DOCSLIB.ORG

Matthew Brettingham of Palladio's Villa Rotonda in England

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Matthew Brettinghamthe Younger, Foots Cray Place, and the Secularization of Palladio'sVilla Rotonda in England to thememory of Rudolf Wittkower STANFORDANDERSON should have been placed in this volume. We can go some distancein this This British of MassachusettsInstitute of Technology answering question. Librarycopy Ware'sPalladio is bound in fine blue leatherwith gilt decoration n the BritishLibrary, affixed at the backof a copyof Isaac bearing the arms of Joseph Smith, the famous Englishman Ware's Palladio (1738), are four previously undiscussed resident in Venice from about 1700 until his death in 1770. eighteenth-centuryarchitectural drawings [Figures 2-5].1 The Smithwas the Britishconsul in Venice from 1744 to 1760. Also drawingscomprise a set of three plans (the basement, princi- in the BritishLibrary is a copy of the catalogueof the libraryof pal, and attic-storyplans) and a corresponding"Front Eleva- ConsulSmith of 1755, annotatedfor the purchaseof the library tion which Representsall The other Fronts"for a villa on the for KingGeorge IIIin 1763, a collectionthat later came into the model of Palladio'sVilla Capra, or Villa Rotonda. It is com- libraryof the British Museum, now the BritishLibrary. The monly said that four such villas were built in England in the Smithcatalogue contains an entryfor a copy of Ware'sPalladio eighteenth century.2It is readily revealed that the unknown that can only be the one in the BritishLibrary.8 The catalogue drawingscorrespond closely to the engravedrepresentations in entry makes no mention of any extraneous materialsin this VitruviusBritannicus, vol. 4 (1767) of one of these Anglo- Palladio.Nonetheless there are at least two reasons to assign Palladianvillas, Foots Cray Place in Kent[Figures 6-8]. more than casualsignificance to the appearanceof the English Foots CrayPlace [Figures1, 9] is of uncertainauthorship. In drawings in this volume. That the drawings are fixed in a a publicationof 1767, Thomas Martynobserved that Foots volume thatbears the armsofJoseph Smithand correspondsto Cray "was built" by its original owner, Bourchier Cleeve.3 the contemporarycatalogue argues that Smithwas involvedin Although"was built" could simplypoint out that the house was giving the drawingsthis home, probablyby 1755, and no later built by the present owner rather than being inherited or than its sale to King George III in 1763. Furthermore,Smith purchased, or indicate that Cleeve oversawthe construction was not only knowledgable about architecture,but was a himself, or aggrandize collaborationwith an architect,in the particulardevotee of Palladioand an activeagent in fostering absenceof a knownarchitect some scholarsassign the building the extraordinaryappreciation of Palladio by eighteenth- to Cleeve.4The house has also been attributedto IsaacWare, a century Englishamateurs and architects.9The appearanceof noted architectwithin the Palladiancircle of Lord Burlington, these drawingsin this place is, then, not to be taken casually. and the translatorof the Burlingtonianedition of Palladioin a Drawingsof a buildingusually attributed to Wareappearing in copy of which the drawingsin questionare to be found.5Foots Joseph Smith'scopy of Ware'sPalladio might lend at least a Crayis commonlysaid to havebeen designedca. 1754, corrobo- degree of supportto the attributionof Foots Crayto Ware. rated by a visitof Dr. RichardPococke in August 1754 with the However, preceding the title page of Smith'svolume, yet house in construction.Pococke writes of "a house which is another-and the only other-extraneous document is af- buildingfor Mr Cleves... on the design of Palladio,"but gives fixed, a letter from Matthew Brettingham the Younger to no informationon the designer.6Though the date of the house Joseph Smith, dated Vicenza,8 August 1754.10Matthew Bret- is thus known to a close approximation, attributionof the tingham the Elder (1699-1769)" was a provincialbuilder- design of the house, whichwas demolishedafter a fire in 1949, architectwho rose to some renown as the executant in the is unresolved.7 constructionof the greatneo-Palladian house, HolkhamHall, a The appearanceof these drawingsof FootsCray in a copy of collaborativework of Lord Burlington,William Kent, and the Ware'sPalladio would seem to corroboratethe attributionof the patron Lord Leicester,12conceived ca. 1730-34. The younger villa to Wareand to invite the question of why these drawings MatthewBrettingham (1725-1803), setting out from England 428 JSAH / 53:4, DECEMBER 1994 in August 1747, studied both architecture and sculpture in the same Soul, from observing this perfect correspondence to ye Mediterranean for some years. In 1748, he visited Naples in the Antique Gout in our great Author, it goes a great way to make me