PLANS, AND VIEWS IN PERSPECTIVE WITH DESCRIPTIONS, OF BUIL D INGS ERECTED IN ENGLAND AND SCOTLAND . AND ALSO AN ESSAY, TO ELUCIDATE THE GRECIAN, ROMAN AND GOTHIC ARCHITECTURE, ACCOMPANIED WITH DESIGNS, By ROBERT MITCHELL, Architect. PLANS, DESCRIPTIONS, ET VUES EN PERSPECTIVE, DES EDIFICES ÉRIGÉS EN ANGLETERRE ET EN ECOSSE: SUIVIS D’UN ESSAI SUR L’ARCHITECTURE GREQUE, ROMAINE ET GOTHIQUE, AVEC DES DESSEINS ILLUSTRATIFS. Par ROBERT MITCHELL, Architecte. Hontion, Printed, at the Oriental Press, by Wilson <§• Co. for the Author: D SOLD BY J. TAYLOR, ARCHITECTURAL LIBRARY, HIGH HOLBORN; R. FAULDER, NEW BOND-STREET; J. ANDT. CARPENTER, OLD BOND-STREET ; T. EVANS, PALL-MALL; AND J. WHITE, FLEET-STREET. 1801. IJVTR OB UCTIOJV. In an age when so much talents and taste prevail in the Fine Arts, and when composi¬ tions in Architecture are so well understood, it is with much diffidence that the Author pre¬ sents to the Public the following Work ; at the same time having the fullest reliance upon their candour and indulgence. The Plates in this Work are a representation of a portion of the Buildings which he has been employed in constructing, the four last Plates excepted, which are Designs intended to elucidate an Essay on Architecture. This Dissertation upon the Three Styles of Architec¬ ture he is desirous may be read with attention, and particularly what relates to the Gothic Architecture, as it will be found to contain, he conceives, something new on this inter¬ esting subject. If what has been advanced can contribute to remove those prejudices which have long prevailed against a style of Architecture that is the source ot much pleasure to many, his intentions will be fully answered, and his wishes completely gratified. In the course of the Work there is mention made of a pure style of Gothic Architecture; upon this it is necessary to say a few words. The Gothic Architecture may be said to have flourished in England from the reign of Edward I. into the reign of Henry YIII. In the early part of this period it was sometimes mixed with rude forms, and, in the latter, so over¬ charged with decorations as to destroy that elegant simplicity which constitutes purity of style. During the time mentioned, there were few edifices erected, which, in all their parts, can be offered as adequate examples of pure Gothic Architecture. It is, therefore, only by strictly investigating the whole that the principles of Gothic Ar¬ chitecture can be acquired, and by judicious selections, what constitutes the pure style can be defined. IJVTE OB UC TIOJV. Dans un âge où avec tant de talens et de goût les Beaux Arts sont cultivés ; et où des ouvrages en Architecture sont si bien entendus ; ce n’est qu’avec beaucoup de defiance que 1 Auteur bazarde de présenter aù Public l’ouvrage suivant; mais il se repose sur sa candeur et son indulgence ordinaire, en ce qui régarde les défauts qui s’y seront glissés. Les 14 premieres Planches réprésentent une partie des Bâtimens dans la construction des quels l’Auteur a été employé ; les 4 dernieres qui suivent, sont destinées à élucider l’Essai sur les Trois Styles d’Architecture ; qu’il desire qu’on lise avec attention ; puisqu’il contient des observations et des remarques sur ce qui regarde le style Gothique, qui, à ce qu’il espere, pourront intéresser à cause de leur nouveauté. Si ce qu'il avance sur cet objet intéressant, peut contribuer à détruire les préjugés contre un genre d’Architecture d’ou bien des personnes éclairées tirent tant de jouissances ; les intentions de l’Auteur seront remplies et il aura atteint son but. Comme on a fait mention dans cet ouvrage, d’un style pur d’Architecture Gothique, il devient necessaire d'en dire quelques mots. Ce style a dominé en Angleterre depuis le regne d'Edouard I. jusqu’à bien avant dans celui de Plenry VIII. Au commencement de cette période il y entroit quelque-fois des formés grossières ; au lieu que vers la fin, on voyoit ce style surchargé de décorations, de maniéré à détruire cette simplicité elegante qui forme la pureté du style Gothique. Il y a peu d'edifices de ce tems-là que l’on puisse offrir comme des modèles parfaits, dans toutes leurs parties, de l’Architecture Gothique. Ce n’est donc qu’en etudiant avec soin le tout ensemble qu’on peut arriver à la connois- sance parfaite des principes de l’Architecture Gothique; et ce n’est que par des choix judici¬ eux que I on découvrira en quoi consiste la pureté du style de cette espece d'Architecture. (Pour lu traduction de cet Ouvrage en François, voyez Page 1 7 erne.) PLANS AND VIEWS OF BUILDINGS, WITH DESCRIPTIONS. Plate 1. ENTRANCE FRONT OF SELWOOB PARR, THE SEAT OF JAMES SIBBALD, ESQ■ Selwood Park and Manor, the feat of James S.bbald, Efq. is f.tuated m Berklhire, fix miles from Stains, and the fame diftance from Windfor. The eftate conflits of between two and three hundred acres, and is laid out as a Ferme Ornée, and in this ftyle is excelled by none in the kingdom. The beautiful diverfity ot forms in the pleafure-grounds, which are richly adorned with groups of ftately trees, and a noble piece of water, produce the moft varied piflurefque fcenery ; wh.lft walks of four miles in extent give the opportunity of viewing, not only the beauties of the landfcape, but alfo the progreffive cultivation of the farm. The houfe is fituated on a rifing ground ; and commands, from the entrance front, an extenfive profpeft over that rich valley, which is bounded by the Thames and Surry hills; and, from the other front, a delightful view of the pleafure-grounds, terminated by the woody fcenery of Windfor Great Park. The houfe has been lately built by the prefent worthy owner, who has fpared no expence to render it one of the moft elegant and convenient manfions. It is built ot brick, and covered with an excellent compofition, equally beautiful as durable. A portico to each of the fronts of lofty Compofite columns, give to both a magnificent appearance. The interior is of correfpondent elegance. The drawing-room, breakfaft-room, and eating-room, form a fuite towards the pleafure-grounds, which, by folding-doors, are thrown occafionally together, forming a range of about ninety feet, the whole finiftied in an elegant ftyle. Befides thefe apartments, this floor contains a large hall, library, dreffing-room, hot and cold baths, billiard-room, lady's dairy, and every fuitable office for the fervants. To the bed-chamber-floor much attention has been given to proportion and arrange the apartments, confifting of bed-rooms and dreffing-rooms. Plate 2. PI,AN OF THE PRINCIPAL FLOOR OF SELWOOD PARK, 1 5 feet in height, and arranged as follows : A Hall. B Library. C Billiard-room. D Dressing-room. E Powdering-closet. F Cold Bath. G Hot Bath. II Drawing-room. I Breakfast-room. K Eating-room. L Lady’s Dairy. M Housekeeper's Room. N Butler’s Pantry O Servants’ Hall. P Kitchen. Q Scullery, &c. PLAN OF THE BED-ROOM FLOOR. n a Bed-rooms. b b Dressing-rooms. Plate 3. FRONT TOWARDS THE PLEASURE-GROUNDS. The diverfity in the pleafure-grounds afford a variety of views of this front, as feen from feveral points, and which the beauty of the grounds greatly improve. Plate 4. A PERSPECTIVE VIEW OF THE GREAT STAIR-CASE* WHICH FORMS ALSO *A MUSIC GALLERY. This, more than any other part of the houfe, attracts the attention of vifitors, who always exprefs their approbation of the elegant form of the dome, enriched with emblematical paintings in the compartments, reprefenting the fine arts ; of the Ionic columns in the fronts of the galleries ; and of the elegant figures, from the antique, holding lamps to light the ftair-cafe ; the whole forming an affemblage of agreeable objects ; and which, with the proportion and harmony in the architecture, produce a very pleafing coup cVoeil , of which an idea may be formed from the Plate. 