843.] 



THE CIVIL ENGINEER AND ARCHITECTS JOURNAL 



431 



lated for every 5 lb. pressure in this scale ; they t how a compsu ison of the 

 results oi' the four formula: with each other, a. id the respective amount of 

 deviation from irul ' . in each. 



The greatest error is — 



By M. Navier's formula 



M. lie Pamhour's first ditto 



„ „ second ditto 



The new formula 



The mean error is — 



By M. Navier's formula 



M. de Pamhour's first ditto 



„ „ second ditto 



The new formula 



lb. 



1-31 per square inch. 

 4-12 

 2-75 

 0-71 



lb. 



0-245 per square inch. 

 1-42 

 0-35 

 0-00G2 



The tables also show : — 



1st. That the new formula is nearer the truth than either of the others 

 taken separately, iu three-fourths of the scale. 



2nd. That it is nearer than all three combined, in half the scale. 



3rd. That the greatest error of the new formula, with regard to the pres- 

 sures, is only about half as great as that of the most correct of the other 

 three. 



4th. That the mean error is only one-fortieth of either of the others, and 

 only equal to about one-tenth of an ounce per square inch. 



5th. That the errors in the volumes are much less numerous and important 

 with the new formula than with either of the others. 



It is also added that the new expression is simpler iu algebraical form 

 than the others; it is more easily calculated, the constants are easier to re- 

 member, and that no alteration of the constants in the other formula 1 will 

 make them coincide so Dearly with the truth as the new one does. 



ROYAL INSTITUTE OF BRITISH ARCHITECTS. 

 Monday, November 4. — \V. Tite, Esq.. v.i>., f.r.s. in the Chair. 



He opened the proceedings of the session by making some observations in 

 explanation of what be had stated at the concluding meeting of the hist 

 session. lie alluded to what he had said as to the effect of the growing 

 tendency to introduce Gothic architecture. What he intended to affirm was 

 that it was not the duty of the architect to make a servile copy from the 

 works of the ancients, but to avail himself of them only as exemplifications 

 of the great principles which would require adaptation for modern edifices. 

 In allusion to this subject he pointed out the advantage of studying the re- 

 mains of the domestic architecture of the time of Edward III., as useful 

 studies in the present day. So far from disapproving of the legitimate study 

 of Gothic architecture he congratulated the members on the numerous re- 

 storations of ancient monuments in that style which were daily assuming all 

 their ancient beauty. All he bad wished to do was to caution junior mem- 

 bers against tbe exclusive study of that style and the neglect of the classic 

 monuments of Greece and Italy, which he considered to offer more suitable 

 types for domestic edifices, and he reminded them of the excellent examples 

 set them in this respect by Inigo Jones and Wren. 



He then proceeded to give some account of his tour into Germany during 

 the last summer, when he had an opportunity of viewing the Walhalla 

 (described in our Journal for April and May last, and accompanied with a 

 view of the exterior & interior). He stated that the building was well 

 studied, its situation admirable, and the blending of architecture, sculpture 

 and painting exquisite, while the colouring is not so elaborate or so glaring as 

 e the contrast too great. In passing through the town of Ulrn in 

 Wirtemburgh he visited the cathedral which he described as a very fine 

 building, and well deserving the inspection of architects who may be tra- 

 velling in Germany; although it is a Lutheran church, there are several 

 objects well deserving of notice, it has four aisles with arches supporting a 

 clerestory. The wood carving in the choir is extremely good. There is 

 also a hue specimen of architecture, the tabernacle for tire host, which 

 is on the north side of the choir. In Munich he considered colouring was 

 carried too far, the effect of colouring in external decoration not being good. 

 I or example the Theatre at Munich is a very fine building; it has a portico 

 with a pediment, the tympanum of which is painted in fresco; at the back 

 of this pediment is a second pediment also painted, the effect of which is 

 extremely harsh. He then referred to the prevailing style of architecture in 

 Munich, of which he said the two principal buildings were in the Byzantine 

 style. The Basilica uow being erected is in that style and well adapted to 

 exhibit the effect of gilding. The library is in the Florentine style, but the 

 external colouring is not well introduced. Mr. Tite then observed that from 

 what he saw at Munich, and from the present tendency in England colour 

 and decoration would be carried too far and likely to run into excess, 

 although good in interiors the quantity of gold requires light, and conse- 

 quently is not in some cases so well suited for ceilings. The roof of the Basi- 

 lica is a queen- post roof and the interior is opened to the hall, the rafters are 

 decorated as well as the other timbers, but the poverty of the materials is 



rather unfortunate as they are not well suited for decoration. The mode of 

 building adopted in Munich has not the advantage we possess of the use of 

 iron. Upon this point Mr. Tite advised the ; rt to obtain a 



thorough knowledge, and learn the circumstances in which this I 

 be advantageously introduced. In She course of the pn sen! ; -.. on he pro- 

 mised To saj something relative to the best, form of beams, and BS to the in- 

 troduction of iron generally for architectural purposes, 



Professor Donaldson then read a paper describing thirl 

 churches found in Henrj the 5th, Chantry at Westminster Abbey, (Uey were 

 designs submitted to the Commissioners appointed iu the reign of Queen Aim 

 for building of fortj churches in the metropolis, but only three out of the 

 thirteen models had been erected, viz., the New Church,' Strand, Greenwich 

 Church, and St. James' Westminster; the others were designs of a high class, 

 and he considered it a ■ ' , ■ he architectural character of the metro- 



polis that they were never carried into effei t. Toe models are weH executed 

 and in good preservation, and it is, to be regretted that tiiey are not opened 

 to public inspection. 