company of Gavin Hamilton, James Stuart, and Nicholas believe Pythagoras's doctrine of Transmigration, and that Vitruvi- Revett, when a project of documentary research of Greek us's Soul after many Changes had at last appeard again in ye Body antiquities was conceived. Colvin claims that Brettingham of Palladio, with this difference however that whereas Vitruvius's visited Greece in the company of Stuart and Revett when they Tast of Proportion is generally heavy and inelegant, Palladio's on carried out their celebrated studies (1751-53). There seems, the contrary is always Gracefull and delicate, with more of ye true than what find in however, no evidence to support this claim.'3 Brettingham Polish'd Nobleness of Style, and Elegance; we any remained in Rome until 1754, studying, supporting himself as of ye other followers of Vitruvius, we may conclude then that an agent for the English nobility, notably in collecting paintings Nature had given his that nice discernment to pick and Cull out and sculpture for Lord Leicester, Lord Dartmouth, and Lord what was Beautyfull in ye Antient Author and to reject ye rest, and as Egremont,14 as well as his father.15 Since Brettingham is known it has been always the Case, were one great Genius has followed the to have been back in England in 1754, it must have been en steps of an other, having possessed himself of what his Master route to England that he stopped in Venice and Vicenza, knew, by ye strength of an equal Genius went on still farther having the occasion to reside with, and then write to, Consul refining till by the light of ye Antient remains of Architecture Smith. Since Brettingham's letter is unpublished and so well withall, he had formed to himself a Manner more purged and illuminates the setting we encounter, it is appropriate to quote correct- not to tire you with these dry reflections, I proceed to it in full: assure you that ye Rotonda of Marchesa Capra please me as much as it has even done ye rest of our Country Man. I am told that My p.1 Vicenza Agosto 8' 1754 Lord Charlimont16 and MrMurphew17 spent many hours consider- /Sr ing of it and that ye Later18 measured it very minutely, my Guide I have the pleasure to find myself in ye Place which after so (who is ye keeper ofye Theater Olympico) tells me moreover many years desire to See, answers fully my expectation, I need not p.2 by what he could gather from their discourse his Lordship has a enter into a description of Palladio Works so well known to yourself mind to build it again in Ireland'9, tis certainly one of ye com- already, no farther than to Remark that I find in them all ye pleatest thoughts that ever entered into ye head of Man, The Eye is Beauties of ye Antique Architecture of Rome and many more that so perfectly contented and finds a Harmony and concurrance in this divine Architect has known how to Supply, we may say that every Part, neither is its conformity to ye situation less admirable, Palladio so fully imbibed the August Tast of ye Antients by a long no form of Building can be so proper to Crown ye Summit of a Hill, and attentive Study of their most correct Peices, so as to become that ascends gradually on every side, and whose Slopes meeting on intirely Master of their Principles to act as it were animated with ye ye Point, just leaves a level space above for ye extent of ye Building, t :: I : : :: - ? I- : i :li ::::I: : : : : :::: - : i : : :~:::i:: e~ -r -; -~~r-----~~: --- : -'ii :: :: ~ ?~- : I::- ---??::g ~ :: r"l--_:_ ";:E~'-~,~~~~'~~~"~~~~f~i~~:~!~ -~--~?~~:li-,llr.i~-~~`- II~ ~I F-:--- ~ur~?~ea : :::::: :::::- ~?ae~r~jb~L~iYa~ :: : :::: ---: : : : : ul-?rr~~sg~ -rrurryr I -?1119~i:: _ : : ::P3eE~~~ ll!l~c~!c; -:--: : : ' :- _,: :: ; --; : - : : ;::-:-:::-1: :::: -: -: ::: :: : :: !~~, E?.l: ~~13x3?1:~ ~n~ ~8_ FIG. I: Foots Cray Place, "Terrace Gardens Foots Cray Place ... ," signed and dated C. F. Mallows [18]91 from AmericanArchitect and BuildingNews (1902). ANDERSON: MATTHEW BRETTINGHAM 429 which is so formed as to become its proper Terminus, if it had been pleased me much and ye Saturday following arrived at Vicenza, only a Round Portico coverd with a Dome, a proper contrast would pray my Compliments to ye young Gentleman that was pleased to have been wanting, but Palladio by uniting ye Square of ye Body, ye commend so much my designs, I promise myself ye honour to Porticos breaking out of each Side, and by Crowning ye Mass with a Send him a draught of ye first I execute in England, after it has Rotondity, has known how to give harmony at once and Variety, passed review before My Lord ye Earl of Leicester, when I am sure and at ye same time to adapt all together to y shape ofye Hill-and it will prove more to my advantage and his Satisfaction, if Sigr this I take to be ye utmost degree of finesse
Recommended publications
  • The Perfect House：A Journey with the Renaissance by Witold Rybc

