The Palladians

Total Page:16

File Type:pdf, Size:1020Kb

The Palladians John Harris The Palladians Trefoil Books, London Contents Foreword 8 Preface 9 Introduction 11 List of colour plates 24 Colour plates 25 Inigo Jones Newmarket Palace, Suffolk 44 The Queen's House 45 Raynham Hall, Norfolk 47 Entrances and Gateways 48 Webb Hale John Park, Hampshire and Belvoir Castle, Rutland 50 Gunnersbury Park, London, and Amesbury Abbey, Wiltshire The Vyne, Hampshire and Butleigh Court, Somerset 52 Royal Palace, Greenwich, London 53 Whitehall Palace 54 Theoretical drawings 56 Wilton House, Wiltshire 57 Smith and John Talman Stirrings of the Revival 58 William Benson Wilbury House, Wiltshire 60 Colen Campbell Wanstead House, Essex 62 Houghton Hall, Norfolk 64 Stourhead, Wiltshire 65 The Villa 66 The Town House 68 Palladian Baroque 70 Contents Lord Burlington Tottenham Park 71 The Westminster Dormitory 72 General Wade's House 73 Chiswick Villa 74 The Chichester Council House 77 The York Assembly Rooms 78 The Duke of Richmond's Town House 80 William Kent Houses of Parliament 81 The Gothick Alternative 82 Roger Morris Combe Bank 83 Henry Flitcroft St Giles in the Fields 86 Unidentified Architect The Cholmondeley Town House 88 Matthew Brettingham Leicester House 92 John Sanderson Rotunda Ideas 94 The Hiornes Gopsall Hall 96 Thomas Wright Horton Hall 97 Nuthall Temple 98 William Halfpenny Church 99 Houses 100 Sir Edward Lovett Pearce Irish Connections 101 John Wood the Elder House in Bath 102 Some Palladian Houses 103 Contents Amateurs Ambrose Phillips 106 Sir George Gray 107 Sir Robert Trevor 107 Ancillary and park architecture Inigo Jones: Newmarket 108 Colen Campbell: two temples 109 Lord Burlington: Chiswick and Round Coppice 11 o Stable types: Campbell 111 Stable types: Sanderson and Hiorne 112 The Gopsall Greenhouse 112 Entrances: Windsor and Caversham 113 James Paine: Gopsall temple 114 Interior decoration Inigo Jones: Somerset House 115 Inigo Jones: The Queen's House 117 John Webb: Drayton, Wilton and Greenwich 118 Colen Campbell: Wanstead and Mereworth 120 Colen Campbell: Houghton 121 Lord Burlington: Chiswick 122 William Kent: Somerset House 124 William Kent: Berkeley Square 125 Lord Burlington and William Kent; House of Commons 126 John Sanderson: Rotunda 127 John Vardy: Milton Abbey 128 Glossary of terms 129 Bibliography of publications consulted 130 Index 131 7.
Recommended publications
  • The Avarice and Ambition of William Benson’, the Georgian Group Journal, Vol
    Anna Eavis, ‘The avarice and ambition of William Benson’, The Georgian Group Journal, Vol. XII, 2002, pp. 8–37 TEXT © THE AUTHORS 2002 THE AVARICE AND AMBITION OF WILLIAM BENSON ANNA EAVIS n his own lifetime William Benson’s moment of probably motivated by his desire to build a neo- Ifame came in January , as the subject of an Palladian parliament house. anonymous pamphlet: That Benson had any direct impact on the spread of neo-Palladian ideas other than his patronage of I do therefore with much contrition bewail my making Campbell through the Board of Works is, however, of contracts with deceitfulness of heart … my pride, unlikely. Howard Colvin’s comprehensive and my arrogance, my avarice and my ambition have been my downfall .. excoriating account of Benson’s surveyorship shows only too clearly that his pre-occupations were To us, however, he is also famous for building a financial and self-motivated, rather than aesthetic. precociously neo-Palladian house in , as well He did not publish on architecture, neo-Palladian or as infamous for his corrupt, incompetent and otherwise and, with the exception of Wilbury, consequently brief tenure as Surveyor-General of the appears to have left no significant buildings, either in King’s Works, which ended in his dismissal for a private or official capacity. This absence of a context deception of King and Government. Wilbury, whose for Wilbury makes the house even more startling; it elevation was claimed to be both Jonesian and appears to spring from nowhere and, as far as designed by Benson, and whose plan was based on Benson’s architectural output is concerned, to lead that of the Villa Poiana, is notable for apparently nowhere.
