AMUSEMENT, AND INSTRUCTION, VOL. 10, ISSUE 278, SUPPLEMENTARY NUMBER
(1828)***


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THE MIRROR OF LITERATURE, AMUSEMENT, AND INSTRUCTION.

VOL. 10, No. 273.] SUPPLEMENTARY NUMBER. [PRICE 2d.



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[Illustration: New Palace, St. James's Park.]



[Illustration: Triumphal Arch at Hyde Park.]



THE NEW PALACE IN ST. JAMES'S PARK.


Palaces are at all times objects of national interest, or rather they
are national concerns. They belong to the attributes of royalty, and
in some instances have been erected by a grateful people to celebrate
the virtues of patriot princes. We therefore make no apology to our
readers for occupying so large a portion of the present Supplementary
Number with the representations and details of the New Palace, (the
exterior of which is just now completed,) and of the consequent
improvements in the adjoining Parks; since we are persuaded that the
patriotic feelings of our subscribers will hail them as subjects of
paramount importance. The great Lord Bacon, who treated these matters
with the gravity of a philosopher, in his "Essays," gives a "brief
model of a princely palace;" and in our times Napoleon is known to
have expended many thousands in restoring the gilding of the palace at
Versailles--although the extravagance of its founders paved the way
for the events in which he distinguished himself.

In architectural improvement, London has made greater advances since
the late peace, than in the entire century which preceded that
auspicious event. Being unquestionably the richest, the largest, and
most populous city of Europe, the seat of a wealthier court, and a
more opulent body of nobility and gentry than any other metropolis, it
seems only a reasonable expectation that it should likewise excel all
others in the number and magnificence  of its public edifices and
private dwellings. Such, however, is not the case; for, till within
the last few years, that most splendid and impressive of all the arts,
architecture, has been almost wholly neglected.

The architectural superiority of London, such as it is, consists in
the number, size, and neatness of its principal streets and squares.
Petersburgh, Berlin, Naples, Turin, Geneva, Antwerp, Edinburgh, and
other places, have perhaps finer streets than any in London, but in
respect to their number there is no comparison. In _churches_, London
will probably be admitted, after Rome, to take the first rank among
the cities of Europe; but in _palaces_, London is confessedly excelled
by almost every other capital in Europe, both in public and private
edifices of this description; of the former, Whitehall, Carlton-house,
(now almost demolished,) and the Mansion-house, comprise the whole
list of buildings any way entitled to the appellation of palaces--and
even _their_ title has often been thought disputable.

To rescue our national character from this opprobrium, or ill-timed
compliment to royalty, the remodelling of Buckingham-house, or rather
the erection of the _New Palace in St. James's Park_, was decided on;
and how far this design has been accomplished in the palace, we leave
it to the taste of our readers to determine. Various piecemeal, not
to say absurd, descriptions have, during the progress of the work,
appeared in the London and provincial papers, many of them originating
in party feeling; but the structure has now so far advanced to
completion as to enable every spectator to estimate its merits and
demerits; and we are sorry to add, that much of the censure bestowed
on the palace during its progress (though with bad motives) now proves
essentially correct. The name of the designer at present remains a
secret. His majesty is known to possess exquisite taste, and it is
scarcely believed that his approbation can have justified some of the
incongruities, not to say enormities of the building; be this as it
may, the general public feeling is that of disappointment and regret.

The annexed view is of the central entrance front, facing east,
towards the Canal and the Horse Guards, taken from the Wall in St.
James's Park. The first objection is the site, in itself insuperable,
as will appear from the following remarks on the subject by Mr.
Loudon, editor of the _Gardener's Magazine_:--

"Had the problem," he says, "been proposed (how) to alter Buckingham
House and gardens, so as to render the former as unhealthy a dwelling
as possible, it could not have been better solved than by the works
now executed. The belt of trees which forms the margin of these
grounds, has long acted as the sides of a basin, or small valley, to
retain the vapours which were collected within; and which, when the
basin was full, could only flow out by the lower extremity, over the
roofs of the stables and other buildings at the palace. What vapour
did not escape in this manner, found its way through between the
sterns of the trees which adjoin these buildings, and through the
palace windows. Now, all the leading improvements on the grounds have
a direct tendency to increase this evil. They consist in thickening
the marginal belts on both sides of the hollow with evergreens, to
shut out London: in one place substituting for the belt an immense
bank of earth, to shut out the stables; and in the area of the grounds
forming numerous flower-gardens, and other scenes with dug surfaces,
a basin, fountains, and a lake of several acres. The effect of all
this will be a more copious and rapid exhalation of moisture from
the water, dug earth, and increased surface of foliage; and a more
complete dam to prevent the escape of this moist atmosphere, otherwise
than through the windows, or over the top of the palace. The garden
may be considered as a pond brimful of fog, the ornamental water as
the perpetual supply of this fog, the palace as a cascade which it
flows over, and the windows as the sluices which it passes through. We
defy any medical man, or meteorologist, to prove the contrary of what
we assert, viz. that Buckingham Palace is a dam to a pond of watery
vapour, and that the pond will always be filled with vapour to the
level of the top of the dam. The only question is, how far this vapour
is entitled to be called _malaria_. We have the misfortune to be able
to answer that question experimentally.... A man must be something
less or more than a king, to keep his health in that palace for any
length of time."

