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The Civil engineer & [and] architect's journal
- Bandzählung
- 7.1844
- Erscheinungsdatum
- 1844
- Sprache
- Englisch
- Signatur
- A128
- Vorlage
- Universitätsbibliothek Chemnitz
- Digitalisat
- Universitätsbibliothek Chemnitz
- Digitalisat
- SLUB Dresden
- Lizenz-/Rechtehinweis
- Public Domain Mark 1.0
- URN
- urn:nbn:de:bsz:14-db-id375634746-184400006
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- http://digital.slub-dresden.de/id375634746-18440000
- OAI
- oai:de:slub-dresden:db:id-375634746-18440000
- Sammlungen
- Projekt: Bestände der Universitätsbibliothek Chemnitz
- LDP: Bestände der Universitätsbibliothek Chemnitz
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- Parlamentsperiode
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Zeitschrift
The Civil engineer & [and] architect's journal
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Band
Band 7.1844
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- Titelblatt Titelblatt -
- Register Index I
- Register List of illustrations VI
- Sonstiges Directions to binder VI
- Ausgabe No. 77 - January, 1844 1
- Ausgabe [No. 78 - February, 1844] 49
- Ausgabe No. 79 - March, 1844 97
- Ausgabe No. 80 - April, 1844 137
- Ausgabe No. 81 - May, 1844 177
- Ausgabe No. 82 - June, 1844 213
- Ausgabe No. 83 - July, 1844 253
- Ausgabe No. 84 - August, 1844 293
- Ausgabe No. 85 - September, 1844 333
- Ausgabe No. 86 - October, 1844 381
- Ausgabe No. 87 - November, 1844 421
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- Abbildung Plate. XIII -
- Abbildung Plate. XIV -
- Abbildung Plate. XV -
- Abbildung Plate. XVI -
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Band 7.1844
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- The Civil engineer & [and] architect's journal
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1844.] THE CIVIL ENGINEER AND ARCHITECT’S JOURNAL. 09 that elevation. The exterior of the British Museum is the work of a mere builder, without the slightest pretension to architectural design or effect. What its fapade will turn out we shall see in good time. The Post Office has nothing but its portico to recommend it as a work of architecture; all the rest is of very inferior character: and even were the facade many degrees better, the general effect in the view from the north west, would always be unsatisfactory, unless the north end of the building were altogether different from what it now is. II. There is a point in Grecian architecture, as adopted by modern architects which does not seem to have been taken at all into consi deration, particularly by American architects, who though they affect the Grecian temple form, in their principal structures, and lay so much stress upon classical columns, &c., of imposing dimensions, do not scruple to introduce windows without even attempting to keep up the style in those features, for more frequently than not, they are either mere apertures in the wall, or very tame and poor in design. This is one of the ill consequences of servilely copying features, wholly unfit for the intended purpose, without very great modifications—so great, in fact, as to convert them into something quite different from thp.ir original character. Where windows cannot be got rid of, at any rate columns may be dispensed with; and, as the former are, in such cases, absolutely necessary, so also should they be treated as essential features in the design, and be made to contribute to beauty instead of marring. In general, astylar composition is far better suited for modern purposes, than columnar. With reference to Gwilt’s “ Encyclopaedia,” we may here remark that nothing whatever is said on the subject of the architecture of the United States. Some little information rela tive to it may be picked up from Dunlap’s work “On the arts of de sign, &c.,” but it is so very meagre as to be more tantalizing than instructive. IH. It was rather a singular omission on the part of Mr. Gwilt, that when dealing out his blows against architectural amateurs, critics, and writers, he did not level a hit against lecturers upon architecture at literary institutions, and such places, for, they also contribute to increase the mischief, by giving persons a turn for amateursbip, and directing their attention to the subject—at least, if they address their audiences to any purpose at ail. If such teachers and leaders of the people are also professional men, instead of being an excuse, that can be only an aggravation of their offence—in the eyes at least of such very strict and orthodox persons as Mr. Gwilt—since they ought to know better than to divulge to the profane the profound arcana and mysteries of their art. Rather does it behove them to warn the “ igno rant public” against prying into anything of the kind—very far above the reach of their faculties, and therefore to be submissively believed in, with becoming stupid wonderment, and with unquestioning confi dence in the infallibility of those who are the lawful depositaries of all such mystic learning. It is odd, too, that Gwilt had not a fling at Loudon, if only because the latter, besides entertaining and advo cating views directly opposite to bis own, initiated architectural jour nalism, and, moreover, strenuously endeavoured to expel mere pe dantry and mysticism from criticism, and establish principles of aesthetic rationalism in their place. In fact, hardly any two writers have laboured to promulgate more opposite views, and let them be ever so orthodox, Gwilt’s are certainly by far the less liberal and less popular ones. That he goes against the stream is very evident, since so far from being attended with the desired effect, his attempt to throw ridicule and discredit upon, and so put a stop to non-profes sional—and as he deems it, unlicensed architectural writing and study, has only served to draw down upon himself a great deal of severe and not unmerited reproach. Instead of being at all intimidated by his growlings, the class of writers whom he would fain suppress alto gether, seems to have gained fresh courage. Another reverend “literary idler” has just appeared in the field, in addition to those who had previously done so, since Mr. Gwilt first uttered his denunci ation against the whole race. Exclusively of the opinions contained in it, his idea of an