchequer 
 The Foreign Office, including an Official Eesidence 
 The War Department 
 The Colonial Office... 
 The Home Office ... 
 The Paymaster-General's Office 
 The Exchequer Offices 
 The Board of Trade 
 The Privy Council Office 
 The Admiralty, Somerset House 
 The Board of Control 
 The Poor Law Board 
 The State Paper Office 
 The Office of Works 
 The Office of Woods ... ... ... ... '^^ 
 
 Civil Service Commission, &c. 
 
 The Charity Commission, &c. 
 
 The Ecclesiastical Commission 
 
 Copyhold, Inclosure, and Tithe Commission ... 
 
 The Emigration Office 
 
 Superficial Area 
 in Feet. 
 
 59,686 
 
 49,126 
 
 58,243 
 
 15,600 
 
 15,600 
 
 15,252 
 
 3,000 
 
 25,000 
 
 15,252 
 
 46,000 
 
 12,000 
 
 10,500 
 
 5,000 
 
 8,500 
 
 8,000 
 
 5,000 
 
 6,000 
 
 6,000 
 
 8,500 
 
 4,860 
 
( 17 ) 
 
 War Office. 
 
 The principle that has been chiefly kept in view in planning this building is that of 
 centralisation, as it has been considered an object of the greatest importance to preserve means 
 of direct communication between the head and subordinate departments. 
 
 The best situations have been given to the principal rooms ; the corridors are Hght, lofty, 
 and well ventilated. The instructions of the Commissioners have been very generally complied 
 vdth, and in the few cases in which variations occur, there is generally an increase instead of a 
 diminution of the space required. 
 
 Specification of Materials. — For the exterior, Portland stone, reheved by the introduction 
 of granite and British marble ; for the interior, haUs and staircases, Caen stone ; other walls 
 and partitions of brick. 
 
 Boofs. — ^Wrought iron with galvanised covering. 
 
 The system of Ventilation, the same as that described for the Foreign Office. Fire- 
 places are not shown on the plan, but they might be added by thickening the walls, the smoke 
 being carried up in the ventilating towers. 
 
 Style. — The style selected is Italian, of the Venetian type, which in some degree will 
 harmonise with Inigo Jones's Whitehall. 
 
 The author has endeavoured to avoid, on the one hand, copyism ; on the other, any 
 extravagant attempt at originality. 
 
 The decorative sculptures consist of trophies, which might be either of classical or modern 
 character. The niches in the various fronts are proposed to be filled with statues of our greatest 
 Naval and Military Commanders. 
 
 The sculptures in the pediment represent Britannia supported on her throne by Might 
 and Justice, surrounded by Admirals and Generals celebrated in English History. 
 
 Foreign Office. 
 
 The chief difficulty that presented itself in planning this building, was the necessity for 
 providing a residence of suitable size contiguous to the Public Offices, and vnthout being over- 
 looked by them, and for so arranging it that it should be compact and commodious, with good 
 aspects for the chief rooms, without shutting out the principal Offices from the Park ; these 
 objects have been gained by the arrangements in the accompanying plan. 
 
 The main feature in this plan is a Eeception Koom, 257 feet long by 30 feet wide. 
 
 Central situations are given to the Cabinet Eoom, Secretary of State's own Eoom, and 
 Foreign Minister's Waiting Eoom. 
 
 The Permanent and Parliamentary Secretary's Eooms form a Quadrangle by themselves 
 and adjoin the apartments of the Secretary of State. 
 
 Warming and Ventilating. — The mode of warming and ventilating has been taken into 
 consideration from the commencement of the design. It is proposed that there shall be two 
 boilers, communicating with warm air chambers — one for each floor. The cold air being 
 admitted by a flue from the exterior of the building will pass into the warm air chambers, 
 thence ascending the flues it will circulate through the corridors ; entering the various rooms 
 and passages behind the skirtings it will be generally diffused throughout them. The vitiated 
 air will be drawn off through perforations in the cornices into flues communicating with the 
 foul air shafts. These shafts being separated from the smoke flue by a thin partition of iron 
 only, the heat thrown out from it will cause sufficient draft to carry off the vitiated air. The 
 current might be accelerated by a second fire or a jet of steam. The flues from the various fire- 
 places to be carried up in the walls, and to join the smoke flues from the boiler houses. 
 
