J. Alfred Gotch

“ Italy was the home of Classic architecture, which it had cherished since the great days of Rome. The Gothic manner was never thoroughly acquired in Italy, even in those parts which lay nearest to France and Germany, although it affected their buildings to a certain extent. The best examples of Italian Gothic hold a low rank in comparison with the masterpieces of the northern style. Classic forms were those in which the Italian designer naturally expressed himself, and it was these which he employed when that great revival of the Arts which took place in the fifteenth century, set him building. ”

“ The cornices of the porch are in this instance only just returned round its outer angles, and not carried back to the main building. The pilasters are merely ornamental adjuncts: there is no pretence about them of doing any work; the head of the upper window breaks unceremoniously into the frieze of the cornice, the keystone of the arch is carried up so that the lines of the lower cornice may break round it, and the whole treatment shows that the designer was free from any morbid craving after correctness. ”

“ There was no end to the variety which the workmen imparted to the simple constructional features which were the groundwork of the design. The points which were always aimed at were breadth of way, ease of ascent, massive appearance, and very frequently richness of effect. The series of stout newels going up and up in a long procession, each crowned with a handsome finial or heraldic animal, alone is enough to lend stateliness to the staircase ”

“ There are many houses which have no further attempt at ornament than these features, and these are felt to be quite sufficient; but occasionally, when a great effort was demanded, the Elizabethan designer borrowed his ornament from abroad, and added a multiplicity of pilasters and niches to his walls, extravagant and fantastic curves to his gables, while, in order to avail himself of classic forms to the full, he turned his chimneys into the semblance of columns. ”

“ In the Countess of Salisbury's chantry at Christchurch it is much easier to imagine the Italian carver following the English mason, and adding his ornament to the other's work, for nearly all of it lies in sunk panels, the highest parts of the carving being on the same face as the surrounding margin: that is to say, the Italian found plain surfaces between the moulded members left for him to carve, and one set of these plain surfaces, on the side next to the choir, he did not carve—they still remain bare. ”

“ The plan conforms in its main features to the ordinary type (Fig. 37) . A certain amount of regularity is imparted to it by reason of its being built round a rectangular court, but of symmetry in it there is hardly a trace, and there is still less in the grouping of the structure. Everything is as irregular and picturesque as the most romantic could desire; the mixture of materials—stone, brick, wood, and plaster—lends a delightful variety of texture, tone, and colour, and makes the house, next to Haddon, one of the most alluring in the country (Plate XI.) . ”

“ At either end of the terrace is a doorway, one leading to the kitchen approach, the other to the garden, which is reached down another flight of semicircular steps. The paths in the vicinity of the house are straight, and the rise of the ground necessitates still more steps, which give access eventually to a long, straight walk beneath a south-west wall. Away from the house the treatment has lapsed into less formality; but the house itself, together with the court, the terraces, and the flights of steps, the whole gay with flowers, makes a very attractive picture. ”

“ STAIRCASES, GALLERIES, GLAZING.
The staircases of the early part of the sixteenth century followed the old fashion, and were of the "corkscrew" type, winding round a central newel. They were built of stone or brick, and were hardly, if at all, ornamented. Then, quite suddenly, the fashion changed, and they were constructed of wood in straight, broad flights, with frequent landings. Everyone who has been up a church tower knows how tiring it is to climb the winding, never-ending steps, unrelieved by anything in the shape of a landing. ”

“ One house has a hall and kitchen on the front, and a parlour, staircase and buttery at the back, while a "vault" is contrived in the centre in a most insanitary manner. The second has the hall and buttery to the front, the stairs at one side, and the parlour and kitchen to the back. The third (having only 24 feet of frontage) has merely an entrance passage and kitchen to the front, and a parlour at the back, while the staircase is opposite the front door—the plan being a forerunner [204] of the type which later became of universal adoption. ”

“ A study of one of the corner pavilions (Fig. 106) will show how, not only in the gables but in the whole treatment, the foreign influence is predominant. The simplicity of the native type is entirely wanting. There are no plain surfaces of any extent; the columns are broken by a projecting band; the pedestals on which they stand are adorned with panels of double projection; not only are the corner piers of the parapet crowned with an obelisk, but the pediment at the top of each gable carries a small statue on a pedestal: everything is done to add to the picturesqueness and richness of effect. ”

“ In every suitable place appeared the arms of the chief person concerned, or those of his wife, or some notable family to which they were allied. The whole monument was brightly coloured, where the use of different kinds of marble did not render such embellishment unnecessary, and the effect was striking in the extreme. The nobleman and the squire of Elizabeth's days had each a very high opinion of his family, and of his own importance in the scheme of the universe, and nothing would have pleased him better than to see the monument under which he was buried. ”

“ The ribs and the panels they enclosed were sometimes perfectly plain, sometimes highly decorated with modelled work; and between these two extremes were infinite gradations—plain ribs and decorated panels, or plain panels and decorated ribs, the decoration varying from something quite simple to ornament of much elaboration. The plainest examples are sufficient to give character to a room, while the richest are bewildering in the intricacy of the pattern and the minuteness of the detail. ”

“ The character of a house is largely determined by its plan, and the plan is the expression of the wants and habits of the inmates. Accordingly we find that the wants and habits of English people, being far less susceptible of change than their taste in ornament and decoration, caused the plan of their houses to follow the old lines long after the superficial decoration had taken on itself the foreign fashion. ”

