DOCSLIB.ORG

'Grinling Gibbons's Chimneypieces for the Duchess of Buccleuch'

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
'Grinling Gibbons's Chimneypieces for the Duchess of Buccleuch' Sally Jeffery, ‘Grinling Gibbons’s Chimneypieces for the Duchess of Buccleuch’, The Georgian Group Journal, Vol. XXIV, 2016, pp. 1–22 TEXT © THE AUTHORS 2016 GRINLING Gibbons’s ChimneYPIECES FOR THE DUCHESS OF BUCCLEUCH SALLY JEFFERY Grinling Gibbons (1648–1721) is particularly famous do not survive, while others, known from proposals, for the limewood carvings with which he began his were never carried out.1 This article looks at the career. From the later 1670s, however, he produced records of these chimneypieces and compares them carving in stone and marble in various forms, and with various commissions undertaken by Gibbons and these materials came to dominate his output after his assistants for Ann Scott, Duchess of Monmouth the turn of the century. He designed chimneypieces and Buccleuch (1651–1732) for her castle at Dalkeith in mixed materials from the mid 1680s, sometimes in Scotland. Documents in the National Records of working in collaboration with other artisans, but Scotland give new and interesting details about their they are less extensively discussed than his other work, commissioning, and also about Gibbons’s yard in probably because some of the most important examples London. Fig. 1. Dalkeith Castle, rebuilt to the designs of James Smith (c.1645–1731) 1702–11. (photo: author) THE GEORGIAN GROUP JOURNAL VOLUME XXIV GRINLING GIBBONS ’ S CHIMNEYPIECES FOR THE DUCHESS OF BUCCLEUCH he Duchess of Buccleuch first employed The Duchess was born at the castle of Dalkeith, TGibbons when she was married to the Duke of Midlothian, south-east of Edinburgh. She inherited Monmouth, eldest illegitimate son of Charles II. A it in 1661 at the age of ten, but left for England new house at Moor Park in Hertfordshire was being before her marriage in 1663. After the death of her built for them from 1679 to 1688 to designs attributed second husband in 1698 she began to considering to Hugh May;2 the name ‘Grinling Gibbons Carver’ returning to her family home. Her ‘old Castle’, as appears on a list of craftsmen working there in she called it, needed considerable improvement, a 1682 with a payment of £65.3 Exactly what he did task which was placed in the hands of James Smith to Moor Park is not known, but a visitor in 1728 (c.1645–1731), who produced designs which involved remarked on the ‘exceeding fine Wood Carving’ in the rebuilding of a large part of it. The building the Great Dining Room, which perhaps provides an account, carefully kept by the steward, begins in June indication.4 1701 with ‘pulling down the Old Castle’, and work A London house for the Duke of Monmouth in continued intensively over the next decade (Fig. 1).8 Soho Square was begun in 1682, but although the The Duchess left for Scotland in September of 1701, Duke was reported as using it in 1683, it was never but throughout the summer months of that year, completely finished. The sculptor Joseph Nollekens and for a number of years after her arrival, quantities and his biographer J.T. Smith visited it in 1773 of fittings and furniture, both new and old and when it was about to be demolished, and described including chimneypieces, were packed up at the a chimneypiece richly ornamented with fruit and house in Soho Square, and transported by sea and foliage, ‘similar to the carvings which surrounded the land to Scotland.9 altar of St James’s Church, Piccadilly, so beautifully The Duchess maintained close contact with executed by Grinling Gibbons’.5 Few accounts Smith before she left, and doubtless continued this survive and the names of only some of the craftsmen practice when she had arrived, participating actively are known, but ‘carving’ is mentioned, so perhaps in the details of building and decoration, especially Gibbons was called on to work there as well as at of the interiors. The complex chimneypieces erected Moor Park.6 at Dalkeith, as will be seen, were often composed of In 1685 the Duke of Monmouth was executed for separate elements not necessarily designed together. his rebellion against his uncle King James II. After Some parts were the work of Gibbons, but the design his death, the Duchess regained ownership of Moor of the finished works presumably resulted from Park and continued to live there, using the title of discussion between the Duchess and her architect. Duchess of Buccleuch; she remarried in 1688, but While preparations were being made for her retained the title until she died. There are no known departure, the Duchess visited Grinling Gibbons records of any building or decorating activity until on several occasions. On 4 July 1701, two shillings about 1700, but