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Courtly Stables and Their Implications for Seventeenth-Century English Architecture’, the Georgian Group Journal, Vol

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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. square, with a central gate, flanked by a pair of corpus of the new style. Virtually all, tellingly, were stables. Further ranges of stables ft. long and ft. for courtiers. As such the stables shed valuable light wide were placed in the flank elevations and, at the on the use of the classical language in early-Stuart far end, the quadrangle was closed by a large barn. England and in particular on the varied approaches Smythson’s drawing does not entirely taken to courtly and non-courtly buildings and to correspond with the Parliamentary survey. Some of buildings of differing status. the dimensions vary and he places further stables at The greatest stable of these years was built at the the two ends of the entrance range, where the survey royal palace of Theobalds in Hertfordshire, which records houses for the saddler and the farrier. had been acquired by James I in largely because Smythson would thus seem to have copied a design of its excellent hunting. Despite the survival of a for the stables that was varied in execution, rather detailed record by Robert Smythson (Fig. ) the than surveyed them himself. This would suggest that stable has never been the subject of careful analysis. the stables were incomplete when he saw them, Smythson’s drawing, which shows the plan of the which would fit with a visit in as the stables stables, was probably made on his way to or from were built between April and September London in . The drawing shows a regular ft. and fitted up the following year. square quadrangle with slightly projecting wings, The architect of the Theobalds stables is closed at the far end by a barn, and housing unknown, though as a major royal building it must horses. have been designed by someone in court circles. One THE GEORGIAN GROUP JOURNAL VOLUME XIII COURTLY STABLES AND THEIR IMPLICATIONS FOR SEVENTEENTH - CENTURY ENGLISH ARCHITECTURE and in he was appointed Surveyor to Henry, Prince of Wales. But the key connection is with Lord Salisbury. Robert Cecil, st Earl of Salisbury, was a central figure at the court of James I, and a keen builder, as his work at Salisbury House, the New Exchange and Hatfield House demonstrates. He was Secretary of State from to and in May that year was appointed Lord Treasurer, the King’s key minister. As John Harris put it, he “began immediately to investigate the Office of Works. From this moment on, Jones as an emergent architect, the British Vitruvius in embryo, began to exert influence towards a reformation of style, even though without any official position”. Jones’s design for Cecil’s new Exchange in the Strand must predate June and it was probably in that year that Jones made a design Fig. Robert Smythson, plan of the stables at Theobalds, for a new termination on the central tower of St Paul’s Hertfordshire, . British Architectural Library . Cathedral to replace the destroyed medieval spire, almost certainly at the request of Salisbury. Two years later Jones was paid £ ‘for drawinge of some possibility was the Surveyor-General of the King’s Architecture’ at Hatfield House, which may have Works at the time, Simon Basil, who was employed included an unexecuted scheme for a riding house. by the Earl of Salisbury between and at Thus by , when the Theobalds stable was Salisbury House and the New Exchange in the begun, Inigo Jones was closely involved in court Strand, and at Hatfield House, Hertfordshire. circles, was showing a strong interest in architecture However, the extent of Basil’s involvement in design and had been asked to make designs for two of the is uncertain. Robert Liminge, who was employed as most prestigious commissions of the day. What is a carpenter on the almshouses at Theobalds in , more, his patron Lord Salisbury was in a position is known to have been responsible for the design and to push important projects his way. Though supervision of Hatfield House in – and went confirmation is lacking, the possibility that Inigo on to design Blickling Hall, Norfolk, in –. This Jones was involved with the design of the Theobalds makes him the most plausible candidate for the stable, and that this therefore is his first executed stables. But Inigo Jones should also be considered. building, must be taken seriously. If so, it is tempting As Howard Colvin notes, even before Basil’s to wonder what form the building took, and in death in the artistic initiative in royal works was particular whether the two projecting wings were passing to Jones. As early as it was hoped that, marked by some form of ‘Dutch’ gable, as was the case through Jones, “all that is praiseworthy in the elegant with his contemporary design for the New Exchange. arts of the ancients [including architecture], may one That, in turn, would explain the appearance of pairs day find their way across the Alps into England”. of ‘Dutch’ gables shortly afterwards on the stables at His court connections were close. He was designing Burley-on-the-Hill, Rutland, and on Raynham Hall, masques for Queen Anne of Denmark from , Norfolk, as will be discussed below. THE GEORGIAN GROUP JOURNAL VOLUME XIII COURTLY STABLES AND THEIR IMPLICATIONS FOR SEVENTEENTH - CENTURY ENGLISH ARCHITECTURE Fig. Wenceslaus Hollar, the stables at Arundel House, Strand, London. Fig. The Seventh Proposition from Book Seven of Sebastiano Serlio, On Architecture . THE GEORGIAN GROUP JOURNAL VOLUME XIII COURTLY STABLES AND THEIR IMPLICATIONS FOR SEVENTEENTH - CENTURY ENGLISH ARCHITECTURE timber-framed buildings except along its east side. Here, in marked contrast, is a six-bay range that stands out for its up-to-date architectural language. Ordered, astylar, two-storeyed with platband, vertical rectangular windows, an emphatic cornice, roofline parallel to the front elevation and dormer windows, this is the familiar manner of the Jonesian stylistic revolution. That it was the stable is shown by the large gaggle of horses gathered before it and the coach houses beside it. Both engravings make it clear that the range was unfinished, suggesting that it was only the first stage in an intended complete rebuilding of the entrance courtyard in the new fashionable style. The Earl of Arundel was one of the leading virtuosi of the day, with an astonishing collection of paintings and sculpture, as well as the owner of two chests of drawings by Vincenzo Scamozzi, the Italian architect who took up Andrea Palladio’s mantle. As a young man he made an extensive tour of Italy in – accompanied by Inigo Jones, for whom this journey was fundamental to his emergence as England’s leading classical architect. Arundel’s patronage of Jones is well known. Drawings by Jones Fig. John Webb, after Inigo Jones, the Clerk of survive of the ‘Italian’ gate at Arundel House, which Works’s House at Newmarket, Suffolk. The Devonshire Collection, Chatsworth . was built in , and for a house for Lord Maltravers, Arundel’s son, at Lothbury, dated . He is also generally credited with work on the gallery wing Equestrian buildings certainly played an known from Cornelius Bol’s View of the Thames with important part in Jones’s early career. Three of his Arundel House (c. ) and Hollar’s birdseye view of earliest recorded buildings were stables at Newmarket London. (where he also built a riding house for the king), for There is no reason to believe that these stables James I, Sir Thomas Compton and Mr Dupper in were not part of Arundel’s major remodelling of –. He designed a stable for camels at Theobalds Arundel House around , for which Jones was the in – and was also almost certainly responsible architect. A direct comparison can be made with the for the stables at Arundel House on the Strand in elevation of the clerk of works’s house at Newmarket London. of – , recorded by John Webb in the s Two evocative engravings by Wenceslaus Hollar (Fig. ). If the Arundel House range is to be dated survive of the outer court of Arundel House, the , as seems plausible, then these stables are one of London home of his patron the Earl of Arundel the first accurately recorded examples of the new (Fig.
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