DECORATIVE PLASTERWORK IN SOUTH-WEST ENGLAND c.1550-164! 0 ! Volume 1 of 2 ! ! ! ! Submitted by Nigel Laurence Pratt to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Art History and Visual Culture in August! 2019 ! ! This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement.! ! ! I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this! or any other University. ! ! ! ! ! ! Signature: ……Nigel Laurence! Pratt………… ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !1 ABSTRACT ! This thesis is the first comprehensive academic analysis of domestic decorative plasterwork in South-West England, which survives in a variety and abundance that exceeds other areas of the country. It focuses on the Post-Reformation period from c. 1550 to c. 1640, which covers the foundation and development of the craft to a point of divergence between the vernacular and polite traditions in the mid-seventeenth century. As a primarily object-based study it presents a close analysis of decorated ceilings, overmantels and friezes in the region based on their physical presence and location within the houses. This study is underpinned by a gazetteer of plasterwork from 485 houses from Cornwall, Devon, Somerset and West Dorset, supported by maps, tables and 296 photographs and illustrations. Of these houses, 62 were visited as part of this study and recorded in detail, concentrating on four key geographic areas: the borders of West Somerset, Devon and Dorset; the North Devon port of Barnstaple and its hinterland; the region’s capital at Exeter; and the South Devon mercantile centres of Dartmouth and Totnes. ! This study places the corpus of plasterwork within the context of the social, economic, and architectural developments of the period. It assesses the nature of the medium, the techniques employed in its production and use, the designs adopted and adapted, and the internal and external sources for these. It analyses the operation of plasterwork workshops within their geographical parameters and the respective roles of the client and plasterer and examines their input into design choices. It presents new understandings of the use of iconography in plasterwork and how the display of heraldic, biblical, and classical imagery and its placement within the house was used by the client to communicate identity and status. This thesis also presents new evidence that the architecture of late-sixteenth century high status houses was consciously manipulated to prioritise the visual qualities of the plasterwork. ! 2 ACKNOWLEDGEMENTS ! The origins of this thesis lie in my professional work in historic building conservation in Somerset and Devon. Visiting houses and discussing the plasterwork schemes with their owners kindled an interest and raised the questions that became the genesis of this research. This thesis would not have been possible without access to the historic houses containing plasterwork. I would like to thank the following custodians who allowed entry to the properties in their care: Carol Allerton; Elizabeth Prideaux-Brune; Gay Daniels; Mr Delocker; Mrs Hepper; Mrs V Helyar; Paul Holden; Roisin Hubbard; Jane Kimber, Thomas Kremer; Mr and Mrs R Mabon; Shyam Parekh; Sandra Perraton; Roger Pullen; Lord Sandwich; Robert Seymour; Mr and Mrs A Shipton; Simon (Dean Head); Mr Thimbleby; Richard Timmis; Chris Turner; Peter Whitehead; Elaine Ward; Nigel Wiggins; and Charles Woodruff. ! The following people were generous in their help and time, particularly for houses which I was unable to access: Shani Bolland; David Bostwick; Tom Cadbury; Chris Chapman; Jenny Chesher; Graham Fereday; Naomi Glanville; Abi Gray; Pippa Griffith; Andrea Kirkham; Jenny Lawrence; David Lingard; Ann Morris; Geoffrey Preston; René Rice; Jane Schofield; Mary Siraut; Gary Stringer; and Melanie Terrell. In particular, I would like to extend my special thanks to Claire Gapper, who has been exceedingly generous in sharing her unrivalled knowledge of decorative plasterwork. In completing this thesis I am very much indebted to the positive encouragement, academic input and support of my university supervisors Jane Whittle and Melissa Percival, and to Sam Smiles who set me on my way. ! Most of all, without the patience, understanding, academic astuteness and support of my wife Christine Faunch, the completion of this thesis would not have been possible. 3 LIST OF CONTENTS ! ! VOLUME ONE page ABSTRACT 2 ! ACKNOWLEDGEMENTS 3 ! LIST OF ILLUSTRATIONS 8 ! 