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Antiquity, Architecture and Country House Poetry: The Country Seat Nicholas Uglow

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Antiquity, Architecture and Country House Poetry: The Country Seat Nicholas Uglow
Antiquity, Architecture and Country House Poetry:
Sir John Clerk and The Country Seat
St Andrews Journal of Art History and Museum Studies
Nicholas Uglow
You would there think yourself rather in a valley near Tivoli
1
than Edenborough
In 1727, Sir John Clerk of Penicuik completed his 1,500 line poem The Country Seat, a work on the art of building and decorating a country house. By
1727, Clerk owned two houses in the country around Edinburgh, Penicuik
House, inherited from his father, and Mavisbank House built under Clerk’s
close direction and supervision from 1722, by the architect William Adam.
This paper will compare Clerk’s theories of architecture detailed in The
Country Seat with Mavisbank House itself. This task has been neglected
by scholars, and is significant given the primary role Clerk played in Scottish political and cultural life during the period of the Union, the importance of both Adam and Mavisbank House itself, and the position that the
poem assumes in the context of contemporary country house and estate
poetry. Thus this paper will fall into two parts, the first establishing the
importance of Clerk and The Country Seat in the early eighteenth-century
context, which will establish the validity of the second part, comparing the
poem’s aims with the built reality of the house itself.
Even by the high standards of the elite literati and cognoscenti of
the early eighteenth century, Clerk was an extremely educated man. He
was not only very well read, but was a published author in many of his
areas of expertise. A successful lawyer and politician, he was instrumental
in the Act of Union between England and Scotland in 1707, and he served
in the first joint government of the United Kingdom. In 1706, he was appointed a Baron of Exchequer, responsible for settling the balance of monies between England and Scotland, and his unique and detailed account
of this process in his published memoirs continues to be a primary source
for economic and political historians. Clerk was also a formidable antiquarian and historian, and a member of the Society of Antiquaries, with
Vol. 13
2009
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Antiquity, Architecture and Country House Poetry: Sir John Clerk and The Country Seat
Nicholas Uglow
an extensive collection of curiosities and antiquities, some collected from
his own archaeological digs, and others purchased in Italy. He was an able
composer of concertos and cantatas in the Italian style, having studied
partly under Corelli whilst on his Grand Tour in Italy. He was patron of the
poet Allan Ramsay and the architect William Adam, both of whose careers
advanced significantly under Clerk’s patronage. He was also knowledgeable in horticulture, corresponding on matters of taxonomy with Roger
Gale, and was a member of the Society for Improving the Knowledge of
Agriculture, making exceptional agricultural improvements on his own
2
estates, and in Scotland generally. Clerk was a central figure in both the
Scottish Enlightenment and in early eighteenth-century British political
and cultural history, yet he remains little-known beyond scholarship.
The Country Seat itself is a testament to Clerk’s knowledge of both
antique texts on architecture and farming, and contemporary poetry on
country houses. Though The Country Seat is a poem, it is, in effect, a compact architectural treatise. It provides instruction on all aspects of designing and building a house, from the aesthetic concerns of the external and
internal decoration, to the practical considerations of choosing a site and
laying out rooms, as well as the technical issues of stone types, mortar,
fire-proof building and heating. The antique model for any architectural
treatise was Vitruvius’s written in the first century AD, referred to directly
by Clerk in footnote 58. It is the only treatise to survive from antiquity
and provided the basis of many of the rules of eighteenth-century architecture. However, Vitruvius’s treatise was a practical instruction manual
written in prose, not verse. Alastair Fowler argues in his 1994 book, The
Country House Poem, that Clerk’s form of a poem was an allusion to Virgil’s
four-part poetic work, The Georgics composed in the first century BCE.
Though ostensibly The Georgics is a manual on farming, providing advice
on matters from animal husbandry to beekeeping, it is also recognised as
being patriotic and idealistic in its portrayal of rural life and �������������
labour. Similarly, The Country Seat, though offering practical advice on the details of
house building, shares these characteristics, for instance in the discourse
on building royal palaces, where Clerk spends over 100 lines detailing the
exact iconographic programme for an interior mural scheme of the history
of Britain. In this section he also praises both the Stuart monarchs James
I and Queen Anne, with whom he credits the union of crowns and parliaments, and the Hanoverians William III and George I, showing his carefully balanced political allegiances.
