From Palladianism to the Gothic Revival Two Centuries ofBritish Architectural Books
frontispiece to Augustus Pugin. txampleso{Oothic archlteclUre. Y.2. 16:56. Designed byA. W. N. Pugin.
Robert McDougall Art Gallery
Christchurch, New Zealand 1987 20. 41 DC British Architectural Books Acknowledgements in Nineteenth-Century New zealand
As the remaining examples of the On 9 septembet 1844 Bishop Selwyn's Ecclesiological Society for advice on Victorian buildings which gave visual chaplain. the Rev. W. C. Cotton. wrote to church building matters and in 1650 the character to colonial New Zealand his sisters in England from St John's Society ~made a grant ofits publications dwindle to a few. an exhibition showing College. Waimate, describing how to the Library of St Johns College. New the origins of the style-I> we as"'MICiate Selwyn was hard at wor1l drawing up Zealand, as a present to the Bishop of with European architecture of the plans for the college buildings. The that diocese-. Many of these wor\l.s can nineteenth century is timely. The New Bishop ~worked at the plans steadily as still be found at St John's. Zealand Institute of Architects' 1987 tho' he had been an architect and Similarly the Oxford Architectural Conference in Christchurch presented an nothing else - and before he gave over Society made presentations of its opportunity for an architecture related had not only the ground plan of the publications to the Bishop through its exhibition and Dr Ian Lochhead agreed whole establishment drawn up, but also publisher; J. H. Parker; one ofthe leading to curate MFrom Palladianism to the a beautiful general sketch of his Idea of publishers of architectural books in Gothic Revival~. We thank Dr Lochhead the whole - Mrs S[e1wyn] looked in and mid-Victorian England. In addition the for his willing contribution and those admired - and turning to the library received reports and publications private collectors and institutions which frontispiece of one of Pugin's books, viz. issued by the many provincial made volumes available for the an ecclesiastic in his study designing a architectural societies dedicated to the exhibition. building. said ·thereyou are my dea~ study of Gothic architecture in England. This delightful anecdote provides a as well as other architectural books. John Coley revealing glimpse of a colonial bishop Bishop selwyn was not of course. a directly confronting the problems of professional architect and it was men building in a new land, while Mrs such as fredrick Thatcher and Reader I am particularly grateful to John Coley selwyn's comment gives us a rare insight Wood who actually gave physical form and the Robert McDougall Art Gallery for into the way in which a Victorian to the Bishop's ideas. They too, no the opportunity to curate this churchman like selwyn approached his doubt, made good use of the books In exhibition, a task which has combined role as architect. The presence ofone of the College library. The influence of the excitement of new discoveries with rugin's books in the very room in which these works, many of which arrived in the pleasures of re-exploring familiar he was working also tells us much about New Zealand within a short time of their works. The exhibition was inspired by the the important rote which architectural publication, was of major importance in similar exhibition organised by Georgia books played in shaping the formative establishing the character of Anglican Prince at the Auckland Public Library In years of New zealand's architectural church architecture throughout New 198.3. and by the presence in the history. Zealand for the remainder of the University of Canterbury Library of Although we cannot be absolutely nineteenth centu~ samuel Hurst seager's collection of certain which book by Pugin was referred The library at St John's College is architectural books. I also wish to to by Mrs selwyn, Itwas probably his1hre remarkable because it is relatively well acknowledge the assistance received prinCiples or pointed or ChristIan documented. In the case of individual from Eleanor Hamlyn at the Auckland architecture (l84l), a copy of which, architects Information about their Public ubra~ Kathryn Bolland and Ms along with several other wol1l.s by Pugln, libraries is often much more difficult to K. A. Coleridge at the Victoria University was presented to selwyn in 1643 by Dr E. trace. Benjamin Mountfort's library is a Library and especially the staff of the S. Hawtry, the headmaster of Eton good example of this problem. University of canterbury Library without College. These books, alongwith the rest Mountfort arrived In Canterbury in 1850 whose help the exhibition could not have of Selwyn'S extensive architectural and gradually established himselfas this taken place. Each of the libraries library, can still be found in the Ubrary country's leading Gothic Revival mentioned has willingly agreed to lend of St John's College, Auckland, The architect. He Is known to have had an works to the exhibition. as have College frontispiece of 7'rue