STOURHEAD HOUSE at Stourton, Warminster, Wiltshire
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The Avarice and Ambition of William Benson’, the Georgian Group Journal, Vol
Anna Eavis, ‘The avarice and ambition of William Benson’, The Georgian Group Journal, Vol. XII, 2002, pp. 8–37 TEXT © THE AUTHORS 2002 THE AVARICE AND AMBITION OF WILLIAM BENSON ANNA EAVIS n his own lifetime William Benson’s moment of probably motivated by his desire to build a neo- Ifame came in January , as the subject of an Palladian parliament house. anonymous pamphlet: That Benson had any direct impact on the spread of neo-Palladian ideas other than his patronage of I do therefore with much contrition bewail my making Campbell through the Board of Works is, however, of contracts with deceitfulness of heart … my pride, unlikely. Howard Colvin’s comprehensive and my arrogance, my avarice and my ambition have been my downfall .. excoriating account of Benson’s surveyorship shows only too clearly that his pre-occupations were To us, however, he is also famous for building a financial and self-motivated, rather than aesthetic. precociously neo-Palladian house in , as well He did not publish on architecture, neo-Palladian or as infamous for his corrupt, incompetent and otherwise and, with the exception of Wilbury, consequently brief tenure as Surveyor-General of the appears to have left no significant buildings, either in King’s Works, which ended in his dismissal for a private or official capacity. This absence of a context deception of King and Government. Wilbury, whose for Wilbury makes the house even more startling; it elevation was claimed to be both Jonesian and appears to spring from nowhere and, as far as designed by Benson, and whose plan was based on Benson’s architectural output is concerned, to lead that of the Villa Poiana, is notable for apparently nowhere. -
Recorder 13.Indd
n o .13 februAry 2014 THE ECORDER The AnnuAl newsletter of The wilTshire record socieTy ediTor iAl noble thing. I heard it first while we were still working wireless, when there was a ragtime tune for us, and nce again we have managed to fill the pages the last I saw of the band when I was floating out in Oof the Recorder with widely differing articles the sea with my lifebelt on, it was still on deck playing which I hope everyone will enjoy. I was unavoidably “Autumn”. How they ever did I cannot imagine.’ absent from last year’s AGM, so Helen Taylor, our When a version of Bryars’ composition was first Secretary, has kindly put together a short account of performed, incorporating the hymn tune ‘Autumn’, the afternoon. Sir Ronald Johnson suggested that Bride had been This year’s AGM will be held at the Quaker misunderstood, and that the hymn tune he was actually Meeting House in Salisbury and the theme will be referring to was ‘Aughton’. The episcopalian hymn set connected with that building’s former role as part to this tune included the most appropriate stanza: ‘And of the old Fisherton House asylum. Details of the when my task on earth is done | When by Thy grace afternoon’s programme will be sent out later in the the victory’s won | E’en death’s cold wave I will not year, but there is a preliminary advert at the end of flee | Since God through Jordan leadeth me’. Bryars this newsletter. subsequently adapted the tune ‘Aughton’ as one of The year began with a sad note, when it was the movements of an extended version of the piece, learned that Robert Pearson, a stalwart of the CCED recorded in 1994. -
Garden and Park Structures Listing Selection Guide Summary
Garden and Park Structures Listing Selection Guide Summary Historic England’s twenty listing selection guides help to define which historic buildings are likely to meet the relevant tests for national designation and be included on the National Heritage List for England. Listing has been in place since 1947 and operates under the Planning (Listed Buildings and Conservation Areas) Act 1990. If a building is felt to meet the necessary standards, it is added to the List. This decision is taken by the Government’s Department for Digital, Culture, Media and Sport (DCMS). These selection guides were originally produced by English Heritage in 2011: slightly revised versions are now being published by its successor body, Historic England. The DCMS‘ Principles of Selection for Listing Buildings set out the over-arching criteria of special architectural or historic interest required for listing and the guides provide more detail of relevant considerations for determining such interest for particular building types. See https://www.gov.uk/government/publications/principles-of- selection-for-listing-buildings. Each guide falls into two halves. The first defines the types of structures included in it, before going on to give a brisk overview of their characteristics and how these developed through time, with notice of the main architects and representative examples of buildings. The second half of the guide sets out the particular tests in terms of its architectural or historic interest a building has to meet if it is to be listed. A select bibliography gives suggestions for further reading. This guide looks at buildings and other structures found in gardens, parks and indeed designed landscapes of all types from the Middle Ages to the twentieth century. -