    The Perfect House：A Journey with the Renaissance by Witold Rybc

    The Perfect House：A Journey with the Renaissance by Witold Rybc- zynski Copyright 2002 by Witold Rybczynski Chinese translation copyright 2007 by Tianjin University Press Published by arrangement with The Wylie Agency（UK）LTD through Bardon-Chinese Media Agency All rights reserved 版权合同：天津市版权局著作权合同登记图字第 02-2006-23 号 图书在版编目（CIP）数据 完美的房子 /（美）黎辛斯基著；杨惠君译. — 天津：天津大学出 版社，2007. 7 ISBN 978-7-5618-2475-7 Ⅰ. 完. Ⅱ. ①黎. ②杨. Ⅲ. ①帕拉迪奥，A. - 生平事 迹 ②帕拉迪奥，A. - 建筑艺术 Ⅳ. K835. 466. 16 TU-865. 46 中国版本图书馆 CIP 数据核字（2007）第 096905 号 出版发行 天津大学出版社 出 版 人 杨欢 地 址 天津市卫津路 92 号天津大学内（邮编：300072） 电 话 发行部：022-27403647 邮购部：022-27402742 网 址 www. tjup. com 短信网址 发送“天大”至 916088 印 刷 北京佳信达艺术印刷有限公司 经 销 全国各地新华书店 开 本 145mm × 210mm 印 张 9 字 数 250 千 版 次 2007 年 7 月第 1 版 印 次 2007 年 7 月第 1 次 印 数 1 - 4 000 定 价 28. 00 元 凡购本书，如有缺页、倒页、脱页等质量问题，烦请向我社发行部门联系调换 版权所有 侵权必究 书 吉凡尼· 贝迪斯塔· 马甘萨（Giovanni Battista Maganza）所画的 安德烈· 帕拉迪奥肖像。〔出自国际建筑研究中心（Centro In- ternazionale di Studi di Architettura）〕 一栋实用（但仅限于短期）的建筑， 或是一栋长期使用不便的建筑， 或者既坚固又实用，只要是不美观，都不能称之为“完美”。 安德烈· 帕拉迪奥 Andrea Palladio，1508— 1580 年 推荐序 | PREFACE 有关比例 作家 欧阳应霁 是 P 告诉我关于帕拉迪奥的，在米兰近郊废置的厂房里，那个有 过多的意大利开胃冷盘前菜和白酒的派对里，其实 P 并没有长篇大论 地说什么，他只说了最关键的一个词：比例。 我正在不成比例地开怀大啖面前的绝佳小点，完全没有仪态，也 许更仗一点醉意，也许直觉意大利人都喜欢这样的放肆随意，propor- tion？比例？噢——— 你的第一次意大利经验是一杯香浓的 double expresso（双倍意式 黑咖啡）？一件 V 领低胸的 D&G T 恤？一件优雅贴身的阿玛尼（Ar- mani）连衣长裙？一套福拉斯弗姆（Flexform）沙发？还是像玩具一样 活泼多彩的阿莱西（Alessi）家用品？还是更高档的玩具，如法拉利跑 车？这些各领风骚、各走极端的意大利设计除了有各自的式样、质地 和颜色，它们斤斤计较、仔细微调的，就是比例、比例和比例。 长与宽与高的关系、轻与重的拿捏、虚与实的掌握、多与少的取 推荐序 | PREFACE 3 舍，这都是我理解中的比例，有点抽象哩，我跟 P 说。那你真的该去看 看帕拉迪奥的建筑，P 半醉半眯着眼回答。 因此我就拿了一张地图、一本书，乘上火车到维琴察（Vicenza）去
  • OPW Heritage Trade Catalogue 2021-2022 Dublin

