The Englishman's House: A Practical Guide for Selecting and Building a House

by C. J. Richardson

These remarks will explain to a certain degree the nature of the picturesque in regard to architecture, so far at least as the general principles are involved. But in the more minute points, other questions and relations arise, to which the attention of the reader will be fully drawn in the descriptive text and illustrations of this work.

The comparative value of Grecian and Gothic architecture, as practically adopted in the erection of ornamental dwellings, is well discussed by an eminent architect in the following remarks, slightly modified from the original. He observes that the two are better distinguished by an attention to their general effects, than to the minute parts peculiar to each. It is in architecture as in painting—beauty depends on light and shade, and they are caused by the openings or projections in the surface. If these tend to produce horizontal lines, the building must be deemed Grecian, however whimsically the doors and windows may be constructed. If, on the contrary, the shadows give a preference to perpendicular lines, the general character of the building will be Gothic. This is evident from the large houses built in Queen Elizabeth’s reign, where Grecian columns were introduced. Yet they are always considered as Gothic buildings.

In our modern Grecian architecture large cornices are repeated, with windows ranged perfectly in the same line, and these lines often more strongly marked by a horizontal fascia. There are few breaks of any great depth; and if there be a portico, the shadow made by the columns is very trifling compared with that broad horizontal shadow proceeding from the soffit (that is, the under side of the heads of apertures, architraves, and the corona of cornices). The only ornament its roof will admit, is either a flat pediment departing very little from the horizontal, or a dome still rising from a horizontal base.

But in these remarks attention is chiefly drawn to the general architectural effects of style, independent of concomitant circumstances. Yet it is hardly necessary to do more than call on the experience of any man of taste to show that position, adjacent scenery, and other “accidental” or “incidental” matters will modify the special effect of any style in regard to the picturesque, and also those of a general character. A Gothic erection in a confined situation will lose most of its beauties, while one of a Grecian character may be especially suitable. In choosing, therefore, any design for the erection of a new building, or alterations in one already in existence, respect should be had to the natural character of the surrounding country, the aspects in regard to the sun and prevalent winds, the extent of the estate or grounds on which the building is to be erected, the views from the various apartments, the character of wood, plain, or other adjacent tree-scenery, and last, but of equal or greater importance, questions in reference to domestic comfort and convenience, drainage and dry soil, supply of water, and a variety of details, most of which will at once suggest themselves. In many cases the choice of site is necessarily fixed by previous purchase or inheritance of the land, yet in such cases chances are left for a judicious selection in regard to some of the conditions above mentioned. But when the purchase has to be effected, all the conditions should be kept in mind, and, if possible, completely satisfied. Such details should form the subject of minute inquiry, and they are here only named for the purpose of showing how the choice of the best style, in regard either to general beauty or picturesque effect, should be decided on with mature attention to all the circumstances of the case.

Most of the old mansions, &c., of this country and many parts of Continental Europe, have been erected in situations that were then immediately, and at little cost, available for the purpose. At one time the choice of such situation depended on careful attention to the special circumstances of those who erected the building. Thus it is found, generally, that the banks of the rivers, as affording ready and cheap means of carriage by the stream, were mostly chosen. Hence our abbeys, monasteries, &c., are frequently found in such localities. Baronial castles were usually erected on hills, the height of which tended to the security of the owners against sudden incursions of their foes. From the varied character of English topography has arisen that great variety of picturesque beauty that distinguishes the ruins which abound in almost every county throughout the length and breadth of the land; such ruins, architecturally considered in relation to the surrounding circumstances of wood, vale, hill and dale, have become subjects of study and suggestion to modern architects, and models, constantly adopted at the present time, in certain details, for producing new designs. In the selection of these, or of any other style, however, Burke has laid down, in his essay on “The Sublime and Beautiful,” an excellent rule: “A true artist should put a generous deceit on the spectators, and effect the noblest designs by easy methods. Designs that are vast only by their dimensions, are always the sign of a common and low imagination. The work of art can be great but as it deceives; to be otherwise is the prerogative of nature only.”

