House architecture

Preface

I began this book ten years ago during an interval in the practice of my profession. Many causes have delayed its completion, foremost among which was a sense of the inadequacy and imperfection of what I had written. The constant engagements of an architect made it difficult for me to give to the book the time needed to make it satisfactory. At the same time I was unwilling to lose the labour and the cost already expended. A consequence of the time the writing of the book has occupied is that many of the views it advocates, which were unusual when they were written, are now current and fashionable. I believe that the book may still be useful. Though inadequate, it is not, I hope, misleading. Throughout it, while stating my own opinions, I have tried to give the reader data for judging for himself.

The illustrations have been one cause of the delay in publishing. They are all from wood blocks, which give more satisfactory results than some modern processes, not being liable to the imperfect printing of the lines in parts which is aj)t to occur in these. Most of the illustrations have been drawn on the wood by Mr. H. W. Brewer, some from my own sketches, but the greater part from his. The illustration of the Colosseum at Rome was drawn on the wood for me by Mr. Mac Whirter, A.R.A.

The drawings have been cut on the wood by several engravers, including Mr. Cooper, Mr. Walmsley, Mr. Morison, Miss MacLaren, and Mr. Pitt, Miss Bateman, and

A 3

VI

PREFACE.

some others on the staff of the ‘ Graphic,’ to all of whom I feel under obligation for the careful way in which the cuts have been executed. I venture to think that some of them deserve a high place among modern examples of the art of wood engraving.

I am indebted for the use of a number of the cuts to the kindness of the Proprietors of the ‘ Graphic,’ to Mr. George Godwin of the ‘ Builder,’ and to Mr. James Parker of Oxford for ■ those from his father’s work on ‘ English Domestic Architecture in the Middle Ages,’ and the examples of the Orders from Rickman’s ‘ Gothic Architecture.’ In two or three cases where the same cut illustrates different parts of the text, I have repeated it to save the reader the trouble of looking it up in a different part of the book.

The Red House, Bayswater Hill, December, 1879.

CONTENTS OF YOL. I.

Inteoductoey

CHAPTEE I.

PAGE

CHAPTEE II.

What Constitutes Good Aechitectuee? .. .. .. .. 25

CHAPTEE III.

The Conditions necessaey foe peoduoing Good Aechitectuee .. 70

CHAPTEE IV.

What Style of Aechitectuee is most suitable foe oup. Houses? .. 119

Gothic Aechitectuee ..

CHAPTEE V.

Geeek Aechitectuee ..

CHAPTEE VI.

CHAPTEE VII.

Classical oe Eenaissance Aechitectuee 199

CHAPTEE VIII.

The Eenaissance in Floeence and Sienna

Vlll

CONTENTS OF YOL. I,

CHAPTER IX.

PAGE

The Renaissance in Rome. .. .. .. .. .. .. .. 222

CHAPTER X.

CHAPTER XI.

CHAPTER XII.

The Renaissance in Germany and the Low Countries .. .. 258

CHAPTER XIII.

CHAPTER XIV.

CHAPTER XV.

Conclusion

LIST OF ILLUSTRATIONS TO VOL. I.

FIG. PAGE

Carolinen-Strass, Nuremberg " .. .. .. .. Frontispiece.

