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 associations, 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 illustrate 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 illustrate 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 associations 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 associations to be derived from the recollections associated 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 multitudes 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, balustrades, and other parts of Italian architecture. Although I have not such a greedy appetite 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.

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 principally 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 Sussex 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.

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 circumstances 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 writers30 in the German language, on the subject of landscape gardening.[3] "If due care be taken to distribute the masses 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. Grass, 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 substituted 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 masses 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.

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 masses and parts, extent and arrangement, being sketched out, regard must be had to the greater or less space 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 circumstances, 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 principal or front, and another, which is its reverse; in which respect they bear a greater analogy 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 circumstance, 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 shore 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 massed 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.

I have not yet said any thing of the west side of the house, although it forms one of the principal 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.

LETTER VIII.

AT length I have sent my notions on the site, and generally as to the house with which I trust you are satisfied. Now that I come to more particular description, and to speak of my design in detail, my confidence is somewhat abated, it being exceedingly problematical how far my ideas will accord with your own wishes and expectations. To the best of my ability I have endeavoured to meet both; to fulfil the conditions belonging to the particular subject and occasion; for be it remarked, every production of art is like every poem, a composition on some particular occasion or theme; and if it fails of its purposed aim as such, it may be said to be a failure altogether, and doomed to oblivion; or rather, in my case, to be stuck up as a monument of my ignorance. All that I dare hope as yet, is that the drawings have not been met with a hasty and decided "It won't do;" but that you at least35 suspend your judgment until I explain more fully my ideas and the motives which have guided me.

The principal sitting-rooms face the south, by which means they will have not only the most favourable aspect, but as it so happens, the best prospect also; therefore, so far you are not likely to start any objection; neither, I presume, will any exception be taken at the situation and aspect of the dining-room, which is towards the east; which last circumstance has induced me almost, as a matter of course, to place the entrance at the west, or opposite end of the house, it being on many accounts objectionable; (with regard to quiet and privacy,) to make the corridor, or inner vestibule running behind and serving as the communication between the principal apartments immediately connected with, or in continuation of the first entrance into the house from the open air; for one reason, because it is hardly possible in such case to prevent a continual current of cold air through the whole of that part of the building. Another point here attended to, is to place the dining-room beyond the other sitting apartments, so that it shall be the last and the most distant from the entrance. Attention to these circumstances have led to that arrangement of the space afforded by the plan which I have adopted. In order both to give some play to that part of the plan, and to avoid all sky-lights, I have broken the north side of the plan by a small court; surrounded on three sides by the house, in such manner that from the corridors, &c. turned towards it, a free prospect of the court and grounds shall present itself from various points of view; whereby an architectural foreground, and the natural scenery beyond it are combined; so that you feel yourself in every part of the house quite in the country.

Permit me now to receive you at the entrance, and be your cicerone over the building; in which character I must, before we proceed further, call attention to the exterior of this part, as you will have perceived by the designs it is carried up loftier than the rest, for the purpose of breaking the outline, and of providing a conspicuous and important feature in a distant view of the building. This tower-like portion of the structure does not carry with it any formidable appearance; it has neither battlements nor watch-turrets, for which there exist no historical grounds. On the contrary, crowned by a rich cupola roof, and ornamented with statues, it serves to announce that the house belongs to a lover of the arts and muses, who may be supposed here to enjoy at once, the refinements of literature and art, and the beauties of cultivated nature. The ground floor of this mass of the building is occupied by the entrance vestibule, which has a vaulted ceiling whose arches descend rather low, and which is lighted directly, by only a single small window at some distance from the floor, but which receives a strong reflected light through the doorways. It is highly desirable that a vestibule, entered immediately from the open air, should be moderately lighted, in order that the eyes may not be too much strained at first, but accustom themselves to in-door light; and also that the other rooms may derive additional effect from the contrast. Most assuredly too, a subdued degree of light will suffice for a vestibule which is not intended for a sitting-room, nor for reading, writing, or any other occupation, consequently, it very properly admits of a kind of Rembrandtish effect, which here becomes rather a merit than a defect; especially as it tends to set off all that follows. A group of statues against the wall facing the entrance, would here produce a good effect on account of the stream of light which would fall upon it from the window, and would make a pleasing impression on the visitor as soon as he had crossed the threshold. Instead of seeing from this vestibule any of the other parts of the house, the situation of the rooms, or those who may be passing through the corridors, we have first to turn to the left, where we perceive the staircase, not however exposed to full view, but merely so as to allow the upper part of it to be seen through a screen, formed of columns placed upon a lofty stylobate; which I conceive would produce a more than ordinary picturesque bit of interior architecture. We do not, however, enter the staircase, but pass on to the hall or inner vestibule, which affords immediate access to the sitting-rooms. Perhaps I may as well mention here, that the servants' hall, &c. for the men-servants would be in the basement at this end of the house, consequently would be just by the entrance.

