CHAPTER III. ASHBURNHAM HOUSE THE HOUSES OF PARLIAMENT, ETC.

Previous

PASSING from Dean’s Yard, through a Gothic arch which leads through the Canons’ houses, we find ourselves in a large court, round which run the old buildings of the Westminster School and its familiar dormitory. Facing the school is a low building, within an inclosure, known as Ashburnham House, an old Tudor structure of much interest, which a few years ago was in serious peril. The valuable ground was coveted, and it was proposed to level it and erect large modern buildings in its stead. Happily public interest was aroused, pictures and sketches appeared in the illustrated papers, and the plan was arrested. The interest lay in the beautiful and elegant design of its interior, which though of modest scale is so exquisitely laid out and designed as to suggest an air of spaciousness. There is no doubt that it is the work of Inigo Jones, who is also credited with having designed the older dormitory of the school. On entering, a low hall presents itself, with a door facing us, through which can be seen a glimpse of the old garden behind.

Standing in the airy hall, which though of small size yet appears spacious, and is panelled round with delicately indicated mouldings, we see on the left a low arch over a slightly inclined stair of three or four steps, and beyond which the regular stair with its balustrade is seen. This of itself offers a highly original effect. The staircase itself has the most gentle ascent. The walls, generally white, are broken up by delicate mouldings and pilasters crowned at the top by an oval lantern of elegant shape, and there is a general architectural effect produced of the most pleasing kind. Neither is there anything elaborate, nor are the surfaces too much loaded. We feel that the groundwork is panelling, and therefore only suited to the lightest treatment. With the mouldings are combined stucco tracery of the best school.

In the same spirit are the two beautifully proportioned rooms treated, door cases presenting rich borderings and the ceilings rich embroideries of stucco. Even the shape of the windows is worthy of study, as they let in the proper amount of light, and no more, and are exactly proportioned.

[Image unavailable.]

From a Drawing by Herbert Railton.

The exquisite proportion of the lines, and the general air of space and room, the rich, elaborate stucco and carving, all displayed in its proper place, and yet not too rich, will give delight to the trained architectural mind. One feature is the simple, unadorned panelling exhibited near the ground, and which contrasts with the decoration on the higher portions. The rich swelling stucco border of the oval lantern at once recalls that of the room in the Barbers’ Hall, which is confessedly from the same hand. The whole is really a gem, and again suggests the strange failing of modern architects, who, in our day, seem to neglect the laws of classical proportion which lent such a grace to works of architecture at so late a period as one hundred years ago. As for stucco, it seems hopeless to look for any comprehension of its principle. The latest elaborate expression is seen on the ceilings of the new Constitutional Club, which offers a mass of heavy details, suggesting such contours as the familiar “porridge” assumes on cooling.

The charming way in which the few remaining rooms—all that are left—open off the landing, is another of the attractions of this gem, about whose future one feels a little anxious. There is no doubt it is in a precarious state, if not rickety, and is unsuited for the requirements of the school which is carried on there. The landing might be a room itself, so airily is it treated; quite in keeping, too, is the view from the windows, original in its way, unsuspected perhaps by those familiar with the ordinary aspect of the old Abbey; for there rises before us the grim old and much-neglected flank of the fane, with its mouldering buttresses and decayed windows, which the restorers have, fortunately, not thought worthy of their attention, as being too retired to meet the public eye. Some judicious restoring, cleaning, and repairing might be expended on the old house, which has an air of slight dilapidation. The present general tone of white certainly adds to the effect of lightness, and it is questionable whether the effect would be improved by exposing the old oak panelling.

On passing out at the other end of Dean’s Yard, we find ourselves in a tranquil, old-fashioned street, College Street. This might be a portion of a close in an old cathedral, so placid and silent is it; the houses being of that small, unpretending order in which canons and choristers might reside. There are carved doorways, there is cheerful red brick, while a few houses are overgrown from top to bottom with a rich clothing of greenery. At the end we have a glimpse of the river and barges passing lazily by. In front stretches the old cobble wall of the Abbey gardens, full of old trees: the iron-grey walls of the schoolhouse, capped with the old richly-cut cornice, are seen within, Lord Burlington’s work—while over all rises the huge and solemn tower, the great Victoria—offering quite a suggestion of Canterbury Cathedral. In the wall are little unassuming portals, with the name of a canon or two inscribed on them, and cart or carriage rarely disturbs the solitude. In short there is scarcely anything in town more grateful, or more in tone with the Abbey itself than this little street, or indeed the region in which it is. Taken with the Cloisters, the old houses and little courts in the Dean’s Yard, and the School Square and Ashburnham House, all is perfectly in keeping.

