Working with Building Preservation Trusts Build Renew Restores Restore
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Simon Thurley, ‘Kensington Palace: an Incident in Anglo-Dutch Architectural Collaboration?’, the Georgian Group Journal, Vol
Simon Thurley, ‘Kensington Palace: an incident in Anglo-Dutch architectural collaboration?’, The Georgian Group Journal, Vol. XVII, 2009, pp. 1–18 TEXT © THE AUTHORS 2009 KENSINGTON PALACE: AN INCIDENT IN ANGLO-DUTCH ARCHITECTURAL COLLABORATION? SIMON THURLEY illiam III was brought up in what is often The second was after the death of Charles II in Wtermed the ‘Golden Age’ of Dutch culture, in when William and Mary became next in line to the a country whose intellectual and artistic singularity throne of England after James II. In this period and creativity were recognised across Europe. William’s court, such as it was, was swelled by He came, as King, to a country that Voltaire saw as English visitors and his palaces were enlarged and having made, since , ‘greater progress in all the made more magnificent, both to entertain them, and arts than in all preceding ages’, and having the to reflect his increased status. These bursts of cultural influence to create in Europe the ‘Age of the architectural activity were triggered by the practical English’. The marriage of the two cultures in the requirements of a prince, rather than being the result person of King William was surely to hold great of a love of building and architectural display such as things for the state of English architecture. Yet, in that which drove his grandparents. In Jacob van reality, the English king who spent more on building der Does wrote of William’s grandfather, Frederik than any other in the seventeenth century led court Hendrik, that he was ‘possessed by such a passion architecture into a cul-de-sac. -
2000 Jaargang 99
Robert Hook Hollandd ean : Dutch influenc architecturs hi n eo e Alison Stoesser-Johnston The use of these publications by English architects and arti- Introductie)!! sans and the design of Wollaton Hall were not based on any Dutch classicism was a recent arrival in England when first-hand personal impressio f classicisno Italymn i . Thid ha s Robert Hooke made his first architectural designs in the late emergence th waio t r fo t f Inigeo o Jone s architectsa visis Hi . t 1660s. 'e constructioPrioth o t r f Hugo n h May's Eltham to Italy in 1613-'14 in the entourage of Thomas Howard, 2nd Lodg 1663-'64n i e e firsth , t exampl f Dutceo h classicisn mi Earl of Arundel, his close interest in Roman antiquities and England, classical elements straight from Italy and via Flan- intimate knowledge of Palladio's drawings are most ders had been used in English architecture for nearly a hund- dramatically exemplifie Banquetins hi n di g Hous f 1619-22eo . red years. Initially these had been mainly of a decorative na- Not only, however, has Jones here used Palladian "vocabulary" ture but vvith the construction of Inigo Jones' Banqueting 7 but hè has combined it with the application of Scamozzian House (1619-'21) there was a dramatic change in the way orders, the Composite being superimposed on the lonic. This classicism was adapted to English architecture. Jones drew combination of Palladian elements with Scamozzian also on the examples of Palladio and Scamozzi in his architecture influence beginninge th d f Dutcso h classicism.8 Jones' design using both Palladio's treatise, / quattro libri, personal know- was not only a major innovation in England but it also inspired ledge of his architecture and, in the case of Scamozzi, per- Jaco n Campe s va bfirs hi tn i narchitectura l commission i n sonal contact e applieH . -
Sir Roger Pratt's Library
Reading as a Gentleman and an Architect: Sir Roger Pratt’s Library by KIMBERLEY SKELTON This article illuminates the changes in English seventeenth-century architectural practice when members of the gentry educated themselves as architectural professionals and as a result several became noted practitioners. The author analyses the rarely examined notes and library of Sir Roger Pratt to explore how a seventeenth-century gentleman both studied and practised architecture literally as both gentleman and architect. Also she considers Pratt’s notes chronologically, rather than according to their previous thematic reorganisation by R. T. Gunther (1928), and offers a full reconstruction of Pratt’s library beyond Gunther’s catalogue of surviving volumes. Mid-seventeenth-century England experienced a sharp change in architectural practice and education. For the first time, members of the gentry began to design buildings and to educate themselves as professionals in architecture. From the late 1650s, Sir Roger Pratt designed country houses, and several members of the landed and educated classes became prominent architects: Sir Christopher Wren, Robert Hooke, Hugh May, William Winde, William Samwell, and William Talman. These gentleman architects brought new techniques to the study of architecture since they were more highly trained in analysing text than image. Scholars have yet to consider the seventeenth-century emergence of the gentleman architect in detail; they have focused more on monographic studies of architects, patronage, and building types than on shifts in the architectural profession.1 This article explores how a seventeenth-century gentleman would both study and practise architecture; it considers the rarely examined library and manuscript notes of Sir Roger Pratt.2 I argue that Pratt practised and read as literally patron and architect – using the techniques of a patron to answer the questions of an architect designing for English geographical and social particularities. -
