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Texte et illustrations de "La construction moderne - 22 septembre 1900"

Nous mettons sous les yeux de nos lecteurs une vue du Pavillon de l’Angleterre sur le quai dit des Palais des Nations. L'architecte de cette construction, fort élégante dans sa simplicité, est M. Lutyens.

Illustrations de "A travers l'Exposition de 1900"

Illustrations de "A travers l'Exposition de 1900"

Texte et illustration de la revue "L'Exposition Illustrée" de 1900


C'est la reproduction exacte de la demeure princière de Kindston-House, à Bradford-sur-Avon, dans le comté de Wiltshire, l'un des plus purs spécimens de l architecture anglaise du XVIe siècle. Sa charpente, entièrement en fer, venue de Londres, a été montée par des ouvriers anglais. Ce palais renferme les précieuses collections artistiques du prince de Galles.

Extract of book "The Royal Pavilion - Paris International Exhibition, 1900"


THE ROYAL PAVILION.

THE Rue des Nations at the Paris International Exhibition extended from the Pont des Invalides to the Pont de l'Alma on the left bank of the Seine. It comprised twenty-three separate buildings, erected by as many different countries, and each was typical in some way of its national style of architecture. It was a strange and fascinating street, marked by strong and even violent contrasts in design, taste, and colour. Had more space been devoted to these pavilions the success would have been even greater than it was, for the Rue des Nations was much too crowded, and no single pavilion could be seen to the best advantage owing to the proximity of its neighbours.

Nevertheless, the spectator could not fail to be impressed by the admirable skill of the architects and of the decorative artists, though he could not be insensible of a note of rivalry.

The Italian Pavilion was a strange combination of St. Mark's and the stately palaces of the Grand Canal. The Pavilion of Germany was a replica of a somewhat florid turreted Frankfort House. The American Pavilion was an imitation of the Capitol at Washington. In striking contrast to these and others were the quiet Chateau of Austria, the replica of the graceful Town Hall of Oudenarde in Belgium, the modest and charming Danish house of the time of Christian IV., and the stately Pavilion of Spain.

The choice of architecture for the British Royal Pavilion was no easy matter, since the problem to be solved consisted in covering a space of given dimensions with a characteristic English building suitable for the display of a collection of Works of Art of the British School.

It was difficult to find an existing example which should be at once characteristic and of such a size as to fit the site, and it was finally decided, after much consideration, to take as the model of the principal façade a famous Jacobean Manor House, known as The Hall, Bradford-on-Avon, built in the early part of the seventeenth century. It would have been difficult to find any type more appropriate or to suggest a substitute that would be more pleasing.

Extract of book "The Royal Pavilion - Paris International Exhibition, 1900"


“The Hall” is a noble specimen, perhaps the finest existing, of Jacobean architecture, and is seen to the greatest advantage, standing alone in its own setting of park and terrace garden, sculptured balustrade, wide flight of stone steps, and ample expanse of lawn. Divorced from these surroundings and planted instead on an arid expanse of sun-beaten asphalte, it lost much of its peculiar charm, and it suffered further by being perched upon a high stiff terrace, and from the close proximity of its towering neighbours.

The south front facing the street was adapted from another house of the same period, and the remaining sides were designed by the architect.

Extract of book "The Royal Pavilion - Paris International Exhibition, 1900"


The following extract from the official report of the Royal Commission for the Paris Exhibition may here be quoted :
“ The Royal Pavilion on the Quai d'Orsay afforded us our only opportunity of making a distinctive national display-The site was given to us subject to the payment of a proportion of the expense of covering the railway which ran beneath it. The Pavilion occupied a central position in the Rue des Nations, and was at once the most frequented and the most admired part of the British section."



"Our intention was to provide an example of the most characteristic style of English domestic architecture, fitted up and furnished in such a way as to give, as far as possible, an idea of a well-appointed English house. We were fortunate enough to obtain, from various sources, the loan of a collection of pictures of the British School, such as had never before been seen abroad, and with these the walls of the different rooms were hung. The great popularity of the Pavilion, and the warm appreciation expressed by artists and connoisseurs of all nationalities, satisfied us that we were well-advised in devoting so much money and attention to this building.”

Extract of book "The Royal Pavilion - Paris International Exhibition, 1900"

To Mr. Edwin Lutyens, architect, was confided the task of designing the Pavilion, and the construction of the building was undertaken by Messrs. John Aird and Sons. The framework, which was of steel, of which upwards of 310 tons were used, was designed by Sir Benjamin Baker. The floors were of concrete, and the outer walls of corrugated steel and plaster. It was, in fact, as remarkable for its solidity and fireproof construction as for the richness and the artistic merit of its contents.

The interior was admirably adapted to exhibition requirements, and gave an impression of luxury and refinement as well as a sense of habitable comfort.

The overcrowding of the pavilions told more seriously upon this little Manor House than upon any other, and no information respecting its neighbours could be obtained before the designs were made. Yet. in spite of the disadvantages of position and environment under which it suffered, the building retained much of its stately and homely charm, and held its own among its ornate and palatial neighbours.

The Royal Pavilion Committee deemed it expedient to confine the collection to pictures of the eighteenth century, partly in view of the limited space at their disposal and partly on account of the exceptional interest which the British school of that period excites in France at the present time. The only exception made was in favour of the works of Sir E. Burne-Jones, five important examples of which were shown together in the Saloon. The collection was obtained b}r loan, H.R.H. the Prince of Wales taking a strong personal interest in the project, without which it is doubtful whether it would have been possible to form so remarkable a collection.



To the majority of the French public this collection came as a revelation. The loan collection which adorned the Dining-room, the Staircase, the Long Gallery, and the Drawing-room, was representative of all that is most illustrious in English Art; it was selected with signal taste and judgment, and would bear comparison with any other in the Exhibition.

The Royal Pavilion contained fifty masterpieces by Reynolds, Gainsborough, Romney, Hoppner, Raeburn, Hogarth, Turner, Constable, Morland, Bonington, Opie, and Lawrence, as well as works by Burne-Jones, mezzotint engravings, etc.

Extract of book "The Royal Pavilion - Paris International Exhibition, 1900"


ENTRANCE HALL.

THE main entrance was by a porch on the south side, leading directly into the Hall, the floor of which was laid with squares of black and white marble. The walls were panelled to a height of 5ft. with a simple but well-designed oak dado, and at the entrance door was fixed a screen, characteristic of the period, the pilasters, frieze, and finial crestings being elaborately wrought in strap-work pattern.

Works of Art from this room

Extract of book "The Royal Pavilion - Paris International Exhibition, 1900"

THE SALOON.



THE decoration and fittings of the apartment known as the Saloon were, perhaps, more Elizabethan than Jacobean in character, but were nevertheless admirable. The walls were panelled with oak, and the doors and spandrels were carved or inlaid. The mantel-piece was of carved oak, with carved stone linings, and was a fine example of its kind. It was, in fact, a worthy apartment in which to show the pictures of Burne-Jones at his best, for here were assembled his “Cupid and Psyche," lent by Mr. Alexander Henderson, his superb “ Laus Veneris," "St. George," “Angel of the Martyrs," and “The Delphic Sibyl," all lent by Sir William Agnew. “ Laus Veneris,” in particular, was greatly admired by' the French and other foreign visitors, who were deeply interested in these examples of pre-Raphaelite art. The pictures are all well known, but a short description of them may-still be acceptable.

Works of Art from this room