Originally published in Belgravia (John Maxwell) vol.2 #5 (Mar 1867).
In an unpretending temporary building in New-square, Lincoln's-inn, may be seen a collection of designs unsurpassed in interest by any that has ever been exhibited in this country. The inconveniences from which all who have anything to do with the law have long suffered have latterly attained proportions which are felt to be intolerable; the late Government, therefore, sought the assistance of the architectural profession to devise a scheme for placing all the Law Courts, with their almost endless adjuncts, on a plot of ground fronting on the Strand at Temple Bar, about 700 feet in length and 500 feet in depth. The architects invited to compete, each receiving 800l. towards his expenses, were Messrs. Deane, Garling, Abraham, Lockwood, E.M. Barry, Scott, Street, R. Brandon, Waterhouse, Burges, and Seddon, whose designs will be submitted to the judgment of the Hon. W. Cowper, Mr. Gladstone, Sir Alexander Cockburn, Sir Roundell Palmer, and Sir W. Stirling Maxwell, M.P., aided by such professional assistance as they may see fit to avail themselves of. The designs are now on view in the temporary structure above named.
If any justification were needed for the prevailing tendency to run down the architectural profession, and to attribute to it an acquiescence in the present state of things, and an unwillingness to attempt, if not an incapacity to inaugurate successfully, any important movement in a new direction, it will be found in the results produced by the recent important competitions. Whether we take as examples the designs for the New National Gallery, now being exhibited at Westminster, or confine ourselves to those under immediate notice, we cannot fail to acknowledge that the leading architects have come to the conclusion that everything which is most admirable in their art has been already done; and that whereas all is retrogression, it is merely a question at what point that retrogression should stop. All the competitors have chosen the Gothic style of nearly the same period, varied by English, French, or Italian feeling, according to their several predilections. Now although this is scarcely the place for an exhaustive argument on the respective merits of the Classical and Gothic schools, we may briefly remark that architecture was a natural development or exponent of civilisation; and we are sure that the civilisation of the present day is more in sympathy with that of Athens under Pericles and Rome under Augustus than with that which existed during what are dubiously called the Middle Ages. In science, art, or literature, the educated Greek or Roman was the superior of the illiterate mediæval sworder; in war he was at least the equal; in his ability to frame laws, and his respect for them, he set an example which we have only recently followed. In his social intercourse and domestic relations he was a good fellow and a pleasant companion. We should prefer Chian wine to mead, and the remote Falernian to metheglin; and would sooner regularly sit down to an Apician banquet than to an ox roasted whole on one day, and a dish of spurs on the next. It is almost idle to speak of the literature of the respective periods; but we think more instruction can be gained from Æschylus and Euripides, and amusement from Aristophanes and Terence, than from the Miracle Play or Mystery le mieux monté that Coventry ever saw. The architects seem to think otherwise; and their designs must be judged for what they are, and not for what they might have been.