    [Show full text]
  • English-Palladianism.Pdf
    702132/702835 European Architecture B Palladianism COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice THETHE TRUMPETTRUMPET CALLCALL OFOF AUTHORITYAUTHORITY St George, Bloomsbury, London, by Hawksmoor, 1716- 27: portico Miles Lewis St Mary-le-Strand, London, by James Gibbs, 1714-17: in a view of the Strand Summerson, Architecture in Britain, pl 171A. In those admirable Pieces of Antiquity, we find none of the trifling, licentious, and insignificant Ornaments, so much affected by some of our Moderns .... nor have we one Precedent, either from the Greeks or the Romans, that they practised two Orders, one above another, in the same Temple in the Outside .... and whereas the Ancients were contented with one continued Pediment .... we now have no less than three in one Side, where the Ancients never admitted any. This practice must be imputed either to an entire Ignorance of Antiquity, or a Vanity to expose their absurd Novelties ... Colen Campbell, 'Design for a Church, of St Mary-le-Strand from the south-east my Invention' (1717) Miles Lewis thethe EnglishEnglish BaroqueBaroque vv thethe PalladianPalladian RevivalRevival Christopher Wren Colen Campbell
    [Show full text]
  • 'Leoni's Drawings for 21 Arlington Street'
    Richard Hewling, ‘Leoni’s Drawings for 21 Arlington Street’, The Georgian Group Jounal, Vol. II, 1992, pp. 19–31 TEXT © THE AUTHORS 1992 LEONI’S DRAWINGS FOR 21 ARLINGTON STREET Richard Hewlings n April 1991 the Drawing Collection of the British Architectural Library purchased a volume of 14 architectural drawings, six explanatory pages and a title page inscribed Ithus: The Original Draughts, For a new House to be Built in Arlington Street, St. James, For the Rt: Homble the Lord Vist: Shannon &c. &c. &c. To Whom these Sheets with the utmost Respect are Humbly Inscribed by James Leoni the Inv:r and Direct:r of it May 25th : 1738. The “Lord Vist: Shannon” was Richard Boyle, 2nd (and last) Viscount, grandson and heir of Francis Boyle, the sixth and youngest son of the “Great” Earl of Cork, founder of the Boyle dynasty. Both Viscounts were soldiers. The first was ennobled in 1660 for his part in suppressing the rebellion in Ireland. The second had an exceptional professional career, becoming field-marshal of all the King’s forces jointly with the 2nd Duke of Argyll. He was born about 1674 and married twice, first, in 1695, to a daughter of the 5 th Earl of Dorset, and widow of his cousin Roger, 2nd Earl of Orrery, secondly (after 1710) to Grace Senhouse, daughter of a Cumberland gentry family from Netherhall, near Maryport. By her he had a daughter, also called Grace, who in 1744 (after his death) married Charles Sackville, then Earl of Middlesex, and from 1765 2nd Duke of Dorset.1 Grace was Lord Shannon’s sole heiress, and she or her husband continued to occupy the Arlington Street house until its sale to Lord Weymouth between 1765 and 1769.2 The head of Lord Fig.
    [Show full text]
  • Palladio, a Model for the Architecture of Classical Europe
    Architectural Styles Palladio, a model for the architecture of classical Europe Jean POTEL ABSTRACT Beginning in the sixteenth century, European architecture—in the same manner as painting, sculpture, and more broadly all forms of artistic expression—fell into tune with an Italian art that had already been renewing itself for nearly a century on ancient models. While the Rome of Julius II (pontiff from 1503 to 1513) and his successors drew the attention of the majority of nations, such as the Holy Roman Empire and Spain, others such as England, the United Provinces, and more discreetly France were enthusiastic about the work of the Vicentine Andrea Palladio (1508-1580). While the productions of this contemporary of the painter Veronese were mostly limited to the secondary artistic centers of the continental territories of the Republic of Venice (modern-day Veneto), they were behind an architectural movement unique to the Old World, one that took its creator’s name and thereby attesting to the incredible success of his manner: Palladianism. Jacob van Campen (1595-1657), home of count Jean-Maurice de Nassau-Siegen, known as Mauritshuis, The Hague (the Netherlands), 1633-1644. Source : Wikimedia Commons. The Origins of Palladianism Born in Padua and long active in Vicenza, two cities dominated by Venice, Pietro della Gondola (1508-1580) had an exceptional career. A mason by formation, he befriended the humanists Giorgio Trissino (1478-1550), who renamed him Palladio, and Daniele Barbaro (1514-70), whom he assisted in the latter’s commented translation of Vitruvius’s treatise on Latin architecture (1556), two encounters that were behind the extraordinary esthetic and conceptual revolution of his art.
