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1841.] THE CIVIL ENGINEER AND ARCHITECT’S JOURNAL. 103 binations may be obtained, and then exhibit some detached Episodes, and individual instances. Hitherto, Plan—by which we mean not only the outline of the floor, but that of profile and section likewise— has been allowed to exhibit scarcely any variety, effect being almost exclusively limited to that kind of it which arises from material, colour, and decoration. Accordingly if it can be shown that there are other sources of variety, it becomes evident that there is far greater scope afforded by interior architectural composition, than where no velty of design consists in nothing more than substituting one order of columns for another, or something else of that kind, without any novelty whatever in regard to arrangement, shape, and proportions in the en semble. Of course where a room is a simple square or parallelogram in its plan, there can be no combination; yet as soon as we proceed a step further various combinations may be obtained. Still we choose to limit ourselves in nearly every case to the simplest and first step; for if it be required to give rather more than ordinary architectural character to a room, it is usually done by putting two columns towards each end, so as to divide it into three compartments; and that being done we seem to have fairly got au bout de notre Latin. Let us, then, take no more than a triple arrangement of plan, and show some of the com binations that may be obtained from it, distinguishing the divisions of the plan by the terms Centre and Ends; and it will be less troublesome to ourselves, and more intelligible to our readers, if we give them in the form of a mere list. First then, in regard to plan, we have the following varieties:— Centre and Ends all rectangular, equal in breadth, and differing only in their relative proportions. Centre wider than Ends. Centre narrower than Ends, or the Ends expanded. Centre rectangular, Ends semicircular or curvilinear. Centre circular or polygonal, Ends rectangular. Centre a square or parallelogram, Ends octagonal, hexagonal or other form of polygon. Secondly. In regard to Profile or Section Centre and Ends, of uniform height and with flat ceilings. ditto arched. Centre loftier than Ends, but with flat ceiling. and domed, or arched. Ends loftier than Centre, and arched traversely to the latter. and domed. Thirdly. In regard to arrangement of windows and mode of lighting:— Centre and Ends all lighted from one side of the room. Centre lighted from side, Ends from the extremities of the room. Centre lighted from one side, and Ends from opposite one. Centre lighted from side, Ends from above. Centre lighted from above, Ends from side. Centre and Ends all lighted from above. Centre alone lighted, either from side or above. Ends alone lighted, ditto. Centre or Ends lighted not from ceiling but from windows at the sides, at a distance from the floor. Without our extending this list any further, it will be evident that a vast number of combinations may be obtained, entirely independent of the innumerable differences arising from columns and other decora tion, from dimensions and proportions, from colour and material. In fact every one of the modes above enumerated—and they are by no means all—affords as much or more scope for architectural design in other respects, than there is now by the single one which is almost invariably adhered to. We have merely mentioned as one distinction that produced by lighting either the whole room, or one or more of its divisions from the ceiling ; but then, that, too, maybe effected in a variety of different ways. The light may be admitted through glazed coffers or panels (plain, again or coloured), through a dome, or through a lantern, which last admits of almost infinite variety of form and design. Lantern lights may not only vary in their plan,—be square, oblong, circular, octagonal, &c., but be ceiled above and have windows on their sides, or closed at the sides, and have the light transmitted through the ceil ing, accordingly as either the design itself, or other circumstances may dictate. It may be said—and that not unreasonably—the kind of room we have noticed, namely, one capable of being divided into compartments, is fitted only for a gallery or library of some extent. Still there are a variety of other combinations to be effected in rooms of a dif ferent class, by merely brenhjng their plans, yet without exactly dividing them into distinct compartments. Dining-rooms certainly admit of great architectural character being bestowed upon them, by a sideboard alcove, by which is to be understood something more than a mere shallow or blank recess—as it may not improperly be termed— which where there is any thing of the kind at all, is generally the maximum attempted, although in itself it is exceedingly little indeed. ( To be continued.) ESTABLISHMENT FOR PROCURING MOULDS FROM MONUMENTS OF ART. Sir—The debate which followed Mr. Gillon’s motion, cannot fail to raise the hopes of all who have the interests of taste at heart; and I hope that you will permit me, at this apparently auspicious time, to bring forward in your columns a scheme, which, although, if I may judge from the brief paragraph in a former number, does not meet your approbation in its original shape, yet if some other mode of operation can be devised, its object will, 1 feel convinced, have your earnest support. 1 allude to the formation of an establishment for procuring moulds from interesting monuments of art, and for diffusing casts from these at the cheapest possible rate, over the country. The French have long possessed such an establishment, under the immediate patronage of government, and monlders are constantly em ployed in foreign countries, as well as in different parts of France, making moulds from monuments of art of every age, from the earliest times down to a late period. French moulders are to be found not only in the capital cities of Italy, but also in the ancient towns which offer so many interesting specimens of the arts of the middle ages. A few years ago, as I have already stated in a former paper, elsewhere, 14,000 dollars were spent in Florence alone, in making moulds which were afterwards conveyed to Paris. How advantageous the results of such a system.' In Paris artists of every description may find specimens of sculpture from every statue and building with which they are ac quainted. Architects may at a very small cost, in addition to their libraries, form museums, containing casts from portions of the build ings, the plans and elevations of wnich their books contain. Engrav ings however perfect, can convey but a faint idea of the graces of execution in architectural sculpture, and I think that the consequences of designing from these alone are sufficiently illustrated, in our cold, spiritless, and precise ornamental details. I wish to see some such establishment as the French one in Loudon; the subject has excited much attention in Scotland, and when I first brought it forward it was warmly taken up by many enlightened and energetic individuals ; but objections were urged against it in London, although I have not been able precisely to ascertain their nature or extent. I believe that the apprehension of the creation of a monopoly, and the consequent injury to individuals who have already invested capital in casting was the strongest objection. I should like to know, how much capital is really' invested in this branch of trade, and how many individuals pursue it, and how many good moulds they possess? of this I am certain that we have repeatedly been obliged to send abroad for casts, after vainly seeking them in London. It may be ob served that this is not surprising, if we demand casts from works, of which it is most unlikely that casts should exist, but this has not been the case, the casts required have in most cases been such as ought easily to have been found in London. Your own Schools of Design are furnished from Paris, for with the exception of casts from sculp tures in the British Museum, which are of the best quality, a few from foreign monuments of a very indifferent quality, and some from our national specimens of art, nothing is to be had in London. I would here point out that there are difficulties in the way' of pro curing moulds from important monuments, which are insuperable to private enterprize. Government alone for instance, could procure a new mould of the Venus de Medicis. I feel convinced that although the Grand Duke will not hear of a mould from this statue of statues, he would at once accord it, to the request of a nation preferred through the proper channel, to which he owes his possession of the gem. I have no doubt that established London sculptors would willingly give fifty guineas for a first cast from a new mould of the Venus, I have known twenty-five paid in Rome for a good cast of this statue ; in this point of view it seems evident that such an establishment could not prove a very costly one to the nation, for however liberal its Directors ought to be to public galleries, and however cheap casts generally should be sold to effect the good anticipated, still first casts from rare and precious works should be disposed of to individuals on different terms. There are unquestionably numberless specimens of art of the highest value and interest, casts from which, could be procured only by government influence. I mentioned the deficiency in London of moulds from important monuments, I should imagine that the chief source of profit to your casters must proceed from their employment by living sculptors, and a National Casting Establishment whose object would