The following list of courts and rooms may give some idea of the vastness of the task to which the competitors have lent their energies, though a mere list by no means represents either the actual number of rooms or the amount of accommodation afforded:
The Lord Chancellor's Court, and sixteen rooms; the Lord Justices' Court, and fourteen rooms; Vice-Chancellor Kindersley's Court, and eleven rooms; Vice-Chancellor Wood's Court; spare Equity Court; the Master of the Rolls' Chambers; the Vice-Chancellors' Chambers; the Registrars' Offices; the Taxing Masters' Offices; the Petty Bag Office; the Examiners' Office; the Enrolment Office; Masters in Lunacy; Visitors in Lunacy; Registration of Lunacy; the Solicitor in the Suitors' Fund; Courts of Common Law; Queen's Bench Court, and sixteen rooms; Nisi Prius, and eleven rooms; Common Pleas Court and two Nisi Prius Courts, and rooms; Exchequer Courts, and two Nisi Prius Courts and rooms; Exchequer Chamber, and four rooms; Chambers of Common Law Judges; Common Law Masters' Offices; the Associates' Offices; the Crown Office; the Queen's Remembrancer; Circuit Associates' Offices; Registry of Acknowledgments of Deeds by Married Women; Court of Probate and Matrimonial Causes; the Registrars' Offices; the Seats and Correspondence Departments; Personal Application Department; Clerk of the Papers' Department; the Record-keeper's Department; the Inland Revenue Department; the Receiver of Wills; the Sealer; Admiralty Court and Chambers; the Registrars' Office; the Record Room; the Marshal's Offices; Additional Court for Ecclesiastical and Admiralty business; the Appellate Court, and rooms; Crown Officers' room; Bankruptcy Court and Offices; Land-registry Office; Offices for Royal Commissioners on matters connected with the law. The head "miscellaneous" includes a library, robing-room for bar, refreshment and arbitration rooms, room for exhibiting cause list, reporters', shorthand-writers', kitchen, lavatories, firemen, police, telegraph-office, attendants' rooms, and all accommodation not elsewhere specified. A formidable list truly, as some of the competitors seem to have found; though in the majority of cases the difficulties have been boldly met and successfully grappled with.
The great reputation which Mr. G.G. Scott has acquired, and the expectations which have been formed of his designs, causes the portion of the building where they are situated to be a centre of interest, or rather a starting-point. Although placed at the remote end of the gangway, few pause to look at anything until they have satisfied their curiosity as to what Mr. Scott's design is like. Of the amount of satisfaction it conveys we can give no exact measure; but it appears to us that admiration is not so general a sentiment as to preclude all access to disappointment. As a whole, the design is of noble proportions, the plan easy to follow, the hall and corridors stately, the ambulatories effective, the library magnificent, and the courts all that could be desired. In this last particular it is but fair to state that the Instructions were so precise that there is but small difference between the plans of the several competitors. A seat for the judge, a box for the witness, a few benches for the bar and attorneys, and a jury-box, are the accommodation required. It may here be well to observe that the jury-box should be divided into two rows of seats, each to contain six jurymen. The facility with which they can thus communicate with the foreman and each other is obvious; but in the designs of one of the competitors the jury are placed twelve a row, where, with nothing to distract their attention, it is to be hoped they may "remember with advantages" all that should be borne in mind. The special duty of the Commission will be to see that the Instructions are strictly complied with; and the public have a right to expect that those who have obeyed them most faithfully will meet with due consideration when the final award shall be made. Of Mr. Scott's special interior features the most remarkable is the central hall, octagonal in plan, covered by a circular cupola, or, as it is commonly but incorrectly termed, dome. This is encircled by sculptured and painted decoration representing Scripture history, and, as nearly as we could make out, the Last Judgment. The inner portico of the Strand entrance is very handsome, being adorned with statues of various eminent framers and administrators of the law. The mouldings and details generally have a strong smack of Italian feeling, suited rather to marble than freestone. An alternative design for the great hall shows the roof entirely of glass; a mode of treatment eminently unsuited to a permanent building. The three perspective views of the Strand front are masterly in execution, if not perfect in conception; for beyond the points to which we have called attention, we must somewhat stint our expressions of praise. The elevations are lamentably thin in detail, and are evidently designed in forgetfulness of the facts that the building will not be constructed of white marble, and that the atmosphere of London is at times, to say the least of it, more or less charged with smoke. The Italian motif running through the design is apparent enough in the too open parapet, in the mast-headed statues—bad enough at Milan, but worse in London; nay, we feel ill-used when the Giotto tower is thrust upon us in pairs; for in these days of excursion trips under the management of the enterprising Mr. Cook, the veriest Cockney may boast that he has "swum in a gondola," and possibly may bring back with him recollections more or less vivid of a certain tower in the Piazza, a few columns and capitals in the Piazzetta, with faint impressions of the Certosa and the Duomo of Milan. The design should be executed in cast-iron; and we cannot help arriving at the conclusion, that though it is one of the best in the exhibition, in all that goes to make up originality in its truest, and therefore highest sense, it is the least original. The estimated cost, exclusive of figure sculpture and painted decoration—without which, by the way, the design would be nothing—is 1,253,620l.