3 Plate 5. ELEVATION OF THE NORTH FRONT, AND PJLtAJV OF THE PRINCIPAL FLOOR OF HE*4TH a L*ÆJWE LODGE , THE RESIDENCE OF ISAAC SIVAINSON, ESQ. A Dining-room. B Library. C Breakfast-room. D Dressing-room. E Vestibule. F Hall. G Servants’ Hall. H Butler’s Pantry. I Kitchen. K Seed-room. L Gardener’s apartment. M Coach-house. N Stable. PLAN OF THE BED-CHAMBER FLOOR. a a Bed-rooms. h b Dressing-rooms. Plate 6. SOUTH FRONT OF HEATH-LANE LODGE. This villa is fituated at Twickenham in Middlefex, a place well known in the hiftory of Englifh literature, as once the refidence of the celebrated Alexander Pope. The houfe, though not large, is exceedingly convenient, and is finifhed in an ele¬ gant ftyle. The breakfaft-room and dining-parlour are well proportioned, and the library is fitted up in an appropriate and handfome manner. The bed-chamber floor is very commodious, having a dreffing-room to each of the bed-rooms. THE GARDEN. Mr. Swainson has formed his grounds into a Botanic Garden ; it confifts of about 4 acres, and is divided into five parts : 1. The herbaceous ; 2. Shrubs; 3. Trees- 4. Aquatics ; S. Alpine plants. Each plant is arranged by the Linnæan fyftem, according to its clafs, order, genus, and fpecies ; and to which indexes to all the known varieties are annexed, beginning with the firft clafs, and proceeding regularly through the twenty-four clafles*. This is efteemed the moll extenfive colledtion of hardy plants in the kingdom. The green-houfe may be confidercd amongft the firft in the country ; and it con¬ tains a very large collection of curious and valuable exotics. * Mr. Swainson, in the cultivation of so extensive a collection of plants, had in view what were analogous to the composition of his celebrated medicine. 4- Plate 7. No. 1. PIAN OF THE PRINCIPAL FLOOR OF COTTISBMOOK.E, rill: SEAT OF Sill WILLIAM LANGHAM, BART. E Drawing-room. F Breakfast-room. G Passage to the family apartments in wing. Plate 8. No. 1. VIEW OF COTTISBHOOKE. Cottiibrooke is fituated in Northamptonfhire, nine miles to the weft ot Northamp¬ ton. The houfe ftands in an extenfive park, in which clumps of beautiful trees, blended with ornamental buildings, produce a pidlurefque fcenery. The very confiderable alterations and improvements which the manfion has under¬ gone, in regard to the extcnfion of the building, new-modelling the exterior, as well as the enlargement and arrangement of the apartments, have produced the fame ele¬ gance and conveniency to be found in a modern manfion. A Hall. B Saloon. C Eating-room. Library. Plate 7. No. 2. PILAN OF THE PRINCIPAL FLOOR OF MOOKE-PL'ACE, THE SEAT OF JAMES GORDON, ESQ. A Vestibule. II D Drawing-room. B Librarj. E Eating-room. C Breakfast-room. The height of this story is 16 feet. FLAN OF TME IB E© =CH AM BEE FLOOB. a a Bed rooms. b b Dressing-rooms. Plate 8. No. 2. VIEW OF MOOME-PLACE. Moor e-Place, in Hertfordlhire, is fituated nine miles from Hertford.— lhe houfe is built upon a rifing-ground, in a park well planted with trees of a ftately growth, and commands a profpedt of a rich and agreeable country. The plan of the houfe is nearly fquare ; a form which, though it does not pro- uce an extended front, ts in a meafure compenfated by admitting of a divifion in 1 C plan, in which the apartments arc more capacious and better ; other form will admit. 1 ‘ arranged than any ^ Plate 9. SOUTH FRONT OF PRESTON-HALL, THE SEAT OF SIR JOHN CALLANDER. BART. Trefton Hall, in the county of Mid-Lothian, is fituated in a rich and beautiful valley e even miles fouth of Edinburgh. The prefent extenfive manfion has been a.ely bn, t. The front is 280 feet in length ; and the whole building is faced with a e ee ' ft0ne - The a P artments on the principal floor are fpacious, well pr0 - porttoned » and arranged, and finilhed in the richeft flyle. The principal flair-cafe as an elegant compofition, greatly furpaffes any other part of the houfe. The bed- c amber floor confifts of eleven bed-rooms and dreffing-rooms. The bafement con- family" C0mplete arransement 0f fcrvants ’ 0ffices > fit to accommodate the largeft The houfe ftands in a park of confiderable extent, in which an avenue of lofty trees ferves as an approach to the fouth front. The profpeét from the north front is through a noble avenue, which terminates with a maufoleum erefled by Sir John Callander m memory of his late brother Alexander Callander of Crighton. In the chapel of tins bufldmg there is intended to be placed a monument of marble as executed of appropriate defign. Plate 10 . PLAN OF THE PRINCIPAL A Hall. B Drawing-room. C Breakfast-room. D Eating-room. E Library. F Dressing-room. G Gallery. H Billiard-room. FiOOTt OF PFESTOR-HAM,. 3 Writing-room. K V est corridore. L East corridore. M Powdering-room. N Charter-room. O Valet’s room. P P Family bed-rooms. PLAN OF THE BED-CHAMBER FLOOR. a a Bed-rooms. . 7 b b Dressing-rooms. * If the strict adherence to proportions in the form of an apartment could produce effects which fail , these have been m tins case strictly attended to. In the dimensions of the drawinv room H ? P ’ 22 ftCt 8 mChCS ’ ° r t "'°- thir[ls 0f its ‘“Stlh and the height 17 feet, or one-half of 4e lengdf ’ “ " ’ G PLAN OP THE A Sub-hall. 13 Steward's room. C Servants' hall. D Wine-cellar for bottles. E Ditto in casks. F Small-beer cellar. G Strong-beer cellar. H Room in which the men-servants dress. I Butler’s pantry. K Bed-room. L Plate-room. BASEMENT. M Paved court. N Laundry. P Store-cellar. Q Wash-house. B S To clean knives and shoes. T Bath. U Strong-room. Y Paved court. W Still-room. X Kitchen, Scullery, and small offices. Y Y Housekeeper’s room and china-closet. Plate 11. north front of meston=haix. The circular walls, with their balluflrades, produce the heft effefls; for they not ,nly tend to improve the front, but they conceal the courts in the bafement winch brm the communication for the ferrants between the hottfe and wings. Plate 12. VIEW OF THE COHRIBORE AND WING, s «au ™.v rut DR.unsa-ROOM rnnovcu ru* vrs>:,,:s „ forming the deftgn of the manfton-houfe at Prelfon-Hali, the compofrtion of the ridorcs and wings were particularly regarded, not only to give elegance to the lt , but that there ihould appear as pleaftng ob^s feen from the drawing and abfaft rooms. c r, lc fuccefs in this attempt furpaffed expeflation ; for thefe compofit.ons feen from fe rooms always in perfpeaive, produce a very ftnking effecd. Tins anfes m fonte ,rec front the rich fculpture, paintings, and gilding of the rooms ’ windows as a pidure is found to be improved by architecture feen through the windows, 1 ; Hchnefs of the frame. From the Plate a better idea will be formed than can c r e n by defeription. Plate 13. ,VN AND ELEVATION OE THE STABLE-OFFICES AT PBESTOIÎ-HA1L This building is placed at a convenient diftance from the manfion-houfe ; and, ■inn in light of it, is built of a regular deftgn, and faced with free-done. A fttnph ftyle of architecture predominates, as moft appropriate to a ftable-building. The principal entrance is decorated with a pediment fupported by coupled Doric columns. This building contains flails for thirty-two horfes, coach-houfes for four carriages, and apartments for the feveral fervants employed in the ftables. The towers at the angles are intended for granaries. PLAN OF THE STABLES. A Stable for coach-horses. B - for saddle-horses. C Boiling-house. D