    [Show full text]
  • The Origins of Building Science in the Architecture of Renaissance England
    Dean Hawkes The Origins of Building Science in the Architecture of Renaissance England In the twenty–first century, building science is a firmly established con- cept and plays an important role in both the practice of architecture and architectural education. In its modern definition, the origins of building science can be traced back to the nineteenth century. In the wake of the in- dustrial revolution, it developed hand–in–hand with the new technologies 1 of building: structure, construction, and heating and ventilation. Joseph 1 Important texts of particular relevance to the relation of technology and architecture Gwilt’s, Encyclopaedia of Architecture (Gwilt 1825) was a major reference are; Sigfried Giedion, Mechanization Takes work for British practice.2 The book is in four parts: Command: a contribution to anonymous his- tory, Oxford University Press, Oxford, 1948 and Lewis Mumford, Technics and Civilization, Routledge, London, 1934. Reyner Banham’s Book I, History of Architecture The Architecture of the Well–tempered En- Book II, Theory of Architecture vironment, The Architectural Press, London, 1969, opened up the study of environmen- Book III, Practice of Architecture tal science and technology that has been developed further by the present author and Book IV, Valuation of Property others. See Dean Hawkes, The Environmen- tal Tradition, E & F N Spon, London & New York, 1996, The Environmental Imagination, It is in “Book II, Theory of Architecture” that we find the technical/scien- Routledge, London & New York, 2008 and Architecture and Climate, Routledge, London tific content, chapters discussing: & New York, 2012. Mathematics and Mechanics of Construction 2 Joseph Gwilt, An Encyclopaedia of Archi- tecture: Historical, Theoretical and Practical, Materials used in Building Longmans, Brown & Green, London, 1st Edi- Use of Materials or Practical Building – this includes extensive sections on tion, 1825.
    [Show full text]
  • Domestic 3: Suburban and Country Houses Listing Selection Guide Summary
    Domestic 3: Suburban and Country Houses Listing Selection Guide Summary Historic England’s twenty listing selection guides help to define which historic buildings are likely to meet the relevant tests for national designation and be included on the National Heritage List for England. Listing has been in place since 1947 and operates under the Planning (Listed Buildings and Conservation Areas) Act 1990. If a building is felt to meet the necessary standards, it is added to the List. This decision is taken by the Government’s Department for Digital, Culture, Media and Sport (DCMS). These selection guides were originally produced by English Heritage in 2011: slightly revised versions are now being published by its successor body, Historic England. The DCMS‘ Principles of Selection for Listing Buildings set out the over-arching criteria of special architectural or historic interest required for listing and the guides provide more detail of relevant considerations for determining such interest for particular building types. See https://www.gov.uk/government/publications/principles-of- selection-for-listing-buildings. Each guide falls into two halves. The first defines the types of structures included in it, before going on to give a brisk overview of their characteristics and how these developed through time, with notice of the main architects and representative examples of buildings. The second half of the guide sets out the particular tests in terms of its architectural or historic interest a building has to meet if it is to be listed. A select bibliography gives suggestions for further reading. This guide, one of four on different types of Domestic Buildings, covers suburban and country houses.
