IS-13.] 



THE CIVIL ENGINEER AND ARCHITECT'S JOURNAL. 



375 



their operations in tlie corridors; vet if tliev are to be carried on 

 there to the extent now contemplated, it must be either very rapidly 

 <ir very slowly : either the whole work must there be executed with 

 all dispatch possible when once begun, so that it may be got out of 

 hand ; or, it must proceed very gradually indeed, and perhaps only at 

 intervals during a long series of years. 



Our artists, I conceive, are likely to have ample time to prepare 

 themselves for study, ere their services will be required Cor the Palace 

 at Westminster, which may not be till some of them are grown grey- 

 haired. As a last question — one which deserves to be well considered, 

 will it be possible to grant the public that free access to the interior 

 of the building, which it now seems to be taken for granted will be 

 the case.? The verv plan shows that it is not at all adapted for the 

 purpose of a public gallery of art, and that to convert it to such would 

 be incompatible with the more important purpose for which the 

 building is destined. 



I remain, 



Your obedient servant, 



J. B. 



THE BRITISH MUSEUM. 



( With Plan of Facade.) 



Whether or no any positive beneficial result ensue from public at- 

 tention being kept alive as to the British Museum, the subject is one 

 that is very far from being vet exhausted, and which ought not yet to 

 be dropped. In fact, with the public generally it is but just begin- 

 ning to make any sort of stir, and interest— at least curiosity, has been 

 so far excited, that several inquiries have been made as to the possi- 

 bility of obtaining a sight of the model which is deposited some- 

 where in the building itself. It was not very long ago rumoured that 

 it was open to public inspection there, yet this turns out not to be the 

 case, applicants being informed that the model cannot be seen without 

 an express order from the architect himself: which is tantamount to 

 a civil sort of peremptory refusal, since it compels individuals to 

 solicit as a particular favour and indulgence what ought to be matter 

 of public right, for if there be no general claim of that kind, the ap- 

 plying for the favour is no more than what might be done with equal 

 propriety in any other ease. 



We were told that we might write to Sir Robert Smirke, but we 

 were not at the same time assured that such application would be at- 

 tended to ; so thinking that it might after all, be very much like sum- 

 moning spirits from the vasty deep, we declined making the attempt, 

 as, we suppose, most others have dune. The precaution adopted, is 

 in itself a very politic one, for while it makes a show of a little libe- 

 rality, and renders it impossible to say in strictness of truth, that the 

 model is not allowed to be seen by any one, it effectually excludes 

 those who are the likeliest to be able to judge of the design, and to 

 express their opinion of it. It requires some sort of assurance to ask 

 a man as a favour to be permitted to inspect a production of his, that 

 you want to see for the express purpose of telling the public your 

 opinion of it — be it ever so unfavourable. Accepted as the boon of 

 courtesy, the permission itself becomes a bribe to criticism — a pad- 

 lock upon its tongue : at any rate one does not feel at liberty to ex- 

 press one's opinion altogether so freely and independently as if he had 

 paid his admission shilling at the door, or as where gratuitous admis- 

 sion is universal. 



That the refusal of this last should still be persisted in is strange, 

 yet by no means inexplicable, on the contrary, it suggests at once to 

 the dullest apprehension, both of what kind, and how powerful the 

 motives are which prevent compliance with what is but a reasonable, 

 demand on the part of the public; — more especially as it is impossible 

 to allege in this case the slightest difficulty or inconvenience in 

 granting facility of access, nothing in the world being easier than to 

 remove the model from its "prison room," and place it in the hall of 

 the Museum. In general, architects and artists rather rejoice than 

 otherwise, when they find the public take particular interest in, and 

 make inquiries as to the progress of the works they are employed 

 upon. So far is it from being usual to show such excess of caution, 



silence, and reserve, as has all along been kept up in regard to the 

 British Museum, that it is quite common for architects themselves to 

 exhibit by publishing or allowing to be published, designs or views of 

 buildings, while in progress, or perhaps onlv just begun. We could 

 quote numerous instances of this : two may suffice — and those can be 

 verified by our own readers, for we were enabled to give designs and 

 descriptions of the Reform Club-house, long before that structure was 

 completed, and have in our last number laid before them an elevation 

 of St. George's Hall, Liverpool, nor has its author had any cause to re- 

 pent of the publicity which his design had previously obtained. Why 

 then, should so much mystery be made of the design for the facade 

 of the Museum ? as if the public had positively no right to feel any 

 curiosity about it, to take any interest in it, or make it in any way, 

 any concern of theirs. Such extraordinary reserve shown in this in- 

 stance by the architect, may pass with some for modestv — for the 

 natural bashfulness, not of sixteen, but sixty. Far more likely does it 

 proceed from pride, or likelier still from the conscious foreboding 

 that to exhibit his model to public scrutiny would be to sign its death 

 warrant. 



Notwithstanding, however, the most jealous precautions, something 

 has transpired, and enough to lift up a good part of the veil hanging 

 over the front of the British Museum, for knowing its plan, we can 

 give a very tolerable guess at its elevation, and might even undertake 

 to draw it out, and exhibit it as the architect's own; for such is his 

 mannerism — so unvaried and stereotype, so bare and poor are all his 

 vertical plans, that they may be dispensed with, and we may prettv 

 confidently rely on such particulars as can be gathered from a ground 

 plan alone, knowing that of ornamental design and decoration, there 

 will be nothing except what arises from the order itself, or rather 

 from the columns, all the rest being bald and naked. Such being the 

 case, there is, after all, very little necessity for demanding to see the 

 design, since we may fairly be said to have been made fully acquainted 

 with it already, the plan being published in a parliamentary report, 

 so long back as five years ago; nor is it at all likely to have since 

 undergone any alteration — any correction or modification, for Sir Robert 

 is not given to vacillation; he knows his own mind — abides by his 

 first idea, instead of foolishly endeavouring to improve upon — per- 

 fection. 



At all events, nothing has been said as to another design having 

 been since substituted, as would undoubtedly have been done, were 

 such really the case, in order to disabuse the public of a very great 

 mistake. We may, accordingly, with that design or plan before us, 

 and here exhibiting a reduced copy of it to our readers, which will 

 enable them to follow us in our remarks, and spare ourselves a great 

 deal of tedious explanation — proceed to criticize it. 



It will at the first glance be seen that there will be a considerable 

 degree of effect — and that of a kind we are unaccustomed to, pro- 

 duced by continuous columniation, breaking round the outline of the 

 plan, and thereby displaying lines of columns at right angles to each 

 other, consequently varied in their perspective appearance, and in 

 regard to light and shade. We freely admit that so far we shall 

 have something classical, even striking in character. Strange, indeed, 

 would it be, if forty-two fluted Ionic columns, ranged continuously, but 

 on different lines, did not produce a certain sort of grandeur; and we 

 may venture to say that the first-tight coup d'teil cannot very well fail 

 of being impressive. So far, therefore, all very well; yet in such a 

 case, surely so far is very far indeed from being far enough, since it will 

 be by no means sufficient if the facade be calculated merely to cap- 

 tivate the eye, on a first and cursory inspection of it : on the 

 contrary, all the more likely is it, in consequence of the pretension 

 and promise so made, to cause disappointment and dissatisfaction, 

 after the feeling of mere curiosity has been gratified, and it. is then 

 discovered to be one of those things which have the peculiar merit 

 of "looking best at a distance," a merit, by the bye, which is more 

 common than we could wish to find it. It is neither every building, 

 nor every person, that improves upon further acquaintance : of both 

 there are not a few to whom we may apply the line of the epigram — 



" He less bad liked you had be seen you twice." 



51 