On the subject of _malaria_, an Italian term for the produce of marshy
lands, the attention of the public has lately been powerfully excited
by a series of essays by Dr. Macculloch, an abstract of which will be
found at page 252, of our accompanying Number, under the head "Arcana
of Science." Dr. M. is supported in his opinion by Lord Bacon and
other philosophers; and he shows, that though it is commonly supposed
that standing waters, when clear and free from smell, and all running
waters, are perfectly salubrious, they may, in fact, be nearly as
injurious as those that are putrid and stagnant; "that, besides proper
marshes, fresh and salt meadows, and wet pasture lands generally, all
woods, coppices, thickets, rivers, lakes, ponds, _ornamental waters_,
pools, ditches--_plashy_ and _limited spots of ground generally_, &c.,
send forth more or less of this noxious vapour; that wherever, in
short, any chemical compound of the vegetable elements is wetted, or
held in solution by water, there the poison in question may be or will
be produced, _provided the temperature be sufficiently high_; that the
smallest spot coming under any of the above denominations is
sufficient to produce _malaria_, and _a single inspiration of that
malaria to produce disease_."

Such is the theory of Dr. Macculloch; but, as observed by a
contemporary, Why should he have observed any delicacy on this
subject?--why not have, long since, denounced the whole of the ponds
in St. James's, the Green, and Hyde Parks, Kensington Gardens, and the
Regent's Park, as pestilential nuisances to all around them? Besides,
he states that _malaria_ is only generated in _hot weather_; so that
the palace, being intended as a _winter_ residence, the health of our
gracious sovereign will, we hope, not be endangered by his residence.
That there is much show of reason in this objection, cannot be
denied; at the same time it should be remembered, that in all great
undertakings the conflicting prejudices and caprices of private
interests generally work too prominent a part: hence, opinions should
be entertained with caution.

It is now time to speak of the _architectural_ character of the
palace. The main front represented in our engraving, forms three sides
of a quadrangle, thus II, the area being not far from equal, and
forming a clear space of about 250 feet in diameter. The central
entrance is a portico of two orders of architecture in height; the
lower is the Doric, copied from the temple of Theseus at Athens; the
upper is the Corinthian, resembling that style in the Pantheon at
Rome. This portico is so contrived, that upon the ground carriages can
drive through it; while above, there is an open and spacious gallery,
covered by a pediment on which statues are to be placed, and under
which is a long panel filled with figures in high relief. It is
understood that this entrance is to be exclusively appropriated for
the admission of his Majesty and the royal family. The above union of
two of the Greek orders is much censured: indeed a harmonious union of
any two of the Greek orders has never been an easy task. In the Doric
architecture of the ground story, the usual magnificence of this order
is wanting; the columns being merely surmounted by what is termed
"an architrave cornice," with the mutiles; while the frieze, with
its rich triglyphs and metopes is altogether omitted. The Corinthian
order of the upper story is altogether more worthy of admiration,
notwithstanding that some objection has been raised to the
"disproportionately slender columns, when contrasted with the massive
shafts beneath them." Here, too, the entire frieze, with its
emblematical embellishments of the British crown, surrounded with
laurel, and alternate leaves of the rose, the thistle and shamrock, is
sure to attract the eye of the spectator: the character and effect of
the whole is truly British.

The Doric order, as adopted in the lower parts of the portico, is
carried round the three sides of the court, consisting of fluted
cast-iron columns, which are beautiful specimens of our excellence
in the art of founding. At each side of the portico, terminating the
centre front, is a pavilion, where the orders are again applied;
surmounting which is an attic, towering above the other parts of the
building, and decorated with pilasters and caryatides. Over the
pediment, or centre, will be seen a dome, which is however at the back
of the palace, over the state-chambers. This completes the _front
view_ as appears from the park.

The north and south sides of the quadrangle are only two stories high.
In the centre of each there is also an entrance. At each extremity,
the building is raised, and roofed in a temple-like form, presenting
the ends towards the park with enriched pediments.

In the front of our engraving is represented a spacious circular
enclosure which will be made, by an ornamental railing of mosaic gold,
and divided into compartments by terms. The same metallic composition
(which is patronized by Mr. Nash) is to be employed in every other
part heretofore constructed in iron. In the middle of this area the
Waterloo monument will be erected: it is to consist of a triumphal
arch, somewhat resembling that of Constantine, at Rome, with national
emblems, trophies, &c., and colossal statues in the above metal,
imitating bronze.

The _south_ front, towards Pimlico, will form the general entrance to
the palace, a concave circular Ionic colonnade and lodges. Here the
old octagon library of Buckingham-House is to remain, when raised and
embellished after the manner of the Temple of the Winds: the remainder
of this range is chiefly allotted to the domestic offices.