Saddle-room. E Stables. F Grooms’ apartments. G Coach-houses. II Passage under pigeon-house. I Coachman’s apartments. Plate 14. A SECTION OE THE ROTUNDA IN LEICESTER SQUARE, IN WHICH IS EXHIBITED TME -pMQEiâMA, This feet ion is geometrical, as admitting a better explanation of the conflruction of the building than any other form. Mr. Barker was the inventor of this admirable difeovery of producing fuch furprif- ing effedts by the circular plan of the pidlure, and which gives fo true a reprefentation of the appearance of natural objedls. It was a view from a hill in tile vicinity of Edinburgh from whence the objedls in the whole circle of the horizon are feen without interruption, and at the fame time are very finking, which gave to Mr. Barker the firft idea of reprefenting objcdls on the canvas in the manner exhibited by the Panorama. This feenery was the firft circular pidlure which Mr. Barker painted and exhibited to tile Public ; but from his not being in poffeffion of a building of appropriate conftrudtion for fuch an exhibition, the Panorama was not for fonte time brought to perfedtion. No fooner was the Rotunda in Leicefter Square built, than views were exhibited with fuch ftriking effedts as attradied the general attention of the Public, and which the exhibition of a fucceffion of pidtures have continued. At this time, under the ingenious pencil of Mr. Barker and his Tons, the Panorama has arrived at a perfedlion to render the exhibition of it a fource of pleafing and rational amufement to the Public. Mr. Barker having employed the Author of this Work, in his profeffion of an Arcliitedl, to give the defigns, and fuperintend the execution of the building, enables him to give a corredt defeription. S I he Rotunda in Leiccfter Square, in which the Panorama is exhibited, forms a circle, including the thicknefs of the walls, of SO feet,':’ th'e wall from the ground to the roof, within the building, is 5 7 feet. 7 hc roof ,s con dructcd in a very ftrong manner, to Main fuch weight as was intended to be fufpended from it. In the centre of the building is a pillar, round which the liages are formed, from which both the pidlures are viewed. 7 ,IC Rotunda ls divided into two compartments, which are concentric circles : this contrivance gives a double exhibition, by prefenting for view tir o diftinél piqûres, an invention that happily has produced the mod beneficial effedls, not merely in pecu¬ niar)' advantage, but in having at all times a piflure to exhibit whilft the other is painting.—-In examining the feflion, it « ill be found that the upper plâure is fuf- pendcd from the roof; for it would have been attended with a difagreeable effba to hat e fupported it by props from below, which would have cut the fight in viewing the lower piflure.-.-As the circle of the upper pidure is much lefs than the under, an advantage is attained, that the under picture without interruption can occupy, if requifite, almoft the whole height of the Tides of the building. The forming of two exhibitions m this manner, in the fame building, without interrupting or communi¬ cating with each other, is an original invention, without a precedent. EXPLANATION OF PLATE A Loby of entrance. 13 Stairs to lower stage. C Stage from which is viewed the lower picture, or Panorama, of 85 feet diameter. D Passage to stair-case. •E Stair-case to the upper picture, or Panorama, which ascends to a height that prevents the cutting the upper part of the under picture. P Stair where the company descend to prevent the improperly cutting the upper picture. 14 OF T1IE ROTUNDA. G Stairs to ascend to the stage, and from which the spectator obtains the proper view of the upper picture of so feet diameter. H The column in the centre of the Rotunda. I Roof. K Sky-light of the under picture. L Sky-light of the upper picture, it Section of the walls of the building. N A gallery which encircles the Rotunda, and from which the pictures are fixed. AX Essay TO ELUCIDATE THE t .n r.n.i.y, noma#, ^jvb gothic mcbitecture. Architecture, as an art cofineded with fence, had not exiftehce till the inven- turn of the column, and its application in the conftrudion of buildings. It mult be confeffed that this is the prominent feature which poffcffes fuel! real beauty and elegance as cannot admit of any fubftitute. Whoever will inveftigate the fubjed will, it is apprehended, find, that there never has exifted, m any age or nation, but three flyles of Architedure, the Grecian the Roman, and the Gothic ; as all other forms which have been introduced, (hew Archi- tedure, either m the progrefs which it afterwards attained, or on its decline* The defigns, Plates 1 B , 17, and 18, are intended to give a clear idea of thefe different ftyles of Architedure, to preferve the true charader of each, to ferve as examples that maybe compared together, and are defigned to elucidate all of them. In performing which, will be found the fimple and elegant ftyle of the rec.au Architedure, frugal in ornaments, ftrongly in contrail with the fumptuous and magnificent Roman Architedure highly charged with decorations. The Gothic Will be found to have little or no relation with either of thefe ; yet not lefs interefling and pofTeffing as much originality in its compofition as either the Grecian or Roman.’ Amongft the noble fpecimcns of Architedure which the Ancients have left us, their temples have produced univerfal admiration, as patterns of exquifite tafte, accom¬ panied With the higheft grandeur. From the conf,deration of thefe circumftanees the Temple is feleded as the form of an edifice the bed foiled to give appropriate examples of the feveral ftyles of Architedure. Whilft the three laft Plates which are inferted in this Work are intended to elucidate the three ftyles of Architedure, they are offered at the fame time as defigns for maniions, or refidcnces of perfons of diftindion, for which, it is con¬ ceived, they are particularly appropriate, as the form of the Temple admits of the * The Egyptian Architecture will esemplify the former, and the Saaon the latter. 10 higheft magnificence. The better to render Ibis applicable, if feeb defigns fiiould be thought worthy to be adopted, the Plan, Plate 15, is annexed, in which it will be found that convenience has not been facrificed to external appearance*. If the defigns, Plates 16 and 17, had been intended only to elucidate the fubject of the ftyles of the Grecian and Roman Architeélure, there would have been a pro¬ priety in confining the fubjedt to the ufual plan of the fimple parallelogram or oblong fquare, with the peryftyle ; but as thefe defigns are likewife intended for manfion- houfes, a deviation from this form has been adopted more fuited to that purpofe ; for a defign, confined to the fimple plan of the Grecian Temple, would be found as inapplicable to a modern manfion, as the Greek tragedy has been experienced to be unfit for the Englilh flage. The earlieft fpecimens which at this time exift, but which were well known to the Greeks, of buildings in which columns had been introduced, were in the tem¬ ples of the Egyptians, and which we are allured have exifted five thoufand years. 1 Iowever (hiking thefe temples may appear from their uncommon magnitude, the columns in their compofition appear exceedingly grofs, as no regard has keen paid to give proportions to their forms f, nor to produce harmony in their arrangements. The capitals of their columns do not appear to have been copied from natural objects, but are fantafiical fbapes which owe their origin to the caprice of the inventors. The Greeks were the firfl nation who gave the fine proportions to the column, and which conftitute the mod effential beauty of their Architecture. The temples of the Egyptians mull have full inftrudled them in the general form of the column, whilft the trunks of trees which they employed in their buildings unqueftionably. fuggefted the idea to give proportions to their columns. 