Professor Donaldson also made some observations on the spoliation of 

 fresco by the old Italian masters to the exterior of buildings for decoration, 

 and exhibited an original drawing by Poltidori iu illustration, lie then 

 read a letter from Mr. Crace, of Wigmore Street, .count 



of the frescos which had fallen under his notice during a recent tour in Ger- 

 many and the north of Italy. Mr. Crace observes "that in Italy, Switzerland, 

 and the south of Germany, the paintings in fresco are so general, that there 

 is scarcely a town in which, both in the exterior and in the interior of the 

 houses, some are not to be met with. In Italy this kind of decoration is the 

 most frequent ; there, in many cases, the architectural effects seem to have 

 been arranged, with the view of being afterwards aided by painting; the 

 enrichments of the mouldings and the ornaments being ehiaro 



oscuro. In other cases, again, the whole surface of t he ed with 



historical or allegorical and ornamental painting. My principal object in 

 travelling was, firstly, to learn the processes employed in fresco and encaustic 

 painting ; secondly, to form an opinion as to the effect o produced ; and 

 thirdly, to judge how far those effects would surpass painting in oil, in ap- 

 pearance and durability. For the two first reasons it was, therefore, the 

 modern specimens of the art, to which my attention was principally directed. 

 At the Royal Palace at Venice, I noticed decorations lately executed in fresco; 

 but it was at Munich that I saw the art most extensively employed. In this 

 city it is to be met with in every modern public building. In the church of 

 St. Louis is the grand picture of the Last Judgment bj Cornelius, and other 

 frescos of considerable merit by his pupils. In the All Saints' Chapel (Alter 

 lleilige Capelle) are some beautiful paintings by Hess and his pupils, on a 

 gold ground. At the basilica of St. Bonifacius, so splendidly decorated, Hess 

 and others are employed at this time on a series of grand paintings; at the 

 Glyptothek are the frescos of Cornelius ; at the Pynacothek, those by Zim- 

 merman and others ; and at the two Royal Palaces, each room is adorned by- 

 some artist of excellence, either in fresco or encaustic. In addition to these 

 interiors there are examples of exterior decorations at the Hof Garden, the 

 facade of the Post Office, and the Theatre. The process of painting iu 

 fresco, though attended with certain difficulties, is easily learnt with ordinary 

 perseverance. The effects produced surpass painting in oil, in solidity and 

 clearness; but owing to the limitation of colours employed, there always 

 appeared to me a certain yellow brown dry effect, and a want of the richness 

 of paintings in oil. In the grand fresco by Cornelius of the Last Judgment, 

 I think this must he felt by all; and in the beautiful composition by Veith at 

 Frankfort, this defect is still more apparent. 



" The manual operation I found, to my surprise, to be by no means rapid, 

 even by the practised hands. One of the most distinguished artiots 1 noticed 

 painting a broad fold in the drapery of a monk, he used a small brush, and 

 gained his effects by repeated touches. The ground of lime and sand re- 

 quires to be touched with delicacy. The pictures in execution at the Basilica, 

 take, I was informed by one uf the artists, nearly a twelve month to execute. 

 The cartoons and pounces are prepared in the winter months, and the paint- 

 ing is done during the summer. In ornament too, I observed that the work 

 was not quicker than in oil, and much slower than in distemper to which 

 it is superior as bearing washing, but inferior in the brilliancy of colouring. 

 As to the durability of fresco in the older examples that I noticed in Italy, 

 though the paintings had preserved to a considerable extent their original 

 colouring, yet the effect was in almost all cases impaired by the decay of the 

 plaster ground, the surface of which had crumbled through the action of the 

 atmosphere. At Venice where works on a grand scale have been executed 

 in both fresco, and oil, I was curious to compare the relative defects and 

 advantages of each, and found, that though the paintings in oil of some 

 masters had much darkened, yet that with others, particularly Paul Veronese, 

 the effects were still clean and fresh, and, upon the whole, being in better 

 preservation, surpassed the actual appearance of most of the frescos. In the 

 grand works lately executed at Munich they have been too recently done 

 of an opinion being formed, yet, in the exterior specimens at the 

 post office, and the Hof Garden, signs of decay are very evident. Upon the 

 bring the difficulties of execution, the 

 liability of decay in the ground, and the impossibility of reparation if injured, 

 I could not perceive any great advantages over oil; in this country must be 

 further added the additional likelihood of decay, from our damp climate, and 

 discolouration through smoke and fig; on the one side it has great advan- 

 tages in being seen to perfection in all lights, and therefore particularly ad- 



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