century, but it was not completed in its present form till 1805, and was the work of five successive architects, only one of them, James Gandon (1743–1823), a man of the first importance; but it was Gandon who in 1790 did most to give the building its effective outline on plan, by introducing one of the curved quadrant walls, the building being subsequently finished in accordance with this suggestion. It is a remarkable combination of symmetry and picturesqueness, and as a one-storey classic building is far superior to Soane’s Bank of England, with which a comparison is naturally suggested. Gandon’s custom house, with its fine central cupola, is another notable example. Edinburgh too can show examples of the classic revival, and bears the title of “modern Athens” as much from her architectural experiments as from her intellectual claims; she illustrates the application of Greek architecture to modern buildings in two really fine examples, the Royal Institution by W. H. Playfair (1789–1857), and the high school by Thomas Hamilton (1784–1858). It was a pity that she added to these the collection of curiosities on the Calton Hill.
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| Fig. 86.—Liverpool Branch of the Bank of England. (Cockerell.) |
But before we quit the classic revival in England, there are two architects to be named who came a little later in the day, living in fact into the time of the Gothic revival, who were superior to any of the earlier classic practitioners: Harvey Lonsdale Elmes and C. R. Cockerell. Elmes, who died very young, seems to have been as completely a born architectural genius as Wren, and his great work, St. George’s Hall at Liverpool, has done more than any other building in the world to glorify the memory of the classic revival. Granting all that may be said as to the unsuitability of Greek architecture to the English climate, one can hardly complain of any movement in architecture which gave the opportunity for the production of so grand an architectural monument. It is true that it is badly planned and lighted, and the exterior and interior do not agree with each other (the exterior is Greek, and the great hall is Roman); but if from our present point of view it is a mistake, it is certainly one of the finest mistakes ever made in architecture. Cockerell, who completed the interior of the building after Elmes’s death, was an architect permeated with the principles and feeling of Greek architecture, who brought to his work a refinement of taste and perception in regard to detail which has rarely been equalled and never surpassed. Perhaps the very best example of his scholarly taste in the application of classic architecture to modern uses is to be found in his façade to the branch Bank of England at Liverpool (fig. 86).
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| From a photo by W. A. Mansell & Co. Fig. 87.—Royal Theatre, Berlin. (Schinkel.)
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| From a photograph by W. A. Mansell & Co. Fig. 88.—Nikolai Kirche, Potsdam. (Schinkel.) |