principles Is, extensive library but this was dispersed House and Collins Architects of however, a variant of the frontispiece to after his death and only isolated Christchurch. Thanks are also due to the second volume of Augustus Pugins volumes. some of which are Included in Judy Boyle who typed the catalogue. Examptes or Gothic architecture, this exhibition, have been traced. The finally we should recognise the designed by the younger Pugin in 1834. task of reconstructing Mountfort's contribution of those architects who While it is possible that this was the library can only be achieved by formed the: collections from which the image of the architect Mrs selwyn conjecture. and through the evidence of books in this exhibition have largely referred to, there Is no record of this the influences visible in his executed been drawn. war1\. ever being owned by selwyn nor of wori
The existence of these collections is century and which culminated in the to imagine that our knowledge of the indicative of the importance nineteenth century. During this period whole history ofart will be without its nineteenth-century New Zealand the tradition of classical architecture influence upon that which we architects placed on an accurate which had been revived during the ourselves generate .. it is impossible that it should be so. knowledge of the architecture of the Renaissance. was shattered and replaced Influence It must exert-it is for us to past. In an era dominated by historicism by the 'battle of the styles: guide that influence by SUbjecting it and during which knowledge of past Writing in 1857, Sir George Gilbert Scott to our intellect. Uke the portraiture of styles grew dramatically as a result of summed up the contemporary situation: wisdom in ancient sculpture, we archaeological and antiquarian should have one face ever investigation, such knowledge was an The peculiar characteristic of the contemplating the past, and another integral part of every architect's present day, as compared with all always studying the demands of the education. former periods is this - that we are future. acquainted with the history ofart ... One hundred and thirty years later it is In the course of the two centuries In all periods of genuine art no one worth considering how little this covered by this exhibition the nature of thought much of the past - each situation has changed. devoted his energies wholly to the European architecture was radically present ... and to this we mainly owe transformed as a result of the new ideas the perrection which each phase of art I.J.L. which emerged during the eighteenth in its turn attained. Itwould be absurd Catalogue
1 Colen campbell (1676-1729) Vitruvlus Britannicus, or the British architect. London. 1715 (",I) The Scottish architect Colen Campbell. issued the first three parts of VitrulJius Brltannicus between 1715 and 1725, two further volumes appearing in 1767 and 1771. Along with leoni's edition of the four boOkS on architecture of Palladia, Vitruvius BTllann/eus is the pUblication which established Palladian ism as the dominant style of eighteenth-century British archicteture. The book published the designs of the leading architects of the previous century. from Inigo Jones to Wren and Vanbrugh, but attacked the Baroque as the style of political absolutism. Campbell also used the book to promote his own work as an architect in the new Palladian style. [Private collection]
2 I'\ndrea Palladio (1508-1380) The architecture of A. Palladio: in four books containing a short treatise on the five orders, and the most necessary observations concerning all sorls ofbuildings ••• revised, designed, and published by Giacomo Leoni, second ed" London, John Darby for the author, 1721 (first ed" 1713). An Italian who was employed in Dusseldorf early in his career, Leoni arrived in England around 1714 and 11tle page to book four of Palladlo's The /OUT ixxJks ofiJrchitec/ure, translated began the publication of his edition of by Isaac ware, London, 1755. palladio the following year. Although it suffered from inaccuracies, Leoni's Jones not only provided models for the which made the English contribution to Palladia was extremely influential, architects of the eighteenth·century but architectural scholarship ofoutstanding making the writings and designs of the also helped to give Palladianism importance in the second half of the great sixteenth-century architect readily legitimacy as an English architectural eighteenth century." These new available in English translation and with style. archeological discoveries were to excellent plates. It remained the [Auckland Public Library] transform European architecture during standard edition of Palladio until Isaac the following decades. Wares more scholarly edition appeared 4 I'\ndrea Palladio (1508-1580) [Victoria University library] in 1738, and along with Vltruulus first book of architecture: with Brltannlcus it played an important role all the plates, exactly copyed 6 Andrea Palladlo (1508-1580) in promoting the Palladian style in from