The district round seems to partake of this conventual and retiring character. Going on a little farther we come to the massive, curious church which stands in Smith Square, the houses running round being of an odd, old fashion, unlike anything in London. It might be in a country town. This quarter, too, is one of those which has a distinct character, even in its squalor. But it is still pervaded by the ecclesiastical, cathedral flavour of the Abbey adjoining.

We scarcely expect to find lessons in art among the slums and squalid streets of Westminster, nor could we hope to light on much in

[Image unavailable.]

GARDEN OF ASHBURNHAM HOUSE (page 18)

the way of antique survival. Yet here we come on at least three interesting old edifices—almshouses and schools—which in their aspect and surroundings offer a charming sort of surprise. Passing out of Victoria Street, where there is much crush and noise at “The Stores,” and down a small alley, we come to a little gem of its kind, as it will seem to the true artist, a small charity school, standing in its walled inclosure. It is of Queen Anne date and pattern, and is no more than a simple square little hall. But how quaint and varied is it! how admirably are its surfaces broken! while every side offers a different pattern. The honest brick is of a fine plum colour; the wall is daintily divided by pilasters; delicate, unobtrusive cornices run around; the windows are shaped in proportion, and the four doorways are of such varied elegance that it is difficult to decide between them. The whole approach in front, the gateway and its piers, iron work, the flight of steps, the door itself—all strike one as being the work of a tasteful artist. Over the door is the pleasantly rococo figure of “The Blew Coat Boy” in his niche. There is a little garden behind, with steps leading down, and a sort of dÉdendance attached, similar in style, but acting as a kind of foil. There is a charm about the little unpretentious building that is extraordinary. Unhappily it needs repair and restoration, though it is not dilapidated. No one, however, seems to care for it, and a builder has been allowed to construct a sort of “lean to shed” beside it. By-and-by it is likely enough to pass away and to be swept off so coveted a piece of ground. All who appreciate the grace and charm of architecture must admire it.

Passing by this interesting structure and walking down a little farther in the direction of James Street, we come to a bit of almost rural life—a perfect picture, which few would suspect could be found so close to the busy haunts of men. This is a group of old almshouses known as Lady Dacre’s—a large square, covered on three sides by the buildings. They are exactly of the pattern that would have delighted the late Frederick Walker, and might be found in the outskirts of some old country town. In front there is a high railing of good old florid iron, with a handsome gateway in the middle. Through the rails we can see the forlorn garden, offering an air of “large desolation” and neglect, with a look of tranquil abandonment. In the centre there is a low block of buildings with a quaint cupola, or lantern, rising over a pediment filled with decayed sculptures. At the side are two pretty little gates by which you can enter and walk round, and play “the contemplative man,” past the low doorways, over each of which are faint characters with the name of a parish. A dim-faced clock gives hoarse and wheezy note of time; but there is no one to be seen.

Retracing our steps and crossing Victoria Street by “The Stores,” we pass into Rochester Row. Near the Westminster end we come to a large old house of a delightful pattern, with vast inclosed gardens or grounds behind. This is the “Grey Coat” School, with its fine tiled roof, central block, and wings. Nothing can be better than the rare solid brick-work and the air of solidity and comfort. Some directing Goths have, however, erected a barbarous sort of colonnade or passage exactly before the door of entrance, thus spoiling the effect of the faÇade. Everything is in excellent keeping, even to the high substantial wall round it. But the fair expanse of ground behind is coveted, and already a slice has been taken off for a large factory.

In front there used to stand, not long since, another group of almshouses, which the worthy Palmer and Emery Hill, erst citizens of Westminster, had erected. These were pulled down, and an attempt has been made to erect something of the same genre, but with indifferent success.

As we survey the so-called improvements of London, the thought often recurs—how much a little more taste would have beautified the changes! But we seem helpless in this matter. No one appears to have a conception of what the requirements or opportunities are of a particular situation. There is, for instance, a statue of Coeur de Lion, by Marochetti, before the House of Lords—which is flamboyant enough to be effective—yet how feebly disposed is it! It seems to shrink, or to be huddled away in a corner. We have so few equestrian statues, we ought to make the most display we can with them. Note the poorish pedestal, only a few feet high. This statue ought to be in the centre of a place, on a high commanding pedestal; and there, would really have effect.

