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The Poetry of Architecture, a non-fiction book by John Ruskin |
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Part 2. The Villa - 4. The Lowland Villa--England |
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_ PART II. THE VILLA IV. THE LOWLAND VILLA--ENGLAND 147. Although, as we have frequently observed, our chief object in these papers is, to discover the connection existing between national architecture and character, and therefore is one leading us rather to the investigation of what is, than of what ought to be, we yet consider that the subject would be imperfectly treated, if we did not, at the conclusion of the consideration of each particular rank of building, endeavor to apply such principles as may have been demonstrated to the architecture of our country, and to discover the _beau ideal_ of English character, which should be preserved through all the decorations which the builder may desire, and through every variety which fancy may suggest. There never was, and never can be, a universal _beau ideal_ in architecture, and the arrival at all local models of beauty would be the task of ages; but we can always, in some degree, determine those of our own lovely country. We cannot, however, in the present case, pass from the contemplation of the villa of a totally different climate, to the investigation of what is beautiful here, without the slightest reference to styles now or formerly adopted for our own "villas," if such they are to be called; and therefore it will be necessary to devote a short time to the observance of the peculiarities of such styles, if we possess them; or, if not, of the causes of their absence. 148. We have therefore headed this paper "The Villa, England;" awakening, without doubt, a different idea in the mind of every one who reads the words. Some, accustomed to the appearance of metropolitan villas, will think of brick buildings, with infinite appurtenances of black nicked chimney-pots, and plastered fronts, agreeably varied with graceful cracks, and undulatory shades of pink, brown, and green, communicated to the cement by smoky showers. Others will imagine large, square, many-windowed masses of white, set with careful choice of situation exactly where they will spoil the landscape to such a conspicuous degree, as to compel the gentlemen traveling on the outside of the mail to inquire of the guard, with great eagerness, "whose place that is;" and to enable the guard to reply with great distinctness, that it belongs to Squire ----, to the infinite gratification of Squire ----, and the still more infinite edification of the gentlemen on the outside of the mail. Others will remember masses of very red brick, quoined with stone; with columnar porticoes, about one-third of the height of the building, and two niches, with remarkable looking heads and bag-wigs in them, on each side; and two teapots, with a pocket-handkerchief hanging over each (described to the astonished spectator as "Grecian urns") located upon the roof, just under the chimneys. Others will go back to the range of Elizabethan gables; but none will have any idea of a fixed character, stamped on a class of national edifices. This is very melancholy, and very discouraging; the more so, as it is not without cause. 149. In the first place, Britain unites in itself so many geological formations, each giving a peculiar character to the country which it composes, that there is hardly a district five miles broad, which preserves the same features of landscape through its whole width.[24] If, for example, six foreigners were to land severally at Glasgow, at Aberystwith, at Falmouth, at Brighton, at Yarmouth, and at Newcastle, and to confine their investigations to the country within twenty miles of them, what different impressions would they receive of British landscape! If, therefore, there be as many forms of edifice as there are peculiarities of situation, we can have no national style; and if we abandon the idea of a correspondence with situation, we lose the only criterion capable of forming a national style.[25] [Footnote 24: Length is another thing: we might divide England into strips of country, running southwest and northeast, which would be composed of the same rock, and therefore would present the same character throughout the whole of their length. Almost all our great roads cut these transversely, and therefore seldom remain for ten miles together on the same beds.] [Footnote 25: It is thus that we find the most perfect schools of architecture have arisen in districts whose character is unchanging. Looking to Egypt first, we find a climate inducing a perpetual state of heavy feverish excitement, fostered by great magnificence of natural phenomena, and increased by the general custom of exposing the head continually to the sun (Herodotus, bk. III. chap. 12); so that, as in a dreaming fever we imagine distorted creatures and countenances moving and living in the quiet objects of the chamber, the Egyptian endowed all