the first Italian ed" revised The four books on architecture England. by Colen campbell, London. S. ••• literally translated from the [Victoria University library] narding, 1728. original Italian by Isaac Ware, Shortly before his death in 1729 second edition, London, R. 3 William Kent (1685-1748) Campbell published an edition of Ware, 1755. The designs of Inigo Jones, Palladio's first book of architecture Ware's translation of Palladio's four consisting of plans and which is primarily concerned with a books, which first appeared in 1738, is elevations for public and private discussion of the orders. It was reissued dedicated to LQrd Burlington who made buildings, London, 1727. in 1729 as The fiue orders of his unrivalled collection of Palladios Painter, garden designer. architect and architecture. drawings available to Ware for study. protege oflord Burlington, William Kent [Victoria University Library] Burlington also assisted by revising emerged during the 1720s as a leading Ware's translation. Ware's scholarly country house architect in the Palladian .5 Robert Wood (1716·177l) approach ensured that the text, as well manner. His publication of the designs The ruins of Palmyra, otherwise as the engraved plates, attained a high of Inigo Jones. most of which were 1edmor, in the desart. London, degree of accuracy and it remains the owned by Lord Burlington, also included 17.53. best and most reliable English plates based on Palladio's designs for S. Although a gentleman scholar rather translation of Palladio. By the time the Giorgio Maggiore in Venice as well as than an architect, Wood, accompanied second edition appeared in 1755 the new designs by Lord Burlington himself, by John Bouverie and James Dawkins, archeological phase of architectural inclUding that for Chiswick House. As travelled to Syria in 1750 to survey investigation had already begun, a Palladios earliest English disciple, Inigo classical ruins. Their draughtsman was development which led in the last Jones was held in high esteem during an Italian, a. B. Borra. The ruIns of decades of the century to the demise of the eighteenth century and his works Palmyra was, as Sir John Summerson the Palladian movement. were greatly admired. The works ofInigo observed, ~the first of a series of works [University of canterbury Library] 7 William and John Ualfpenny Nicholson rose from humble beginnings Rural architecture in the Chinese as acabinet maker in his native Scotland taste. third edition. london. R. to become, In the words of Howard sayer. 175.5. Colvin ·one of the leading intellects William Halfpenny was one of the most behind nineteenth·century building prolific authors of architectural pattern techno~ A skilled mathematician, books during the first half of the he used his talents to revise old and eighteenth century. Little is known ofhis devise new formulae for architectural career apart from his activity as a writer. draughtsmen. He was a prolific writer His son, John Halfpenny, was also and influential teacher; and his many associated with some of his later worIG. pUblications were repeatedly expanded Rural architecture In Ihe Chinese taste and reprinted. Among many other was first published in 1752 and reflects achievements, he was the first writer to the taste for ~Chinese~ designs during discuss the construction of hinges and the period. The plates include designs the hanging of doors. The carpenter's for furniture. door and window frames, and joiner's assistant, his third chimney pieces, as well as bridges and publication, expanded on the material temples, all in a somewhat fanciful covered in his first work, The new Rococo-Chinese manner. carpenter's guide of 1792. [Auckland Public Library] [University of canterbury Library]
8 Abraham Swan U Peter nicholson (1765·1844) The British architect: or the Tbt 1bwer of the Winds; from Stuart 0100 Rew;tl "icholson's new carpenter's The antiquities 0/Athens, v.L 1762. builder's treasury of staircases. guide: being a complete book of london, the author. 17.58. Between 1735 and 1770 James Paine was lines for carpenters. joiners. Swan was a carpenter and Joiner about the leading country house architect in cabinet-makers and workmen In whom very little Is known. The British Britain, his designs often depending on general, An enlarged and architect consists of a treatise on the the work of William Kent, Inigo Jones Improved edition by John Hay, orders and a series of designs for and to a lesser extent Colen campbell. George Virtue, London and "ew staircases and chimney pieces. The Among his most ambitious works was York [18.51]. Palladianism of his exterior designs Kedleston Hall for Lord Scarsdale, a The New carpenter's guide, first contrasts with the flamboyant rococo commission that was completed by published in 1792, was repeatedly manner he favoured for interiors. The Robert Adam, the architect whose revised and reprinted during the first British architect, first published in innovations were to transform country half of the nineteenth century. The 1745, was the first