1844.] 



THE CIVIL ENGINEER AND ARCHITECT'S JOURNAL. 



2b3 



GOLDSMITHS' HALL. 

 (IVith Two Engravings, Plates X. XI.) 



Taken in general, the Halls of the Civic Companies contribute very 

 little to the architectural appearance of the City, notwithstanding tint 

 they are tolerably numerous, and that tlie bodies to whom they belong 

 could very well afford to indulge their taste if they had any. Several 

 of these buildings are so situated — forlunately perhaps, as it happens, 

 rather than the contrary — that it matters very little what they are — 

 externally at least, — they being quite concealed from public view, — 

 buried in courts, lanes, and narrow back streets. It is only an old- 

 fashioned portal or gatewav, with columns and a "crinkum-crankum" 

 pediment and scrolls, that in many cases, gives any indication of any 

 building of the kind being at hand. 



Old Goldsmiths' Hall, which so long as it existed, was buried in the 

 labyrinthine intricacies of a mass of lanes, was of very frowzy appear- 

 ance, and marked by a sort of quaint and picturesque ugliness. To 

 give any description of it would not be easy, so exceedingly fantastic 

 and outre was it in design — if such an architectural medley could be 

 called design. 



' " As soon, however, a? the Post Office was erected, and the houses at its 

 rear taken ilowii, Goldsmiths' Hall made a somewhat forlorn appearance, and 

 looked as if, after being so long pent up in an alley, it did not care to have 

 the sun shine npoii it. What share — if any — this circumstance had in de- 

 termining the Company to erect a new ' Hall,' we are unable to say, hut their 

 former building was taken down in 1829, and the present structure forth- 

 with commenced, from the designs of Mr. Hardwick, who has here produced 

 a very noble piece of architecture, — imposing, both by the solidity of its con- 

 struction, and the dimensions of its order ; dignified in aspect, and remark- 

 ably rich iu character, as regards the sculptured trophies introduced over the 

 five centre windows of the West front. It has indeed been objected, that 

 the ground floor is too plain and too tame to accord with the richness .and 

 boldness of the rest of the design ; a defect, however, capable of being easily 

 remedied at any time, should it be thought worth while to do so. As to the 

 building being so badly situated, as some would have us believe, we do not 

 see any reason for particular dissatisfaction iji that respect. Although it does 

 not stand in a main street, it is by no means shut out of sight, a view being 

 caught of it from St. Martin's Le Grand ; and although it certainly comes 

 behind the Post Office, it cannot be said to be concealed or crowded up by 

 that building, there lieing quite sufficient space to view it in front, nor is it 

 at all a disadvantage that there is not loo mvch. It is more to be regretted 

 that the ' Hall' could not be placed parallel to the Post Office, at least, the 

 degree of obliquity between them rendered less apparent." 



We fully — or even more than fully agree with what is said in re- 

 gard to the lower part of the design of the exterior : even had the 

 ground-floor been made a mere basement to the upper one, it would 

 still have been quite out of keeping with the latter, had there not been 

 some kind of dressings to the windows; but actually iiicorporaled as 

 it is with the rest by being included within the order, its excessive 

 nakedness causes the upper windows, &c., to look as much too 

 heavy and overloaded as the lower ones are insignificant and mean. 

 We are here struck by a strange incongruity aud perverseness of 

 taste — moderu cockney or quaker-like no-style mixed up willi the 

 bold manner and richness affected in the Roman palaces of the ITth 

 century. Even the most uneducated eye must, we think, be offended 

 at the very glaring discrepancy of parts here manifested. Accordingly 

 we do not give the elevations of Goldsmiths' Hall, that is the exterior, 

 as affording a study of design which may be safely taken as an exam- 

 ple by others, but merely to show what it is, and by pointing out its 

 defects to warn and caution against them. 



In the interior of his building, the architect has acquitted himself 

 infinitely better, since that deserves almost unqualified praise, not only 

 on account of the general magnificence and sumptuousness of its stale 

 apartments, but also for an unusual degree of picturesque effect. As 

 far as we are aware, the Grand Staircase has no rival in the metropo- 

 lis, either iu any of the Clubhouses, or any other buildings public or 

 private — certainly not in the British Museum, where — if anywhere at 

 all something approaching to it, at least, might be expected. From 

 the pl.ui alone, of course but au imperfect idea can be formed of its 

 beauty, but without a plan even careful description, and that aided by 

 a view, is not sufficiently explanatory. — And for description we will 

 here again have recourse to the writer in the " London Interiors." 



" The entrance hall itself makes no great architectural show, it being 

 treated merely as au outer vestibule, as which it is sufficiently spacious and 

 handsome; still even here we have something to excite curiosity — a sort of 

 promise of, and prelude to, still greater magnificence to come, as we catch 



1 We Imnoiv this and some otiier extracts from the letter-pr*'s3 to Part XX\'III. uf 

 the " London Interiors," uhicli contciins vieu's of the Grand Stairease, and the lian>]uet- 

 ting or Livery Hall, the latter from a drawing by IVlackenzie. Those views, therefore, and 

 our elevations and plan mutually aid each other in atl'urding an aieqnute idea of ttie 

 structure, both externally and internally; and hardly need we recommeiui tile •' London 

 Interiors" for tile manner in wiiich the literary part — if not, indeed uniformly from the 

 hrst, in all the later parts, becaase our extracting so much sulHcicntly attests our gonl 

 opinion. 