1 heir capitals, though originating from fimple incidents, received from the hands of their admirable fculptors fuch beautiful forms as mull ever render them the admiration of mankind, whilft their entablatures, and the varied intercolumniations, yet judicious arrangement of their columns, fticw an art arrived at great perfection. The defign, Plate 16, is intended to elucidate the ftyle of the Grecian Architec¬ ture. The Doric has been feleéted, not only as the earlieft invented, but becaufe it exhibits moll fimplicity in its compofition, and differs the mod cffentially from the fame order ufed by the Romans—a difference more diftindtly marked in the Doric * This Plan admits of the following arrangement :— A Vestibule. B Dressing-room and powdering-closet. C Breakfast-room. D Drawing-room. E Eating-room. F Library and picture-gallery. f Where there is an entablature, proportions in the coll cannot with propriety be dispensed with. 11 than in the other orders of Architecture, as they were pradlifed by botli nations. The Greeks, in an early period, gave to the Doric a very grofs form ; but, as fcience extended, the Doric received the mod; elegant proportions. Some fine examples will be found in the Temple of Minerva, in the Acropolis at Athens, the Temple of Concord at Agrigentum, and the Temples at Peftum. The outlines of all thefe have been carefully confulted ; but the defign which has been feledted is upon too final 1 a fcale to give a detailed profile. The Tufcans, or Etrufcans, were the firft people in Italy who made any progrcfs in Architecture. The Tufcan Order, though poffefling juft proportions, falls greatly fhort in elegance to the Grecian Orders. The Tufcan Architecture was early intro¬ duced into Rome ; but, according to the example Vitruvius has given, there was little to recommend it in the compofition : the columns were placed at fuch a diftance from each other, as indicated a want of {lability : the buildings were low, the architraves of wood, the pediment of ungraceful height ; all of which circum- ftanccs convey no favourable idea of this fpecies of Architecture. • This manner of building, however, continued long in praCtice at Rome, even till that period when the Romans made a conquelt of Greece ; at which time an opportunity took place of introducing the Grecian Architecture, not from defigns only, but likewife from the tranfporting of columns worked in marble. From this time a number of Greek artifts arrived in Rome, and were employed in eonftructing the public buildings. But, as Architecture had declined in Greece long before this, period, it might be well expected that the works executed by thefe artifts could not be of the pure ftyle which exifted from the age of Pericles to the death of Alexander. Rome, however, miftrefs of the world, and having the com¬ mand of its riches, erected more fumptuous buildings than were known in Greece ; but in whatever thefe excelled in magnificence and richnefs of decoration, they fell fhort in the elegance of compofition and purity of defign. Hence arifes chiefly the diftinction, and which is certainly effential, between the Greek and Roman Archi¬ tecture. The Gothic is a ftyle of Architecture truly original. Whoever will attentively examine it, as found in buildings in its pureft ftyle, will certainly find that it has not any thing in common with either the Grecian or Roman Architecture, in whatever conftitutes their principles, or wherein they are diftinguiflied by their forms. In the Architecture of the Greeks and Romans, the columns were particularly admired for the happy effect of their proportions ; but it will be found that little or no regard has been paid to thefe in the Gothic column, in which the (haft is almoft never dimi- nifticd*; a practice, if applied to the Greek or Roman, would occafion them to * In our Gothic edifices there are a fe\v r examples of shafts of columns being diminished, and having capitals resembling the Corinthian : but these are not admitted to be in a pure style ; for, in diminishing the Gothic column, the pyramidieal form is not attained, and the vertical lines are destroyed, these being the basis of Gothic Architecture. 12 appear maffes of deformity. The plan of the antique column is always round ; but the plan of the Gothic column is of almoft every fiiape, and is frequently found in the form of an oblong lozenge ; fo that the column, when its plan is of this form, appears to increafe, or leflen, as viewed on the longer or Ihortcr diameter. In the moft admired Gothic edifices, no regard appears to have been given to the proportion between the length of the fiiaft of the column and its diameter ; there are no rules that can be deduced from the Gothic, as from the practice of the Ancients, to fix the proportions of the Gothic column ; neither are there determined intercolumniations or fixed fpaces between tile columns *, though thefe are found fometimes in different buildings to approach nearly : yet there are examples of the moft extravagant differ¬ ence ; amongft thefe may be offered the Nave of the Cathedral of York, and the Aides of the Conventual Church of Newark upon Trent, both Gothic buildings, dcfervedly admired, but which differ widely from one another, both in the propor¬ tion ot their columns, as well as in the intercolumniations f. The capitals of columns in the Architecture of Greece giv e invariable diftinctions to the feveral Orders : in the Gothic they arc varied at pleafure, without any relation to the diameter and length of the drafts, and arc generally fo diminutive as not to become effential parts of the columns. The horizontal lines which form the entablature of the Grecian and Roman Orders, appear in a manner to interrupt the eye of the fpectator, as if intended to arreft it till it has examined the beautiful proportions of the column and thus in a manner limit an Order, or the columns with their entablatures as a com- podtion diftinct and unconnected with the other parts of the building}:. 5 rule can lie established to regulate the intercolu: * The diameters of the Gothic columns being irregular, tions, as in the Greek and Roman Architecture. 