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http://www.archive.org/details/designsforgothicOOgibb

READ BEFORE THE LIVERPOOL ARCHITECTURAL AND ARCH^OLOGICAL

SOCIETY, AT ITS MEETING ON

FEBRUARY

22nd, 1854.

The

study of English Architecture

is

one of the greatest and most

itself,

important that a nation can take upon

as a Fine Art
is

and

if its

high position

to be maintained, the hopes of ages will be realized,

is

and

all

nations aspire for that honour, which

the glory of

all

creative power.

The

revival of Christian Architecture, in this country, has been

;

hailed with a joyous smile

and there are hopes of the time when

which the great ArchiTime,
it is

Englishmen
tects of the

shall ameliorate those principles

middle ages were so successful

in.

hoped, will
this soul-

reveal all those mysteries which yet darken the

stirring period;

mind of

then will the

spirit
all

which gives enhghtenment to

lustre

the understanding shine with

that

which

is

known

to

give distinction to the lofty and pure sentiments of man.

But the period

bursts of change.

in

which we Hve

is

remarkable for

its

sudden out-

The ever-moving hand of Time has brought to our

scientific

view the wonders of a

rapidity the gigantic

age

and, revealing with an awful

power of the nineteenth century, prostrates with a heavy stroke the ancient principles of much that was famous in bygone days. Schemes of enterprise are visible in every city, and the

THE AUTHOR'S REMARKS.

apathy that once clothed our ancient towns with so much sluggishness, is giving way to the demands of modern culture; even the obscure
village
is

become the

recipient of a gratifying ambition proportionate

to the chances of speculation.

Impatient minds are flashing on amidst

its

the thickening foam of an overwhelming tide, one that bears upon

waves the

still

to be dreaded darkness of an

unknown

future.

The arguments
the

in favour of false principles

may

be perceived in

common wares
and

of domestic utility

they are likewise exemplified

people, but

in our streets

in the

homes of the

more

especially in

the saloons of the rich, where the gay pageantry of

modern

fashion

destroys the organization of those laws by which the beautiful in Art

is

created.

If the construction

and adornment of English buildings

principles,

were entirely based upon Christian

the

absurdities

of

might be recognized by those who are now too frivolous and capricious in their ideas to determine upon what is most proper, or what they themselves most desire.

modern

fashion

The various departments of Christian Art have had some few extreme thinkers, and the energy of noble minds is still devoted to
the same good cause, leading the student on to redeem a void in the

annals of time.

Who

can

call

to

mind the once

fair

palaces that adorned the

ancient cities of Jerusalem, Corinth, Athens, and others, without feeling that they are no
fallen
;

more ?

For, like the mighty Babylon, they have

and

all their greatness, all their

splendour,

is

turned into a tale can

call

to be told by the traveller, who,

to

regretting the loss of cities,

mind one that mourned over a people notorious The follies of the past must ever be of wickedness.

in the philosophy

regretted,

and we

may

fill

our eyes with tears in vain for losses irrecoverably gone.

!

But where, oh England

of thy past glories that

where art thou

Is

it

by the remnants

we yet remember thee? or is thy palm of true chivalry yet to be won by nobler deeds than those which fighting men were fain to make so terrible in the "accursed and unquiet
wrangling days" of England's bitter hour
unless
rious
it
?

There

is

no true chivalry

emanates from a pure heart.

sacrifice the

The

actions of
for

when they

honour of God

men are inglotheir own personal

valour or fame.

THE AUTHOR'S REMARKS.

Since this period the world has undergone many changes, and England can bear testimony to her infatuated patriotism. Yet is there a pure and noble spirit still slumbering amidst the almost
ruined fabrics of an age more merciless than
pitiful.

Come
;

forth,

ye venerable reformers, and bid the

spirit rise!
its

The
it is

history of every nation

is

a key to

Architecture

therefore

necessary that

we should look

into the sad experience of the past,

intermingled as the varied subjects of piety and wrong

may

be.

secrets of mediaeval design within the breasts of the Middle-age Architects has

The chain of thought and mind which held the great

been broken;

by

what causes

it

is

needless

now

to enquire.
to

The Art of Architecture

prove
itself

is still

fine

and noble, and has grown

the master-work of ages.