architedural book to house design during the 17605 and 70s. numerous editions reflect its widespread be printed in the United States, an Paine~ Plans, eleuatlons andsections Of use and it is highly probable that edition being issued in Philadelphia in noblemen andgentlemen's houses was Nicholson's works Were consulted by 1775. intended as the first volume of his carpenters and bu[lders worning in New [University of canterbUry Library] collected works. A second volume Zealand during the early colonial period. appeared in 178J. [University of canterbury Ubrary] 9 James Stuart (17U·1788) and rVictorla University Library] rllcbolas Revett (1720·1804) 14 John Britton (1771-1857) The antiquities of Athens. II Sir John Soane (1753-1837) The architectural antiquities of london, 1762. (v.n. Sketches in architecture, Great Britain, London, One of the most spectacular and containing plans and elevations Longman, Uurst. Rees and influential architectural pUblications of of cottages, villas and other Orme, 1807,1814, (5v). the second half of the eighteenth useful buildings, with As an editor, pUblisher and pUblicist century, The antiquities Of Athens characteristic scenery, london, John Britton had a profound effect on provided architects with superbly J, Taylor, 1798 Inrst ed. 1793). the development of the Gothic Revival in executed engravings of topographical Soane was one of the most inventive England. Britton's ambitious survey views and measured drawings of architects of the late eighteenth and described over forty medieval churches Athenian architecture of the classical early nineteenth centuries and one ofthe as well as domestic and castle period. These revolutionised leaders of the: Neoclassical movement in architecture. Particular care was taken in architectural taste in England, and english architecture. His Sketches in ttlt!: production of the plates and the directly inspired the Greek Revival. In its architecture, first published in 1793, ArchItectural antiquities provided the final form The antlqult/e.5 ofAlhens ran was his third book of designs and is educated layman with a far truer picture to five volumes, ttlt!: last of which was notable for its concentration on of Gothic architecture than had been pUblished in 1830. By that date both buildings which are small in scale and available hitherto. As Kenneth Clark Stuart and Revett were long since dead closely related to their surroundings, an observed, KBriUon killed Ruins and and the final volumes bore little interest which reflects the new taste for Rococo': His achievement was summed resemblance to their original the picturesque. Although few of the up by C. L. Eastlake in 1872 when he conception. Stuart, who executed the designs were executed they represent a wrote that Britton "did more to promote topographic views, bought out Revett significant shift in architectural ideas the due appreciation of Medieval Art before the publication of the first away From a preoccupation with large than any contemporary writer". volume, but it was the latter's measured scale projects towards an Interest in [University of canterbury Ubrary] drawings which ultimately had the modest sized houses and even cottages greatest influence. as valid subjects for architectural [University of canterbUry Library] innovation. 15 Thomas Rlckman 11776-1M]} [Victoria University Ubrary] An attempt to discriminate the 10 James hiDe (1717·1789) styles ofarchitecture in fngland f'1ans. elevations and sections of U Peter Nicholson (1765-1844) from the Conquest to the noblemen and gentlemen's The carpenter's and joiner's Reformation. London, houses, and also of stabling. assistant: containing practical longman. Reese, Orme, Green at bridges, pUblic and private rules for making all kinds of longman, 1835, fourth edition, temples, and other garden joints. london, J. and J. laylor, Rickman's treatise on Gothic buildings, london. 1767. 1797, architecture was the first in England to deal with the sUbject systematically and father he designed St Pancras New examples of Gothic architecture was the nomenclature he established was Church in 1819, a work which brilliantly onr. of the elder Pugin~ last works. and used by all subsequent writers and is still exploits the fruits of his studies in some of the examples were measured in use today. First published in 1817, the Athens, and one of the landmarks in the and drawn by hisson, who also produced discussion of Gothic is preceded by a history of the Greek Revival. When he the splendid frontispiece for the second brief account of the classical orders. published the results of his research in volume which appeared posthumously Rickman's work went through seven 1827 The Ereethe/on at Athens became in 1836. editions by 18tH, the fourth edition of the standard work on the subject. [University of canterbury Library] 1835 being the last supervised by the [University of canterbury Library] author. 