The _west_, or garden front, (of course, the back of the centre
building of the quadrangle) is strikingly picturesque; its impression
on the beholder is altogether beautiful and pleasing, and it is much
to be regretted that the front or park view, (which will of course be
exposed to public view, while the garden front will be comparatively
private,) does not partake more largely of this character. The _prima
facies_ of the former is not likely to be admired, since its few
excellencies require to be selected by nice observation. Some of its
details may delight the artist, but the effect of the garden front
will, on the most hasty observer, be that of order and simplicity, the
essentials of architectural perfection.

The centre of the garden front is circular, embellished with columns
of the Corinthian order, supporting the dome already alluded to. The
upper story of the whole front is Corinthian, supported on a rustic
Ionic basement, and, says a contemporary, "though the latter, like the
Doric basement in front, has only an architrave cornice, yet in
consequence of the parts omitted being of little importance, and the
character of the Ionic more nearly allied, in point of delicacy, to
the Corinthian, the construction is altogether tolerably harmonious."
The outline is boldly broken into massive forms, which are, as Mr.
Loudon observes, "simple and easy to be comprehended, and yet
sufficiently enriched to mark the building as an abode destined for
splendid enjoyment." In this front, also, level with the middle or
principal tier of windows (those of the suite of state rooms) runs a
stone balcony or balustrade, supported by corbels of a mixed
character,--Gothic and Italian masques of chimera blended with wings
and scrolls of foliage of singular beauty. On this side, too, is an
extensive terrace, descending into the ground, with a rusticated
front; and a balustrade with pedestals supporting vases of antique and
classical models; and at each end an open Ionic temple, intended to be
used as a summer conservatory.

The _north_ front facing Piccadilly is of the same style and character
with the garden front, but of lighter proportions. Here are the king's
private apartments, from choice, comparatively small and compact, and
the cabinet picture-gallery. Here, also, the terrace is continued, and
a similar Ionic temple conservatory placed at the other extremity.
Thus, his majesty's windows look out between these conservatories,
upon the flower-garden spread below.

We are bound to acknowledge our partial, if not entire concurrence,
in the general criticism on the central front, and of the two wings.
The first impression is far from that produced by unity, grandeur, or
elegance; there is a fantastical assemblage of turrets, attics, and
chimneys, and a poverty or disproportion, especially in "the temple-like
forms" which complete the ends towards the park. The dome, too, has been
sarcastically compared with a "Brobdignagian egg." It strictly belongs
to the back part of the palace, and had it been screened from the front,
its form might have been less objectionable.

Of the internal arrangements of the palace, little is as yet perfectly
known. On the principal floor of the centre, between the east and west
suites of rooms, runs a splendid picture and statue gallery (the whole
length of the building); the light into which is to be admitted from
the sides, in a slanting direction, by metal skylights. The ceiling
has iron girders thrown across, and is arched with combs, each having
the ends closed, with the exception of a small hole (like an inverted
flower-pot), which admits a current of air to circulate through the
floor. The roof of this gallery is flat, and covered with slate
embedded in a composition of hot coal-tar, lime, and sand: the roofing
of the other parts of the palace is mostly covered with a similar
composition, but _not_ slated. The approach to the gallery is up the
grand stairs, and through several rooms, in which will be disposed the
king's magnificent collection of armour. The floors throughout are
fireproof, formed of iron joists, and arched with hollow bricks of
a singular construction.

The group for the pediment of the _east facade_ of the palace,
representing the triumph of Britannia, by Mr. Bailey, is nearly
finished.

The original gardens of Buckingham House, an extensive space, will
of course continue to be the grounds of the new royal residence; but
considerable alterations have been made to render them eligible for that
purpose. In order to conceal from the windows the great pile of stables
lately erected in Pimlico, near the lower end of Grosvenor-place, a
large artificial mound has been raised, and planted with curious trees
and shrubs.[1] The whole area now assumes all the appearances of natural
hill and dale, is finely wooded, diversified with flowering and
evergreen shrubs, with fine lawns broken into parterres, and possessing
a noble serpentine piece of water, so disposed as to give the idea of
great extent.[2] This water winds round clumps of forest trees, which
have been preserved for that purpose, and all that could be retained of
the previously existing scene. It is supplied from a large circular
reservoir, (near the top of the hill at Hyde Park Corner,) which is fed
by a main from the Serpentine river. This reservoir, almost like a Roman
work for magnitude, may be made a beautiful feature in the gardens--in
copious and refreshing fountains, but not in pools and ornamental
basins, such as are included in the anathema of Dr. Macculloch.

Although the scheme of the garden may, like many other projects, look
better _on paper_, than in practice, it affords ample space for the
display of much skill in artificial gardening. St. Cloud and Versailles
have their fountains, and why not St. James's? "Fountains, (that
sprinkle or spout water, or convey water, _as it never stays_ in
the bowls or the cistern,)" says Lord Bacon, are a great beauty and
refreshment; "but pools mar all, and make the garden unwholesome,
and full of flies and frogs."

    [1] This mound is said to resemble, in miniature, the scenery of
        Cumberland and Westmoreland. Perhaps this is too courtly; but
        it is surprising what the union of nature and art may effect in
        this way. Barrett, Cipriani, and Gilpin contrived to paint a room
        for Mr