 General Specification of Materials. — It is proposed that the exterior of the building be 
 erected of Portland stone, backed up with brickwork ; that Caen stone be used for the halls and 
 staircases ; that all other walls and partitions be of brickwork ; that British marbles and 
 granites be inlaid in the places indicated in the drawings ; that the internal columns and 
 pilasters be of Devonshire marble, or of polished Peterhead granite. 
 
 Floors. — The floors of corridors to have rolled girders 6 inches deep, flat arches of hollow 
 brick, and to be finished with metallic lava. The floors of Principal Eooms to have girders of 
 
 C 
 
( 18 ) 
 
 Tolled iron 10 inches deep, with strong top and bottom flanges, ties five-eighths thick, thin iron 
 plating, and to be filled with pottery and boarded. 
 
 Boofs. — The roofs to be of wrought iron, framed as per drawings, and to be covered with 
 galvanised sheet iron. 
 
 Style. — The style chosen is Itahan, of palatial character, as being the best suited for 
 a building, of which a great part is appropriated as a residence. The busts in the East and 
 West fronts are intended to represent English statesmen of various periods who have been con- 
 nected with this department. The shields in the West front are to bear the arms of the 
 principal European Powers. 
 
 Plate 56. — War Office (View towards Whitehall), 
 
 Plate 57. — War Office (Ground Plan and First Floor Plan to half the scale 
 
 OF THE Elevations). 
 
 Plate 58. — War Office (Principal Elevation). 
 
 The sculptures of the pediment represent Britannia rewarding her naval and 
 military commanders. The spandrels between the windows on the ground floor are 
 ■ornamented with war trophies. 
 
 Plate 59. — War Office (Side Elevation). 
 
 Plate 60. — War Office (Back Elevation). 
 
 It will be perceived that these elevations are all symmetrical, and based on a 
 symmetrical plan, which met all the requirements of the Commissioners as to space. 
 
 Plate 61. — War Office (Longitudinal Section, showing the Corridors). 
 
 Plate 62. — War Office (Transverse Section, showing the Entrance Hall and 
 
 Approaches). 
 
 Plate 63. — Foreign Office (View towards St. James's Park). 
 
 This edifice, as it had to contain a detached Minister's residence, was naturally 
 not of so uniform a character as the War Office, from which it was proposed to be 
 separated by a street in continuation of a boulevard running through the Park and 
 terminating at Charing Cross. The street was to have a gateway to the Park, joining 
 the War and Foreign Offices. 
 
 Plate 64.— Foreign Office (Ground and First Floor Plans). 
 To the same scale as those of the War Office. 
 
 Plate 65.— Foreign Office (Elevation towards Park). 
 
 Plate 66.— Foreign Office (Side Elevation towards Park). 
 
 Plate 67.— Foreign Office (Side Elevation). 
 
 Plate 68.-Forei6n Office (Elevation towards intermediate Street). 
 
 Plate 69.— Foreign Office (Longitudinal Section). 
 
 Plate 70.— Foreign Office (Transverse Section). 
 
( l'^ ) 
 
 Liverpool Exchange Buildings, 
 
 The most important competition after that for the Government Offices was 
 that for the Liverpool Exchange Buildings, to be erected on three sides of a square. 
 Forty-four sets of drawings were sent in. 
 
 Plate 71. — Liverpool Exchange (Ground Plan). 
 
 The Exchange itself is here shown circular in plan, surmounted by a dome 
 resembling that of the Reading-room of the British Museum. 
 