22 Augustus Welby Northmore [University of Canterbury Library] 19 francis Simpson jnr. rugin (1812-18.52) (1796-1865) Contrasts, or a parallel between 16 John Sell Cotman (1782-18'42) A series of ancient baptismal the architecture of the 15th and Architectural antiquities of fonts, London, Septimus 19th centuries, Salisbury, the Normandy - accompanied by Frowett, 1828. author, 1836. historical and descriptive Little is known of Simpson's career but The publication of Pugin's Contrasts in notices by Dawson Turner, his account of medieval baptismal fonts 1836 permanently changed the course of London, John and Arthur A.rch was a pioneering work in this field and the Gothic revival: henceforth building and the author; 1822 (2v.). was admired by F. A. Paley in his in the Gothic style was to be a moral The product of three sketching tours introduction to Illustrations of necessity; the quest for an ideal undertaken in the years 1817,1818 and baptismal fonts (l844). Simpson medieval past. a religious imperative. 1820 at the instigation of Dawson TUrner, arranged his examples in chronological Pugin's knowledge of medieval this is probably the most visually sequence according to the system and architecture was unsurpassed by any impressive study of the Romanesque and nomenclature established by Rickman architect of his generation and no other Gothic architecture of Normandy ever to distinguish the successive phases of architect of the nineteenth century produced. Cotman's skill as a draftsman English medieval architecture. The copy argued the cause of the Gothic Revival and watercolourist allowed him to exhibited Is unusual in that proofs of with greater conviction. A convert to master the unfamiliar medium of each of the plates engraved by Robert Roman catholicism, Pugin contrasted etching to produce plates that are Roberts are bound into the volume. the artistically and morally notable for their precision and clarity, [Private collection] impoverished architecture of the and which often attain remarkable nineteenth century with that of an beauty in their own right The work is 20 francis Goodwin (1784-183.5) idealised fifteenth century in paired also important as an early attempt to Domestic architecture, London. illustrations which made his point with make the medieval architecture of Henry G. Bohn, 1850, third ed. irresistable force. The paired title page France known to an English audience. (2".). and frontispiece begins the series of [Collins Architects. Christchurch] Like many architects of his day Goodwin contrasts by juxtaposing the "trade" of was equally prepared to design in the architecture in the nineteenth century. 17 Peter frederick Robinson Gothic or classical styles. His book, first dominated solely by a concern with (1776-1858) published in 1833. includes domestic profit. and the architecture ofthe Middle Rural Architecture or a series of designs in the "Grecian, Italian and Old Ages. when building to the glory of God designs for ornamental English styles of architecture". was the paramount concern. The cottages, London, Rodwell and Nevertheless, his preference seems to illustrations to the first edition of Martin, 1823. have lain with the Gothic. for he writes Contrasts were etched by Pugin himself. Rural architecture was the first of "We have at length arrived at an epoch, [University of canterbury Library] Robinson~ many pattern books which when the pictorial sentiment is popularised picturesque, half·timbered rekindled. and the old English 23 Augustus Welby Northmore cottages and houses in the "TUdor" style. architecture it is hoped, may become rugln (1812-18.52) Many ofthe lithographed plates showing once more, a marked feature of modern The true principles ofpointed or the designs in landscape settings are of national taste", Christian architecture, London, remarkably high quality. As Jonathan [School of Fine Arts, University of John Weale, 1841. Mane's research has shown. Robinson~ Canterbury] True principles begins with a sentence half-timbered designs may well have that is justly famous: "There should be innuenced the early development of New 21 Augustus Charles Pugin no features about a building which are Zealand architecture; Robinson was one (1769-1832) not necessary for convenience. of Frederick Thatcher'S nominators for [xamples ofGothic architecture construction or propriety" and the rest associate membership ofthe Institute of selected from various ancient of the book sets out to establish, with British Architects in 1836 and Thatcher edifices in fngland, London, the seemingly irrefutable logic, that Gothic was surely familiar with his work. A copy author. 