Part 7

The introduction of rolled iron girders into buildings renders fireproof construction very easy. They are made of all sizes, and can be placed over any opening, so as to carry the weight above them. Kitchens in many London houses are constructed in the back yards, with an area between them and the house. This confines all the smell of the cooking to the precincts of the kitchen. As it is very important that no roofing should interrupt the light from the back ground-windows of the house, the roof of the kitchen is so constructed that the yard is only moved upwards; it belongs to the ground floor and not to the basement. For this purpose, cast iron girders, standing on brick piers, bear up rolled iron six-inch girders, between which half-brick arches are turned. Above all these is concrete, cement, or asphalte. The courses of tiles and cement are laid at such a slope as will be sufficient to take the water off quickly. It is easy to put skylights, or any kind of opening, in this construction, and to make the whole water-tight.

This figure shows a way of supporting walls over openings, instead of the old method of arching in brick; the iron girders or plates have often no timber between them; they rest upon iron shoes or stone slabs, their depth being proportioned to the opening and the weight above. Strong large hollow bricks or tiles are placed over them, and above all is the brickwork.

The upper floors of buildings are made fire-proof in a similar manner, and for this purpose there are several excellent patented methods. The iron girders are closed up by brick arches, or filled between with concrete. The only objection to this mode of construction for upper floors is the great weight, and the walls require to be made of extra strength. Several years ago a hollow brick was used to form such arches and roofing, _e.g._, the dome of the Rotunda, at the Bank of England, is formed with them. The brick is somewhat similar to a flowerpot, but flat and closed at each end. There were several varieties of these cone bricks, as they were called; a few are preserved in the Soane Museum. One sort was 7½ inches in height, 4⅛ by 2⅜ inches at the top, and 3-2/8 by 2 inches at the bottom. They were curved inwards with a small opening, 1 by 2/8 inch in the centre. The edges of the brick were slightly splayed, and the sides scored; these were as strong as the common bricks, and very much lighter. When the East India House was pulled down a large quantity of these bricks was obtained; they were brought to Kensington, and the builders did not know what they were intended for; their purpose being pointed out, they were used up in the construction of fire-proof flooring.

_Fire-proofing._--A method of rendering buildings nearly fire-proof was introduced about 1770 by Mr. David Hartley, M.P. for Hull. It consisted in placing thin metal plates between the flooring boards and the joists, so as to prevent any upward currents of air. For domestic buildings the system was one of great value. After several successful trials it obtained considerable notoriety, and being thought capable of an impossibility, that of rendering a Theatre fireproof, it was applied to the Pantheon Theatre in Oxford Street. On that structure being burnt to the ground the plates lost their character, and went out of use. It was clearly a mistake to apply them to such a building. Thin iron plates hung at a short distance below the ceiling were successfully adopted by Mr. Walter Crum, to prevent the spread of fire from one room to another in his calico printing works, near Glasgow.

_Damp._--The damp rising from foundations is more easily guarded against than damp coming against a building laterally. Houses in exposed situations and subject to driving winds, are often very wet inside the walls, the rain being driven through them. Sometimes the best construction will not keep out wet. As a rule, a well-built wall wherein proper material has been used, should not be damp.

A rectory, not far from Salisbury, where the author was engaged a few years ago, was in such an exposed situation that on three of its sides no tree or any other object in a direct line could be seen for three miles. Clothes, if placed against the external wall of the dressing-room, were often quite wet. The Rector had tried several preventives himself; one was a mixture, used to water-proof cloth--a wash of soap and alum.

The ingredients were mixed in the following proportions: ¾ lb. of mottled soap to 1 gallon of water. This mixture, when in a boiling state, was laid over the surface of the brickwork steadily and carefully with a large flat brush, so as not to form a froth or lather on the surface, and was permitted to remain twenty-four hours to become dry and hard. Another mixture was then made in these proportions: ½ lb. of alum to 4 gallons of water, which, after standing twelve hours, in order that the alum should be completely dissolved, was applied in like manner with a flat brush over the coating of soap. The coating had to be very often renewed. The wall most exposed was made free from wet by being covered with a coating of cement.

Walls exposed to damp should be coated with a thin layer of Portland cement, mixed with a little plaster of Paris, and after this is thoroughly dry, it may be hardened and rendered impervious to water by painting it with boiled linseed oil and red lead, mixed together.