 Plate 72. — Liverpool Exchange (Parts of the Elevation towards Nelson Square). 
 
 As the front was very extended, I thought that a single order embracing the 
 entire height would have the best effect, especially as the square in front would allow 
 the columns and entablature to be seen from a distance. 
 
 Natural History Museum, South Kensington. 
 
 In 1864 it was proposed to transfer the Natural History Collection from the 
 British Museum to South Kensington, and plans were invited for a suitable building 
 to receive them. My idea in submitting these plans was that the character of the 
 existing Exhibition galleries should be to a certain extent maintained, but that an 
 edifice of bolder character should be erected, consisting eventually of two wings, with 
 a large central dome connecting them. It was proposed that one wing only should be 
 erected at first, two storeys in height, with a central division the full height of the 
 building for large subjects ; the sides of ground floor and galleries being divided into 
 small compartments for objects in glass cases. This arrangement in some manner 
 resembles that of the South Kensington Museum, which is in all respects admirable. 
 The Museum for Patents was to occupy a pavilion at the extremity of the wing, 
 The other extremity was to be occupied by a large lecture theati-e. 
 
 Plate 73. — Natural History Museum, South Kensington, Ground and First Floor 
 
 Plan. 
 
 Plate 74. — Natural History Museum, South Kensington (View and Longitudinal 
 
 Section). 
 
 Plate 75. — Natural History Museum, South Kensington (Elevation and Sections). 
 
 The fa9ade was to be of terra-cotta, with moulded panels of ornaments, which 
 it was impossible to show on this small scale. 
 
 Glasgow Municipal Buildings. 
 
 There were two distinct competitions for this pile of buildings, which, on account 
 of the high prizes offered, were the most important contests of modern times. 
 
 The first was for elevations to be based on the plans of the Town Surveyor. 
 
( 20 ) 
 
 The second took place at a later period, and was for a complete design for the 
 edifice. 
 
 The instructions were carefully drawn up, and a professional assessor appointed, 
 who fortunately selected the best design to be carried out. 
 
 The following series of sketches for fagades arose out of the former competition. 
 They were not all suitable for the Glasgow Town Hall, nor intended to suit the plan 
 of that building, but were studies made to illustrate various applications of the classic 
 styles to smaller public buildings. I have ventured to class them under the heads of — 
 
 1. MoNosTTLE. — Signifying a fa9ade in which the order embraces the whole 
 height of the front, either with or without podium or attic. This is the most dignified 
 sort of composition ; I have, therefore, employed it in my final designs for Glasgow 
 Town Hall, for the Dublin Museum, and for the Liverpool Exchange. See Plates 
 72, 87, and 90. 
 
 2. DuosTTLE. — Where the orders are superimposed, as in the elevations of the 
 Foreign Office, and in designs on Plates 82 to 84. 
 
 3. Triastyle. — Where there are three orders in the fajade, as in designs for the 
 War Office, and also in designs Plates 85 and 86. 
 
 These compositions are in various styles — Neo-Greek, Roman, Italian, and 
 French Renaissance, and what may be called the modern or thoroughly English 
 adaptation of classical forms as used by Sir J. Vanburgh and Sir C. Wren. 
 
 Plate 76. — Study for a Facade (Monostyle). 
 
 Plate 77. 
 
 Plate 78. 
 
 Plate 79. 
 
 Plate 80. 
 
 Plate 81. 
 
 Plate 82. „ .. (Duostyle). 
 
 Plate 83. — Two Studies for FAgADES „ 
 
 Plate 84. — A Study for a FAgADE „ 
 
 Plate 85. „ . „ (Triastyle). 
 
 Plate 86. „ „ 
 
 Plate 87.— Glasgow Town Hall (Front and Side Elevations). 
 
 As the building was to be erected fronting a square, so that it could be well 
 seen from a distance, I came to the conclusion that a monostyle edifice on a pkin base- 
 ment, with a high attic and central tower, would be the most effective. The two side 
 elevations would be exactly alike, and the back elevation similar in arrangement. 
 
