George Edmund Street: Unpublished Notes and Reprinted Papers — John Shaqi
George Edmund Street: Unpublished Notes and Reprinted PapersStreet, George Edmund
History
George Edmund Street: Unpublished Notes and Reprinted Papers
Street, George Edmund
Architecture, Gothic; Church architecture -- Europe; Europe -- Description and travel; Street, George Edmund, 1824-1881
temperament: all his life, all his religion, the very fibres of his
body, were strung to that interplay of thrust and strain, were tuned to
that upward reaching of the mountain’s heart toward God. He could not
otherwise. The battle of the Law Courts echoes still, though faintly,
in Englishmen’s depreciation and guide-books’ disapproval. The great
pile, notwithstanding, in every aspect is noble, and the question must
turn merely on the style. Modern Gothic granted at all, little can be
said against it, and if the sixties and seventies of the last century
had not used modern Gothic, what else could they have used? It seems
unlikely that the new Law Courts in New York will be better, built on
the plan of the Colosseum.
That work was to outlast his life. Meanwhile private commissions did
not fall off and ecclesiastical appointments multiplied. At Oxford
he had long been diocesan architect; and he held somewhat the same
relation to the cathedrals of York, Ripon, Winchester, Gloucester,
Salisbury and Carlisle. With all this he had building of his own
in which to take delight. In 1872 he bought land at Holmbury, near
Dorking, and made himself a garden there and in time a house, lastly a
church.
The country is there of very ancient occupation, essential England.
The buxom contour of the hills, the generous leafage of the woods, are
richer than elsewhere. The lawns are springy with delicate turf of
grass fine like hair, the close hedges taller than a man, the stocks
and gillyflowers heavy-scented, the dahlias and snapdragons dark-hued
and gold-dusted. From the ridge the eye can range--but the English
landscape needs an English pen.
“The house he decided to place on a brow, with a terrace running all
along its front, the whole, or nearly the whole of the garden being
disposed in the hollow below. A certain formal effect had been obtained
by sunk rectangular lawns and banks. As the views to the south-east and
the south were almost equally good, he planned the house in two wings,
forming an obtuse angle one with the other;[2] one facing south-east
and the other full south over the sunken garden.... Below the hill the
ground swept down in an amphitheatre open at one end to give a glimpse
of the blue distance seen over a bit of park-like foreground, whilst
above it rose one spur behind another of the near hills, clothed with
junipers and grand bushes of holly, and over them again the farther
edge of the hill crowned with masses of dark firs.”
Public-domain text, read in full here on John Shaqi.
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