eecs Arts Ca encar LEEDS ARTS CALENDAR MICROFILMED Starting with the first issue published in 1947, the entire Leeds Art Calendar is now available on micro- film. Write for information or send orders direct to: 6868 University Microfilms, Inc., 300N Zeeb Road, Ann Arbor, Michigan 48106, U.S.A. SSSQ
Leeds Art Collections Fund
This is an appeal to all who are interested in the Arts. The Leeds Art Collections Fund is the source of regular funds for buying works of art for the Leeds collection. We want more subscribing members to give one and a half guineas or upwards each year. Why not identify yourself with the Art Gallery and Temple Newsam; receive your Arts Calendar free, receive invitations to all functions, private views and organised visits to places of interest, by writing for an application form to the Cover Design Hon Treasurer, E. M. Arnold Esq., Butterlg .Street, Leeds 10 The triumphal arch at Parlington built by Sir Thomas Gascoigne in 1783, after a design by Thomas Leverton. LEEDS ARTS CALENDAR No. 66 1970 THE AMENITIES COMMITTEE
The Lord Mayor Alderman J. T. V. Watson, LL.B tChairman) Alderman T. W. Kirkby Alderman A. S. Pedley, D.F.c. Alderman S. Symmonds Councillor P. N. H. Clokie Councillor R. I. Ellis, A.R.A.M. Councillor J. H. Farrell Contents Councillor Mrs. E. Haughton Councillor Mrs. D. E.Jenkins Obituary. Sir Alvary Douglas Frederick Councillor Mrs. A. Malcolm Gascoigne, c.n.E., t<.c.M.c., 1893—1970 2 Councillor Miss C. A. Mathers Councillor D. Pedder, J.p., Ms.c. Editorial 3 Councillor Mrs. S. M. C. Tomlinson
An Unpublished Portrait by Sustermans 6 Co-opted Members W. T. Oliver, M.A. Some keyboard Instruments associated Eric Taylor, R.E., A.R.G.A. with Temple Newsam 12
Romanticism and Neo-classicism for Parlington: the tastes of Sir Thomas Gascoigne 16 THE LEEDS ART COLLECTIONS FUND
President The Rt. Hon. the Earl of Halifax
Vice-President The Rt. Hon. the Earl of Harewood
Trustees STAFF C. S. Reddihough George Black, F.R.c.s. W. T. Oliver, M.A. Director F.M.A. Robert Rowe, c.tt.E., M.A., Committee Mrs. S. Gilchrist Xetvsam House Keeper, Temple Professor L. Gowing, c.B.E.,M.A. Gilbert, M.A., F.M.A. Christopher Miss J. Horner Lady Ingleby Keeper, Art Gallery Mrs. R. P. Kellett Miss M. Strickland-Constable, B.A. A.M.A. Derek I.instrum, A.R.t.a.A. Alderman T. V. Watson, LL.B. Keeper, Decorative Art Studies J. B.A. Terry F. Friedman, Hon. Treasurer Martin Arnold B.A. Curator, Print Room and Art Library M.A. Alex W. Robertson, Hon. Secretary Robert Rowe, c.a.E., M.A., F.M.A. Assistant Keeper, Lotherton Hall B.A. Peter Walton, Hon. Membership Secretary D. Mason Jones, M.A., A.R.I.B.A. Assistant Keeper, Temple JVetvsam House Wells-Cole, B.A. Anthony Hon. Social Secretary Trainee Assistant Keeper: Richard Fawcett, B.A.
Secretary: Miss B. Thompson All communications to be addressed to the Administrator Hon. Secretary at Temple Newsam House, Leeds Miss D. J. English Subscriptions for the Arts Calendar should be sent to Assistant, Print Room and Art Library The Hon. Treasurer, c/o E.J. Arnold 8r. Son Ltd., Mrs. J. E. Brooks Butterley Street, I.eeds 10 Technical Supervisors: 8/- per annum, including postage (2 issues) Ron Turner Single copies from the Art Gallery and Temple Michael Tasker Newsam House, 3/6 each OBITUARY'IR
ALVARY DOUGLAS FREDERICK GAS CO IGNE G.B.E. K.C.M.G. 1893-1970
Oil I III
Sir Alvary's career in the diplomatic large. This must be why Lotherton Hall service, the interesting posts he held and never suggests through its treasures or in the highly distinguished way in which he its bricks and mortar that it is a monument played the most exacting roles demanded to a man or his family, on the contrary it of him all gave him renown. Yet any sort appears almost personally to welcome of publicity was anathema to him. He was visitors and make them feel that they are a man of great wisdom and foresight who, there by right. Is not this subtle atmosphere when he decided to give his house, art which now pervades his old home an collection and estate for the public to indestructible epitaph to Sir Alvary- enjoy, wanted always to remain in the one which will surely influence the background. This was no false modesty, progress of Lotherton towards its full but a strong sense which he shared with potential as a country house museum. Lady Gascoigne of stewardship rather Even though he may now never see the than ownership. It was as if to him all long-term results of his benefaction, the material possessions and personal endow- manner of it has set the course for the ments belonged morally to the world at future. Editorial
I. Armchair, from a set of tioo arm and six single chairs. Made by Giles Grendey for the Duke of Infantado's Castle in Spain, c. 1730. Beech@!ood u ith caned seat and japanned decoration in the Chinese taste on a scarlet ground, ht. 44 m.