'X'marks the Spot: the History and Historiography of Coleshill House
UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Department of History ‘X’ Marks the Spot: The History and Historiography of Coleshill House, Berkshire by Karen Fielder Thesis for the degree of Doctor of Philosophy June 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES DEPARTMENT OF HISTORY Doctor of Philosophy ‘X’ MARKS THE SPOT: THE HISTORY AND HISTORIOGRAPHY OF COLESHILL HOUSE, BERKSHIRE by Karen Fielder Coleshill House was a much admired seventeenth-century country house which the architectural historian John Summerson referred to as ‘a statement of the utmost value to British architecture’. Following a disastrous fire in September 1952 the remains of the house were demolished amidst much controversy shortly before the Coleshill estate including the house were due to pass to the National Trust. The editor of The Connoisseur, L.G.G. Ramsey, published a piece in the magazine in 1953 lamenting the loss of what he described as ‘the most important and significant single house in England’. ‘Now’, he wrote, ‘only X marks the spot where Coleshill once stood’. Visiting the site of the house today on the Trust’s Coleshill estate there remains a palpable sense of the absent building. This thesis engages with the house that continues to exist in the realm of the imagination, and asks how Coleshill is brought to mind not simply through the visual signals that remain on the estate, but also through the mental reckoning resulting from what we know and understand of the house. In particular, this project explores the complexities of how the idea of Coleshill as a canonical work in British architectural histories was created and sustained over time. -
Nicholas Hawksmoor and the Wren City Church Steeples’, the Georgian Group Journal, Vol
Anthony Geraghty, ‘Nicholas Hawksmoor and the Wren City church steeples’, The Georgian Group Journal, Vol. X, 2000, pp. 1–14 TEXT © THE AUTHORS 2000 NICHOLAS HAWKSMOOR AND THE WREN CITY CHURCH STEEPLES ANTHONY GERAGHTY hree hundred years ago, as the seventeenth St Bride Fleet Street, St Magnus-the-Martyr and Tcentury drew to a close, Wren’s architectural St Edmund-the-King. practice entered a remarkable final phase. These Hawksmoor’s obituary states that he entered were the years of Greenwich Hospital, the Whitehall Wren’s service ‘when about years of Age’. As he Palace schemes, the City church steeples and the was probably born in he is normally supposed skyline of St Paul’s – projects which have a boldness to have arrived in Wren’s office in the late s. of silhouette and intricacy of detail not encountered He can only be documented in London, however, in Wren’s earlier work. These late works coincide from January , when he witnessed Hugh May’s with the early career of Nicholas Hawksmoor, the will. In the years immediately before this he had greatest of Wren’s pupils. Hawksmoor had arrived in travelled extensively in England. A topographical Wren’s office by and from the early s he was sketch-book, n ow at the RIBA, confirms that he receiving delegated commissions. But the extent to visited Nottingham in and , Bath in , which he contributed to the older man’s designs and Coventry, Warwick, Bristol, Oxford and remains one of the unsolved mysteries of English Northampton at about the same time. Perhaps his architectural history. -
UC Riverside UC Riverside Electronic Theses and Dissertations
UC Riverside UC Riverside Electronic Theses and Dissertations Title The Parish Exposed: London Parish Life and the Great Fire of London Permalink https://escholarship.org/uc/item/0sx048rk Author Teske, Stephen Arthur Publication Date 2014 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA RIVERSIDE The Parish Exposed: London Parish Life and the Great Fire of London A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in History by Stephen Arthur Teske March 2015 Dissertation Committee: Dr. Thomas Cogswell, Chairperson Dr. Randolph Head Dr. Jonathan Eacott Copyright by Stephen Arthur Teske 2015 The Dissertation of Stephen Arthur Teske is approved: __________________________________________________________________ __________________________________________________________________ __________________________________________________________________ Committee Chairperson University of California, Riverside ACKNOWLEDGMENTS Throughout the process of writing this dissertation I have often been asked how I cope with the solitude of academic research. Reflecting on the process now, as it nears its end, it is abundantly clear how much writing a dissertation is a team sport. None of this could have been accomplished without Dr. Thomas Cogswell, who patiently guided me through this process from start to finish. If the reader finds any part of this dissertation engaging, it is almost certainly the result of Tom’s ear for a good story, and his never-ending drive to see that story completely extracted from the source material. I owe Dr. Randolph Head a significant debt, not only for his support of this project, but also for modeling the kind of diligence and rigor that makes academic research possible. -
