The Country House Part 2

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LETTER V

DEAR SIR,

THE letter you send in answer to mine, on the question of the most preferable style, I must allow, contains many good reasons in support of your opinion and views; and laying aside prejudice and early a.s.sociations, I am willing to admit that it is wise to adopt that style which possesses the most completely the elements of beauty, and which is most susceptible of being united to painting and sculpture, essential accessories of architecture, or rather, important branches of that art. Some of the facts which you mention are very interesting and striking, indeed, convincing; and the more I have reflected on the subject, the more I feel the advantage of breadth, and the superior beauty of the simple and grand lines of Grecian architecture; and my curiosity to see the mode in which you will follow out your precepts by your example, is hourly increasing, although I am quite aware that one specimen of a building will not be sufficient to ill.u.s.trate the general positions you have, I think, so well established.

I almost wish that you had been tempted to extend your letter, already long, for the purpose of entering still further into a subject of such interest. I should be curious to learn to what extent the arts of painting and sculpture had been applied, in conjunction with the Gothic; and where they had most failed, and to ascertain whether those instances fully corroborate your positions. As regards your oracular distinction between the two styles, I am not sure I quite understand you. I shall, however, leave this till the termination of the discussion of the plan. The merits of the arrangements and contrivances of the ancient villas, as ascertainable from the descriptions extant, and the plans of those of Pompeii had not entirely escaped me. In addition to the published information, I recollect to have received, many years since, much information and instruction on the subject from Mr. Cocherell, soon after his return from Italy; he having devoted much attention to the arrangement of ancient villas, and having selected some very interesting materials to ill.u.s.trate the ingenuity of the contrivances, and the judicious selection of the sites, &c.

Every part of your letter is tantalizing, and makes me regret that you have merely touched on subjects of such deep interest; whilst reading it, I forgot that I had commissioned you to give me the plan of a house, not to write a complete treatise on ancient and modern architecture. Conceding to you the choice of the style, convinced by your reasons and arguments in favour of its superior beauty and capability, I own to you I do so reluctantly, not without a sigh, and not without much hesitation. Although, abstractedly, a building constructed on the principles you advocate, may have more beauty than our own Gothic or Elizabethan, and may be more susceptible of a union of the three arts; yet there is one part of the subject to which you have not adverted, and on which, perhaps, you are not likely to feel so strongly as we do in England, the most aristocratic country in the world. Some of our most beautiful houses are in this the rejected style, and with them are connected all the prejudices and a.s.sociations of antiquity, of ancestral dignity and greatness; and a house of this kind carries the mind back to other times, and awakens recollections that it has been enjoyed by a long line of ancestry, and hence, perhaps, has in a great degree arisen the desire of many who have built modern houses, to imitate those of the elder time; not indeed from any attempt actually to devise and construct a forgery, but to avail themselves to a certain degree of the a.s.sociations to be derived from the recollections a.s.sociated with the buildings of former ages, and in the construction of which, at least, the most skill and talent had been employed; and again perhaps, the very clumsy and unsuccessful adaptation of the principles of the revived Grecian and Roman, or Palladian architecture, to our modern houses, (especially in the smaller ones,) may have tended to keep alive the prejudice in favour of that style, which even if it were not the best, was at least the best executed; more especially in its adaptation to the fitness of domestic arrangements and comfort. Whilst I have been advocating the merits of our Elizabethan houses, you must not suppose I refer to the mult.i.tudes of grotesque little villas which grow up every summer round London; or to those alterations and adaptations, by which one sees Gothic spires, plastered over with stucco, starting up out of one half of an old farm house; the walls notched into battlements, and uncouth animals set a grinning against each other over the gate posts, and the hall crammed and fortified with rusty swords and pikes of all ages and fashions. And on the other half, Venetian windows slices of pilasters, bal.u.s.trades, and other parts of Italian architecture. Although I have not such a greedy appet.i.te for every thing Gothic, as Horace Walpole had, yet I own I partake somewhat of his feelings, as expressed in a letter from Stowe, when he says, "The Grecian Temple is glorious, this, I openly worship, but in the heretical corner of my heart I adore the Gothic building." Though I own the character he gives of the Gothic building he so adores is barbarous enough, for he says, "That some unusual inspiration of Gibbs has made it _pure_ and venerable, with a propensity to the Venetian, or Moresque Gothic; and the great column near it puts me in mind of the Place of St. Mark." Strawberry Hill, however, is a sufficient proof of his knowledge and taste for pure Gothic. There is one point on which I entirely agree, which is that the style of decoration should be consistent with the style of the architecture. I think we have been more deficient in attention to the style of decoration, than even to the choice of the style of the building itself; and nothing is now more common than to plaster the walls of a modern London house with the Gothic paper of Henry VII.'s Chapel, and to fill it with a load of old carving of all ages and times; and to finish with a cartload of Louis XIV.'s clocks, and other similar ornaments: but of this, more when we come to discuss the decoration of your rooms.