1828·36, (3".) architecture is the only style which can of Robinson~ Vtlfage architecture is in Although Augustus Pugin is best known fulfil this requirement. In this work the Library at 5t John's College. as the father ofhis more famous son, A. Pugin provided Gothic revival architects Auckland. W. N. Pugin, his own contribution to an with a body of principles against which [University of Canterbury Library] earlier stage of the Gothic Revival was of they could test their own work and those great importance. The series of of their contemporaries, and the 18 Henry William Inwood publications which he produced in innuence of these ideas can be traced in (1794-1843) conjunction with Eo J. Willson, architectural theory throughout the The Erectheion at Athens: beginning with Specimens of Gothic second half of the nineteenth century. fragments of Athenian architecture in 1821, provided It is also worth noting that by 1843, a architecture and a few remains in architects with accurate, measured copy of True principles was in Bishop Attica, Megara and Epirus, drawings of medieval buildings. Pugin~ Selwyn~ architectural library in New London, James carpenter and works greatly expanded the zealand. Son, 1827. understanding of Gothic architecture [University of Canterbury Library) The son of the architect William Inwood. and architects were now able, "by simply Henry William. travelled in Italy and turning over the leaves of a convenient 24 Augustus Welby Northmore Greece in 1818-19 where he made a volume ... to enrich their designs ... rugin (1812-18.52) detailed study of architectural from 'Specimens' which were An apology for the revi"al of monuments. In conjunction with his impeccably correct in style". The Christian architecture in [ngland, London, John Weale, and accurate information but his architecture. Lamb presents these 1843. renderings do give an indication of examples, not as models for copying but In his Apology Pugin extends his overall effect. Petit is known in the as an inducement to architects to think arguments for the revival of the Gothic history of New Zealand architecture as an for themselves; Qof embodying our own style and its application to modern author whose works influenced Bishop conceptions in our own fashion, and of materials and inventions, including the Selwyn in the planning of St John's imitating antiquity by being with equal railways. The frontispiece brings College Chapel, Auckland in 1846. Mrs distinctiveness true to our own times, together 25 of his designs for churches selwyn records in her Memoirs that it wants and ideas". in asingle perspective view, although few was builton Qaplan much favoured by the [University of canterbury Ubrary] were executed according to his original Bishop, partly of his own design and conception. In 1850 he wrote: Ql have partly gathered from drawings by Mr 30 The [cclesiological late u passed my life in thinking of fine things, Petit • A copy of the Remarks on church Cambridge Camden Society. studying fine things, designing fine architecture was presented to selwyn in 31 Instrumenta [cclesiastica, things, and realizing very poor ones. I 1843 while the copy exhibited belonged London, John van Voorst. 1847. have never had the chance of producing to Reader Wood, who, along with and Second series, 1856, (2v.). a single fine ecclesiastical building, Frederick Thatcher, assisted with The cambridge camden Society played a except my own church ... either for selwyn's architectural programme. leading role in the reform movement want of adequate funds or injudicious [Private collection] within the Church of England which interference and control". sought to revive ancient church ritual [University of canterbury Library] and reform church building according to medieval practice. The society was 25 Augustus Welby Northmore particularly concerned with correct Yogin (1812-1852) models for church building in the Glossary of ecclesiastical colonies and the two series of model ornament and costume, designs published as Instrumenta compiled from ancient Ecclesiaslica included designs for every authorities and examples, conceivable use, often modelled on London, Denry G. Bohn, 1846, medieval examples. The majority of the second edition, revised and designs for the first series were provided enlarged by the Kev. Bernard by William Butterfield; contributors to Smith (first ed. London, 1844). the second series included Butterfield, This was Pugin's most sumptuous book, a. E. Street and R. C. carpentet whose richly illustrated in colour with pupil, Benjamin Mountfort became New chromolithographic plates showing his Zealand's leading Gothic Revival designs for a wide range of church architect. Carpenter's contribution ornaments. The frontispiece reveals the included designs for a timber church for glowing splendour of the medieval the island of TI"istan d'Acunha, a design church as rugin conceived it to be. which must have influenced Mountfort's Although intended to provide models for own timber churches. The copy of Roman Catholic churches its influence fnstrumenta Ecclesiaslica (second on Anglican church decoration and series) exhibited probably belonged to vestments was even greater. The Abbey Church of St Etienne: Caen; frOIll J. S. Mountfort. [University of canterbury Library] Cotman. Architectural antiquities of NormandlJ. [University of canterbury Library and London, 1622. College House Library (second series)) 26 Augustus Welby Northmore Fugin (1812-1852) 28 John Denry Parker (1806-1884) 32 Raphael Brandon (1817-1877) f10riated ornament: a series of A glossary of terms used in and thirty-one designs, London, Grecian, Roman, Italian and J. Arthur Brandon (1821-1847) Denry G. Bohn, 1849. Gothic architecture, 4th edition. The open timber roofs of the rugin's influence on the development of J. D. Parker, Oxford, 1845. Middle Ages. London, David nineteenth century pattern design was In spite of its title, Parker's glossary was Bogue. 