1. INTRODUCTION 15 1.1 Thesis structure 16 1.2 The study of plasterwork 18 1.2.1 Architectural studies 18 1.2.2 Decorative art studies 21 1.2.3 National plasterwork studies 23 1.2.4 South-West plasterwork studies 27 1.3 Research methodology 30 1.3.1 Formation of the dataset 30 1.3.2 Fieldwork 33 1.3.3 Recording methodology 34 1.3.4 Laser scanning 35 1.4 Interpreting the dataset 35 1.4.1 Survival of plasterwork 35 1.4.2 Moving plasterwork 39 1.4.3 Dating plasterwork 42 2. ARCHITECTURE AND SOCIETY 46 2.1 The South-West region 46 2.1.1 Topography and communications 46 2.1.2 Economy, population and settlement 47 2.2 Social division 50 2.2.1 The gentry 51 2.2.2 The middling sort 52 2.3 Education and learning 53 2.3.1 Schools 54 2.3.2 University and Inns of Court 55 2.3.3 Travel 56 2.3.4 Print 57 2.4 The Reformation 58 2.5 Architectural developments 60 2.5.1 Rural house plan-forms 60 !4 2.5.2 Urban house plan-forms 63 2.5.3 Transformation of houses 65 Chimneys 65 Ceilings 67 Glazing 69 2.5.4 Drivers for architectural change 71 Conclusion 74 ! 3. MATERIALS, METHODS AND DESIGN 76 3.1 Materials 76 3.1.1 Gypsum plaster 77 3.1.2 Lime plaster 78 3.1.3 Additives 81 3.1.4 Colour 82 3.2 Methods 86 3.2.1 Run-moulding 86 3.2.2 Press-moulding 87 Stamped decoration 91 3.2.3 Hand-modelling 92 3.2.4 Application of plasterwork 93 Planning 93 Ceilings 95 Friezes 97 Overmantels 97 Installation 97 3.3 Design 99 3.3.1 Ceilings 99 Thin-rib ceilings 100 Broad-rib ceilings 102 Spiral ceilings 103 Transitional and later ceilings 103 Pendants 104 Corbels/brackets 105 3.3.2 Friezes 106 Narrow friezes 107 Deep friezes 107 3.3.3 Wall plaques 108 3.3.4 Overmantels 109 3.3.5 Text 112 3.3.6 Arcades 114 3.3.7 Enrichments 115 !5 Royal badges 116 Floral sprays 118 Bosses 118 Other enrichments 119 3.3.8 Chronology 119 Conclusion 120 ! 4. SOURCES, STYLE AND ICONOGRAPHY 123 4.1 Sources 123 4.1.1 Cartouches and subjects 124 4.1.2 Geometric ceilings and friezes 129 4.1.3 Emblem books 131 4.1.4 Other printed sources 133 4.1.5 Other media 134 4.2 Principal decorative styles 136 4.2.1 Grotesque 136 4.2.2 Strapwork and Flat-fret 138 4.2.3 Trailing-stem 139 4.3 Iconography 139 4.3.1 Heraldry 139 Family arms 140 Royal arms 141 Merchant arms and Corporate badges 143 4.3.2 Figurative themes 145 Biblical images 145 Classical images 148 Allegorical images 151 Narrative sequences 155 Portraits 156 Conclusion 156 ! 5. THE PLASTERER 158 5.1 The origin of the South-West plasterers 158 5.2 Organisation and training 161 5.2.1 Guilds 162 5.2.2 Apprenticeships 163 5.3 Commissions 165 5.3.1 Obtaining work 165 5.3.2 The role of the plasterer 169 5.4 Workshops 171 !6 !!5.4.1 Identification 171 5.4.2 South-West workshops 173 Area 1 - W. Somerset, E. Devon and W. Dorset 174! Area 2 - North Devon and Barnstaple 180 Area 3 - Exeter 186 Area 4 - Dartmouth and Totnes 189 5.4.3 Chronological development 192 Conclusion 195 ! 6. THE CLIENT 197 6.1 Commissioning plasterwork 197 6.1.1 House status and social position 197 6.1.2 Cost 201 6.1.3 Space 205 6.2 Motivations 206 6.2.1 Display of status 207 6.2.2 Religious belief 210 6.2.3 Social control 214 6.2.4 Commemoration 215 6.2.5 Competition 218 6.2.6 Emulation 226 Conclusion 227 ! 7. POSITION AND PERCEPTION 228 7.1 Iconography and placement 228 7.1.1 The hall 229 7.1.2 Parlour 234 7.1.3 Upper chambers 235 7.1.4 Gallery 241 7.1.5 Staircases and lobby areas 243 7.2 Architectural manipulation 244 7.3 The perception of plasterwork 247 7.3.1 Colour 247 7.3.2 Viewing and being viewed 249 Conclusion 252 8. CONCLUSIONS 256 ! ! ! !7 VOLUME TWO ! APPENDICES AND BIBLIOGRAPHY ! CONTENTS 265 !APPENDIX A - Figures 267 APPENDIX B - Tables and graphs 416 !APPENDIX C - Maps 423 APPENDIX D - Gazetteer 433 ! BIBLIOGRAPHY 585 Manuscript sources 585 Unpublished reports 586 Unpublished thesis 587 Primary sources 587 Secondary sources 590 Secondary sources (no author given) 608 Online sources 610 ! ! ! LIST OF ILLUSTRATIONS ! FIGURES (APPENDIX A) ! All illustrative material is by the author of this thesis unless otherwise stated. ! 1.01 Mould with flower heads, 3D scan, The Walronds, Cullompton (MD6) 1.02 Fruit motif, 3D scan, The Walronds, Cullompton (MD6) 1.03 Lunette, Marshwood Farm, Somerset (WS3) 1.04 Frieze, Combe Sydenham, Somerset (WS21) 1.05 Date inscription ceiling, Alphington Rectory, Exeter (EX8) 1.06 Ceiling, 38 North Street, Exeter (EX17). [Historic England Archive] 1.07 Ceiling (c. 1920s), Oak Parlour, Montacute House, Somerset (SS18) 1.08 Ceiling (c.