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The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): an Exploration Into the Masonic and Occult Imagination of the Late Enlightenment

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The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): an Exploration Into the Masonic and Occult Imagination of the Late Enlightenment University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2003 The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Terrance Gerard Galvin University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Architecture Commons, European History Commons, Social and Behavioral Sciences Commons, and the Theory and Criticism Commons Recommended Citation Galvin, Terrance Gerard, "The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment" (2003). Publicly Accessible Penn Dissertations. 996. https://repository.upenn.edu/edissertations/996 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/996 For more information, please contact [email protected]. The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Abstract In examining select works of English architects Joseph Michael Gandy and Sir John Soane, this dissertation is intended to bring to light several important parallels between architectural theory and freemasonry during the late Enlightenment. Both architects developed architectural theories regarding the universal origins of architecture in an attempt to establish order as well as transcend the emerging historicism of the early nineteenth century. There are strong parallels between Soane's use of architectural narrative and his discussion of architectural 'model' in relation to Gandy's understanding of 'trans-historical' architecture. The primary textual sources discussed in this thesis include Soane's Lectures on Architecture, delivered at the Royal Academy from 1809 to 1836, and Gandy's unpublished treatise entitled the Art, Philosophy, and Science of Architecture, circa 1826. Soane's Museum at Lincoln's Inn Fields provides a three dimensional encyclopedia that is an embodiment of architectural vision and memory. I propose Soane's Museum as parallel to Gandy's architectural watercolor drawings, particularly his final series executed for "Comparative Architecture" from 1836 to 1838. While these works remain distinct, they are complementary examples of visual representation which rely upon architectural narrative through emblem and symbol. Another correspondence between Soane and Gandy involves Soane's role as a Masonic architect and Gandy's role as an occult visionary. As the result of a planned reconciliation between two groups in freemasonry - the 'Antients' and the Moderns - Soane became the Grand Superintendent of Works for the United Grand Lodge of England in 1813. This led to Soane and Gandy's shared visions for London's Freemasons' Hall, designed and built between 1813-30 (and subsequently demolished in 1863). I argue that this is the architectural project through which Soane and Gandy's common interest in universal symbolism was made manifest, as evidenced by the design and presentation drawings held at the Soane Museum and the Victoria and Albert Museum. In each of these collaborative works of architecture, Soane and Gandy displayed 'Masonic and occult imagination.' Degree Type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group Architecture First Advisor Joseph Rykwert Keywords masonic, occult, enlightenment, John Michael Gandy, Sir John Soane, England Subject Categories Architecture | European History | Social and Behavioral Sciences | Theory and Criticism This dissertation is available at ScholarlyCommons: https://repository.upenn.edu/edissertations/996 THE ARCHITECTURE OF JOSEPH MICHAEL GANDY (1771-1*43) AND SIR JOHN SOANE (1753-1*37) AN EXPLORATION INTO THE MASONIC AND OCCULT IMAGINATION OF THE LATE ENLIGHTENMENT Terrance Gerard Galvin A DISSERTATION in Architecture Presented to the Graduate Group in Architecture of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2003 Dissertation Supervisor (Professor Joseph Rykwert) « I I Graduate Group Chairperson: ‘ \(T (Professor David Leatherbatrow) Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. COPYRIGHT TERRANCE GERARD GALVIN © 2003 All Rights Reserved Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. Acknowledgments The first time I visited the Sir John Soane's Museum was in the spring of 1992 while passing through London with a couple of architecture students en route to India. On one of many later visits to the museum, in the autumn of 1998,1 was able to wake up in Soane's residence and tip-toe downstairs among the collection of antiquities, before the staff and public joined in the museum experience. Being in the context of such a house, museum, and library makes research qualitatively different, since proximity to the source of Soane's work permeates the house and by extension, its guests. Thankfully, the colored glass that was so important to the experience of the Soane Museum has been restored in the last decade, once more creating the painterly effects that Soane intended. Having visited the museum the first time with clear glass in place, the second visit was markedly different, and somehow more mysterious. Ironically, Gandy's watercolor representations captured the lumiire mysterieuse so well that they were used to assist in the production of new glass. He would have appreciated that a representation of a work of architecture could then be used to assist the faithful reconstruction of that image in concrete space. In such instances, the power of representation undergoes a dynamic process of creative renewal. Throughout the course of writing this dissertation many people have contributed their ideas and friendship in order to guide me through the dark forest of interpretation. My first thanks goes to Professor Marco Frascari, who extended me the invitation to attend the PhJD. Program at PENN, furthering a relationship that began several years ago at McGill University. I remain equally indebted to Professor Joseph Rykwert, who has been a model for academic life in guiding myself and colleagues in formulating our own investigations during seminar discussions at the University of Pennsylvania. Through his teachings and writings. Professor Rykwert has continually provided insight and wisdom on major iii Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. questions concerning the essential role of architecture within human history. Deep thanks also go to Dr. Brian Lukacher from the Department of An History at Vassar College for his continued suppon and involvement with my dissertation committee. Without the primary research begun by Dr. Lukacher on Joseph Gandy in the I980's, this dissertation would not have been possible. My gratitude also goes to Dr. David Leatherbarrow, Chair of the PhX). Program in Architecture at the University of Pennsylvania, for coordinating the defense proceedings and for his insight into the problems surrounding the English Enlightenment I would like to thank various scholars for reading parts of this draft: John Ashby and Margaret C. Jacob for commenting on Soane's involvement with freemasonry; Brian Lukacher and Dalibor Vesely for reading the parts on Gandy’s feverish imagination; Joseph Rykwert for being a demanding supervisor and a precise editor, and Ghislaine Trombert for reading the entire manuscript at least as many times as I have myself. I remain indebted to many friends who have offered encouragement and humor throughout these years including Jonathan Hale, William Braham, Brian Geary and Essy Baniassad; and I remain enriched from the critical thinking and friendship of professor Ivan Dlich, whose continual commitment to the 'face to face' relationship cultivated a sense of community at the University of Pennsylvania that established a grounding for academic life. Various institutions provided research support throughout this investigation. My gratitude is expressed to the research staff at the Sir John Soane's Museum in London, particularly Head Curator Margaret Richardson, and Librarian and Archivist Susan Palmer, who has heeded my every request in addition to producing her own elegant research on Soane. Special thanks are due once more to Mr. John Ashby, recently retired Curator & Deputy Librarian at the Freemasons' Hall in London, who has been unfailingly generous with iv Reproduced with permission of the copyright owner. Further reproduction prohibited without permission. information and enthusiastically regarded this research material when I was but a novice in all things Masonic. Dr. Neil Bingham at the Royal Institute of British Architects (RIBA) Drawing Archives, Jane Collings at the RIBA Library, and Nicholas Savage at the Royal Academy have been helpful, as were the staff at the Victoria & Albert (V & A) National Art Library, Archive, and Photo Departments, as well as the National Portrait Gallery. I would like to especially thank Mr. John Harris of London, and Mr. Vic Thompson of Bath, for opening the doors to their private collections and offering their respective insights on Joseph Gandy, even though they have only encountered each other through Gandy's genius. Mr. Richard Livock, who now operates Gandy's Storr’s Hall on Lake Windemere,
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