1849. almost as significant as his influence on mainly concerned with describing the Best known for their comprehensive the architecture of his day. In his forms of English Gothic architecture. account of medieval church emphasis on the essential flatness of The wealth of illustrations made it an architecture, An analysis of Gothic decorative patterns and on the invaluable source-book for architects architecture, the Brandon brothers importance of basing designs on natural and an essential component of directed their studies towards parish forms he anticipated the work of William nineteenth-century architectural lib churches rather than larger churches in Morris. Many of the designs in floriated raries. The copy exhibited was owned by the belief thatthese would provide more ornament are based on real flowers B. W. Mounttort and presented by him to suitable precedents fqr illustrated in a sixteenth-century the stone mason, William Brassington, nineteenth-century architects. Their botanical book in rugin's library. on June 26, 1865, during the construc study of timber roofs was widely used [University of canterbury Library] tion ofthe canterbury Provincial Council and would have been of particular value Buildings. to New Zealand church architects. 27 Kev. John Louis retit (1801-1868) [Robert McDougall Art GalleryJ [University of canterbury Library] Remarks on church architecture, London, James 29 Edward Buckton Lamb 33 Raphael Brandon (1817-1877) Burns, 184L (2v.). (l806-1869) and Petit was an amateur archeologist and Studies of ancient domestk J. Arthur Brandon (1821-1847) secretary of the Lichfield Architectural architecture, London, John Farish churches: being Society. He is now remembered as the Weare, 1846. perspective views of ~nglish author of several studies of church E. B. Lamb was one of ecclesiastical structures, architecture which reveal a strong Goodhart-Rendel's Qrogue architects U of London. David Bogue, 1851 (2v.) interest in Continental forms, especially the Victorian era, although little of his (first ed. London 1849). the Romanesque. His sketch-like eccentric and wayward approach to Parish churches provides a drawing style can have been of little design is evidenced in this collection of chronological survey of 63 churches value to architects in search of detailed perspective views of medieval domestic ranging in period from Norman to Decorated. Although criticised by the architects in the nineteenth century; tour in 1854. The material for the book eccles/%gist for the narrow range of Benjamin Mountfort owned a copy by was gathered on excursions to france in their selection (half of the examples are 1866 and in 1874 W. B. Armson ordered it 1859and 1860, but unlike Shaw, Nesfield from Norfolk and Northamptonshirel from B. T. Batsford in London. The copy executed only a small number of plates the work enjoyed considerable exhibited is from Armson's Library. himself. The Specimens differs from popularity and was reissued in 1851 and (Collins Architects, Christchurch] Shaw's work in that it is devoted almost again in 1858. Like their Open timber exclusively to french examples, whereas roofs, it provided a valuable source of Shaw had included Italian, German and models for contemporary church 37 George Gilbert Scott Belgian buildings. This shift in emphasis building. (1811-1878) reflects the growing interest in early [University of Canterbury Library] Remarks 0'1 secular and French Gothic which became domestic architecture. present particularly marked during the 1860s. and future, London, John [University of Canterbury Library] 34 John Ruskin (1819-1900) Murray, 1858(firstedition1857). The stones of Venice, London, The principal purpose of SCott's book Smith, Elder and Co" 1873 (.lv.) was to argue that Gothic was not just a 40 Robert James Johnson (first ed. 18S1-S3). style for religious buildings but suited to (c. 1831-1892) For William Morris, the chapter on ~The all building types, including public Specimens of early french Nature of Gothic" in the second volume buildings and private houses. SCott also architecture, Newcastle of The stones of Venice was ~one of the argued for the development of a new upon-lYne, the author, 1864. very few necessary and inevitable architectural style. "I am no A pupil of George Gilbert Scott's, utterances of the century". Ruskin medieavalist", he wrote, "I do not Johnson established a large practice as a approached the criticism ofarchitecture advocate the styles ofthe Middle Ages as church architect in the north of with an unrivalled moral fervour and did such. If we had a distinctive architecture England. HisSpeclmens ofearly french more than any other writer to popularise