In very exposed situations all external walls should be battened, lath and plastered within, or built with a hollow cavity in the middle, with proper bond and a proportionate increase of thickness,--the hollow could be filled with concrete, or the back of the bricks covered with pitch. There are several other methods for keeping walls free from damp. One is to saturate the walls with some kind of mastic, or a wash composed of two or three parts of resin and one part of drying oil, to the extent of as many washes as the wall will absorb. This must be quite dry at the time, or be dried by means of a small portable furnace. The plan is effectual, but it is a difficult operation to perform. A cement composed of lime, boiled linseed oil, white lead, and sand, has been recommended.

Besides these various compositions, there are several excellent well-known paint and metallic cements, which have stood very severe tests, and are largely made use of; but walls properly constructed should not require their application.

_DESIGN No. 14._

A SMALL COUNTRY RECTORY.

This design was made for a country clergyman residing near Montacute, in Somersetshire. It was arranged according to his express directions in every particular, both as to style, and in regard to the number and size of the rooms on each floor. Living in the immediate neighbourhood of some of the finest

old English mansions, he was anxious to have a residence in the old decorated style of wooden architecture, certainly the most picturesque of all the styles our forefathers have left us. The timber dwelling is found in almost every county throughout England, with their projecting windows and highly ornamented bargeboards; several large houses in Cheshire and Shropshire remain to satisfy us that such construction, when properly carried out, is very lasting. The timber used requires to be felled at the right time, and to be properly seasoned before being placed up; which must be done on a brick or stone foundation. Dwellings constructed in this way were anciently

called post-and-pan houses. They have been known to rock and bend before severe storms, and to stand intact while adjoining buildings have been blown down. Large palaces were formerly constructed in England of wood; the chimney flues and fireplaces alone being of brick. The sketch-book of John Thorpe, an Elizabethan architect, a copy of which is in the fine library of the Art Museum of South Kensington, illustrates several of these dwellings.

With the present design it was the intention of the rector to carry out the work himself, the necessary drawings being provided him. The building is small and compact. When much adornment is intended, it is necessary to confine the expense within

bounds; if a cheap large house with plenty of accommodation be required, then four walls and an overhanging roof alone need be given. The view shows the principal front of the building; on page 163 is the ground plan; _a_ is a small hall having a window looking into the conservatory on the right; the door leading to the servants’ department is on the left; _c_ is a small study, 16 ft. by 14 ft., with a decorated ceiling, containing the shield of arms of the owner. The drawing-room, _d_, size 28 ft. by 15 ft, has the

ornamental ceiling of bold Elizabethan character; this covers the whole ceiling, and the effect of such ornamentation

is very good. Often, in the olden times, a portion of the rib moulding was gilt, the ground of the ceiling being of a light blue; ceilings of this kind exist which represent foliage and flowers, giving the effect of a garden bower. The preceding illustration shows the present ceiling. The simple rib moulding is in plaster, with small flowers and pendants. The section of the rib moulding to a large scale is shown in the cut; which also gives the cornice and frieze of the room; _e_, in the ground plan, is the dining-room, 16 ft. by 12 ft., this opens on to a terrace paved with

marble in black and white squares--the present ornamental tiles were not in common use at the time the design was made; _f_ is the kitchen, _g_ the scullery, and _h_ the larder. A small enclosed servants’ yard, with place for coals, wood, and other conveniences, is in front of the kitchen. The yard has a separate entrance from the front. This is the whole of the accommodation given on the ground floor. The one-pair plan shows the five bedrooms. These are without dressing-rooms, there being no space for them. A small turret staircase leads to the attic floor. This gives two large bedrooms and a small one for the

servants. The large bow-windowed room might serve as a nursery. The tower was carried up and contained a bell. The basement plan contains a large and small wine cellar, and one also for beer; there are four cellars, besides an inner cellar under the stairs.

The principal staircase is very light and cheerful, having on one side three large windows, with a ledge or stand for flowers. It was proposed to panel it entirely with oak, and have an ornamental ceiling similar to that in the drawing-room, with a pendant in the centre. The section is taken through the drawing-room, staircase, and kitchen, and shows the form and height of the rooms above; also the stone stairs to the cellars.

It will be seen that the walls rest upon a concrete foundation; the scale is too small to show the damp course or the ventilating bricks, as previously described (see page 159). The chimneys are shown carried up nine inches square, excepting the kitchen chimney, that being 14 inches by 9. The staircase was to have a plain Elizabethan iron railing, and the whole of the wood-work to be coloured and grained oak; the roof was to be covered with slate, these requiring a less solid base; ornamental ironwork crowned the summit of the principal roof over the staircase. An illustration of the front of the building is given on page 169.

