at least it is desirable that a part of a structure so well adapted to become an ornamental classical appendage to a town mansion, should display some little regard to taste, as by this means the back apartments of a house might be rendered even preferable to the others: which is rarely the case at present, for when they look into what is by courtesy termed a garden, it exhibits—at least during by far the greater portion of the year, little more than damp walks and stinted vegetation.

Wherever there is an opportunity of introducing it, a Conservatory forms a very pleasing object at the back of a house; and in point of architecture may be rendered highly ornamental: its propinquity to the rooms fronting it, would admit much delicacy of detail, as it would be sufficiently conspicuous.

Although some of the foregoing remarks relate to what is not immediately and indispensably connected with interior decoration, in the strict application of the term, they may all be considered as applying to it: they will at least serve to point out what a wide field is open to the artist in this apparently narrow and restricted branch of his profession; and of what varied and picturesque effects it is susceptible.

Another very extensive and important subject-one that, in fact, would demand an entire volume to treat it as its copiousness requires, and years of study to enable any one to discuss it with the attention it deserves, and to illustrate theory by example, -is that of Ornament. In this particular, Mr. Soane has evinced great ability, and has done much to enrich this department of architecture, by his masterly and tasteful adaptation of embellishments borrowed from the antique, and also by beautiful inventions of his own; he has also for the most part so employed them as to combine a high degree of richness with classical simplicity. The skilful and artistlike manner in which he relieves unbroken masses by decorative features, and thus contrives to vary the outline of his buildings; whilst the use he has made of vases, tablets, scrolls, and honey-suckle ornaments, give to his designs a superior picturesque value. Nor are his internal ornaments less characterized by originality, both of composition and of application. Some critics, we are aware, may be of opinion that in this respect he has occasionally allowed himself too much license to this we reply, that we do not perceive why architecture, which is purely an art of invention, should be more fettered and restricted in this respect than any other. There was a time when each beauty it possesses was an innovation,-when whatever is now sanctioned by the authority of ages, was a deviation from preceding practice. We certainly would not argue for the abuse of this liberty: nay, we would rather say

that the utmost caution and discretion ought to be exercised with regard to this privilege. We will further grant, that modern architects have indulged in it too much, and thereby deteriorated and impoverished, instead of improving and enriching the art, but this only proves that they invented badly; without any regard to the principles of taste, without due study of the antique, without judgment, and without feeling. Hence their attempts have exhibited a character totally opposite to the style with which they have sought to combine them; and by the juxta-position with classical forms, the disparity has been rendered more striking.

It might almost seem impertinent to remark, did not so many examples prove that such a caution is not supererogatory, that ornaments, unless beautiful in themselves, are worse than none; since, instead of affording the pleasure they are intended to produce, they only disgust, and excite a regret that so much cost and labour should have been expended on them. Of late years, a far better and purer style has been introduced into all these accessories, although there is still much room for improvement. That which was at one period in vogue, and may be described as the French style, was perhaps, of all others, the most uncouth and tasteless that was ever devised, capricious without fancy, monotonous without unity*.

We may admire both the architecture of Greece and that of the middle ages, however dissimilar in their character, for both are founded on just, though different, principles; and each forms a regular and harmonious system:-we may truly say of them, pares magis quam similes. But in the degraded French school, till about the close of the last century, we cannot possibly recognise any principles whatever, save such as must inevitably produce deformity. Such, however, wretched as it was, was the style we were content to copy in our furniture.

Unfortunately for good taste, Furniture, although forming so essential a part of decoration and effect, has been considered as not coming within the province of the architect or artist. Robert Adam was, we believe, almost the first of his profession who gave designs for furniture, which he endeavoured to assimilate with the more permanent decorations of the apartments for which it was intended; but meritorious as his efforts were, he was far from attaining purity and simplicity.

To Mr. Hope we are indebted, in an eminent degree, for the classical and appropriate style which now generally characterizes our furniture and ornamental utensils.

* It is with much regret we learn, that some features and imitations of the old French style, which Mr. Hope calls the "degraded school," are adopted in a modern palace: let us hope, however, that even princely authority will not become an example for such a style.

Like most other innovations, his was decried as whimsical and puerile by some persons, as if it were absolutely unbecoming a man of fortune to indulge in the elegant refinements which wealth placed at his command; whilst others caricatured the system by cramming their apartments with mythological figures and conceits, jumbled together without propriety or meaning*.