As the copy for this f,'alendar goes to the printer the staff are beginning to breathe again after the panic of getting the Festival Exhibitions open. Through the years the older hands get used to the idea that every exhibition, an hour or so before opening, looks as though a bomb had fallen in its fp midst and a curious despair sets in. The next crisis one has sometimes to weather Ile I may be brought about by those ghastly little errors over things like dates of open- ing or closing to be found in posters and handouts; usually these are first dis- covered by the most innocent and well- meaning members of our public. It is a wonder that museum people are not more neurotic than they are. Apart from their content the exhibitions put on to coincide with the Triennial Musical Festival of I c)70 were administratively remarkable on two counts. Because we did not want to leave Lotherton out, particularly during its first year of running, there had to be three of them all ready for opening within a week of each other. The second thing was good and encouraging —never have we had so much outside support 1'or our activities. The Arts
Council, the Clothworkers'ompany and A» Ist!' ' the Festival Committee all weighed in with substantial grants without which we could never have managed. Leeds should be very grateful and we hope that the various bodies thought their money well spent. Our collecting progress in the last few months has been proud-making. Quite the most spectabular acquisition in its field since the Harewood library table has been the set of six single and two armchairs in red and gold lacquer made about 1730 by Giles Grendey some of which bear his trade label. They have had a romantic history, part of a much larger set they caddies in a mahogany silver-mounted were either bought or specifically made 1'r case. These were made by John Langford the Castle of Lazcano near San Sebastian and John Sebille in 1768 and are of de- in Spain, owned by the Duke of Infan- lightful transitional design between the tado. A few years before the last war they rococo and neo-classical. They were in the appeared on the international art market late Colonel R. F. Tetley's collection at and had a somewhat chequered career Boston Spa. until they found a home with Mr. Neville Finally on the subject of silver a very Hamwee in Jersey. We would never have elegant silver parcel-gilt wine ewer of 1859 got them to Temple Newsam had it not was bought for the Gascoigne collection at been for the generosity of Mr. Hamwee, Lotherton. It was made by Joseph Angell, who made the price possible, the good one of the leading silversmiths of the day, oflices once again of Mr. George Levy of to a design of his published in the Art Blairmans, and a 50 per cent grant-in-aid Journal catalogue of the 1851 Exhibition made available through the Victoria in which, therefore, the prototype of ours and Albert Museum. A great deal of re- must have been shown. The ewer is in search is being done on them and it may mint state —the engraving still sharp to soon be possible to publish a complete case the touch —and it arrived in its original history from the time when they were velvet-lined leather travelling case. Bought planks of beech plus an idea in the mind of also for Lotherton were a good representa- Grendey as he and his craftsmen laboured tive piece of Rockingham porcelain —a in the workshops at Clerkenwell. One comport decorated in enamel colours- thing is quite clear already, however— and an exceptionally pretty round rose- they make splendid garniture for Temple wood table with a perspective top com- Newsam underlining one of the funda- posed of specimen marbles —it dates from mental qualities of the house —that it is about 1830. So the collections grow and much more than a museum in which one Lotherton is keeping up well with its big need only represent this or that type sister. The house co-operates with itsof'urniture. There are building operations to contents in a sort of mutual admiration report at both Lotherton and Temple society. Newsam. Brief reference was made in the Now to silver; we have been very fortu- C:alendar (No. 64) devoted to Lotherton, to nate here, too. In November last year the costume collection which we want to there was a sale of silver at the Parke- show there. All the designing for the two Bernet Galleries in New York which large rooms involved is now complete and included a splendid silver cassolet bearing by the time members read this editorial, the marks of Boulton and Fothergill, work should be well advanced. With any Birmingham, 1779. This was obviously a luck we should be able to open all the most desirable thing to have in the collec- upstairs rooms in August. In addition to tion here —not only does it pay tribute to those set aside for the costume display there Matthew Boulton's Soho manufactory at are two others to be furnished and a very the height of its reputation for design and pleasant landing area the re-organisation workmanship (see Leeds Arts Calendar ofwhich includes a series of lit showcases on No. 62, p. 2), but it is the first piece of one side —it should look very attractive eighteenth-century Birmingham silver to and give us a chance to show more silver be acquired. On a number of occasions we and ceramics. have managed to prevent some British A large part of the stable block at work of art from going permanently Temple Newsam is being turned into overseas, but it is a unique experience to exhibition rooms and as we go to press the be able to report such a return from exile. joiners and electricians have nearly finish- Bought on the open market at a very fair ed their operations. The idea in this case price, too. Another significant purchase, is to open the ground floor —it used to be this time made practically on our own called the Smeaton Room when it was doorstep, was the set of three silver tea part of the corporation restaurant —as a semi-permanent exhibition illustrating the with what we are beginning to believe history of Temple Newsam House. Objects must be the direct descendants of those like the old fire engine, hatchments and wartime gremlins. What or whoever it is the miniature cannon will be displayed. something is very active around Temple The floor above will provide flexible Newsam, especially when building work is space in which to show short-term exhibi- afoot —and is certainly not 'with us'. Such tions from time to time. It will only be a hypothesis seems to be the only one at open when these are on and it really looks the moment which can begin to explain as thought at last we shall not have to the many delays and the sort of problems dismantle rooms in the main house when- which eventually led to money allocated ever we want to mount a temporary show. under one financial year having to be spent Fifty per cent of the cost of the upper floor in anot.her a terribly hazardous opera- conversion has been paid for out of the tion for large public bodies. However, it Arts Council's 'Housing the Arts'und looks as though our adversaries have and the administrators of it have been eventually been beaten and once more most sympathetic and helpful over the Leeds should be very grateful for Arts whole scheme —they even remained reas- Council support, administrative as well as onably sanguine when we ran into trouble financial in this case.