ofour own day worthy of the greatness of architecture differs from the works of the Gothic Revival. His admiration for our age, I should be content to follow it; Norman Shaw and Nesfield in its the medieval architecture of Venice but we have not ... My great aim is to concern with giving accurate details of helped to promote the vogue for what promote such a development. I think construction, including cross-sections became known as Ruskinian Gothic, a such can be founded on the nucleus and elevations as welt as perspective shift in taste from which Ruskin afforded by the best period of the views. He is aided in this by the crispness subsequently tried, albeit architecture of the modern, as and clarity of the lithographic plates. unsuccessfully, todisassodate himself. distinguished from the ancient world; Johnson's work provides an important The stones of Venice went through not by its direct revival, but by building record of twelfth-century churches in countless editions and by the 1870s upon it, as a foundation, a style the north of France prior to their Venetian Gothic was well established in suggested by our own wants and national nineteenth-century restoration. The New Zealand, the most notable exponent feelings". interest in early French Gothic during of the style being W. B. Armson in [University of Canterbury Library] the 1860s appeared in New Zealand at an Christchurch. early date, with Scott's Christchurch [University of Canterbury Library) Cathedral begun in 1863, and 38 IUchard Norman Shaw Mountfort's Trinity Congregational (1831-1912) Church, Christchurch, of 1873. 35 George Edmund street Architectural sketches from the (lJniversity of Canterbury Library] (1824-1881) Continent, London, Day and Brick and marble in the Middle Son, 1872 (first ed. 1858). Ages: notes oftours in the north In 1854 Richard Norman Shaw won the of Italy. London, John Murray, 41 Richard Popplewell Pullan Royal Academy Travelling Studentship (1825-1888) 1874 (first ed. 1855). and spent two years travelling and For Street the leading Gothic revivalist The house of William Burges, sketching architecture on the Continent. A.R.A" London, 1886. of his generation, Italian Gothic meant The Architectural sketches appeared in colour in construction. In this respect Wiliam Burges (1827-1881) was one of 1858 after Shaw had learnt the art of the most brilliant architects of the High he wrote "Italian architecture of the lithography and transferred nearly all of Middle Ages teaches us more than any Victorian era and Tower House, which he the one hundred drawings onto the began to build for himself in 1875 is other architecture since the lithographic stone himself. The commencement of the world". Along described by his biographer, J. Mordaunt appearance of the book was opportune Crook, as "an extraordinary distillation with the writings of Ruskin, Street's for itcoincided with the rising interest in Brick and marble had a significant of his own career". Burges lived there for Continental Gothic in England. just over three years, but in that time he influence on the introduction of Although the majority of the perspective structural polychromy in Victorian created a spectacular series of interiors views are of ecclesiastical subjects there which were a direct expression of his architecture, an influence that was are a substantial number Showing already visible in New Zealand by the personal vision of medieval art and secular works, including vernacular architecture. E. W. Godwin described early 1860s. timber-framed houses of the kind that (University of Canterbury Library] Tower House as "one of the most were soon to be of interest to architects remarkable houses that the Gothic of the Domestic Revival. Revival has given to the world': but: [University of Canterbury Library] 36 George Buckler although it still stands its contents have, lWenty-two of the churches of been dispersed. Fortunately its original Essex, London, Bell and Daldy, 39 W. Eden Nesfield (1835·1888) appearance is recorded in the portfolio 1856. Specimens of medieval of photographs published by Burges's Timber remained an important building architecture chiefly selected associate and brother-in-law, R. P. Pullan material in Essex until .Iong after the from examples of the 12th and in 1886. The use of the still new medium close of the Middle Ages and the 13th centuries in france and of photography to document Burges's churches of the county possess a Italy. London, Day and Son, Gothic dream world not only produced remarkable number of impressive 1862. an invaluable record of a remarkable timber features, most notably porches The success of Shaw's Architectural work of art it also signalled the end of and belfrys but even timber arcades. sketches led Dayand Son tocommission an era in the history of the architectural Probably for this reason Buckler'S book a sequel from Nesfield, who had book. was ofparticular interest to New Zealand accompanied Shaw on his Continental [Victoria University Library] CH~II~I~111tmllI11i'1~fllllir l C01268711