The National Register.
London, England, 1809-09-17 00:00:00

.17.

NA

lONA

NEW THEATRE, COVENT-GARDEN.
._ • :
Architecture, is, perhaps, less correctly understood, as a
fine art, than any other branch of taste. With respect to the
skill- Qf the builder, we •are not inferior to the ancients ;
bet- in the features of the building we possess 'neither the
powers of expression or of elegance with which they raised
their public edifices. It was the peculiar felicity of the
Greeks to impart a portion of mind to whatever they exe-
cuted. Their works 'always spoke ; always appeared to
he pervaded by some particular sentiment. The moderni,
in almost nettling, display a sim;lar delicacy of discrimina-
tion. We talk much about sentiment, and our writers •
run through volumes of umue:ming frivolities and fanciful
feelings ; nub the simple and unartificial -manger of im-
parting ideas, which we may perceive in every production
Of nature, is wholly lost; we imitate the external forms of
Grecian art, without any reference to their internal mean-
ing ; we select and we combine the most prominent fea-
tures,of their astonishing designs; and we apply our hete-
rogeneous coinpileinents to any purpose promiscuously.
We have. Athenian temples with the porticoes of Asiatic
palaces, for various public erections; and an ancient bath
with some fragments of an amphitheatre, very often serves
us for aehureh. We have before us the principal parts,
of the 'Acropolis, or elevated citadel and treasury of Atheni.
united, so as to form the,exterior of a modern playhouse.-,--.1
The Acropolis of Athens was seated on a rock : it could be.
seen from any part of the city ; and the temple attached to
it was dedicated to Minerva, the tutelary divinity of the
Athenians. Impressiee grandeur and awful soleuenity were
its striking characteristics; the salt tyi the wealth, the su-
perstition of the people were contained in it; and its ap-
pearance combined, in one view, strength, magnificence,'
and awe. . In a modern theatre, we do not require such
exalted expre.4`sion ; and we cannot think that the model
has been judiciously selected by Mr. Smirke. in a po.=,
sitiort so confined as the site of Covent-Garden Theatre,
the grandeur of the original must be totally lost, and in no
station can the eye of the spectator grasp the whole front,
so hat the magnificence of its simplicity is necessarily
broken, aiul the parts lose. their dignity fur want of com-
bination. Position is, however, either the happiness or•
the misfortune of the Architecture, who is not to be
blamed for the crowded houses and narrow streets with
which he is surrounded : if he.cati in any manner accom-
modate his design to the place allotted for ils,erection, lie
has done all hi 4 power :we have therefore ti..) lament
that Covent-Garden The!ttre will never be seen to ad,
vantage : 'we 'can only regret that we possess so fine An
imitation of the Athenian Acropolis which we' can never
behold, 'and applied to a purpose so contrary to the ex-
pression of its exterior.
The Order of Architecture is the grandest style of the
Doric : the portico consists of four pillar 4 of this order
supporting a pediment: the pillars are 'very large and
fluted, without bases, and the portico i 4 elevated upon a
flight of steps. It has a simple diernity, truly admirable :
had it been the entrance of the Ilititish Senate, we could
have felt all the sublimity which seems to 'belong to it, but
the portico of a theatre required a magnificence of a less
awful nature. Could we however ()Main a. view of the
front at a sufficient distance, we should probably discover
that the Architect has departed from the 'ancient plan
vvilh considerable judgment,and rendered it more suitable
to the appearance of a Theatre. This he seems to have
done by breaking the bold simplicity
structnre with two projecting wings, de
entablature of the portico, which is •sust;
I the close view which a spectator can
the Apposite side of Bow-street, these pile
abrupt, and the plain part between them
nppears meagre. It would certainly h'
have continued the entablature across ttr

the„ front, unless the demolition of .
coitkl.liavo afforded a more coFappebensite

II I Is,. I - .

4..., .

'r ~~

REGISTER.

597

the Parts would have been compressed into one elegant.
whole. The niches• in the. wings,_ and the basso-relievoo
between :Ilse Asinp.. Ale: portieb, would tmdoubtedly
soften. the severity of the general plan, could they be semi
together. As it is, they takeaway from the simplicity with-
out adding to the beauty: the Agures.of the basso- relievos, in
particular, when seen idliitihefly, have a littleness that is.
very discordant with the massive grandeur 4f. the Doric
pillars. . It is much to be regretted that the .1,51 w-relieve
by Rossi, representing the Modern Drama; adds very much
to this littleness by its want of unity. in the design, or
proper combination of the figure's in the execution. As a
distant point of sitaeonkfnot be obtairied, great atten-
tion should have been. paid to thegrotiping of petty orna-
ments.—The other-Sides Of the' building are certainly not.
correct subjects of triticistil : they are plain;_ and that ih
Hart•Slreet is -depint. Altogether, the Architect .meritS
.great applause: be bas-displayed much grandeur of (lin-
. ception, and 4,6 earnestly wish to sec Win engaged in seine
other public edifice-which. may! afford his judgment more
time to form its designs, end to execute them with•all the
perfection of 'mature 4eliberation.. Few wen either in ail, -
cient or modern times could have done what Mr. Sinirke