1. Shed for ladders at Hochberg, near Wiirtzburg .. .. .. .. 22

2. Tilquliillie Castle, Aberdeenshire .. .. .. .. .. .. 28

3. Rock-hewn Architecture, Petra .. .. .. .. .. .. 30

5. 6, 7 and 8. Different modes of architectural treatment of the front of

9. House opposite the Cathedral at Augsburg . . . . . . . . 40

10. Old House in the High Street, Glasgow .. .. .. .. .. 41

11. House near the Town Hall, Nuremberg .. .. .. .. .. 42

12. Towers on the Walls at Nuremberg .. .. .. .. .. 45

14, 15, 16 and 17. Architectural Ornaments : fret, chevron, lines and dots 47

18. Wall decoration in Chapter House, Burnham Abbey .. .. .. 50

19. Egyptian Architecture.— Temple of Karnac .. .. .. .. 52

22. Greek Architecture. — Temple at Passtum, Magna Grecia . . . . 56

21. Roman Architecture. — The Colosseum at Rome. — From a drawing by

22. Gothic Architecture.— View in Westminster Abbey. — From a drawing

23. ^Renaissance Architecture. — Church of St. Etienne du Mont, Paris .. 66

25. 26. Sections of round and pointed Waggon Vaults .. .. .. 128

27, 28 and 29. Round and pointed Domes, plan and sections .. .. 128

30. Church roofed with pointed Waggon Vault .. .. .. .. 129

31. Church with Groined Vaulting .. .. .. .. .. .. 130

32. Plan of Vaulting, square in plan .. .. .. .. .. .. 131

33. 34. View and plan of Vaulting, oblong in plan in Nave, and square

35. Round-headed window under pointed Vault .. .. .. .. 133

X

LIST OF ILLUSTRATIONS TO VOL. I.

PIS.

37. Romanesque House at Boppart on the Rhine. — From the ‘ Builder ’ . .

38. Goliath House, Ratisbon ..

39. Gothic Street in Ratisbon ,.

40. House of the Musicians at Rheims

41. Markenfield Hall, Yorkshire. — From Parker’s ‘ English Domestic

Architecture of the Middle Ages ’

42. Decorated Window, under level Cornice ..

43. Perpendicular Window, imder level Cornice

44. House of Jacques Coeur at Bourges

45. Plans of Vaulting showing development ..

46. Vaulting of the Crossing, St. George’s Chapel, Windsor. — From the

‘Graphic’ ..

47. Morton Hall, Cheshire

48. Corner Oriel at Augsburg. — From the ‘ Builder ’

49. Gothic House at Boppart on the Rhine. — From the ‘ Builder ’

50. The Nassauer House, Nuremberg ..

51. Hohenzollern

52. Grecian Doric. — Temple of Theseus, Athens. (For the use of this

and the other illustrations of the Greek and Roman Orders from Rickman’s ‘ Gothic Architecture,’ I am indebted to Mr. James Parker, of Oxford.)..