The hall or inner vestibule is a spacious room overlooking the small flower-court above mentioned, the avenue leading to the stables, and the larger trees on the north side of the house. A small door opens into the court, while one of rich architectural character forms the entrance to the suite of rooms occupying the south or water front of the building. This last mentioned doorway leads into a small ante-room, right and left of which are two moderate sized drawing-rooms, capable of being used as one when the company is numerous. The folding doors being thrown open, and the smaller intermediate room becoming the centre-piece of the triple apartment thus formed. In front of these three rooms is an open loggia on a somewhat lower level, there being a descent to it of four steps, looking immediately upon the water; this loggia would form a sheltered terrace immediately connected with the sitting-rooms which it would also serve to screen from the sun.

The library, which, according to your wishes, is made one of the principal suite of rooms, is the last of those in this front, it being on the south-east angle. It has an alcove or deeply recessed bay with a window in it, which not only affords a very agreeable little snuggery, bower, or whatever else you may term it, for reading or studying, or meditating in apart, but also gives additional spaciousness and variety to the whole apartment. From this room a jib or concealed door opens to the small private staircase, and another of the same kind leads into the flower garden. The larger door on the north side of the room, is that by which we enter the dining-room, to which, as it is upon a lower level, there is a descent of a few steps. The reason for this difference of level is that the room being more spacious requires to be of more height than the others, and also that it may be upon the same level as the terrace looking out upon the flower garden.

Beyond the dining-room, is the serving room, and behind that the kitchen, which, however, does not form part of the body of the house, but is included in the same range of buildings as the stables, being under the same roof. Attached to it is a kitchen court, and it is connected with the rest of the house by the servants' staircase, which last leads both down to the cellars and rooms in the basement, and to those above for the female domestics, to the childrens' rooms, &c.

The stables and conservatories call for no other explanation than what the drawings themselves supply; we will therefore now return to the principal staircase, on one side of which are two rooms not yet mentioned, one of which may be used as a business room.

On ascending the stairs, we have first two stranger's rooms on the left, on the right a billiard-room in the tower, and an upper hall or corridor over that below, and of the same size though not so lofty; this would serve for the children to play in and exercise themselves in winter or bad weather. On the south side of this are two sleeping, and two sitting-rooms, the larger of which might be used as a winter breakfast-room. The larger of the two sleeping-rooms, namely, that over the library is the one you would yourself occupy, it being adjoining the private staircase. On the south side of it is an alcove, raised a few steps above the rest of the floor; and on the east a small dressing-room looking out upon the flower garden. The upper part of the tower contains two other handsome sleeping-rooms, which, as they command a fine prospect, may be appropriated either to visitors or to the grown up members of your family.

It has been my endeavour to give an agreeable variety, play and contrast to the different parts of the interior, which I hope will not displease you; and I trust that the drawings and descriptions of the several apartments, their architectural character and decoration, which will form the subject of my next letter, will shew that while I have adhered to one uniform style throughout, I have neglected neither the variety in the individual parts, nor harmony and unity of expression in the ensemble, but have reconciled together those two, somewhat contrary, yet highly desirable qualities.[5]

Yours, &c.

A. C.

LETTER IX.

My Dear Sir,

FROM the two letters, and the accompanying plans, I think I fully understand your views. On the whole I am much pleased with the design, and own your example has fully supported your precepts; and bating all pleasure to be derived from associations, as I have before noticed, I willingly subscribe to your views, as to the beauty of the principles of Grecian architecture applied as they have been in your pleasing design. There are only two points on which, perhaps, you have allowed your imagination to carry you too far: first, you have taken rather a poetical notion of the means to be applied in building, what will, I fear be a very expensive 40structure, and larger than was intended; and next as regards the lake, on the borders of which you propose to place the house. I fully subscribe to your notions as to the beauty which would be gained by the proposed sheet of water, and feel all the advantages of the broad expanse of light, and the extent and variety to be derived from the reflection of the building in this natural mirror, &c.; but there are disadvantages, some of which are not to be overcome, and others, of which in my opinion, more than counterbalance all that is to be gained in beauty and variety.

