24 



THE CIVIL ENGINEER AND ARCHITECTS JOURNAL. 



[Jan. 



fleets much more than a flat one. Another important advantage arising 

 fro,,, this form of ceilnu was the facility afforded for a powerful system 

 Tlie paioting-rooin wuuld be raised some nine leet 



of ventilation. The painting-room wuuiu oe raiseu some ■.,..<. .c-<r. , aiid 

 the absence of the rolls of canvas, scenei-y, and o'her properties, from the 



I to the reverberation of sounds — 



top of the ceiling, would add considerably .,„„„, 



besides coalributing greatly to the comfort a,.d health of the artists en- 

 ploved In the theatre. Mr. Dwyer elucidated his ideas by sketches AU- 

 vertine to the general principles of construction exhibited in the theatres ot 

 the metropolis, Mr. Dwyer considered that the Surrey Theatre embraces 

 more than any other the best arrangements for seeing and hearing ; the 

 proscenium being formed on a bold level, judiciously diminishing the width 

 of the stage. 



The disregard of unity in the construction of theatres generally was 

 pointed out; and, among other instances the St. James's was named— 

 where li"ht flowing ornaments, in the French siyle, are in juxla position 

 with a massive Classic style ; and the ceiling of ihe Princess's was deemed 

 an instance of discordant arrangement. Tlie application of various deco- 

 rative materials, such as distemperpain'ings, paper-hangings, composition, 

 papier rnach^, to the fittings, &c., received attention : and it was asserted 

 that the Princess's was conspicuous for elaborate richness and diversity of 

 ornament,— but that it was questionable whether the Herculean expression 

 therein, rather than the grace and delicacy of Apollo, may be deemed ap- 

 propriate. Mr. Dwyer said, that as a specimen of decorauoa it merited 

 warm praise; owing to the characteristic vigour throughout every part 

 (up to the ceiling), as well as for a suitable strength and richness of colour. 

 The usual enrichment on the fronts of boxes was commented on ; and the 

 use of bas relief, or raised ornament, recommended in preference to the 

 most elaborate surface-painting on panels,— as exhibited at the Italian 

 Opera Housi, where the effect partakes of the weakness peculiar to pap«r- 

 hangings and similar media. The second tier in the Princess's was alluded 

 to as a good specimen of this manner ; being decided in character, with the 

 details effective but subordinate, and the terminal figures between the com- 

 partments skilfully devised. The velvet valances to the boxes m this thea- 

 tre were commended; but the practice of having them, as m s-^^eral thea- 

 tres to extend only above the private boxes was deprecated. When it is 

 not wished to have ornament in relief upon the fronts of the boxes, valances 

 of this kind suspended from the cushion were suggested as imparting a pe- 

 culiar and good effect. Ornamental iron work, is was said, may be intro- 

 duced with great diversity of design, for balconies, open fronts to the 

 boxes fret-work and ornaments in relief for various parts ot a theatre. 

 Some'remarks were added on the usual method of supporting the boxes by 

 series of columns ; and others condemnatory of the manner in which the 

 tiers of stage boxes are generally placed betioeen large Corinthian columns. 

 Sculpture was mentioned as offering an important adjunct in producing a 

 higher class of decorations,— and encaustic painting as facilitating cleanli- 

 ness and durability. 



At the following meeting some observation* on the paper were made by 

 PIr. Cooper; in which, referring to the remarks on a plan of a theatre, he 

 sug'^ested that another form ottered considerable, and probably greater, ad- 

 vanfa^es. This he described as the oval; which he would have divided 

 by its'lonoer diameter, one half apportioned to the audience, and the other 

 to the stage, &c. He alluded to several continental theatres, approaching 

 lo this form in construction— the Circus Franconi, Napoleon's grand am- 

 phitheatre at Milan, the Roman Circus at Verona, and the Colosseum. As 

 painted or shifting scenery was not employed with the (Jreek Drama, the 

 proscenium was richly decorated with ranges of marble columns, statues, 

 gilding, and bronze. The advantages of the semi-circular and semi ellipti- 

 cal over those of the horse-shoe form were enlarged upon ; and the Olympic 

 Theatre at Vicenza, built by Palladio, was said to exhibit them in a per- 

 fect manner. This theatre may be considered the chej-d' auvre of Palla- 

 dio ; and was erected, by order of the Olympic Academy of Vicenza— 

 whose members directed him to build it in accordance with the ancient 

 plan, that Ihey might afford their compatriots an idea of the magnificence 

 uf ancient theatrical exhibitions. Various plans, as well as the prosce- 

 uium, which is a remarkably elaborate architectural composition, were ex- 

 hibited in an old work upon the public and palatial buildings of Vicenza. 

 Mr. Cooper then noticed the remarks by Mr. Dwyer on decorations : seve- 

 ral of whicli met with his concurrence— and others he extended by addi- 

 tional descriptions and suggestions ; referring espeidally to Ihe decoi'alions 

 of the TIndtre Comfdie at Paris, as of a chaste and appropriate kind. 1 he 

 details were said lo be very light, and in the Iteuaissance style.— The dis- 

 cussion was supported by Messrs. Parris, Seddon, Crabb and others : and 

 the following nbservations are selected from othei's of interest. A sphe- 

 roidal form of ceding, it was admitted, oll'ered several advantages; iu- 

 llueiicing ventilation and lighting, as well as contributing much towards 

 a picturestjue and pleasing effect.- The decorations of the ceiling in the 

 Italian t)pera House, it was observed, had been copied from one in the 

 Ducal Palace at Mantua (a coloured plate was exhibited froiu Gruuer's 

 work), but they had not been successfully adapted. It was considered 

 questionable if the example was suitable for such an extensive surface; if, 

 admitting the propriety of selection, the figures hold their just proportions. 