has performel: in the course of six months he has adapted
one of the most magnificent of the Athenian edifices to
modern parposes, and reared a theatre more elegant and
more majestic than any this nation has hitherto possessed.
The interior is elegant, but is scarcely answerable to the
magnificent idea with which the portico impresses any 0ne...:
about to enter the theatre. The vestibule is gram!, and the.
staircase ascending be.tween two tows of ionic,tolninag,
between eat of which is suspended a beautiful. Grecian .-
!alp, hat a splendid-01feet. At the.head of the staircase it
an anti-chamber surrounded vvith lonic pilasters, in which
the statue of Shakespear meets the eye on a pedes:al of
yellow marble. The figure of Shakespear is ht -Rossi, suit
is in the,costume of his age: he holds a roll of paper in his
hand, but his air k rather that of a barrister than a poet.
We cannot account for this deficieacy4expression, -which
we are sorry to. Aserve in-the weritirlettossi. From the
antirchamber.you coat -lute thelehbrof the /ewer tier of
boxes: it is in the same style °Maw architecture( and is
divided with arched recesses, the semi-circular parts of •
Which are filled 'with paintings (tom various scenes a
Shakespear painted in Miff.. The fronts of the boxes .are
elegant, though simple; a gold fretted flower,—of antique
form, runs along each tier, upon a pale coloured ground
abole and below the .floWers are'rows of stars. 'None of

the boxes. project beyond the others,- in the manner of-
those usually termed stage boxes ; and the fronts are per-
pendicular, without any of that rotundity which rather
hurt than enrich the coup d'ftil in the 'former theatre.
Slender pillars, richly gilt, separate the boxes; and from a
golden bracket, above each pillar, is suspended a chan-
delier of cut glass : these chandeliers are novel its
their form. The seats of the 'boxes are covered with
light blue cloth, and the seats are more in number than
is the boxes of the former theatre. The pit is divided by •
two piwages through the middle of it, and the seats! are
much cle% ated above each othen. The twd-shilling ro:alleev
is more ample than has been represented, and the slips are
very wide and commodious. The most remarkable noes Nv
consists in the construction of the shilling gallery : here.tha
architect, to preserve the uniforrnily of his design, hits
rested the piers of a row of arches which support the.root; .
in such a manner that the gallery is divided into five.parts,
loss to Surmise,

SEPT. 17. THE NATIONAL REGISTER. 597
.. .
NEW THEATRE, COVENT-GARDEN. the. parts would have been compressed into one elegaut.
. . whole. The niches• in the wings, and the basso-relievoo
Architecture, is, perhaps, less correctly understood, as a
. .. .....
between :the Asiup..aid..the: pertico, would tmdoubtedly
soften • the severity of the general front could they be seca
fine art, than any other branch of taste.. With respect to the together. As it is, they takeaway the simplicity with-.
skill- of the .builder, we •are not inferior to the ancients ;
out adding to the beauty: the figures.of the basso- relievos, in
bet- in the features of the building we pOSSCSI 'neither the
particular, when seen adliittihcfly, have a littleness that is.
powers of expression or of elegance with which they raised very discordant with the massise grandeur' .-of. the Doric
their public edifices. It was the peculiar felicity of the pillars.. It is much to be regretted that the .13:1;o-relieve
Greeks to impart a portion of mind to whatever they exc. by Rossi, representing the Modern Drama; adds very much
cuted. Their works 'always spoke ; always appeared to 'to this littleness by its want Of unity. in the design, or a•
he pervaded by some particular sentiment. The moderni, proper combination of the figure's in the execution. As a
in almost nettling, display a sim;lar delicacy of discrimina- .
distant point or silrbt.ioold• not he obtairied, great atten-
tion. We talk much about sentiment, and our writers lion should hove been. paid to thegrouping of petty ()ma-
rtin through volumes of moue:ming frivolities and fanciful mewls.—The other-Sides Of the' bUilding are certainly.not•
feelings; nut- the simple and unartificial -manger of im- 'correct subjects of triticisid : they are plain,_ and that its.
parting ideas, which we may perceive in every production Hart• Street is ..etebratitt. Altogether, the Architect .merits
Of nature, is wholly lost ;we imitate the external forms of great applause: be ins-displayed much grandeur of cea-
Grecian art, without any reference to their internal mean- . ception, e
-W
end. svd. earnest ly wish to see Win engaged in some
ing ; we select and we combine the most prominent fea-
oilier public edifichich. may afford his judgment more
teres,of their astonishing designs; and we apply our hete- • time to form its designs, end to execute them with•all the
rogeneous compilements to any purpose promiscuously. , perfection of 'mature 4eliberation. Few wen either in an, - •
We have. Athentau temples with the porticoes of Asiatic dent or modern times could have done what Mr. Smirke
palaces, for various public erections; and an ancient bath has performed: in the course of six Months he has adapted
with some fragments of an amphitheatre, very often serves . one of the most magnificent of the Athenian edifices to
us for weltureh. We have before us the principal parts modern -and reared a' theatre more elegant and ' purposes,
.1* thn • Arransolie_ nr ninvntnii r;lnelni 0n 11 trnn•tircr of Atitanst

..
i
his he seems to have I res”mblittp,-boxes.,parate baxes. We ate at loss to surmise, n
itey of the Athenian what light the Godhead:of the 314 will chuse to regard Ibis.
strmounted with the division of As heaven; the'llfers; Bacehut, Itid. Apollo of
sustained by pilasters. the theatrical upper regions have been so accustomed.to is
can only obtain from consolidation of their divinity, and to coinbine the thimeer •
projections ream too of their authority. that we are rather fearful Ibit these
them and the portico intervening piers will be considered as molt ispiiimitiVec-
y have been better to rupters of that cetestial.: turitrwhich- hbs 11-00tontfratio. y
Id these plain parts of A
Lanced very wonddrftitettects HI tI arathatlc *od& Rreer- .
the opposite housei haps the deities. insYlbet themsetvc honoitietistitut ap-
lensite view, in which '.' 1 • - - -:(e:VP.M.:
G: - • •_ .... ' • ' 41.144
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