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Download (2216Kb) A Thesis Submitted for the Degree of PhD at the University of Warwick Permanent WRAP URL: http://wrap.warwick.ac.uk/150023 Copyright and reuse: This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. For more information, please contact the WRAP Team at: [email protected] warwick.ac.uk/lib-publications ‘AN ENDLESS VARIETY OF FORMS AND PROPORTIONS’: INDIAN INFLUENCE ON BRITISH GARDENS AND GARDEN BUILDINGS, c.1760-c.1865 Two Volumes: Volume I Text Diane Evelyn Trenchard James A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy University of Warwick, Department of History of Art September, 2019 Table of Contents Acknowledgements ………………………………………………………………. iv Abstract …………………………………………………………………………… vi Abbreviations ……………………………………………………………………. viii . Glossary of Indian Terms ……………………………………………………....... ix List of Illustrations ……………………………………………………………... xvii Introduction ……………………………………………………………………….. 1 1. Chapter 1: Country Estates and the Politics of the Nabob ………................ 30 Case Study 1: The Indian and British Mansions and Experimental Gardens of Warren Hastings, Governor-General of Bengal …………………………………… 48 Case Study 2: Innovations and improvements established by Sir Hector Munro, Royal, Bengal, and Madras Armies, on the Novar Estate, Inverness, Scotland …… 74 Case Study 3: Sir William Paxton’s Garden Houses in Calcutta, and his Pleasure Garden at Middleton Hall, Llanarthne, South Wales ……………………………… 91 2. Chapter 2: The Indian Experience: Engagement with Indian Art and Religion ……………………………………………………………………….. 117 Case Study 4: A Fairy Palace in Devon: Redcliffe Towers built by Colonel Robert Smith, Bengal Engineers ……………………………………………………..….. 151 Case Study 5: Indian Stones in a Suffolk Garden: The Pyramid at Great Bealings built by Edward Moor, Bombay Army …………………………........................... 166 Case Study 6: The Indian and British gardens of James Forbes, East India Company Merchant, Topographer, Revenue Administrator and Artist …………………….. 183 3. Chapter 3: Indian Style: Inspiration and Appropriation ………………… 199 Case Study 7: Thomas and William Daniell and the Architecture and Gardens of Sezincote, Gloucestershire, and Melchet Park, Hampshire ……………………… 215 ii Case Study 8: Humphry Repton and the Building of Brighton Pavilion ………... 241 Case Study 9: The ‘Hindu’ Bridge at Dromana, Co. Waterford, Ireland: Political Statement or Honeymoon Fantasy? …………………………………….. 269 Conclusion ………………………………………………………………………. 302 Bibliography …………………………………………………………………….. 306 Illustrations ……………………………………………………………… Volume II iii Acknowledgements I would firstly like to thank my supervisor, Rosie Dias, for her help, encouragement and support throughout my research and the difficult last years of writing my thesis. My research and my invaluable trip to India were funded by the Arts and Humanities Research Council, for which I am very grateful. Thanks also go to the Company of Arts Scholars for their Research Award which enabled me to frequently travel to the British Library for primary research. My appreciation goes to the staff of the many archives, libraries, museums and record offices in UK, Ireland and America who helped with my researches. Thanks also to the authors, academics and researchers who assisted me particularly Raymond Head, who kindly spent time with me early in my studies; also, Tillman Nechtman, Andrew Ginger, Andrew MacKillop, Crispin Bates, Ashok Malhotra, Alijos Farjon, and Susan Johnson-Roehr, for their kindness in sharing their knowledge, and help in accessing documents and information. Thanks also to Margot Finn, Kate Smith, Helen Clifford, Ellen Filor, and Jan Sibthorpe of the East India Company at Home project for supporting my endeavours. My appreciation is also extended to the owners and staff of the many properties I visited, for their kindness in allowing me to walk their landscapes and for sharing archival information particularly Larry Bartel, Jonathan and Selina Peto, Ronald and Erica Munro Ferguson, Rob Thomas, Louise Austin, Helen John, Edward Peake, Stephen Twigger, the Reverend Nick Brown, Barbara and Nicholas Grubb, and Lewis Wasserstein. A big thank you to the History of Art Department staff, Michael Hatt, Louise Bourdua, Jenny Alexander, Louise Campbell, Julia Brown, and Claire Nicholls, to the Warwick Graduate School for their support, and the staff of the University of Warwick Library. Many thanks also to my fellow PhD students: Claire FitzGerald, Kayoko Ichikawa, Anne Musset, Carlo Avilio, Charlotte Stokes, Stefano Colombo, Matteo Carpiniello, and Delia Moldovan, and to my garden historian friends, Timothy Mowl, Dianne Barre, Jeri Bapasola, and