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 -
Wedgwood's Green Frog Service and an Otherwise Unknown View Of
Wedgwood’s Green Frog Service and an Otherwise Unknown View of Stourhead Josiah Wedgwood’s firm produced in 1773-74 a dinner service for Catherine II, Empress of Russia, the renowned Green Frog Service. Totaling nearly one thousand individual pieces, the Service featured centrally on each dish, cover, or serving piece a depicted view of some building or landscape of English patrimony. The motifs of the Green Frog Service align more with Romanticism than with Neo-Classicism, and my interest in the Green Frog Service is focused on only one of the pieces that provided a vista of Stourhead Landscape Garden (Wiltshire) that is mostly still forgotten today, even by the National Trust. Although this paper will not promise original research on the Frog Service itself, it will bring an authoritative extrapolation on an otherwise unknown view of the Stourhead “Turkish Tent.” The Turkish Tent on the Mount of Diana, the long-lost "Chinese" bridge, and the Gothic cottage (and other medieval features) were all situated to dilute the Classicism of the Palladian house and its temples of Hercules, Ceres, and Apollo. Henry Hoare's heir removed all the non-classical bits, but that original intent remained. And the present paper pursues the parallel commission of a porcelain service related to landscape and horticulture, merging Aristotelian knowledge and Englightenment empiricism. Classicists may have walked the Stourhead circuit or know about it from reading. It was seen in its day as the journey of Aeneas miniaturized. But later scholars accept the stylistic eclecticism of Hoare's landscape features. The garden — and Wedgwood’s transmission of one detail — are of interest in the context of a discussion of Wedgwood’s neoclassicism, for thereby one can illustrate more honestly the three-dimensionality of 18th-century British neoclassicism. -
The Palladians
John Harris The Palladians Trefoil Books, London Contents Foreword 8 Preface 9 Introduction 11 List of colour plates 24 Colour plates 25 Inigo Jones Newmarket Palace, Suffolk 44 The Queen's House 45 Raynham Hall, Norfolk 47 Entrances and Gateways 48 Webb Hale John Park, Hampshire and Belvoir Castle, Rutland 50 Gunnersbury Park, London, and Amesbury Abbey, Wiltshire The Vyne, Hampshire and Butleigh Court, Somerset 52 Royal Palace, Greenwich, London 53 Whitehall Palace 54 Theoretical drawings 56 Wilton House, Wiltshire 57 Smith and John Talman Stirrings of the Revival 58 William Benson Wilbury House, Wiltshire 60 Colen Campbell Wanstead House, Essex 62 Houghton Hall, Norfolk 64 Stourhead, Wiltshire 65 The Villa 66 The Town House 68 Palladian Baroque 70 Contents Lord Burlington Tottenham Park 71 The Westminster Dormitory 72 General Wade's House 73 Chiswick Villa 74 The Chichester Council House 77 The York Assembly Rooms 78 The Duke of Richmond's Town House 80 William Kent Houses of Parliament 81 The Gothick Alternative 82 Roger Morris Combe Bank 83 Henry Flitcroft St Giles in the Fields 86 Unidentified Architect The Cholmondeley Town House 88 Matthew Brettingham Leicester House 92 John Sanderson Rotunda Ideas 94 The Hiornes Gopsall Hall 96 Thomas Wright Horton Hall 97 Nuthall Temple 98 William Halfpenny Church 99 Houses 100 Sir Edward Lovett Pearce Irish Connections 101 John Wood the Elder House in Bath 102 Some Palladian Houses 103 Contents Amateurs Ambrose Phillips 106 Sir George Gray 107 Sir Robert Trevor 107 Ancillary and park architecture -
Mapping Landscapes in Transformation Multidisciplinary Methods for Historical Analysis Edited by Thomas Coomans, Bieke Cattoor, and Krista De Jonge
Mapping Landscapes in Transformation Multidisciplinary Methods for Historical Analysis Edited by Thomas Coomans, Bieke Cattoor, and Krista De Jonge PREFACE 8. A High-Resolution Multi-Scalar Mapping Landscapes in Approach for Micro-Mapping Transformation: Multidisciplinary Historical Landscapes in Transition: Methods for Historical Analysis A Case Study in Texas, USA Thomas Coomans, Bieke Cattoor & Arlo McKee, May Yuan Krista De Jonge 9. Pixels or Parcels? Parcel-Based Historical GIS and Digital Thematic PART ONE: PROJECTION Deconstruction as Tools for Studying 1. Cartographic Grounds: Urban Development The Temporal Cases Bram Vannieuwenhuyze Jill Desimini 10. The Secularisation of Urban Space: 2. Data Friction: Mapping Strategies on a Mapping the Afterlife of Religious (Peri)urban Frontier, Chennai, India Houses in Brussels, Antwerp and Karl Beelen Bruges 3. Mapping