2. Cassolel by Matthew Botdton anrt james Fo ther ~~i ll, Birmingham, 1779/80. Siher, ht. 11 in. An Unpublished Portrait by Sustermans
Among the paintings presented to Temple Newsam by the late Earl of Halifax in 1948's a full-length portrait of a man dressed in black wearing the cross of the Knights ofSt.John ofJerusalem (22.63/48) . In the distance is a seascape with a Maltese Galley and on a table drawings of fortifi- cations. The costume, with its lace jabot and cuffs, its rosettes at knee and instep, is typical of the 1630s (Fig. 1). The heavy jaws, drooping eyes and massive pendulous nose make up a 1'acial configuration which is familiar enough to art historians and is easily recognised in the portrait of Ferdinand II dei Medici (Fig. 2), also in the Leeds collection (22.116 48) '. With this clue a search of the family tree of the Medici (the nose seems to have been common to the descendants of Christine of Lorraine, wife of the Grand Duke, Ferdinand and of the portraits I) of'he princes quickly disclosed the one illus- trated as Fig. 3, which almost unmistakably represents the same man. The sitter, Gio- vanni Carlo dei Medici, was born in 1611, the brother of Ferdinand II dei Medici. He was Prior of Pisa in the military order ofSt. John and went to Spain in 1642 as General- issimo di Mare (i.e. Admiral) in the navy of the King of Spain. He advised on the fortifications of Florence. On the election of Innocent X, Pamfili, in 1644, he was given the Cardinal's hat as a deacon in the church. He died of cerebral apoplexy in 1663. Giovanni Carlo dei Medici was a well- built man, according to the Pope "The most virile of the Medici Princes", and, according to Segni in his funeral oration, "blessed with the most perfect constitu- tion; he made himself still stronger and more robust by his application to the most noble exercises". A political appointee, he Pieraccini3 describes him as immature did not take his religious duties seriously. mentally citing his letters which are mostly As well as to sport, arms, gambling and about balls, routs, carnivals and women, dressing up, he was addicted to rich food and his behaviour in conclave when he and, above all, to women, the last so much spent his time playing cards and dice. How- so that when Queen Christina of Sweden ever, he managed the financial affairs of came to Rome after her conversion, Gio- the Grand Duchy quite competently and vanni Carlo, one of the two cardinals, 1'ormed a large collection of works of art deputed to attend her, was so persistent in which he gave to the Uffizzi and Pitti gal- his gallantries that he had to be sent back leries when they were established by his to Florence. brothers, Leopoldo and Ferdinando II, with himself. There is no date on the picture and the writer does not have access to documents that could determine the question but a cursory comparison of the portrait with this brief account of the sitter does suggest some clues. If the untapered stick on ~ hich he rests his hand is a Generalissimo's baton, then we may guess that the portrait was painted in 1642. A man so given to dressing up would have been even more prone, perhaps, to celebrate his appointment by having his portrait taken than some others, and the appointment ended in fiasco the same year when the xenophobic Spanish nobility refused to let him take over his command. It must, in any case, 1>e before 1644, when he became cardinal. The features could be those of a man of 31 considering the rapid ageing which seems to be common to his whole family. Indeed the engraving reproduced here, which is based on a portrait painted about 1646, shows the features sagging even more loosely. (The original of this engraving, or a version of the original, is in the gallery at Lucca.) The only odd thing is that for such a man his dress is rather old-fashioned. The portrait could therefore be still earlier, although this discrepancy may be account- ed for by the conservatism of the Hapsburg and Hapsburg-dominated courts. It is also not too hard to guess the name of'the artist. Like the very diff'erent portrait of Ferdinando II it is surely by Justus Sustermans (1597—1681), court painter to the Medici from c. 1620. The Leeds portrait of Ferdinando was painted in the archaic, Pourbus-like style that Sustermans brought .4bove. Fig . 2. Portrait of Ferdinand 11 dei Medici by with him but that of Gian Carlo shows the 3ustus 5ustermans. Oil on canvas, 51 x 35 in. influence of a much greater fellow Flemish migrant to Italy —Van Dyck. Van Dyck I eft. Fig 1. Portrait of Giovanni Carlo dei ~ledici by 3ustus Sustermans. Painted c. 1642. Oil on canvas, 81 x 47 in. worked and travelled in Italy in the years IOHANNES j.'i@l(TWSAB ETRVRIA + ====:— CODS H NA(PG DVCIS ETR:.FILDt'S S:R:ECC: DIACONVS CARDINAIIS ' L '. Engrat ed Portrait of Giovanni Carlo dei Medici 1621—26. It is not known whether Suster- mans met him during this period but in the 30s the relative flatness and simplicity of his colour and drawing gave place to a version of Van Dyck's richer, warmer, more paint- erly and more atmospheric manner which in the later 40s is supplanted, by a more portentious Roman one. Until compara- tively recently Sustermans'ather chame- leon-like character has caused his oeuvre to be split up among a wide variety of artists —the double portrait in the National Gallery even went under the name of Velasquez. The common influence of Van Dyck no doubt accounts for the attribution of the present picture to the English school in the catalogue of the Leeds collection.4 Many of Sustcrmans'ortraits can be com- pared with the present example, the finest being perhaps the one formerly in the Hol- ford collection (Fig. 4) s, now in the Epstein collection, Baltimore Museum of Art. Neither 'Ferdinand II'or 'Gian Sustermanns at his best; weCarlo'epresent may assume that both were among the more routine products of his studio and the re- maining unsolved point of interest is how and when these two portraits of Medici princes originally entered the art-collections of Temple Newsam House. MTCHAFI, C;OMPTON I. The late Lord Halifax was the last private owner of Temple Newsam, which was sold to Leeds Corporation in 1922. In 1948 he gave a large collection of pictures (including the two por- traits by Sustermans discussed in this article) acquired by former owners of Temple Newsam, to the City of Leeds. 2. Illustrated: Picture of the Month, Dec. 1949 (Leeds City Art Gallery). Exh: Masterpieces from york- shire Houses, Temple Newsam, 1958, no. 35. 3. Most of the information about Giovanni Carlo dei Medici is taken from Pieraccini, La Stirpe de'edici di Catfaggiola, II, pp. 553, IK 4. p. 1 1. 5. When in the Hoiforci collection this portrait was identified as Gian Carlo dei Medici, but he would not have been portrayed in military costume without the cross of his order. Illus- tration reproduced from a photograph supplied by the Witt Library. 