none of these were destined to be realized, and the building remains in its original dimensions.
Trentham Hall.—The next group of alterations to be noticed brings into prominence a kind of work, in which he took the greatest pleasure, and achieved very brilliant results. This was the architectural laying out and ornamentation of gardens. Early in his career he had made some essay in this direction at Mr. Attree’s house in Brighton Park. Up to the last he retained almost a passion for it. His idea was that the definite artificial lines of a building should not be contrasted, but harmonized, with the free and careless grace of natural beauty. This could only be effected by a scheme of architectural gardens, graduated, as it were, from regular formality in the immediate neighbourhood of the building itself, through shrubberies and plantations, less and less artificial, till they seemed to melt away in the unstudied simplicity of the park or wood without. In this the architect and landscape gardener must work side by side.
These views he had the opportunity of exemplifying on a grand scale in the works carried on for many years at Trentham Hall, the residence of the Duke of Sutherland. To the old building containing the state reception rooms, he simply gave a better cornice and improved its details, adding moreover a grand entrance hall, which served also as a billiard saloon, and communicated with the state rooms by a fine semicircular corridor. He succeeded also in grouping together very effectively the straggling offices of the great house. Though he could not effect all that he wished, he was able thus to give some grandeur and unity to the large mass of building. The design of the private wing has been already mentioned.
But the great work was the change effected in the gardens.[54] His difficulties are stated by a high authority, the late Mr. Loudon:—“We could not help doubting whether even Mr. Barry could make anything of this great dull flat place, with its immense mansion, as tame and spiritless as the ground on which it stands; we have seen the plans, however, for the additions and alterations. Let no man henceforth ever despair of a dead flat.” The hall was surrounded by lawns and paddocks, reaching down to a lake. These were converted into a succession of gardens of regular design, stepping down by terraces from the house to the lake, and by balustrades, vases, statues, and flights of steps, so connected with the architecture of the house as to spread out its base, and give it the dignity and apparent height which its natural position forbade. This was a principle which Mr. Barry at all times pursued; gardening was, of course, with him only a handmaid to architecture, and in this particular case such treatment was the only method by which the lowness of site could be corrected, and dignity be given to what otherwise must have been but an ordinary country seat. He effected much; could he have carried out his whole scheme he would have had an “Isola
Bella” on the lake, and converted the lake itself into an architectural basin. For in his development of the principle that all garden work connected with buildings should have an architectural character, he was accused sometimes, not quite unjustly, of desiring to extend the domain of Art, even at the risk of encroaching upon Nature herself.
Probably the disadvantage of site still shows itself, and it may be that the materials at his command were somewhat impracticable; but the great confidence and liberality of his patrons gave him abundant scope, and the result is a building which may take high rank among the palaces of England.
Duncombe Park.—Another conversion, on a smaller scale, in which remarkable effect was produced by much less alteration, was carried out at Duncombe Park, the seat of Lord Feversham. The immediate object contemplated was the increase of accommodation in the stables and domestic offices, but the opportunity thus presented of improving a building, which stands on one of the noblest sites, and commands one of the finest views in England, was not to be lost. A design was prepared accordingly, meeting the special requirements of the case, but going far beyond them in its aim.
The house, which is ascribed to Vanbrugh, and was probably built by one of his pupils, is massive and imposing in its style, and severely plain in details. But it seemed to Mr. Barry merely to occupy the site, without harmonizing with the surrounding scenery of the park. His object was to bring it into this connection, and soften the boundary-line between nature and art.