SAMUEL PROUT
Has full justice been done to Samuel Prout, the artist? I doubt it. True that Ruskin recognized his great merits, but the public generally has not acknowledged, indeed, has not realized, the revolution in taste due mainly to this shy, unassertive man.
What man in his century had dreamed, before Prout issued his sketches, that there was exquisite beauty in old English cottages? He arose at a time when attention was being drawn to Gothic architecture, and there was a growing recognition of its merits in cathedral, church, and mansion. Architects with tape and foot-rule measured and planned, with lead-tape took mouldings. They learned the principles of Gothic and Tudor architecture. They gathered and studied details. But the soul, the spirit escaped them. When they undertook to design and build new churches and mansions, they turned out very poor, uninteresting stuff. Rickman erected the new courts of St. John’s College, Cambridge, a monstrous pile of ugliness, bad even in its details. Blore built the chapel of Marlborough College, a horror, now happily transformed. Sir Gilbert Scott designed numerous churches, all of borrowed detail, and all utterly uninteresting. It was the same on the Continent. In France, Viollet le Duc studied throughout France, knew the purest French styles intimately, but could produce nothing good himself. It was the same with Heideloff in Germany. The inspiration of the Gothic or medieval soul escaped them. It was not to be caught with tape and rule. Their buildings proved correct in many cases, but all cold, unimpressive, and uninteresting. But Prout caught the spirit. He did not measure and scale, but he drew with the breath of the genius of olden time fanning his heart.
SAMUEL PROUT
From a drawing in the possession of Samuel Gillespie Prout, Esq.
And the cottage! Churches and mansions were erected by the new Gothic school throughout the land; they were accepted, but did not please. But no one thought of the cottage, unless it was to be a lodge at a gate. Rows of hideous dwellings for the artisan and the labourer continued to be erected, with tall, lanky doors, a fanlight over them, lean windows, no gables, nothing picturesque about them.
Jerrybuilders covered the suburbs of our towns with their repulsive dwellings, their only idea of decoration being elaborate hip-knobs and ridge tiles. Retired tradesmen and farmers built their residences, disfiguring the countryside with square blocks, a door in the face, a window on each side, and three windows in the upper story, the roof pinched together from all four sides, and two chimneys standing up like donkey’s ears, one on each side of the face. Not till this century, with the creation of the garden city, has Prout’s idea of the dwelling for artisan and labourer, as a thing of beauty, been carried out.