53. Grecian Doric. — Temple of Apollo at Delos

54. Grecian Ionic. — Erechtheiun, Athens

55. „ „ Temple on the Ilissus

56. The Corinthian Order.— Temple of Vesta, Tivoli

57. „ „ „ Temple of Jupiter Olympus, Athens

58. The Composite Order. — Arch of Septimius Severus, Rome

59. The Erectheum, Athens

60. Arch of Hadrian, Athens ..

61. The Custom House, King’s Lynn ..

62. The Black Gate, Treves

63. Roman Capital carved in brick

64. Amresbury, principal front

65. Roman Doric. — Theatre of Marcellus, Rome

66. Roman Ionic. — Aqueduct of Hadrian, Athens

67. „ „ Temple of Fortuna Virilis, Rome

68. Nicollini Palace, Florence ..

69. House in Via d ’Bianchi, Rome ..

70. Small Gothic House at Venice

71. Vaudramini Palace, Venice

145 148

152 152 154 160

177 184

191 194 204 206

LIST OF ILLUSTRATIONS TO VOL. I. xi

PIG. PAGE

73. Staircase in the Ducal Palace, Venice .. .. .. .. .. 232

76. Jacques Coeur's House at Bourges, plan of Ground-floor .. .. 243

77. Chateau d’Azy-le-Rideau, Indre-et-Loire .. .. .. .. 245

81. Houses at MUnster, Westphalia .. .. .. .. .. .. 261

82. Street in Landshut, Bavaria .. .. .. .. .. .. 264

83. Houses on the Pegnitz, Nuremberg .. .. .. .. .. 266

84. Oriel Window at Freiburg in Breisgau .. .. .. .. .. 267

85. Inn at Kriegshaben, near Augsburg .. .. .. .. .. 268

86. Bishop’s House, Wurzburg .. .. .. .. .. .. 269

87. New Miinsterhof Wurzburg .. .. .. .. .. .. 272

89. Tower of the Rathliaus, Mannheim . . . . . . . . . . 274

90. Wooden House at Hildesheim .. .. .. .. .. .. 275

91. Houses in the Market Place, Brussels .. .. .. .. .. 281

93. Longleat, Wiltshire. — From an old print .. .. .. .. 286

94. Interior in old House in Lime Street. — From the ‘ Graphic ’ .. 291

95. Chimney-piece in old House in Lime Street. — From the ‘ Graphic ’ . . 293

96. York Gate, a Landing-place on the Thames . . . . . . . . 299

97. 98, 99 and 100. Amresbury, plans and elevations . . . . 304-5

101. St. John’s College, Oxford, second quad .. .. .. .. .. 308

102. Market-Cross, Peterborough .. .. .. .. .. .. 312

103. Steeple of St. Magnus, London Bridge (designed by Sir Christopher

104. Old Merchant Taylors’ School, designed by Wren, Street Front. — From

105. Merchant Taylors’ School, Playing Court. — From the ‘ Graphic ’ . . 320

106. School-room of Merchant Taylors’ School. — Ditto . . . . . . 321

107. Old Bedlam, Central block .. .. .. .. .. .. 327

108. St. Catherine’s College, Cambridge . . . . . . . . . . 329

109. Drapers’ Almhouscs, Margate . . . . . . . . . . . . 330

111. Cowper’s House at Olney. — From the ‘ Graphic ’ .. .. .. 335

112. Redington Rectory 337

LIST OF ILLUSTRATIONS TO YOL. I.

xii

FIG.

114. Custom House, King’s Lynn

115. Montague House — the old British Museum

116. Old Street in London

117. 118 and 119. Doorways in Essex Street, Strand ..

120. Tilquhillie Castle, Aberdeenshire

121. Courtyard of House at Linlithgow

122. Borthwick Castle

123. Old House in High Street, Glasgow

124. Newark Castle, on the Clyde

125. Scotch Castle

126. Old Glasgow University, north side of inner Court

127. „ „ south and west sides of inner Cour

128. „ „ Stair to Fore Hall

129. „ „ the Fore Hall ..

130. Part of House in the High Street, Edinburgh ..

131. Ordinary Classic House

. 339 . 340

. 359 . 361 . 362 . 363

. 366

. 369 . 372

. 374 . 376

HOUSE ARCHITECTURE.

Chapter I. Introductory

TO build a bouse for oneself is an excellent education in architecture. By the time it is finished, and the owner has lived in it, he feels how much better a house he could build with the experience he has acquired, if he had to do it over again. While the work is going on his attention is called to questions he had never thought of before, which are now of the greatest interest to him. He examines the houses of his friends, and discovers features in them which he wishes, when too late, he had introduced in h'is own plans. The designs are altered and the cost increased. His taste in architecture, and his ideas about planning are changed by his new experience ; the building is too far advanced to adopt the improvements, and the house which he had hoped would be perfect, is a source of trouble and disappointment.

He could build another house to his mind, but to go through the experience once in a lifetime is enough for most people.

VOL. i

HOUSE ARCHITECTURE.

To have, before commencing the building of a new house, the knowledge which the experience of building gives in some imperfect and fragmentary way at the end of the process, would save the owner trouble, expense, and after-regret. To attempt to supply this is the object of this book.

I do not imagine that any information I can give can supersede the services of an architect. It can no more do this than a treatise on medicine enables us to do without a doctor. Book knowledge is useless in practice without the tact, gained only by experience, when and how to apply it. But architects have frequently told me that they wished they had such a book as this which they could put into the hands of their employers ; as one of their great difficulties is, that those for whom they are working do not understand what is meant by the plans, and after they are executed find out that the result is not what they wanted. If the employer could have understood what was proposed, and the results which were possible, misunderstanding and disappointment would frequently have been avoided.

I shall try to treat of all matters connected with the building of a house, so that any one may understand them and have grounds for forming his own opinion. This will involve the discussion of questions interesting to numbers who have no intention of ever building a house. It will necessitate, as one important branch of investigation, an account of Architecture ; some inquiry as to its meaning and aims, the principles on which its rules are founded, and its uses. To attempt to discuss these questions would be useless without some brief statement of the effects which Architecture has aimed at, and has succeeded in producing in various countries.

We must inquire into the conditions, social and intellectual, under which Architecture produced its triumphs, and

INTRODUCTORY.

whether we may hope for satisfactory results, under the conditions under which we work at the present time.