Contiguous to Mr. Scott's designs are placed those of Mr. Abraham, a circumstance which perhaps induces the public to pay less attention to them than they otherwise would. The plans show abundance of light; and though we question whether a cupola will adapt itself to Gothic architecture, it must be admitted that Mr. Abraham has made a bold effort in that direction. Whatever merits these drawings may possess, we cannot overlook the fact that successfully to plan a large public building requires an apprenticeship, so to call it, to that especial class of design. All the other competitors have previously exercised their ingenuity on sets of plans for great public works, and can consequently more readily grasp the scope of the present undertaking. We can only regard Mr. Abraham's efforts as evidences of a race in which he was hopelessly overweighted. This is the kindest remark that can be made, and with it we shall take our leave of his Plans. The estimate, which seems moderate, is 1,234,266l.
The considerations which apply to Mr. Abraham's shortcomings can find no place in our estimate of Mr. E.M. Barry's design; he can neither plead inexperience nor unfavourable handicapping. We will proceed first to draw attention to his good points. The plan is similar to that of Mr. Scott, inasmuch as he adopts the expedient of internal streets, named respectively Chancery Avenue, Lord Chancellor's Avenue, and Queen's Bench Avenue; an arrangement which has commended itself to most of the other competitors. This, or a very similar disposition, is the only one that could be made with advantage. His central hall is a handsome feature "overlooked," as his report says, "but not entered by the public." This is a great point, as it is imperative to keep the general public out of those portions of the building devoted to business. The access to the courts is very convenient. The details generally are delicate, and a certain amount of propriety pervades the whole; but this is the utmost that can be said in positive praise of any part of Mr. Barry's conception. As regards the exterior, the old story may be read. For general outline we have his National-Gallery design in a Gothic dress. For Strand façade he gives us an ill-disguised replica of the Strand and Cannon-street Hotels; while his cupola so strongly suggests the Pisan Baptistery, that we suspect he must have an alabaster model of that celebrated structure constantly in view. Inasmuch, however, as his cupola is more or less copied from a good example, it is immeasurably superior to that of Mr. Scott, which has been most ruthlessly "cheated of its fair proportions." The clock tower, alas, is like other clock towers we wot of, as the façade is like other façades. In the perspective view, which is beautifully tinted, the absence of a central feature is very conspicuous. The entire cost is put at 1,237,571l.
The visitor will find it a positive relief to turn to the compartment in which Mr. Waterhouse exhibits his beautifully executed drawings. His plan resolves itself into a main central block, with streets at the north and south; the whole surrounded by a belt of offices and chambers. This arrangement—with unimportant modifications—is adopted by more than one of the competitors; but Mr. Waterhouse is the only competitor who provides a private carriage entrance for the judges at the Court level. This plan has many merits; but the Commission will hardly be blind to the inconvenience which would result from placing three Courts one above the other; and they may have doubts as to whether a sufficiency of light and air is provided, and also whether the Gordian knot of difficulty has not been somewhat rudely cut in more than one instance. The central hall is a handsome stone structure of bold features, covered in with a glass roof extending laterally to a considerable distance, embracing a large space on either side. The roof, therefore, seems less to belong to the hall than to an extensive series of buildings of which the hall is but a part. It is proposed, in order to give an appearance of solidity, to divide the roof into alternate bays of larger and smaller size; the larger being covered entirely by glass, and the smaller being boarded and decorated. Such an arrangement is most objectionable; nor can we conceive a single useful purpose to which it would contribute. The amount of heat which so large a quantity of glass would admit would be most trying. If we imagine a huge conservatory nearly 500 feet long giving light, and in a great measure air also, to numerous offices, some idea may be formed of Mr. Waterhouse's scheme for a central hall. We are not altogether sure that recollections of the Panorama Gallery, or even the Burlington Arcade, have not inspired the architect; for although