 .Plate 88.— Glasgow Town Hall (Perspective View from George Square). 
 
( 21 ) 
 
 Platb 89. — Glasgow Town Hall (Ground and First-floor Plans). 
 
 These plans are based upon those issued by the Council, with a few modifica- 
 tions to suit the elevations. These plans and the elevations were published in 
 the Architect. 
 
 Dublin Museum. 
 
 In September, 1881, the Commissioners of Public Works for Dublin issued 
 instructions to architects for plans for a large museum to contain 100,000 superficial 
 feet, to be allotted for the purpose of exhibiting collections of specimens of Zoology, 
 Geology, and Art. The site was adjoining Leinster House. It was regular in 
 form, with the exception of a branch adjoining the Lecture Theatre. A competition 
 of preliminary sketches was to precede a more limited competition by a select few. 
 This design was sent in amongst the sketches. 
 
 Plate 90. — Dublin Museum (Perspective View). 
 
 A Monostyle design of the Renaissance, with Greek character, seemed to me 
 the most suitable, for the same reason as at Glasgow, that it would have a more 
 monumental and dignified effect than if more broken up. 
 
 Plate 91. — Dublin Museum (Ground Plan). 
 
 Plate 92. — Dublin Museum (Elevation Towards the Court-yard op Leinster 
 
 House). 
 
 Plate 93. — Hamburg Town Hall (Plan and Elevation). 
 
 Castel Oleggio. 
 
 This is a large Italian villa, standing on the summit of the range which divides 
 the Lago Maggiore from Lago D'Orta. The Marquis dal Pozzo, to whom it 
 belonged, requested me to convert it into an English Gothic mansion. This I accom- 
 plished by recasing the whole edifice, placing doors in the quadrangle to give facility 
 for approaching the various apartments which, before the alteration, led from one to 
 the other in the usual Italian fashion — and by erecting chapel, offices, towers, and a 
 porte cochbre. The Marquis, who has more taste in architecture than most of his 
 compeers, visited England for the purpose of studying the Tudor mansions, and deter- 
 mined, as far as possible, to have all the details, even the furniture, as much as possible 
 in keeping with his castle. 
 
 Plate 94. — Castel Oleggio (View from the Chapel looking towards the Entrance). 
 From a photograph by Baumeister, of Stresa. 
 
 Plate 95. — Castel Oleggio (General View of the N. Front, with Plan). 
 
 Plate 96. — Queen's Robing-room, Houses of Parliament. 
 
 This design, though last on the list, was the first executed. In 1844 the 
 Commissioners for the decoration of the Houses of Parliament invited designs for that 
 
( 22 ) 
 
 object. Thinking that a scheme for the entire decoration of one of the chief apart- 
 ments would be most appropriate, I obtained the dimensions of the Queen's Robmg 
 Room, and so arranged it in compartments that it should contain pedigrees of all the 
 Royal families, beginning with that of the Conqueror, down to that of the House of 
 Brunswick. Alternately with compartments containing the pedigrees were others with 
 pictures of the most important events of each dynasty. This drawing exhibits one of 
 the longer sides of the room, and shows the pedigrees of the Normans and Plantagenets, 
 with pictures of the landing of Wilham the Conqueror, the entry of Richard into 
 London after his captivity, and Baliol doing homage to Edward I. Statues of the 
 most celebrated monarchs stand in niches, dividing the panels from one another. 
 
 This design — though it met with the approval of the Chairman of the 
 Commission — was not looked upon favourably by the architect ; for when I called on 
 Sir Charles — then Mr. — Barry, for the purpose of ascertaining his views on the 
 subject, he coolly told me that the competition was simply to ascertain " what talent 
 there was in the country," and that the architect alone would be employed to design 
 the decoration. 
 
LIST OF PLATE S. 
 