6. It is perhaps worth recording that Gian Carlo and Ferdinand II, being descended from Chris- were cousins of Francois de tine of Lorraine, 4. Portrait a Man whose portrait is of Lorraine, Duc de Guise, Sustermans in Newsam inventory of 1702. by faustus listed the Temple Epstein Collection, was given to Leeds the late This picture by Baltimore Museum of Art. Earl of Halifax (invent. no. 22.50/48). Calendar of Notable Events in Leeds TEMPLE NEWSAM HOUSE Open daily, including Sundays 10.30 a.m. to 6.15 p.m. (or dusk) Wednesday, May to September, 10.30 a.m. to 8.30 p.m. Acqusitiions of'he 2"ear June 17th to July 12th An exhibition of the items acquired by gift or purchase during the year ended 31st March 1970 Six Tiepnlo Frescoes fi'on> the Palarzo Porto, Vi centra The frescoes >vere cotnmissioned by the Porto family for their Palazzo in Vicenza anti were paint- ecl c. 1757 by Giovanni Battista Tiepolo (1696— 1770) the most celebrated fresco painter of his time in collaboration with his son, Giovanni Domenico Tiepolo (1727—1804). They depict outstanding events in the history of the Porto family ranging from 1022 to 1661, and are there- fore not only ol'rtistic but also historical value. The frescoes have been lent to Temple Newsam House l>y an anonymous Dutch collector who is nt>vv their owner and he has generously agreed to extend the period of'oan 1'r a further year until Dec ember 1970. CITY ART GALLERY Open daily 10.30 a.m. to (i.30 p.m. Sunclay 2.30 p.m. to 5.0 p.m. Large Sculpture June 5th to July 17th An exhibition of selected works by six contemporary s< ulptors circulated by the Arts Council It"enneth and Mary Martin (Arts 6,'ouncil) August 15th to September 5th Mongolian A rt October 21st to November 8th Examples of both ancient and modern art are included in the exhibition ranging from musical instruments and icons to modern graphic art and tapestries LOTHERTON HALL) ABERFORD Open daily, including Sundays, 10.30 a.m. to 6.15 p.m. (or dusk) Thursday, May to September, 10.30 a.m. to 8.30 p.m. The Ciasgoigne Collection of pictures, furniture, silver and porcelain is on show in the House. 10 Exhibitions in other Yorkshire Galleries Bradford Bradford Arts Club Annual Exhibition june 13 to July 12 2nd British International Print Biennale September to November Lead Mining in 2orkshire (I;A.S.) October 31 to November 29 Iorkshire in Art (I;A.S.) December 12 to January 10 '71 Bridlington Royal Society of Marine Artists (A.E.B;) June 23 to July 20 (Sewerby Hall Britain in Watercolours (A.E.B.) August 29 to September 30 Gallery) Brighouse Hipperholme and LightclsJfe Art Society June 20 to July 18 Alcock &'rowne Exhibition (I'.A.S.) July 18 to August 15 Whistler: Etchings and Engratings ( V. C> 4.) August 15 to September 6 B.295 Henry Moor Exhibition Portraits (A.C.) September 19 to October 4 Huddersfield Art Society October 17 to November 14 Palissy to Picasso ( V. Id .4.) November 28 to January 10 '71 Doncaster Doncaster College of Art Display of works by the College Staff June 26 to July 19 Three Moderns —Clancy, Baccus and Roberts July 25 to August 16 20th Century, British Watercolours (V. G'.) August 20 to September 6 Italian Renaissance Maiolica ( V. &'4.) September 12 to November 1 Free Painters and Sculptors, Doncaster Arts Festiral Exhibition October 10 to October 31 Harrogate English Posters August 1 to August 23 (Harrogate Festival exhibition): lslidderdate Arts Club September 26 to October 18 Constructions (A. C.) October 24 to November 14 Great War (V. td A.) November 28 to December 27 Hull Anthea Alley (sculpture in metal) (2".A.S.) June 20 to July 19 Bill Bowen (plastic sculpture) June 6 to June 28 Whistler: Etchings and Lithographs (V. Id A.) July 11 to August 2 Atkinson Grimshatv (2".A.S.) September 5 to October 4 Contemporary Hangings and Pictures in Fabric and Thread November —December Kenneth and Mary Martin (A.C.) December 5 to January 2 '71 Keighley Iorkshire Potteries (2.A.S.) July 18 to August 16 Victorian Watercolours (V. &" A.) August 15 to September 6 2 orkshire in Art (2'.A.S.) August 29 to September 27 Paintings by Charles Wells September Workshop Studio Art Group October 3 to October 25 English Creamware (V. &'.) October 10 to November 29 Paintings by Michael Dean October 31 to November 29 Atkinson Grimshaw (2'.A.S.) November 14 to December 13 20th-century Drawings (A.C.) November 21 to December 6 Rotherham Rotherham Society of Artists Annual Exhibition to July 5 Torkshire Potteries ( T.A.S.) to July 5 Alcock and Broun Exhibition (2".A.S.) September 12 to October 3 Victorian Watercolours (V. GP A.) September 19 to October 11 Militia, Teomanry and Volunteers (2.A.S.) October 10 to November 9 Royal Lancaster Pottery (2.A.S.) from December 5 Scarborough Pictures from the Collection of R. T. Laughton, sY') rnn June 27 to September 27 Scarborough Art Society Autumn Exhibition October 2 to October 31 Dutch Graphic Art (A.E.B.) November 1 to November 30 john Bratby December I to December 31 York British Painting '68 (A.C.) December 5 to January 2 '71 A.C. = Arts Council A.F,B. = Arl Exhibition Bureau V. &'. = Victoria cd Albert Museum I'.A.S. = Museums 6" .4rt Gallery Service for 2orkshire 11 Some Keyboard Instruments Associated with Temple Newsam The handsome organ in the chapel at about the year 1825 and presented to Temple Newsam was installed there in the church of St. Swithun Sproatley place of a two-storey chimneypiece when on the restoration AD 1886 by his son Mrs. Meynell Ingram had the mid- Daniel Barton Kendell MB cAN TAB. eighteenth century library converted in Patron. 1877.'he case was designed by her These bare facts may be filled out with architect, G. F. Bodley,2 who was associated supposition: made to replace an earlier with a revival of interest in organ case instrument in the chapel on the ground design after a period when it was neglected, floor of the North wing, it was moved to as at Leeds Parish Church (1841) and the another part of the house in 1796 when the Town Hall (1858). The pioneers of the chapel was converted into a kitchen: movement were A. W. N. Pugin, and the perhaps it was placed in the Great Hall Sutton brothers;s all are noted for cases, where an organ is mentioned in the 1808 usually in the Gothic manner, following inventory. John Kendell bought the early continental models, with simple instrument and used it himself in the lines (Bodley's Chapel Allerton case is Rectory at Sproatley or lent it to the church, severe) and richly painted decoration. where there was an organ in a gallery in Perhaps a Belgian organ inspired Bodley 1856.'hirty years later the organ was here; his design, a central semi-circular given to the church and about 1890 the tower separating two wide flats, is in the gallery was removed. The Kendells moved classical style which, though