In terms of contemporary poetry, Clerk would have been aware of
St Andrews Journal of Art History and Museum Studies
This image has been removed from the online version of this article for copyright reasons.
Fig. 1. General William Roy, The Military Survey of Scotland, Area around Dalkeith, in Edinburghshire
(or Midlothian) (detail of sheet 07/5f, showing Mavisbank House), 1747-1755. © The British Library.
Licensor www.scran.ac.uk
the waning genre of the country house or estate poem, which had peaked
in the second half of the seventeenth century. However, no estate poems
instruct the reader in the manner of ‘correct’ building, as all of the poems
in the genre were written concerning a specific house and its estate, dealing almost exclusively with aspects of hospitality in the house and production on the estate itself. For example, estate poems often praise the
taste of the owner, the fitting modesty or grandeur of his entertainments,
the cleverness of his domestic arrangements and the self-sufficiency of his
farms flourishing in the wake of the destructive Civil War. None detail the
architecture of a house, it being assumed that the reader, usually the owner, would be familiar with its appearance. Mavisbank House itself has its
own estate poem by Allan Ramsay, An Epistle Wrote from Mavisbank,
Vol. 13
2009
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Antiquity, Architecture and Country House Poetry: Sir John Clerk and The Country Seat
Nicholas Uglow
which is fairly typical of the genre, mentioning nothing of the architecture
3
and focussing on the pleasures of the park.
Many writers implicitly invoke The Georgics in detailing examples
of good farming practice, but more clearly draw their influences from other
ancient authors like Martial, Juvenal and Horace.4 Fowler argues that only
with Clerk’s The Country Seat does estate poetry return to The Georgics
in its specific treatise-poem hybrid form, and antique precedent, in the
architectural treatise of Vitruvius. He states:
With Sir John Clerk of Penicuik, fully articulate consciousness about country house architecture and estate improvement is reached. His ‘The Country Seat’ is a fitting terminus,
in that its form as a detailed manual of instruction … makes
5
the georgic character of the estate poem quite explicit.
Fowler does not assess the strengths of the poem as a treatise, focusing on
analysing it in the contemporary poetic context instead. Alan Tait on the
other hand looks at it from a more practical perspective and argues that
Clerk’s multi-layered references to authors of antiquity and the present,
and his attempt to emulate their poetic styles “tended to make his work
6
more literary and cumbersome, and less practical and clear”. Clerk followed other early eighteenth-century authors who responded to Dryden’s
1697 translation of The Georgics with georgic poetry in English, like Pope
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and Addison, and the lesser known Philips and Dyer. However, it seems
clear that The Country Seat represents the final development of seventeenth-century estate poetry, closing the arc along which authors had experimented with a variety of forms, sources and influences, while uniquely
calling on the Vitruvian architectural treatise and the Virgilian georgic.
Seventeenth-century architecture and landscape design were not
understood as merely functional, but as coded statements of knowledge,
wealth, social position and often political affiliation. By creating a house
and park that engaged with contemporary thinking, Clerk positioned himself among the ranks of the cultural elite. Indeed, in the prose introduction
to the poem, Clerk remarks that on architecture “many pretend to judge”
though few are qualified to do so, and that “one must have a very delicate
taste to judge well.” He thereby claims to possess both of these attributes
himself and even comments that he has “what is called a Fine Genius”
in architectural taste, establishing himself part of the educated elite and
qualified to pronounce judgment on architecture.
St Andrews Journal of Art History and Museum Studies
Clerk reveals his broad knowledge of a variety of fields principally
in the extensive footnotes of The Country Seat. For the purposes of this paper, his display of knowledge of architectural history and theory is of most
interest, however, he does refer freely and in great detail to British and
ancient history, the history of painting, classical literature, musical theory,
collecting, horticulture and contemporary politics.
Merely to scan through the footnotes reveals Clerks’s conversance
with the work of contemporary British architectural writers such as the
Earl of Burlington and Colen Campbell. In footnote 5, he says that Burlington is “very justly said to understand Architectory better than most in
Europe”, and several times praises Burlington’s villa at Chiswick. Clerk had
dined with Burlington at Chiswick Villa in May 1727 on his visit to London,
and was aware of the architectural revolution Burlington was leading, partially through the plates of Campbell’s Vitruvius Britannicus published in
8
several parts from 1715, themselves referenced in footnote 46.
