The Liverpool Standard, and General Advertiser.
Liverpool, Merseyside, England, 1854-09-19 00:00:00

THE GREAT HALL

Occupying the central division of the edifice, intended
as the vestibule or entrance hall, by which the other, aud,
in reality, subordinate portions of the structure are
approached, it is, in all respects, a noble saloon, and it pre-
sents to the eye an extensive and well-proportioned area.
Besides serving as a vestibule, it will also be appropriated
as a great hall of audience, for public purposes ; as a ban-
quetting saloon, for extraordinary displays of civic hospi-
tality; as an assembly hall, for important occasions; and
as a music hall : for each of which purposes its magnifi-
cent extent and splendid appearance render it suitable in
a degree commensurate with the wealth, refinement, and
social importance of Liverpool. In extreme length it
measures 169 feet on the floor, by a width of about 80 feet,
covered by a semicircular arch, spanning from side to side,
and running, in almost unbroken simplicity, from end to
end ; the highest point of the semicircle rising 82 feet
above the general level of the floor. The bare statement
of these colossal dimensions, and a very slight considera-
tion of their relative proportions, will show at once that
the hall is of a noble magnitude, as well as of au elegant
form. These general conclusions, however, only indicate
the extent and outline of that hall which the artist has
had at his disposal; and on the use he has put this to
must mainly depend his right to the character of an inven-
tive genius, and his claim to be considered a cultivated
artist ; while on the same result will also, in a great
degree, rest the title of the edifice itself to high artistic
consideration. In completing the arrangements of this
stately court, the architect has proved himself, at once,
inventive and tasteful. In general effect, though the parts
are numerous aud rich, almost to prodigality, all is orderly
and harmonious. In ornamentation, the hall is gorgeous,
without ostentatious profusion—chaste, without apparent
stint or meanness—lively and, cheerful, without glitter—
impressive and grand, without austerity or harshness.
Leaving generalities, for a cursory glance at the more
obvious details, the,attention of the spectator, on gaining
the centre of the. hall, is first arrested by a range of lofty and
well-proportioned Corinthian columns, of polished Peter-
head syenite, or red granite. The range consists of twenty-
two of these atatc' mid noble supports, eacb► lu~Yi~g i 1 alt

MMEROIAL ADVERTISER.

thirty-five feet in height, and being surmounted by an
elaborately carved capital, of the same material, cut off
from the shaft by a golden astragal and fillet. The mas-
sive bases of these columns rest on a dado or surbase,
surrounding the hall, the panel portion of which consists
of a running fascia, of polished syenite, the plinths and
base being of gray or true granite. Each side of the hall
is perforated by five apertures, for windows; the inter-
vening pillars of which are projected into the hall, so as to
form deep and capacious bays, at an elevation of about
twenty feet from the floor ; these bays, being formed into
galleries, are covered by semicircular arches, the sofits of
which are tastefully enriched by ornamented panels ; and
the key-blocks are modelled into the forms of ancient ships'
prows,from the carved beak of each of which depends a mas-
sive gas-lustre. It is suspended by a tube modelled
to represent ' a cable, the lights being arranged in
expansive circles, two in number, one above the other,
the higher being the larger. In these illuminating
circlets the burners are numerous, and between them
are simple ornaments, chiefly composed of five-pointed
stars. In front of the projecting pillars stand the
syenite columns, so far as the side ranges are concerned.
The intercoluminations, in front of the galleries referred
to, are filled in by a handsome balustrade of rich Derby-
shire alabaster, placed on, and surmounted by, massive
plinths of polished black marble, the projection supported
on elaborately-carved trusses. Beneath these galleries,
which do not form obtrusive projections, are nine niches,
for the reception of statues, on each side of the hall. Two
only of those niches have as yet been filled, and both of
these are on the west side, to the south of the west centre-
door. The niche immediately contiguous to the door is
occupied by a well-designed and charmingly-executed
statue, in white Carrara marble, of the late Sir Robert
Peel, Bart. It is from the chisel of Noble, and is probably
among the finest and most successful attempts to unite
the flowing grace of antique drapery with the angular and
forbidding stiffness of modern costume. The figure is
draped in a cloak of light material and ample size, and its
disposition is such as to conceal almost entirely the cutting
and unseemly lines of which the chief portions of modern
male costume are formed. The disposition of the head is
easy, natural, and gentlemanlike; and the general/me of the
figure is excellent. Sir Robert is represented as in the act of
addressing an auditory.; and the statue, though calm and
collected in countenance, is animated in expression. Im-
mediately to the south of this is Gibson's admirable sitting
statue of George Stephenson, also executed in white
marble. This is a figure, happy in its general arrange-
ment, finely suggestive in its disposition and accessories,
and admirably studied with respect to light and shadow.
This Hall, already rich in ornament, lacks only the further
addition of statuary to complete its claim to being one of
the most superb saloons in Europe. Between the niches
referred to are large slab panels of polished green marble,
from the quarries of Connemara; the panels and niches
being divided from each other by tablets of beautifully-
carved Portland stone ; and, to aid; the effect, there are
tastefully-arranged indentations of Devonshire marble.
Each end of the hall is so indented and arranged as to
afford suitable places for six columns, similar, in all
respects, to those which decorate the sides.
At the south end a flight of twelve broad steps, of easy
tread, leads up to a space occupied by three bronze doors,
appropriate in design to the general embellishment of the
hall, and having conspicuously displayed in the central
compartment of each the initials S.P.Q.L., a device fre-
quently repeated on panels throughout the hall. These
door spaces are divided from each other by two granite
columns bearing composite capitals of pure white. The
compartment immediately above these doors is devoted to
a portion of the ventilating media ; and surmounting that
is a very large semicircular fanlight, the key-block of
which is tastefully modelled into a descending victory,
with wings expanded, and holding in both hands a laurel
coronal ; this figure is of pure white, and very cleverly
executed. The opposite, or northern end of the hall, is
occupied by an extensive gallery, projected as a semicircle,
raised and supported on columns, and approached by a
flight of winding steps on either side. This projection is
open beneath and rests on six granite columns, while its
junction with the right line is marked and supported by
two tall carved stone trusses, terminating each at its upper
extremity by a spiritedly sculptured Talantides. On this
gallery is placed the organ.
The entablature and cornice crowning the range of
columns which surrounds the hall, are massive, tasteful,
and elaborately decorated with many of the enrichments
characteristic of the Corinthian order. The semicircularly
arched ceiling has been already referred to, though only
in a general and cursory manner; but as it forms a very
important portion of the hall, and contributes greatly to
the splendour of its general effect, it demands to be noticed
a little more in detail. From north to south the arch is
divided by transverse zones into five broad arched bands,
and longitudinally it is traversed by two styles equi-distant
from the arch springs and from each other, thus practically
dividing the whole arch into fifteen large rectangular
compartments, or main panels, each one of which is again
subdivided into nine subordinate or divisional panels,
varying in form and dimensions in such a manner as to
relieve the whole from any indication of monotony, yet so
subdued in their relation to each other as to produce a
varied yet repeated harmony of proportions and parts.
The centre of the middle main compartment is devoted to
a shield charged in alto relievo, with the devices of the
royal arms, including the supporters ; the centre of the
other principal compartments being decorated by shields
bearing alternately the arms, supporters and mottoes of
the Borough of Liverpool, the county of Lancaster, and ,
the emblematic badge of St. George—the tutelary saint to
whom the building is inscribed ; besides those armorial
devices, the other panels and their marginal mouldings are
enriched by varied and appropriate ornament. In addition
to these, and classed among the sculptural decorations,
must. he noticed five emblematic figures, of the heroic
size, executed in alto relievo, in the spandrils between the
window-arches, representative of Temperance—a Bacchus,
with a goblet of wine; Temperance, diluting it with a
pitcher of water ; Justice, with the sword and scales ; Art,
with the lyre and book of poetry; Science, pointing to the
celestial and terrestrial globes; Fortitude, one hand hold-
ing the jaw of a lion, the other containing the oak branch;
Prudence, looking into a mirror in study of a face which
is behind, peering over her, shoulder. Of these figures
there are duplicates, one set on each side of the hall.
They are cleverly modelled, and add much to the grandeur
of the general effect.
In painting this magnificent saloon, a fine combination
of judgment and taste has been displayed. As the orna-
mentation is elaborate and elegant, rather than over-
powering or commanding, the application of colour and
the diffusion of tint have judiciously been tender, delicate,
and sweet, rather than powerful and startling ; decided
tones are occasionally struck, but they are carried out in
fainter and blending repetitions, till, like the notes of me-
lodious music, they die away in mingling echoes; a pleas-
ing harmony, stirred only by delicately modulated inter-
vals, has been aimed at, and that aim has been achieved
in a higly successful manner.