    OPW Heritage Trade Catalogue 2021-2022 Dublin

    heritage ireland Ireland’s National Heritage in the care of the 0ffice 2019 of public works Admission Charges Apply in 2022 Trade Catalogue 2021-2022 Dublin Ireland’s Ancient East Ireland’s Hidden Heartlands Wild Atlantic Way group trade information 1. groups and trade … explore more ¬ Specific language audio-visual films in some sites for pre-booked tours Bring your group to visit an historic place for a great day out. ¬ If you are a public group or in the travel trade and have ¬ Access to OPW Tour Operator Voucher Scheme (TOVS). customers for group travel, FIT or MICE our staff are Payment by monthly invoice. delighted to present memorable experiences at over 70 Email us at [email protected] historic attractions.* * Minimum numbers may vary at sites due to COVID–19 restrictions as at April 2021. ¬ Our guides excel in customer service and storytelling * Some sites may not be fully accessible or closed due to COVID–19 that enthrals and engrosses the visitor, while offering restrictions as at April 2021. a unique insight into the extraordinary legacy of Ireland’s iconic heritage. 3. plan your itinerary ¬ Join our mailing list for more information on heritageireland.ie ¬ For inspiration about passage tombs, historic castles, ¬ Contact each site directly for booking – details in Groups / Christian sites and historic houses and gardens throughout Trade Catalogue Ireland. * Due to COVID–19 restrictions some sites may not be open. ¬ From brunch to banquets – find out about catering facilities at sites, events and more … 2. group visit benefits ¬ Wild Atlantic Way ¬ Group Rate – up to 20% off normal adult admission rate.
  • Howard Colvin and John Harris, 'The Architect of Foots Cray Place', the Georgian Group Jounal, Vol. VII, 1997, Pp

    Howard Colvin and John Harris, 'The Architect of Foots Cray Place', the Georgian Group Jounal, Vol. VII, 1997, Pp

    Howard Colvin and John Harris, ‘The Architect of Foots Cray Place’, The Georgian Group Jounal, Vol. VII, 1997, pp. 1–8 TEXT © THE AUTHORS 1997 THE ARCHITECT OF FOOTS CRAY PLACE HOWARD COLVIN AND JOHN HARRIS Figure i. Foots Cray Place, Kent. Engraving after Samuel Wale in Dodsley’s£ora</o?i & its Environs Described, 1761. oots Cray Place, Kent (Fig. 1), was one of four was stated to be 1752 by J. P. Neale in one of his FEnglish eighteenth-century villas whose design volumes of Seats of Noblemen and Gentlemen, was based on Palladio’s Villa Rotonda near Vicenza. published in 1828, the former as Isaac Ware by It was built for a rich City of London pewterer, W. H. Leeds in a list of British architects and Bourchier Cleeve (d. 1760), and its architect has their works, published in 1840.2 Although this never satisfactorily been identified.1 Woolfe and attribution is acceptable on stylistic grounds, it Gandon provided engravings of the house in the is unsupported by any documentary evidence. first of their supplementary volumes of Vitruvius In 1994 Dr. Stanford Anderson offered an alter­ Britannicus, published in 1767, but mentioned native attribution: to Matthew Brettingham the neither architect nor date of erection. The latter younger.3 THE GEORGIAN GROUP JOURNAL VOLUME VII 1Q97 1 HOWARD COLVIN AND JOHN HARRIS THE ARCHITECT OF FOOTS CRAY PLACE Figure 2. Proposed elevation of Foots Cray Place, Kent. British Library. Dr. Anderson’s case is based on his discovery ment he claims that Brettingham also drew a free that a copy of Ware’s 1738 edition of Palladio’s copy of the elevation of Palladio’s Rotonda in a Quattro Libri in the British Library which belonged volume in Sir John Soane’s Museum that contains to Joseph Smith, British Consul in Venice from other drawings attributed to Brettingham.6 Anderson 1740 to 1760, has bound into it three drawn plans believes the copy of the Rotonda to be in the same and an elevation of Foots Cray Place4 (Figs.
  • Landscape,Associationism & Exoticism

