1846.] 



THE CIVIL ENGINEER AND ARCHITECT'S JOURNAL. 



65 



IDEA FOR THE FACADE OF THE BRITISH MUSEUM. 



(With an Engraring, Plate I V.J 

 Little less than marvellous is it — ceitaialy unaccountable, that so im- 

 portant a structure as the British IMuseuni — the most public of all our 

 public edifices, because that to which the public liave freest access, should 

 be regarded by the public and the public press with so much apathy and 

 indifference. Or if it is not to be attributed to sheer indifference, the sullen 

 silence which has succeeded to the bitter remonstrances made against the 

 design for the Facade at the time the works for it were first commenced, 

 argues despair, and the unhappy conviction that all the remonstrances in 

 the world would have no effect upon those whom it has behoved to con- 

 sider very seriously what they are about, and to reconsider the design 

 adopted for the Facade, ere it be altogether too late. Poor as it would be, 

 it would still be some sort of satisfaction lo be informed what it is that has 

 recommended the design in question, what are the particular merits and 

 beauties discerned in it, and claimed for it. Instead of which, all that has 

 been said about the intended Facade has been siroi.gly against it, without 

 the slightest attempt having been made to reconcile us to it, by gainsaying 

 anyone of the objections which have been urged in condemnation of it. 

 If they can fairly be set aside, the neglecting to do so looks much more 

 tike scorn/ul disregard of public opinion, than like generous forbearance. 

 However matters of the kind may have been managed formerly, at the 

 present day, we have some right to expect to be tolerably well satisfied 

 beforehand that a work of such magnitude and importance, will be found 

 perfectly satisfactory when compleled. 



To bid us wait — lo suspend our judgment until we shall have the entire 

 Facade before us, is merely idle evasion, for the Model might all along 

 have been exhibited for general inspection in the Museum itself, instead of 

 being kept there under lock and key, jealously secluded from all eyes but 

 those of a privileged few,— eyes likely to be far more partial and indul- 

 gent, than at all critical. Does such very cautious vigilance bespeak coju- 

 fortdble confidence— well-grounded assurance that the model justifies what 

 was on one occasion said of the design? — but said, be it remarked, very 

 long ago, when the name of its architect stood very much higher in general 

 estimation than it does at present; and that, not because he himself has 

 fallen off from what he once was— on the contrary, he remains just the 

 same as he always was ub iititio, — but because others have far outstripped 

 him, and because several structures have in the interim arisen both in this 

 and other countries, in comparison with which the British Museum will 

 show exceedingly poor,— rescued from insignificance only by its mere 

 magnitude as a building, and on that very account all the more distress- 

 ingly unsatisfactory, because the occasion both demanded, and afforded 

 opportunity for something infinitely superior. For that to be merely pass- 

 able, which ought to be a. first-rate piece of architecture of its kind, and to 

 display all the very best qualities of the style adopted for it, amounts to 

 nothing less than failure. We are annoyed by the disagreeable contrast 

 which impresses itself upon us, between the what is and the what might 

 have been,ajid ought to have been. 



Id the case of the British iMuseura, those who will have lo answer for 

 the disappointment which the building will create, will have left themselves 

 very little excuse for their error. They will in a manner have made them- 

 selves doubly responsible by waiving off all interference whatever in the 

 shape of opinion, remonstrance, or the expression of wish that the building 

 should prove at least not inferior to other contemporary ones, in the same or 

 a similar style. Interference of that kind being totally disregarded, all the 

 less scrupulous need we be about speaking out quite freely, being well 

 assured that our remarks will not iu the slighest degree disturb or perplex 

 either the architect himself, or those who sanction his treatment of the Bri- 

 tish Museum facade. 



There is no necessity for waiting longer when the whole already exhibits 

 itself very clearly to an architectural eye, the entire mass being shaped 

 out, and as much of it completed as very distinctly shows the precise 

 quality of the architecture, and the degree of fiuish and effect. There is 

 uothmg at all doubtful,— nothing left for conjecture : we cannot flatter our- 

 selves with the possibility of being mistaken in regard to any of the archi- 

 tect's inteutious, or with the hope of being taken very agreeably by sur- 

 prise by aught that yet remains to be done. Even yet, indeed, there re- 

 mains an opportunity for redeeming the Facade by introducing into it a 

 magnificent feature that should be superior to every thing which we now 

 have of the same kind. We are not therefore exactly too late, though cer- 

 tainly not at all premature in submitting an idea of our own ; though its 

 No. 102.— Vol. 1.\.— March, 1846. 