there are open streets in plenty, a very considerable portion of the building seems to be under glass. The views cf the Court of Queen's Bench from side gallery, that of the Barristers' Library, and the view of the central hall, will give a good idea of the general interior character of the building. A view of one of the internal streets, with the Will Tower, conveys a favourable impression of this portion of the arrangements. Of the perspective views of the exterior it is difficult to speak in terms of too high praise. In the centre of the elevation on the Strand is a huge lofty central mass. At the corners are towers of great height and distinctive character. The Will Tower and Ventilating and Smoke Tower are very fine; but there seems to be one too many for a perfectly satisfactory grouping; though, seen from a distance, and in connection with the new Record Tower on the other side of Chancery-lane, this defect will not be so apparent. The execution of these perspectives is admirable, and the points of view well chosen for exhibiting the building to advantage; they are, however, points which are practically inaccessible; and no one who looks at Mr. Waterhouse's principal view, taken from the Shot Tower in Southwark, need expect to see the same effect in Fleet-street or the Strand. With regard to style and materials, he says, "Fresh expedients are required, rather than recourse to precedent." Gothic of the thirteenth century is the style that, maugre "fresh expedients," has been resorted to; but any extreme delicacy of detail has been avoided as "unsuitable to the atmosphere of London"—and we think very wisely. In this respect Mr. Waterhouse compares most favourably with Messrs. Scott and Lockwood, though he has not carried simplicity to the extent which marks the clever design of Mr. Burges. To carry out the picturesque idea of Mr. Waterhouse the sum of 1,419,842l. would be necessary. We may add, that these drawings leave a more vivid recollection in the mind of the visitor than some more elaborate designs; and many, before leaving, return to them for a last look.
The admirers of pure early English ecclesiastical architecture will see much to admire in Mr. R. Brandon's elaborate plans. It is remarkable that although no better ecclesiologist has entered the lists, none have produced designs less suited to the purposes of a Palace of Justice than Mr. Brandon and Mr. Street. Without denying Mr. Brandon's ability, we consider the external elevations of his building as unsuited to their real purpose as were the notable devices of Fonthill Abbey. That the design is striking is unquestionable; the central hall, which takes the form of a minster nave, is of noble proportions, though too plain in the groining of the roof. The flying buttresses on the exterior, could they be seen from any convenient point, would be most picturesque; and the two western towers would give a great amount of solemn grandeur to the composition, which, however, could only be mistaken for a cathedral at a distance, and conveys not the slightest idea of a palace of justice on nearer approach. Mr. Brandon has furnished another example of the impossibility of combining ecclesiastical with domestic features. The supposed cost—which, considering the expensive character of the work, seems very moderate—is 1,414,013l.
Mr. Street exhibits an excellent plan; with abundance of light direct from vertical side lights; a free circulation of air is secured; and the accommodation he provides is ample. The public hall, for business only, 188 feet by 57, is divided down the middle by columns, thereby lacking the dignity which distinguishes that of Mr. Seddon. The corridors are simply cloisters, and the conventual character of the building is perpetually forcing itself on the spectator. The style is Gothic, of a thoroughly English type, with the exception of the Record Tower, in which there are traces of inspiration from France, and more particularly from Belgium. The whole is of a degree of plainness that would go far to satisfy the strictest utilitarian; the pinnacles are few, and only in the most telling situations; and were the building on a different scale, and for another purpose, there would be no hesitation in pronouncing it of singular merit. A glance, however, at the view of the Strand front, showing a new bridge at Temple Bar, will convince the most sceptical that the scope of the work has been misunderstood, this single drawing betraying the spirit which pervades the entire design. The narrow footway, the diminutive openings, and blank wall space, and the narrow arch under the bridge, point rather to the college on the high street of a university town than to a pile designed for the accommodation of the principal Law Courts of a great country.