The figures on page 170 illustrate various kinds of treatment for the carving of the finials and pendants, and the ornaments of the small gables; it being usual in these structures not to have any two parts of ornamental detail exactly alike. It has all to be carved by hand, and requires only slight extra trouble on the part of the architect to make separate patterns for the workmen. A section and elevation of one of the chimneys are shown also; they are fitted with the small cap introduced and used so extensively by the late Mr. Thomas Cubitt, at Belgravia and Pimlico; this will

be found fully illustrated in the chapter on chimney and flue construction. At the time this design was made, this plan was not known. The chimney is shown with an iron funnel 2 feet in height, a chimney-pot, in fact, let into the stone work at top, having no projection within for soot to lodge. Two of the stone balustrades are illustrated. Every separate balustrade in such buildings should be of a different pattern.

The knocker on the entrance door, the key, escutcheons for the doors, and a corbel in oak from the entrance front, are illustrated on page 172.

_DESIGN No. 15._

A SMALL COUNTRY HOUSE.

This building was intended to be only a comfortable country house for the residence of an eminent provincial solicitor. It was directed to be made of superior character, as the owner, being a person well known in the county, considered that the

eyes of the whole neighbourhood would be upon it. The situation was on one of the roads leading out of Maidstone, and as the land in which it was to stand was taken on lease for 99 years, nothing beyond a superior gentlemanly character could be given to it, as it is only in freehold houses that any superior or expensive architectural adornment should be indulged in. The Roman or Italian style, as being the most appropriate and the one best understood by builders, was adopted.

The front of the house had no prospect, the side of the road opposite to it showing only a high bank with boulders of ragstone, peculiar to the county of Kent; and for this reason none of the principal windows looked towards it. The back-front and side, however, turned towards the hills between Maidstone and Rochester. Very precise directions were given as to the arrangement, size, height, and number of the rooms. The study, _c_, was to be on the left of the entrance-hall, and its size 16 feet by 12 feet. It was made 16 feet square. The drawing-room, _d_, having the chief prospect, was to be the principal room. This was made 20 feet by 17 feet. The dining-room, _e_, was 20 feet by 16 feet; both rooms looked into conservatories, _i_ _i_. The back front faced the north--a very favourite aspect for the principal rooms with many of the noblemen and gentlemen of Kent; the reason being that the flowers in the gardens under the windows, turning towards the sun, present a cheerful and agreeable appearance to the occupants of the rooms.

The dining-room had steps leading down to the garden; the kitchen _b_, scullery _g_, and small larder _h_, were on the right of the entrance, the kitchen and the study having small windows by the side of the entrance, so that all visitors coming to the house might be seen. The servants’ door was in the small yard by the side of kitchen, with a place for coals; _o_ is a small chaise-house, and _p_ a stable for a pony; _l_ is the dust-hole.

The upper floor had to contain five best bedrooms; these can be seen in the plan. Their sizes were 17 feet by 12 feet, and 16 feet by 10 feet. There were three dressing-rooms, the largest 12 feet by 10, the two smaller each 12 feet 6 inches by 6 feet. The second floor contained two rooms for servants, one 16 feet by 10 feet, the other 12 feet by 10 feet. The basement had a footman’s pantry, 12 feet by 9 feet 6 inches, and a dairy of the same size. This had steps down to it in the area. There was a wet larder with a window, a wine cellar, and a beer cellar.

The interior was plainly finished, with nothing beyond the best modern enrichments. The whole of the interior had Keen’s cement skirtings. The staircase had a skirting flush with the wall, so as not to take away space from the stairs; this is shown at page 178. There were ornamental roses in the centre of the ceilings of the principal rooms. The section of the interior is made through the principal entrance, across the staircase and dining-room; and in the upper floor, through two of the dressing-rooms.

The only architectural feature in the front of any importance was the portico (see page 180). A bold and prominent effect was given to it. The estimated expense of the building was 2151_l._, full price put down as 2250_l._

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The vignette is an elevation of an Elizabethan balustrade, in stone, intended to crown a cornice, and to be placed in an elevated position against the sky line.

_DESIGN No. 16._

A COUNTRY VILLA.