less natural to Wakefield. to him than the Gothic approved by the Is the organ by the celebrated Father High Church movement (to which both he Bernard Smith'? This traditional attribu- and his patron belonged), was dictated tion was recorded by W. L. Sumner in by the 7th Viscount's Library and in out- The Organ and was not questioned in a line it closely resembles the three central professional examination of, and report on units ol' 1652 organ case at Maestricht.4 the organ's condition in 1968. It is indeed Alternatively the Corinthian columns possible that the pipework is by Smith- either side, which visually do duty, as the two-rank Sesquialtera and Cornet, perhaps Bodley intended, for pedal towers, and divided fifteenth are features common may be seen as completing a typical though not exclusive to him and the English late seventeenth-century triple specification does not significantly depart tower composition.s from the general pattern of his smaller It is disappointing that an intriguing organs. The swellbox and pedal board are organ (Fig. 1) at Sproatley, near Hull, is nineteenth century additions, and the case not as homogenous in case- and pipe-work. is probably contemporary with them, A plaque bears the inscription: although the central part may be earlier This organ was built by Father Smith and the pierced decoration applied to the about the year 1710 for the owners of spandrels over the pipe shades is rococo Temple Newsam, near Leeds. It was in feeling, perhaps about 1765. purchased from the late Marchioness of If the evidence of the instrument itself Hertford by John Kendell of Leeds is uncertain, the Temple Newsam papers 12 are no more helpful. If the organ is by Christ', John Haccias, wrote to Roades, Smith, when was it made and for whom '. Steward at Temple Newsam One may trust the information 'Father Besides my Lord has a music master upon Smith'r '1710'ut not both Smith the Harpsicall, which music he begun so died in 1708. No-one was more likely to soon as he came in Cambridge K plays order such an organ than Edward, 4th already very prettily: tho he would have Viscount Irwin, who died of smallpox in my Lady his mother knov nothing 1714. He went up to Cambridge, after about it, thinking to surprise her some leaving Eton, on September 9th 1702, and time or other R, I desire you not to before long (26 Jan. 1703) his governor at speak of it to my Lady. This master had 1. Chamber organ 'made for the otoners of Temple JVecosam'nd attributed to Father Smith. JVoto in St. Scoithuns Church, Slsroatley JVr. Hull. 13 a guinea entrance money 8z has 2 4. O. L. Vrouwekerk; it is perhaps even closer to the Ruckpositiv of the organ in the Waalse guineas per quarter. Kerk, Amsterdam (1680), which is of Belgian In view of the young Lord Irwin's de- type. Both instruments are illustrated in Peter sire for secrecy and his minority it seems Williams, The EuroPean Organ, pl. 8 & 12. unlikely that he would have ordered even 5. And the pedal pipes are concealed in the boarded-over bookcases either side. The speci- a small organ before he went to University. fication is: Pedal Bourdon 16', Open Diapason In 1704 he and his governor started their 8', Lieblich Gedacht 8', Principal 4', Twelfth 8'. Grand Tour of Europe at Delft where he 2:~", Piccolo 2', Hautbois Manual Compass CC-gs], 56 notes, pedal CC-c'8 notes. Case: continued his musical (and other) studies walnut with carved and gilt pipe shades etc. at the University, 'nd in August he made by John Wood snr. bought two Harpsichords which were 6. The wording (Appendix, 1808) suggests a shipped back to England in 1709's with typical late eighteenth century combined bar- rel- and finger-organ —if so, it is difftcult to the books and pictures collected in Italy. explain why the Father Smith organ was He returned from his tour in October 1707; omitted. in February 1708 Father Smith died. If 7. Sheahan & Whellan, History and Directory of Lord Irwin had ordered an organ in the East Riding of Torkshire, 1856, p. 376. absentia there is nothing to prove it. In 8. London, 1952, p. 140, with a query. was fire in the 1710there a 'Upper Gallery'ver 9. Specification: Open Diapason 8', Stopped the chapel and the 'Father Diapason 8', Principal 4'divided), Fifteenth Smith'rgan may have been bought to replace a 2'divided), Sesquialtera and Cornet (two ranks, dividing at middle C). damaged one —the Temple Newsam papers For a discussion of Father Smith and speci- are frustratingly silent. fications of his organs see Michael I. Wilson, The English Chamber 1968, 90—110. A. WELLS-COLE Organ, pp. I am very grateful to him for his help on many 1. See Leeds Arts Calendar No. 62 (1968) p. 5 ff. points. 2. The organ was constructed by Wordsworth & 10. Leeds City Libraries, Archives Dept. Pawson Maskell (now Wood, Wordsworth & Co. Ltd.) ms. bk. 7. of Leeds, who also worked with Bodley at Cardiff and Brant Broughton. His drawing is John Haccias to John Roades, 18 June 1704. thought to have been destroyed in a fire at the Pawson ms. bk. 7. organ works in the 1950s. 12. See Appendix, 1709. 3. The Rev. F. H. Sutton is said to have colla- borated with Bodley in a number of organs IV.B.—I am indebted to Dr. Gwilym Beechey including the present one, but his contribution for a number of facts about the Sproatley here is likely to have been small. organ. APPENDIX s d Upon the stair case... a large organ 006 13 04. In the ward robe... A paire of small Musical instruments recorded in Inventories, organs [i.e.a single instrument] 001 06 08 Accounts etc. in chronological order: 1709 (30July) Freight of two Harpischords 1625 Remembrances for fohn Matteson from Holland g3 2 0 (22 13. To speak to George Brownless to set up the These harpsichords were bought by Jan) organ at ShertJf Hutton and to have $10 pre- Edward, 4th Viscount, in 1704, as a letter (John sently, and after it is painted /10 more. and !he Haccias to John Roades, 26 August, from Delft) rest at my [Sir Arthur Ingram's] coming, and explains: send me word of his lowest rate thereof. "I hope you will not think us backward, George Brownless is hitherto unrecorded; perhaps when you consider that I have bought a of York where several with his family name are couple of the finest Harpsichords that ever mentioned in the lists of Freemen (Surtees Society, were made for my Lord & since they luckily Vol. 102) as tailors, bakers and butchers. Payment fell in my way, I could not but please my was made to him and George Marcester —the Lord in it. who has a great mind to have receipt is dated 14 March 1625. Brownless may, them. One is a double instrument, I mean however, have been a London man as a letter of with a double clavier [i.e. two-manual], 4 March 1624 suggests. In 1631 John Carter was the other a single one and cost both about paid 12/- for carriage of the Great Organ from Sheriff /30 tho'hey are