It may, perhaps, be deemed too great a refinement in taste, to say that a pool is absolutely necessary in this place, because no Indian building is ever seen without; it is not, therefore, to preserve the character of such scenery that the pool is advisable, but, rather, for its utility in supplying the garden with water attempered by the air, and for its beauty in reflecting the surrounding objects.

The pool is proposed to be square, rather than round, for the following reasons:

First, That a small square pool will appear larger than a round one of the same dimensions, because the eye is checked in its progress, and the angles being seen perspectively, it varies its shape with the position of the spectator; while the round pool is always seen in the same point of view.

Secondly, That the inverted picture, formed by the reflec tion of its margin, is larger and more varied.

And, lastly, that such pools in India are generally of this shape.

ARTIFICIAL CHARACTER.

THE magnificent building, which, by its situation and magnitude, must form the leading feature of the place, ought, therefore, to extend its influence over the scenery: at present, its character is contrasted with all the surrounding objects of art, and its great dimensions withdraw the eye from all the surrounding objects of nature: hence it becomes separated from, or, rather, contrasted to, the scenery; and being thus, in a manner, isolated and detached, we are apt to suppose it too large for its situation.

If the same character be extended throughout the gardens, and the whole scene be enriched by buildings of the same style, this large dome will cease to be unconnected; it will, in a manner, blend with them, although it will always form the leading feature of the scenery. There might be some reason for objecting to a multiplicity of buildings, if they were all

uses.

*

* Another objection to this building, as a separate object, arises from its We are in the habit of supposing that the house should be a more lofty object than its stables, or offices, and are apt to annex dignity to loftiFor this reason, at Chatsworth, at Hardwick, and some other places,

ness.

merely introduced as ornaments, like a public garden crowded with seats; but if each object has a separate use, and each contributes to the comfort as well as the magnificence of the scene, it is hardly possible to make it too rich.

THE GARDEN ENTRANCES.

THE central view of the great dome is, doubtless, the most striking; and it is, therefore, proposed to make an entrance

[Fig. 129. View of the Garden of the Pavillon at Brighton, shewing the corridor and the pool as they will appear from the stable-yard, at the point e e, in fig. 125, page 377.]

the principal apartments were at the top of the house; yet we do not object, in St. Paul's, or St. Peter's at Rome, that the choir, or most dignified part of the building, is not placed immediately under the dome.

from the town, at the spot from whence the sketch [our figs. 126 and 127, and d d in the ground plan, fig. 125, in p. 377] is taken. Another entrance to the garden will be very striking from the stable-yard [see fig. 128]; the long perspective through the several arches, requires an appropriate termination for the centre of the vista; this same porch [d d in fig. 125], or entrance, forms also the central object from the windows of the Pavillon. On one side of the pool is also represented the orchestra, or platform, for a band of music, which is an essential part of the state and pleasure of such a garden, and to which some central spot must be appropriated; the cupola on the chapel is not of the same character, and cannot be hid from the garden: the appearance of this orchestra will divide the attention, and lessen its influence, although it is, fortunately, not so correct a specimen of Grecian architecture as to do much injury by its intrusion [see fig. 129].

[Fig. 129. View from the Lawn in front of the stables, taken from the point ff, in fig. 125, p. 377.]

In a garden so surrounded by buildings, it is not to be expected that all can be excluded by plantation only; and as, in some places, architectural ornaments must be called in aid of vegetation, it becomes necessary to determine what style such ornaments should assume, especially as these buildings must have a reference to the style of the mansion, as well as that of the stables: this naturally leads to the following inquiry concerning the various styles of architecture which have been, at different times, introduced into England.

[Fig. 130. Imaginary composition, shewing, in the background, the castellated Gothic style of architecture; next, the ecclesiastic Gothic; then, the mixed Gothic; next, the Grecian, or classical style; and, lastly, Indian architecture.]

AN INQUIRY

INTO THE

CHANGES IN ARCHITECTURE,

AS IT RELATES TO

Palaces and Houses in England;

INCLUDING

THE GRECIAN AND MODERN STYLES:

WITH SOME REMARKS ON THE INTRODUCTION OF

INDIAN ARCHITECTURE,

66

IN obedience to the royal commands, "THAT I SHOULD

DELIVER MY OPINION CONCERNING WHAT STYLE OF

"ARCHITECTURE WOULD BE MOST SUITABLE FOR THE "PAVILLON," the following Inquiry into the Changes which Architecture has undergone in this Country, will not, I hope, be found irrelevant.

Architecture has been classed under two general characters, Gothic and Grecian: these have been jointly and

The Grecian style was introduced by Inigo Jones, under the auspices of his royal master, James the First.;

separately discussed and explained in volumes without number; yet these discussions have furnished no fixed standard for determining the question, which style is most applicable to a palace; for such must always be the residence of royalty, whether it be large or small, and wherever it be situated.

Until the reign of Queen Elizabeth, the large buildings in this country had either been castles for security, or colleges and religious retreats; many of these had been converted into palaces, or altered to adapt them to royal residences, by such changes in their original forms, as, at length, introduced that mixed character, called QUEEN ELIZABETH's, or HOUSE GOTHIC; which is, in reality, the only Gothic style that can be made perfectly characteristic of a palace. This assertion is confirmed by the numerous attempts to revive the Gothic style in modern-built houses, which evidently shew how inapplicable are these ancient models for the present purposes of habitation.

THE GOTHIC STYLE.

THE CASTLE CHARACTER requires massive walls, with very small windows, if any are allowed to appear externally. The correct imitation of this, in modern times, must produce the effect of a prison.

The ABBEY CHARACTER requires lofty and large apertures, almost equally inapplicable to a house, although, in some few rooms, the excess of light may be subdued by coloured glass. But in the Abbey Character it is only the chapel, the collegiate church, the hall, and the library, which furnish models for a palace; all the subordinate parts were the mean habitation of monks, or students, built on so small a scale, and with such low ceilings, that they cannot be imitated in a modern palace, without such mixture and modification as tend to destroy the original character; therefore, it is necessary now (as it was formerly) to adopt the MIXed style of Queen Elizabeth's Gothic, for modern palaces, if they must be in any style of what is called GOTHIC.