the Duchess was no doubt aware were paid for her to go by coach ‘to Mr. Gibbons & of contemporary interiors, and especially those of back abt. Marble’ and she made another visit on 6 the royal palaces at Windsor, Whitehall, Hampton July ‘to Mr. Gibbons’.10 Gibbons and his wife were Court and Kensington. She had known Princess living then at a house called The King’s Arms in Bow Mary as a young girl before her marriage to William Street, Covent Garden, where he displayed his work of Orange, and had visited her in the Netherlands. and perhaps had a small workshop, so possibly the She remained in contact with them as King William Duchess went there on her first two visits.11 Then and Queen Mary, and the Queen dined at Moor Park on 24 July she took a coach-ride costing one shilling 7 in 1693. to ‘Hungerford’, accompanied by her steward, THE GEORGIAN GROUP JOURNAL VOLUME XXIV GRINLING GIBBONS ’ S CHIMNEYPIECES FOR THE DUCHESS OF BUCCLEUCH Benjamin Robinson, and a Mr Fowkes, in order ‘to made free of the Drapers’ Company.17 Mention is go over ye Water’, and two shillings were paid to the made of his assistants from 1678 onwards, when he watermen to take them ‘to Mr Gibbons Yard waiting was working at Windsor Castle; among the most & back againe’.12 Watermen or water-taxis plied their important were Arnold Luellan (Arnold Quellin, trade regularly from Hungerford Stairs, on the north 1653–86) and John Oastes (John Nost or van Ost, bank of the Thames near the present Hungerford d.1710).18 Gibbons was in partnership with Quellin Bridge, but where ‘over the water’ did they go? from 1681 until May 1683, and then again from George Vertue recorded that at the beginning 1685 to 1686 when Quellin died.19 Just before his of his career Gibbons ‘settled with his Family at death, Quellin worked with Gibbons on the marble Detford and follow’d ship carving’, so he may have altarpiece for the chapel at Whitehall Palace.20 John had a yard at Deptford initially.13 The records of Nost was noted as ‘foreman’ to Quellin in the year the Drapers’ Company give him as ‘of Ludgate he died, by which time there were ‘fifty workmen or Hill’ from 1672, and his address is also noted as soe many Marblers, Sculptors, Sawyers, Pollishers La Belle Sauvage, a coaching inn on the north of & Labourers’ working on the chapel.21 Gibbons’s Ludgate Hill, where he was apparently based at parents were English, but he was born and raised in that time and may have had a yard. But by 1678 Rotterdam, and it is no surprise to find that many he was also recorded as living in a house in Bow of these fellow-carvers in wood and stone were from Street, Covent Garden, which he retained until his the Netherlands. Their exact relationship to him, death.14 The Ludgate Hill address only remained however, especially after the death of Quellin, is not in use until 1684, suggesting that he then moved his clear. Gibbons certainly remained in contact with yard elsewhere, perhaps to cope with his expanding Nost, since they were frequently employed on the business. Since he was living near the Strand, same projects, but the volume of work meant that he departure by boat from Hungerford Stairs (on the must have continued to maintain an extensive yard north bank of the river Thames, also near the Strand) with a number of assistants, some of whom would to a yard on the south bank would have been very have been involved in his commissions from the convenient for him. Watermen plied regularly from Duchess of Buccleuch. Hungerford and had an agreed ‘Table of Rates’: a The Duchess’s visits to Gibbons probably shilling to Lambeth, Vauxhall, or ‘White-hart Stairs’ relate to the completion of a commission for marble (just south of Lambeth Palace) or two shillings chimneypieces dated July 1701. His bill of that date for a return trip .15 This suggests that although the is for £74 6s. for seven chimneypieces ‘for Scotland’, exact location is not known, the yard was indeed and was receipted on 11 August 1701. These were on the south bank of the river in the area between simple fire surrounds in a variety of marbles, and Southwark and Lambeth, where there were many ranged in price according to size from £6 to £12.22 such business premises. Customs charges were listed on 31 July 1701 for seven As Gibbons’s work increased, he needed ‘Chimney pieces & Window Boards’.23 They were apprentices and assistants, particularly for carving then carried by the Crowne of Leith, commanded by in stone. Vertue reported that although Gibbons ‘Skipper Whyte’, in the very first shipment of goods was ‘a most excellent Carver in Wood he was neither bound for Scotland.24 well skilld or practized in Marble or in Brass, for The Duchess had written in a letter (probably which works he imployd the best Artists he could in 1701): ‘I am so near Edn.