worth f60 or f80 to Hutton to Temple IVewsam (Receipt, 4 Sept.). On anybody who loves musick. They are made 7 May 1632 Brownless was paid 13/4d for mending of the hest master that ever was, but dead the harp. long since." Sir Arthur Ingram also had in his house in York This was probably one of the Ruckers family of a fair, stately organ (Surtees Society, Vol. 118, p. 4). Antwerp. These harpsichords were almost certainly 1665 Inventory: those mentioned in every reference until 1779, e.g. 1714 Inventory: English harpsichord maker in the eighteenth in ye chamber next dressing room... one pr. of century. John Broadwood and Sons also supplied Harpsickells and in ye Great Dineing room... an upright grand piano for the Chinese Drawing a pr. of Harpsickelln Room created hy Lady Hertford in the late 1820's. The front and sides have painted oriental decora- In 1717 Richard Vojey was paid l. 6. (?) gl. the and cresting are carved and gilt in 1'or tuning two Harpsichords (Receipt, 26 January) tion, legs the Louis XIV style, matching the French features and in 1743 william May made two packing cases introduced in the room. The frame has the signa- for a Harpsicall and Frames. Finally in 1761 Thomas tures of the individual craftsmen involved, Hender- Haxby presented his account For tuning the harpsi- son 4979, Cossar 4979, and W. Benton chords twice in 1760 2. 0., tunine the Harpds. y. (stamped); g2. also a piano tuner's initials, F.l. The piano was j on 18 Feb. 1761 l. l. jor a set of Guitar strings j g 0., bought with the house in 1922. in 1760, 2 '6d. Thomas Haxby of York was the most important provincial maker of spinets, harpsichords 1808 Inventory: and pianos. On 28th Dec. 1770 he took out a patent 4th room Great Hall....0 large organ in a for an ingenious single-pedal controlling all the stops mahogany case with gilt pipes a barrel in ditto of of the harpsichord to produce c rescendo and diminu- large diameter and made also as a finger organ endo (evidently an attempt to match the Ilexibility with bellows of the 1'orte piano) —see Frank Hubbard, Three Parlour Ground Floor... a large double-keyed Centuries of Harpsichord Making, p. 321. It may be harpsichord by Shudi in a walnut case... 8th assumed that the two harpsichords were disposed room Miss Gordon's ground floor... a small of sometime between 1761 and 1779—the seventh, piano forte by Shudi in a mahogany case eighth and ninth Viscounts all died within these years. 1922 Temple Newsam sale: Lot 108 grand piano by Collard tk Collard 3 To the Hire a Harpsichord to the 29th 1779 Feby of Lot 1043 grand piano by Frard of june g4: 4: 0. John Broadwood. Broadwood, with his partner A;B.—No musical instruments are mentioned in Shudi and rival Kirkman, was the principal the Inventories of 1702, 1734, 1736 and 1740. Romanticism and Neoclassicism for Parlington: the tastes of Sir Thomas Gascoigne. An Anecdote. The Prince of Wales, the fashionable portraitist, Pompeo Batoni. future George IV, on his tour of Yorkshire These artistic and political associations of in 1806, visited Parlington near Aberford Thomas's formative career were, as we shall and surveying the triumphal arch entrance see, brilliantly manifest in the building of (illustrated on cover), with its inscribed the triumphal arch. frieze: LIBERTY IN N. AMERICA TRIUMPIIANT The Gascoignes moved to Parlington MDccLxxxIII, was unconsoled by a "man around 1721, although it was not until who could thus perpetuate the Memory of Thomas's first marriage in 1772 that im- England's defeats....". He promptly provements to the existing house and 4 departed.'he grounds were under consideration. During Gascoignes of Parlington possessed the next thirty-eight years he, his son two outstanding qualities which contri- Thomas (died 1809) and his step-son-in-law buted to that unfortunate incident. Politic- Richard Oliver Gascoigne (died 1843) ally, they were opposed to the Hanoverian commissioned numerous schemes from succession: the family was Roman Catholic, architects of considerable national reputa- at least one a martyr of the Jacobite cause in tion: in 1772,John Carr (1723—1807), born 17152, this probably accounting for their at Horbury near Wakefield, and one of the universal preference for Continental resi- leading architects in the North; in 1774, dency, and later they were opposed to Thomas Atkinson (died 1798), a Yorkshire- imperial Whiggery: Thomas, 8th and last man and sometime collaborator with Carr Baronet (1745—1810)was an avid supporter (his most distinguished work is the of that anti-government faction which ad- palace at Bishopthorpe near York); in vocated colonial independence during the 1781, Thomas Leverton (1743—1824), a American crisis of the early 1780's. More- leading London imitator and rival of the over, the Gascoignes were prominent Adam Brothers and in 1810, William Pil- members of that touring aristocracy whose kington (1758—1848), born near Doncaster artistic tastes were highly sophisticated and and a pupil of Sir Robert Taylor (architect classically orientated. Edward, 6th Bart. of the Bank of England). Drawings by travelled abroad during the two years from these four architects are represented in the 1724, was in Rome in 1725, there sitting for Gascoigne Collection at Sheepscar. They his portrait, with its distant view of the are of considerable interest, particularly Colosseums, and then around 1743 settled those by Leverton and Pilkington, whose in France where he died seven years later. signed drawings are rare.s One of Carr's His eldest son, Edward (1743—62), residing or Atkinson's designs must have been at Cambrai near Arras and dying in Paris, approved since the stonework for construc- was a confirmed Francophile. His brother, tion was ordered and delivered by 1778 Thomas, was born at Cambrai and except although, for some unknown reason, the for brief visits to Parlington in 1764 and scheme was then abandoned.4 All the 1772, remained on the Continent until 1779 house designs, in fact, were abortive. All first studying in Paris and then undertaking subscribed to conservative patterns of his Grand Tour (from 1765).By 1778 at the Palladian planning and detailing and only latest, he was in Rome where he sat for the one was extraordinary in its layout(Fig. 1) '. 