[76] The evidence on this point is conflicting, and my father has left no papers on the subject. I feel, therefore, unable to enter into it.
[77] The great bell was not hoisted till 1859, and, had the completion of the tower been delayed for it, the work would not have been finished till 1860. This should be noted by any who have read Mr. Denison’s denunciations on this subject.
[78] Before quitting the subject of Mr. Denison’s relations to Sir C. Barry, I think it right to notice an error, contained in a statement made by Mr. Denison to the Courts of Justice Commission. After stating that architects are all ignorant of ventilation, and volunteering some information, that the works of the architect in this direction at the New Palace of Westminster “are reported to have cost 200,000l.,” he continues, “the ceilings of both Houses of Parliament were—one of them is—in such a state, that they may be set on fire at any instant.” No one could fail to draw the inference, that this was an error on the part of the architect. But the fact is, that “the roof of the House of Commons is wholly constructed of incombustible materials, and the question of danger can only apply to the wooden fittings which have been placed in the roof since its completion, by those intrusted with the ventilation and lighting of the House without any architectural supervision.” (See official letter of E. M. Barry, Esq., printed in Parliamentary Paper, No. 527 of Session of 1866.) The fact, rightly understood, tells directly against the advice (to discard architects on this point, and trust all to ventilators proper) which it is made to support.
[79] In 1842 Mr. Barry had visited Munich, then in the zenith of its artistic reputation, to see both the new buildings, rising under the auspices of the late king, and the great fresco and encaustic pictures, which had made the names of Cornelius, Schnorr, Hess, and other artists well-known throughout Europe. Admiring greatly the artistic genius displayed in many individual works, he was yet convinced that they often wanted the harmony alluded to in the text, and tended rather to injure than to enhance the architectural beauty of the buildings which they would have otherwise adorned.
[80] The most important parts of the Reports appear to be the Report of the Committee of Selection of Subjects in Painting and Sculpture, contained in the Seventh Report of the Commission (in 1847), and the Twelfth Report, presented in 1861.
[81] See ‘Recollections of A. W. Pugin,’ by Benjamin Ferrey, Esq., c. xviii. Mr. Ferrey, although writing with the greatest candour and friendly spirit towards Sir C. Barry, is clearly in ignorance as to the exact position of Mr. Pugin in the matter, and is obliged accordingly to speak vaguely.
[82] “It was no ordinary amount or quality of work which satisfied Mr. Barry. But with no tools but a rule and rough pencil, amidst a continuous rattle of marvellous stories, slashing criticisms, and shouts of laughter, Mr. Pugin would get through an amount of good work which astonished his friend.... Whenever Mr. Barry’s fire of enthusiasm began to pale, a visit from his ‘Comet’ sufficed to brighten it."—MS. note W.
[83] It may be well here to quote a letter of Mr. Pugin’s, in which, with his usual generosity, he disclaims the credit, which some of his admirers imputed to him, in respect of his services in the decoration of the New Palace.
(From the ‘Builder’ of Sept. 6th, 1845.)
“Decorations of the New House of Lords.
“Sir,—As it appears by an article in the last number of the ‘Builder,’ as well as in notices contained of late in other periodicals, that a misconception prevails as to the nature of my employment in the works of the New Palace at Westminster, I think it incumbent on me, in justice to Mr. Barry, to state that I am engaged by him, and by him alone, with the approval of the Government, to assist in preparing working drawings and models from his designs of all the wood-carvings and other details of the internal decorations, and to procure models and drawings of the best examples of ancient decorative art of the proper kind, wherever they are to be found, as specimens for the guidance of the workmen in respect of the taste and feeling to be imitated, to engage with artists and the most skilful workmen that can be procured in every branch of decorative art, and to superintend personally the practical execution of the works upon the most economical terms, compatible with the nature of it and its most perfect performance. In fulfilling the duties of my office, I do not do anything whatever on my own responsibility; all models and working drawings being prepared from Mr. Barry’s designs, and submitted to him for his approval or alteration, previous to their being carried into effect; in fine, my occupation is simply to assist in carrying out practically Mr. Barry’s own designs and views in all respects. Trusting to your fairness in giving insertion to this letter in your next number,