People often lament that the old Cathedrals, both in England and abroad, are so crowded up, and incrusted by mean buildings and streets; but do they gain when these are cleared away? One of the most picturesque glimpses of the Abbey is to be obtained from a point vis-À-vis to the Peers’ entrance, near the equestrian statue. There is a perfect old-world charm over this little corner, at the end of which the great arched buttress of the Chapter House—a happy bit of restoration—shows itself. The air of repose and tranquillity is extraordinary. You would think you were in an old rural town.

We are so familiar with the great Westminster group of buildings, the Houses of Parliament and Westminster Hall, that we scarcely can appreciate the imposing magnificence of the site and disposition. But foreigners are often struck with astonishment and admiration at the vast elaborate workmanship and detail; and certainly for a modern work the Parliament House is singularly successful in the effort to reproduce the old Gothic. The irregularity and originality of the treatment of the two towers, the flÈche, etc., is worthy of all praise. Of course faults may be detected, and it is said there is a monotony in the repetition of the panelling, which suggests wood-carving, as though wrought by machinery. When the plans were discussed it was proposed to raise the platform on the river side to the full level of the ground in Palace Square, or rather to that of the Bridge, and this would certainly have had an imposing effect. But the difficulty was what to do with Westminster Hall. There was an angry controversy between Pugin and Sir Charles Barry, and between those who represented them, as to their respective shares in the design, a point which the impartial spectator will have little difficulty in deciding. Pugin’s spirit is to be recognized everywhere and in all the details, and it was impossible that so pervading an influence should not have its effect in the constructive portions also. Barry’s other works offer nothing like this—nothing so free or fanciful. The luxuriance of florid details is indeed extraordinary, and the lavish profusion of ornament seems to belong to some gem of a private chapel rather than to the surfaces of so vast a building. But it is melancholy to note the evidence of decay, and this delicate tracery, though apparently preserving its shape and form, is mouldering away. Any “under-cutting” in this climate is doomed. The general decay of the main stone-work which caused such alarm many years ago has happily been arrested; a vast quantity of the decayed material has been cut out and renewed. But there is a constant repair going on, and little “crow’s nests” are to be always seen crusted round one or other of the delicate “finials.”

Some palpable mistakes, due to economy, can be detected at once. The intention of the architect in designing so long and so low a structure was to relieve it by the two Towers, which were to “carry up” the eye—like spires. The great Victoria Tower, whose enormous proportions can only be appreciated when we are close to it, seems as vast and massive as the Tower of the Town Hall at Ypres—that wonder of the world. Yet the whole idea of its imposing height has been sacrificed: it is indeed difficult to believe that it is as high as the dome of St. Paul’s. As Fergusson says, “the Victoria Tower partly dwarfs the portion of the building near it. Yet in the original design it was intended to be six stories in height, which increase would have lessened the sense of breadth, making it more airy. Unfortunately the architect had the weakness of often changing his original purpose, consequently the entrance, instead of being only of the height of two stories of the building as at first proposed, now runs through and makes the adjacent House of Lords ridiculous. If the size of the gate is appropriate the Lords are pigmies. Worse than this, at the back of the great arch is a little one, one fourth its height, through which everything must pass. The counterpart of all this is the House, which looks much smaller than it really is.”

The fact is, that when the Tower was approaching completion the House of Commons, in a fit of economy, interposed and refused to allow it to be carried to its proper height. It is now therefore some thirty or forty feet too short. Its proportions seem clumsy and stinted, and it is really unpleasant to contemplate. The flÈche that rises from the centre of the building is really beautiful and elegant, covering (which few would suspect) the great central Hall, and, with these various towers and spires forms a charming assemblage, to which the Abbey unhappily does not contribute, for its central tower ought to be furnished with a flÈche, or an octagonal lantern, like the one at St. Ouen at Rouen. Wren, it is known, prepared a design, which however was laid aside.

As we look up at the Clock Tower, it suggests some curious recollections—first, associated with the “Big Ben” within, which has its history. Few may recollect that it was so named after Sir Benjamin Hall, then Commissioner of Works. Unnoticed too, perhaps, by the incurious is the fact that “Big Ben” has long been cracked, but has done his work effectively for years. Yet the hoarse, rather jarring tone betrays this damage hourly. Forgotten also that it was designed by a bell amateur, Mr. Becket Denison, and that there was a controversy and discussion which long raged fiercely about the bell. It could not be even settled what note it uttered. It is astonishing to think that the large hand of the clock is over fourteen feet long. From the elaborate open-work character of the “cap,” or head, of the clock-tower, as well as from its function of holding a number of bells large and small, for which there is no room save in the body of the tower itself, it was intended that the whole should be pierced, and have an airy, open treatment like a church spire. This was actually the architect’s design, as will be seen from the slits that run all the way up. These, however, he was forced to “glaze,” and fill in with windows, which gives the whole a heavy, clumsy air, instead of a lightness and elegance. The system of lighting the dials is elaborate, and the cost enormous. There is quite a fire-chamber behind. Offenders against Parliamentary discipline have been consigned to the Clock Tower for custody; and, as may be imagined, the chief portion of their sufferings, night and day, must have been the alarming booming of the bells, which were quite close to their ears.