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LETTER VI.

BY my first letter you will see I have explained to you the _site_, and I think the next point which we have to settle will be the advantages and disadvantages of _aspect_; and whether the house should be placed at the top of the low hill I have mentioned to you, or half way down, or at the bottom. I think in general, the modern fashion has been to seek a lofty spot, without reference to shelter; so that the architect's work should shew well to the surrounding country. My object is that the house should be placed in the most convenient spot as to _shelter_, with the best aspect suitable to our uncertain climate, always taking care that there be sufficient drainage, an essential, though often a neglected point.

Having explained the essential, I come next, to the ornamental; I do not think it is so necessary that the house should form a handsome feature of the surrounding landscape, as that it should form an harmonious picture in combination with the grounds in immediate connexion with it; I must refer you again to a description of the _locale_. I have nothing to add to this. You will see that the spot I have chosen has somewhat of an amphitheatrical shape, and that I have the means of making a terrace; that I am well backed at the north by trees and hill, and open well to the south-east. You have the choice of aspect within the range of south-east to south-west; yet the house, for meteorological reasons, should not be placed too low down in the valley. I refer you to Mr. Professor Daniell's essays on the subject of the difference of temperature between the top and bottom of a hill; this, though it applies princ.i.p.ally to the position of a garden, has some weight even in the site of a house.

It will be necessary that the approach should be from the south-west; and as regards plantations and protection from wood, I am well defended on all sides. I had meant to have added some observations on the _picturesque_, of which we fancy we are the discoverers; but at present, I have not time. I may, perhaps, (if I find you inclined to enter into the subject,) send a few remarks on this; particularly, as I believe it is considered that the ancients did not, in the situations of their houses or buildings, consult those principles of taste which we call the picturesque. I think Dr. Copplestone, in his lectures on ancient poetry, states this, and yet one should judge otherwise, from seeing the sites of many of the Roman buildings in this country. That at Bignor in Suss.e.x is particularly beautiful, nay, grand; but yet it was low: perhaps, the advantage of a running stream was the general cause in former times of building quite down in the valley.

I think it will be an object to have as much veranda as possible, closed in and very wide, but not, perhaps, in front of the best windows; but somewhere so as to have both a shaded and a winter's sheltered walk.

I must apologize for the indefiniteness of this letter, but I think I have given enough to serve as a text for the answer. The style and site settled, I propose we should at once come to materials to be used, ground plan and elevation. As regards offices, I will mention such as are essential; as you may, in consideration of the plan, like to know this; there will be one small lodge at the entrance on the south-west, and should have no objection to a back entrance at the north; as this may be used as a labourer's cottage. There will be a double coach-house, stables for six horses; a small ice-house and gardener's cottage. The two latter may be arranged so as to form part of the garden wall. I mean the kitchen garden, which will be at some small distance from the house, at the back, or north; but I mean it to be connected with the house by the flower-garden and plantations.

Yours, &c.

H. B.

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LETTER VII.