A question which must be settled before commencing a house, is the style of architecture it is to be built in. Till about fifty years ago, this question did not arise ; there was only one style in which people could build, that prevalent at the time. Since the modern Gothic revival, architects and all who care for Architecture have been divided as to whether we should adopt Gothic for our houses, or the Classic style, which before that revival had been universally used. Possibly neither of them may be quite suitable for us. The question cannot be satisfactorily decided without examining all the styles which we might reasonably employ with a view to our modern wants and necessities.

Apart from its practical use, such a discussion is interesting, on its own account, to all who care for Architecture ; and even those who think the subject technical and dull may find that it is of genuine human interest. The old styles of Architecture were the natural outcome of the character and history of the nations who invented them, and are among the most reliable and interesting records of their social condition and modes of thought. Each of them was formed by a gradual process of development, which it is most interesting to trace. Architecture has of late years become a subject of interest, and every one feels he should know something of it. Truer and more practical knowledge of it, more widely diffused, might give us again houses characterised by good taste and beauty, like those of former times, in place of the dulness and vulgar pretentiousness which disfigure our streets and landscapes.

The second volume treats of the planning and arrangement of houses, building materials, and the conveniences and mechanical contrivances which our modern notions of comfort demand. To get a perfectly satisfactory plan is of

HOUSE ARCHITECTURE.

all matters the most important in building a house. House-planning is an art derived through long tradition, and, to understand it, we must trace its history, which is full of interest, for it is the history of home life and social habits.

To plan rightly we must know what experience has shown to be requisite in modern house-planning.

Before we can combine the various rooms and offices together into one house, we must understand the purpose of each, and the best form and size for that purpose. The family living-rooms, the servants’ offices, and the passages and stairs connecting them, will each form the subject of a chapter, before treating of the best ways of arranging and combining these together.

There is a short chapter on the number of stories and height of houses in different circumstances, and another on the usual plan of town houses.

To attempt a technical treatise on building materials and construction would be impossible in our space, and useless for our purpose ; but some information is necessary on the kind of materials we can have at our command, and the right way of using them, so as to produce a good architectural effect in form and colour.

When the house is built it must be warmed and ventilated, supplied with water, a system of drainage, and various mechanical contrivances, such as bells, speaking tubes, and lifts, for convenience or to save servants’ labour. These matters will form the subject of a chapter.

As a house is not complete internally without decoration and furniture, nor externally, without its surrounding terraces, gardens and pleasure grounds, a complete treatise on house architecture ought to include chapters on these subjects. They were in part written, but the preparation of proper illustrations would have still farther postponed this publication, already too long delayed.

INTRODUCTORY.

These questions will be better discussed with reference to a house in the country, where there is some space and freedom of arrangement, than if we are bound by the stereotyped arrangements of town houses.

Every one of them has of late years been a subject of interest and discussion ; and information is to be got with regard to all of them in magazine articles, and in books large and small. The literature of the subject is too extensive for easy acquirement or handy reference, and to be of practical use to any one building a house, it requires to be digested, and the conflicting views which abound on every point stated and compared. For any one without practical experience of building operations this process would be difficult, and the results probably wrong. Some notice of the more important works on these subjects will indicate the gap which this book is intended to fill.

Mr. Rusldn, in his ‘ Seven Lamps of Architecture,’ and in his ‘ Stones of Venice,’ has discussed with eloquence and insight the fundamental principles of Architecture, the value of the art to us, and the style we ought to adopt for modern use. By these and other writings he has inspired his generation with enthusiasm for art, and for nobleness and beauty in architecture. I do not know how far he holds to the views expressed in these works, as since their publication he has modified some of his opinions. In them the subject is treated too often from the point of view of Italy to be practically useful or true of England. I think some of his views on architecture are open to question, and that their practical influence on modern architecture has to some extent been mischievous.

Mr. Fergusson, in his ‘ History of Architecture,’ gives a clear and interesting account of all the great styles of architecture which have existed in the world. His three volumes form a complete text-book of great

HOUSE ARCHITECTURE.

value. He describes the historical buildings of each style, especially those which are landmarks in the history of art, and criticises them with ability and knowledge, and with the confidence which springs from the consciousness of their possession; pointing out faults, and suggesting how the architect should have made his design so as to avoid them.

