New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1896-04-08
ARCHITECTURE.
SOME VOLUMES OF INTEREST TO STU
DENTS

WI. London: B. T. Batsford Boston: Tcknor
LONDON CITY CHURCHES BY 4. f, Daniel Neil
With Numerous Illustrations by Leonard MAR
tin Octave. PIP. vi, 1884, New-lork: Charies
Scribner's Sons
ARCHITECTURE FOR GENERAL READERS. 4
Architectural Design. with Historical Sketch
by II. ii. statham with illustrations by the
XVI 1892 New-York: Charles Scribners Sons.
CATALOGUE OF THE AVERY ARCHITECT
URAL LIBRARY Memorial Library Of Ar Al,
ouarto. pp Xii i.is New-York: Library of Co.
lumbia University.
The fifth and sixth parts Of Mr.. Gotchs beau
tiful work on the architecture of the Renais-
sance In England bring to conclusion one OF
the most admirable enterprises through which
the publishers Of specialized literature have re-
Gently sought to please their usual public and an
unprofessional public besides. This is book for
architects, no doubt. but it is also book In
which every one must be interested to whom
the social and other elements Of old English life
make a strong appeal Some time ago, In point
ing out the merits Of this publication. as Illus
trated by the earlier portfolios. 1t was shown in
this place that much practical use might be
made of the Photographic plates and detail
drawings which are included In the scheme. and
It may be reiterated now that a great deal Of
VI II.
employed In American buildings. But it is i'm
possible. in looking back over the entire series
OF plates, to lay any more stress upon their
practical than upon their general. picturesque,
even poetic significance There is. indeed.
poetic atmosphere flung about nearly all Of Mr..
Gotch's subjects Take for example. the tow
cred "Gatehouse at Tixall." with It's vne-cov-
cred facades. with its mullioned windows and
its picturesque roofs. There certain CLASH
cal motives In this which must mean much to
an architectural eye in their interesting adapta-
ton Of themselves to masses not on the whole
classical: and the whole design raises train OF
thought more concerned with style than with
mere pictorial charm. But in the long run 1t is
the latter that counts in this romantic old build
ing and the same may be said Of almost every
building which Mr.. Gotch has reproduced with
in the generous limits Of his work
II the architecture Of the Renaissance in Eng
land was distinguished by beauties other than
architectural. 1t was for reasons easily ident-
fed. The Italianisms which fascinated the
builders Of the time became more or less trans
mogrihed in their transition from the PENN
sula to the north. English architects like some
Of the English authors were euphuistic in their
adaptation Of southern elements Of design. and
they rarely brought with the columns and cap
stinct Of cohesion, Of design. which belonged TO
the men they studied. Did those English archi-
tects really study? The question may seem al
most absurd when propounded before some Of
the stately manor houses Of Englands golden
age for II would seem incredible that architect
ure 50 imposing could have been produced out
Of thinly furnished minds. But there is really
nothing to show that there was anything like
the artistic enthusiasm, the artistic conscience
among English architects that there was among
their italian contemporaries. There was no Eng
lishman who putting aside all question Of Gre
alive genius. had the same rectitude. the same
cultivation and poise that are familiar in the
architectural history Of Italy. Thus the build
tngs Of the time are not scholarly. They lack
the exquisite taste Of the Italian Renaissance.
But English taste, II not drenched In the classi-
cal spirit. at any rate English and ro-
mantle. 1t made the architecture Of the six
teenth century picturesque and beautiful; 1t
made 1t, as has been stated above, almost
varablv poetic.
To modern eyes 1t may seem that time has had
something TO do with the effect Of these build
ings. Probably this is so. But 1t need not be a
troublesome fact Structural questions are not
long to be discussed In glancing at Mr.. Gotch'3
plates, and whether the buildings they repre-
good examples of organic design not. need
not be long kept in mind. The main point Is
that they are beautiful that they have the
pomp and dignity Of the sixteenth century, and
fit Immediately into that historical pageant
which binds English architecture, landscape
costume and manners into one supremely pic
turesque composition. Time has softened the
outlines Of these massive structures. Time has
brought vines and moss and noble trees TO fill
out the scene and to give 1t the indescribable
glamour Of the poets England. Of Shakespeare's
England. But in the royal amplitudes Of old
English architecture there material worthy
Of the centuries. The reader who turns the
pages Of Mr. Gotchs book may begin by critics.
ing the architects Of the English Renaissance
by ascribing a major portion OF their apparent
successes to the potency Of English landscape
and gardening to the witchery Of the ages
But he must end by admitting that with all
their faults. with all their lawlessness. those
architects nevertheless worked In vein and
on a scale that came up to the standard set by
their environment and maintained by the mel
lowing influences OF time
The author Of London City Churches had 4
theme very nearly as inspiring Mr. Gotch's
The churches in London make a long list and
Wren's designs alone provide an abundance Of
valuable material for the illustrative side Of a
book But Mr.. Daniel seems to have regarded
the illustrations IN his scheme OF triHng
moment The text is the main point for him.
Unfortunately he has not had the ability to
make II the main point for the reader, and
while one may enjoy cursorily the anecdotic
matter with which the pages are filed II IS
not Interesting enough In Mr.. Danells hands
to give the volume value. TO make 1t readable.
Then the pictures are too few and too poor. 1t
seems a great pity. Here was an opportunity
for Mr.. Daniel to write a book which would
win thousands Of readers interested In En-
Rlish architecture and In London particularly.
but the chance was thrown away and a dull