1 Tile most striking distinction between tile Grecian and Gothic Architecture arises from the former possess!,,, the entablature, and tile latter the pointed arch. Another essential difference, as has been observed, is the giviir proportions to the column in the one, and disregarding them in the other, and particularly shalt : Notwithstanding which, the Gothic column, by not being diminished as it not only is more consonant with the other parts, hut from. Whoever will examine compositions in the Roman Architecture, a from columns which are diminished, will he fully convinced of this. Fron those who constructed the Gothic edifices, did not give this form to their hut from d regard to superior utility, a standard in the nature of things w î W lien a portico does not occupy in height the whole front of a buildi: connected with the upper part of the building. One Order placed ov efleet, from the want of a strict connection in the composition, as the asunder. Ihcre is an example to the contrary of this, and which pitoduces a fine effect, tiful piece of Architecture, the west front of St. Pauls ; hut this exception arises froi from which circumstance both Orders arc united, by their ta autiful—the Pyramidical. Sir Christopher Wren In xt. ndcd than the lower ; ng to one ot' the most b< ig adopted a single Order o f the Ancients ; hut, by liavir tat, having.substituted two O: The interior of St. Paul's wil ill he found not to have any n liminishing the form particularly appropriate, better form in point of stability for the arch to spring sometimes executed, of arches sprin^in» - these circumstances it will be found, that columns from ignorance or want of taste, ich always claims the preference, hng, it appears in itself a distinct object, un- another, does not produce the most pleasing composition, as the entablature of the lower Order cuts them as will be found in that beau- n the upper Order being less king a general form approach- been frequently censured for not hav- nnsonant with the practice cd, it has produced an effect so admirable, tted. olumns in the composition of the west front of St. Paul's ig had recourse to the device here menti rs of columns in place of one, is not to be reo-i urther exemplify this subject: the Corinthian Order with which it is embellished m with the Aitick over it, from which the arches of the roof spring there is a continuity in the parts; the vertical rods expressly rise from tin ith the clear intention for the ribs of the vaulting to spring from them. e pa\ ement, and are « In a Gothic Tried to the 13 In viewing a Gothic building, all the parts are found united, whilft, in the Grecian or Roman Architecture, they are cut afunder by the horizontal lines. The ftriking effedts of a Gothic building are produced by taking in the whole, in all its relations ; but, in the Greek and Roman, chiefly by examining the elegance and fine propor¬ tions of their parts '*. It we examine with attention the Gothic Architecture, it will be difeovered how admirably the parts are conftruCted for the eye to embrace the whole. The column is formed generally of an aflemblage of vertical mouldings, or of a bundle of rods* which ad as conductors to the eye. There is little or no obftacle from the capitals i the eye then glides along the pointed arch, and, not meeting with any interruption, embraces the upper parts of the building. In its progrefs the eye is aided by the vertical torus, Or one of the rods which form the column : this pierces the capital* and afeends to the roof; and from which fprings the ribs of the vaulting. The exterior of a Gothic building is equally well conftructed to produce the fame effects. In the Plate 18, the columns, with their pointed arches, which form the portal* are conductors to the eye ; the pediment, unlike to what we find it in the Grecian or Roman Architecture, has not any horizontal cornice ; the eye, from not being inter¬ rupted, rifes to the point of the pediment f, or to the apex of the pinnacle over it. The flanks of a cathedral produce the fame effect ; the eye is conducted by the but- treffes, and afeends to the extremity of the pinnacles. It is in this manner, it will be found, that the numerous vertical lines, as well as the pyramidical forms in a Gothic building, produce the powerful effects, or irrefiftible impreflions, made by the Gothic Architecture. If we confider how fcrupulous the Ancients were in giving correct proportions to their columns, and that it was their unvaried opinion that thefe could not be difpenfed with, unlefs by abandoning every thing that was graceful or beautiful in Architecture : when we reflect that a ftyle of Architecture, as is the cafe in the Gothic, has fince been invented, and eftablifhed in practice, in which corredt forms, or ftridt proportions, have been difregarded J ; and, notwithftanding which, effects are produced in this ftyle of Architecture, which, in certain cafes, make * Irhe form of 1 the G recian column is certainly much more beautiful than any example that can be drawn from the Gothic Architecture ; nor can the Gothic arch in its appearance be placed in competition with the elegant form of the entablature: but the Gothic arch accords much better with the other parts of the building; for, the want of relation in the parts is found not only exceptionable when the building is examined in detail, but, when this is wanting, the composition appears imperfect when viewed as a whole. t It has been observed, that the extraordinary height of the Tuscan pediment, as described by Vitruvius, is ungraceful ; and yet the still greater height of the Gothic pediment is approved. The similarity of the Tuscan in other respects to the Roman Architecture produces a disadvantageous comparison to the former ; whilst a Gothic pediment, being accompanied with other parts of the building which approach still nearer to the pyramidical form, renders the pediment in unison v ith the general style of the building. t From what has been shewn in this Essay, it will be found, that the Saracen or Moorish, and Gothic Architec¬ ture, have not any resemblance. In the Alhambra, the columns are round, the shafts diminish, and the capitals are of a determined form : in this they agree with the Roman; but have not any affinity with the Gothic Architecture.* An entablature breaks over the Moorish column, and from which springs the arch of a horse-shoe form/ IT ftronger imprcffions Upon the mind than can be effected by the Greek or Roman_ it will then be confeffed, that, in the whole circle of human knowledge, there is no example of fo aftoniffiing a revolution taking place in any art or fcience*. Everyman of unbiaffed mindmuft from this perceive, that, in the extenfion of fcience, there is an abfurdity to fuppofe that any thing is arrived at a perfection fo as to preclude all attempts to advance it ftill further. The ftudy of the Gothic would be found a fource of pleafure to thofe who delight in Architecture, it inveftigated with candour, and juft conceptions were formed of it. The Greek and Roman Architecture will ever charm, from their beautiful forms, all perfons of real tafte ; but compofitions in thefe ftyles, from beino- the refult of pofitive rules, are eafily comprehended, and foon lofe the attraction of novelty. Whilft the Gothic edifices are found to poffefs infinite variety, their compofitions require more ingenuity and fcience to produce them, and are more difficult to be comprehended: from thefe circumftances it is that we never return to examine a Gothic ftrudlurc without finding new fubjedls tor contemplation. From the reign of Henry the Eighth, when the Gothic Architecture was fuper- feded by the introduction of the Grecian, a moft violent prejudice has ever fince prevailed againft the Gothic ; it has been fubject to every mifreprefentation in which Architects of great celebrity have taken the lead : But this conduct, if impartially confidered, has arifen from an erroneous principle, in condemning the Gothic Architecture on account of its not having the forms and proportions found in the Greek or Roman. How unfair is this manner of proceeding, if the Gothic is con¬ fidered as an original ftyle of Architecture, which certainly it is, and wholly uncon¬ nected with any other f ! for furely it muft be nnreafonable to expect the fame pro¬ perties in two things which have not any refemblance to one another. The Author, whilft inveftigating this fubject, has endeavoured to remove every prejudice againft this fpecies of Archite&ure, defirous that it may have its fair weight in the fcale according to its real merits. Should this take place, little doubt can remain, that with the aid of fo much fuperiority