DETAILED DESCRIPTIONS OF THE DIFFERENT APARTMENTS, VIZ. THE VESTIBULE AND STAIRCASEEATING-ROOM AND LIBRARY BREAKFAST-ROOM -PASSAGE CABINET -MUSEUM-VESTIBULE TO, AND PICTURE CABINET-DRESSING-ROOM, AND STUDY:-IN THE BASEMENT-THE MONK'S PARLOUR -AND CEMETERY-CORRIDOR, SARCOPHAGUS-ROOM, DRAWING-ROOMS, ETC.; WITH REFERENCE TO THE SECTIONS, AND PERSPECTIVE VIEWS.

THE Construction and arrangement of the house illustrated by the present volume may be regarded as the result of many years' study and experience, by an architect who has been actively and zealously devoted to his profession; and who has, in this instance, given full latitude to his imagination. Hence it cannot fail of claiming the attention, and even deference, of persons who love the art, and hope to profit either by the success or failure of their predecessors. These descriptions are entirely addressed to such a class of persons, and to whom we would recommend an attentive

examination of the accompanying Sections and Views which, jointly considered, we hope will at once interest the imagination and gratify the curiosity of the reader*. The Vestibule and Stair-case, it will be seen by plan, Pl. I. в, c, d, have been influenced in their forms and design by the original wall, between the two houses, Nos. 12 and 13. Instead of being detrimental to effect, this obliquity of line, in the partition wall, has given the architect an opportunity of contrasting the former with the latter, and giving to the stair-case an appearance of greater space and greater lightness, than it would have assumed, had the size of the vestibule been squarer and larger. This part is coloured in imitation of porphyry, whilst the stair-case assumes the appearance of giallo antico. Here we perceive contrast without opposition, and an imitation of those Italian palaces, or villas, where finely polished marbles are at once the substance and ornament of many apartments. A break, or division, is formed between the vestibule and stairs, by a pier perforated by three arches, and two squared niches, which serve both to divert the eye from the oblique line of the side wall, and also to give an architectural feature to the scene. At the entrance are two doors, of which the exterior one is studded with round-headed nails, and bronzed; and the inner one is formed of mahogany, and ornamented with several panes of painted glass. On the landings of the stairs are windows, filled also with painted and stained glass, and additionally lighted with a coved sky-light.

LIBRARY AND EATING-ROOM, PLATE II.-The mode here adopted of giving geometrical representations of the sides of an apartment, with all its fittings-up and ornaments, will, it is hoped, be far more useful and satisfactory than that which has hitherto been generally employed,—of strictly architectural sections, showing only one side of a room, and that, too, quite unfurnished. Although this mode serves to exemplify the construction of a building, it conveys very little idea of the appearance of an apartment when furnished; and has certainly not contributed to render architectural works so generally interesting and inviting, as they might be made by a more popular and intelligible style of representation. Hence it has happened, that, with the exception of professional men, and a few amateurs, hardly any one is attracted by publications of this description; while the exceedingly scanty letter

* In the preceding chapter a summary view has been taken of the House, as far as regards the Plan alone: in this a more detailed description is given of the various apartments with respect to their decorations and contents; and although this mode of treating the subject may have occasioned one or two trifling repetitions, it has been adopted as the most convenient and perspicuous; and as enabling the reader better to comprehend either the general distribution of the rooms, and their connection with one another, or the peculiar character and details of each, individually.

press with which they are usually accompanied, has by no means tended to heighten their claims to general notice.

The annexed engraving exhibits elevations of the two sides and ends of the front apartment, forming the library and eating-room, the southern division being appropriated to the former, and the northern to the latter destination. Singular as the plan of this double room is in many respects, the effect it produces is both surprising and pleasing every thing that is novel produces the former, though not always the latter effect. The advantage of considerable space is thus obtained, while the lines of demarcation between the two divisions are sufficiently marked to give to each of them its due proportions; whereas, had these been omitted, the room would have appeared too low for its other dimensions, it being only about thirteen feet high, by forty feet in length. This disparity of proportion is effectually remedied by the pendent arches between the two divisions, which we thus perceive are not introduced without some motive, although their intrinsic beauty would of itself have been sufficient to justify their application. The walls are painted of a deep red colour, in imitation of the walls at Herculaneum and Pompeii, as are likewise the arches and the pannelled compartments of the ceiling; whilst, in some parts, the mouldings are of a light bronze colour. Notwithstanding the richness of the ensemble, the pervading characteristics of this apartment are chasteness and simplicity. Very few mouldings are introduced, and those consist of mere lines: even the cornice, if such it may be termed, is remarkable for its extreme plainness, being in fact nothing more than a fillet; yet such is the variety of well contrasted outlines, and the happy arrangement of the various parts, that the eye is amused and the mind interested by the novelty and intricacy of the forms and effects. Had the architectural contours been more enriched, for instance, the arches above the book-cases, they would have disturbed the repose requisite to give effect to the ornamental sculpture, and to the vases, and bronzes which they contain.

Among the various works of art which ornament this apartment, the most striking is the large fictile Vase, on the portfolio table, before the glass, at the south end of the room (Plate II. A). This exceedingly beautiful and valuable relic of ancient art is shown in the wood-cut of vases, in the title-page of this volume; as is likewise another vase of the same description, but of very remarkable and unusually elegant contour which is placed against the east pier, dividing the two rooms, as will be seen by referring to the elevation, Plate II. c.