Load more

Recommended publications
  • Wren and the English Baroque
    What is English Baroque? • An architectural style promoted by Christopher Wren (1632-1723) that developed between the Great Fire (1666) and the Treaty of Utrecht (1713). It is associated with the new freedom of the Restoration following the Cromwell’s puritan restrictions and the Great Fire of London provided a blank canvas for architects. In France the repeal of the Edict of Nantes in 1685 revived religious conflict and caused many French Huguenot craftsmen to move to England. • In total Wren built 52 churches in London of which his most famous is St Paul’s Cathedral (1675-1711). Wren met Gian Lorenzo Bernini (1598-1680) in Paris in August 1665 and Wren’s later designs tempered the exuberant articulation of Bernini’s and Francesco Borromini’s (1599-1667) architecture in Italy with the sober, strict classical architecture of Inigo Jones. • The first truly Baroque English country house was Chatsworth, started in 1687 and designed by William Talman. • The culmination of English Baroque came with Sir John Vanbrugh (1664-1726) and Nicholas Hawksmoor (1661-1736), Castle Howard (1699, flamboyant assemble of restless masses), Blenheim Palace (1705, vast belvederes of massed stone with curious finials), and Appuldurcombe House, Isle of Wight (now in ruins). Vanburgh’s final work was Seaton Delaval Hall (1718, unique in its structural audacity). Vanburgh was a Restoration playwright and the English Baroque is a theatrical creation. In the early 18th century the English Baroque went out of fashion. It was associated with Toryism, the Continent and Popery by the dominant Protestant Whig aristocracy. The Whig Thomas Watson-Wentworth, 1st Marquess of Rockingham, built a Baroque house in the 1720s but criticism resulted in the huge new Palladian building, Wentworth Woodhouse, we see today.
    [Show full text]
  • Simon Thurley, ‘Kensington Palace: an Incident in Anglo-Dutch Architectural Collaboration?’, the Georgian Group Journal, Vol
    Simon Thurley, ‘Kensington Palace: an incident in Anglo-Dutch architectural collaboration?’, The Georgian Group Journal, Vol. XVII, 2009, pp. 1–18 TEXT © THE AUTHORS 2009 KENSINGTON PALACE: AN INCIDENT IN ANGLO-DUTCH ARCHITECTURAL COLLABORATION? SIMON THURLEY illiam III was brought up in what is often The second was after the death of Charles II in Wtermed the ‘Golden Age’ of Dutch culture, in when William and Mary became next in line to the a country whose intellectual and artistic singularity throne of England after James II. In this period and creativity were recognised across Europe. William’s court, such as it was, was swelled by He came, as King, to a country that Voltaire saw as English visitors and his palaces were enlarged and having made, since , ‘greater progress in all the made more magnificent, both to entertain them, and arts than in all preceding ages’, and having the to reflect his increased status. These bursts of cultural influence to create in Europe the ‘Age of the architectural activity were triggered by the practical English’. The marriage of the two cultures in the requirements of a prince, rather than being the result person of King William was surely to hold great of a love of building and architectural display such as things for the state of English architecture. Yet, in that which drove his grandparents. In Jacob van reality, the English king who spent more on building der Does wrote of William’s grandfather, Frederik than any other in the seventeenth century led court Hendrik, that he was ‘possessed by such a passion architecture into a cul-de-sac.