I do not think he is always successful, but the task he sets himself is difficult. We do not require a critic when he finds fault with a poem to put it right by composing passages to replace those he objects to.

It is, perhaps, a task beyond human ability to re-design the great buildings of the different styles of architecture, for it implies greater insight and architectural invention than their architects possessed. Trying to work out in several instances the results of Mr. Fergusson’s proposed improvements on historical buildings, I have found either that they altered the intention of the design, or iutroducd some new difficulty which it is not unreasonable to suppose the designer had appreciated and avoided. In criticism it is at least safer, and perhaps more instructive, instead of suggesting alterations, to take the buildings as they are, and try to realise their meaning and the impression they were intended to produce.

Throughout the work, Mr. Fergusson contrasts the conditions under which these old styles grew up with our modern method of producing architecture, which he insists we must abandon and return to the old, if the art is to flourish. This question is of interest to all who care for architecture, and especially to architects, as it involves their existence.

About twenty years ago, Sir Gilbert Scott published a little book on ‘ Secular and Domestic Architecture, Present and Future,’ to show how suitable the Gothic style of

INTRODUCTORY.

architecture is for our houses and public buildings. Since then the principles he advocated have largely influenced our architecture, and have been adopted even by our ordinary builders, but the result has not been all that could be wished.

Difficulties not anticipated have shown themselves in adapting the style to modern use, and there is a feeling that the question whether Gothic is the most suitable style of architecture for modern domestic use needs reconsideration.

Since Sir Gilbert Scott’s lamented death his lectures to the students of the Royal Academy, which he had previously prepared for publication, have been published in two volumes full of admirable illustrations of English medieeval ecclesiastical architecture. The lectures, which wTere delivered at intervals during fourteen years, are not a consecutive treatise. They give the results of the author’s life-long enthusiastic study of mediaeval church architecture, especially in England. His knowledge of buildings, from cathedrals to village churches, was unsurpassed, and it is used in discussing the interesting questions of the development and principles of Gothic architecture. These form a small part of the subject of this book, which would be incomplete without a reference to Sir Gilbert Scott’s views.

In his pleasant book, ‘ Hints on Household Taste,’ Mr. Eastlake expresses his conviction that the “ Gothic Renaissance” is a reformation slowly but surely taking place in this country, and urges the adoption of Gothic for our houses and for our furniture, even in ordinary Classic houses. His own designs in the book for decoration and furniture are in the Gothic style, but in the illustrations from old work, he shows an incipient liking for the more picturesque forms of the Classic style, which, I have reason to believe time has not diminished.

HOUSE ARCHITECTURE.

For the history of domestic architecture in England in the Middle Ages, the work commenced by Mr. Hudson Turner, and continued by Mr. Parker, is exhaustive. I have availed myself largely of it in giving the history of house-planning, and by Mr. J. Parker’s kindness I have been allowed the use of several of the woodcuts for these volumes.

There are three systems of arrangement of the matter of the book — by subjects, by centuries, and by counties, so that parts of the same subject turn up at wide intervals — it is difficult to remember where. It is really a collection of valuable notes of interesting facts of mediaeval life in all its phases, and a copious index gets over the difficulty of arrangement.

On the subject of the planning of houses, ‘ The English Gentleman’s House ’ by Professor Kerr, contains about all that need be known. The book is large and would bear condensation. In the chapters on planning I have endeavoured to go over the same ground. I shall have occasion sometimes to refer to it, as I cannot always agree with the statements and recommendations contained in it. Mr. Kerr devotes a small portion of it to the subject of architectural style. He suggests as the answer of the English gentleman, when his architect asks him in what style he wishes his house built? “In no style at all, except the comfortable style if there be one,” and, “Take me as I am, and build my house in my own style.” He gives, however, as samples for the gentleman to choose from, the same plan done up in ten different styles — Elizabethan, and revived Elizabethan, Palladian, rural Italian, Palatial Italian, and French Italian, the English Kenaissance style, the Mediaeval or Gothic style, the Cottage style, and the Scotch Baronial style.

