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The Holland Parl{ Circle The Holland Parl{ Circle ARTISTS AND VICTORIAN SOCIETY Caroline Dakers Yale University Press New Haven and London Howard, Webb and 1 Palace Green 'No more exceptional or attractive young couple gathered about them in those days a more varied company of talents and distinctions whether in art, literature or politics.' 1 Thus Sidney Colvin described George and Rosalind Howard (fig. 39). Theirs was a twenty-five-year partnership of art appreciation and collecting, which ended only with the breakdown of their marriage in the late l880s. Though 1 Palace Green was built for the heir to an earldom, Howard's involvement in contemporary art, as both painter and patron, determined its appearance inside and out. In November 1867, his painting Emiliawas hung at the Dudley Gallery.The Dudley had held its first spring watercolour.exhibition in 1865; it was a 'welcome exhibiting space for amateurs who were not members of either of the well-established water colour societies, or known at the Royal Academy'. 2 When Emiliawas sold (for a mod- est (25), Howard was in a position to give the money 'to the distress in East London', 3 but Rosalind also noted the significance of the Dudley's recognition (Poynter was on the selection committee, also Tom Taylor) and the sale. She commented, 'I am glad G. has sold Emilia & now he is no longer a mere amateur, for better or worse he has taken his stand amongst the artists'. 4 The desire of both Howard and Webb to create a modern house which challenged the conventions of the day was tested, even before the foundations were dug, in a bat- tle between Webb and the Commissioners of Woods and Forests. The Commissioners were bitterly opposed to Webb's plan for the red-brick house. (Howard described the Commissioner Sir Charles Gore to his sister-in-law Blanche as 'a man devoid of taste in art'S) Webb's deSign was completely different to the conservative red-brick Queen Anne style mansion which they had allowed Thackeray to build. They were supported by the establishment architects Thomas Henry Wyatt and Anthony Salvin whom they appOinted to report on the proposal. Though Webb explained to Howard, 'I had endeavoured to keep the artistic impres- sion of the Palace neighbourhood always in mind subject always to the necessity of a modern difference', 6 neither the Commissioners nor their architectural advisers agreed. Sir James Pennethorne found the house 'far inferiorto anyone on the Estate - it would look most common place - and in my opinion [would] be perfectly hideous'.7 Just about everything was wrong with the tall, severe-looking four-floored house. Weare unable to discoverwhat style or period of architecture MrWebb has sought to adopt. We think the combination of square, circular and segmental forms for the windows and pointed arches for the doors and recesses, unusual and objectionable.... We think the pilasterson the upper storeyand on the chimney stacksrising from a projecting string course 39. George and Rosalind Howard. are not satisfactory. They are thin and poor .... We regret the necessity ... of so large a mass of brickwork without any relief of colour or stone work on its surface. Webb was forced to defend his professional standing as an architect as well as his design and the materials he proposed using: it is not customary for an architect to be forced to explain to a gentleman of the same pro- fession what he may consider to be the merits of his own work .... A well chosen full coloured red brick, with pure bright red gauged brick mouldings, arches, string courses, cor- nices &c with the addition of white Portland stone, white sash frames, lead, and grey slates are in my opinion the very best and most harmoniously coloured materials ... more espe- cially in a neighbourhood so happily full of green foliage. Webb also attacked the' disgraceful heterogeneous forms and colours' of the houses which the Commissioners had permitted to be built in Palace Gardens. I must express my great surprise that you should consider it worthwhile to hinder the erec- tion of a building which - whatever may be its demerits - possesses some character and orig- inality, tempered most certainly with reverential attention to the works of acknowledged masters of the art of architecture and as certainly formed with a wish to avoid adding anoth- er insult to this irreparably injured neighbourhood.8 The Commissioners relented only after many months of wrangling, Webb finally agree- ing to redesign the gable, add more Portland stone dressings and replace the parapet with a cornice. Work began in June 1868, the estimate having risen to £8,806. Close to Kensington Palace, commissioned by a young aristocratic couple, towering above the neighbouring houses, I