The Laird's Houses of Scotland
The Laird’s Houses of Scotland: From the Reformation to the Industrial Revolution, 1560–1770 Sabina Ross Strachan PhD by Research The University of Edinburgh 2008 Declaration I, the undersigned, declare that this thesis has been composed by me, the work is my own, and it has not been submitted for any other degree or professional qualification except for this degree of PhD by Research. Signed: ............................................................................ Date:................................... Sabina Ross Strachan Contents List of Figures ix List of Tables xvii Abstract xix Acknowledgements xxi List of Abbreviations xxiii Part I 1 Chapter 1 Introduction 3 1.1 Introduction 3 1.2 Context 3 1.2.1 The study of laird’s houses 3 1.2.2 High-status architecture in early modern Scotland 9 1.3 ‘The Laird’s Houses of Scotland’: aims 13 1.4 ‘The Laird’s Houses of Scotland’: scope and structure 17 1.4.1 Scope 17 1.4.2 Structure 19 1.5 Conclusion 22 Chapter 2 Literature Review 25 2.1 Introduction 25 2.2 An overview of laird’s houses 26 2.2.1 Dunbar, The Historic Architecture of Scotland, 1966 26 2.2.2 General surveys: MacGibbon & Ross (1887–92) and Tranter (1962) 28 2.2.3 Later commentators: 1992–2003 30 2.3 Regional, group and individual studies on laird’s houses 32 2.3.1 Regional surveys 32 2.3.2 Group studies 35 2.3.3 Individual studies 38 2.4 Conclusion 40 Chapter 3 Methodology 43 3.1 Introduction 43 3.2 Scope and general methodology 43 3.3 Defining the ‘laird’s house’ 47 3.3.1 What is a ‘laird’? 48 3.3.2 What is a ‘laird’s house’? -
Courtly Stables and Their Implications for Seventeenth-Century English Architecture’, the Georgian Group Journal, Vol
Giles Worsley, ‘Courtly stables and their implications for seventeenth-century English architecture’, The Georgian Group Journal, Vol. XIII, 2003, pp. 114–140 TEXT © THE AUTHORS 2003 COURTLY STABLES AND THEIR IMPLICATIONS FOR SEVENTEENTH-CENTURY ENGLISH ARCHITECTURE GILES WORSLEY ne of the more hotly contested areas of The stables are described in the Office of Works Oarchitectural history is the classical revolution accounts as “two newe double stables of Brickes by in taste that took place under the early Stuarts. Did the highway with a new coatche house saddle house the simple astylar classicism prevalent after the a smiths forge house a shoeinge horse and new Restoration establish itself in the s and s, as grayners adioyninge to the same stable”. These I suggested in Classical Architecture in Britain: details are fleshed out by the Parliamentary survey of The Heroic Age , or was it the product of the the King’s properties, made after the Civil War. Its Commonwealth – a ‘Puritan Minimalism’ – as Tim description confirms the essential accuracy of Mowl has argued? Every example that marks the Smythson’s drawing and demonstrates that the arrival of this classical revolution tends to be seized Theobalds stables were of unparalleled grandeur. upon, but one of the most productive areas to They were probably the most substantial new examine has passed almost unnoticed, the stable. At building commissioned by James I before the least ten important stables built before the Civil War Queen’s House at Greenwich. The survey notes in the new astylar classical manner can be identified. that the building took the form of a great quadrangle That makes them perhaps the single most important ft. -
Saint Peter Cornhill, London
case study 9 Saint Peter Cornhill, London 1681 (rebuilt after the Great Fire of London) Parish church Building extant, now a training centre Architect: Christopher Wren (1632–1723), probably assisted by Robert Hooke (1635–1703) Son of the High Church vicar of Knoyle, later bishop of Ely, Wren enrolled at Wadham College, Oxford, as a Gentleman Commoner c. 1649. Astronomy was his principal activity. In 1661 he returned to Oxford as Savilian Professor of Astronomy, and in this period his architectural interests became clear. Immediately following the Great Fire of London in 1666, he was appointed with Roger Pratt and Hugh May as a commissioner to survey the destruction. His new urbanistic plan for London was rejected, but he was appointed surveyor general for the rebuilding of fifty city churches. These churches are renowned for their original architectural vocabulary, covering renaissance classicism, ba- roque, and even Gothic. Wren and his office also succeeded in creating a full classical equivalent of the English medieval church spire. In 1711 Wren was ap- pointed as one of the commissioners of the Church Act.1 Hooke was born at Freshwater on the Isle of Wight, son of a parish priest. In 1653 he went to Christ Church, Oxford, where he became acquainted with Christopher Wren. In 1666, the year of the Great Fire of London, he started his career as an architect. He proposed a plan for the rebuilding of the City to the Common Council and was appointed one of the three surveyors for rebuilding the City together with Peter Mills and Edward Jerman. -
