Evening star. [volume] (Washington, D.C.) 1854-1972, 1908-03-07

color A northern aspect. with the sun
during the greater part of the day be-
hind it. is not only enveloped In shade
itself. but casts shadow on all before
it. which is a kind of type of the gloom
that is generally felt to be its charac-
teristic impression. A southern aspect
consequently. obtains the greatest dura-
ton of the suns rays on it; and is the
most influential. by the depth and per-
spicacity which it gives to the details, and
contrary to the northern aspecO 1t re-
ceives additional clearness from the re-
Election of the ground before it.
The eastern and western aspects are. OF
course. neither so long nor SO powerfully
under this influence of the SUM- AS the
habits of society in general have intro
duced rather artificial change In what
may be called daytime they have not
much opportunity of judging of the ef-
fects of the sun when in the east, and
1t already begins to retire from that
aspect by the time they are leaving their
houses. Therefore. as we are speaking
Of effects worked upon their minds, the
eastern aspect has not so great a share
Of their favor the western, because
when the sun is in the west and even
setting, it is. with the fashionable world,
comparatively midday.
The Use of Recesses.
and depth of the shadows are most i'm
portant and desirable. their character is
much deteriorated by being subjected to
SO negative an influence as either the
northern or eastern aspects receive.
comparison between the north and south
elevations of a church or other building,
being constructed exactly similar. will
better show the difference of character
caused by aspect than any other illus
fraifnn The MI r1athod hot
has been adopted of remedying this detri-,
mental effect of aspect seems rather to
consist In the use of internal recesses
from the line of building, in preference
to eXtraneouS projections, which often
fail in procuring the desired effect Per-
haps the north front of Somerset House
may have received this consideration. as
to great extent it may be applied to
this principle.
Having thus pursued the subject in the
view of its influence upon the mind and
also the influence it receives, the third
point of view in which 1t presents itself
concerns its composition or in what 1t
consists. Perhaps the fact of it's having
been represented, in the first place. as an
immaterial subject, may make it appear
rather paradoxical to descend at once to
the consideration Of its reality 1t is
immaterial from the expanse of its de-
scription and its indefinite nature, yet.
like character in the human disposition
it is only such by its maintenance and
the construction that aids that mainte-
nance forms the reality from which it is
extracted as an essence.
As to Originality.
Character in architecture then is, in
brief, originated and upheld by the con.
sistency of combined expressions. In the
design of an erection the data of some
previously executed model are often ia
tent; but to have also claim TO original
ity there must be sufficient variation to
avoid its being copy, and yet sufficient
similitude in such variation to preserve
its character. A too close adherence i'm
plies servility, and, again. too great
freedom with any given basis is at the
risk of its injury. 1t is the confusion Of
having one datum in an original model.
another in the present purpose of the
building and a third in the architects
invention that is SO likely to occasion a
mingling of the whole together, and prob
ably the destruction of all character in
the architecture.
This has been much complained of In
the modern addition of steeple to the
primitive and ancient form of a temple,
as in ST. Martins, ST Pancras and other
London churches where Independently OF
the alleged defect in construction, which
consists in placing the steeple over the
pediment) 1t produces an equally impor-
to the character of the architecture by
the union or rather confusion of two very
opposite expressions. Simply the appro-
priation of particular order is the most
usual and prevalent course: and this.
while it leaves scope for originality in its
limits the data to those
which are available with the greatest ia
cility as presidents. Hence increased
novelty of form, produced from the same
becomes the main cause OF
distinction in character, and in the apt
ness of these changes and in the suitable
ness of these variations lies the great art
of producing this effect.
OF course, novelty for It's own sake
alone can be achieved with a much freer
hand by breaking forth from all prece-
dent whatever: but the preceding remark
is made with reference to architecture OF
an orthodox kind Of such a term may be
used) and not to any occasional eccentric
ty. Indeed, the architecture which is
least known and which is most remark
able for its singularity is the furthest
from what could be desired in character.
the perfection OF which is comprised in
is producing the same unequivocal adj
niration from the greatest possible num-
Der OF minds. Instead of which there
IAN scarcely be two similar opinions OF
my building, the only dedEcible proofs OF
he worth of which the absence OF all
are wrapped up in the con-
aif Of ne inv II Arrhitact.