In 1818 there began for Soane a new spate of public activity that continued down to 1823. A series of offices at the Bank of England[[73]] now carried further the spatial and decorative innovations of the interiors of the 1790s. Whether or not these were finer is a matter of taste; but the continuous arched forms without imposts, the smoother surfaces, and the very abstract linear decoration certainly represent a more advanced stage of Soane’s personal style (Plate [28B]). Under the Act for Building New Churches of 1818, which generated great activity in the ecclesiastical field, Soane was one of the guiding architects; he built, however, only three churches for the Commission that was set up by the Act. St Peter’s, Walworth, in South London, of 1823-5 is both elegant and ingenious in the way the galleries are incorporated into the internal architectural organization rather than treated as mere afterthought. The other two are less successful.
Almost all the other churches built under the Act, or by other means, in these years were rather conventionally Grecian, that is if sufficient funds were available; otherwise they were what is called ‘Commissioners’ Gothic’ (see Chapter [6]). The contrast that the former provide with the Walworth church helps to emphasize the highly personal character of Soane’s achievement even in his least esteemed work. St Peter’s was evidently designed from the inside out, and owes almost nothing to the architecture of any period of the past. The type-church of the age in England, however, comparable in historical significance to Lebas’s slightly later Notre-Dame-de-Lorette in Paris, is St Pancras of 1818-22 in the Euston Road in London built by William Inwood (c. 1771-1843) and his son (H. W., 1794-1843). Very evidently this was designed from the outside in, for its features are derived from the Erechtheum, a monument which the younger Inwood actually went to Athens to measure after the church had been begun.[[74]]
English tradition required a lantern above the temple portico at the front, and so the Inwoods devised a sort of Gibbsian tower for St Pancras out of elements borrowed from the Athenian Tower of the Winds. Urbane yet rather barren, the interior lacks even the tepid religious feeling of the French basilicas of the day. The architects, and contemporaries generally, were more interested in the caryatid porches—for there are not one but two—that flank the rear.
Other Inwood churches in London, such as All Saints in Camden Street of 1822-4 and St Peter’s in Regent’s Square of 1824-6, are equally Greek in detail but less directly related to particular ancient monuments. They are also much less impressive. No more interesting are most of the Grecian churches built by other architects. St Mary’s, Wyndham Place of 1823-4 by Smirke, however, is set apart by the circular tower placed on the south, a feature which he had already used on St Philip’s, Salford, of 1822-5. His church at Markham Clinton in Nottinghamshire of 1833, cruciform in plan and with a fine octagonal lantern, is considerably more original, but it was rather a family mausoleum than an ordinary parish church.
A revolution was getting under way in Great Britain in the realm of church architecture at this very time, and the heyday of the temple church was destined to be brief. After the early thirties only Nonconformists continued to build them. But such a Congregational chapel as that built by F. H. Lockwood (1811-78) and Thomas Allom (1804-72) in Great Thornton Street, Hull, in 1841-3, its broad temple front flanked by lower side wings, still had real distinction, a distinction rarely maintained after this date, although rather similar structures continued to be erected for several more decades both in London and in the provinces.
In Scotland, where Greek sanctions lasted longer than in England, Alexander Thomson (1817-75) built in the fifties and sixties three of the finest Romantic Classical churches in the world. His Caledonia Road Free Church in Glasgow of 1856-7 was designed for those Presbyterians who had left the established Scottish church in 1843 (Plate [29]). This owes a great deal to Schinkel’s suburban Berlin churches, which Thomson must have known through the Sammlung architektonischer Entwürfe. The composition is more Picturesque, in being markedly asymmetrical, and the superb tower at the corner reduces the temple front to a subordinate element in a sort of Italian Villa composition. Yet the idea for this sort of composition may well have come from Schinkel also, a derivation which the rather Rundbogenstil character and asymmetrical organization of certain of Thomson’s earlier suburban villas seems to make still more probable. The interior of the church is very different from that of Soane’s in Walworth, but it is equally architectonic in the Schinkelesque way the galleries are incorporated in the general scheme. This is real interior architecture, not just a gallery-surrounded hall like the Grecian churches in England built back in the twenties.
Thomson’s more prominently located St Vincent Street Church of 1859, also in Glasgow, is not finer. But it utilizes a difficult site with striking success, and the exotic eclecticism of the spire is peculiarly personal to Thomson. His Queen’s Park Church of 1867, in a southern suburb of Glasgow, was as perversely original as anything by Soane, and is perhaps Thomson’s final masterpiece. Inside, he handled the light iron supports with clear logic and elegantly appropriate painted decoration. Both the heavy masonry tower—which is, of course, invisible from the interior—and the heavy clerestory are carried on these delicately proportioned metal columns with a frankness and boldness hardly equalled before the twentieth century. Externally Thomson detailed the trabeated masonry with the purity of a Schinkel and the originality of a Soane, yet he composed the façade in three dimensions in a fashion that is almost Baroque beneath his strange near-Hindu ‘spire’.
Thomson’s churches, late though they are, can be better understood as examples of Romantic Classicism, sharing important qualities with the boldest French projects of the 1780s, than in relation to any other stage of nineteenth-century architectural development. Yet it will be evident later that they also have a good deal in common with the architectural aspirations of their own quarter of the century (see Chapter [9]).
Soane in his latest work seems at times to have produced what were almost parodies of his characteristic Bank interiors, approaching in their strangeness and their oriental allusions the exotic spires of Thomson. As these things do not survive, it is hard to know whether the Court of Chancery at Westminster of 1824-5, with its pendentives cut back so that they are no more than a sort of plaster awning, or the Council Chamber in Freemasons’ Hall, with its strange canopy-like covering, were effective or not. But these interiors do help to explain why the idiosyncratic, not to say cranky, Soane left on his death in 1837 no such living tradition behind him as did Schinkel in Germany.
Nash, Soane’s rival as England’s leading architect in the second and third decades of the nineteenth century, was a very different sort of man. Until his marriage he was of no great prominence; it was the Regent’s favour which then brought him to the fore. As an urbanist, if not as a designer of individual buildings, he was worthy of his opportunities—and no architect of his generation had greater. His distinction at what is today called ‘planning’ resides not alone in the amplitude, the elasticity, and the resultant variety of his schemes, but as much perhaps in his ability as an entrepreneur in carrying amazingly extensive operations to completion. Few, moreover, succeeded better than Nash in modulating Romantic Classicism towards the Picturesque; and this was over and above his important direct contribution to Picturesque practice in the building of castles, villas, and cottages.