DOI Heft:
No. 58 (January, 1898)
DOI Artikel:A modern English country house: designed by Arnold Mitchell
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.18390#0288
A Modern English Country House
nineteenth century will look unimportant compared
with that of its predecessors ; that its paintings, its
drama, its poetry even, will never tower above
earlier work in the same fields. But one fancies
that its science—notably in engineering—will prove
to be the feature that centuries hence will be taken
as the dominant force of the Victorian epoch.
There are those who believe that our aesthetic
ideals will be so modified that the Forth Bridge
itself will appear to our descendants not only a
thing of masterly ingenuity, but of positive beauty
also. Certainly supreme fitness for its purpose is
a noble quality, and it is not improbable that, to
more educated tastes, the fine proportions of the
great bridge will be as satisfying aesthetically as
the proportions of the Parthenon have been to
cultivated Europe for centuries past.
This divergence from our theme is not quite so
erratic as it looks, for the charm of the house in
question does not rely on its picturesque facade or
its interior decorations. These are in good taste and
well able to stand most drastic criticism. But the
most praiseworthy quality of the house and its
outbuildings is that they fulfil their purpose so
admirably. After careful inspection you feel that
it is as a builder that Mr. Mitchell wins your
highest admiration, not as an architect according to
the popular conception of the word. The general
public look upon architecture as the science of add-
ing to something necessary, but ugly, certain non-
essential but ornamental features. They think that
an architect who takes a four-square box of brick
and mortar, can by the addition of gables and bay
windows, balconies and parapets, so transform
its character that it is no more a mere " building,"
but an example of architectural style. This ex-
planation of the general attitude of the average
person is not so exaggerated as it may sound. One
often hears people regret that some eminent archi-
tect has to design warehouses or lunatic asylums,
instead of cathedrals or palaces. Yet this is a very
undignified view of a great art—the finest archi-
tecture does not depend upon ornament or costli-
ness—it seeks first of all to fulfil its purpose to the
" ;zth " degree ; then if by reason of its designer's
powers it also chances to be beautiful, one may be
sure that its real beauty lies in its proportions and
utility, not in its ornament.
To quote Bacon once more : " Houses are built
to liue in and not to looke on. Therefore let Vse
MAIN ENTRANCE, BOWDEN GREEN
240
ARNOLD MITCHELL, ARCHITECT
nineteenth century will look unimportant compared
with that of its predecessors ; that its paintings, its
drama, its poetry even, will never tower above
earlier work in the same fields. But one fancies
that its science—notably in engineering—will prove
to be the feature that centuries hence will be taken
as the dominant force of the Victorian epoch.
There are those who believe that our aesthetic
ideals will be so modified that the Forth Bridge
itself will appear to our descendants not only a
thing of masterly ingenuity, but of positive beauty
also. Certainly supreme fitness for its purpose is
a noble quality, and it is not improbable that, to
more educated tastes, the fine proportions of the
great bridge will be as satisfying aesthetically as
the proportions of the Parthenon have been to
cultivated Europe for centuries past.
This divergence from our theme is not quite so
erratic as it looks, for the charm of the house in
question does not rely on its picturesque facade or
its interior decorations. These are in good taste and
well able to stand most drastic criticism. But the
most praiseworthy quality of the house and its
outbuildings is that they fulfil their purpose so
admirably. After careful inspection you feel that
it is as a builder that Mr. Mitchell wins your
highest admiration, not as an architect according to
the popular conception of the word. The general
public look upon architecture as the science of add-
ing to something necessary, but ugly, certain non-
essential but ornamental features. They think that
an architect who takes a four-square box of brick
and mortar, can by the addition of gables and bay
windows, balconies and parapets, so transform
its character that it is no more a mere " building,"
but an example of architectural style. This ex-
planation of the general attitude of the average
person is not so exaggerated as it may sound. One
often hears people regret that some eminent archi-
tect has to design warehouses or lunatic asylums,
instead of cathedrals or palaces. Yet this is a very
undignified view of a great art—the finest archi-
tecture does not depend upon ornament or costli-
ness—it seeks first of all to fulfil its purpose to the
" ;zth " degree ; then if by reason of its designer's
powers it also chances to be beautiful, one may be
sure that its real beauty lies in its proportions and
utility, not in its ornament.
To quote Bacon once more : " Houses are built
to liue in and not to looke on. Therefore let Vse
MAIN ENTRANCE, BOWDEN GREEN
240
ARNOLD MITCHELL, ARCHITECT