It will thus be seen, that to obtain the highest effect of the picturesque in architecture requires an educated eye, a refined taste, great experience, but especially a keen perception of all the conditions, on the fulfilment of which the most successful result can be obtained. In all there is a natural love of unity and effect. Montesquieu, in his dissertation on Taste, observes: “Wherever symmetry is useful to the soul, and may assist her functions, it is agreeable to her; but wherever it is useless, it becomes distasteful, because it takes away variety. Therefore things that are seen in succession ought to have variety, for our soul has no difficulty in seeing them; those on the contrary, that we see at one glance, ought to have symmetry. Thus at one glance we see the front of a building, a parterre, a temple. In such things there is always a symmetry which pleases the soul by the facility it gives her of taking in the whole object at once.”

The numerous dissertations, essays, &c., that have been produced on the subjects that have here been treated on in a discursive manner only, are a sufficient proof of the difficulty which exists in acquiring, applying, and affording an accurate and ample description of all the conditions necessary to picturesque architecture; they also in some measure explain the reason of the grotesque, and even offensive results that obtrude on refined taste in the productions of builders who are utterly deficient of artistic taste and knowledge in carrying out their objects. A general, and in part a historic view of architecture may serve to show how success has been attained in many cases, and the evils that should be avoided as leading to failure in effect of the general and special features of an erection.

In the cursory view of the history of architecture already given, it has been shown that the earliest efforts of the art were simply directed to satisfy the simple wants of man, without any regard being had to taste. It was not until riches began to accumulate in a few hands that taste in architecture was developed, and by the few examples thus produced the taste of society at large was educed, refined, and extended.

Omitting then any inquiry into the architecture of our earth’s aborigines, which was evidently of the rudest character, reference may first be made to early architectural attempts in Asia. It has been ingeniously observed by M. Pair, that the Chinese imitated a tent as the model of their system, a result that undoubtedly arose from the fact that the first Tartar tribes were nomadic or wandering in their nature. It has also been remarked that a bird’s-eye view of a Chinese city at once suggests the idea of a fixed camp. In southern and south-western Asia may be found, on the other hand, the remains of extensive architectural productions in caves, such as that of the Pagoda Elephanta, from which many have argued that subterraneous dwellings were amongst the earliest; but it is evident that such could only be made in places where stone existed in masses, as a basis of the country. In a plain and sandy district, and in alluvial soil generally, such could not possibly have been produced. There is not the least doubt that the conditions of climate have in all cases determined the early character of each national system. In both hot and cold countries caves would naturally have been sought as affording shelter from the two extremes of heat and cold. Recent geological discoveries have brought to light the fact that the remains of human and quadruped bones have been found together in such situations, the human inhabitants having most probably been the predecessors of the beasts of prey, as also of the fowls of the air. It has been suggested too that the forest tree having formerly served for shelter, might have suggested the floral character of columns, and the use of floral decoration generally at their summit.

In respect to these “natural” and consequently primitive “systems” of architecture, Billington has made the following judicious remarks:—“Those people or nations who lived by the chase (and in the same class the Ichthyophagi, or fish-eaters, are included) could not for a great length of time have built themselves shelters. The long courses the hunters made prevented them from watching their property, which must have comprised [but] few articles; and they found it more convenient to make hollows in the rocks for their dwellings, or to profit by those which nature offered them in its caverns. It was the same with those who lived by fishing; passing a sedentary life on the sea shores, the sides of rivers, or the borders of the lakes, they always made themselves such abodes, or took advantage of those already formed by nature. The little industry which this mode of life required, and the natural idleness which followed it, was sufficient to induce them to prefer the dwellings presented by nature, to those of art. This fact is proved by experience at the present day, as these descriptions of persons continue to adopt the same plan of life in countries where the arts of civilization have not extended their beneficial influence. The pastors or shepherds, as they were inhabitants of plains during a great portion of the year, could not make use of the retreats hollowed and prepared in the mountains and rocks by the hand of nature; being obliged to seek change of pasture, and thus lead an ambulatory life, it was requisite to have dwellings or shelters that could be carried with them wherever they went, and hence originated the use of tents. But the active operations of agriculture requiring a definite situation, necessity suggested the propriety of building solid and fixed abodes. The agriculturist then, living on his own grounds, and in the enjoyment of his property, had to store his provisions; it was therefore necessary to have a habitation at once commodious, safe, healthful, and extensive; and the wood hut with its roof was soon erected.”