    [Show full text]
  • CHRIST CHURCH LIBRARY NEWSLETTER Volume 5, Issue 1 Michaelmas 2008
    CHRIST CHURCH LIBRARY NEWSLETTER Volume 5, Issue 1 Michaelmas 2008 ISSN 1756-6797 (Print), ISSN 1756-6800 (Online) Book Collections, Private Homes and The Art of Science - Thomas Roberts’ Seventeenth Century England Navigation Instruments in the Upper Library Since private collections grew substantially in size In 1760 Christ Church Upper Library, the building of during the seventeenth century, and since the which began in 1717 to the designs of Dean Henry ownership of books were increasingly felt to Aldrich developed by the Oxford architect-academic represent the fulfilment of a gentleman’s social, Dr George Clarke, was completed with the applied cultural and moral responsibilities, collections began decoration of its ceiling and walls. Light, airy and with to move into the more public areas of the house. its book-cases lining the walls rather than jutting into the rooms at right angles, the Upper Library The growing literacy in the idioms of renaissance resembled the audience chamber of a cultured classicism also encouraged a greater formality in Central European ruler rather than the dark, house-planning and internal arrangement which monastic rooms of Oxford’s earlier libraries such as fostered the development of the library as a grand Merton and Duke Humfrey’s, and of course, the apartment. original medieval library of the College, and the However, the movement towards the eighteenth- decoration enhanced the effect of refined classicism. century formal library as a family room was never straight-forward; in part because the function of the The applied decoration was the work of a local closet/library space remained so fluid and nebulous.
    [Show full text]
  • 2000 Jaargang 99
    Robert Hook Hollandd ean : Dutch influenc architecturs hi n eo e Alison Stoesser-Johnston The use of these publications by English architects and arti- Introductie)!! sans and the design of Wollaton Hall were not based on any Dutch classicism was a recent arrival in England when first-hand personal impressio f classicisno Italymn i . Thid ha s Robert Hooke made his first architectural designs in the late emergence th waio t r fo t f Inigeo o Jone s architectsa visis Hi . t 1660s. 'e constructioPrioth o t r f Hugo n h May's Eltham to Italy in 1613-'14 in the entourage of Thomas Howard, 2nd Lodg 1663-'64n i e e firsth , t exampl f Dutceo h classicisn mi Earl of Arundel, his close interest in Roman antiquities and England, classical elements straight from Italy and via Flan- intimate knowledge of Palladio's drawings are most ders had been used in English architecture for nearly a hund- dramatically exemplifie Banquetins hi n di g Hous f 1619-22eo . red years. Initially these had been mainly of a decorative na- Not only, however, has Jones here used Palladian "vocabulary" ture but vvith the construction of Inigo Jones' Banqueting 7 but hè has combined it with the application of Scamozzian House (1619-'21) there was a dramatic change in the way orders, the Composite being superimposed on the lonic. This classicism was adapted to English architecture. Jones drew combination of Palladian elements with Scamozzian also on the examples of Palladio and Scamozzi in his architecture influence beginninge th d f Dutcso h classicism.8 Jones' design using both Palladio's treatise, / quattro libri, personal know- was not only a major innovation in England but it also inspired ledge of his architecture and, in the case of Scamozzi, per- Jaco n Campe s va bfirs hi tn i narchitectura l commission i n sonal contact e applieH .
    [Show full text]
  • A Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers
    This is a repository copy of A Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/42902/ Book: Westgarth, MW (2009) A Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers. Regional Furniture, XXIII . Regional Furniture Society , Glasgow . Reuse Unless indicated otherwise, fulltext items are protected by copyright with all rights reserved. The copyright exception in section 29 of the Copyright, Designs and Patents Act 1988 allows the making of a single copy solely for the purpose of non-commercial research or private study within the limits of fair dealing. The publisher or other rights-holder may allow further reproduction and re-use of this version - refer to the White Rose Research Online record for this item. Where records identify the publisher as the copyright holder, users can verify any specific terms of use on the publisher’s website. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ promoting access to White Rose research papers Universities of Leeds, Sheffield and York http://eprints.whiterose.ac.uk/ White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/42902/ Published book: Westgarth, MW (2009) A Biographical Dictionary of Nineteenth Century Antique and Curiosity Dealers. Regional Furniture, XXIII . Regional Furniture Society White Rose Research Online [email protected] 148132:97095_book 6/4/10 10:11 Page cov1 REGIONAL FURNITURE 2009 148132:97095_book 6/4/10 10:11 Page cov2 THE REGIONAL FURNITURE SOCIETY FOUNDED 1984 Victor Chinnery President Michael Legg Vice President COUNCIL David Dewing Chairman Alison Lee Hon.
