The life and works of Sir Charles Barry — Context and Discussion

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Barry, Alfred, 1826-1910 Project Gutenberg 2023 Not confirmed
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Words 131,591
Reading time 573 min
Text sections 17

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Alfred Barry's biography of his father, architect Sir Charles Barry, draws on professional journals and official documents to detail the design and construction of the Houses of Parliament, including the collaborative role of A.W.N. Pugin and the acoustic challenges of the chambers.
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Plan of the Chapter. (A.) ORIGINAL BUILDINGS--Varieties of his Italian style--First manner--Reform Club--Manchester Athenæum--New wing at Trentham--Second manner--Bridgewater House--Third manner--Halifax Town Hall. (B.) CONVERSIONS AND ALTERATIONS--College of Surgeons--Walton House--Highclere House--Board of Trade--Architectural gardening--Trentham Hall--Duncombe Park--Harewood House--Shrubland Park--Cliefden House--Laying out of Trafalgar Square. (C.) DESIGNS CARRIED OUT BY OTHERS--Keyham Factory--Ambassador’s Palace at Constantinople--General remarks on his Italian architecture 89

Progress of the Gothic revival--Birmingham Grammar School--First acquaintance with Mr. Pugin and Mr. Thomas--Alterations at Dulwich College--Unitarian chapel at Manchester--Additions to University College, Oxford--Hurstpierpoint Church--Canford Manor--Gawthorpe Hall--Designs for Dunrobin Castle 128

THE NEW PALACE AT WESTMINSTER.

Plan of the Chapter. Section I. HISTORY OF THE COMPETITION--Burning of the old Houses of Parliament--Opening of the Competition for the New Building--Award of the Commissioners--Approved by the Select Committee of the Houses--Protest of the advocates of Classical Architecture--Critical controversy--Personal attacks on Mr. Barry--Meeting of unsuccessful Competitors--Presentation of Petition by Mr. Hume--Opposition quashed by Sir Robert Peel--Protest against it by Professor Donaldson and others. Section II. PROGRESS OF THE BUILDING--Difficulties as to the Foundation--Commission of Inquiry as to the Stone to be used--First Stone laid--Unavoidable delays--Committee of the Peers--Generous support of Earl of Lincoln--Committee of the Commons--Appointment of New Palace Commissioners--Appointment of Dr. Reid--Difficulties arising therefrom, and arbitration of Mr. Gwilt--The Great Clock--Competition and success of Mr. Dent--Professor Airy and Mr. E. B. Denison referees--Mr. Denison the chief Director--His tone and method of controversy--The Great Bell and its disasters--The Fine Arts Commission--The Architect’s exclusion from it--His scheme for the Decoration of the Building--The scheme of the Commissioners--Its ideal excellence and practical drawbacks--Connection with Mr. Pugin--Real nature of the aid given by him--Mr. Thomas and the stone carving--Mr. Meeson and the practical engineering--Other assistants in the work--Opening of the House of Peers--Opening and alteration of the House of Commons--The Architect knighted in 1852--The Great Tower hardly completed at his death. Section III. THE REMUNERATION QUESTION--Its points of public interest--General question of architectural percentage--Its bearing on the particular work--Original attempt at a bargain by Lord Bessborough--Accepted under protest--Re-opening of the question--First Minute of the Treasury, and reply--Mr. White acts for Sir C. Barry--Second Minute of the Treasury--Counter statement--Third Minute of the Treasury--Submitted to by Sir C. Barry--Protest of the Royal Institute of British Architects, and reply--Practice of the Government after Sir C. Barry’s death--General reference to the question of expenditure--Summing up of the chief points of the controversy 143

The NEW PALACE AT WESTMINSTER.

I. HISTORY OF THE GROWTH OF THE DESIGN.--Influence of external circumstances on the design--Lowness and irregularity of site--Limitation of choice to Elizabethan and Gothic styles--Choice of Perpendicular style--Original conception of the Plan--Question of restoration of St. Stephen’s Chapel--Use of Westminster Hall as the grand Entrance to the building--Simplicity of plan--Principle of symmetry and regularity dominant--Enlargement of Plan after its adoption--Conception of St. Stephen’s porch--The Central Hall--The Royal entrance and Royal Gallery--The House of Lords, its construction and decoration--The House of Commons, and its alteration--Great difficulty of the acoustic problem--Enlargement of public requirements--Alterations of design in the River Front--The Land Fronts--The Victoria Tower--The Clock Tower--General inclination to increase the upward tendency of the design, and the amount of decoration. II. BRIEF DESCRIPTION OF THE ACTUAL BUILDING.--Its dimensions--Its main lines of approach; the public approach--The Royal approach--The private approaches of Peers and Commons--General character of the plan--The external fronts--The towers--Criticisms on the building by independent authorities 236

CHIEF DESIGNS NOT EXECUTED.

Large number of designs not executed--Views of Metropolitan Improvement--Reasons for notice of such designs--Clumber Park--New Law Courts--National Gallery--Horse Guards--British Museum--General scheme laid before the late Prince Consort--Design for new Royal Academy--Crystal Palace--Alterations of Piccadilly and the Green Park--Prolongation of Pall Mall into the Green Park--Westminster Bridge--Extension of the New Palace at Westminster round New Palace Yard--GREAT SCHEME OF METROPOLITAN IMPROVEMENTS--Plan and description--General remarks thereon 266

GENERAL NOTICE OF PUBLIC LIFE.