existence with distorted animation; turned dogs into deities, and leeks into lightning-darters; then gradually invested the blank granite with sculptured mystery, designed in superstition, and adored in disease; and then such masses of architecture arose as, in delirium, we feel crushing down upon us with eternal weight, and see extending far into the blackness above; huge and shapeless columns of colossal life; immense and immeasurable avenues of mountain stone. This was a perfect--that is, a marked, enduring, and decided school of architecture, induced by an unchanging and peculiar character of climate. Then in the purer air, and among the more refined energies of Greece, architecture rose into a more studied beauty, equally perfect in its school, because fostered in a district not 50 miles square, and in its dependent isles and colonies, all of which were under the same air, and partook of the same features of landscape. In Rome, it became less perfect, because more imitative than indigenous, and corrupted by the traveling, and conquering, and stealing ambition of the Roman; yet still a school of architecture, because the whole of Italy presented the same peculiarities of scene. So with the Spanish and Moresco schools, and many others; passing over the Gothic, which, though we hope hereafter to show it to be no exception to the rule, involves too many complicated questions to be now brought forward as a proof of it. [The comparison of Egyptian architecture with delirious visions seems to be an allusion to De Quincey's passage in "The Pains of Opium"--the last paper in "the Confessions of an Opium-Eater"--where, after describing Piranesi's _Dreams_, he tells how he fancied he was "buried for a thousand years, in stone coffins, with mummies and sphinxes, in narrow chambers at the heart of eternal pyramids," etc.]] 150. Another cause to be noticed is the peculiar independence of the Englishman's disposition; a feeling which prompts him to suit his own humor, rather than fall in with the prevailing cast of social sentiment, or of natural beauty and expression; and which, therefore,--there being much obstinate originality in his mind,--produces strange varieties of dwelling, frequently rendered still more preposterous by his love of display; a love universally felt in England, and often absurdly indulged. Wealth is worshiped in France as the means of purchasing pleasure; in Italy, as an instrument of power; in England, as the means "of showing off." It would be a very great sacrifice indeed, in an Englishman of the average stamp, to put his villa out of the way, where nobody would ever see it, or think of _him_; it is his ambition to hear every one exclaiming, "What a pretty place! whose can it be?" And he cares very little about the peace which he has disturbed, or the repose which he has interrupted; though, even while he thus pushes himself into the way, he keeps an air of sulky retirement, of hedgehog independence, about his house, which takes away any idea of sociability or good-humor, which might otherwise have been suggested by his choice of situation. 151. But, in spite of all these unfortunate circumstances, there are some distinctive features in our English country houses, which are well worth a little attention. First, in the approach, we have one component part of effect, which may be called peculiarly our own, and which requires much study before it can be managed well,--the avenue. It is true that we meet with noble lines of timber trees cresting some of the larger bastions of Continental fortified cities; we see interminable regiments of mistletoed apple trees flanking the carriage road; and occasionally we approach a turreted chateau[26] by a broad way, "edged with poplar pale." But, allowing all this, the legitimate glory of the perfect avenue is ours still, as will appear by a little consideration of the elements which constitute its beauty. [Footnote 26: Or a city. Any one who remembers entering Carlsruhe from the north by the two miles of poplar avenue, remembers entering the most soulless of all cities, by the most lifeless of all entrances.] 152. The original idea was given by the opening of the tangled glades in our most ancient forests. It is rather a curious circumstance that, in those woods whose decay has been most instrumental in forming the bog districts of Ireland, the trees have, in general, been planted in symmetrical rows, at distances of about twenty feet apart. If the arrangement of our later woods be not quite so formal, they at least present frequent openings, carpeted with green sward, and edged with various foliage, which the architect (for so may the designer of the avenue be entitled) should do little more than reduce to symmetry and place in position, preserving, as much as possible, the manner and the proportions of nature. The avenue, therefore, must not be too long. It is quite a mistake to suppose that there is sublimity in a monotonous length of line, unless indeed it be carried to an extent generally impossible, as in the case of the long