16 1. Design for the house al Parti ngton signed and dated Thomas Ler. erton, 1782. el ~ I L) BW~ The existing, pre-Georgian house, of which Eighteenth-century Parlington, in con- little is knov;n, was demolished in the trast to the great neighbouring estates of 1950's, and only scattered out-buildings Temple Newsam, Bramham and Harewood, have survived (Figs. 2—3)s.The architectu- was unremarkable for the architecture of ral development of'he house, therefore, its existing house, the dynamics of its land- plays little part in this study. scaping and the profusion of its garden 2. Estate Collage, .4berford Road, c.1800, l>reliminary dratoing in Gascoigne collection. +I 3. Parlinglon Gale Lodge, London Road,,dberford, /)ossibly designed by john Carr. buildings, but was nevertheless memorable isolation, the conception does have affinities lor at least two of its out-buildings: Carr's with contemporary ideas about revival chapel-curn-chaplain's house, with its am- architecture and their resulting creations. bience of a medieval fortress, designed in These can be summarized in three 1772 but, unfortunately, never realized and categories. the triumphal arch of 1783, which has First, the examination ofactual medieval survived in situ but in a ruinous condition— architecture: the architect as archaeologist. transformed by time and nature into a For Carr this lay in his proximity to Piranesian vision of decay undesired by its medieval buildings during the restoration creators: the "Time-shook Arch of York Minster in 1770 and St. Peter' Impaired, effac'd, 8: hastening into Dust". (now the Cathedral), Sheffield in 1771, The combined chapel and chaplain's which in turn enabled him to create in the house is amongst Carr's most imaginative same year an extraordinarily convincing and spectacular compositions (Fig. 'medieval'mbience for Raby Castle in independent, rectangular blocks,4).'I'win, Co. Durham and then in the following year, each with turreted corners and convex for the Parlington chapel complex." appendages on the south elevation, are Second, the transformation of medieval linked by parallel walls lying transversely architectural compositions and decoration to them to form an enclosure designated as to create a new, modern 'castle style'. 'The Garden'; the whole complex meas- Robert and James Adam were in the fore- ures 155 x 73 feet. The organization is front of this experimentation. Especially unusual: to my knowledge with neither relevant was their incredible, visionary but, indications of emergence or repercussion in alas, abortive designs commissioned be- Carr's oeuvre nor precedents in other tween 1767 and 1771 by Sir James Lowther English Gothick buildings. Despite this for Lowther Hall in Westmorland. Robert' 18 1771 design possessed two f'eatures which reappeared in more resolved states at Par- lington. fhe bracketing of the central block with t~~ in, transversely-orientated wings (one a suite of apartments, the other the 'Great Gallery', their short ends convex and turreted. And, the organization of the chapel, with its circular vestibule and rec- tangular nave with concave corners (at Parlington, the turrets functioning as vestries). The extraordinary 'medieval'eracity, not to mention colossal dimen- sions of Adam's conception (if executed, measuring 480 feet in length), alone would have elicited comment among members of'he family. Conveniently, there was a branch residing at Swillington near Par- lington. Now, Adam and Carr were work- ing contemporaneously (1759—71) at Hare- wood House. And so, Carr may well have known the Lowther drawings.'2 Finally, the reinterpretation of medieval patterns for modern garden architecture. Two such creations were accessible and, indeed, of tremendous consequence to Carr. Vanbrugh's combined 'Pyramid Gate'nd 'Fortifications'1719 —25) at Castle How- ard.'s There, in 1771,Carr was comissioned to design the stable block. And, a lesser- known but equally remarkable creation of the early romantic landscape garden, here attributed to James Gibbs (1682—1754): the brick 'fortress'rected before 1739 in the grounds of Stainborough (renamed Wentworth Castle) near Barnsley. Here, a circular mould —the s'.te of'n ancient Danish Camp (in the centre of which is Rysbrack's life-size, marble statue of the owner, Thomas Wentworth, Lord Raby and 1st Earl of Strafford, in Roman general's dress) —is encompassed by crenel- lated walls, four squat embattled towers and a taller, square gatehouse with turreted corners. Significantly, by 1770, Carr had prepared designs for the house and also presumably built the curious church-like folly (an amalgamation of his chapels at Ravenfield, 1758, and Parlington) at the present entrance to the estate. Moreover, he was working before 1780 for Strafford's cousin, the 2nd Marquis of Rockingham at 4. Designs for the Chapel and Chaplain's house at Parlington, signed and datedgohn Carr, 1772. 19 nearby Wentworth Woodhouse, a connec- eighteenth-century concept which con- tion which, we shall see, proved of immence solidated the application of Vitruvian rules consequence for the Gascoignes. of design with the ideals of Roman demo- What emerges is this. Major conceptions cracy, thereby validating their frequently such as Vanbrugh's garden buildings at strict imitation of classical examples for Castle Howard, Gibbs's 'fortress't Stain- modern architecture. Thus, the evolution borough and Adam's Lowther designs, all of the triumphal arch is a reflection of the of which were accessible to Carr by 1771, nuances of the American War of Inde- acted as catalysts in his emerging interest in pendence and Thomas's relationship to the Gothic Revival. The years 1770—72 it. Briefly, the chronology was this: were vital in this emergence, as is evident In 1780, Thomas conformed to the in the interaction between the York Church of England in order to qualify for Minster restoration and Stainborough Parliamentary election: he was returned 'folly'f 1770, the Sheffield Cathedral for Thirsk in the North Riding in that year. restoration and Raby Castle of 1771, and At this time the first idea for the arch the Parlington chapel complex of 1772. emerged, as is evident in a perspective These became pivotal works linking the drawing, the earliest of such designs in the early conventional Gothick of Ravenfield Collection at Sheepscar, which bears the and Kirkleatham to the mature creations inscription in the frieze: THO GAscoIGNE of Ripley Castle (1781) and Grimston EqvEs. MDccLxxx.'t is amateurishly Garth (finished 1787). rendered and probably by Thomas him- Yet, Carr's chapel complex at Parlington self. It shows a monumental, tripartite is after all no more than a delectable, structure (if built, measuring approximate- romantic whimsy typical of the lesser pro- ly 45 feet long and 43 feet high) with the ductions of the dilettante society in which wall areas above the flanking arches the young Thomas Gascoigne moved. articulated by paired, circular recesses Nearly a decade after this episode, however, and with an alternative treatment, shown at the age of thirty-five and recently on flaps, of single, oval recesses. The arche- returned from the Grand Tour, his tastes type, much favoured in the eighteenth ~ ere more firmly established and cos- century, was the Arch of Constantine in mopolitan in character. They were poig- Rome. nantly captured by Batoni in the brilliant However, by 1781, a new design was in portrait of 1779. Of its type