THE FLOOR

Among the devices adopted to render this hall in all
respects worthy of the important place it holds in the mag-
nificent edifice, great attention has been paid to an appro-
priate
decoration of the floor. The design for this has
been carried out in excellent taste, and it has been skilfully
executed in Mosaic encaustic tiles, mingled with which
are bands of stone, dividing the area into well-arranged
geometric figures, the general form of design consisting
of three circles, the centres the largest, being about forty
feet in diameter ; and on the north and south sides of this,
towards the end of the ball, are smaller circles, which are
again surrounded by four still smaller, the ends being ter-
minated by arcs having a similar radius to the centra
circle. The whole of these circular compartments are then
surrounded with bands of classical ornament, which inter-
sect at the junction of the compartments with the other,
thus uniting the whole into one design. The field of the
floor is a diapered ground-work of blue, red, buff, choco-
late, and white; the diaper is also divided into panels by
bands of chocolate tiles, six inches wide, their points of
intersection being formed by white tiles, varied by a red
and black ornament, which gives the whole a brilliant,
yet rich and chaste effect. The centre of the large circular
compartment, and immediately in the centre of the floor,
is occupied by the royal arms, on a blue ground, about fire
feet in diameter, surrounded by a laurel wreath, radiating
from which are stars of sixteen points, between which
appears the caduceus of Mercury ; this is surrounded by a
richly ornamented border, following which is another bor-
der, or frieze, three feet in width, charged with tritons,
dolphins, and other figures, symbolic of nautical pursuits
and enterprise ; this is again surrounded by bands and
borders of rich classical ornament, appropriate to the en-
richments of the building. In the centre of each of the
two smaller circles are placed the arms of the Corporation
of Liverpool, also surrounded in a manner similar to the
royal arms, by richly ornamental borders, and in the
centres of the smaller circular compartments are placed
alternately the star of St. George, and the thistle, rose,
and shamrock, also repeated in other forms in the diaper.
A raised platform, which surrounds the hall, is also sur-
rounded with encaustic tiles, of a similar design to the
length of the spaces between the doors, by rich borders,
into which are introduced inscriptions in English and La-
tin, appropriate to the figures emblematical of Justice,
Temperance, Prudence, Art, and Science. In the space
immediately under the organ gallery the crest of the Prince
of Wales has been introduced, surrounded by a laurel
wreath, and bands of geometrical and foliated ornament,
the whole forming a beautiful panel of about twenty feet
in diameter ; the panels at each of the four corners of the
floor being richly ornamented, and bearing the motto of
the Corporation, " Deus nobis hcee otia fedi."