and Design as Interrelated Reinout Klaarenbeek Processes: Constructing Space-Time 11. Mapping Through Space and Time: Narratives The Itinerary of Charles of Croÿ Bieke Cattoor Sanne Maekelberg 4. Mapping the Evolution of Designed 12. Landscape Appreciation in the English Landscapes with GIS: Stourhead Lake District: Landscape Garden as an Example A GIS Approach Steffen Nijhuis Ian Gregory, Christopher Donaldson, 5. Unfolding Wasteland: A Thick Mapping Joanna E. Taylor Approach to the Transformation of 13. Digital Humanities and GIS for Chinese Charleroi’s Industrial Landscape Architecture: Cecilia Furlan A Methodological Experiment 6. Photography, Railways and Landscape Chang-Xue Shu in Transylvania , Romania: Case Studies in Digital Humanities POSTFACE Cristina Purcar Mapping Historical Landscapes in Transformation : An Overview PART TWO: FOCUS John Bintliff 7. Mapping Archaeological Landscapes About the authors in Transformation: A Chaîne-Opératoire Approach Piraye Hacıgüzeller, Jeroen Poblome, Devi Taelman, Ralf Vandam, Frank Vermeulen © The respective authors 2019 ISBN 978 94 5867 173 1 (Paperback) ISBN 978 94 6166 283 5 (ePDF) https://doi.org/10.11116/9789461662835 Leuven University Press 4. -
'Leoni's Drawings for 21 Arlington Street'
Richard Hewling, ‘Leoni’s Drawings for 21 Arlington Street’, The Georgian Group Jounal, Vol. II, 1992, pp. 19–31 TEXT © THE AUTHORS 1992 LEONI’S DRAWINGS FOR 21 ARLINGTON STREET Richard Hewlings n April 1991 the Drawing Collection of the British Architectural Library purchased a volume of 14 architectural drawings, six explanatory pages and a title page inscribed Ithus: The Original Draughts, For a new House to be Built in Arlington Street, St. James, For the Rt: Homble the Lord Vist: Shannon &c. &c. &c. To Whom these Sheets with the utmost Respect are Humbly Inscribed by James Leoni the Inv:r and Direct:r of it May 25th : 1738. The “Lord Vist: Shannon” was Richard Boyle, 2nd (and last) Viscount, grandson and heir of Francis Boyle, the sixth and youngest son of the “Great” Earl of Cork, founder of the Boyle dynasty. Both Viscounts were soldiers. The first was ennobled in 1660 for his part in suppressing the rebellion in Ireland. The second had an exceptional professional career, becoming field-marshal of all the King’s forces jointly with the 2nd Duke of Argyll. He was born about 1674 and married twice, first, in 1695, to a daughter of the 5 th Earl of Dorset, and widow of his cousin Roger, 2nd Earl of Orrery, secondly (after 1710) to Grace Senhouse, daughter of a Cumberland gentry family from Netherhall, near Maryport. By her he had a daughter, also called Grace, who in 1744 (after his death) married Charles Sackville, then Earl of Middlesex, and from 1765 2nd Duke of Dorset.1 Grace was Lord Shannon’s sole heiress, and she or her husband continued to occupy the Arlington Street house until its sale to Lord Weymouth between 1765 and 1769.2 The head of Lord Fig. -
Insights from Stourhead Gardens
Open Research Online The Open University’s repository of research publications and other research outputs Myth In Reception: Insights From Stourhead Gardens Thesis How to cite: Harrison, John Edward (2018). Myth In Reception: Insights From Stourhead Gardens. PhD thesis The Open University. For guidance on citations see FAQs. c 2017 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000d97e Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Myth in reception: Insights from Stourhead gardens John Edward Harrison BSc (Hons) Psychology, University of Hertfordshire, UK Dip CS, Open University, UK PhD Neuroscience, University of London, UK Thesis submitted to The Open University in partial fulfilment of the requirement for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences (FASS) The Open University December 2017 1 Declaration I declare that this thesis represents my own work, except where due acknowledgement is made, and that is has not been previously submitted to the Open University or to any other institution for a degree, diploma or other qualification. 2 Abstract The focus of my thesis is the reception of classical myth in Georgian Britain as exemplified by responses to the garden imagery at Stourhead, Wiltshire. Previous explanations have tended to the view that the gardens were designed to recapitulate Virgil’s Aeneid. -
Palladio, a Model for the Architecture of Classical Europe