walk at Windsor. From three to four hundred yards is a length which will display the elevation well, and will not become tiresome from continued monotony. The kind of tree must, of course, be regulated by circumstances; but the foliage must be unequally disposed, so as to let in passages of light across the path, and cause the motion of any object across it to change, like an undulating melody, from darkness to light. It should meet at the top, so as to cause twilight, but not obscurity; and the idea of a vaulted roof, without rigidity. The ground should be green, so that the sunlight may tell with force wherever it strikes. Now, this kind of rich and shadowy vista is found in its perfection only in England: it is an attribute of green country; it is associated with all our memories of forest freedom, of our wood-rangers, and yeomen with the "doublets of the Lincoln green;" with our pride of ancient archers, whose art was fostered in such long and breezeless glades; with our thoughts of the merry chases of our kingly companies, when the dewy antlers sparkled down the intertwined paths of the windless woods, at the morning echo of the hunter's horn; with all, in fact, that once contributed to give our land its ancient name of "merry" England; a name which, in this age of steam and iron, it will have some difficulty in keeping. 153. This, then, is the first feature we would direct attention to, as characteristic, in the English villa: and be it remembered, that we are not speaking of the immense lines of foliage which guide the eye to some of our English palaces, for those are rather the adjuncts of the park than the approach to the building; but of the more laconic avenue, with the two crested columns and the iron gate at its entrance, leading the eye, in the space of a hundred yards or so, to the gables of its gray mansion. A good instance of this approach may be found at Petersham, by following the right side of the Thames for about half a mile from Richmond Hill; though the house, which, in this case, is approached by a noble avenue, is much to be reprehended, as a bad mixture of imitation of the Italian with corrupt Elizabethan; though it is somewhat instructive, as showing the ridiculous effect of statues out of doors in a climate like ours. 154. And now that we have pointed out the kind of approach most peculiarly English, that approach will guide us to the only style of villa architecture which can be called English,--the Elizabethan, and its varieties,--a style fantastic in its details, and capable of being subjected to no rule, but, as we think, well adapted for the scenery in which it arose. We allude not only to the pure Elizabethan, but even to the strange mixtures of classical ornaments with Gothic forms, which we find prevailing in the sixteenth century. In the most simple form, we have a building extending round three sides of a court, and, in the larger halls, round several interior courts, terminating in sharply gabled fronts, with broad oriels, divided into very narrow lights by channeled mullions, without decoration of any kind; the roof relieved by projecting dormer windows, whose lights are generally divided into three, terminating in very flat arches without cusps, the intermediate edge of the roof being battlemented. Then we find wreaths of ornament introduced at the base of the oriels;[27] ranges of short columns, the base of one upon the capital of another, running up beside them; the bases being very tall, sometimes decorated with knots of flower-work; the columns usually fluted,--wreathed, in richer examples, with ornament. The entrance is frequently formed by double ranges of those short columns, with intermediate arches, with shell canopies, and rich crests above.[28] This portico is carried up to some height above the roof, which is charged with an infinite variety of decorated chimneys. [Footnote 27: As in a beautiful example in Brasenose College, Oxford.] [Footnote 28: The portico of the [old] Schools and the inner courts of Merton and St. John's Colleges, Oxford; an old house at Charlton, Kent; and Burleigh House, will probably occur to the mind of the architect, as good examples of the varieties of this mixed style.] 155. Now, all this is utterly barbarous as architecture; but, with the exception of the chimneys, it is not false in taste; for it was originally intended for retired and quiet habitations in our forest country, not for conspicuous palaces in the streets of the city; and we have shown, in speaking of green country, that the eye is gratified[29] with fantastic details; that it is prepared, by the mingled lights of the natural scenery, for rich and entangled ornament, and would not only endure, but demand, irregularity of system in the architecture of man, to correspond with the infinite variety of form in the wood architecture of nature. Few surprises can be imagined more delightful than the breaking out of one of these rich gables, with its decorated entrance, among the dark trunks and twinkling leaves of forest scenery. Such an effect is rudely given in fig. 12. We would direct the attention chiefly to the following points in the building:-- [Footnote 29: [_i.e._ when the spectator is surrounded by woodland scenery. _Vide ante_, Sec. 88.]] 