I suspect you have been misinformed as to the possibility of making the lake as you propose, and next the expense to execute this perfectly and so as to ensure that it should always be filled with fresh and transparent water, would be very considerable, and indeed at times it would be impossible to accomplish this at any cost. But our climate I think is an insuperable objection to have a house actually bordering on still water; recollect how few months in the year the notion of the coolness of water would add pleasure to the prospect from the library or drawing-room window, and how often one should shudder at the very notion of it; moreover that according to our apportionment of the seasons for town and country those very months will be passed in London,—April, May, June, and generally July, being the time when "every body is in town." Although I believe the neighbourhood of water may not always be unwholesome, still there is much prejudice to overcome on this subject; not a toothache, cold, or rheumatic twinge would be felt by a person in the family, from the stable to the drawing-room, but would be attributed to the pond, for when angry, nobody would call it the lake; malignant malaria would be discussed in every variety of tone and phrase, and Dr. Chambers would think it his duty to enter his protest against any patient of his ever venturing to make a visit of twenty-four hours to the proscribed spot. I am, however, not sorry that you had conceived the notion of the lake, because it has given an opportunity of shewing what a beautiful accessory water becomes to a house, applied as you have suggested, and because I believe you will have no difficulty in substituting some broad expanse either of turf or gravel, which, though it will not give you the reflections of the buildings and the play of light you require, will still afford a flat surface for the receiving the shadows, and will not interrupt the harmony and simplicity of the general lines of your building. The loggia though it may not look out upon the water as you propose, will always be delightful as affording shelter in the winter, and shade in the summer; and the portico is, I think, a valuable addition. Our unhappy rage for adaptation or rather perversion of the Grecian portico; hitherto the portico has increased rather than diminished, the distance which has to be traversed in cold and rainy weather, from the door to the carriage. The perfection of this maladaptation is to be seen in our unfortunate National Gallery, where is annually erected a tarpaulin lean-to in order to prevent people being drenched in rainy weather in their progress to the entrance door, the access to which is opposed by an inaccessible portico. I quite agree with you that there being no historical associations connected with the site, it is right that the tower should have no battlements, and should not show any angry front where no defence against invading enemies, (whether chartists, socialists, or bread-taxing tories), is intended. I agree in the advantage to be derived from the variety of line and the grandeur of the tower, and am willing that the ornaments you propose of statues should indicate (as it will truly) the propensities of the owner, especially as terra cotta affords the means at a small cost, of obtaining examples of fine statues. However, as regards the shape of the tower, and especially the cupola, some doubts of its beauty have been expressed, more however by others than myself, though I cannot help feeling that, if this part partook more of the tall tower of the modern Italian buildings, finishing with the nearly flat roof and long projecting eaves, the effect would be more picturesque and less pretending. I mention this merely for your consideration, and am quite willing that your greater knowledge and better taste should determine its shape.

As regards the exterior in general, I have little or nothing further to suggest, except that I may observe that I have remarked in most of the best modern houses the cornices and ornaments are in my opinion too thin and minute, and this, I take it, is owing to the too servile copying from buildings designed for a country where the sun shines nearly throughout the year, and where the light colour of the material (unstained by damp or weather) marks more sharply and completely the light and shade than is the case in our gloomy season, and where the walls are soon disfigured and weather-stained. Although I assume that the project of the lake is to be abandoned, yet I should wish still that the ground floor should be at least raised as much above the level as it at present is. Although every facility of access to the gardens and grounds is desirable in a country house, yet I think it is disagreeable to be on an actual level with the walks; both from the interior and from the exterior, it gives the notion of the house springing from the earth as a mushroom, as you have observed. I will now follow you through the building at your invitation, observing that I agree as to the choice of aspects and the arrangements of the rooms. With reference to this, the west is well arranged so as to avoid that aspect for any of the rooms to be generally inhabited, and I subscribe to the notion that the entrance should be somewhat gloomy, at least enough so, as to create a feeling of pleasure on emerging into more light. As regards the large hall, perhaps for the size and style of the house there is a little too much sacrificed to it; but as I think it is an object of importance to obtain an open and airy access to the whole suit of rooms, and as this will afford ample scope for ornament, and casts of statues and bas-reliefs, and perhaps fresco ornamental painting, I am willing that some sacrifice should be made. The two rooms beyond the staircase will be useful, and indeed are necessary. I have already appropriated one as a gun room and audience chamber for those whose shoes may not be clean enough to be admitted to the best library.