in every fcience which now prevails, to what men poffeffed when the Gothic buildings were erected, this ftyle of Architecture would arrive at a perfection hitherto unknown. * The Gothic Architecture is a different style, in every point of view, from the Greek or Roman. The interior of a Gothic building will be found to differ, not only in the form of the columns, in the intercolumniations, in having pointed arches in place of an entablature, in the form of the vaulting, in the apertures in front of the galleries” but in the subordinate parts, the forms of the doors, windows, niches, and also in the decorations: And the exterior, in the buttresses, pinnacles, battlements, form of the roof, and pediments. Towers and spires in the Grecian Archi¬ tecture have been introduced from the Gothic, for these never were in practice with the Ancients. t T1 ' e had in vint. in publishing this EBay. that, in proving the Gothic to he an original style of Architec- its pt i'tciides then must he sought for in itself, in place of having recourse to objects foreign to it ; and, as such misconceptions are likely to mislead, they must oonsetpicntly retard the progress that would otherwise take place in this style of Architecture. 1 5 The Author declines at prefent entering further into this fubjeft, as he has been for forae time employed in collefling materials for an extenfive Treatife upon the Gothic Architedture, and which may fee the light Ihould this Publication meet with a favourable reception. ADDENDA. Observations relating to the Design, Plate 18 . The windows of Gothic buildings, intended for facred purpofes, have pointed arches ; whilft, in buildings intended for habitations, we generally find them fquare at top. Gothic windows with arches are not found to be within the apartments either agreeable in their appearance, or convenient in their conftruclion ; this arifes from the divifion of the window by the mullions, the croifée being much more fuitable. From the confideration of thefe circumftances, the windows in the Dcfign, Plate 18, are formed fquare at top : thofe of the principal floor have over them a compofition of Gothic ornaments, fimilar to the form of the pointed arch, and tend much to embellifh this Defign *. General Remarks on the Three Styles of Architecture. Men will ever be divided in opinion regarding the Three Styles of Architecture, which of them deferves molt to be admired. It is likely they will affign to each its real province. The Grecian Architecture, from its grave and folemn appearance, they would adopt for Courts of Juftice: The Roman Architecture, from the pomp and fplendour which it difplays, they would felect for Palaces : and the Gothic Architecture, from thofe impreffions of veneration and awe which it infpires, they would employ in that department to which it is beft fuited—the conftruction of Sacred Edifices. * The Author has the expectation, that the annexed Designs, in the form of the Temple, will be found to deserve attention, not only in elucidating the several styles of Architecture, but, if mansions were built in these styles and form, they would be found to possess conveniency as well as magnificence; and, still further, to have novelty to recommend them. The Design in the style of the Gothic will be preferred by many ; and, if executed, would not yield to the others in striking effects, as well as in conveniency, nor exceed them in expence. In erecting buildings in the Gothic Architecture, the expences are abridged by the use of appropriate materials, and by such decorations being introduced as only belong to the pure style of Gothic Architecture. PLANS ET VUES D’EDIFICES, AVEC LEUR description. l rc Planche. FAÇADE B’ENTBÉE, MAISON DE C.1MPAGNE DE JAQUES SIBBALD, ECUYElt. La Seigneurie de Selwood Park, propriété de Monfieur Jaques Sibbald, eft fituee dans le comté de Berks, à fix milles de Stains, et à la même diftance de Wmdfor. Ces terres consilient de deux à trois cens acres, cultivés en Ferme Ornée, il n’yen a point de plus belles dans le royaume. L’elegante diverfité dans la forme des terreins, de nombreux grouppes d’arbres magnifiques, une belle piece d’eau, offrent dans leur enfemble une infinité de fçenes changeantes et pittorefques, dans une promenade de quatre milles on découvre à chaque inilant la beauté d un payfage, et la cultivation progreffive de la ferme. La maifon eft bâtie fur un tertre: du côté de la façade d’entrée, la vue s’étend au loin fur la riche vallée, bornée par le cours de la Tamife, et par les Collines de Surry : de l’autre côté, la vue fe promène délicieufement fur de beaux jardins, et va fe perdre dans les bois du Grand Parc de Windfor. M. Sibbald, en la bâtiffant n’a rien épargné, pour la rendre une des plus belles et des plus commodes. Elle eft conftruite en briques, et couverte en lames d’une compofition auffi bolide que belle. Chaque façade eft embellie avec de hautes colonnes d’Ordre Compofé. L’intérieur n’eft pas moins beau que le dehors. Le ballon, la chambre à déjeuner, la balle a manger, forment une fuite des appartemens d’environ quatre vingt dix pied le long de jardins, communicant par des portes à deux battans ; tout y eft fini dans le dernier goût. Outre ces appartemens, il y a auffi au même plein pied, une grande falle, une bibliothèque, une cabinet de toilette, des bains chauds, des bains froids, une falle de billard, une laiterie, des offices. On a mis le plus grand foin dans la diftribution et la commodité des chambres à coucher et des cabinets de toilette. 18 2 (,e Planche. PLAN BU PRINCIPAL ÉTAGE BE LA MAISON BE SELWOOB PARE, L’élévation des appartenons eft de 15 pieds :— A Vestibule. B Bibliothèque. C Salle de billard. D Cabinet de toilette. E Chambre à poudrer. F Bains froids. G Bains chauds. H Sallon. I Chambre à dejeuner. K Salle à manger. L Laiterie pour la dame. M Chambre de la femme de charge. N La dépense. O Salle des domestiques. P Cuisine. Q Lavoir pour les utensils. PLAN BE L’ÉTAGE BES CHAMBRES À COUCHER. a a Chambres à coucher. b b Cabinets de toilette. 3 nic Planche. FAÇABE BU JARBIN. La diverftté des gazons et des bofquets donne une grand variété aux differens points de vue de cette façade, la beauté du payfage rend les vues encore plus agréables. 4 me Planche. VUE EN PERSPECTIVE BU GRANB ESCALIER, QUI PEUT AUSSI SERVIR DE S»A1L1LQJV MUSIQUE. Cette partie de la maifon attire plus que toute autre l’attention des etrangers, qui donnent toujours leur approbation à la forme dégante du dôme, divifé en comparti- mens peints et ornés d’emblèmes analogues aux beaux arts. Des colonnes d’Ordre Ionique ornent le front des galleries ; des ftatues imitées de l’antique, portent des lampes qui eclairent l’efcalier : Cet enfemble d’objets agréables, avec les proportions et l’harmonie de l’architedure produit une coup d’œil charmant, dont la Planche peut donner une idée. 19 5 me Planche. ELEVATION DE LA FAÇADE DU NORD, ET PEAJY DES PRINCIPAUX APPARTEJIIEJVS BE BEATM-EAJVE EOBGE, RÉSIDENCE D'ISAAC SI CA INSON, ECUYER. À Salle à manger. B Bibliothèque. C Chambre du dejeuner. D Cabinet de toilette. E Vestibule. F Salle. G Salle des domestiques. H Office du sommelier. I Cuisine. K Cabinet des semences. L Logement du jardinnier. M Remises. N Ecuries. PLAN DES CHAMBRES À COUCHER. a a Chambres à coucher. h l Cabinets de toilette. 