Mr. Street has on many occasions shown himself to be an able restorer of churches and designer of buildings up to a certain size; but neither in the National-Gallery competition nor in the present has he been able to divest himself of a tendency to regard art, as it were, through the wrong end of the telescope. A broad method of treatment, in which oriels and gargoyles, and little posterns, and narrow slits for windows do not play an important part, he seems to have no sympathy with whatever. The estimate—1,314,360l.—considering the quasi-domestic character of the building, is certainly high.
In direct contrast to the design of Mr. Brandon, which is purely English, may be seen Mr. Burges's original and effective conception. Like Mr. Garling, he dispenses with a central hall, because, as he says in his report, "it introduces the public, and to a certain extent public traffic, into the middle of the building, where quiet is most essential. It is also apt to place the judges' apartments and corridor on the exterior, and those of the bar and legal public in the interior—thus reversing the order of things; for the judges' apartments should obviously be placed in the interior, so as to secure quiet, and to enable them to consult with each other with facility. . . . it most materially diminishes the areas for light and air; and, should it be circular, it has the extra disadvantage of causing sundry of the open areas to assume an inconvenient shape. In the second place, it is a very serious addition to the expense, if carried out on a proper scale." In all these remarks we thoroughly agree, and have quoted thus much because the choice will lie between the central-hall system of arrangement and that of a disposition in zones. Mr. Burges does, however, provide in the centre of his building what he terms a Judges' Hall, of moderate dimensions, but well-proportioned. His design shows that abundance of light and air are admitted, and his communications are nearly perfect. In one drawing (No. 14) he exhibits a bay at large, which, had he never done anything before, and should never do anything again, is enough to show the originality of his genius. His view of one of the courts, seen from the gallery, gives a fair idea of the style of his interior. In the exterior it must be confessed that some startling effects are produced, and the propriety of castellated treatment may be questioned; but the lighting is excellent, and the continuous second-story arcade or fenestration produces a most satisfactory appearance of unity, the composition being bound together as with a belt. In one of his towers there is more than a soupçon of the Palazzo Vecchio; and spite of the general picturesqueness, for which the design is so distinguished, it is impossible to avoid the conclusion that Mr. Burges has at least seen Gustave Doré's wonderful illustrations of the droll work by Honoré de Balzac, Tourangeau. When such an extraordinary perspective view is exhibited, it is the most natural thing in the world to establish humorous comparisons; but Mr. Burges may be assured that, from whatever source he drew his inspiration, the result will not be overlooked at a time when anything original is certain to be valued at its full worth. His estimate, 1,584,589l. is next to the highest.
Mr. Seddon's design, if not the best, is certainly the most striking. That it has great merits is incontestable; but these are overborne by the eccentricity of fancy which pervades all parts. Among its merits may be mentioned the fact that all the courts are lighted by clerestory windows, that ample external corridors and staircases to chambers are provided for the business public, and that peculiar facilities exist for ventilation. The large central hall, the entire length of the building—size, indeed, characterises every portion of this design—has a very pleasing effect, owing to the breadth and simplicity of the vaulting. By a very simple arrangement, disposing in pairs the columns whence the vaulting springs, much of the effect of a wagon-headed ceiling is obtained, giving the greatest facility for effective coloured decoration. Mr. Seddon has endeavoured to give a certain amount of classicality to the capitals of the columns; and herein there can be little doubt that he has failed; for though originality is desirable, it should not be produced at the sacrifice of harmony. A commodious refreshment-room is provided beneath the central hall; but the vaulting cannot be considered graceful. Effective drawings of the Appellate Court and the library are given. Of the exterior it may be remarked, that the architect calls the style early English, with a French feeling. We can only say that the French feeling decidedly preponderates, and that the great Yorkshire abbeys will not be eager to claim kindred with the early English style, as Mr. Seddon renders it. Sooth to say, Mr. Seddon has but one idea—"an excellent good one," it is true; but if the most varied symphony, by frequent repetition, palls somewhat on the ear, a better result can scarcely be expected from a performance confined to monochords and da capo. When we look at his enormous Will Tower of fourteen or more stories, scarcely varied, and recollect his design for the hotel at Aberystwith, we cannot avoid mentally entreating him to "harp no more upon that string." In short, while the plan is in many respects good, the building has a heavy and gloomy air even in the drawings; an impression which would be painfully increased were the actual building subjected to a short exposure to the atmosphere of London. Moreover, the arrangement of gables and chimneys is objectionable, and far from being original. Bruges teems with such examples, and Chancery-lane is not without its specimens. This estimate is the highest, being 2,046,644l.