Clerk also refers to the seventeenth-century English architect Inigo
Jones and frequently connects him with the sixteenth-century Italian architect Andrea Palladio. This reflects the reassessment by early eighteenthcentury British architects of the contribution of Palladio in adapting ancient architecture to modern requirements, recognised in Britain by Jones.
Typical designs by Palladio and Jones pragmatically blend the principles of
ancient architecture with the requirements of the site and the modern client. John Hunt and Peter Willis in their 1975 The Genius of the Place suggest
that in the Mavisbank design, Clerk himself demonstrated a great ability
to apply the architecture of antiquity to the requirements of eighteenth9
century Scotland, especially in relation to the climate. Jones’ reassessment
and revival of Palladio, turned his work into an important source for early
eighteenth-century architects. William Kent’s The Designs of Inigo Jones
(1727), one of several books on Jones published before 1750, is referred to
by Clerk in footnote 46. Of course, Kent’s own architectural work was itself
indebted to Jones, and by mentioning all three names, Clerk shows how
architectural theory in the eighteenth century saw itself, inheriting antiquity through a series of mediators, Palladio, Jones and then Kent. Also
in line with contemporary architectural criticism, Clerk criticises English
Baroque architecture in footnote 41 with the caustic comment that Vanbrugh’s Blenheim Palace, which he had visited on his 1727 trip, is more “a
monument for the Dead than a House for the Living”.
All of the books on architecture referred to so far are highlighted
in standard British architectural history scholarship as contributory to the
Vol. 13
2009
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Antiquity, Architecture and Country House Poetry: Sir John Clerk and The Country Seat
Nicholas Uglow
development of the so-called Palladian style in the first half of the eigh10
teenth century. By demonstrating that he knew the contents of these
books, Clerk showed that his poem was based on the most up-to-date
scholarship on antique architecture.
This image has been removed from the online version of this article for copyright reasons.
Fig. 2. J. C. Ibbetsen, Mavisbank House (detail), c. 1800. Oil on canvas. Permission: Henry Cheape
and the Trustees of the Strathtyrum Trust
The first part of the paper has sketched in Clerk’s interesting position in early eighteenth-century Scotland, and particularly his understanding of architecture. The Country Seat embodies his understanding
and represents a remarkable fusion of ideas from antiquity, seventeenth
century poetry and current architectural theory. This establishes the validity of the task of the second part of this paper, comparing the aims of the
poem with the built reality of Mavisbank House itself.
The Country Seat classifies country houses into four distinct categories, the royal palace, the house of state, the useful house and the villa.
Arguably Mavisbank lies across the last two classifications, though it is
usually referred to as a villa. This custom began with Clerk himself, though
many historians including John Gifford and Iain Gordon Brown agree that
Mavisbank hardly fits The Country Seat’s definition of “the Pavilion of a
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Persian King / In bulk and Beauty”. Clerk draws few distinctions between
these two house types and describes the useful house in much more depth
than the villa, a point also observed by Fleming who comments that Clerk
St Andrews Journal of Art History and Museum Studies
12
“has more to say about building methods than about villa design”. Indeed
the villa is to all intents and purposes a modified form of the useful house
varying only in its “confin’d … Size” its role as “part of the ornaments of a
Garden” and aspects of its detailing. Therefore, it is reasonable to apply
many of the principles of the useful house to Mavisbank, as well as the
decidedly opaque rules for the villa.
The site of Mavisbank House in the valley of the River North Esk at
Loanhead, south of Edinburgh, generally measures up well against Clerk’s
prescriptions. After the introductory sections of the poem, Clerk begins
discoursing upon the site appropriate to any country house. He reminds
the reader that in choosing a site one must not blindly follow Palladio,
referred to directly in footnote 8, but realise that Palladio’s rules were developed for hotter climates than Scotland. A house in the northern climate
should not be sited on a hill-top because of the “Cold of Northern Blasts”,
but instead, it should be on a south-facing slope, protected from the north
by “lofty Trees”, but not so far down in a valley as to suffer from damp. Mavisbank is not only part way down the south-facing slope of the valley, but
is very well sheltered by trees and by higher ground which surrounds the
site to both the north and north-west [Fig. 1].