6 mc Planche. FAÇADE DU MIDI DE LA MAISON DE HEATH-LANE LODGE. Cette campagne eft fituée à Twickenham dans le comté de Middlefex : elle eft fameufe dans l’hiftoire de la littérature Angloife, ayant autrefois été la refidence du célébré Alexandre Pope. La maifon, quoique petite, eft extrêmement commode, tout y eft achevé. La chambre à déjeuner, la falle à manger ont de belles proportions, et la bibliothèque eft arrangée d’une maniéré auftï agréable que commode. L’étage des chambres à coucher eft bien diftribué, chaque chambre a fon cabinet de toilette. JARDIN. Monfieur Swainfon a fait de fes terres un Jardin Botanique, d’environ quatre arpens, il l’a divifé en cinq parties: la premiere eft deftinée aux herbacées; la fécondé, aux arbuftes ; la troifieme, aux arbres ; la quatrième, aux plantes aqua¬ tiques ; la cinquième, aux plantes des Alpes. Chaque plante eft arrangée dans le fyftême de Linée, felon fa clafte, fon ordre, fon genre, fon efpèce : toutes leurs variétés connues font rapprochées, en commençant par la premiere clafle, et en allant fucceflivement jufqu’ à la vingtquatrième. On regarde cette collection de plantes vivaces, comme la plus complette de toutes celles du royaume *. La ferre peut être regardée comme une des premieres du pays ; elle renferme une collection nombreufe de plantes exotiques curieufes et de grand prix. * Mr. Swainson, par la culture d’une aussi grande collection de plantes, avoit en vue celles qui étoient analogues à la composition de son célébré médicament. 20 7 1,10 Planche. No. 1. Pli A N DES APP ARTESIENS PRINCIPAUX DE COTTISBTIOOKE, MAISON DE CAMPAGNE DU BARONET GUILLAUME LANGIIAM. A Salle. B Antichambre. C Salle à manger. J) Bibliothèque. E Sallon. F Chambre à dejeuner. G Passage à l’aile des appartenons de la famille. 8 inc Planche. No. 1. VUE DE LA MAISON DE COTTISRROOKE. Cottifbrooke eft fituè dans le comté de Northampton, à neuf milles au couchant de la ville de Northampton. La maifon eft dans un grand Parc, où des malles d’arbres magnifiques, melées et ornées de fabriques, produifent les effets les plus pittorefques. Les grands changemens et les améliorations que on a fait à cette maifon par l’augmentation des bâtimens, par une nouvelle extérieur, en elargiffant les apparte- mens, et en leur donnant une autre diftribution, l’ont fait aufli belle et aufîi com¬ mode, comme une maifon à la moderne. 7 me Planche. No. 2. PLAN DES APPARTEMENS PRINCIPAUX DE MOÜRE-PLACE, MAISON DE CAMPAGNE DE JAQUES GORDON, ECUYER. A Vestibule. B Bibliothèque. C Chambre à déjeuner. D Sallon. E Salle à manger. Les appartemens ont 16 pieds de hauteur. PLAN DE IL’ÉTAGE DES CITAMBBES À COUCHES. a a Chambres à coucher. ti b Cabinet de toilette. 8 me Planche. No. 2. VUE DE EAMAISQN DE MOOBE-PIACE, Moore-Place, dans le comté de Hertford, eft fitué à neuf milles de la ville de Hertford. La maifon eft bâtie fur un tertre, dans un parc bien planté et orné de grands arbres. La vue domine fur un pays aufli riche qu’ agréable. 21 Le plan de la maifon eft presque quarré. Si cette forme donne une façade moins etendue, on en eft dédomagé en quelque maniéré par une plus grande liberté dans la divilion du plan, dans les proportions et la diftribution des appartemens. 9 me Planche. FAÇADE DU MIDI DE LA MAISON DE PD EST©N=Il A LL, APPARTENANTE AU BARONET JEAN CALLANDER. Prefton-Hall eft fituée dans une riche et belle vallée, à onze milles au midi d’Edin- burgh. La maifon ici reprefentée eft bâtie depuis peu. La façade a deux cens quatre vingt pieds de long, l’exterieur entier eft confirait en belles pierres de taille. Les principaux appartemens font fpacieux, bien proportionés *, bien diftribués, dé¬ corés des plus riches ornemens. Le grand efcalier furpaffe, par [’elegance de fa compofition, toutes les autres parties de la maifon. L’étage des chambres à coucher contient onze chambres et cabinets de toilette. Dans les foutérains font les diverfcs offices, toutes les commodités néceffaires au fervice de la plus nombreufe famille. La maifon eft dans un grand parc. On y arrive du côté du midi par une avenue ornée de grands arbres. La vue de la façade du nord donne fur une autre belle avenue, terminée par un maufolée, confacré par le Baronet J. Callander à la mémoire de fon frere Alexandre Callander de Crighton. Il à intention de faire elever dans la chapelle de ce bâtiment, un tombeau déjà exécuté en marbre, et fur des deffeins alfortis à fon objet. 10'“ Planche. HLAIÏ DES APPABTEMENS PBINCIPAUX BE PBESTON-HAIE. A Vestibule. B Sallon. C Chambre du déjeuner. D Salle à manger. E Bibliothèque. F Cabinet de toilette. G Gallerie. H Salle de billard. I Cabinet pour écrire. K Corridor à l’ouest. L Corridor à l’est. M Cabinet à poudrer. - N Archives. O Chambre de valet. PP Chambres à coucher de la famille. ÉTAGE DES CHAMBBES À COUCHEE. a a Chambres à coucher. b b Cabinets de toilette. * Si l’exacte observation des proportions dans 1, forme d’un appartement ne peut manque, de plaire, on s’y est so n pieusement astreint, ici. Le sallon a 3 4 pieds de long, e, 22 pieds s pouces de large ou deux tiers de la longuear : il a dix sept pieds d élévation ou la moitié de la longueur. O o HLAN BES SOUTERAINS. A Salle basse. B Chambre de l’intendant. C Salle des domestiques. D Cellier du vin en bouteilles. E Cellier du vin en tonneaux. F Cellier pour la petite bierre. G Cellier pour la bierre forte. II Chambre pour l’habillement des domestiques. I Office du sommelier. K Sa chambre à coucher. L Chambre pour l’argenterie. M Cour pavée. N Chambre à repasser le linge. P Caveau du charbon de terre. Q Buanderie. R S Place pour nétoyer les couteaux et pour décroter les souliers. T Bains. U Cabinet de sûreté. W Chambres des servantes. X Cusines, Lavoirs, & c. Y Y Chambre delà femme de charge, et cabinet de la porcelaine. 11™ Planche. EAÇADE BU NORD BE PBESTON-HALL. Les murs circulaires, avec les baluftrades, ont les plus beaux effets. Non feale- nrent ils ornent la façade, mais ils cachent à la vue des cours qui fervent aux domef- tiques, et de communication entre le corps de logis et les ailes. 12 mc Planche. VUE D’UN CORRIDOR ET D’UNE AILE, COMME ON LES VOIT DE L'INTÉRIEUR DU SALLON À TRAVERS D'UNE FENÊTRE, En compofant les defieins de la ntaifon de Prelion-Hall, on en à foigné les corridors et les ailes, non feulement pour donner une plus belle apparence à la façade, mais aufli afin que ces objets panifient plus agréables, vues de l’interieur du fallon et de la chambre du déjeuner. Le fuccés de ce deflein a furpafle les efpérances, puis que ces objets vus perpétuel¬ lement en perfpeélive de l’interieur des appartemens produifent l’effet le plus frap¬ pant. Cela vient en partie de la richefle des fculptures, peintures et dorures des appartemens, qui contrafle avec l’architeélure vue à travers des fenêtres, comme un tableau gagne beaucoup par la richefle de la bordure. La Planche donnera une plus jufte idée de ces objets que ne feroit leur defeription. 13 me Planche. PLAN ET ELEVATION BES ECURIES BE PRESTON-HALL. Ce bâtiment eft placé à la vue de la maifon, et en eft à une diflance convenable. Sa façade, d’un deflein régulier, eft conftruite en pierres de taille. Un ftyle fimple 23 d’architecture, comme le plus convenable à ce genre de bâtiment, y régné. La prin¬ cipale entrée eft décorée d’un fronton foutenu par des colonnes Doriques accouplées. 11 y a place dans ce bâtiment pour 32 chevaux : en outre des remifes pour quatre voitures, et les logemens néceffaires aux gens attachés à l’ecurie. Les tours qui flanquent les angles font deftinées à fervir de greniers. FLAN DES ECUMES. A B E Les ecuries. C La chaudière. D Les sells. F Les chambres du palefrenier. G Les remises. H Le passage sous le colombier. 1 Les chambres du cocher. 