 PART I.— ECCLESIASTICAL. 
 
 eomanesqub 
 
 Byzantine 2. 
 
 Do 3. 
 
 Do 4. 
 
 Do 5. 
 
 Do 6. 
 
 Do. ., 7. 
 
 Do 8. 
 
 LOMBABD AND FiBST POINTED 9. 
 
 LOMBAED 10. 
 
 Do. 11. 
 
 13th Century 12. 
 
 Do. 13. 
 
 Do. 14. 
 
 Do. 15. 
 
 Gbometeical Decorated 16. 
 
 (13th Century). 17. 
 
 Do. Do. ... 18. 
 
 Do. Do. ... 19. 
 
 Do. Do. ... 20. 
 
 Do. Do. ... 21. 
 
 Do. Do. ... 22. 
 
 Do. Do. ... 23. 
 
 Do. Do. ... 24. 
 
 Do. Do. ... 25. 
 
 Do. Do. ... 26. 
 
 Do. Do. ... 27. 
 
 Do. Do. ... 28. 
 
 Do. Do. ... 29. 
 
 Do. Do. ... 30. 
 
 Do. Do. ... 31. 
 
 Do. Do. ... 32. 
 
 Do. Do. ... 33. 
 
 Do. Do. ... 34. 
 
 Do. , Do. ... 35. 
 
 Do. Do. ... 36. 
 
 Do. Do. ... 37. 
 
 Do. Do. ... 38. 
 
 Do. Do. ... 39. 
 
 Perpendicular 40. 
 
 Do. 41. 
 
 Eenaissance 42. 
 
 Do 43. 
 
 Do 44. 
 
 PLATES. 
 
 1. Bay op a Church. 
 Bay of a Church. 
 Memorial Church, St. Petersburg — View of Exterior, 
 
 and Transverse 
 
 Do. Do. Ground Plan. 
 
 Do. Do. West Elevation. 
 
 Do. Do. South Elevation. 
 
 Do. Do. East Elevation 
 Section. 
 
 Do. Do. Sections through Atrium. 
 
 Do. Do. ChurchesatBavenoandPontrbsina, 
 Bavbno — Interior. 
 
 Do. Details of Ornamentation. 
 Memorial Church, Constantinople. — ^ViEw of Exterior. 
 
 Do. Do. Transverse Section. 
 
 Do. Do. Design No. 2, Exterior- 
 Do. Do. Transverse Section. 
 Lille Cathedral — Ground Plan. 
 
 Do. Do. West Elevation. 
 
 Do. Do. East Elevation. 
 
 Do. Do. North Elevation. 
 
 Do. Do. Longitudinal Section. 
 
 Do. Do. Transverse Sections. 
 
 Do. Do. System of Proportion. 
 
 Do. Do. Detailed Elevation showing the 
 same. 
 
 Do. Do. Principal Doorway. 
 
 Do. Do. Organ Gallery and Stoup. 
 
 Do. Do. Altar and Baldachin. 
 
 Do. Do. Font. 
 
 Do. Do. Pulpit. 
 
 Do. Do. Stalls and Banc d'CEuvre. 
 
 Do. Do. Organ. 
 
 Do. Do. Grilles. 
 
 Do. Do. Pavement. 
 St. John's, Hawarden. 
 Truro Cathedral — Plan and Transverse Sections. 
 
 Do. Do. West Elevation. 
 
 Do. Do. South Elevation. 
 
 Do. Do. Longitudinal Section. 
 Italian Gothfc — A Bay op a Decorated Church. 
 A Group op 13th Century Churches. 
 Hawarden Church — Interior, looking East. 
 
 Do. Do. Interior, looking West. 
 The East End of a Decorated Church. 
 Design for the Decoration of the Dome of St. Paul's, 
 Altars. 
 
( 24 ) 
 
 Kenaissance. 
 
 PLATES 
 
 45. 
 
