Reversals
Helen Smith
Richard Norman Shaw Andrew Saint (Yale University Press E19.50) The reversals of Norman Shaw's posthutn' ous reputation would make an interesting chapter in the history of twentieth-centar, taste. At the time of his death his full' blooded classicism was out of fashion and has remained so until quite recently, while, his half-timbered, tile-hung, inglenookeu houses have enjoyed rising popularity with the steady decline of the obsession with rationality in architecture. At no time since his death has Shaw been credited with the full authority that he enjoyed during his life' time. This is partly because, in his extremelY long working life, he left behind a number of styles, none of which he could be said t° have invented, and partly because his fine' 'failure' as an octogenarian has left, through lack of factual information, a permanent question mark on his ability. It is fullY appropriate, then, that the first major modern monograph of a Victorian architect to follow Paul Thompson's exemplary Butterfielitt should be on this giant of domestic arch" tecture. In spite of the author's modest intention 'to inform and entertain rather than to pretend to profundities' the book contains a meatier ration of nineteenth' century architectural history than could be squeezed into any other monograph, along' side its wholly satisfying biographical con' tent. It is sheer greed that asks for the inclusion of Shaw's pupils and followers' since that would be another meal in itself. Andrew Saint's pithy and at times alMas,t conversational style illuminates Shaw and his work with perception and accuracy, all the text is backed up by plentiful photo: graphs, drawings, plans, a full catalogue aad index. He steers an expert course through what were once difficult questions with One hand firmly grasping the wheel, the other, free to gesticulate informatively at points 01 detail. This well planned journey takes as through the styles, from Gothic through Old English and Queen Anne to 1e0„. Georgian, the final chapter acceleratim with the gripping and sobering story of the Regent Street affair. Styles aside, and theY can easily confuse the issue, we are con" ducted through such issue as Shaw's brilliant planning (perhaps his greatest contributi° to domestic architecture), his use of mate!. ials, both structurally and decoratively, 1.115 patronage and relationships with his clients' and his attitude to the Arts and Crafts movement. Throughout Shaw's life his excessivte modesty is difficult to swallow, althodu very endearing. The book is liberally scat,' tered with quotations mainly from Shaw correspondance, and his professional letters Prove to be as personal as his private ones. The author himself invites quotation, for example in his witty character study of Kentish Town Police Station, but his lasting Contribution lies not so much in the frivolities as in the fundamentals.
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