I like the disposition of the two drawing-rooms; perhaps, however, it may be worth consideration whether it may not be better to make some sacrifice of symmetry, and convert them into two rooms, one large and one small; keeping the small one at the end next the staircase, and making it either octagon or circular; either shape is pleasing, and admits of variety in decoration. In that case it would be advisable to make separate entrances to each room for the interior hall: indeed, if the present arrangement is retained, this may be desirable, so as to avoid using the middle room entirely as a passage room. As regards the library, I have no observation to make on its shape or disposition. I assume that the two windows will sufficiently light it. At first I thought that it might be advisable to have the means of shutting off the recess by sliding doors from the large room, making a kind of inner library or study of it; but I presume, as this would leave but one window, the large room would be too dark. I think it would be desirable that there should be an entrance to the dining-room across the hall and through the corridor, as well as through the library. There might be occasions where it may be inconvenient to pass through the library to the dining-room, although this might be considered as the usual and grand entrance. I do not see where you have placed your fire-place in the library. I should conceive from its size, that you might want either two fire-places, or at least one stove and one fireplace to warm so large a room. The mention of fireplaces reminds me that I see no chimneys in the drawing, I suppose they are hidden by the balustrade. I shall be glad if this is so, as it will be well to get rid of so unsightly an object as chimneys generally are.

As regards the kitchen, it certainly is well placed with reference to the convenience of access to the dining-room; but though not under the same roof with the house, I should fear that not only the smell of the cooking, but the noise of the offices may reach the dining-room. This is a common evil, and one which it is essential to avoid. When we come to discuss the offices more in detail, this point must be well considered. I approve of the dining-room windows opening on the flower-garden, as this will also (unless when we are alone) be the breakfast room, and occasionally the morning room in hot weather; perhaps, however, to avoid any notion of coldness, only one of the three windows should go down to the floor and open on the garden.

As regards the kitchen, there must be added some additional offices, such as scullery, out-door's larder, &c. &c. but as I see space sufficient for these in the direction of the orangery, this will make no material alteration in your plan. In addition to the wine and beer cellars, I think the servants' offices may be well included in the space under the east and south fronts, particularly as I think it will be necessary that some sleeping rooms for servants should be obtained in the attics, and I presume your plan will admit of this without deranging your elevation; though I am aware something must be sacrificed in the height of the rooms; but though there may, for the purpose of protection of the lower part of the house, be a sleeping room for one or two men-servants, yet I think the women's sleeping apartments will not be conveniently arranged on the basement story. As it is important to economize, I should suggest to you that it will not be necessary to continue the basement story on the west front, and perhaps not under the interior or large hall. As regards the arrangement of the sleeping-rooms, if the attics are obtained, I think those you propose sufficient. If any more should be required, perhaps the large corridor or hall might be abridged, and at all events the billiard room may be made into another bed-room, and the billiard table taken down to the hall: increasing moral habits and the spread of useful knowledge, prevents our employing so much time as formerly in mere games of amusement, and I observe that the billiard room is somewhat going out of fashion, and that where it remains, is rarely used. I should, however, be sorry to give it up altogether. It is a very useful and innocent assistant with a dull party on a rainy day, or during a long evening at Christmas; and occasionally is a good "bore escape." The dressing-room at the east angle is inaccessible except through the bedroom, but this is an evil which cannot be in all cases avoided.

I have thus given you in detail the observations which occur to me on going over your plan, and except such alterations as occur to you as necessarily arising out of the rejection of the lake, I would not wish that any alteration should be made, and I shall be glad to receive from you the details as to the interior, and your opinion as to the few alterations I have suggested.

You have not stated to what use you design to put the building at the top of the north-east end; this, I presume, is to remain open, and so merely designed as a balance for the tower. Perhaps, however, it may be put to some use, either as a store or lumber room: I think it adds much to the picturesque appearance of the whole. Although I have rejected the lake, I should be sorry to lose the bridge in the approach, but as the ground in front slopes, a terrace may be well substituted, and perhaps the bridge may remain as passing over some road, or may form some part of the arrangement as to the angles of the terrace.

As regards your observations of the position of the house, I agree with what you state, but when I consult you in detail on the order and disposition of the grounds, I propose to make some suggestions on the subject. With respect to the materials, I assume you mean to have light coloured brick with stone at the angles, and for the moulding. I presume the additions of painting and sculpture (one of the grounds for the rejection of the Gothic) will play their proper part in the interior; as in the exterior, except in respect of the figures in the tower, no addition is gained from them in the elevation.

Yours, &c.

H. B.