antiquarian point of view; and also on account of its noble Gothic mansion, its beautiful garden scenery, and its very picturesque lodges and cottages; erected, for the most part, from the designs of the present earl. Mr. Britton's work will consist of about 40 pages of letterpress in folio; and, at least, 30 embellishments by Turner, Alexander, Hearne, Elridge, and Pugin. The publication will be limited to 150 copies: 20 of which will have the plates coloured, price 6 guineas each; and the others will be 3 guineas each.

Plans, Elevations, Sections, and Details of the ancient Gates, Fortifications, and other interesting Buildings in York, by P. F. Robinson, Architect, will shortly appear.

A Plan and Section of the Waterford and Kilkenny Railway, with Reports, &c., by R. M. Hallingworth, price 20s., will be published by subscription. A list is already printed of subscribers' names; among which we are glad to see those of a number of architects.

An Essay on the Nature and Application of Steam, by M. A. Alderson, Civil Engineer, will be published as soon as 200 copies are subscribed for at 10s. each. This essay was honoured by the award of the highest premium ever yet given by the London Mechanics' Institution. A large portion of the work is devoted to the application of steam to the purposes of warming, ventilating, drying, cooking, &c.

For the above notices we are indebted to Mr. Williams, of the Architectural Library, Charles Street, Soho.

MISCELLANEOUS INTELLIGENCE.

ART. I. Domestic Notices.

ENGLAND.

ARCHITECTURAL Drawings and Lectures. At the last soirée at Kensington Palace, given by His Royal Highness the Duke of Sussex, Mr. Britton exhibited about sixty of his interesting drawings, which have been made to illustrate his lectures on architectural antiquities. These drawings were arranged on the two sides of the gallery library, and were disposed to show the various styles and eras of architecture, as existing in the excavations of India, the temples of Egypt, those of the Grecian Acropolis, also in Rome; then the decline of the Roman architecture, and the introduction and progressive changes and varieties in the Christian architecture of the middle ages; next the castellated class, and lastly the old domestic, from the Norman advent to the revival of the Italian orders in the time of Henry VIII. His royal highness, the lord chancellor, and many noble and distinguished visiters, appeared to take a great interest in this mode of displaying the nationalities and peculiarities of design and execution of so many edifices of such remote times. Any thing that can thus be done to give a fashion or publicity to architecture, either ancient or modern, is entitled to general approval. Mr. Britton has lately given one of his lectures (that on ancient castles) to very large audiences, to the literary and scientific societies of Windsor, Hampstead, and Southwark; and he is to repeat the same before the Marylebone Literary Institution, in the course of the summer. The third number of his Dictionary of Architecture and Archæology has been long delayed, as well as the third and concluding part of the History, &c., of Worcester Cathedral, in consequence of urgent demands on his time, from the distracted state of parties in his parish (St. Pancras), by public societies and private engagements. He has, however, written memoirs of two of his old friends, viz., Sir John Soane and Sir Jeffrey Wyatville, for Fisher's very beautiful work, The National Portrait Gallery.-T. W. April, 1834.

Exhibition, Somerset House.-We took a cursory glance at the architectural drawings on the 12th inst. There is nothing very striking; but a number of designs at, and a few above, mediocrity. We shall notice only those few of

which we retain most recollection. Among the public buildings, the first which we shall mention is A Design (886.) submitted to the Fishmongers' Com pany, in December, 1831, which we prefer to that executed, from its noble detached portico, and the general style of grandeur and originality which pervades it. There are several other designs for this Fishmongers' Hall, almost every one of which (particularly 892.) appears to us better than that which has been adopted; chiefly because the latter has no detached portico, while it has a number of attached columns: thus incurring expense, without producing an adequate effect. The Perspective View of a Design for a Royal Exchange (893.), which obtained the gold medal in the Royal Academy in 1833, surprised us not a little. As a piece of architectural composition, it belongs to the school of attached columns. Specimens of this school may be seen in a portion of the elevation of the Treasury, where the columns are of no use, but to support an entablature, and darken the windows under it; or in Trinity Church, New Road, where the columns support little vase-like ornaments. In the design (893.) there appeared to us, to be above a hundred of these attached columns; and only one portico with the columns free. With respect to the drawing, we were still more surprised than we were at the design: it is of a very interior description, as any one may be convinced of, by comparing it with 938., drawn in the same simple style, but with great accuracy, distinctness, and beauty. The Design for a National Pantheon (898.), proposed to be erected in Trafalgar Square, looks more like a monumental column or obelisk joined to a fountain, than a place for containing busts or statues. The intended Suspension Bridge across the River Thames (925.) is too light and fragile in appearance. The first point to be attended to, in a bridge, is the expression of strength. Here the piers in the Gothic style are pierced with windows and arches in all directions, so as to convey the idea of lightness and weakness. Again, the fundamental principle by which effect is produced is contrast; and, in a suspension bridge, there is a fine opportunity of contrasting simple massive piers with the light open work which suspends the roadway of the bridge from the chains carried by these piers. We are quite sure that any architect of a reasoning taste will feel the force of these objections. The View in the lower Quadrangle of Hungerford Market (942.) forms a beautiful architectural picture; as do the views of the same market, 879. and 943. The Design for a new Temple Bar (947.) we trust will never be executed: to do so at the present day, would argue as much wisdom as placing a partial dam across the Thames, by restoring the obstruction at old London Bridge. Perspective View of the proposed Free Grammar Schools, Birmingham, selected by the Committee as One of the Three best Designs for the Premiums. (952.) The general effect of this design is good; but, on looking into the detail, we find far too much care bestowed on the towers and angular buttresses for a school, and far too little on the chimney tops, to be in harmony with the angular buttresses. A parapet of pediments raised against the side of the roof is too obviously merely ornamental; and, besides, gives intricacy in a part of the design where repose would have had a better effect. The Design for the Termination of an Aqueduct (1013.) has too many parts for producing effect; and it has nothing characteristic of its being the termination of an aqueduct. Grandeur ought to have been aimed at, instead of variety. The Design for an Architectural Institution (1020.) is architectural, and apparently suitable; and we should be glad to receive the plans and sections, with a description of what is intended by the author, for publication in this Magazine. We should also be glad to receive the ground plan of 1021., for the sake of showing the internal arrangement. The elevation of this design we think far too extravagant for execution in the present day. Architects seem to forget that this is no longer the age of gorgeous public buildings.