Clare Hickman for their inspiration. iv An immense vote of thanks goes to my family who have supported me through the years and encouraged me along the way. To my father who will be one hundred and two this year, a big thank you for all your help and advice over the years. Thanks also to my daughter, Ruth, and her family, Damian, Mabel and Tabitha, and to my son Dominik, and his family Rosie and Keely, for their support and understanding. I dedicate this thesis to my husband, Philip, without whose advice, help, and encouragement, my thesis would not have been possible. v Abstract This thesis examines the short-lived development of Indian design in British architecture and gardens between c.1760 and c.1865, coinciding with the height of the trading and territorial ambition of the East India Company and the return of military officers and government officials from India to Great Britain and Ireland. Although only a relatively small number of gardens and houses in rural counties were built with elements of Indian onion domes, chhajja cornices, minarets, or temple pools, their presence within – as well as absence from – the British countryside is indicative of the careers, aspirations and motivations of those involved (both directly and less directly) with empire, as well as of the controversial position which they often occupied in political and social spheres. The thesis demonstrates that ‘nabobery’ is only one of the appropriate lenses through which to analyse Indian design in British gardens and architecture in this period. The first chapter explores ways in which East India Company returnees established domestic roots via various building and landscaping projects as they endeavoured to re-join British society, though not as a homogenous group of ‘nabobs’, but as individuals manifesting their personal motivations and concerns. The second chapter examines how returnees, who had spent many years in India’s interior, researching, collecting, and painting Indian art and architecture as an integral part of their Company work or leisure activities, used their scholarship to memorialise India in more modest houses and gardens. The last chapter establishes how views of India’s landscapes were used by architects, landscapers and patrons with no previous contact with India, adapting Indian design and imbuing it with new significance and meaning. Through new scholarly research across nine case studies, the thesis therefore illuminates a variety of practices and motivations underpinning the aesthetics of the Indian-influenced garden and architecture in the period. vi Declaration I declare that this thesis is my own work and that it has not been submitted for a degree at another university. vii Abbreviations BL British Library BO Bodleian Library, Oxford DEV Devon Record Office EH English Heritage EIC East India Company EICAH East India Company at Home GA Gloucestershire Archives, Gloucester IOR India Office Records MP Member of Parliament NA National Archives, London NIA Archives Départementales des Alpes Maritimes, Nice, France NPG National Portrait Gallery OA Oxfordshire Archives, Oxford ODNB Oxford Dictionary of National Biography RA Royal Academy RIBA Royal Institute of British Architects viii Glossary of Indian Terms Al'hinna Henna, or Mehndi (Lawsonia inermis), the shoots and leaves of this plant are used as a dye to decorate parts of the body. Amalaka A segmented or notched disk in stone, inspired by the shape of the Indian gooseberry (Phyllanthus emblica). Baboo A Hindu man, especially one of a relatively high status; also used for a Bengali with a veneer of English education. Bangla A cottage built for early European settlers in Bengal, later used to describe a bungalow. Bagh Garden, orchard, or pleasure garden. Banian (banyan) A Hindu trader, especially from the province of Gujarat. Applied in Calcutta to native brokers attached to houses of business, or people employed by a private individual. Banyan The Indian Fig Tree (Ficus religiosa or indica). When the branches drop shoots to the ground, they take root and support their parent branches, so that one tree will often cover a large expanse of ground. Bibi Has undergone a variety of meanings: a Mughal lady; a lawful wife; a European maidservant; a courtesan. ix Brahmin A member of the highest priestly caste of the Hindus. Budgerow A keelless barge, formerly used by Europeans travelling on the Ganges. Bulbul A bird: a species of the genus Pycnonotus, belonging to the Thrush family, sometimes called the ‘nightingale’ of the East. Camitop God-grove in Tamil Nadu. Chadar Kashmiri water ramp, or waterfall. Champa (champak) The Indian tree Michelia
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