    Landscape,Associationism & Exoticism

    702132/702835 European Architecture B landscape,associationism & exoticism COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice Pope's Villa at Twickenham Pevsner, Studies in Art, Architecture and Design, I, p 89 CCHISWICKHISWICK Chiswick, by Lord Burlington, begun 1725, south front Jeff Turnbull Chiswick and its garden from the west, by Pieter Rysbrack, 1748 Steven Parissien, Palladian Style (London 1994), p 99 Chiswick: drawing by Kent showing portico and garden John Harris, The Palladian Revival: Lord Burlington, his Villa and Garden at Chiswick (Montréal 1994), p 255 Chiswick: general view of house and garden, by P J Donowell, 1753 Jourdain, The Work of William Kent, fig 103 Doric column, Chiswick, perhaps by William Kent, c 1714 Harris, The Palladian Revival, p 71 Bagno, Chiswick, by Burlington, 1717 Campbell, Vitruvius Britannicus, III, p 26 Bagno and watercourse, Chiswick Jourdain, The Work of William Kent, fig 105 Chiswick: plan of the garden Architectural Review, XCV (1944), p 146. Chiswick, garden walks painting by Peter Rysbrack & engraving Lawrence Fleming & Alan Gore, The English Garden (London 1988 [1979]), pl 57. B S Allen, Tides in English Taste (1619-1800) (2 vols, New York 1958 [1937]), I, fig 33 Bagno and orange trees, Chiswick, by Rysbrack, c 1729-30 Fleming & Gore, The English Garden, pl 58 Bagno or Pantheon, Chiswick,probably by William Kent Jeff Turnbull Chiswick: design for the Cascade, by William Kent Harris, The Palladian Revival, p 14 Chiswick: the Great Walk and Exedra, by Kent.
  • Landscape and Architecture COMMONWEALTH of AUSTRALIA Copyright Regulations 1969

    Landscape and Architecture COMMONWEALTH of AUSTRALIA Copyright Regulations 1969

    702132/702835 European Architecture B landscape and architecture COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice garden scene from a C15th manuscript of the Roman de la Rose Christopher Thacker, The History of Gardens (Berkeley [California] 1979), p 87 Monreale Cathedral, Palermo, Sicily, 1176-82: cloisters of the Benedictine Monastery commercial slide RENAISSANCERENAISSANCE && MANNERISMMANNERISM gardens of the Villa Borghese, Rome: C17th painting J D Hunt & Peter Willis, The Genius of the Place: the English Landscape Garden 1620-1820 (London 1975), p 61 Villa Medici di Castello, Florence, with gardens as improved by Bernardo Buontalenti [?1590s], from the Museo Topografico, Florence Monique Mosser & Georges Teyssot [eds], The History of Garden Design: The Western Tradition from the Renaissance to the Present Day (London 1991 [1990]), p 39 Chateau of Bury, built by Florimund Robertet, 1511-1524, with gardens possibly by Fra Giocondo W H Adams, The French Garden 1500-1800 (New York 1979), p 19 Chateau of Gaillon (Amboise), begun 1502, with gardens designed by Pacello de Mercogliano Adams, The French Garden, p 17 Casino di Pio IV, Vatican gardens,
  • British Neoclassicism COMMONWEALTH of AUSTRALIA Copyright Regulations 1969

    British Neoclassicism COMMONWEALTH of AUSTRALIA Copyright Regulations 1969

    702132/702835 European Architecture B British Neoclassicism COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice authenticity reductionism NEOCLASSICISM sublimity neoclassicism ROMANTIC CLASSICISM innovation/radicalism ARCHAEOLOGYARCHAEOLOGY ARCHAEOLOGICAL PUBLICATIONS Robert Wood, Ruins of Palmyra,1753 Robert Wood, Ruins of Balbec,1757 J D Leroy, Les Ruines des plus Beaux Monuments de la Grèce, 1758 James Stuart & Nicholas Revett, Antiquities of Athens, I, 1762 James Stuart & Nicholas Revett, Antiquities of Athens, II, 1790 Robert Adam, Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia, 1764 Richard Chandler, Ionian Antiquities, I, 1769 Richard Chandler, Ionian Antiquities, II, 1797 Temple of Apollo, Stourhead, by Henry Flitcroft, 1765 the ‘Temple of Venus’ at Baalbek, c AD 273 George Mott & S S Aall, Follies and Pleasure Pavilions (London 1989), p 102; Robert Wood, The Ruins of Balbec, otherwise Heliopolis in Coelosyria (London 1757) THETHE SUBLIMESUBLIME 'The artist moved by the grandeur of giant statue of Ancient Ruins', by Henry Fuseli, 1778-9 Constantine, c 313 Toman, Neoclassicism, p 11 MUAS 12,600 Castel Sant' Angelo, Rome,
  • Rare Books Special List for New York Antiquarian Book Fair April 11 – 14, 2013