Among the designs for dwellings, we do not recollect any of preeminent excellence. We were most pleased with the Interiors intended for Coombe Abbey, near Coventry. The Entrance Gallery (932.) is in the Elizabethan style, and very fine, as is the Entrance to the great Dining-Hall. (1012.) The Draw

ing-room (927.) is in the style of Louis XIV., large in extent, and very gorgeous and characteristic in design. The Sketch of the North Front of Emo Park, Queen's County, Ireland (913.), shows a fine architectural basement or terrace, which most of the designs for villas in the present exhibition want. The Cottage in Hayling Island (914.), and that at Dichley, on the Derby Road (915.), are suitable and picturesque. The Design for a Castellated Mansion (919.) is not sufficiently high for the castellated style, in proportion to its breadth; and it ought to have been placed on a broad architectural basement. The Villa in Surrey (920.) seems classical and varied. A Mansion in Scotland (926.), surrounded by its terrace walls, has a characteristic effect. Claydagh House (929.) rises from a platform bounded by a balustrade, agreeably to our taste. The Interior of the Library at Leigh Park, Hants (956.), (which we saw last summer), is exceedingly good, both in reality and in the design. The East View of Cossey Hall, Norfolk (958.), is beautifully drawn; but the subject does not form such a good whole as it might have done, had the drawing been smaller, or the picture larger. It fills, in fact, too much of the paper, and has neither enough of background nor of foreground. As to the design itself, its details, in an architectural point of view, are of surpassing beauty. (See a notice of Mr. Dighton's model of this building below.

Among the models, that for a Chapel to the General Cemetery Company (873.) executed in Maltese stone, is by far the most beautiful, both as an architectural design and as a model. That for completing the Buildings at Whitehall, is covered with attached columns, or with columns detached, but only a foot or two from the wall to which they belong, and consequently merely ornamental. There is not a mode of disposing of columns more repugnant to our feelings than this. Half columns may actually be of some use, as adding to the strength of the wall; but columns detached, and yet affording no useful shade or protection, while they occasion nearly as great an expense as porticoes, are wholly without either grandeur or utility. The Model of the County Courts at Kerry, in Ireland (874.), is one of which we should much wish to lay the ground plan before our readers.

Such are our opinions respecting a few of the architectural drawings and models exhibited; but we must beg our readers to recollect that these opinions were formed at one visit; and that, as they are put down from recollection, we may sometimes have referred to the wrong number. If we have leisure, we shall take another view, and give a second notice. In the meantime, if any artist thinks we have formed an erroneous judgment of his works, let him recollect that these criticisms are not anonymous, and are therefore likely to be sincere. We shall be happy to insert any reply to them; only premising, that the party replying shall assign his reasons, and give us, either publicly or privately, his name. This we require, on the principle that all replies to criticisms having the responsibility of a name, should have a similar responsibility. We shall also be glad to have the criticisms of correspondents on any of the architectural designs in the present exhibition, whether they have been noticed by us or not.