it is a major hand and approved, for in that year creation ofthe neo-classical movement. The Thomas's architect, Leverton, exhibited paraphernalia, requisite ingredients of this at the Royal Academy a "Design for an painter's repertory, is especially relevant to arch... in a park at Parlington", which is this discussion, the more so since it has described as "now building".i'. It cor- survived with the portrait at Lotherton responds exactly to the dramatic political Hall. On the table are two busts, either of events of that year. The American War, friends or members of the family, posed in which had erupted six years earlier, had, imitation of Imperial Roman marble with the momentous British defeat at portraits —the bronze originals are by Yorktown, finally turned in favour of the Louis Valadier (1726—85). And, in Thom- colonies. From that moment the Whig as's hand is a gold box inset with a portrait government under Lord North, continuing of Marie Antoinette, presumably a gift to maintain a policy of non-concession, from the Queen, one of the champions found itself seriously opposed by a counter- of French Neo-classicism.'5 policy advocating immediate peace and The ideals of Neo-classicism are central colonial independence as the only swift to an understanding of Thomas's mature means of ending strife. The chief person- artistic tastes. From 1780, his intention to ality of this opposing faction was Charles improve Parlington in a more Wentworth, 2nd Marquis of Rockingham 'correct'lassical guise so that it should coincide with (1730—82). One of his supporters was his belief in the virtues of the institution of Thomas Gascoigne, whose family was freedom, belongs to that enlightened bound by marriage to the Wentworths." 20 -e c 5. Design for the triumphal arch at Parlington, signed and dated Thomas Leverton, 1782. In February of 1782, their policy was eral'tsmanship —finely cut stone enveloping victorious: North's government fell in the a brick core —and the repetition of the following month, peace was concluded by composition on both main elevations, November and a coalition ministry was diminishes any sense of sham. The ultimate formed.'he Parlington arch proclaims source was again the Arch of Constantine this victory: Leverton's signed, working although Leverton may have been more drawing at Sheepscar (Fig. 5) is inscribed intimately inspired by a modern equiva- in and above the parapet: "To that Virtue lent such as Adam's famous South Front which for a series of Years resisted Oppres- (c. 1761) at Kedleston in Derbyshire. Such sion R by a glorious Peace rescued it' use of ancient models indirectly through Country lit. Millions from Slavery. T. G. intermediary modern examples was a Dedicates this Arch. 1782". The structure common eighteenth-century practice. In- was completed in the next year, closely deed, Adam himself had cleverly trans- following Leverton's drawing, although the formed the Arch of Constantine via the original, flamboyant dedication was con- Trevi Fountain (1732 62) in Rome to densed to that final, declamatory one which create the Kedleston facade. later so distressed the Prince of Wales. What part Thomas Gascoigne may have In the arch as built, the proportions are played in the creation of the final arch long, low and shallow in depth: a flattening design is not clear, but perhaps suggested process which results in the impression of by the strong possibility that he was the structure as a facade or theatrical set responsible for selecting the model for which, metaphorically, it is. However, the Leverton's contemporary house design 21 (Pl. 1)ss. This is Flitcroft's Woburn Abbey foil and pointed windows, arrow-slits, (1747—61) in Bedfordshire as engraved as crenellation, a portcullis) although they Plate 21 in Uitruvius Britannicus (1767), a merely camouflage classical proportions copy of which was in the Parlington library and symmetry and an interior as likely to (and although Thomas was not a sub- be classical as gothick in decoration. The scriber, his neighbour Charles, 9th Viscount 'castle'erisimilitude is applied to what Irwin of Temple Newsam, was). Flitcroft, after all is only a specialized garden pavilion it should be recalled, was the architect of within a romantic landscape setting. Such the South Front (c. 1734) of Wentworth taste was typical of the period and, indeed, Woodhouse, that 'mecca'f the Rocking- Thomas Gascoigne never entirely lost his ham administration.ss The link between desire to indulge in Gothick whimsy.s4 the Gascoignes and the Wentworths, In contrast, the triumphal arch, in the therefore, was an intimate one. high quality of its design and execution The contrast between Carr's chapel and in its success as a manifesto of political complex of 1772 and the Gascoigne- propaganda, transcends garden archi- Leverton arches of 1780—83, are striking tecture. It is the anthesis of Pope's lam- and significant. The former, despite its poon, in the Epistle to Lord Burlington of invention and charm, is characteristic of 1731 those conceits of the early Gothic Revival. Arcs to a Garden-gate Its massing and detailing is blatantly Turn of triumph .. dependent on medieval patterns (quatre- T. F. FRIEDMAN 1. Publicalion of the Thoresby Sociely, XVII, 1908, House Design marked A, 6 plans, 2 eleva- p. 159. The Prince visited Ledstone Hall and tions (three variant schemes), no. 2A anno- Temple Newsam on Sept. 28. 1806 ( W'. tated "Ifthe Niche for the Side board, and the Wheater, Some Historic Mansions of I orkshire, I, Back stairs at the North end of the dining 1889, p. 297). Room should not be approved of, the side board be at the other end, with a Mss account of the execution at Tyburn on may placed 2. before and the Published in Leeds by the Amenities Committeejointly with the Leeds .4rt Collection Fund. &" Designed and Printed by E.d. Arnold Son Limited at their Broadway Factory, Leeds 11. Half-tone blocks by Gilchrist Bros. Limited, Leeds 2. Park Square Gallery 57 St. Paul's Street, Leeds z. Telephone Leeds z64zr Monday to Friday zo.3o a.m. to 5 p.m. Saturday zo.3o a.m. to z p.m. RICK OGINZ Sculpture 30th June - 23th July TREVOR BELL Paintings yth — 26th September PETER COLLINGWOOD Hangings zyth Septeniber - zyth October ESTABLISHED 1867 REMOVERS STORERS PACKERS SHIPPERS S 287 ROUNDHAY ROAD, LEEDS 8 Phones 629282-3 'Q 3Qp Origami Mounting Art Qtfl Wrapping Design ) Coloured Cra jt Photography Japanese Magazines q 8|;Gg Printing Poetry Metallic Child rens Draaeing Religious Sugar ~ ) Tissue 1t S it' it' Ing res paper paper paper STUDIO ATELIERS LTD STUDIO ATELIERS LTD STUDIO ATELIERS LTD Hyde Park Corner, Leeds 6 Hyde Park Corner, Leeds 6 Hyde Park Corner, Leeds 6 21a Chapel Lane, off Cardigan Rd, Leeds 6 21a Chapel Lane, ofl Cardigan Rd, Leeds 6 21 a Chapel Lane, off Cardigan Rd, Leeds 6 Telephone 57825 Telephone 57825 Telephone 57825