1845,] 



THE CIVIL ENGINEER AND ARCHITECT'S JOURNAL. 



113 



been consklerably increased during the winter, but tlie colours are obliterated 

 in several places, as is apparent to tlie most superfirial observer. This has 

 not arisen from llie dnmpnr.it of our atmosplurt. but from ilamp gcncraleil in lite 

 walli IJiemsehn's. In the second report ol^ the Commissioners of the Fine Arts. 

 which (reals at great length on the manner and means to be adopted in painting 

 in fresco, it slates tliai in all " buildings erected williout due precaution, in 

 humid situations, it is found that the damp rises through the masonry by 

 capillary attraction." The external coatings of the walls are thus alTectcd 

 to a considerable height ; not only paintings are destroyed, but the plastering 

 Itself becomes detached. In Venice, where the foundations of so many 

 Iiouses are partly immersed in water, it has been remarked that the plaster- 

 ing is frecjuently loose, even to the height of 20 feet ; the presence of damp 

 to a still greater height, in a less pronounced form may therefore be inferred. 

 It is probably owing to the action of moisture thus communicated, that 

 paintings in the open air have decayed so generally in Venice, for it has 

 been already remarked that the sea air, which is sometimes assigned as the 

 cause of this decay, has had no such etl'ect on external painted decorations 

 in Genoa, the foundations of the houses being there dry. Several parts of 

 the Koyal Kxchange exhibit signs of dampness, the colour either fading or 

 peeling off. This is undoubtedly a very serious evil, endangering as it does 

 the preservation of the. whole structure. As there is not tlie slightest difficulty 

 in jireventing the ascension or descension of moisture in the walls of our 

 buildings, it ought to be prevented in all edifices of importance whether in- 

 tended for decorative purposes or not ; the very simple contrivances required 

 in the erection would amply repay the extra trouble, and would afterwards pre- 

 venitbat rapid decay so common to the buildings of this country . The wonderful 

 preservation of the buildings of antiquity has been in a great measure from 

 the peculiarities of the cement which resisted (whether manufactured inten- 

 tionally or notj the action of moisture. 



This is a very important subject, and worthy of the attention of all who 

 desire to promote the lasting durability of all works which are great and 

 beautiful, and designed to mark the state of this important epoch in the 

 world's history. 



It is to be regretted that the experiment of Fresco, the first of its kind 

 publicly executed in this counlry. should have become so much injured, al- 

 though (he work in itself is not of much importance, still it is calculated to 

 injure this peculiar and beautiful system of decoration in the opinion of many 

 influential persons who may become prejudiced against the style, by judging 

 of its value from its present aspect, yet a little con.sideration will convince 

 us that when proper precautions are used, a mere distempered decoration 

 will last for a considerable time. 



The colours introduced upon the ceiling of the eastern entrance, which I 

 have been given to understand is also a fresco, are of a most extraordinary 

 appearance, this fresco certainly affords persons an opportunity to 

 recognise the meaning of crudeness and want of harmony in colours; 

 if intended as a contrast to many clearer specimens of harmonious 

 colouring to be found in the colonnade, it has been undoubtedly successful, if 

 however such a burlesque upon good taste was not contemplated, the sooner 

 it is painted out, the belter it will be for the fame of the artist. 



In my former remarks, the western entrance, and of course the principal 

 one, escaped my observation, and it is painted indeed in such a manner that it 

 deserves little notice, being merely an oblong panel enriched by an oval centre, 

 containing a wretchedly designed and ill executed ceiling flower of a dirty 

 salmon colour. 



The introduction of neutral tints in this the principal entrance, I should 

 imagine was intended to familiarize the eye in some degree with colour, be- 

 fore entering the interior, and also to blend with the tone of the slonewurk, 

 forming a sort of medium, or connecting link between the magiiiliccnt portico, 

 and the decorations of the ambulatories. If such were the idea it has been 

 most feebly carried out ; the comparison to the beautiful enrichments on 

 the ceiling of the portico is most contemptible, instead of supporting the 

 very novel eflt'Cts which have been introduced in this part of the building 

 with so much success ; the eye encounters an extremely common-place pro- 

 duction, in a situation where above all others something is required which 

 should tell, something which should please the eye by cleverness of design 

 and skiltulness of execution ; the colours might have been subdued as 

 they are at present, and yet have blended harmoniously with the stonework 

 as well as with the enrichments of llie interior. 



In the entrances of the Royal I'Achange we have two effects of an op- 

 posite character, in the one I have just described, you enter the building and 

 become familiar wilh colour by degrees; in the others you come suddenly 

 upon striking and vivid colouring. 



