The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1870-03-02
The rrosaIcs at westmInster.
From the London Atheneum.

sist of picture, by MIR. Poynter, over one of
I, the arohways through which one passes to
the Central Hall, and the filling in of the
vault of the groined roof between the ribs.
The latter, being confined to armorial flowers
and heraldic emblems, comprises decora-
tions proper, the design of Messrs. Clayton &
Bell; and if such mosacs are admissible in
the place at all, they deserve nothing but
praise. We think, however, that mosaics OF
any other mode of decoration would have
been more wisely adopted if the work
had been kept IN the lightest possible
tone of coloring, and marked by the
greatest simplicity of design. The sculpture
and other enriohments of this edifce, espe-
cially those of the Central Hall, were already
exuberant, and me ocked the eyes which sought
repose after seeing countless mouldings,
statues, and pictures in stained glass, fresco,
and stereochrome. Countless surfaces of all
possible forms exhibited gold, FURNISHED and
unburnished, and the very pavements gave
the tortured eye no rest. To the roof one
looked for little change-for a moments
ease; and there, notwithstanding the folly
that had been perpetrated of painting the
stone itself and for ever spelling its
beautiful natural color, something like
quiet was found in the dull monochrome,
and the shadows lay comfortably, so to say,
among the groinings. So far as the Central
Hall and other portions to which we shall
refer hereafter are concerned, there is
an end of this, thanks to the glittering works
of "The Venice and Murano Glass and Mo-
sale Company" 1t would have been less un-
fortunate had less effective but mole sober
sort of mosaic been used here; for nine -tenths
of the designs are illegible on account of the
glittering of the gold and other colored tesse-
rae. These reflect the light from the great
gaselier in a manner which is distressing; nor
is there any hope that time will reduce this
untoward splendor, because it is boasted of
these mosaics that they suffer no changes
and remain undimmed by age. Hope pre-
sents itself, however in the assurance of the
promoters of these decorations that they may
be washed: if so, it is clearly expected that
they will get dirty; therefore as dirt will dim
them, we say let them remain unwashed for
long periods of time.
It is characteristic of Englishmen when
dealing with artistic questions that they fre-
quently forget propriety and circumstance in
carrying out their desires for reproducing
forms of art which are admirable in other
countries and climates and for other pur-
poses. Thus our windy hills and bleak moors
are studded with "Italian" villas, our smoky
cities enriched with buildings which offer
costly carvings to the destructive air and its
deposit of SCOT. 1t was but the other day
that, at a tremendous COST we finished in
granite the parap . of the Thames embank-
ment, and wrought them, not in the grave
with the same material, or what
would have been best, in a simple
form of Gothic character, but with the
elaborate, angular and manifold mouldings of
one of the noblest phases of Gothic art,
which were wisely adopted for soft stone only.
London is rife with blunders like these We
spoiled a good arch and tolerable colossal
statue by bringing them together at Hyde
Park Corner. Having got them there, and
our blunder being obvious, we obstinately
keep together what, if apart, would be orna-
ments, to form eyesores. A frightful sum
was spent on the facade of the British Mu-
scum, and colonnade erected to darken one
of its most important galleries. We spoiled
Trafalgar Square and the National
Gallery by sticking in small space
in the middle of its large area
a column which would have been an
example of bad art, but is fatal where it is.
Instances of such defective Judgment are
almost innumerable. Now, the mosaic deco
rations which suit the brilliant atmosphere OF
Venice, and the vaulted spaces of Romanesque
roofs and unmoulded domes, and the expan
sive walls of Italian churches are not suiteC
to buildings such as the Houses of Parliament
which are mostly used at night, and illumi
mated by scores of jets of gas of which th'
light is reflected in dazzling brightness from
thousands of tessere of glass. Nor does i
surfaces remain in the already too dark roof
of the "Houses" by introducing elaborat
and deeply -hued patterns, however well the.
may be designed, and however faultlessl,
they may be wrought. To put colored decora
tions such as pictures and the like, in place
which are illuminated in the day by ligh
which passes through superabundance o
richly-hue stained glass is absurd. If W
must have colored windows, then grisGiI
only is compatible with gorgeous picture
and resplendent nosaics. This being unde
niably the case, is it not strange that, wit
every facility for reproducing the designs o
Messrs. Poynter and Clayton Il Bell in
sober sort of mosaic, we employ tessera
which flash back the garishness of the chan
deliers, and rival the guady windows i
splendor I? All this is contrary not only t
common sense, but to the practice of Goth
architects of the best time.
We desire to speak of Mr.. Poynter's design
before referred to, with reservations as to th
sort of mosaic which has been employed
reproduce it, AS a picture it is admirable
and perfectly suited to mural decoration
The subject is St George, who appears stant
ing between figures of FOrtitude and Purit!
The expressions, drawing, color, and enricl
ments of this work are what we should o,
pect from such accomplished hands. "
congratulate the public on the skill and lear
ing of the painter employed in their servio
Other mosaic works of the company
question are in progress at Westmlnste
thus the roof of the landing at the head
the staircase which leads to the Royal Caller
from the Norman Porch is being decorate
in their mode from designs of Messrs. Ola