The great embarrassment for the architect of the Houses of Parliament was Westminster Hall, which stood in the way and seemed really irreconcilable. If left detached, with a space between it and the new building, there would be little room for the latter between it and the river; if combined with it, it was incongruous, being of a totally different style. The latter course was adopted, and it was turned into a sort of vestibule or entrance hall to the two Houses. On Æsthetic grounds this was a blunder, for it has lost its significance as a separate work, and has always been in protest, as it were, against its degradation. From the outside everyone may conclude that here are two distinct buildings, yet on entering it is found to be merely a passage or approach for the other. Barry was so sensible of this that he determined to hide or screen it altogether, and he left designs for a building to be carried in front, and which was to go round the whole yard. There was to be a grand imposing tower, with arched entrance gate at the corner, facing Parliament Street. This costly scheme was never carried out, and instead, the Hall has been taken in hand by Mr. Pearson, fitted with a cloister and buttress, battlements, etc., after its own style. This of course only imparts a more general discrepancy, for its general plainness and rudeness of treatment make the details of the new building appear trivial; while in return their minuteness and delicacy causes the Westminster Hall to appear yet more rude and rough.

What shall be said of the magnificent interior of the Hall, its unique open and bewildering roof, a marvel of construction, with its history and traditions and trials? But it is curious, as we walk through it, to see how completely the effect has been destroyed. By opening out the end and adding ascending steps, with a passage beyond, its purpose has been changed, and the sense of space and size abolished. You merely pass through it, instead of entering it and staying there. It is no longer a great chamber. There is a handsome stained glass window seen beyond, of the style called “Perpendicular,” a portion of which, strange to say, is cut off by the beams of the roof. It was, however, Barry’s intention to raise the roof all through by hydraulic machinery—an intention that never will be carried out, and so the blunder or eyesore remains.

It is curious what uncertainty exists as to the roof of this fine Hall. It is generally supposed to be made of Irish oak, as stated by Macaulay in his account of the trial of Warren Hastings. Others maintain that it is of Normandy chestnut, others again that the roof alone is of chestnut and the ribs of oak.

Everyone is familiar with the two Chambers, with their fine and gorgeous decorations, enriched brass and iron work, carvings, paintings, etc. The House of Commons originally had an elegant open roof, elaborate to a degree, and furnishing the leading “note” of the chamber. It was found at once that the speeches were inaudible, and the architect was allotted the ungrateful office of destroying his own work—having to set up a flat panelled ceiling many feet below his tracery and Gothic work. This has answered perfectly, and the space between is utilized for lighting purposes. It may be added that when it was determined not to proceed further with Barry’s designs, the Palace was completed by his son, a low colonnade being added, the ornamental details of the Clock Tower being continued to the ground. The grilles and railings which were also added seem like the colonnade, but have not the same elegance as the building, and offer a different treatment.

The Gothic clock-face caused the architect a vast deal of thought, and it was only after many experiments that the existing mode of attaching it to the tower was devised. It is considered very successful. Prince Albert, it is said, insisted that the whole upper portion should be of metal. The tower has, within the last few years, been turned into a sort of beacon or gigantic lamp-post—not, indeed, to give light or a warning of danger—but to announce to whom it may concern that the House is not up. This acts as a pernicious schoolmaster, and insensibly preaches what is mean and degrading. The tower was a useful and faithful servant, “Big Ben” booming out—albeit a little hoarse and cracked—the hours by day, the huge illuminated dial telling the hour by night. But a gap was made in the fretwork over the dial, and an ugly semicircular lantern thrust out, which gives out a fierce glare while the House is sitting. The handsome Clock Tower is now present to our minds as a sort of gigantic candlestick, with the associations of smoke, fierce heat, flare, and glare. The light is not hung out from the tower beacon-wise, but the tower itself is the beacon.

                                                                                                                                                                                                                                                                                                           

Clyx.com


Top of Page
Top of Page