    Rare Books Special List for New York Antiquarian Book Fair April 11 – 14, 2013

    Priscilla Juvelis – Rare Books Special List for New York Antiquarian Book Fair April 11 – 14, 2013 Architecture & Photography 1. Bickham, George. The beauties of Stow: or a description of pages a bit age toned at top edge but no the pleasant seat and noble gardens of the Right Honourable Lord spotting or foxing and the images clean Viscount Cobham. With above Thirty Designs, or drawings, and beautiful on vellum paper, a quite engraved on Copper-Plates, of each particular Building. London: collectable copy of a key book in early photography. E. Owen for George Bickham, M.DCC.L [1750]. $5,500 P. H. Emerson (1856-1936), born First edition complete with all 30 copperplate engravings of the gardens in Cuba to an American father and at Stow[e]. Page size: 3-7/8 x 6-½ inches; 67pp. + 3 pp. ads for other books British mother, earned a medical de- printed for George Bickham. Bound: brown calf with paneled spine, gree at Clare College, Cambridge. A lacking label on second panel, double gilt rule along all edges of front and keen ornithologist, he bought his first back panel, early ownership signatures on front pastedown, front cover camera to be used as a tool on bird- detached, pages a bit sunned and brittle but no foxing watching trips. He was involved in the at all, leaf F3 with ½ inch tear at fore edge, housed in formation of the Camera Club of Lon- marbled paper over boards slipcase with title printed don and soon after abandoned his ca- on brown leather label (probably originally on spine).
  • English-Palladianism.Pdf

    English-Palladianism.Pdf

    702132/702835 European Architecture B Palladianism COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice THETHE TRUMPETTRUMPET CALLCALL OFOF AUTHORITYAUTHORITY St George, Bloomsbury, London, by Hawksmoor, 1716- 27: portico Miles Lewis St Mary-le-Strand, London, by James Gibbs, 1714-17: in a view of the Strand Summerson, Architecture in Britain, pl 171A. In those admirable Pieces of Antiquity, we find none of the trifling, licentious, and insignificant Ornaments, so much affected by some of our Moderns .... nor have we one Precedent, either from the Greeks or the Romans, that they practised two Orders, one above another, in the same Temple in the Outside .... and whereas the Ancients were contented with one continued Pediment .... we now have no less than three in one Side, where the Ancients never admitted any. This practice must be imputed either to an entire Ignorance of Antiquity, or a Vanity to expose their absurd Novelties ... Colen Campbell, 'Design for a Church, of St Mary-le-Strand from the south-east my Invention' (1717) Miles Lewis thethe EnglishEnglish BaroqueBaroque vv thethe PalladianPalladian RevivalRevival Christopher Wren Colen Campbell
  • Wider. Bigger. Greater

    Wider. Bigger. Greater

    WIDER. BIGGER. GREATER. Neo-Palladian Country Houses as Representations of Power Struggle, Globalization and “Britishness” in the United Kingdom of the 1750s Stefanie Leitner s1782088 - [email protected] Supervisor: Dr. J.G. Roding Second reader: Dr. E. den Hartog MA Arts and Culture 2016/2017 Specialization: Architecture TABLE OF CONTENT 1. Introduction ................................................................................................. 1 1.1. Theoretical Framework ......................................................................... 2 1.2. Literature Review ................................................................................. 4 2. Node I – Architecture .................................................................................. 8 2.1. General developments compared to the 1720s .................................... 8 2.2. Introduction of the Case Studies .......................................................... 9 2.2.1. Holkham Hall (1734-1764) ........................................................... 11 2.2.2. Hagley Hall (1754-1760)............................................................... 20 2.2.3. Kedleston Hall (1759) ................................................................... 28 3. Node II – Globalization ............................................................................. 38 3.1. Colonization and the British Empire ................................................. 38 3.2. Connection with continental Europe .................................................. 39 3.3.
  • The Lookout Our New Visitor Facility on the Holkham National Nature Reserve First Words