The Model of Cossey Hall, Norfolk, the Seat of the Right Hon. Lord Stafford, was inspected by us at the house of the modeller, Mr. Dighton, in Mount Street, Grosvenor Square, May 12. The late Lady Stafford was noted among the nobility as a woman of great taste generally, and more particularly for her taste in, and knowledge of, architecture. The improvements at Cossey Hall were begun some years ago, under her direction; the architect employed being J. C. Buckler, Esq., son of the architectural antiquary of that name, and well known for his profound knowledge of the Gothic style in all its details, and for his great taste. The model before us consists of a series of quadrangles, forming one general parallelogram in the plan. The building is placed on ground which slopes gently to a river, and the principal living-rooms are in the upper quadrangle, and along one entire side of the parallelogram, terminating near the river in a large conservatory. The opposite side of the parallelogram contains chiefly the offices, stables, &c. The architecture is chiefly

remarkable for the very great beauty of its details; most of which are executed either in red or white brick, made and burned on the spot. The only decided principal mass is the upper one, containing the entrance hall; the remainder consists of a series of masses in succession, forming a continuous elevation from the offices near the river, to the entrance hall and chapel at the other extremity. The model, not being quite completed, does not yet display either the grand entrance or the chapel, but the situations for both are pointed out. Along the drawing-room front there is a very broad paved terrace, supported by a forest of piers, surrounded by Gothic arches; and from this terrace there is a magnificent double flight of steps to the lawn. There is one gateway to the kitchen court, another to the stable court, and an entrance gate from the river, all of very great beauty. The model, however, is chiefly remarkable, and will be chiefly useful, for the very great accuracy, beauty, and character of the details of the buttresses, towers, turrets, chimney tops, gable ends, cornices, string-courses, terminations to dormer windows, finials, finishings to gateways, &c. &c. The fidelity and beauty with which these details have been executed by Mr. Dighton are almost beyond praise. We could wish that he would make casts of all of them, and indeed of the whole building, so as to put it in the power of architects all over the country to possess themselves of a model, which could not fail to be of great use in aiding their invention, and correcting and purifying their taste in the Gothic style. We could wish to see Mr. Dighton employed in modelling some of the other fine buildings in the country such as Alton Towers and the buildings in the Enchanted Valley, Eaton Hall, the proposed improvements at Trentham Hall, &c.

The Pantheon Bazaar, Oxford Street (noticed p. 91.), is nearly completed; and we were favoured with a private view of it on the 12th of May. We expect soon to be able to lay before our readers such plans, elevations, and sections of this large and magnificent building (to which there is nothing of the kind that can be compared in the metropolis), as will give them a complete idea of it; and will show them how much beauty of effect may be combined with a speculation having profit for its object. We shall also point out what we think superfluous in its elevation. The bazaar will be opened to the public on the 28th of May.

ART. II. Queries and Answers.

PARGETTING.-In your Architectural Encyclopædia you mention a new kind of pargetting, composed of lime and powdered brick; but you do not say in what proportions they should be used. I shall feel much obliged by your giving the exact proportions, as well as the manner of use, if it differs from that employed in the old method. — W. T. March, 1834. The powdered brick is used instead of sand, and in the same proportion. There is no difference in the mode of laying it on. - Cond.

Brickmaking Machines. What are the respective merits, or otherwise, of Mr. Cundy's patent brickmaking machine; and that of Messrs. Fortnum and Fencke's (or some such name), of a more recent date, and lately employed at Peckham Rye; and of the Russian patent one of M. de Chomas; or of any other that may have been invented? W. Newcastle Street, Strand, London, April 24. 1834.

ART. III. Obituary.

DIED, at his house at Camberwell, April 29., William Froome Smallwood, Esq., Architect, at the early age of 34 years. Mr. Smallwood was eminent as an architectural draughtsman, particularly in the Gothic style; and, as a man, he was much esteemed and beloved by all who knew him.

THE

ARCHITECTURAL MAGAZINE.

JULY, 1834.

ORIGINAL COMMUNICATIONS.

ART. I. On the Difference between Common, or Imitative, Genius, and Inventive, or Original, Genius, in Architecture. By the CONDUCTOR. IN our preceding article (p. 145.), we have shown that every architect must necessarily have the power of invention; or, in other words, be a man of genius. The amateur architect may understand the art, have a love for it, and possess a good taste in its productions; but he is not supposed to possess the power of designing new buildings- that is, of displaying architectural genius.

In the infancy of all arts, the artist must have drawn his materials from nature, and created an art by the exercise of his inventive powers; but, in an advanced state of society, such as that to which we have now arrived, the artist derives his materials from the works of artists who have preceded him, and thus, as it were, works at second hand. In the former case, he must necessarily display inventive genius; and in the latter, imitative genius only.

The difference, then, between imitative genius and inventive genius consists in this; that, in the former case, the artist composes with elements already prepared to his hand by his predecessors, and that, in the latter, he forms elements of his own, and composes with them.

The architecture of all ages and countries may be reduced to two primitive elements; viz., the roof, and the prop by which that roof is supported. The kind of roof, and the kind and manner of applying the props, must have varied in different countries, according to the climate, the building materials furnished by the soil, and other circumstances; and from this difference have arisen the different manners of building, or styles of architecture, which are characteristic of different countries. Each of these styles consists of a number of parts and details; such, for example, as columns, pedestals, architraves, cornices, pediments, &c., in the Grecian style; and arches, buttresses, gables, mullions, labels, tracery, &c., in the Gothic manner. Now, an architect of the present day, in composing either a Grecian or a Gothic building, has the forms, the proportions, and all the