 Do. . 
 
 46. 
 
 Do. 
 
 47. 
 
 Do. . 
 
 48. 
 
 Do. 
 
 49. 
 
 Do. 
 
 50. 
 
 Do. 
 
 51. 
 
 Do. 
 
 52. 
 
 Do. 
 
 53. 
 
 Do. 
 
 54. 
 
 Do. 
 
 55. 
 
 Altaes— 12th and 13th Centueies. 
 Do. AND Baldachins. 
 Do. 13th, 14th, and 15th Centueies. 
 
 KeEEDOS— PONTEESINA, 13TH CeNTUEY. 
 
 Do. NOETH TUDDENHAM, 15TH CeNTUBY. 
 
 Fonts — 13th Centuey. 
 
 Pulpits— PiBST Half of 13th Centuey. 
 
 Do. 13th Centuey. 
 
 Do. Do. 
 
 Do. Do. 
 
 Lecteens. 
 
 Italian 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 
 Do. 
 
 Eenaissance 
 
 Do. ... 
 
 Do. ... 
 
 Do. ... 
 
 Do. ... 
 
 Do. ... 
 
 Do. ... 
 
 Do. ... 
 
 Do. ... 
 
 Do. ... 
 
 Do. ... 
 
 Do. ... 
 
 Do. ... 
 
 Do. ... 
 
 Do. ... 
 
 Do. ... 
 
 Do. ... 
 
 Do. ... 
 
 Do. Do. ... 
 
 Do. Do. ... 
 
 Neo Geeek 
 
 Italian , 
 
 Palladian 
 
 English Eenaissance 
 
 Palladian 
 
 Feench Renaissance 
 
 Italian 
 Feench 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 
 Italian Eenaissance 
 Do. Do. ... 
 
 Do. Do. ... 
 
 Eenaissance 
 
 Do 
 
 Do 
 
 Gothic (13th Centuey) 
 
 TUDOE 
 
 Do. 
 
 Peependiculae 
 
 66. 
 57. 
 58. 
 59. 
 60. 
 61. 
 62. 
 63. 
 64. 
 65. 
 66. 
 67. 
 68. 
 69. 
 70. 
 71. 
 72. 
 
 73. 
 
 74. 
 75. 
 
 76. 
 77. 
 78. 
 79. 
 80. 
 81. 
 82. 
 83. 
 84. 
 85. 
 86. 
 87. 
 88. 
 89. 
 90. 
 91. 
 92. 
 93. 
 94.. 
 95. 
 96. 
 
 PABT II.— SECULAR. 
 
 Wae Office — View towaeds Whitehall. 
 
 Do. Do. Gbound and Fiest Flooe Plans. 
 
 Do. Do. East Elevation. 
 
 Do. Do. Noeth Elevation. 
 
 Do. Do. Back Elevation. 
 
 Do. Do. Longitudinal Section. 
 
 Do. Do. Teansveese Section. 
 
 Foeeign Opfice- 
 
 -VlBW TOWAEDS St. JaMES'S PaEK. 
 
 Do. Do. Geound and Fiest Flooe Plans. 
 Do. Do. West Elevation. 
 Do. Do. Noeth Elevation. 
 Do. Do. Side Elevation. 
 Do. Do. Back Elevation. 
 Do. Do. Longitudinal Section. 
 Do. Do. Teansveese Section. 
 Liveepool Exchange Buildings — Geound Plan. 
 
 Do. Do. Elevation towaeds Nelson Squaee 
 (Monostyle). 
 Natueal Histoey Museum, South Kensington — Geound 
 Plan. 
 Do. Do. Do. View and Longitudinal Section. 
 Do. Do. Do. Elevations and Sections. 
 Study foe a Fa9Ade — Monostyle. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 Studies 
 Study 
 ■ Do. 
 
 Do. 
 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 
 Do. 
 Duostyle. 
 
 Do. 
 
 Do. 
 Teiastyle. 
 