14i me Planche. COUPE DE LA MOTONBE, LEICESTER SQUARE, DANS LA QUELLE EST L’EXHIBITION DU P*AJVOR*AÆ*A. On reprefente géométriquement cette coupe, par ce qu’il n’y a pas d’autre maniéré qui puifle aufli bien expliquer la conftruction de ce bâtiment. Nous devons à Monfieur Barker l’admirable découverte de produire les plus fur- prenans effets par des tableaux peints fur un plan circulaire, et de donner à la repre- fentation des objets autant de vérité que la nature elle même. Dans le voifinage d’Edinburgh, il y a une colline, d’oû l’on voit fans interruption et de la maniéré la plus frappante, les objets renfermés dans le cercle entier de l’horizon. Cette vue infpira à M. Barker la premiere idée de reprefenter fur la toile les objets tels qu’on les voit dans le Panorama. Cette vue fut aufli la premiere peinture circu¬ laire qu’il offert au Public. Le manque d’un bâtiment convenable à fon Panorama, l’empecha pendant quelque tems de le faire arriver à la perfection. Mais auflitôt que la Rotonde, elevêe dans Leicefter Square , fut finie, l’effet étonnant de ce que l’on y vit commanda l’empreflement du Public, qu’il a continué de mériter par une fuite d’exhibitions nouvelles. A prefent, le Panorama eft arrivé à tant de perfection fous l’ingénieux peinceau de M. Barker et de fes fils, qu’il eft pour le Public une fource de plaifirs amufans et raifonnés. L’Auteur de ce Livre ayant été employé, dans fa profeflion d’Architeéle, par M. Barker, pour donner les defleins et conduire la conftruction de ce bâtiment, eft en état d’en donner une defeription exacte. 24 La Rotonde forme un cercle de 90 pieds, y compris I’epaiffeur des murs: fa hauteur depuis la terre jufqu’ au comble eft de 57 pieds. La conftruétion du comble a toute la force néceffaire pour réfifter à la pefanteur du poid que l’on a prévu devoir y fufpendre. Au centre de l’edifice s’eleve un pil- lier, autour du quel font les echaffauds d’où les fpeétateurs voyent les peintures. La Rotonde eft divifée en deux compartimens, formant deux cercles concentriques. Par ce moyen on peut, à la fois, faire deux exhibitions différentes. Cette invention a réuffi non feulement à procurer plus d’argent, mais encore à fournir le moyen d’avoir toujours une exhibition à offrir pendant qu’une autre fe prépare. En examinant la coupe, on verra que la toile de l’exhibition fuperieure eft fuf- pendue au comble, pour éviter l’inconvenient de la faire porter par des appuis de bas-en haut ; ce qui auroit coupé la vue de l’exhibition inférieure. Le cercle de la fupérieure étant moindre que celui de l’inférieure, on a gagné l’avantage de pouvoir donner, s’il eft néceffaire, à l’inferieur prefqué toute la hauteur des côtés du bâti¬ ment. L’invention de faire fervir le même l’cdifice à deux exhibitions, fans interruption et féparément, eft fans exemple et entièrement neuve. EXPLICATION DE LA PLANCHE DE LA ROTONDE. A Gallerie d'entrée. B Escalier de l'echaffaud inferieur. C Echaffaud du quel on voit le Panorama inférieur. D Passage à l’escalier. E Escalier du Panorama supérieur, assez elevé pour éviter de couper la partie du dessus du Panorama inferieur. F Escalier par le quel la campagnie descend pour éviter de couper la vue du Panorama supérieur d’une maniéré désagréable. G Escalier pour monter à l’échaffaud d'ou l’on voit le Panorama supérieur, dont le diamètre est de cin¬ quante pieds. I Colonne au centre de la Rotonde. K Comble. L Abbat-jour du Panorama inférieur. M Abbat-jour du Panorama supérieur. N Coupe des murs du bâtiment. O Gallerie qui régné à l’entour de la Rotonde, depuis la quelle on peut attachér les peintures. ESSAY POUR EXPLIQUER L'ARCHITECTURE GREQUE, ROMAINE ET GOTHIQUE, L Architecture, confiderée comme un art lié avec la fcience, n’a commencé qu’ avec 1 ufage des colonnes, et leur introduction dans la conftruélion des bâtimens. Il faut convenir que les colonnes font les parties les plus diftinguées dont rien ne peut remplacer la beautée et l’elégance. En approfondilfant ce fujet, on trouvera, que dans tous les tems, et chez tous les peuples, il n’y a jamais eu que trois ftyles d’Architecture, le Grec, le Romain, et le Gothique ; toute autre maniéré qu’on a voulu lui fubflituer montre l’Architeélure ou dans les progrès quelle a faits depuis, ou dans fa décadence *. Les Planches 16, 17, et 18, font deftinées à donner une idée claire de ces diffê- rens ftyles d’Architecture ; à conferver à chacun d’eux fon i rai caractère ; à fervir d’exemples que l’on puiiïe comparer entr-eux ; enfin à éclaircir tout ce fujet. D’après ces Planches, on verra que le ftyle fimple et élégant de l’Architecture Grèque, modefte en ornemens, contrafte entièrement avec le luxe et la magnificence de l’Architecture Romaine, fi riche en décorations. On verra que le Gothique, quoiqu’ ayant peu ou point de rapport avec les deux autres, n’eft cependant pas moins intérefiant et a autant d’originalité dans fa compofition que le Grec et le Romain. Parmi les beaux monumens d’Architeture que les Anciens nous ont laides, leurs Temples, font des objets de l’admiration univerfelle, comme des modèles du o-oût le plus exquis, et de la plus haute magnificence. Cette raifon a déterminé l’Auteur, à en cboifir un, dans la penfée que la forme d’un temple feroit la plus propre à donner des exemples applicables à tous les ftyles d’Architecture. Les trois dernieres Planches de cet ouvrage, ne font pas deftinées feulement à expliquer les trois differens ftyles d’Architecture elles font préfentées comme les Defleins d’une réfidence pour une pcrfonne de diftinction : auquel objet ces Defleins font d’autant plus convénables que la forme du Temple eft fufceptible de la plus * L’Architecture Egyptienne et Saxone en font des exemples, l’une des progrès, l’autre de la décadence. 96 grande magnificence : et pour cet effet, dans la fuppofition que l’on voulut réalifer ce projet, on y a joint le Plan, Planche 15 mc ’ où l’on verra que la commodité de l’in¬ térieur, n’a point été facrifiée à la beauté de l’exterieur*. Si les Planches, 16 et 17, n’a volent été données que pour expliquer les ftyles de l’Architecture Grèque et Romaine, l’Auteur fe feroitj borné à reprefenter le plan or¬ dinaire d’une fimplc parallelograme ou d’un quarré long, avec fon peryftyle ; mais comme ces deffeins peuvent etre employés pour des maifons confiderables ; il a adopté des variations plus convenables à cet objet : Car le plan {impie d’un Temple Grec, feroit auffi peu applicable à une maifon moderne, que l’ancienne tragédie Grèque le feroit au théâtre Anglois d’aujourdhui. Les plus anciens exemples de bâtimens dans lefquels on a fait ufage des colonnes, qui exiftent encore, et qui etoient bien connus des Grées, font les Temples des Egyptiens; et nous fournies affurés que ces édifices fubfiftent depuis cinq mille ans. Quelque frappans que paroiffent ces temples par leur grandeur extraordinaire, cependant les colonnes dont elles font ornées, étant fans proportion dans leur forme f, et fans harmonie dans leur arrangement, ont l’air extrêmement lourd dans leur compofition. Les chapiteaux de ces colonnes loin d’être copiés d’après la nature, n’ont que des formes bizarres inventées par le caprice des Architectes. Les Grées furent les premiers qui donnèrent de juftes proportions aux colonnes : et c’cft en cela que confifté la beauté la plus effenticllc de leur Architecture. Des temples des Egyptiens ils apprirent la forme générale des colonnes. Mais ce ft fans doute des troncs d’arbres, dont ils fe fervoient dans le conftru6fi/v„ rys,r 7 Au/ /r&ps'-j(?m LAy/a-.. %>ùdmdam. dr 4e*ùtmc« efjSjaœe j/rMMJM 7fea/Z . Au ■ • AvZtfe. ■ Avvf-/sjrJ/t'M- t //>•/■ // ’Q.Ataac- • A’/us&xJtf/i' Otu-us.r-~' Z / f}t//*Jh (/ /. '/un . tfOf tâetr. //tftSu //. 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