being in sufficient time to allow of its being adopted, makes, we are fully 

 aware, no difference whatever. By some, perhaps, it would be considered 

 better timed, were it to be kept back until the possibility of adopting it, 

 had altogether passed away. We of course lay ourselves open to the 

 charge of presumption in pretending to correct the architect's design, more 

 especially as it is one in regard to which the Horatian precept of .\omim 

 prematur in nnnum has been observed in more than its fullest extent. Let 

 us be deemed ever so presumptuous, we will not show ourselves sneaking 

 also, by gently protesting that we feel exceedingly doubtful whether our 

 variation would be any improvement after all,— that we here produce it 

 most hesitatingly, and reluctantly,— with many other pretty perjuries of 

 the kind, which if Jupiter docs not laugh at them, all sensible readers will 

 at once see through. All that we have to observe apologetically is that the 

 accompanying Elevation (see Engraving) purports to be not such a design 

 as we could have wished to see adopted, but merely an alteration of the 

 existing one, adapted to the Facade as already shaped out, so as not at all 

 to disturb the structure itself, or iu any way interfere with what is actually 

 done, except in so slight a degree as to be of no moment. 



Nothing more would be required than to enlarge the plan of the centre 

 portico, making it of a different order and upon a larger. scale than the 

 colonnades along the rest of the facade, whereas now that portico will be 

 merely in continuation of them, and not otherwise distinguished in the 

 general mass than by the addition of a pediment — very insullicieut to give 

 a decided expression of loftiness to the centre of the compositiou. For the 

 colonnades alone, as subordinate to the main feature, the present Ionic 

 order may be upon a sufficient scale, but it will not produce a portico upon 

 a scale at all more majestic than some which we already possess — not 

 comparable in that respect — or indeed, any other- with that of the Royal 

 Exchange. Projecting only a single iutercolumn in advance of the lateral 

 colonnades, it will not display itself at all advantageously, neither will it 

 be of sufficient depth within to be attended with, much architectural effect 

 on that account, or properly to answer the purpose of a Vorhalle, or open 

 colonnaded vestibule containing the entrance to the building, because it 

 will be in a manner choked up wilh a second row of columns within cor- 

 responding with those in front, and dividing it into two spaces not at all 

 wider than the other colonnades. Great advocates as we are for the use of 

 internal columns in porticos, we are far from approving of the arrangement 

 of them in the portico that is to be, of the British Museum. A certain de- 

 gree of richness will, no doubt, be so produced, but, it may be apprehend, 

 ed, it will cause the rest of the colonnading to look meagre and scanty, by 

 comparison, especially at the external angles, — where we could wish to 

 have seen square pillars, if only in order to break the monotony arising 

 from such a number of columns as there will be, and nothing else. The 

 whole facade will consist of nothing more than columniation put up ia 

 front of a fenestrated structure. Take away the former, and so far from 

 losing any thing essential to it, the rest would remain as good as ever, with- 

 out there being aught to show that there had beeu columns, or that the 

 structure was framed with reference to their becoming constituent parts of 

 it. Were they taken away, there would be no hialusses on the design ; it 

 would be only rendered astylar, with a single range of windows, not very 

 dissimilar from the Hall of Commerce in Threadneedle Street, except that 

 it would be somewhat less ornate. Over-decoration will certainly not be 

 the failing of the facade of the British Museum ; the absence of sculpture 

 and all other artistic embellishment may obtain for it the reputation of 

 simplicity from those who have no have no other idea of simplicity than 

 that of nudity and bareness : yet the inscription of " British Museum" will 

 be necessary to apprise strangers that withiu such structure may be found 

 soraeof the most precious remaius of ancient art and sculpture, and the 

 model of the Parthenon, to boot. Even the order itself is nowise distin- 

 guished : it is a fair average example of Grecian Ionic, and nothing more, 

 and except that the shafts of the columns are fluted, it is quite plain. It 

 is in fact the same example as that employed for the Post-oltice, without 

 any attempt at difference of character and expression. Its merit there- 

 fore is merely of a mechanical kind, for il has not cost the architect the ex- 

 ertion of a single fresh idea> What will serve for a I'ost-Oliice, will serve 

 it seems, equally well for a Museum ; although there had m-ed be some- 

 thing more than usually striking iu the order to make amends for the tame- 

 ness and monotony of the general design. 



In our altered version of the Elevation, the Ionic order becomes a se- 

 condary one, and as such contributes to contrast with and set otT the Corin- 

 thian octastyle, which though considerably loftier (being somewhat higher 

 than the portico of the Uojal Exchange) would nut in its turn have theef- 