The design next in order is that of Mr. T.N. Deane; of which it is not too much to say that it will be found worthy of most careful study. For picturesqueness, restrained within decent bounds, it holds its own with any, and is in every respect a design of which its author may be proud. A well-proportioned hall occupies the centre, and thence a handsome staircase leads to the various departments." The general public will not use this hall, and are in fact, in accordance with the spirit of the Instructions, unable to do so. The roof is of peculiar construction; and this we take to be the weakest portion of the design, as though well enough adapted for a small church, or hall in a manor-house, it cannot look well on a very large scale. The library, 145 feet by 29, is a handsome room, and shows the general style of the interior; but it is in the external views that a true idea must be sought of the marvellous picturesqueness which gives the timbre to this beautiful composition. Open in a remarkable degree to light and air, the disposition of the respective blocks into which the building is divided gives a variety of outline, which, without the adventitious aid of prodigious towers, or other features of excessive size, cannot fail to please. The style betrays a strong leaning to the Italian school, especially in the details; but from its outline the general impression the building conveys is certainly that of the fourteenth century—English Gothic. The whole composition groups into three grand features, the Record Tower, Clock Tower, and Central Tower over the Strand entrance. A peculiar arrangement of stairs in the Record Tower for the convenience of firemen is worthy of note. In the thickness of the walls a stairway is carried to the top of the tower, so that a conflagration occurring on any story can be reached from without, and to a certainty subdued. With such an arrangement it would be a difficult, if not impossible, task to obey Jack Cade's orders to "burn all the records of the kingdom.". Mr. Deane's sketches of the Record Tower and Temple-Bar Tower are admirable. It is a source of regret that in this, as in other instances, a mere description should convey so inadequate an idea of the design under notice. The probable cost for which Mr. Deane's ideas could be realised is set down at 1,074,278l.
Mr. Lockwood's plan, which follows next in order, is the most simple of the collection. It consists of zones, surrounding streets and areas; and he has so far complied with the Instructions that he has entirely avoided the use of skylights. In the centre, a great hall, 236 feet by 72 feet, is approached by the principal loggia, staircase, and corridor, from the Strand on the south; and by wide porches, corridors, and staircases from the east and west. The hall is surrounded by a quadrangular area, 20 feet in width, and, by means of corridors and covered bridges, gives access to the several courts. East and west of the great hall, and opening into it, are situated the Probate Hall and the Exchequer Hall, surrounded by their respective groups of courts. The northern side of the great hall will serve as a rendezvous for those having business in the Chancery Courts, and the southern side will accommodate the public attending the Common Pleas Courts. A more simple disposition can scarcely be conceived; and if the central-hall scheme be not abandoned, nothing could be urged against this arrangement. The Instructions were, however, so precise on the point of keeping the frequenters of the various courts apart, that it may be questioned whether a central hall will not involve such disadvantages as to lead to its rejection by the Commissioners. Of the internal appearance we can only say, that it is very large and lofty, with a roof which is by no means an improvement on that of Westminster Hall. Some of the spandrels are decorated with iron tracery, against which we emphatically protest; and the entire filling-in is of too slight a character. The west window is not such as we should desire to see carried out; as, in common with many other parts of the hall, it displays a want of repose, and is wiry rather than elegant, with more than a suggestion of foreign feeling. The front towards the Strand is very symmetrical—too much so, indeed; and the spire in the centre of the façade, 420 feet high, or considerably higher than St. Paul's, would have borne very simple treatment. There can be no doubt that this design possesses many features of great excellence; and the art displayed in the Probate Court is, as may be seen from the view, of no mean order—the ceiling in particular being original and striking. The external elevations are not equal to those of several of the other competitors, having all the defects which mark those of Mr. Scott, without possessing all their merits. A large feature of some sort is necessary to give character to a building of this description ;but it may well be doubted whether the Commissioners will view with complacency the enormous outlay which the erection of the contemplated lofty central tower would entail. The entire cost is given as 1,235,383l.