Public action--His natural dislike of publicity--His characteristics as a Commissioner--Royal Academy--Scheme for Architectural Education--Royal Institute of British Architects--Scientific Societies--Royal Commission of 1851--Exposition Universelle of 1855--Professional arbitrations at Edinburgh, Glasgow, and Leeds--St. Paul’s Cathedral Committee 302

PRIVATE LIFE AND DEATH.

Leading events of his life--General habits of work--Domesticity and privacy of life--Acquaintances and friendships--Distaste of publicity--Leading features of character--Personal appearance--Failure of health--Death--Funeral in Westminster Abbey--Erection of Memorial Statue--Conclusion 323

(A.) List of Architectural Designs 355

(B.) Letter to his Royal Highness the Prince Consort as to the South Kensington Scheme 358

(C.) Papers on the Remuneration Controversy 369

(D.) List of Subscribers to the Memorial Statue 405

ERRATA. (Corrections made by etext transcriber.)

Page 109, line 23, _for_ “Berkshire” _read_ “Hampshire.”

Page 147, line 12, _for_ “November” _read_ “December.”

Pages 195, 196, transpose paragraphs beginning “As soon as,” &c., and “The first aid,” &c.

Page 259, line 32, _for_ “twenty-five” _read_ “twenty-nine,” and _for_ “thirty” _read_ “forty-three.”

LIST OF ILLUSTRATIONS.

PORTRAIT OF SIR CHARLES BARRY _Frontispiece._

1. Plan of Travellers’ Club 82

2. View of Travellers’ Club 82

3. Plan of Reform Club 93

4. View of Reform Club 95

5. Plan of Bridgewater House 97

Alfred Barry opens his biography of Sir Charles Barry by acknowledging a scarcity of personal letters and journals suitable for publication, noting that his father's professional notes were 'mostly notes for practical use' and would need alterations before publication. This candid admission shapes the entire work: the narrative relies heavily on official documents, professional journals, and personal recollection, rather than on the architect's own correspondence. The result is a biography that foregrounds the public, professional man over the private individual, offering a detailed account of architectural practice in nineteenth-century Britain.

The Architect's Own Voice

Alfred Barry explains that his father 'was no great letter-writer' and that few characteristic letters survive. Instead, the biography draws on 'valuable professional notes and official reports, clear in style and comprehensive in scope.' The author's reliance on these materials means that Sir Charles Barry speaks through his buildings and official documents rather than through personal reflections. The reader encounters the architect's decisions—such as his insistence on a 'jewelled effect' in stained glass or his preference for 'solid gold' in the ceiling of the House of Lords—through the lens of professional records. This approach gives the biography a documentary quality, but it also means that the architect's inner life remains largely inferred from his actions and the testimony of those who knew him.

Collaboration and Control: Barry and Pugin

The biography reveals a nuanced working relationship between Barry and A.W.N. Pugin. Alfred Barry states that 'the ornamental details' of the Houses of Parliament 'were designed by Mr. Pugin, under Mr. Barry’s direction, and subject to his frequent alterations.' Pugin also designed the painted windows, though Barry stipulated for 'a sufficient amount of white glass to produce the “jewelled effect” he admired.' The text presents Barry as the controlling hand, directing Pugin's decorative work while maintaining his own architectural vision. This passage offers a specific, evidence-based glimpse into the division of labor on a major public building, without overstating either man's contribution.

Acoustic Challenges in the Chambers

A substantial portion of the excerpt addresses the acoustic difficulties of the Houses of Parliament. Alfred Barry notes that 'the difficulties were great and peculiar,' because speakers must be audible from every part of the House even when using a 'conversational tone.' He contrasts this with rooms where speaking comes from 'one or two quarters only,' such as churches or theatres. The author also observes that 'very few persons' take the trouble to speak distinctly, and that a new building needs time to 'season'—time the House of Commons was not given. This technical discussion, grounded in the architect's own experience, illustrates the practical constraints that shaped Barry's design decisions.

The House of Lords as Royal Chamber

Alfred Barry explains that Sir Charles Barry conceived the House of Lords not merely as a legislative chamber but as 'the chamber in which the sovereign, surrounded by the court, summoned to the royal presence the three estates of the realm.' Consequently, Barry thought it 'should partake of royal magnificence' and 'lavished upon it all the treasures of decoration.' This conceptual framing—rooted in the building's ceremonial function—guided Barry's lavish use of gold and ornament. The biography thus presents the architect's design philosophy as inseparable from his understanding of the building's political and symbolic role.

Readers interested in the practical realities of Victorian architecture will find this biography valuable for its detailed accounts of design decisions, material choices, and the negotiation between aesthetic ideals and functional requirements. Alfred Barry's reliance on official records and professional journals means that the narrative stays close to the documentary evidence, offering a reliable, if somewhat impersonal, portrait of his father's career.

Reading Alfred Barry’s account of his father’s patient work on Parliament’s acoustics, I kept thinking of how much unseen labor goes into making something feel effortless—the same quiet devotion that shaped William Hamilton Gibson: artist—naturalist—author — Context and Discussion comes to mind, where every botanical line feels like a held breath, not a hurried hand.

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