 The great distance at which they are required to be seen had not been suf- 

 ficiently regarded in the colouring ; and the peculi.ir liaz-- to the atmosphere 

 in a large theatre, as well as some other general principles in colouring, 

 demanded a different treatment. The use of brigiit colours, such as Ver- 

 million, it was remarked, ought to be restricted to a very limited apjilica- 

 tiou.— Mr. Parris supported this opinion by references to works by lUl- 



faelle and Rembrandt; and recommended Indian red and Venetian red, 

 when supported by a bold mass of shadow, as producing a more powerful 

 effect. He also objected to the prevalent use of bri.^.ht colours for interiof 

 decorations— from their harsh and, owing to the general absence of green, 

 fatfuins impression. It was remarked that the decoraiions of the Italian 

 Opera House appear most satisfactory when the seats are vacant ; an/1 

 consequently, that the design does not embrace some essential principles. 

 The box tiers on the rising of the curtain were compared lo bauds of whita 

 ribbon fi 'ured with certain dark spots, oddly associating witu the rich 

 scenery and dresses on the stage. Encaustic painting was alluded to ; 

 and its durability and effect were said to have been proved equal to fresco 

 when subject to the influence of gas and vitiated atmospheres. Coloured 

 decorations when composed of sprawling cnpids or allegories were slight- 

 ingly mentioned. Some suggestions were made stating that rich fabrics, 

 coloured as Persian carpets, cloth of gold, &c., when thrown over the fronts 

 of the boxes, would conduce to a rich and gay appearance quite distinct 

 from any obtainable by painting.— The Oije'ra Comiiiue at I'ans was de- 

 scribed by way of contrast to the d-coraiions of our Opera House. A 

 satisfactory, quiet, yet rich effect, it was said, is there displayed, together 

 with some important matters in construction. The ornaments are com- 

 posed of stamped brass.— A description was given of Covent Garden 

 Theatre as it was when first opened. It was designed by Smirke, ami 

 painted under his directions. The drop-scene was painted by H illiani 

 Dixon in subdued colours; with sienna colamns and statuary, with broaa 

 masses of shadow, conducing to a forcible impre.sion by powerfully en- 

 hancing the effect of colours in scenery and dresses on the stage. 1 he re- 

 pose conveyed on the fall of the curiam was said to have been agreeable, 

 although splendour was not aimed at. 



SOCIETY OF ARTS, LONDON. 

 Dec. IG.— Dr. Roget, Sec. R.S., V.P., la the Chair. 

 The Secretary read an address from the Council, which yave a retrospect 

 of the proceedings of tlie past year, and the proposals of the Council for 

 the future. It stated that formerly the Society, as is well known, stood 

 alone as the great active scieutific, mechanical, and artistic society of Lou- 

 don, the Royal Society being the only other in any analogous posilioa. 

 That now, however, that great field is happily full of co-operating Socie- 

 ties, each labouring on some one suljjecl formerly a mere dependant on its 

 vast territory. That this removal from the parent Society ot so many 

 branches, has necessarily stripped it of many of its bright ornaments ; bui 

 it appears to the Council, that far from being regarded as an evil, this 

 multiplication of useful Societies is a subject for congralulation, and should 

 be regarded as oue strong proof of its past usefulness. 



The Council consider that the field on which the Society might with best 

 efft-ct concentrate its future labours, as well as that which mo£t properly 

 belongs to it, is a deparlment of the Fine Arts hitherto much neglected in 

 this country, and which has been strongly approved of by H.R.H. Prince 

 Albert, President of this Society,— namely, that of promoting high art tn 

 connection with the uiecliauical, for which our manufacturers are so justfy 

 celebrated. . ... . , 



The Address then proceeded to state the various alterations and Im- 

 provements which had been effected on the Society's premises during the 

 recess, and concluded with a list of the various pecuniary and honorary 

 rewards about to be offered for competition during the current session. 



The first paper read was " O/i the princijjies emijloyed in the recent Deco- 

 rations of the Societifs Great Room." i5j D. K. Hav, Esq. 



The paper commenced by stating that the decorator wiio has been In- 

 trusted with the embellishment of the hall of a Society which has for its ob- 

 ject the advancement of the ornamental and useful aris, naturally felt much 

 anxiety as to the result of his labours ; and this anxiety was increased by the 

 reflection, that his work must necessarily be of a nature calculated to accom- 

 pany one of the greatest efforts in high art of whicli this country can boast. 

 His first object, therefore, has been to adopt such a style of decoration as 

 should not only embellish the hall, but at the same time give additional 

 effect to those great works of art which it contains, connecting the whole In 

 one general harmony of torm and colour. • . , i 



This has been effected by surrounding the pictures, by Barry, with cloth 

 of a deep purple hue, which colour is the most eff'ectual in giving clearness 

 to works of high art. The spaces of wall which surround the pictures thus 

 have the effect of being in shade, while the pictures themselves wiU appear 

 in full light. 



Having in some measure separated the pictures from the ceiling, the next 

 consideration of the decorator was the general effect of the hall itself. It is 

 requisite that all apartments, in whicli great works of art are exhibited, 

 sliould possess a certain degree of grandeur. I'his is sometimes imparted by 

 architectural decoration alone; but in the Society's hall scarcely anything 

 uf the kind exists. The wall terminates by a narrow and lightly enriched 

 cornice, surmounted by a plain cove of 8 ft. 4 in. wide— this cove is termi. 

 iiated by a narrow border of stucco work, between which and the aperture 

 for the cupola light there is a flat space also quite plain. Ti.e aperture to- 

 wards the cup ila light is thrown into eight panels by a plain narrow mould- 

 ing, and this completes the architectural decoration. 

 It, therefore, appeared to the decorator that whatever grandeur was to be 