    [Show full text]
  • Cat68 FINAL with Edits.Indd
    PHILLIP J. PIRAGES J. PHILLIP PHILLIP J. PIRAGES Catalogue 68 SIGNIFICANT BOOKS IN NOTABLE BINDINGS CATALOGUE 68 CATALOGUE Items Pictured on the Front Cover 35 19 18 27 4 2 31 42 1 20 Items Pictured on the Back Cover 9 20 6 38 33 15 25 16 26 30 38 37 39 21 36 To identify items on the front and back covers, lift this flap up and to the right, then close the cover. Catalogue 68: Significant Books in Notable Bindings Please send orders and inquiries to the above physical or electronic addresses, and do not hesitate to telephone at any time. If you telephone while no one is in the office to receive your call, automatic equipment will take your message. We would be happy to have you visit us, but please make an appointment so that we are sure to be here. In addition, our website is always open. Prices are in American dollars. Shipping costs are extra. We try to build trust by offering fine quality items and by striving for precision of description because we want you to feel that you can buy from us with confidence. As part of this effort, we want you to understand that your satisfaction is unconditionally guaranteed. If you buy an item from us and are not satisfied with it, you may return it within 30 days of receipt for a refund, so long as the item has not been damaged. Significant portions of the text of this catalogue were written by Cokie Anderson, Kaitlin Manning, and Garth Reese.
    [Show full text]
  • Sir Roger Pratt's Library
    Reading as a Gentleman and an Architect: Sir Roger Pratt’s Library by KIMBERLEY SKELTON This article illuminates the changes in English seventeenth-century architectural practice when members of the gentry educated themselves as architectural professionals and as a result several became noted practitioners. The author analyses the rarely examined notes and library of Sir Roger Pratt to explore how a seventeenth-century gentleman both studied and practised architecture literally as both gentleman and architect. Also she considers Pratt’s notes chronologically, rather than according to their previous thematic reorganisation by R. T. Gunther (1928), and offers a full reconstruction of Pratt’s library beyond Gunther’s catalogue of surviving volumes. Mid-seventeenth-century England experienced a sharp change in architectural practice and education. For the first time, members of the gentry began to design buildings and to educate themselves as professionals in architecture. From the late 1650s, Sir Roger Pratt designed country houses, and several members of the landed and educated classes became prominent architects: Sir Christopher Wren, Robert Hooke, Hugh May, William Winde, William Samwell, and William Talman. These gentleman architects brought new techniques to the study of architecture since they were more highly trained in analysing text than image. Scholars have yet to consider the seventeenth-century emergence of the gentleman architect in detail; they have focused more on monographic studies of architects, patronage, and building types than on shifts in the architectural profession.1 This article explores how a seventeenth-century gentleman would both study and practise architecture; it considers the rarely examined library and manuscript notes of Sir Roger Pratt.2 I argue that Pratt practised and read as literally patron and architect – using the techniques of a patron to answer the questions of an architect designing for English geographical and social particularities.
