1928-05-19 — Page 5

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RECENT BUILDING EXHIBITION.

SATURDAY, MAY 19, 1928.

BROTHERS OPPOSED ON PRAYER BOOK.

ENGLISH ARCHITECTURE, OF LORD HUGH CECIL FOR:

BISHOP OF EXETER AGAINST.

TO-DAY.

DOUBLE FUNCTION.

4

How Lord Hugh Cecil, M.P., and his brother, Lord William Cecil, Bishop of Exater, aro divided in their views on the proposed Now Prayer Book has just been revealed.

[By Sir Lawrence Weaver, K.B.E.]

The Building. Exhibition at Lord Hugh Cecil, M.P., address- Olympla comes along again, and, ing a crowded congregatione at Greenwich Parish Church, sald fulfils its double function. It pro- that the majority of the charges viden

оп stage which the were quite of a non-contentious technical person, whether archi-character, but acute controversy tect or bufider, may see what new had arisen on two points and on materials, and what fresh intrigu- these the issue almost entirely de- pended. These were the Prayer of ing gadgets the ingenuity of Consecration and the Reservation | manufacturers has provided for af the Sacrament.

the home. Not less important, It enables the general publle to sort its mind on what, after all, are the raw materials of the Mistress Art, which affect alike, the comfort and the aesthetic emotions of everybody.

I think it was Professor Lethaby who said many years ago, that

architecture

would bo better

In the first case he saw little reason for any objection. Taken altogether, there was no doctrinal change in the New Prayer Book! regarding the relationship between our Lord and the Consecrated Elements.

If the Measure were

UBC

On the question of Reservation, that was really a matter of spiritual expediency.. No difference in prin-

involved. The ciple was classified by the materials used to poses of adoration was absolutely

of the Reserved Sacrament for pur express it, than by the names of prohibited in the new Rubric. historical styles-Perpendicular, Georgian, and what not-eus-

rejected Lomarily used to make identifica-again, the changes which so many Lions. Such a method grows more objected to would be done without

lawful authority. feasible, every day, because the modern note in architecture, whe- ther within or without, la valldly jexpressed by, the new materials The Bishop of Exeter, writing and new types of construction in the Diocesan Gazette, slules: "A Book which is 60 unclear which "science provides for the service of changing social condi-that even its promoters, do not know, tions.

its meaning is not a Book likely! to restore order in the Church. I myself have had the greatest dificulty in interpreting the Rubric either in its new or old form, and

ریم

"Dreads is Passing.

It is surely that building con- struction has mude a greater leap forward in the last. 80 years than in the previous 800. Structural | I am but too painfully aware that steel" and, reinforced concrete are new farts which have created new possibilities, and they are only the outstanding and more obvious examples.

ma-

the moment I try to put in force) that Rubric I must plunge the Diocese into many unedifying con- troversies."

The Bishop does not think there! is any doubt that in certain cases The Victorian Contribution.

a refusal of licence will be calmly So long as the available

ignored, and the Bless Sacro- terials were wond, stone and brick,ment reserved in defiance of the the developing genius of archi. Bishop's ruling, and adds that he tectural design moved from beamooks forward with dread to the construction to the arch and the passing of tho Book.

vault. But when the architects

of late French Gothic had achiev ed their miracles by supporting the loftiest roofs with a complex mechanism of flying buttresses, they had come, speaking broadly, to the end of what could be danc. The Renaissance developed cinssi- cal motifs on novel lines, but, structurally, mainly by skilful juggling with the dome, and that was no longer a new klen. The Gothic revival contributed nothing either to construction or style, and we bave to look to the iron of the' despised Crystal Palace as the significant achievement which emerged from the absurdities of the great Exhibition of 1851. It was the Victorian contribution to modernism in architecture.

To-day, however, materiala are exercising a prodigious influence (11 design. more revolutionary than at any previous period of building.

Structural steel work is alone responsible for that architectural portent which in New York. The very few years during which New. York's zoning law has been in operation have already furnished that astounding city with a nerics of buildings recalling, on a Gar- gantuan scale, Sir Christopher Wren's, steeple of St. Bride's Church, Flovt-street. At feverish rate with which buildings below twelve' storey's are being torn down to be replaced by others of thirty storeys and more, New Yark will become, without much delay, a province of steeples.

Taller London.

the

allied

London's Building Act, with our soft subsoil, stands in the way of this development, but we have clearly to face a somewhat taller London. The great block of flats on the Grosvenor House site, the design of which has been supervised by Sir Edwin Lutyens, search- is causing considerable

an

ings of heart. Many criticisms of it are current, but it seems admirable solution of a simple problem. The real anxiety is lest the inevitable development of the rest of the Park-lane frontage should be in less competent hands. London, has an opportunity here of providing a large and needed amount of accommodation in buildings of a height which econo- | mics demand of the site. The view to the west must always be open, and I cannot imagine why it should be supposed that Hyde Park will suffer from having a modest cliff of fine brick work on Its eastern margin. If the aver- age quality of the next few years' new architecture in Park-lano prove as high as the new work in Park Avenue, New York, no one will have reason to complain.

A Black and White Confection.

It is a little difficult to see why the new Grosvenor House has drawn so much criticism. People are still frightened of plain sur- (Continued On Page 6.) ·

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