The idea in each is in principle good and illustrates the necessity of well 

 weighing in Ihe mind the relative value o^eflects, and the peculiar mode of 

 treatment required according to the situation. Thus by entering the Ex- 

 change from the Norih and South side, the appearance is quite refreshing ; 

 the eye is captivated by a brilliant assemblage of glowing colours, the ab- 

 sence of which in the surrounding objects, contrasts in a most favourable 



manner, and assists wonderfully in giving fullness of tone and vigour to the 

 whole arrangement. The general aspect of the interior appears very un- 

 finished and abrupt ; the walls and ceiling are so completely enriched, every 

 little space therein being covered with ornament repeated at intervals 

 thioughout the colonnades, that the transition from such an abundance of 

 colour to the stone pilasters upon the walls and other parts, presents an in- 

 congruity that must be obvious to every person. It would have been infi- 

 nitely better to have left the stone of he walls plain, rather than have destroyed 

 itselleet by such contrasts ; if the apparent solidilij of the structure would re- 

 ceive injury by the introduction of colbur on the pilasters, there would have 

 been some extenuation for the defect, but when we are so fully aware 

 that colour can not only be made a vehicle for grandeur of effect, but also 

 assist in giving stability to the whole « hen arranged in a proper manner, we 

 may indeeil wonder at the want of mechanical tact (which is all it amounts 

 to) displayed In the present decorations. The manner in which the ceiling is 

 overloaded with ornament renders it also necessary to enrich the pilasters of 

 the colonnade to support in some degree the stability of colour, that the whole 

 be knit well together and not appear detached as at present ; which 

 not only renders the gener.al contour very unfinished, but produces such 

 peculiar distinctness in the effect which one part bears to another, that it im- 

 jircsses one with the notion of the work having been brought to an abrupt 

 termination, somewhat similarly to an unfinished picture of an artist, the back- 

 ground of which is fairly rubbed in, leaving certain portions of the can- 

 vas untouched, to be filled in as the picture advances. This is just the appear- 

 ance of the walls, in consequence of their being divided by the stone pilasters. 



Tlie ceiling and walls are too strongly coloured to blend in a satisfactory 

 manner with the other portions of the building which are totally devoid of 

 it, the contrast is thus crude and disagreeable, for no decoration can be im- 

 posing as a whole, with such abrupt parts in its compisition. The use of 

 colours contrasting and harmonizing one with the other, is not that it shuuld 

 individually appear more conspicuous than the rest, but merely to heighten or 

 subdue, as may be required, certain portions of the work. The beauty of all 

 decorations depends upon the harmonious combinations of ihe whole, every 

 phrt must to a certain extent assist in promoting one grand effect, the most 

 striking parts ought to form the principal beauties, because the eye will na- 

 turally attach itself to such portions uf the enrichment, while the more sub- 

 dued parts generally escape common observation. 



Thus it is absolutely necessary in order to render the decorations of the 

 Royal Exchange complete, to enrich in some degree the pilasters around the 

 walls. The style adopted by Rafihelle in the decorations uf the Vatican, the 

 colonnades of which are somewhat similar, illustrates the manner of giving 

 stability to the decorations without deteriorating the apparent solidity of the 

 building : in the pilasters were introduced some of the most exquisite arabes- 

 ques, and although the decorations do not display the highest order of harmo- 

 nious colouring for w hich indeed Raffaelle w as never very celebrated, he has 

 exhibited the most consummate knowledge in the arrangement, ihe eye is not 

 struck by any particular colour, all combine to produce one effect. The ne- 

 cessity of keeping this infallible rule constantly in view, must be evident, for 

 upon it depends the success of decorative art. 



The division of colour must have appeared much more singular when the 

 Merchants' Area was paved in Tessera ; if any part of the Quadrangle is to 

 be paved in this manner, it ought to be in a situation where it would produce 

 the most pleasing effect. 



However great may be our desire for the display of novel effect, it is ex- 

 tremely [important to maturely consider the manner of introducing it with 

 success. Paving the Merchants' Area in tesserra requires no mean skill to 

 render the general etl'ect prepossessing in itself, and much more to improve the 

 aspect of the building. The design which was executed in the area was cer- 

 tainly not calculated to materially increase the beauty of the whole. It was 

 evidently the object of the patentees to make the pavement .as striking and 

 as effective as possible, not the building; and however cleverly arranged in 

 itself. It did not possess those features necessary to heighten the whole ap- 

 pearance of the work ; the want of perspective lines to assist in giving extent 

 to the building was very apparent, this above all should be attended to, for it 

 constitutes a principal beauty. Its decided failure here however may be the 

 means of introducing It in a more satisfactory manner, therefore out of evil 

 may come good. — In my previous notice I considered the details of the 

 pavement, also the cause of its failure, and the introduction of asphalte 

 in lieu thereof until the durability of the tesselated pavement was satisfac- 

 torily substantiated. The specimens which were afterwards laid to be tested 

 by llic winter, were upon dilferent systems, every opportunity being offered 

 l.y the Gresham Committee, to render the experiments of Messrs. Singer 

 conclusive. The result at the present time in both is however very unsatis- 

 bictory ; the tesserx in several places have disappeared, and other parts 

 have been so loosened, that they will soon share a similar fate. In buildings 

 like the Royal Exchange where the public have ready access, experimeiits of 

 Ibis kinil are calculated to injure or do good as the case may be. the value of 

 tesselated pavement will be considerably lessened in the minds of those pet- 



