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James Stuart and the London Building Trades’, the Georgian Group Journal, Vol Kerry Bristol, ‘James Stuart and the London building trades’, The Georgian Group Journal, Vol. XIII, 2003, pp. 1–11 TEXT © THE AUTHORS 2003 JAMES STUART AND THE LONDON BUILDING TRADES KERRY BRISTOL ike many aspiring artists, James ‘Athenian’ Stuart buildings were structurally sound. Although no Lhad found it necessary to travel abroad to gain a evidence has survived to suggest that he established reputation at home when he abandoned a career as a an architectural office, an investigation into Stuart’s fan-painter in London for the delights of Italy. In business practices reveals that, for nearly thirty years, Naples, Rome, and Florence, he studied paintings he was loyal to certain craftsmen, with one team for and drawings, explored modern buildings and work in the country and another for work in ancient archaeological sites, and, at the behest of London, barring the occasional crossover, such as Charles Watson-Wentworth, later second Marquess the plasterer Joseph Rose or carver and gilder John of Rockingham, he spent the winter of in Venice Adair. It is impossible to prove that this loyalty was with Nicholas Revett, preparing for the journey to necessary because Stuart lacked the skill to organise Greece that was to result in the four volumes of an architectural commission effectively. But that Antiquities of Athens ( – ). Paradoxically, for a possibility cannot be dismissed, because his habit of man so closely associated with the development of leaving organisation to subordinates eventually led to neo-classical architecture in Britain, Stuart seems his downfall and the end of his private architectural never to have received any architectural training. practice in . Another reason for this loyalty may The position in which he found himself upon his have been the somewhat repetitive nature of Stuart’s return to London in was perhaps no different to vision of antiquity. In this context, the appeal of that experienced in by William Kent, but this craftsmen who could be relied upon to execute has created obstacles in placing Stuart’s career motifs from drawings supplied for other commissions within the development of the architectural needs little explanation. profession and has skewed interest in favour of The early s were Stuart’s most prolific years stylistic analysis of those commissions which bolster as an architect, with work on nearly all of his country his reputation as a neo-classical pioneer. With house commissions and three major town houses prolific practitioners such as Robert Adam and Sir underway by . Time has not looked favourably William Chambers, it is tempting to play down the upon Stuart’s work in the metropolis – only three of roles of the client and the teams of craftsmen six known works are extant, all much altered – yet employed to execute their designs, but Stuart’s building in London was an important aspect of his architectural career makes very little sense unless career as an architect. He made his fortune on a these factors are taken into consideration. Indeed, speculative building venture in Marylebone and, without the patronage of certain members of the with the exception of Shugborough Hall, he received Society of Dilettanti, it is conceivable that Stuart much larger-scale commissions in town than in the would not have developed an architectural practice country. For a man whose reputation was based on a at all, and someone must have ensured that his journey to Athens, town houses were also an THE GEORGIAN GROUP JOURNAL VOLUME XIII JAMES STUART AND THE LONDON BUILDING TRADES these were replicated when required, or whether Stuart commissioned a number of items as a small speculative venture, secure in the knowledge that his patrons would recognise their appropriateness. The destruction of Earl Spencer’s papers after his death in frustrates any attempt to engage with the details of the construction history of Spencer House, but it may be significant that, between and , the payments to craftsmen recorded in Spencer’s account with Hoare’s Bank include the name of only one man known to have worked with Stuart on other commissions, Joseph Rose. Until further evidence comes to light, it is difficult to determine whether Stuart inherited a team of craftsmen from John Vardy after he replaced Fig. Frieze, Music Room, Spencer House, St James’s Place, London. the latter in , or brought his own team of craftsmen to Spencer House, making the presence of Rose little more than a fortuitous accident. In the excellent medium for the display of the newly- end, Spencer House reveals very little about Stuart’s discovered elements of ancient Greek architecture. business practices or how he became an architect. No less a rival than Robert Adam visited Spencer With Holdernesse House, Hertford Street, one House to see work in progress, while No. moves a step forward. It was