Architectural Styles Palladio, a model for the architecture of classical Europe Jean POTEL ABSTRACT Beginning in the sixteenth century, European architecture—in the same manner as painting, sculpture, and more broadly all forms of artistic expression—fell into tune with an Italian art that had already been renewing itself for nearly a century on ancient models. While the Rome of Julius II (pontiff from 1503 to 1513) and his successors drew the attention of the majority of nations, such as the Holy Roman Empire and Spain, others such as England, the United Provinces, and more discreetly France were enthusiastic about the work of the Vicentine Andrea Palladio (1508-1580). While the productions of this contemporary of the painter Veronese were mostly limited to the secondary artistic centers of the continental territories of the Republic of Venice (modern-day Veneto), they were behind an architectural movement unique to the Old World, one that took its creator’s name and thereby attesting to the incredible success of his manner: Palladianism. Jacob van Campen (1595-1657), home of count Jean-Maurice de Nassau-Siegen, known as Mauritshuis, The Hague (the Netherlands), 1633-1644. Source : Wikimedia Commons. The Origins of Palladianism Born in Padua and long active in Vicenza, two cities dominated by Venice, Pietro della Gondola (1508-1580) had an exceptional career. A mason by formation, he befriended the humanists Giorgio Trissino (1478-1550), who renamed him Palladio, and Daniele Barbaro (1514-70), whom he assisted in the latter’s commented translation of Vitruvius’s treatise on Latin architecture (1556), two encounters that were behind the extraordinary esthetic and conceptual revolution of his art. -
The Origins of Building Science in the Architecture of Renaissance England
Dean Hawkes The Origins of Building Science in the Architecture of Renaissance England In the twenty–first century, building science is a firmly established con- cept and plays an important role in both the practice of architecture and architectural education. In its modern definition, the origins of building science can be traced back to the nineteenth century. In the wake of the in- dustrial revolution, it developed hand–in–hand with the new technologies 1 of building: structure, construction, and heating and ventilation. Joseph 1 Important texts of particular relevance to the relation of technology and architecture Gwilt’s, Encyclopaedia of Architecture (Gwilt 1825) was a major reference are; Sigfried Giedion, Mechanization Takes work for British practice.2 The book is in four parts: Command: a contribution to anonymous his- tory, Oxford University Press, Oxford, 1948 and Lewis Mumford, Technics and Civilization, Routledge, London, 1934. Reyner Banham’s Book I, History of Architecture The Architecture of the Well–tempered En- Book II, Theory of Architecture vironment, The Architectural Press, London, 1969, opened up the study of environmen- Book III, Practice of Architecture tal science and technology that has been developed further by the present author and Book IV, Valuation of Property others. See Dean Hawkes, The Environmen- tal Tradition, E & F N Spon, London & New York, 1996, The Environmental Imagination, It is in “Book II, Theory of Architecture” that we find the technical/scien- Routledge, London & New York, 2008 and Architecture and Climate, Routledge, London tific content, chapters discussing: & New York, 2012. Mathematics and Mechanics of Construction 2 Joseph Gwilt, An Encyclopaedia of Archi- tecture: Historical, Theoretical and Practical, Materials used in Building Longmans, Brown & Green, London, 1st Edi- Use of Materials or Practical Building – this includes extensive sections on tion, 1825. -
Domestic 3: Suburban and Country Houses Listing Selection Guide Summary
Domestic 3: Suburban and Country Houses Listing Selection Guide Summary Historic England’s twenty listing selection guides help to define which historic buildings are likely to meet the relevant tests for national designation and be included on the National Heritage List for England. Listing has been in place since 1947 and operates under the Planning (Listed Buildings and Conservation Areas) Act 1990. If a building is felt to meet the necessary standards, it is added to the List. This decision is taken by the Government’s Department for Digital, Culture, Media and Sport (DCMS). These selection guides were originally produced by English Heritage in 2011: slightly revised versions are now being published by its successor body, Historic England. The DCMS‘ Principles of Selection for Listing Buildings set out the over-arching criteria of special architectural or historic interest required for listing and the guides provide more detail of relevant considerations for determining such interest for particular building types. See https://www.gov.uk/government/publications/principles-of- selection-for-listing-buildings. Each guide falls into two halves. The first defines the types of structures included in it, before going on to give a brisk overview of their characteristics and how these developed through time, with notice of the main architects and representative examples of buildings. The second half of the guide sets out the particular tests in terms of its architectural or historic interest a building has to meet if it is to be listed. A select bibliography gives suggestions for further reading. This guide, one of four on different types of Domestic Buildings, covers suburban and country houses.