his design, which was indeed materially influenced by this circumstance.
“In the design for Halifax Town-hall the freedom of treatment above referred to may be clearly noticed to an even greater extent, not only in the more decorative portions of the work, but also in the arrangement of the plan and general character of the entire design. The tower and spire, which are placed at one corner of the building, form one of its most remarkable features; and, though it is possible that Sir C. Barry might have somewhat modified his design, if he had lived to carry it out, its general outline, and even its details, were too far advanced at the time of his death to have admitted of any radical interference with its essential characteristics.
“The Town-hall is situated in the middle of the town, on a site which, from its confined character, is not in itself favourable to architectural effect. The tower is placed at one corner of the building, so as to face the principal street, and to form the main entrance to the Town-hall. The Tower is surmounted by a spire of a remarkable design, which, in common with the whole of the building, displays a marked Renaissance character, while from its position it gives an irregularity of outline to the entire design, greatly at variance with the symmetrical arrangement observable in Sir C. Barry’s earlier Italian buildings. It may be noted however that in the New Palace at Westminster, which has often been criticized as planned on Italian principles, he placed his towers in positions of great irregularity as regards the plan, which in other respects is arranged as far as possible on the principle of strict symmetry. The design at Halifax consists of two orders, with broken entablatures and arched windows in each bay. At the corner opposite to the Tower the Council-room forms a second projecting mass, thus departing still further from a symmetrical arrangement of plan, and there are also smaller projections at the other angles of the building. At Sir C. Barry’s death the foundations of the building were just completed, and its erection was intrusted by the corporation to me. At this time the details of the exterior had all been fully made out and revised and approved by him. The interior however had not been fully designed, and I am therefore responsible for its architectural treatment, as also for the addition of a high roof to the building, which latter feature was not to be found in the original design. I have also succeeded in restoring to the design several decorative features, which were at first omitted from the contract from motives of economy, but which were readily sanctioned, on my recommendation, by the corporation, whose public spirit and desire to do justice to Sir C. Barry’s last design deserve from me a word of grateful recognition.—E. M. B.”
It does not concern us to discuss the abstract merits of this gradual change of Italian style, visible in Sir C. Barry’s works. But it is certainly interesting in itself, and if it illustrates, as probably is the case, a tendency in the architecture of the present day to break down the rigidity of conventional divisions, and vary established styles by greater freedom of treatment, it will serve to illustrate the remark made in the first chapter, that his mind was one eminently plastic and progressive, and one which therefore would partly guide, and partly follow, the general movement of architectural taste in the country. Holding, as he did, most strongly, the opinion that the styles which divide the architectural profession into two rival camps, had each their characteristic excellences, it is not surprising that he allowed their influences to interpenetrate and modify each other. It still remains to be seen whether his practice does not represent a tendency, which will be more fully exemplified hereafter.
(B). The second class of Sir C. Barry’s designs includes those which had for their object the alteration of existing buildings. In this work his skill was proverbial and almost unrivalled. Possibly his sanguine belief in the capabilities of the materials at command may at times have even misled him into attempting alteration, where demolition and reconstruction would have been little less difficult and much more satisfactory. But as has been said, it is doubtful whether his originality and power of resource were not manifested at least as much in this kind of work as in the erection of new buildings. In many cases, not only the fronts, but even the openings of the windows, would be preserved, and yet the building would become new under his hand, and what was plain and commonplace would start into richness and beauty. Like a masterly translation, the design bore the appearance of unfettered originality.
College of Surgeons.—One of the first instances of such conversion was that of the College of Surgeons in Lincoln’s Inn. Great additions were required, and the site was accordingly extended. As usual, not only was he to retain as much as possible of the old building, but the portico, the principal feature of the original building, was, above all, to be preserved. Mr. Barry himself would gladly have dispensed with the portico altogether; it was (what he strongly disliked) a mere porch attached to the building, not (as in the old Greek temples) an essential and dominant portion of it. But he could not venture upon this; so he changed its position to the centre of the new front by shifting one or two columns from one end to the other, and left it otherwise unchanged. The leading feature in his design was the severe and massive cornice, predominating over the portico and front generally, and uniting the attic with the main stories. The front itself he treated as a background, carrying simplicity almost to baldness in order to subordinate all to the main effect. It will be seen, of course, and it has been already remarked, that in this change he was carrying out the leading principle of his Italian street fronts, the use of the great cornice to give unity and completeness to the design. Although more of the exterior was preserved than usual, yet the spirit of the whole was changed; and, plain as it still was, it gained a striking and original effect.
The interior was almost entirely remodelled. The most important change was in the New Museum. The old one had been divided for architectural effect
by massive piers and transverse arches. All obstructions were now cleared out; ample space and light were secured; indeed, not a foot of space was wasted, and the light, diffused by transmission through a continuous cove (the ceiling being left as a reflector), was excellent. It became, as the curators declared, a cheerful and most convenient museum. At a later period (1850) he was called upon to carry out some further internal changes. These were intended merely to give additional accommodation, and little architectural effect was aimed at. An additional museum was erected on the same principles of design which had dictated the alteration of the old, but with somewhat more of light through the roof. Two new theatres were added, with suitable offices. No alteration was made in the front.[49]