No. 83.— Vol. VII —July, 1844. 



imperfect glimpses of a splendid back-ground, showing itself — we will 

 hazard the hull — iu lustrous dimness through the glazed oak screen 

 which separates, yet without entirely disuniting, the Hall and Grand Stair- 

 case. Nothing can be better managed than this arrangement, whether as 

 regards effect or convenience ; without being altogether shut out of view 

 even at first, the staircase does not come into view too soon ; and the vesti- 

 bule having first to be passed, gives an idea of greater extent than if that and 

 the Staircase formed a single open space. By being enclosed, the latter is 

 rendered infinitely more comfortable : not only draughts of air, but the noise 

 attending the anival of carriages and the setting down company, is cut off, 

 and visitors can linger on the staircase in their ascent, without being exposeti 

 to the gaze of attendants iu the hall. It certainly is a scene to hiiger in : 

 most striking as is the coup d'reil, on first entering, and it is one of almost 

 magical effect, a fresh architectural picture — a new combination, presents 

 itself at every turn of the ascent ; and as you advance, the space shews itself 

 greater ; nor is the full climax of effect gained until you have reached one of 

 the side colonnades, and thence survey the full extent of the staircase from 

 end to end, across the four ranks of columns." 



" Standing on this spot," viz, at the bottom of the staircase, the writer 

 goes on to remark, " there is a striking degree both of expanse and loftiness 

 over-head ; to the first of these the depth of the colonnades and upper log- 

 gias contributes in no small degree, for had the design been in all other 

 respects just the same, but with only a single line of columns on each side, 

 the effect would have been considerably less — different, in fact, as to kind, as 

 well as to degree, and of by no means so striking and unusual character. 

 The scenic effect thus produced is considerably enhanced by the mode in 

 which the light is admitted entirely from above — over the centie division, 

 through three large arched windows beneath the dome, on the south, west, 

 and north sides, and over each of the loggias behind the columns, through 

 three compartments in the flat ceiling, filled in with diapered and stained 

 glass, and therefore highly ornamental in themselves, and also tasteful novel- 

 ties in design." 



This is by no means all which is said in the way of either descrip- 

 tion or comment ou the subject of the Staircase, but we do not con- 

 sider it necessary to quote more, for were we to help ourselves to 

 what would suit our purpose, we should reprint all that is said in 

 the publication. Still we cannot refrain from taking, if n.t the whole, 

 a considerable portion of what is said of the Banquetting Hail, and do 

 with the less scruple, because we think that tve are rather serving the 

 publication which we thus make use of, by making many of our readers 

 now first aware of its existence. 



" On the west side, or that facing the windows, the two extreme inter- 

 columns are occupied by the doors communicating with the loggias of the 

 staircase, consequently the stylobate is there of necessity interrupted : in the 

 three other intercolutnns are as many full-length portraits, viz., that in the 

 centre of William IV., by Sir Martin Archer Shee ; to the right of him Queen 

 Adelaide by the same artist, and the other, that of her present Majesty, by 

 Sir George Hayter. The north end of the room, wliich is that shown in our 

 view, presents what is both a novel and characteristic feature, as well as a 

 striking one in the general coup d'ceil, as seen on first entering from the op- 

 posite end — namely, the large niche serving as a beaufet. This is hung with 

 scarlet drapery in folds, on which the light falls from above through a glazed 

 semi-dome; yet, although happy in idea, this last does not produce in the 

 day-time all the effect which it might have done, had that opening been 

 filled with warm amber-coloured glass. The appearance, however, is most 

 superb of an evening when, ou the occasion of a han»|uet, this recess is decked 

 out with what has been called ' the very best edition of Goldsmith's Works' 

 — the Company's magnificent array of plate, rendered still more dazzlingly 

 splendid by the intense lustre poured full upon it, by lights which themselves 

 are not seen by the spectator. 



" Turning now in the opposite direction, to the south end of the room,om- 

 admiration abates very considerably, for that is so difl'erent in design and 

 character from all the rest, as not to seem to belong to it. Here we behold 

 an oak screen, with Corinthian columns and pilasteis, over which is an open 

 gallery : the order, indeed, is the same, hut of very difl'erent material and 

 colour, and being of one uniform colour throughout, this screen contrasts far 

 more strongly than agreeably with the scagliola columns along the sides of 

 the room. The general design or ordonance of the room is, besides, dis- 

 turbed by it, as its order is upon a smaller scale, and quite unconnected with 

 the larger one. This screen carries a quaint old-fashioned look, expressive 

 enough of olden times and civic customs, yet ill assorting with the more re- 

 fined and elaborate splendour of the room. We do not, however, at all attri- 

 bute it to the architect's own taste, but suppose that it was forced upon him 

 as a point of etiquette." 



It must be confessed that the oak screen mars the general design of 

 this noble room. Far better would it have been had the order, and 

 the screen formed by filling up the lower part of the intercoluuins to 

 the same height as the present screen, leaving the upper parts and the 

 capitals of the columns, insulated, which while it would not have been 

 attended witb any inconvenience as regards the music gallery over the 

 screen, would have been a decided and very great improvement in 

 respect to uniformity and biBauty of ensemble. At present the screen 

 has too much the look of not belonging to the rest, but of being built 

 up into the room ; and the gallery over it, too much like an awkward 

 and unsightly gap in the design. 22 