156. First, it is a humorist, an odd, twisted, independent being, with a great deal of mixed, obstinate, and occasionally absurd originality. It has one or two graceful lines about it, and several harsh and cutting ones; it is a whole, which would allow of no unison with any other architecture; it is gathered in itself, and would look very ugly indeed, if pieces in a purer style of building were added. All this corresponds with points of English character, with its humors, its independency, and its horror of being put out of its own way. 157. Again, it is a thoroughly domestic building, homely and cottage-like in its prevailing forms, awakening no elevated ideas, assuming no nobility of form. It has none of the pride, or the grace of beauty, none of the dignity of delight which we found in the villa of Italy; but it is a habitation of everyday life, a protection from momentary inconvenience, covered with stiff efforts at decoration, and exactly typical of the mind of its inhabitant: not noble in its taste, not haughty in its recreation, not pure in its perception of beauty; but domestic in its pleasures, fond of matter-of-fact rather than of imagination, yet sparkling occasionally with odd wit and grotesque association. The Italian obtains his beauty, as his recreation, with quietness, with few and noble lines, with great seriousness and depth of thought, with very rare interruptions to the simple train of feeling. But the Englishman's villa is full of effort: it is a business with him to be playful, an infinite labor to be ornamental: he forces his amusement with fits of contrasted thought, with mingling of minor touches of humor, with a good deal of sulkiness, but with no melancholy; and therefore, owing to this last adjunct,[30] the building, in its original state, cannot be called beautiful, and we ought not to consider the effect of its present antiquity, evidence of which is, as was before proved, generally objectionable in a building devoted to pleasure,[31] and is only agreeable here, because united with the memory of a departed pride. [Footnote 30: Namely the fact that there is no melancholy in the English play-impulse; _v. ante_, Sec. 23.] [Footnote 31: See Sec. 118 seq.] 158. Again, it is a lifelike building, sparkling in its casements, brisk in its air, letting much light in at the walls and roof, low and comfortable-looking in its door. The Italian's dwelling is much walled in, letting out no secrets from the inside, dreary and drowsy in its effect. Just such is the difference between the minds of the inhabitants; the one passing away in deep and dark reverie, the other quick and business-like, enjoying its everyday occupations, and active in its ordinary engagements. 159. Again, it is a regularly planned, mechanical, well-disciplined building; each of its parts answering to its opposite, each of its ornaments matched with similarity. The Italian (where it has no high pretense to architectural beauty) is a rambling and irregular edifice, varied with uncorresponding masses: and the mind of the Italian we find similarly irregular, a thing of various and ungovernable impulse, without fixed principle of action; the Englishman's, regular and uniform in its emotions, steady in its habits, and firm even in its most trivial determinations. 160. Lastly, the size of the whole is diminutive, compared with the villas of the south, in which the effect was always large and general. Here the eye is drawn into the investigation of particular points, and miniature details; just as, in comparing the English and Continental cottages, we found the one characterized by a minute finish, and the other by a massive effect, exactly correspondent with the scale of the features and scenery of their respective localities. 161. It appears, then, from a consideration of these several points, that, in our antiquated style of villa architecture, some national feeling may be discovered; but in any buildings now raised there is no character whatever: all is ridiculous imitation, and despicable affectation; and it is much to be lamented, that now, when a great deal of public attention has been directed to architecture on the part of the public, more efforts are not made to turn that attention from mimicking Swiss _chalets_, to erecting English houses. We need not devote more time to the investigation of _purely_ domestic English architecture, though we hope to derive much instruction and pleasure from the contemplation of buildings partly adapted for defense, and partly for residence. The introduction of the means of defense is, however, a distinction which we do not wish at present to pass over; and therefore, in our next paper, we hope to conclude the subject of the villa, by a few remarks on the style now best adapted for English scenery. _ |
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