His private life and tastes were simple enough. He appreciated the higher class of society into which he was thrown, and more particularly the peculiar brilliancy which distinguished that of Holland House. But he never was so thoroughly attracted by it as to feel quite at home there; probably, in England at any rate, few artists can be so. He came back with constant relief and pleasure to the quiet of his own fireside, and the society of his wife and children. Increasing work shortened his time of amusement and relaxation; for, as the day was taken up with business, the morning and evening became the times of composition and study: but at these times he neither needed nor liked solitude; music, in which he greatly delighted, was always a welcome accompaniment to his drawing, and even conversation failed to disturb him. When the opportunity for amusement came, he could always throw himself into it with all the delight of a schoolboy. These days were the palmy days of the London Theatre, and in theatrical entertainments he always took the greatest pleasure, and found in them, as I suppose most hard-worked men do, the most complete relaxation and change of idea. But of all evening occupations, which his work left him time to enjoy, he cared most for those afforded by scientific and literary institutions. At the Royal Institution in Albemarle Street, while he lived in London, he was a most regular attendant.
This time seems to have been, not indeed the most famous, but perhaps the happiest and most hopeful period of his life. With good health and spirits he entered with equal zest into hard work and complete relaxation; he saw his way opening before him, and had not as yet had that experience of disappointment, injustice, and misrepresentation, which every public man must expect, and from which he was not to be exempt hereafter.
CHAPTER IV.
CHIEF ITALIAN WORKS.
Plan of the Chapter. (A.) Original Buildings—Varieties of his Italian style—First manner—Reform Club—Manchester Athenæum—New wing at Trentham—Second manner—Bridgewater House—Third manner—Halifax Town-hall. (B.) Conversions and Alterations—College of Surgeons—Walton House—Highclere House—Board of Trade—Architectural gardening—Trentham Hall—Duncombe Park—Harewood House—Shrubland Park—Cliefden House—Laying out of Trafalgar Square. (C.) Designs carried out by others—Keyham Factory—Ambassador’s Palace at Constantinople—General remarks on his Italian architecture.
The steps by which Mr. Barry won his way to a high professional position have been narrated in chronological order. For the period of his life, from 1821 to 1829, is the one which is in itself most interesting and suggestive to those entering on a professional career.
It shows clearly enough, even by the variety of his designs, the fertility and versatile character of his mind and his unwearied energy of work. It illustrates the difficulties and disappointments, which present themselves at the outset of most professional careers. It is not uninteresting to remark the comparatively fruitless character of its earlier years, and the rapid increase of work towards its close, an increase which continued with progressive rapidity till the great work at Westminster absorbed all his time and powers. If the lesson which it reads is not uncommon, yet it is at the same time one which never loses its value and interest.
But after this time his life had few vicissitudes. It became more and more absorbed in actual work, and its progress was marked, not by years or by events, but by the buildings which rose everywhere under his hand.
It seems better therefore to neglect the order of time, so as to follow only the connexion of subject, and endeavour to group together in some intelligible arrangement the various works which he was called upon to execute. The New Palace at Westminster will demand a separate treatment of its own.
The present chapter will be devoted to a notice of his chief works in the Italian style, both public and private buildings. The success of the Travellers’ Club naturally turned his attention principally to this style for some time. In it, perhaps even to the last, he worked with the greatest pleasure; and probably, if the choice had been left to him, without any influence of external authority or local association, it would have been the style of his New Palace.
His Italian works accordingly are numerous,[43] and naturally divide themselves into two classes: the first, of buildings erected by him; the next, of buildings which he was called upon to alter, to an extent often amounting to a complete transformation. Some brief notice may also be necessary of buildings for the designs of which he was consulted, although the execution of the designs was not under his direction.