    [Show full text]
  • The Palladian Legacy COMMONWEALTH of AUSTRALIA Copyright Regulations 1969
    702243 Formative Histories of Architecture the Palladian legacy COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice THE TRUMPET CALL OF AUTHORITY St Mary-le-Strand, London, by James Gibbs, 1714-17: in a view of the Strand Summerson, Architecture in Britain, pl 171A. In those admirable Pieces of Antiqqy,uity, we find none of the trifling, licentious, and insignificant Ornaments, so much affected by some of our Moderns .... nor have we one Precedent, either from the Greeks or the Romans, that they practised two Orders, one above another, in the same Temple in the Outside .... and whthAithereas the Ancients were contented with one continued Pediment .... we now have no less than three in one Side, where the Ancients never admitted any. This pppractice must be imputed either to an entire Ignorance of Antiquity, or a Vanity to expose their absurd Novelties ... Colen Campbell, 'Design for a Church, of St Mary-le-Strand from the south-east my Invention' (1717) Miles Lewis the English Baroque vvv the Palladian Revival Christopher Wren Colen Campbell Nicholas Hawksmoor Lord Burlington John Vanbrugh William Kent James Gibbs James Flitcroft the tripartite canon
    [Show full text]
  • Roger Morris and Lydiard Tregoze’, the Georgian Group Journal, Vol
    Richard Hewlings, ‘Roger Morris and Lydiard Tregoze’, The Georgian Group Journal, Vol. XIV, 2004, pp. 33–47 TEXT © THE AUTHORS 2004 ROGER MORRIS & LYDIARD TREGOZE RICHARD HEWLINGS ydiard Park, at Lydiard Tregoze, four miles west seemed disquietingly facile. In Morris had only Lof Swindon, is the most important English just been identified. He was not one of those country house of ‘Palladian’ type whose architect has, architects whose existence had been continuously until now, been unknown. In the preceding article noted since his lifetime, unlike his relation Robert Carole Fry publishes her discovery of the nd . Lord Morris, whose publications had assured his recorded St. John’s payment to ‘Ro: Morris’ on September attention. Five of Roger’s designs had been published, , which strongly suggests that Roger Morris was all by Woolfe and Gandon in Vitruvius Britannicus , its architect. It has, however, been attributed to two (New Park Lodge, Richmond, and Combe Bank) Morris before, on the basis of its appearance. In , in vol. IV ( ), and three (Wimbledon House, when it had not long been in public ownership, Kirby Hall, and the Palladian Bridge at Wilton) in Christopher Hussey published a largely unsurpassed vol. V ( ). All five designs are inscribed ‘R. Morris account of it in Country Life. His first article (of two) Arch.’, and were inevitably taken to be the work of noted the ‘utmost magnificence’ and ‘assured Robert. accomplishment’ of the principal rooms, and ‘the Roger’s name first appeared in print years exquisite simplicity of the elevations’. In his view after his death, in January , when a letter to ‘a master mason … alone’ could not have been Country Life distinguished him from Robert for the responsible for this.
    [Show full text]
  • CPSA Palladianism Timeline
    CPSA Palladianism Timeline http://www.palladiancenter.org/timeline-Palladianism.html - Welcome Timeline: - Activities - Journal Palladio and English-American Palladianism - Articles / Data ANDREA PALLADIO distilled his his work and articulating them in his architec-tural principles from personal masterwork, Four Books on - Andrea Palladio examination of the ruins of classical Architecture. Rome, from study of the works of - How to Join Vitruvius, Alberti and other writers who This was the step which made possible the dissemination of his architectural - Directors preceded him, and from interaction with older architects of his own time, such as style, known as Palladianism, - Contact Us Jacopo Sansovino, Michele Sanmicheli throughout continental Europe, England and Giulio Romano. and America in the seventeenth and - Links eighteenth centuries, establishing This process enabled Palladio to design Palladio as the most influential figure in a remarkable collection of villas, the history of architecture. palaces, churches and other buildings for patrons in the Veneto region of Italy. The timeline below traces the pathway Palladio's greatest achievement, of Palladianism from Palladio's Veneto however, was in conceptualizing the to England and colonial America. principles which guided Palladio and his Four Books Year Related Events and Publications Andrea Palladio (1608-1580) designs villas, palaces and 1538- churches in the Veneto. 1580 1570 Palladio's masterwork, Four Books on Architecture is published in Venice 1 of 7 CPSA Palladianism Timeline http://www.palladiancenter.org/timeline-Palladianism.html Palladio dies. 1580 English Palladianism Begins 1598- Inigo Jones (1573-1652) travels to Italy to study 1603 architecture, probably funded by Roger Manners, 5th Earl of Rutland (1576-1612).