Its

pre-eminence can be better

understood

when

the powers of the mind are capable of receiving

it is

those impressions
rially
edifice,

affected

make. Mankind are mateby the comparative strength and appearance of an

details are in accordance with the laws of
artistic feeling.
is

so well calculated to

when

the general proportions are consistent with their pm-pose

and meaning, and when the

construction, true taste,

and

The study of Christian Architecture

of theory, but

not only interesting in point

its influence should secure to every right-minded man the grand principles of solidity, truth, and beauty. The sweetness of harmony should dwell there, and the grandeur of majesty be en-

throned with
prerogative.

all

that becoming dignity of character which

is

her great

Many
modern

of the errors perpetrated in the building and enlargement of

cities

have been partly discovered, but no satisfactory attempt

has been made to give them that air of cheerfulness and comfort which an English city should have, which emphatically becomes a Christian
people,

and which none but a Christian people can desire or expect.

it

How

strange

is

that this nation should disregard

!

its

identity with

Christian

Architecture

How

wrong

to slight the genius

of our

forefathers,

and seek

in a foreign land a style of Architecture

whose

once proud props

now form but a

of

region of broken pillars

Why

exhume

the

remains

Pompeii?
?

Are there no

architectural

arrangements more worthy than those

or are the Architects of the

THE AUTHOR'S REMARKS.

architectural design nineteenth century incapable of originality in thou art inexorable. Will the Fastidious age ?

and arrangement

unsuggestive of no multifariousness of ordinary occupations remain

multangular forms which higher and better arrangements than the Truly, the dull repetition of Grecian great and modern cities present ?
streets into a monotonous facades has turned the Architecture of our
farce.

In the formation of a

city,

the primary object most worthy of conits

sideration should be the well-being of

inhabitants.

Few

cities,

such a rule. however, give sufficient evidence of the establishment of The Architecture of the present day is ill suited to influence an a building, when observer in discovering the real use or meaning of unnatural in this not only is the character of the style represented
country,
but,

perhaps,

a facsimile of the
is

palace of some

Roman

Emperor

or Turkish Sultan

become a British bank or merchant's

warehouse.

Foreigners must be amazed at a practice so absurd, as they must do, especially in a professedly Christian country, seeing, and admiring the many relics of ancient English Art.

When
ancestors,

noble the ancient halls, and other domestic buildings of our

were erected, there was much building to purpose and

effect.

their designs, Indeed, architects could scarcely err in the principle of To truthfulness and beauty. if founded upon the same simple plan of

those improvesecure so desirable an end, advantage must be taken of science modern ments in design and household arrangements, which desirand the improved state of our social condition have rendered so it does In following out the truthfulness of ancient principles, able.

a veritable not necessarily follow that an ingenious architect becomes

copyist.

The buildings which

are, in

constitute the

homes of the nobles of this

families

day,
;

many
It

instances,

unworthy the possession of such

at

tion.

to the Reformaleast those that were erected some time subsequent look upon those is painful to the true nobility when they
large and costly mansions, for they bear

upon

their forbidding counte-

No warmth nances the marks of a debased and disreputable taste. is there of feeling or welcome smile of comfort to the passer-by
in

these

cold,

meagre-looking dwellings.

Dismantled of

all

that

THE AUTHOR'S REMARKS.

should be counted great or grand in Art, an atmosphere of

9
selfish-

ness seems to breathe from the inhospitable walls, denying to their

owners the enjoyment of that sacred harmony which Nature and

Art have intended

for

one

common

purpose.

The

principles of Gothic

Architecture are so consistent with the tastes, habits, and require-

ments of a Christian people, that

purposes* cannot be questioned.

its

applicability to all honourable

is

There

not a vestige of ancient

Gothic Art remaining but

ful forms,

is

suggestive of a thousand other beauti-

sufficiently

original in purpose
scientific
is

and meaning
people

for all the

demands which a progressive and

The

erection of a public building

its

an object

may require. of much interest and

false

importance, and

appearance when complete has a very powerful

views

tendency either to enlighten the public mind, or lead to

of what
is

true, noble,
is

and beautiful

in Art.

An

architect

in a

most

essential

manner a

responsible character;
nation.

he involves within the

circle of his

power that of a

Not

only do his buildings represent his

contrary, but also the tastes

own

ability of conception or the

and desires of a community or people are

not unfrequently invested in the locality or place of his endeavours,

and perpetuated there as monuments, destined

vellers

to let enlightened trait

and future generations see the exact position

list

maintains in

the Fine Art

of the world's Architectural productions.

architects

But many of the

who

are employed in the development

are

either of Christian Architecture or that of heathen countries,

wholly unfit to place before the learning world a building that should
express
its

real character

and

use.