Mr. Garling's design completes the series. Its distinguishing feature is the absence of a central hall, for which he substitutes other arrangements, in his opinion, equally convenient. He proposes to effect communication by means of wide corridors, and by placing at the back of each court a distinct lobby or hall, equal in area to the court itself, and in the aggregate equal to a very large central hall, to accommodate all whose business keeps them about the court, though not actually in it. While acknowledging the temptations for gaining architectural effect offered by the central-hall plan, he considers that as the Instructions especially lay down that convenience is in every instance to supersede all questions of mere architectural effect, he is justified in disposing of his space as above stated. In his report he says, "A central hall, in fact, would be scarcely used except by loungers, and that class whose exclusion is especially aimed-at in the Instructions. . . A central hall would be simply a show-place for people from the country and foreigners to visit and admire as one of the lions of the metropolis. And once admit people on any other plea but business, and a building like this would be overrun with idlers. My corridors provide ample opportunity, being 26 and 30 feet wide, for those who wish to walk about; they are also provided with shallow recesses for seats and tables against the windows." By his peculiar utilisation of space Mr. Garling has succeeded in placing all his courts on one floor, besides gaining many other advantages not so conspicuous, but nevertheless of marked importance; more rooms, for instance, are attached to each court on the court level than in any of the other designs. The large lobby or vestibule before mentioned is provided with seats and accommodation for private conference, which in a large central hall would assume an uncomfortable and peripatetic character. The courts are spaced more widely than in other instances, admitting more light and air; and as they and their appendages are all arranged on precisely the same principles, it follows that those who know one court can find their way about any other. The staircases are all lighted from side windows—a point of great advantage to near-sighted persons; and indeed there is very little top-lighting in any part of the building. The chamber corridors are lighted by side windows; in which respect this design is exceptional, as in many of the others the chamber corridors have no better light than that borrowed from a room by a glazed partition.
Positive as were the Instructions that the public are not to be allowed to congregate together, but to be split up and forced to separate each to his place of business, this design fully complies with them; and we are inclined to think that while the inconveniences of a central hall are so patent, as many of the designs show them to be, the Commissioners will give every attention to a plan which, without curtailing the accommodation of the public, dispenses with a central hall altogether.
The exterior has a repose which distinguishes it from all the others, produced mainly by the long almost unbroken line of machicolated cornice carried even round ‘the towers. There are no fussy pinnacles on the parapet; the main divisions are bold and strongly marked; the central tower is decisive and sufficiently plain; but an increase in its height would be an improvement. The statues are almost without exception under canopies; and taken as a whole, the building looks like a townhall or seat of justice, and like nothing else—which we take to be no mean merit, and more than can be said of some of its compeers. It displays, besides, a continuity of idea, and a commendable plainness, which cannot fail to find favour with those whose experience enables them to appreciate the strong and detect the weak points of a design. It is picturesque without a trace of whimsicality, and original without being extravagant. The approximate estimate is 1,090,061l.
The display, in short, is one of which the country at large, no less than the architects concerned, may well be proud. If all cannot command success, all have striven hard to deserve it; and though the decision of the Commission must be unpalatable to the majority, each may be sure that he has, through this exhibition, gained a host of private admirers. With such a collection of designs from which to select, and so much talent available, if the Commission acts with the judgment and discrimination we have a right to expect, London will be adorned with a Palace of Justice befitting our national dignity, if not illustrative of our national architecture.