    [Show full text]
  • 'X'marks the Spot: the History and Historiography of Coleshill House
    UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Department of History ‘X’ Marks the Spot: The History and Historiography of Coleshill House, Berkshire by Karen Fielder Thesis for the degree of Doctor of Philosophy June 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES DEPARTMENT OF HISTORY Doctor of Philosophy ‘X’ MARKS THE SPOT: THE HISTORY AND HISTORIOGRAPHY OF COLESHILL HOUSE, BERKSHIRE by Karen Fielder Coleshill House was a much admired seventeenth-century country house which the architectural historian John Summerson referred to as ‘a statement of the utmost value to British architecture’. Following a disastrous fire in September 1952 the remains of the house were demolished amidst much controversy shortly before the Coleshill estate including the house were due to pass to the National Trust. The editor of The Connoisseur, L.G.G. Ramsey, published a piece in the magazine in 1953 lamenting the loss of what he described as ‘the most important and significant single house in England’. ‘Now’, he wrote, ‘only X marks the spot where Coleshill once stood’. Visiting the site of the house today on the Trust’s Coleshill estate there remains a palpable sense of the absent building. This thesis engages with the house that continues to exist in the realm of the imagination, and asks how Coleshill is brought to mind not simply through the visual signals that remain on the estate, but also through the mental reckoning resulting from what we know and understand of the house. In particular, this project explores the complexities of how the idea of Coleshill as a canonical work in British architectural histories was created and sustained over time.
    [Show full text]
  • Working with Building Preservation Trusts Build Renew Restores Restore
    Institute of Historic Building Conservation No 114 May 2010 Working with building preservation trusts Build Renew Restores Restore From cathedrals and abbeys to small churches and chapels. From stately homes and royal palaces to small houses and cottages. For historic buildings across Britain, Linford-Bridgeman is the contractor of choice for repair, restoration and conservation. For more information about Linford-Bridgeman, find us at: www.linfordrestores.com, or call 01543 414 234 Compton Verney, Warwickshire. RIBA Award 2004. Linford-Bridgeman Ltd, Quonians, Lichfield, Staffordshire WS13 7LB Tel: 01543 414 234 Fax: 01543 258 250 [email protected] www.linford.com LINFORD SPECIALIST WORKS Linford Masonry • Dorothea Restorations • Trumpers • Linford Joinery Stonemasonry • Architectural Metalwork • Traditional Plastering • Fine Joinery Linford Specialist Works brings together Linford Group's renowned stable of craft companies to Linford Specialist Works provide a unique service for the property owners, architects and specialist contractors A division of Linford Group concerned with the care of traditional and heritage buildings. Quonians, Lichfield, Our skilled and directly-employed teams can be contracted individually or in combination for projects of Staffordshire WS13 7LB all sizes across the UK. By helping our clients to source multiple craft services from a single organisation, [email protected] www.linfordSW.com we can deliver outstanding craft quality alongside savings in client time and money. For more information about Linford Specialist Works, please visit www.linfordSW.com, or call us on 01543 414 234 today. ii CONTEXT 1 1 4 : MAY 2 0 1 0 Context IHBC comment on PPS5 2 New life for Portaferry Briefing 5 Nick Brown 34 Out of Context 6 Partnership at Oxford Castle Debbie Dance 37 Letters 6 The Vivat Trust’s special buildings www.ihbc.org.uk The writer’s voice 7 Laura Norris 40 Registered as a Charity Number 1061593.
    [Show full text]
  • Nicholas Hawksmoor and the Wren City Church Steeples’, the Georgian Group Journal, Vol
    Anthony Geraghty, ‘Nicholas Hawksmoor and the Wren City church steeples’, The Georgian Group Journal, Vol. X, 2000, pp. 1–14 TEXT © THE AUTHORS 2000 NICHOLAS HAWKSMOOR AND THE WREN CITY CHURCH STEEPLES ANTHONY GERAGHTY hree hundred years ago, as the seventeenth St Bride Fleet Street, St Magnus-the-Martyr and Tcentury drew to a close, Wren’s architectural St Edmund-the-King. practice entered a remarkable final phase. These Hawksmoor’s obituary states that he entered were the years of Greenwich Hospital, the Whitehall Wren’s service ‘when about years of Age’. As he Palace schemes, the City church steeples and the was probably born in he is normally supposed skyline of St Paul’s – projects which have a boldness to have arrived in Wren’s office in the late s. of silhouette and intricacy of detail not encountered He can only be documented in London, however, in Wren’s earlier work. These late works coincide from January , when he witnessed Hugh May’s with the early career of Nicholas Hawksmoor, the will. In the years immediately before this he had greatest of Wren’s pupils. Hawksmoor had arrived in travelled extensively in England. A topographical Wren’s office by and from the early s he was sketch-book, n ow at the RIBA, confirms that he receiving delegated commissions. But the extent to visited Nottingham in and , Bath in , which he contributed to the older man’s designs and Coventry, Warwick, Bristol, Oxford and remains one of the unsolved mysteries of English Northampton at about the same time. Perhaps his architectural history.