Encyclopaedia is an unusual one, for persons naturally look, in a work of the kind, for the very latest and freshest information; whereas his stops short at the very point where abun dance of new matter and fresh subjects presented themselves. Were we to judge from his work, we might fancy that the history of art in the present century, not only in this country, but all over Europe—in fact throughout the whole civilised world, was a mere blank. Yet, if excess of delicacy withheld him from venturing to comment on the works of contemporary architects at home—though it did not from falling foul upon contemporary writers —he might have ventured to ex press his opinions quite freely in regard to those of other countries. Besides, if be was fearful of giving umbrage by it, he might have drop ped critical remark altogether, and confined himself to a mere historical report, and descriptions of buildings, as has been done in some other encyclopaedias. He might too, without impropriety, have given a place in his “Catalogue” of books, to some of the best architectural treatises which have appeared in publications of the kind, for instance, those in Brewster’s Encyclopedia, the Britannica, and the Metropo- litana, bv Telford, by Hosking, and by Narrien. IV. Flattering as are just now the prospects of art in this country, as far as one great national work—the “ Palace of Westminster,” is concerned : it is matter of very doubtful question, if the influence so occasioned will be a permanent or an extensive one. There are two other influences equally powerful and active among us, which must more or less counteract, if they should not absolutely neutralize that of art; namely, party spirit on the one hand, and fashion on the other. Why the former, which is so entirely distinct from, should ever be al lowed to interfere in matters of art, let others explain—if they can; yet so it is ; highly favourable opportunities are frittered away, one after the other, by their being converted into little better than mere jobs bestowed by party favour—no matter on which side. It is no doubt very natural—perhaps amiable, in public men to endeavour to serve their friends, but it is frequently most fatal to the interests of art—'a truth proved by many very striking and notorious instances. This is certainly not the way either to advance art or encourage talent among us—quite the contrary; therefore, if such unhappy and mis chievous system cannot henceforth be set aside altogether, matters must continue to go on pretty much as they have done; for all the mere talking about art, will prove of no real service to it. In the ordinary affairs of life, common sense prevents people from post poning their own obvious interests to party considerations or political feeling. Provided he be a competent artiste in his profession, the most ultra conservative cares not though his clief de cuisine be an out and out radical; neither does his Grace of Canterbury relish his fare at all the worse because it may happen that his French cook is a Papist. And why should they? Is it not strange then that persons who would not risk the chance of an ill-dressed dinner, or, other domestic blun ders, by employing incompetent servants, should thrust, as they not unfrequently do, very incompetent and ill-qualified ones upon the public. V. As far as mere size goes, the Tract Society’s new building in Paternoster Row, fully rivals the Reform Club House, and greatly sur passes any of the ornamental facades in Lothbury and Moorgate Street. There is plenty of it in regard to extent and height—more especially as the situation itself is exceedingly confined ; nevertheless, it does not look by any means so large a mass as it might have been rendered in appearance, owing to its being not only so divided, but so varied in design, that it shows like five quite distinct and separate houses, viz., three of a single window (of three openings) in breadth on the upper floors, and two intermediate ones of three windows in breadth. In this case it is not the mere “ breaks ” in the elevation that are objectionable, on account of their cutting it up into too many petty divisions; that would have been a comparatively minor defect; but here the want of unity amounts to absolute contradiction and dis ruption of the whole, if intended to pass as a single piece of design, owing to the inserting, mixing up, and dovetailing together two quite difl’erent designs after cutting them into slices for the purpose, taking three of the one, and two of the other. Thus, three of the compart ments on the ground or shop floor, have columns forming a small order raised on pedestals; while the intermediate ones have arches which rise higher than the capitals of those columns, whereby all continuity of line is completely broken, for it is not kept up in the degree it is done where the imposts of arches are on the same level with capitals of columns in other parts of a composition. As to the style, it must for the want of an other term, be accounted Italian; but it is certainly of a very lame and doggrel kind. If it seem harsh to say this, it is also not a little hard to be compelled to do so : here was at all events a very fair opportunity for producing a more than ordinarily good spe cimen of its peculiar kind ; something exhibiting the same careful ness in design as is manifested in one or two fapades lately erecte.d in Lothbury and Moorgate Street. There is no economy in adopting a poor design, good taste costing no more than barbarous ugliness—if always so much. Charcoal most effective in the Growth of Plants.—Mr. Barnes of Brecon, says, “ Charcoal is the most astonishing article to make use of for all purposes of cultivation, and especially for plants under artificial treat ment. I judge from many year’s experience of its use. My pine soils con sists of nothing but charcoal and loam, without a particle of manure of any sort. Every plant under my care has some charcoal used about it. I never saw the plant that did not delight in it, and to heaths it is most especially acceptable.” Mr. Stewart, gardener at Stradsell Hall, has exhibited to the Horticultural Society some cucumbers grown in equal parts of loam and charcoal, without any manure. No stimulant could have given better fruit so far as health was concerned.
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