THE CATHEDRAL OF ST. MACHAR, ABERDEEN.[5]
"In the bustling manufacturing town which has lately become, and is likely for some time to remain, the extreme northern point of our great system of railway communication, a venerable cathedral, surrounded by tree, with a pleasant river sweeping past it, is scarcely an expected sight. But the two divisions of Aberdeen the old and the new town—are as unlike each other as Canterbury and Manchester. The old town, or 'Alton,' as it is locally termed, is not the most ancient part of a city of different periods, around which its modern streets and squares have ramified. It is a distinct hamlet or village, at some distance from the city, and edged away in privacy apart from the great thoroughfares connecting the manufacturing centre with other districts of the country. Its houses are venerable, standing generally in ancient gardens; and save that the beauty and tranquillity of the spot have led to the erection of a few pleasant modern villas, dotting it here and there, whoever treads the one echoing street of the Alton for the first time, feels that two centuries must have brought very little external change to the objects by which he is surrounded. In this pristine place, the short-spiked steeples, and the broad-slated roof of the old cathedral of St. Machar may be seen rising over a cluster of fine old trees which top the sloping bank of the winding Don, from the opposite shore of which the whole scene—comprehending the river, the sloping banks, the trees, and the gray old church—makes a very perfect landscape, rather English than Scottish in its aspect.
"A near approach develops something very peculiar in the character of this edifice. It bears throughout unmistakable marks of age, but none of decay. It is gray with the weather-wearing of centuries, but it displays none of the mouldering vestiges of Time's decaying fingers; nor yet has it that prim air of good keeping which shows, in treasured antiquities, that careful hands have sedulously restored each feature that age may have injured. It is clear that the completeness of detail—the clean outlines, the hard, unworn surfaces—are characteristics of innate strength, and connect themselves with the causes of a certain northern sternness and rigidity in the general architectural designs.
"The secret of all these peculiarities is to be found in the nature of the material, which is granite—the same that has handed down to us, through thousands of years, the cold, stony eyes of the sphynx, precisely as the chisel last touched them—and retains, to the wonder of the Londoners, the glittering lustre of the polished cheeks of Rameses. The stern nature of the primitive rock—obdurate alike to the chisel and to time—has entirely governed the character of the architecture; and, while it has precluded lightness and decoration, has given opportunities for a certain gloomy dignity. About the porch, one or two niches and other small details, have been decorated; but as if the artist had abandoned the task of chiselling his obdurate materials as a vain one, ornament goes no farther, and all the architectural effects are the fruit of bold design. Such, for instance, is the great west window—not mullioned, but divided by long massive stone shafts into seven arched compartments; such, too, is the low-browed doorway beneath, with its heavy semicircular arch. The upper tier of windows—here called storm windows, perhaps as a corruption of dormer—are the plain, unmoulded arch, such as one sometimes sees it in unadorned buildings of the earlier Norman period. Indeed, though the building dates from the second age of the Pointed style, it associates itself in some of its features, very closely with the relics of the Norman age, especially in the short, massive round pillars which support the clerestory. The roof, with its carving, gilding, and bright heraldic colors, is in thorough contrast with the rest of the architecture, and the eye gratefully relieves itself from the gloom below, by wandering over its quaint devices and gaudy hues. It is divided into three longitudinal departments, panelled with richly-carved oak; and at each intersection of the divisions of the compartments with the cross-beams, there is emblazoned a shield armorial, with an inscription.
"It is an uncommon thing to find, as in this instance we do, the nave only of a church remaining, for the chancel was generally the part first erected, and sometimes the only part. The remains of the central and eastern portions of St. Machar's tell how the western compartment braved the causes of destruction which to them had been fatal: they were built of freestone. Incrusted, as it were, in the eastern wall, are the clustered freestone pillars, with richly-flowered capitals, which of old supported the central square tower; and on either side are the vestiges of the transept, with the remains of the richly-sculptured tombs, represented in the accompanying plate, embedded in the wall. In Slezer's, and some other representations of this building in the seventeenth century, the tower—a simple square mass, with a roof—appears to have been still standing, but the choir had disappeared."
MONUMENT IN THE SOUTH TRANSEPT OF THE CATHEDRAL, ABERDEEN, SCOTLAND.
THE HOTEL DE SOTO, SAVANNAH, GA. MR. WM. GIBBONS PRESTON, ARCHITECT, BOSTON, MASS.
This hotel, which has just been completed, occupies a whole square in the heart of the city, and has a frontage of 300 feet on Liberty Street and 200 feet on Bull Street. It forms two sides of the square, the two-story kitchen and servants' wing forming the third side. The climate renders it desirable to have it freely open and exposed to the cool southeast winds which blow refreshingly up from the bay, and, as a winter resort, a southeast exposure of nearly half the rooms makes them sunny and dry. The building is four, five and six stories in height, and a flat roof, 50 x 70 on the highest portion, gives a fine view down the bay. A "solarium" is erected on this roof, to contain a tropical garden or to be used for dancing. The "parade" or garden, upon which all the southeast windows look, has been beautifully laid out, and there is not a dark room or a "back room" in the building.
A "rotunda" with glass roof at the rear of hall, first story, is intended as a lounging-room for ladies and gentlemen, and a veranda 35 feet in width in front opens upon Bull Street. Many of the rooms open upon covered verandas on the second, third and fourth stories. The dining-room is 50 x 120 feet, open to the air on three sides. The materials are local brick for the lower portions, and buff Perth Amboy brick and terra-cotta above. It contains about 300 rooms, and will cost, completed, about half a million. It is, except the Ponce de Leon, the largest hotel in the South. Special arrangements have been made for introducing large volumes of warmed or cooled air into the halls and corridors. The contractors are Mr. T. Lewman & Co. The Whittier Machine Co. did the elevator, heating and laundry work. The Brush system of electric lighting has been introduced throughout. L. Haberstroh & Son have decorated the walls and ceilings, making a special feature of the dining-room. Ground was broken just a year ago, and the house was opened for guests on New Year's day.