DEAR SIR,

WE come now to fix upon a part of the grounds that shall appear most healthy, neither too confined nor too exposed; commanding a good prospect, yet well sheltered. This is a very material point, and not indeed altogether free from difficulty; nevertheless, proper attention to the two circ.u.mstances just mentioned would perhaps, in the generality of cases, lead at once to the selection of the most favourable site for building upon; both as regards prospect from the house, and the view towards it; so that as regards the latter, it would display itself to the utmost advantage. With respect to the mode of combining buildings with the surrounding scenery, the following principles and directions are laid down by the ablest of our writers in the German language, on the subject of landscape gardening.[3] "If due care be taken to distribute the ma.s.ses of light and shade, so that they shall judiciously relieve and balance each other, satisfactory effect, as regards the general grouping and composition of the scenery, can hardly fail to be secured. Gra.s.s, water, and level lawns, which throw no shadow upon other objects, but merely receive those which the latter cast upon them, are to be considered as _lights_ in landscape gardening, while trees, woods, buildings, and rocks, (should there be any) afford the artist his _shadows_ and darker tints. In making use of these contrary elements, care must be taken lest breadth of effect be destroyed, and a disagreeable spottiness subst.i.tuted for it; in consequence of there being too many separate and partial effects independent of each other; or else by there being too great a proportion of unbroken _light_. On the other hand an equal fault is committed, if a few dark ma.s.ses of shadow are allowed so to predominate, as to overpower all besides; or again, if lawn and water exhibit naked unbroken surfaces of light too harshly defined; whereas they ought to be left partially to lose themselves in indistinctness, or the shadow of deep vegetation; or to detach themselves from a darker background as brilliant lights opposed to it. With respect to buildings, these ought never to stand perfectly isolated, because in that case they become spots, and look as if they had no business there, nor belonged to any of the rest. Besides, a partial concealment is always advantageous to every kind of beauty, and it is highly desirable that the imagination should be interested by there being something for it to exercise itself upon, and to divine. The eye frequently rests with more satisfaction upon a chimney peeping out in the distance, and emitting a gray volume of smoke from amidst the dense foliage of trees that embower and exclude from sight the building whose presence is so indicated, than it does upon a large formal mansion standing fully exposed to view, with no shelter or skreen on any side, with nothing to break its outline, with nothing to render it an appropriate and consistent feature in the general scene." From the beginning of what I have here extracted, you perceive that this writer treats the subject in a masterly manner, taking a comprehensive view, and is guided by such sound theoretical principles, as to be able to determine beforehand, the results of his art with almost as much certainty as an architect can judge of an intended building from its ground plan.

[3] Prince Puchler Muskau. Andenkungen uber Landshaftgartnerei.

Stuttgart, 1834.

Having determined upon the precise site, that which seems most recommended by considerations of healthiness, convenience, &c.; we have next to attend to what appertains exclusively to architectural treatment and character. The general idea of the building, as to its chief ma.s.ses and parts, extent and arrangement, being sketched out, regard must be had to the greater or less s.p.a.ce of the immediate site; to obtaining for it due effect of light and shade, and a background calculated to set it off, upon all which circ.u.mstances, it depends nearly as much as a work of sculpture does. In like manner as statues in general have only three sides from which they are calculated to be seen, so also have buildings; nor can I help being of opinion that much harm has been done of late years, both in architecture and sculpture by the attempt at equal display on all sides. The greater part of antique statues were evidently intended to have a wall or background behind them; nor is there, perhaps, any thing more at variance with the effect which statues ought to produce, than the present frequent practice of erecting them in the centre of large squares.

Nearly all productions of architecture, more especially structures adapted for habitation, offer one side stamped as the princ.i.p.al or front, and another, which is its reverse; in which respect they bear a greater a.n.a.logy to living beings than to plants; the latter having no definite foreside, on the contrary, any part becoming the front, that is towards the spectator. Such being the case, the same rules that are to be observed for displaying a statue, or representation of a living figure to advantage, ought to be attended to in regard to the position of buildings. Agreeing with you that a sheltered situation is the most desirable for your intended villa, I will attempt to explain it upon the theory of the following general principles; namely, upon our beholding any building of the kind, it ought immediately to be evident wherefore it is so placed, and that by being placed precisely where it is, it is part and parcel of its immediate vicinity.