It is therefore highly desirable that the architect of cultivated taste be permitted to exercise his judgment on furniture, which so much affect interior decoration: whereas, at present, he rarely exhibits in his designs any thing beyond the bare walls of his rooms. If it be said that such subjects do not come within the scope and province of the architect, we contend that he ought not to leave a house, or an apartment, till he sees and approves all the finishings and fittings-till harmony, symmetry, and beauty pervade every part.

"Be thou the first true merit to defend ;
His praise is lost, who stays 'till all commend."

POPE.

* Mr. Hope's useful volume "On Household Furniture and Interior Decoration," folio, 1807— though treated with much illiberal severity in "The Edinburgh Review," Vol. X., has not only improved the taste of cabinet-makers and upholsterers, but also that of their employers. This gentleman urgently recommends the young artist "to emerge from the servile track of undeviating sameness, take a higher flight, and ascend to those more copious sources of elegance, whence I myself have drawn all my ideas, and which alone can offer an inexhaustible store of ever varied and ever novel beauties. I mean, in the first place, those productions of nature herself, animate or inanimate, which contain the first elements and the first models of all the perfections of art; and, in the second place, those monuments of antiquity which show the mode in which the forms of nature may be most happily adapted to the various exigencies of art."-See also Percier and Fontaine, "Recueil de Décorations Intérieures, comprenant tout ce qui a rapport à l'Ameublement." Fol. 1812. 72 plates.

"He gains all points who pleasingly confounds,
Surprises, varies, and conceals the bounds."

POPE.

HAVING pointed out in the preceding chapter, as far as our limits would permit, some of the principal desiderata in domestic architecture and interior decoration; and having briefly shown the varied effects of which they are susceptible, and the extensive and diversified field they present to architectural talent, we now proceed to notice, briefly, the arrangement of the rooms, as indicated in the ground plan; reserving, for the next chapter, more particular descriptions of the respective apartments.

This residence, which was built by Mr. Soane in the year 1792, and has been occupied by him ever since that time, has undergone many successive changes and embellishments that have rendered it, independently of the numerous works of art it contains, a house of peculiar interest to the architect, antiquary, and artist. The elevation towards Lincoln's Inn Square, although too small to form a prominent object, and although rather fanciful for street architecture, must be admitted to exhibit a novelty which at once attracts attention and excites comment.

It is,

however, to be regretted that merely the galleries, or screen, is of stone; and that the entire front is not of the same material. This screen consists of three arches below, one forming the doorway, and three above: the latter are divided by narrow pilasters, decorated with square flutings, terminating at top in an angular fret. Before the second story, the screen occupies the space of the centre window only; and above each of the extreme pilasters, of the lower part, is placed a female statue *. We need hardly remark how much more preferable this mode of disposing statues is, so as to have their shadow fall upon the building itself, to that of fixing them on the upper cornice or balustrade of an edifice, where they always have an insecure appearance, and where, if they be numerous, as is the case in many Italian edifices, they look like a row of pinnacles, the effect of which is any thing but pleasing to the eye. It is not, however, on the external appearance of the house that we need dwell, when there is so much more originality and invention displayed in every part of the interior. This we purpose to notice, and shall endeavour to characterise by a few general observations, in passing from one apartment to another, through the whole; and in the subsequent chapter shall enter more into detail, by describing some of the choicest objects of art and virtù which are here preserved. By referring to and studying the annexed PLAN, the reader will be able to obtain an accurate idea of the forms and arrangement of the ground floor; and will not fail to remark how ingeniously every portion of the space has been occupied and rendered beautiful: and how every irregularity of form is made to contribute to variety, and to produce picturesque effects.

The PLAN includes the ground floors of the three houses, Nos. 12, 13, and 14, Lincoln's Inn fields, the whole being the freehold property of Mr. Soane. That marked No. 13 is, however, the subject of the present essay, and is contradistin

* The original erection of this gallery created inveterate and pertinacious opposition from the district surveyor, who proclaimed it a nuisance, and in opposition to the provisions of the Building Act: he accordingly indicted the architect in October, 1812. The case was argued before the Bow Street magistrates, and decided against the surveyor. The latter, however, appealed to the quarter sessions, where the case was not received. The district surveyor next carried it into the Court of King's Bench, when Lord Ellenborough again referred it back to two magistrates: after being once more discussed by counsel on both sides, and by the magistrates, the projection was decided not to be a nuisance, and not to come under the cognizance of any Building Act. The consideration of this case, and the pertinacious litigation it occasioned, convinces us of the danger of investing undefined power in certain public offices. In the same Square, a similar case had been previously decided: and the portico of the Surgeons' Hall was raised without opposition from the district surveyor. The Metropolitan Building as well as the Paring Acts require careful revisal, and specific adaptation to the present times.

E