 Town Hall, Glasgow — Elevations. 
 
 Do. Do. View op Exteeioe. 
 
 Do. Do. Geound and Fiest Flooe Plans. 
 Dublin Museum — Peespective View. 
 
 Do. Do. Geound Plan. 
 
 Do. Do. Feont Elevation. 
 Hamdueg Town Hall — Plan and Elevation. 
 Castbl Oleggio— View of Exteeioe. 
 
 Do. Do. Do. 
 
 Houses of Paeliament — Decoeation of Queen's 
 eobing eoom. 
 
3?stt X. 
 
 ECCLESIASTICAL. 
 
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WORKS BY MR. PULLAN. 
 Studies in Architectural Style. By Richard Popplewell Pullan, F.RI.B.A. 
 
 Consisting of Designs for Cathedrals, Churches and their Furniture, Museums, Town 
 Halls, &c., in various styles— Romanesque, Byzantine, Lombard, Early Gothic, Tudor, 
 and Italian, French, and Enghsh Renaissance. Small folio. 96 Plates. Price £1. 
 
 The Architectural Designs of WilHam Burges, A.R.A. Edited by 
 
 R. P. Pullan, F.R.I.B.A., and consisting of 76 Lithographic Plates, 38 of which have 
 not hitherto been published. The subjects of the Plates are Cork and Edinburgh 
 Cathedrals, Cardiff Castle, Studley and Skelton Churches, Dover Town Hall, &c. 
 Fcap. folio. Price £1. 
 
 Eastern Cities and Italian Towns. With Notes on their Architecture. 
 Crown 8vo. 1879. Price 4s. 
 
 Elementary Lectures on Christian Architecture. With 5 Plates. Crown 8vo. 
 
 1879. Price 2s. 
 
 Remarks on Church Decoration. Crown 8vo. 2 Plates. 1878. Price is. 6d. 
 The Altar: Its Baldachin and Reredos. Fcap. 8vo. 16 Plates. 1873. 
 
 Price Is. 6d. 
 
 The above may he obtained at 15, Buckingham Street, Strand, and will he forwarded, 
 carriage paid, upon the receipt of a remittance to Mr. Pullan. 
 
 WORKS BY MR PULLAN IN CONJUNCTION WITH OTHERS. 
 A History of Discoveries at Halicarnassus, Cnidus, and Branchidae. By 
 
 0. T. Newton, Keeper of Greek and Roman Antiquities, British Museum ; assisted 
 by R. P. Pullan, F.R.I.B.A. 1863. 1 vol. folio Plates and 2 vols. 8vo Text. 
 
 Byzantine Architecture* Illustrated by Examples of Edifices erected in the 
 East 'during the Earliest Ages of Christianity. With Historical and Archseological 
 Description by Charles Texier, Member of the Institute of France, &c., and 
 R. Popplewell Pullan, F.R.I.B.A., Architect to the Boudroum Expedition, Agent 
 for the Dilettanti Society in Asia Minor, &c. Folio. 70 Plates. 1864. 
 
 The Principal Ruins of Asia Minor. By Charles Texiee, and E. Popplewell 
 Pullan. Containing Mr. PuUan's account of his Explorations of the West Coast of 
 Asia Minor, from the Troad to the borders of Caria. Folio. 51 Plates. 1865. 
 
 Ionian Antiauities. ^o\. 4, published by the Society of Dilettanti, containing 
 the results of Mr. PuUan's Excavations of the Temples of Bacchus at Teos, Apollo 
 Smintheus in the Troad, and Minerva Polias at Priene. With Essays on their 
 History and Architecture by Newton, Fergusson, Penrose, and Watkiss Lloyd. FoHo. 
 1881. Macmillan. 
 
 Most of the above to he had of all Booksellers. 
 
 W. SFEAISHT AHD SONS, FEIiriEBS, FETTER LANE, LOHSOIT. 
 
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