    [Show full text]
  • Hampton Court Palace
    Hampton Court Palace An introduction to the visitor routes Page 1 of 62 January 2014 Summary of Routes Dates for Key People Cardinal Wolsey, c1475-1530. Henry VIII, 1509-47 William III, 1689-1702 and Mary II, 1689-94 Queen Anne, 1702-14, Prince George of Denmark, 1702-08 George II, 1727-60, Caroline, 1727-37 Courtyards • Tudor, Baroque • View the buildings from the outside and see how different monarchs left their mark • See some of the lesser known side courtyards as well as the main processional ones • Allow 15 minutes King Henry VIII’s Apartments (10 rooms) • Tudor period • Highlights: Great Hall with its Hammerbeam Roof designed by James Nedeham and Christopher Dickenson for Henry VIII; the Royal Pew designed by Sir Christopher Wren for William III and Mary II in the English Baroque style • 6 magnificent tapestries from the life of Abraham series in the Great Hall and six in the Great Watching Chamber, including three from Cardinal Wolsey’s collection • Very important Tudor dynasty paintings and the iconic portrait of Henry VIII (after Holbein) • Processional Route and Haunted Gallery • Allow 35-45 minutes The Chapel Royal The Chapel Royal has been in continuous use as a place of worship for about 500 years. It is a part of the ecclesiastical Household of HM The Queen and there are daily services throughout the year. Visitors are asked to respect this when visiting. There are no tours but warders and very often chapel stewards are on duty who will be able to answer any questions. • Period: Tudor, Stuart and Georgian periods • Originally built for Cardinal Wolsey and added to by Henry VIII.
    [Show full text]
  • Wren St Paul's Cathedral CO Edit
    Sir Christopher Wren (1632-1723) St. Paul’s Cathedral (1673-1711) Architect: Sir Christopher Wren (1632-1723) Nationality: British Work: St. Paul’s Cathedral Date: 1673–1711. First church founded on this site in 604, medieval church re-built after Great Fire of London, 1666. Style: Classical English Baroque Size: Nave 158 x 37m, dome 85m high Materials: Portland stone, brick inner dome and cone, iron chains, timber framed outer dome, lead roof, glass windows, marble floors, wooden screens Construction: Arcuated: classical semi-circular arches; loadbearing walls and piers; ‘gothic’ pointed inner cone, flying buttresses Location: Ludgate Hill highest point of City of London Patron: Church of England Scope of work: Identities specified architect pre-1850 ART HISTORICAL TERMS AND CONCEPTS Function • Dedicated to St Paul, ancient Catholic foundation, now Anglican church under Bishop of London holding religious services with liturgical processions requiring nave, high altar and choirs • Rebuilt as a Protestant or Post-Reformation church, greater emphasis on access to the high altar and hearing the sermon • For Wren the prime requirement was an ‘auditory’ church with an uncluttered interior where all the congregation could see and hear. • Richness of materials and carving communicate the wealth of the city and the nation as well as demonstrating piety • Dome and towers identify presence, location and importance in the area and community. !1 • Inspires awe by the scale of dome soaring to heaven, and heavenly light from windows • Due to large scale of nave used for major national commemorations with large congregations such as state funerals and royal weddings • Contains monuments to significant individuals Watch: https://henitalks.com/talks/sandy-nairne-st-pauls-cathedral/ 6.45 minutes https://www.stpauls.co.uk/visits/visits Introduction for visitors 2.10 mins https://smarthistory.org/stpauls/ 9.06 minutes Dome View from under dome back down nave.
    [Show full text]