built for Robert D’Arcy, Portman Square was open to the visiting public for fourth Earl of Holdernesse, between and , much of its construction. but was altered significantly when the third Marquess After the recent restoration, Stuart’s interiors at of Londonderry purchased Nos. and Hertford Spencer House are among the most important Street in and joined the two houses together, examples of his work to have survived, but they retaining several of Stuart’s interiors. One ceiling was reveal that Stuart was already beginning to repeat mentioned above in connection with Lady Spencer’s himself. The Music Room frieze of alternating ewers, Dressing Room. Another, the centre section of the urns, and paterae reappeared at No. St James’s Drawing Room of what became Londonderry House Square and Holdernesse House, which were also (Fig. ), contained a coffered ceiling with a central under construction in the early s (Figs. and ); domed octagon, a theme that reappeared at No. St the ceiling in Lady Spencer’s Dressing Room had James’s Square (Fig. ) and was adapted c. for the counterparts at Holdernesse House and first floor ceiling of the Tower of the Winds at Mount Rathfarnham Castle, Co. Dublin (Figs. , and ); Stewart, Co. Down. Stuart’s final interior was that of the Great Room chimneypiece has a double in the the boudoir, where a square-coffered cove with Great Room of No. St James’s Square; and even strongly demarcated corners was combined with a flat the pedestals which stood in the Painted Room had ceiling. The same cove was to reappear at Rathfarnham been proposed for Kedleston Hall. The tripod Castle (Fig. ) and No. Portman Square (Fig. ). perfume burners which stood atop these pedestals Holdernesse House is a poorly documented were also supplied to Lord Rockingham and commission and even Lord Holdernesse’s Account Nathaniel Curzon, although it is unclear whether Book of – records merely that Stuart THE GEORGIAN GROUP JOURNAL VOLUME XIII JAMES STUART AND THE LONDON BUILDING TRADES Fig. Ceiling, Dining Room, No. St James’s Square, London. English Heritage, NMR. received £ in . Adair received substantial No. St James’s Square, and Mrs Montagu’s payments amounting to £ between and houses in Hill Street and Portman Square. Indeed, , and Rose received payments in and . wherever one finds Stuart at work, one is almost These payments were most likely for work at guaranteed to find Adair. Holdernesse House, as they are too early to relate to In the early s, the nature of the commissions alterations undertaken at Hornby Castle, for which that Stuart received began to change. This was due the Yorkshire-based mason John Horobin received to the influence of Thomas Anson, MP for Lichfield payments in , and too late for Sion Hill, and a founder member of the Society of Dilettanti. Holdernesse’s Middlesex villa, which he renovated They met c. and Anson seems to have given in the late s or early s. Stuart the opportunity to learn something about the One of the benefits of Stuart’s early country business side of architecture by absorbing him into house commissions, and the reason for mentioning the reliable teams of craftsmen and workmen whom them here, was the introduction which they provided he had employed for nearly fifteen years at his to men such as the Rose family of plasterers, whom Staffordshire seat, Shugborough Hall. Through he presumably first encountered at Wentworth Anson, Stuart also met the sculptor Peter Woodhouse in the s, and Adair, whom Stuart Scheemakers. His business relationship with the met at Nuneham Courtenay c. and employed at Scheemakers family endured for nearly two decades Holdernesse House, as well as at Shugborough, and resulted in monuments to Viscount Howe and THE GEORGIAN GROUP JOURNAL VOLUME XIII JAMES STUART AND THE LONDON BUILDING TRADES Fig. Ceiling, Lady Spencer’s Dressing Room, Spencer House, St James’s Place, London. Fig. Saloon, Rathfarnham Castle, Co. Dublin. THE GEORGIAN GROUP JOURNAL VOLUME XIII JAMES STUART AND THE LONDON BUILDING TRADES Fig. Saloon, Holdernesse (later Londonderry) House, Hertford Street, London. Country Life Picture Library. THE GEORGIAN GROUP JOURNAL VOLUME XIII JAMES STUART AND THE LONDON BUILDING TRADES Fig. Drawing Room, Holdernesse (later Londonderry) House, Hertford Street, London. English Heritage, NMR. Rear-Admiral Charles Watson in Westminster Abbey commission of his career to date. Presumably, it was as well as a number of monuments to members of the on the basis of his large inheritance that Anson rebuilt Yorke family of Wimpole Hall. the house in stone rather than brick. Alas, no drawings When Anson’s brother, Admiral Sir George in Stuart’s hand have survived and the extant plans Anson died in , he left Thomas a substantial show the later alterations of Samuel Wyatt, but twenty fortune and a little-used town house, No. St letters in the Staffordshire Record Office provide James’s Square, originally No.
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