390. Diagram of Chinese construction.
The only parts of such a roof that admit of decoration by carving are evidently either the central or angular ridges; and here they exaggerate their favourite hollow curve to an extent unpleasing to a European eye—the angles being, in some instances, actually turned back, and the ridge being also ornamented by upturned ornaments at its ends, to an extent we cannot reconcile with our notions; nor indeed is it possible we should, when they are overloaded with grotesque ornaments to the extent too often found.
Another peculiarity that gives a very local character to their architecture is their mode of framing a roof, so unlike that of any other people. This arises from the timber most easily available for the purpose being a small pine, which has the peculiarity of being soft and spongy in the inside, while the outer rims of wood, just under the bark, retain their hardness and strength; it is thus practically a hollow wooden cylinder, which, if squared to form a framing as we do, would fall to pieces; but merely cleaned and used whole, it is a very strong and durable building-material, though one which requires all a Chinaman’s ingenuity and neatness to frame together with sufficient rigidity for the purposes of a roof.
The uprights which support these roofs are generally formed of the same wood, though not unfrequently they are granite posts—they cannot be called pillars—of the same dimensions, and strengthened, or rather steadied, by transverse pieces of wood, the space between which and the roof is generally filled with open-work carving, so as to form a species of frieze.
The roof is usually constructed (as shown in diagram No. 390) by using three or four transverse pieces or tie-beams, one over the other, the ends of each beam being supported on that below it by means of a framed piece of a different class of wood. By this method, though to us it may look unscientific, they make up a framing that resists the strongest winds uninjured. Sometimes, as shown in the dotted lines of the same woodcut, they carry the curve across the top of the roof; but, when this is done, they are obliged to have recourse to metal roofing, or to tiles of a greater length than are usually found or easily made.
As before remarked, however, it is not so much on its forms that Chinese architecture depends as on its colours—the pillars being generally painted red, the friezes and open work green; blue marks the floors and stronger lines, and gilding is used profusely everywhere. Whether this would improve a finer or more solid style of art may admit of doubt; but it is certainly remarkably pleasing in China, and singularly appropriate to the architecture we have been describing; and grouped as these buildings usually are around garden courts, filled with the gayest flowers, and adorned with rock-work and fountains more fantastic than the buildings themselves, the fancy may easily be charmed with the result, though taste forbids us to approve of the details.
The same ephemeral system of construction which prevailed in dwellings of the rich merchants and mandarins was carried out in the royal palaces without any increase of monumental character, but, of course, with greater richness of ornament, and upon a larger scale. Like most Oriental palaces, however, those at Pekin consist of a number of detached pavilions, rather than of numerous suites of apartments grouped under one roof, as is usually the case in Europe; and they consequently never attain the magnitude essential to architectural dignity. In the Summer Palace at Pekin there were many detached pavilions similar to that represented in Woodcut No. 391, which, when interspersed with trees and water and rocky scenery, aid in making up a very fairy-like landscape, but in themselves can hardly be considered as objects of dignified architecture.