But to confine myself to our particular instance. I think I shall be able to provide an exceedingly agreeable site for your residence, as I learn that a supply of water may be obtained in the grounds, capable of floating superficies of about fifty thousand square feet, and depth in proportion. Accordingly I propose, after the manner shewn in the accompanying ground sketch, (Plate I.) to avail myself of this circ.u.mstance, in order to give animation to the now comparatively tame and lifeless character of the place. The reservoir on the upper terrace would keep the basin constantly filled to the level of the lower terrace, before the water escapes into the valley below. By this means, a sheet of water may be provided almost in the centre of the grounds, and my plan suggests, that the house itself should be erected immediately on the north sh.o.r.e of this artificial lake. On the spot where I have placed it, the ground floor would be about fifty feet above the level of the brook itself, and that part of the grounds through which it runs, consequently would not be exposed to any injurious exhalations from the lower grounds.

I need hardly point out to you the unusual agreeableness and even piquant effect of a residence so situated; and when I send my plans for the house itself, you will see what are the apartments that will occupy this side of the building, and what a charming prospect they will command of the lake immediately below, and the grounds on its opposite banks. At present I will only remark as regards the increased effect thus to be gained, that a building immediately on the edge of a piece of water appears more considerable than in any other situation; and that the reflected image of the architecture will form a brilliant contrast to the darker reflections of trees and foliage. Besides which, the most favourable point of distance for viewing the building itself on this side, would thus become fixed--being that from the opposite bank of the lake.

A very cursory examination of the plan of the ground will convince you, that the whole of the buildings you require are ma.s.sed together in one group. Such an arrangement certainly contributes to convenience; and I agree with you by shewing the various offices, instead of attempting to mask or screen them, the house itself may be made to possess greater importance and apparent extent; that is, you will get a large looking country house at a small cost. It may be further remarked, that by adopting such treatment of the plan, some kind of architectural foreground is introduced into the prospects seen from the house itself, together with much contrast and variety, and that too without incurring unnecessary or extra expense, since the same accommodation must be provided. Another advantage is, that the subordinate buildings of this kind attached to the main structure, may be made use of as a kind of connecting link between the more artificial and studied regularity of the latter, and the natural objects in its immediate vicinity; without which sort of intermediate transition, a house is apt to have the appearance of a mushroom structure that has over night started up out of the ground.

From the north east angle of the house, the stables extend northwards, while the conservatories run in an eastern direction from the same point. By this means an open avenue is left before the north side of the house: and on the east side a flower garden, which is screened towards the north. The piece of ground enclosed on two sides by the stables and hothouses or conservatories, and therefore not exposed to view from the house itself, would be occupied as the stable-yards, &c.

Further on, towards the upper terrace, is the fruit and kitchen garden, stretching out more eastward. At the end of the conservatories is the gardener's lodge, the upper part of which forms a small dovecot.

[Ill.u.s.tration: Plate I. Drawing of the ground plan and upper story.]

I have not yet said any thing of the west side of the house, although it forms one of the princ.i.p.al elevations of the external designs, the carriage entrance porch being placed there; the approach to which latter is over a bridge, and by the road which runs to the south-west towards the village. You therefore perceive that, before they actually arrive, visitors will obtain a distinct view, across the lake, of the entire range of the buildings from east to west; from the gardener's lodge and tower along the line of south front and terrace, to the bridge itself; of which group of architecture, the greater part, would be reflected in the water, from which it appears immediately to rise up.

You will observe, I have _not_ carried the approach to the house in a curved or serpentine direction line, as is generally done, whereby the object to which the visitor is hastening, is now seen and now again suddenly lost sight of; but in a _straight line_, so that the building displays itself more and more plainly to the eye at every step.

From the high road, the approach is on the north-east; and of the portico lodge and gate at that entrance into the grounds, the sketch prefixed to this letter will afford you an idea. The direction of the drives and paths, the arrangement of the plantations and groups of trees, wherein I have taken care that the greater part of the fine elms shall remain untouched.

The source of the stream and the weir, from which the superfluous water finds its way into the lower valley, would almost of course suggest the propriety of erecting seats at those points of the grounds.

A more detailed description of the house follows by next post, with the plans and elevations.[4]

Yours, &c.

A. C.

[4] Plate I. shews the ground plan, &c.

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