Literature and Architecture in Early Modern England Myers, Anne M
Literature and Architecture in Early Modern England Myers, Anne M. Published by Johns Hopkins University Press Myers, Anne M. Literature and Architecture in Early Modern England. Johns Hopkins University Press, 2012. Project MUSE. doi:10.1353/book.20565. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/20565 [ Access provided at 26 Sep 2021 14:14 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. Literature and Architecture in Early Modern England This page intentionally left blank Literature and Architecture in Early Modern England anne m. myers The Johns Hopkins University Press Baltimore © 2013 The Johns Hopkins University Press All rights reserved. Published 2013 Printed in the United States of America on acid-free paper 2 4 6 8 9 7 5 3 1 The Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu Library of Congress Cataloging-in-Publication Data Myers, Anne M. Literature and architecture in early modern England / Anne M. Myers. p. cm. Includes bibliographical references and index. ISBN 978-1-4214-0722-7 (hdbk. : acid-free paper) — ISBN 978-1-4214-0800-2 (electronic) — ISBN 1-4214-0722-1 (hdbk. : acid-free paper) — ISBN 1-4214-0800-7 (electronic) 1. English literature—Early modern, 1500–1700—History and criticism. 2. Architecture and literature—History—16th century. 3. Architecture and literature—History—17th century. I. Title. PR408.A66M94 2013 820.9'357—dc23 2012012207 A catalog record for this book is available from the British Library. -
'Grinling Gibbons's Chimneypieces for the Duchess of Buccleuch'
Sally Jeffery, ‘Grinling Gibbons’s Chimneypieces for the Duchess of Buccleuch’, The Georgian Group Journal, Vol. XXIV, 2016, pp. 1–22 TEXT © THE AUTHORS 2016 GRINLING Gibbons’s ChimneYPIECES FOR THE DUCHESS OF BUCCLEUCH SALLY JEFFERY Grinling Gibbons (1648–1721) is particularly famous do not survive, while others, known from proposals, for the limewood carvings with which he began his were never carried out.1 This article looks at the career. From the later 1670s, however, he produced records of these chimneypieces and compares them carving in stone and marble in various forms, and with various commissions undertaken by Gibbons and these materials came to dominate his output after his assistants for Ann Scott, Duchess of Monmouth the turn of the century. He designed chimneypieces and Buccleuch (1651–1732) for her castle at Dalkeith in mixed materials from the mid 1680s, sometimes in Scotland. Documents in the National Records of working in collaboration with other artisans, but Scotland give new and interesting details about their they are less extensively discussed than his other work, commissioning, and also about Gibbons’s yard in probably because some of the most important examples London. Fig. 1. Dalkeith Castle, rebuilt to the designs of James Smith (c.1645–1731) 1702–11. (photo: author) THE GEORGIAN GROUP JOURNAL VOLUME XXIV GRINLING GIBBONS ’ S CHIMNEYPIECES FOR THE DUCHESS OF BUCCLEUCH he Duchess of Buccleuch first employed The Duchess was born at the castle of Dalkeith, TGibbons when she was married to the Duke of Midlothian, south-east of Edinburgh. She inherited Monmouth, eldest illegitimate son of Charles II. -
The Burford School of Masons
Oxoniensia 78 txt 4+index_Oxoniensia 17/11/2013 12:05 Page 99 ROMANO-BRITISH VILLA AT COMBE 99 The Burford School of Masons MELODY MOBUS SUMMARY Three dynasties of stonemasons emerging from quarries in the Burford area, the Strongs, Kempsters and Beauchamps, rose to national stature as Wren’s mason-contractors in post- Fire London. The activity of these Burford masons can also be traced in buildings and sculpture in the Oxfordshire area over a period of some hundred years from the 1630s onwards. Unusually, they not only operated individually but frequently joined forces, enjoyed ready access to important markets for their stone, and acted as transmitters of new styles, all of which suggests that they can be regarded as a school of masons. This paper confirms their credentials as a school on the basis of eight criteria, and examines the built evidence of their works with particular regard to Oxfordshire. The Strong, Kempster and Beauchamp families were connected with three quarries close to Burford, located at Upton, Taynton and Little Barrington. This paper groups these dynasties of stonemasons together as the ‘Burford masons’. At the time of the Great Fire of London in 1666 the Strongs were already established masons of regional importance, but it was the response of Thomas Strong and Christopher Kempster to the urgent need for rebuilding the City which boosted both families’ fortunes in an unprecedented way. Ephraim Beauchamp joined them as soon as he had served his apprenticeship. Over the hundred years of their known activity, the Burford masons were closely involved in creating many seminal buildings, including St Paul’s Cathedral, twenty-four of the fifty-one City churches rebuilt, Charles II’s new palace at Winchester, Greenwich Hospital, and over half of the ‘Queen Anne’ churches constructed.