Depending upon powers which

they have not, and heedless of that just censure which contemporary

men may

upon them, they continue the disgraceful practice of designing buildings which the employer and the employed have great When England has released herself from reason to be ashamed of.
inflict

the bondage of a prejudiced and biassed mind, she will be free to

determine the extent of those anomalies which form the mass of

*

The

furniture for
for

all

Gothic buildings should be of the same style and character.

The design
carvings.

a piece of furniture should never be degraded by any kind of grotesque

If figures or faces are

employed

in the design,

they should not any account be

caricatures of individuals, but truthful representations of the subjects desired.

10

THE AUTUOR'S REMARKS.

She must
first

corrupt design in modern Architecture*

fully the

discover

more

deep importance of upholding the principles of Christian

Architecture, ere she can hope to appreciate and value them.f

It is

very probable that architects will ever differ in matters of taste;

some, however, have proved this assertion by an unpardonable digression

from the ordinary rules of common decency.

Many

of our Eccle-

siastical, Collegiate,

and Domestic buildings, both ancient and modern,

contain, as part of their decoration, examples of that class of

called the

ornament

Grotesque.
if

It

may be

described as having a base and

its

fabulous origin, and

any particular instance of

it is

utility

can be

adduced for

its

usage,

only to symbolise those imaginary beings

who
tures.

are the supposed inhabitants of a region where discord reigns

triumphant.

Extreme ugliness and vulgar

taste are

its

leading fea-

For

to whatever purposes the ancients ascribed the institution

it

of mimicry in their grotesque carvings,

is

certain that no part of

its

the Christian faith requires such unseemly gesticulations in

bolism,

sym-

however refractory some of

and

its

members may

have been.

Neither does Gothic Architecture require any ornament beyond that

which

is

natural, pleasing,
is

instructive.

There
have been
the

thought to be much character in those ornaments which

set

up

as aids to effect a certain style of Architecture called

For what are the thousands of nondescripts which decorate the Chapel called Henry the Seventh's,^ and the new Houses
Tudor.
of Parliament
will ever
?

The

style

that prevailed during this King's reign

be eternalised as the prognosticator of a system of ornament

which some of the architects of the nineteenth century propagate

with a lavishness enthusiastically dangerous.
* Let those

who would demand

given.

of the nation a

power

to

condemn the unjust

first

practice

of erecting buildings
that

unworthy of the meanest

position in the land,

enquire to

whom

power should be

t Architects,
of one style

like the nation, are divided in their opinions as to the appropriateness

more than another.

All Christians, however, would, on due consideration,

decide in favour of Christian Architecture.

X The enquiring student may be tempted to linger awhile, and gaze upon the gorgeous but extravagant display of ornaments which form one of the most attractive features in
this chapel
;

but he must not conclude therefrom, that grotesque characters are at

all

essential either to the beauty or completeness of a sanctuary.

THE AUTHOR'S REMARKS.

The Colleges of the learned University of Oxford* are, crowded with the most ludicrous figures and faces. f
in

H
many
Within

instances,

the walls even of the otherwise beautiful Magdalene, this abominable and infamous practice has far outrivalled similar attempts at decoration

some of the other buildino-s. a The vaulted ceilings of our cathedrals have often caused us wonder beneath their sacred canopies. Yet what contrasts are
in

to to

be found there?
of the soul are

The temple

is

polluted;

for the hallowed feelings

mocked by the representation of some evil demon which the carver has chiselled in the lofty material heaven.t The
imaginations of that
defiled

man

are monstrously

vile,

or he could not have

limits, likewise,

a building with satanic masks,

whose

were

to be so solemnly dedicated to that Great

Being

Whom

we

are com-

manded to magnify with

Gothic Architecture

praise in His holy temple.

is

considered to be more capable of receivinostyle.

enrichment than any other

sculpture and carving that

It offers the

grandest scope for

man

is

capable of inventing.

The deep

and shadowy recesses may become the receptacles of the most tender

*It

is

hoped that the authorities

to

whose care the noble University has been

which has been
attri-

entrusted, will be

more

careful to preserve that well-merited fame,

buted

to those architectural

gems of beauty which tower

aloft

amidst whole ranges of the

sjTnmetric and venerable relics of Christian antiquity.

t The design and execution of these carvings are altogether unworthy the protection
of a cloister.
X
cerity

Many
to

of the architects and sculptors of the present day, have proved their insinthe great cause of Christian Art, by designing and carving those hideous,

impious, and injudicious forms which disgrace so

doubtless been followers of

many modern
and

churches.