“ But while in England the new style was winning its way, in Italy it was passing the zenith of its vigour. The continued study of ancient monuments enabled architects to reduce the old methods of design to a system which could be acquired with ease, and architectural design became less a matter of invention than a capacity for adapting new buildings to old rules. ”

“ It is the plan of a much finer house than any of the foregoing, and as it is built round a courtyard, there were no special difficulties in providing light and air. It follows the usual type of large houses, having a central entrance, from which a flagged path leads across the court into the screens of the hall. The staircases, chapel, winter parlour, kitchen and other rooms are grouped round the court in the ordinary way, the only difference being that those which occupy the sides of the court have no windows on their outside walls, but only such as look inwards into the court itself. ”

“ Italians were loth to leave their own sunny surroundings, where all men were in sympathy with them and their ways, for the chilly fogs and the barbarous manners of those "beasts of English," as Cellini called them. A few men complied with his requests; of these, Torrigiano was the most celebrated. To him Henry entrusted the making of his father's tomb, discarding the design approved by the dead monarch, and taking the work out of the English hands already engaged upon it. ”

“ It is the work of the men who were baffled that we are now to examine: work which, judged from the standpoint of their better tutored successors, may almost be regarded as a failure, but work which exhibits a vitality, a fancy, and a sense of romance for which we look in vain in the more correct architecture of the eighteenth century. ”

“ For the rest, the old apartments remain; there is the buttery lying between the staircase and the hall, inconveniently mixed up with the family rooms, equally inconveniently cut off from the kitchens. The dining parlour lies beyond the hall and far away from the kitchen, and the kitchen is approached through the "survaying place," and attached to it is a new room, the "scullery." So far as the main lines go, the house is simple and dignified, but the plan is neither so striking nor so convenient as those of the old type. ”

“ The ground floor was generally of brick, the upper one was tile-hung: there was nearly always a good chimney, sometimes rising out of the roof, but often carried on a massive base which was continued down to the ground. The rich colours which come to these bricks and tiles with age tend to spoil those who live in their midst, and to make them look with a somewhat dull eye upon the quieter tones prevalent in stone districts. ”

“ Almost any of the great houses built in the reign of Elizabeth will show to the casual spectator examples of crudity in detail and imperfect classical proportion, mingled with reminiscences of Gothic notions; but a deeper scrutiny will disclose the fact that in spite of these shortcomings there is a national individuality and sense of genius in the handling of materials sufficient to raise the result to the dignity of a distinct style. ”

“ What Italian detail we find in Henry VIII.'s time is chiefly superficial ornament, and even that is by no means of universal application. It is to be found up and down the country in considerable quantity, but side by side with work which is still thoroughly Gothic in character. Islip, the Abbot of Westminster, who laid the foundation stone of Henry VII.'s chapel, and who saw the erection of that monarch's tomb—the great central feature for which the chapel was built—was not sufficiently enamoured of the new ornament to cause his own tomb to be of the same character. ”

“ Imogen's bedchamber was "hanged with tapestry of silk and silver"; Falstaff fell asleep behind the arras when he took his ease in his inn, and had his pocket picked; Polonius, when he hid himself in order to overhear Hamlet's interview with his mother, slipped behind the arras, and it was through the arras that Hamlet subsequently made the fatal pass with his sword. The rooms in Spencer's Castle Joyous "were round about apparelled with costly cloths of Arras and of Tours," and the parlour of Alma's castle "was with royal arras richly dight." ”

“ The architect, indeed, as a distinct individual, does not seem to have arisen in those early days: the architect, that is, who not only designed the plan and elevations of the building, but also the details of its various parts and of its ornament. Inigo Jones may be taken as the first Englishman who combined the functions of planner and designer of details; previous to his time the work entailed in the designing of a house was [256] much subdivided, the plan and elevations being provided by the surveyor, and each trade producing its own special details as the work went on. ”

“ The profiles of the mouldings are Gothic, the carving inclines towards Italian, the parapets have cusped panels, the pinnacles have the spiral twist so dear to the Tudor mason, and a battlemented moulding beneath the heraldic [65] animals which they support (Plate XX.) . The treatment is quite different from that of the house itself. ”

“ The use of simple gables or their combination with dormer windows and chimneys, all without elaborate detail, is quite sufficient to impart interest to a building, which otherwise would have little claim to attention. Examples of these unpretentious houses are to be met with in every county; one or two are illustrated here from Finstock, in Oxfordshire (Fig. 102) , Broadway, in Worcestershire (Plate XXXV.) , and Holmshurst, in Sussex (Plate XXXV.) . There is very little conscious effort about the design of either of these, beyond the introduction of a certain amount of symmetry. ”

“ The ceiling is divided by wood ribs into rectilinear panels of small size and simple design; the intersections of the ribs are covered, in the manner already mentioned, with a plain wood boss and lead leaves bent down into the angles; each panel is filled with Italian decoration modelled in papier mâché; the whole is screwed up to the floor-joists above. The effect is very rich and elaborate. There is also a frieze on the wall which formed part of the design, although its precise relation to the ceiling can no longer be detected owing to modern alterations. ”

“ There is not much of the plan to be made out, but what there is shows a large entrance tower, with the porch of the hall exactly opposite to it (Fig. 36) . The hall has a bay window at the daïs end, and, contrary to custom, a fireplace in the end wall. The kitchen is to the right on entering, and is approached by a passage from the middle of the screens. The whole arrangement is in the main of the usual type, so far as it can be traced. The new feeling is indicated in one or two panels which bear a head, but most of the ornament is still of the Gothic type with cuspings, etc. ”