As indicated in the accompanying print this apartment is fitted up with glazed

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mahogany book-cases, which contain a mass of valuable and interesting works, on architecture in particular, and on the fine arts generally. On the tops of these cases are numerous antique vases, pieces of sculpture, &c.; whilst other objects of the same class are supported on brackets attached to the pendent arches. At the angles of the book-cases, as well as in some of their pannels, are several strips of lookingglass, which tend to give light, cheerfulness, and beauty to the scenery. A series of antient chairs, of unusual form, and inlaid with mother-of-pearl (which are omitted in the accompanying elevations, as they would interfere with the architectural symmetry), constitutes part of the furniture of this apartment. Attached to the piers are several bronze idols, and other antique relics. It will be seen by the sections that the ceilings are adorned with deep pannels, or recesses, with bead mouldings, &c. Over the side-board, opposite the chimney, in the eating-room, is a very interesting architectural drawing, in which are grouped together various designs and compositions by the Professor of Architecture. On the frame is the following inscription: "A Selection of Parts of Buildings, public and private, erected from the Designs of J. Soane, R. A. F. S. A. in the Metropolis, and other places in the United Kingdom, between the years 1780 and 1826."

The idea of thus bringing together, in an abridged form, the principal features of the various works of a single architect, is both ingenious and interesting. We here find portions of the Bank, the Dulwich Gallery, the House of Lords, Courts at Westminster, National Debt Office, the Board of Trade, and other structures, which have been executed during a long and successful professional career.

Opposite, and over the chimney-piece, is a masterly and pleasing specimen of Sir Joshua Reynolds's painting; an allegorical picture, called The Snake in the Grass. Beneath the large window which opens to the back court, as well as on each side, are other glazed bookcases, Plate II. B. To the right and left of these are entrances to the breakfast-room, and to the small study. The doors are mahogany, and glazed with stained glass, whilst a second door, glazed with mirrors, is hung on the inner side. A very large square window, with its lower panes filled with specimens of antient painted glass*, occupies the greater part of the north end

* Hitherto stained or painted Glass has been considered as utterly out of character and inadmissible in any buildings except those in the style of our ancient religious edifices, of which it forms so striking a characteristic: yet there is no reason, that we can perceive, why it should not be occasionally employed in edifices where the forms of classical architecture predominate. Are we to suppose that if the ancients had been acquainted with this beautiful material, they would have failed to avail themselves of it for the purpose of architectural decoration, when we perceive that they had no

of the room; which, as already noticed, is richly adorned with fragments of classical architecture. By reference to the elevations in Plate II. the reader will perceive that there are busts, pieces of sculpture, drawings, and circular mirrors in this apartment. The forms of the fire-places, and position of the stoves, merit the attention of the young architect.

The Breakfast Room, Plate III.-This small and beautiful apartment is certainly not one of the least interesting in the house, whether we consider its admirable arrangement and construction, or the novelty and taste with which it is fitted up. Although its dimensions do not exceed eighteen feet by eleven, and although within this space there are no fewer than seven doors, the disposition of the various parts is so harmonious and symmetrical, that there is no confusion or crowding: on the contrary, comfort seems to have been studied full as much as ornament. The ceiling is formed by a flattened dome perforated by a lanthorn in the centre, and by four circles at the spandrels; to the north and south of which are arched roof-windows rising above the ceiling. These throw a vertical light on the side walls, so as to produce

objection to colour and gilding,-to ivory and bronze,-or, in short, to whatever might contribute to ornament, and to embellishment? Surely it is no violation of any fundamental principle of good taste to introduce entire windows of painted glass in a building of strictly Grecian character, provided the subjects represented be in perfect unison with that style; for what, after all, is such a window but a transparent picture? Unfortunately, however, most persons suffer themselves to be imposed upon, in architecture, by words; and hence it has happened that, while we affect to copy the antients, we have so often lost sight of the principles which guided, and the spirit which animated them.

As a lamentable instance of the poverty of invention and want of taste in modern architects of the soi-disant classical school, we may here remark, that instead of making chimneys and roofs subservient to the decoration and harmony of the rest of their compositions, they generally leave them in the rudest and most uncouth forms imaginable. If the architect conceals them, it is well;-but if he either does not, or cannot, he ought at least to impart to them such embellishments and proportions as shall render them in unison with the other features of his building. Unless he does this, he commits a false concord both in architecture and taste. But the antients have left us no prototype for this indispensable part of a modern edifice; we may, however, rest assured, that had they known the use of chimneys, they would have devised some means of rendering them not only pleasing but beautiful objects: for the pervading principle of their architecture-its first and fundamental rule-was to render each part and feature subservient to decoration: even the very tiling of their roofs assumed picturesque forms, and contributed to embellishment. The Italian school has proceeded upon principles nearly the reverse, for it has carried mere ornament to a disgusting excess, cutting up façades into "bits of littleness" and gewgaw trumpery, so as utterly to destroy character, grandeur, proportion, and simplicity.-In this respect the architects of the style popularly designated Gothic, showed a far better taste: their roofs and chimneys, in short, every feature, accorded, with and formed a component part of the general design,—but they were not copyists.

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