    [Show full text]
  • Courtly Stables and Their Implications for Seventeenth-Century English Architecture’, the Georgian Group Journal, Vol
    Giles Worsley, ‘Courtly stables and their implications for seventeenth-century English architecture’, The Georgian Group Journal, Vol. XIII, 2003, pp. 114–140 TEXT © THE AUTHORS 2003 COURTLY STABLES AND THEIR IMPLICATIONS FOR SEVENTEENTH-CENTURY ENGLISH ARCHITECTURE GILES WORSLEY ne of the more hotly contested areas of The stables are described in the Office of Works Oarchitectural history is the classical revolution accounts as “two newe double stables of Brickes by in taste that took place under the early Stuarts. Did the highway with a new coatche house saddle house the simple astylar classicism prevalent after the a smiths forge house a shoeinge horse and new Restoration establish itself in the s and s, as grayners adioyninge to the same stable”. These I suggested in Classical Architecture in Britain: details are fleshed out by the Parliamentary survey of The Heroic Age , or was it the product of the the King’s properties, made after the Civil War. Its Commonwealth – a ‘Puritan Minimalism’ – as Tim description confirms the essential accuracy of Mowl has argued? Every example that marks the Smythson’s drawing and demonstrates that the arrival of this classical revolution tends to be seized Theobalds stables were of unparalleled grandeur. upon, but one of the most productive areas to They were probably the most substantial new examine has passed almost unnoticed, the stable. At building commissioned by James I before the least ten important stables built before the Civil War Queen’s House at Greenwich. The survey notes in the new astylar classical manner can be identified. that the building took the form of a great quadrangle That makes them perhaps the single most important ft.
    [Show full text]
  • Chapter 13: 1700–1750 13.1: Protestant Europe: an Architecture of Essentials 1
    Chapter 13: 1700–1750 13.1: Protestant Europe: An Architecture of Essentials 1. While his early churches featured longitudinal plans, simple classical columns and pilasters, and steeples, his 1620 Noorderkerk featured a Greek Cross plan, creating a centralized auditorium. a. Baron Menno van Coehoorn b. Simon Stevin c. Emanuel De Witte d. Hendrik de Keyser* 2. Jacob van Campen, leader of the second generation of classically grounded Dutch architects, designed this church in Haarlem in which a Greek cross fit into a perfectly square volume. a. Zuiderkerk b. Westerkerk c. Noorderkerk d. Nieuwe Kerk* 3. Christopher Wren designed two veteran’s hospitals, institutions intended to rival Louis XIV’s Invalides in Paris, on the east and west ends of London. The hospital for soldiers, ___________, rose around a U-shaped court, open to a garden-lined axis to the river. a. Chelsea Hospital* b. Greenwich Hospital c. Covent Garden Square d. St. Mary-le-Bow 4. At this country residence, called ___________, John Vanbrugh (1664–1726) and Nicholas Hawksmoor (1661-1736) arranged the rear façade with spoils from the Duke of Marlborough’s battles, including a 30-ton bust of Louis XIV brought back from Tournai. a. St. Martin-in-the-Fields b. Castle Howard c. Blenheim Palace* d. Chiswick 5. The publication of the first neopalladian treatise, Vitruvius Britannicus, earned this architect the sympathies of the most prominent Whig politicians in early eighteenth-century Britain, including Sir Robert Walpole. a. Nicholas Hawksmoor b. James Gibbs c. Colen Campbell* d. Richard Boyle, Lord Burlington 13.2: The Diffusion of the Baroque: Life as Theater 1.
    [Show full text]
  • STOURHEAD HOUSE at Stourton, Warminster, Wiltshire
    DESIGN and ACCESS STATEMENT Heritage Assessment Statement of Significance STOURHEAD HOUSE at Stourton, Warminster, Wiltshire National Trust MAY 2017 1 Contents Introduction 3 Context: History of Stourhead and Stourton 4 The Site & Proposed works 5 Summary and Statement of Significance 6 Historical use and development 10 2 Introduction This document has been prepared to provide a historical and architectural assessment of Stourhead House, Stourton, Wiltshire, and its relationship with the main house and wider estate. The report is intended to inform and support an application for Listed Building Consent for removal of the existing cupboard housing elecrical equipment and replacement with a 1hr fire rated cupboard encompasing all the electrical items - some of which are at present exposed - in order to comply with fire regulations and means of escape. This report has been produced in accordance with the recommendations of National Planning Policy Framework (March 2012), and follows the guidance of English Heritage/Historic England concerning standards of building conservation and good recording practice, as detailed in Conservation Principles (2008), Informed Conservation (2001) and Understanding Historic Buildings (2006). The Grade 1-listed Stourhead House, in the ownership and care of the National Trust. lies within the Grade 1-registered park and garden, as well as the wider Stourhead Conservation Area and the Cranborne Chase and West Wiltshire AONB. 3 Context: History of Stourhead and Stourton The settlement at Stourton, lies on the border of Wiltshire and Somerset, and was mentioned in the Domesday survey (as Storetone). The manor and estate are reputed to have been in the ownership of the Stourton family from before the time of the Norman Conquest.
    [Show full text]