The feat is a difficult one; something like translating

INTRODUCTORY.

a piece of poetry into ten different languages. Mr. Kerr’s designs fail in giving the nicer characteristics of the various styles, but this would have been too much to expect from one author. They have all a family likeness, due no doubt to their common parentage. They remind me of a fish dinner at which, cod, skate, and haddock all tasted the same, having been all cooked with the same lard.

Sir Edmund Beckett has given the public the benefit of some of his extensive experience as a builder and amateur architect, in a little book which he calls, ‘ A Book on Building,’ in which his aim is to give practical information to those intending to build, how to avoid legal and structural mistakes. The subject of house-building occupies a considerable part of it, not treated in a systematic way, but by instances of the mistakes which, in his experience, builders and architects are liable to commit. The book does not profess to be a systematic treatise, and assumes the necessity of architects. The arrangement is somewhat heterogeneous ; such diverse subjects as kitchen grates, skylights, oak graining (which the author approves of), and windows all being treated of together. It goes into minute detail on some points, but I doubt if the information and directions are sufficient to enable an employer, who had not the practical experience of the author, to keep from error an architect who did not know his business. It leaves a strong impression of the risk which any one runs in building, unless he superintends his architect not only in making the plans, but in carrying out the work.

The first chapter treats of agreements with architects and builders, giving model forms of contract, to prevent the employer surrendering his authority over the work, and controverts the doctrine which, it seems, is held by some architects that, “ after the plans are settled and the work

HOUSE ARCHITECTURE.

commenced, the ‘ client ’ must yield himself absolutely to his professional adviser.” It is reasonable rather that as he pays his money he should have his choice. Employers may sometimes insist on things in a building which an architect could not carry out consistently with his own credit. But it is seldom that the employer’s wishes, though they may not be what the architect thinks best, cannot be worked into the design.

One plan of a house is given, which Sir Edmund Beckett designed for himself. It has a central hall lighted from the ceiling and contains many of the usual modern arrangements, but the want of facility in getting over difficulties, not uncommon in the work of amateurs, may be detected in parts, and a single instance is in any case insufficient to give an adequate idea of house-planning.

The views expressed by the author are always decided, and many of them are the same as my own experience had led me to form. In judging of the architectural merit of buildings he takes, as we must all do, his own taste as the standard, with too little appreciation, perhaps, of the possibility of a different opinion in others.

The book also contains chapters on the theory of domes and on the great pyramid.

The late M. Yiollet-le-Duc, the author of the admirable ‘ Dictionary of French Mediaeval Architecture,’ recently published a charming little book, which has been translated into English, under the title of ‘ How to Build a House.’ The title is somewhat deceptive ; the French title, ‘ L’Histoire d’une Maison,’ describes the contents more accurately.

It would not help any one in building an English house. The conditions of building are those of French country parts, where the materials and modes of work differ from ours in England. The plan is eminently French; no isolation of

INTRODUCTORY.

the public rooms, but all opening one into another, the bedrooms sufficient only for the limited size of French families ; the whole nursery accommodation in a house which costs £6000 being a small bedroom over the kitchen.

The book, in plan a novelette, is a pleasantly told lesson on the principles of common-sense architecture. A lad, idle at home during the German war, is set, under the guidance of his cousin, an architect, to build a house as a surprise for his sister on her return from her marriage jaunt. Knowing architecture only from the treatises on the five orders in his father’s library, he had thought it a dreary subject, but his interest is awakened by being taught by practical experience how every feature of architecture springs from use and convenience. It is not shown, however, how pointed arches, and some other features introduced into the design of the house, spring from any necessity of construction or use. The book is an excellent one for creating an interest in the subject.

The same author had recently published another book also translated into English, under the title of ‘The Habitations of Man in All Ages,’ also in form a novelette. Two “ beings ” with an interest in house building visit, after the manner of the Wandering Jew, the various countries of the world, beginning with the times of the cave men, and taking leave of us at a dinner at a Paris restaurant in the days of the Second Empire. One of the companions is conservative, the other in favour of the successive improvements in the construction of dwellings which they come across in their large experience. Both are rather bores, while the descriptions and pictures of the houses they see are, like the celebrated treatise of the author’s countryman on the camel, drawn largely from his own imagination. The addition of the data, if any, on which they are founded, would have made the book of more value. It does not profess to treat of modern houses.