They have
dethe

some of the ancient

architects

signed or executed those grotesque and unchaste figures

who either which characterise much of

sculptors,
It

ornaments of the middle-age buildings, both Ecclesiastical and Domestic.

must

also

be

observed, that but few architects have estimated aright the nature of that responsibility
especially attached to their profession. Those who have omitted to do so, should be reminded of the qualifications which are so indispensably necessary to the formation of a character so responsible as-that of the Christian

which

is

now

Architect.

It is certain, that all

unseemliness in the Architecture of a building should be rejected by him at least should have, the full confidence of those parties who
obvious, then, that he should be
taste, learning,

who

has, or
It is

require his abilities.

endowed with these three

great qualifications, refined

and

piety.

22

TUE AUTHOR'S REMARKS.

flowers.

and beautiful

And what

is

more becoming

in sculpture

than

ancient Gothic sculptors draped the the modest forms with which the
figures? better sort of their effigies and of Scripture which Much might be done to illustrate those passages The emblems of Virtue, being. claim the attention of every human often meet the eyes of wayfarmg Morality, and Religion, cannot too so opposed to each other. men, be the diversity of their pursuits ever
It
is

to

pursue the

which worldly men be regretted that the avidity with to the prosavocations of life, has become an hinderance
Is there

perity of Christian Art.

nothing in Christian Architecture mind to higher and nobler that has a tendency to elevate the human from the establishment of trains of thought than are likely to follow Is there nothing heathen principles in the Architecture of streets? faith, that they pure and desirable in the emblems of the Christian which illustrate the should be set aside for the adoption of those
principles of heathen
lived

Mythology?

Are the

glories of

a.

people, that

admiration more than two thousand years since, to remain the Let us hope that even in and delight of a nation like England?

Reformation will perform its the region of Christian Architecture the We may then effectually. gTcat and important work honourably and country to shine as a hope to succeed in preparing the genius of this
light,

both glorious and

lasting, in generations yet

is

unborn, ever re-

membering that high Art

an emblem of peace, and can only flourish We may when education gives freedom and exercise to the mind. appreciate and value then hope, too, that the public mind will learn to for the welfare of the human all that Nature and Art can combine
family,

and

for the

promotion of His glory. Whose

that

Name we must

honom- in

all things,

He may

exalt our nation.

13

DESCRIPTION OF THE PLATES.

1.

Designs for three Chairs.

2.

Details for

Ditto.

3.
4.

Design

for a

Cabinet.

Design for a Cabinet and Bookcase.

Designs for Iron and Brass Railings.

5.
6.

Designs for Hinges.

7.
8. 9.

Design for a Candelabrum.

Designs for Chimney
Pieces.

Designs for Ornaments. Designs for Crockets.

10. 11.

Early English Foliage.

Design for a Gable Cross.
Designs for Paneling and Foliage.

12. 13. 14. 15. 16.

17. 18.

Design for a Table.

Designs for two Tables.

Design for a Bookcase.

Design for a Side Table.

Details to Plate
Details to
Designs for
Ditto.
16.

19.

20. 21.
22. 23.

Enriched Paneling.

Designs fob two Crockets.

Design

for a Spandrel

and Crocket.

Designs for Cusps.

24. 25. 26.

Enriched Termination for a Cornice.

Enriched

Ditto.

Ditto.

Designs for Ornaments.

14

DESCRIPTION OF THE PLATES.

27.

Decorated Paneling.
Designs for Circular Windows.

2k.
29.

Design

for

Crocket.
Ditto.

30. 31. 32.

33.

Design for

Design for

Ditto.

Decorated Paneling.
Designs
for

Monograms.
Processional

34.
3.-5.

Design for a
Spiral

Banner.

Terminations Metal.

36.

Design for a Knocker.

37.
38.

Design for

Ditto.

Design for Iron Grating to Door.

39.
40. 41.

Decorated Ornaments.

Norman Ornaments.
Design for an Alms-box.

42. 43. 44.

Gable-headed Window.

Doorway and Window.

Details for
Details for Details for

Wood Work.
Ditto.

45.
46.
47.

Ditto.
Foliage.

Norman Railing and

Various Emblems.

48.

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