Palace Green was bound to attract attention (fig. 40).9 The use of red brick alone contributed to the increasing popularity of the mate- rial for town houses and to the reaction against Italianate stucco. It also contributed, together with the red-brick houses of Thackeray and Prinsep, to a wider movement, the development of the new so-called 'Queen Anne style' described by Mark Girouard: 'QueenAnne' came with red brick and white-painted sash windows, with curly pedimented gablesand delicate brick panels of sunflowers, swags,or cherubs, with small window panes, steeproofs, and curving bay windows, with wooden balconies and little fancy oriels jutting out where one would least expect them. It was a kind of architectural cocktail, with a little genuine Queen Anne in it, a little Dutch, a little Flemish, a squeeze of Robert Adam, a gen- erous dash of Wren, and a touch of Fran<;:oisIer.I 0 It was a style which would dominate the artists' houses to be built in Melbury Road in the 1870s. WR. Lethaby, Webb's enthusiastic pupil, described his master's work at I Palace Green as exhibiting 'design at once sane and ornamental, the house astonishes me. In our modern way of work nothing so good is to be expected again, for we are not like- ly to get another man of Webb's power working with his intensity of conviction.' II The site was occupied by an old grace-and-favour house which had to be demol- ished. Georgiana Burne-Jones wrote to Rosalind on 5 July 1868 that she was 'glad to 40. I PalaceGreen,designedby PhilipWebb. see the old house on your piece of ground quite gone - may we soon see its suc- cessor'. 12 By December the new house had reached the ground floor. The Howards sold more of their investments to pay for the building in February 1869; on 5 March Rosalind 'climbed up a ladder to the 2nd floor. It looks quite enchanting - such a charming view from the drawing room of Kensington Palace.'13 The following month she had an argument with Webb about the window frames 'wch I am not yet converted into liking rather than plate glass'. 14 On 24 November the Howards were able to show some of their artist friends over all of the house: 'Rossetti admired the house very much' .15 In December 1869 Howard wrote to his father: 'The house is well on and dry, ready to receive our goods now and us at Christmas. We go there this afternoon to meet Webb and settle about various details - and the painting of the woodwork.' 16 They could begin to entertain the following year. The Howards began to acquire paintings and drawings while 1 Palace Green was still on Webb's drawing-board, always from artists whom they knew. The final internal appearance of the house not only reflected their taste but also revealed the friendships which they developed with artists over the period of time it was being built. While liv- ing in Kensington, the Howards' circle quickly extended beyond the artists and writers they had first met at Little Holland House. Howard's determination to be accepted as a professional artist was taken seriously by the friends who gave him lessons and encour- agement. He would have hoped those who regularly attended his 'bachelor' parties - Burne-Jones, Morris, Rossetti, Poynter, Crane, Boyce, Leighton, Legros, Prinsep, Armstrong, Spencer Stanhope - regarded him as their equal rather than their patron. At the same time, he and Rosalind frequently invited a slightly different list which included women: Browning and his sister Sariana, Matthew Arnold and his wife, Anne Thackeray Ritchie and her husband, Hunt and his second wife. They became particu- larly close to the Burne-Joneses and, to a slightly lesser degree, the Morrises and the Poymers. Rosalind did not care for Janey Morris on their first meeting in January 1868: 'she has a fine head with remarkable eyes but is an invalid & seems uninteresting & does not talk enthusiastically on any of Morris' topics of interest' .17 Further acquaintance revealed to Rosalind the difficulties within the Morrises' marriage, and the tortured relationship between Janey and Rossetti. The Howards entertained Morris, Burne-Jones and their families (also Leighton) at Naworth Castle in Cumbria (the first occasion in 1874), which was available for their use before they inherited it in 1880; Janey and her daughters also stayed at their villa in Italy. Entries in Rosalind's diary and letters to both her and Howard reveal how much the artists, their wives and children were involved in each other's lives. Rosalind's domain centres on the artists' wives and children: a day in December 1867 is typical. While Howard takes his oil-painting lesson with Legros, Rosalind takes Agnes Poynter for a drive, returns to collect her husband and carries both to the Burne-Joneses in Fulham.
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