This villa, which has just been erected in Berkshire, in the neighbourhood of Windsor, is intended as the country residence for a lady of rank. The living rooms are large and noble, and the accommodation

for a small establishment ample. The plate (page 182) shows the garden front, and above is the ground plan. The two principal rooms, the drawing and dining-rooms, are respectively 25 feet by 18 feet and 21 feet by 18 feet. They are to the left of the hall; this, of moderate size, leads to the principal staircase, which is of very easy ascent, each step rising less than

6 inches. The second landing opens to the servants’ staircase; _b_ (see page 183) is the kitchen, size 15 feet

by 14 feet, with the larder _h_, leading directly out of it,--_g_ is the scullery, with an oven, and a shoot into the dustpit _m_, _n_ is the housekeeper’s room, and _j_ the butler’s pantry; _c_ is the lady’s room or study. This was enlarged, by taking down the partition, marked on the plan by the dotted lines, to allow of a splendid oak cabinet being placed there. A door in the room opens direct into that of the housekeeper; _k_ is the dairy,

and _l_ a place for coals. The wine cellar was at first intended to be placed under the principal flight of stairs, descending a few steps; but a large one, _b_ (see page 184), was afterwards made.

The plan of the upper story shows it containing two large principal bedchambers--each with a dressing-room, and a large room with two fireplaces serving as a nursery, but which could at any time be made into two rooms by putting up partitions.

The servants’ sleeping apartments, the housemaid’s closet, and the servants’ staircase, occupy the remaining portion of the plan.

The cost of erecting the carcase of the building, including the wine cellar, was 1108_l._ The cost of finishing, putting up the principal staircase in Portland

stone, and leaving all work required to be painted with two coats, but exclusive of papering, stoves, ironwork, marble mantelpieces, conservatory, verandah and exterior decorations to roof, was 1550_l._ Mr. Hockley, of Kensington, was the builder. When the mansion was finished so far, all ornamentations, &c., formed an agreeable occupation for the lady to complete from favourite examples seen by her on the Continent. The extra parquet flooring in the dining and drawing-rooms is from Switzerland. This cost 148_l._ All the stone flooring of the hall, staircase, passages, and conservatory, is covered with tiles from Italy; these are about 8 inches square, but not so well made as the English kind, although more artistic. Each has a small figure put in by hand, which is different on every tile. The tiles are faced with a white china ground and look extremely well. The common tiles cost 16_s._ per 100. The grotesque figured tiles,

of which the illustration on page 189 shows four, cost 2_l._ per 100. They were supplied by M. Giustiniani, of Naples. The marble chimney-pieces were to be supplied from Italy. The ironwork of the staircases, and the panel to fill up the opening in staircase, shown dotted in the upper plan, were supplied from Paris. It is different from any ironwork that can be procured here, of elegant design, and covered apparently with a thin coat of zinc. This gives it a silvery metallic appearance, and it does not require

painting; it is really a coating of glass, and is termed the _lavenant_ process. It it said to be a great preservative of the iron, and can be put on in different colours. Each of the windows of the principal rooms, and the hall, is fitted within with Price’s steel revolving shutters. These cost 75_l._ The upper windows on the outside have iron balconets, likewise from France, and the roof, surrounding the principal parts, is finished with the French cut pine patterns. They were supplied by M. Jules Millet, of 12, Boulevard du Temple. The entrance door has the two upper panels

filled with French castings, executed in a fashion different from the English mode; but one quite worthy to be followed. The iron panel is placed on the outside, with a light iron glazed casement fitted behind it. This in warm weather can be opened, so as to admit fresh air into the hall. The plan and elevation of the casement shown from the inside, on page 187; by the side of it is one quarter of the external iron casting.

It may be remarked that these French patterns, both in iron and wood, are not finished off as clean as they would be in England. The castings appear just as they came out of the sand, and the wood pattern exactly as the machines or saw left them; but they are extremely elegant, and the metallic appearance of the ironwork is very pleasing.

The former house is pulled down, except a portion, permitted to remain, which is formed into a decorative building for the garden; the plan (page 188) shows _a_ the old kitchen, _b_ the wine cellar made into an ice-house, _d_ a lock-up closet, _f_ a prospect tower, _c_ a closet in a small enclosed garden, and _e_, a garden seat.

On page 190 is a pattern sent from Paris for the staircase railing.

_DESIGN No. 17._

A DOUBLE SUBURBAN VILLA.

This building was intended for erection on a leasehold estate at a little distance out of London. It would have been of rather plainer character, but the view (page 192) shows the design first made. The frontage, or width of ground for each house, was