    The Lookout Our New Visitor Facility on the Holkham National Nature Reserve First Words

    Holkham Gazette Issue 28 Autumn 2018 The Lookout Our new visitor facility on the Holkham National Nature Reserve First words Caring for the Holkham collection Maria de Peverelli is executive chairman of Stonehage Fleming Art Management, serving a client base that includes The Lookout, the new facility on Lady individuals, family offices, foundations, Anne’s Drive on the Holkham trusts and estates. She has recently taken up National Nature Reserve, is well the role of consultant on the collection at worth a visit. The interesting, very Holkham where she will oversee the informative and interactive conservation and preservation, and educational boards and media screens supervise the loan, of items from Holkham’s reward those who take time to study world-famous collection to other art them, offering new insights as to how galleries and museums around the world. the reserve’s precious and precarious Maria is also a Trustee of the Yorkshire landscape is managed and what Sculpture Park and of the Estorick visitors can do to help. Its exciting Collection and serves as a member of the design seems destined for board of Advisers of the Fondazione Palazzo commendation by architects from Strozzi, Florence. She established OmniArt in 2005 and prior to that, Maria was around the country and the ‘green’ gallery director of the Villa Favorita in Lugano (Thyssen-Bornemisza message is very thoughtfully and collection). She has organised exhibitions for the Museum of Applied Arts in effectively conveyed. All that and Frankfurt and taught museum management at the University of Genoa. lavatories too – go and see! Sara Phillips, Editor Contents First words ........................................................
  • Job Description

    Job Description

    Job Description Title PA to The Countess of Leicester – maternity cover Location: Holkham Hall, Wells-next-the-Sea, Norfolk Reporting to The Countess of Leicester Lateral relationships PA to The Earl of Leicester, Hall team, PA to the Managing Director The Holkham Estate The Holkham Estate extends over 25,000 acres and has an annual turnover of over £19m. The land and property-based enterprises include residential lettings, commercial lettings, property maintenance and development, farming, forestry, country sports, an inn, a holiday park, beach and car parks. The operations centred on Holkham Hall include day visitors, catering, filming, corporate indoor and outdoor events and concerts. See www.holkham.co.uk for more information. Estate Policy Our vision is to see Holkham as the UK’s leading rural estate against which others will measure their own success. Our purpose is to manage Holkham as a progressive commercial operation set within a thriving local community where rural values are upheld. The aim is to ensure the long-term prosperity of the Estate and of those who live and work on it. Overall Job Purpose The role of the Personal Assistant to Lady Leicester is to enable Lord and Lady Leicester and their family to maintain a happy and balanced family life within the context of a home that is open to visitors, in the middle of a thriving collection of rural businesses. The purpose of this role is to provide flexible, timely and focused support to Lady Leicester so that she can effectively balance the varied and intense demands of her involvement in various local charities and family life while maintaining her preferred level of control and privacy.
  • Benedetto Luti

    Benedetto Luti

    BENEDETTO LUTI (Florence 1666 - Rome 1724) Portrait of a Young Girl oil on canvas 41 x 31.8 cm (16¼ x 12½ in) HIS DELIGHTFUL PORTRAIT SHOWS A YOUNG GIRL gazing outside the picture plane to her right. Her porcelain skin is creamy and radiant and her cheeks shimmer with a hint of pink. She wears a simple blue and ochre gown, accessorised with a delicate gold chain necklace and a single drop earring, while Ther hair is loosely tied in a chignon. There is a great sense of simplicity and charm in Benedetto Luti’s Portrait of a Young Girl. The artist has evidently taken great enjoyment in capturing the innocence and youth of this pretty young girl whose attentions are directed elsewhere. Luti was a master of suave portraiture. He was one of the greatest colourists in eighteenth-century Rome and his chalk and pastel studies of single heads, bust-length apostles, saints, angels and children are charming in their polished freshness and elegance. An excellent example of Luti’s refined portraiture is held in theH ermitage (fig. 1).A Boy with a Flute shows a young boy in almost exactly the same pose as the girl in the present work. In his hand he holds a flute though he appears Benedetto to have been distracted by something unknown to the viewer. As in the Luti, present portrait, Luti has applied skilful colouring and flowing brushwork Head of a Girl, to achieve a subtle luminosity that is particularly lustrous in the boy’s curled Holkham Hall, hair and rosy cheeks.