The “Arcades” are a feature of modern Birmingham. The Great Western Arcade was built in 1876, at a cost of £70,000. Mr. W. H. Ward, of Birmingham, was the architect. The avenue, four hundred feet long, has eighty-four shops on two stories, the upper tier opening to a balcony. The length is divided equally by a circular space covered by a lofty dome. The glazed roof is carried by a series of semicircular arches, the perspective effect of which is very striking.
In an almost straight line with the last, and only divided from it by the width of a street, is the North Western Arcade, by Mr. W. Jenkins. In its general features it is much like the first, but of greater width, and the shops are larger.
It may be added that these arcades have been financially a great success, and are much used as a convenient and pleasant thoroughfare from the Great Western Station to Corporation Street.
There are several other arcades in the town, some of which are worthy of a visit.
Until the passing of the Street Improvement Act of 1876, Birmingham had but very few streets that were worthy of the size and importance of the town. New Street is, however, a fine and picturesque thoroughfare, the slight rise and easy curve contributing very much to the general effect.
Corporation Street, leading from New Street, opposite the entrance to the Railway Station, to the Aston Road, has been but lately formed; it is not yet entirely finished, but is already an unusually fine street. Many of the buildings are of great height and costliness. It promises to be one of the noblest thoroughfares to be found in any of our great towns.
Aston Hall.—Sir Thomas Holte, whose family had long been resident at Duddeston, in the parish of Aston, began to build this magnificent house in 1618, and in 1631 he came to reside in it. In 1864 it was purchased by the Corporation of Birmingham, together with forty-three acres of the once extensive park, immediately surrounding it, and in the same year it was thrown open to the public. Dugdale, who wrote whilst the Hall was fresh from the hands of the builders, calls it “a noble fabric, which for beauty and state much exceedeth any in these parts,” and the same may yet be said of it. It is well situated on high ground at a distance of about two miles from Stephenson Place, and retains about it some of the grand old chestnut and other trees for which the park was famous. Most of the outbuildings, including the stables, houses of the Chief Falconer and other officers, and the chief entrance lodge also remain, and add much to the interest and general effect. The principal front, approached by what remains of the Chestnut Tree Avenue, is symmetrically arranged, and consists of a central block with wings of considerable projection, enclosing a court of which one side is open to the East. The chief entrance door in the middle of the front is under a square tower furnished with a lofty ogee curved roof, each of the wings has also a door from the court, under a similar tower. The towers, the curved gables, and the lofty bay windows which terminate the wings, combine in producing an extremely picturesque and imposing effect. The windows are all square headed and mullioned, the walling is of thin bricks, with windows, doors, and other important details of stone.
The entrance hall is fine and lofty, and the principal staircase with massive square newels and scroll work balustrade is extremely rich in effect. The great drawing room, the dining room, Lady Holte’s room, and the great gallery, 136 feet long, are all grand apartments with elaborate ceilings in intricate geometrical patterns, rich cornices, and magnificent chimney pieces. Besides those mentioned, there are a great number of rooms of less importance. Many of the principal apartments contain collections of great interest.
Painting.—[By E. R. Taylor.]—For the opening of the Corporation Art Gallery in November, 1885, the large room was filled with a loan collection of pictures by Mr. G. F. Watts, R.A., and Mr. E. Burne Jones, A.R.A. These works, together with others of a decorative character, belonging to the town, have enabled the Birmingham public to view, for the first time, the highest phases of English Art.
The history of Art proves that, when the nobler walks of Painting and Sculpture reach a high standard of execution, decorative character, and poetic insight, Art, as applied to manufactures, makes corresponding progress. Decorative and poetic art in painting as seen in the works of Leighton, Watts, Burne Jones, Rossetti, Mason, Richmond, Albert Moore, Walter Crane, and others is, therefore, of special interest to a manufacturing town like Birmingham. So long as these men exhibit the possibilities of decorative art, their work must be fraught with good to those engaged in applying similar principles to art manufactures, and (what is of equal importance) must educate those who are to be users of art productions.