Clerk is extraordinarily prescriptive about how water should feature in the ideal site. Mavisbank fails Clerk’s own test on one count as it has
no sea view, but it does have the perfect river, which is not a “raging turbid
Flood” and permits fishing. Also, fulfilling a rather odd requirement, the
valley-side on which the Mavisbank park is sited is peppered with “pleanteous springs”, which, far from contributing to the scene as Clerk suggests,
render areas of the park boggy and almost constantly waterlogged, though
better drainage probably existed originally. Ornamental lakes appear twice
in the poem, at the beginning and in the last 100 lines in rather conflicting
positions. Initially, Clerk favors them saying
Lakes from afar will charm the Eye and seem
Huge silver Mirrors set in verdant frames
This description suggests that a lake should not have a surface disturbed by
a fountain. However, in the second reference, he states
Avoid Canals or Ponds of any Form
Where living Fountains never show their Heads
Vol. 13
2009
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Antiquity, Architecture and Country House Poetry: Sir John Clerk and The Country Seat
Nicholas Uglow
This quote contradicts the first suggesting that only water with an animated
appearance is acceptable. From cartographic and archeological evidence,
and that of the anonymous Strathtyrum painting, Mavisbank – perhaps
embarrassingly for this poem – originally had a long narrow canal in direct
line of sight from the house, now an irregularly-shaped lochan, where it is
13
unlikely that a fountain ever existed. [Fig. 2] Even Clerk’s concession that
“What Nature gives, receive”, if the site does not boast flowing water, does
not excuse Mavisbank’s ornamental canal as it is gently fed by a spring and
runs into the river by an underground channel.
From the requirements of the site, Clerk then turns his attention
to the fabric of the house. Two stanzas address the conduct of the architectural orders, a favorite topic amongst architectural theorists from the earliest Renaissance treatises onwards. Mavisbank has no actual columns but is
endowed with an elaborate Corinthian cornice, the most exalted of all the
orders, supported by banded strips of masonry which appear as pilasters
[Fig. 3]. Though Clerk states that to be “justly called Great” a building must
have columns, he concedes that having just a cornice is acceptable as long
as it is proportioned as if columns were present, supporting his claim with
the precedent of Palladio and Jones buildings with no columns.
Clerk details the ideal dimensions of the useful house, stating
its façade should be between 80 and 100 feet long, no less than 40 feet
deep, and its height should not exceed two-thirds of its length. Mavisbank
measures approximately 50 feet wide, 40 feet deep and 55 feet high, and
thus falls rather short of these measurements. If the wings of the house
are taken into account, the house is approximately 160 feet wide, and 100
feet deep, measurements that exceed Clerk’s prescribed size. However, according to the poem, only the useful house is to have wings or quadrants
that reach forward in a “kind Embrace” to the visitor, as they do at Mavisbank. The poem also lays out interior measurements of the principal storey
staterooms for the useful house and remarkably, as noted by Gifford, all at
Mavisbank are the minimum 16 feet broad. This, if nothing else, suggests
strongly that Clerk paced out his own house when composing The Country
Seat.
Additionally, Mavisbank’s interior layout almost entirely fits with
the poem. The Country Seat says there should be three floors: a vaulted semibasement for service accommodation, a vestibule storey for common every-day
use arranged around a “Loby or Salon”, a principal storey “with more capacious
Rooms / All made to entertain”, and an attic “for many useful Purposes designed”.
St Andrews Journal of Art History and Museum Studies
This image has been removed from the online version of this article for copyright reasons.
Fig. 3. Design by William Adam, Vitruvius Scoticus, (combination of plates 47 and 48, Mavisbank
House), published c. 1816. Engraving, elevation and plans of the principal and state storeys. Permission: Simpson & Brown Architects
Vol. 13
2009
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Antiquity, Architecture and Country House Poetry: Sir John Clerk and The Country Seat
Nicholas Uglow
This is practically a description of the arrangement of Mavisbank, even including the service stair that rises from the semi-basement to the attic. On this
point however, in footnote 54, Clerk criticises his own spiral turn-pike back
stair, saying that “The worst kind is the round”, but concedes that “such may
be sufficient for the back stair in a small House”, thus permitting this divergence. Some of this detail may seem obvious in a typically arranged country
house of the eighteenth century, but Mavisbank was among the first houses
in Scotland to follow these rules of distribution, and thus these arrangements
would have been far from obvious at the time.
Even the roof design of the useful house matches Mavisbank. It is a
“well turn’d Roof”, explained in footnote 55 :+: as “partly sloping or circular
and partly platform”. Mavisbank was one of the few buildings in Britain to
have this unusually profiled roof, and Clerk and Adam probably took their
design inspiration from country houses of the Low Countries where both
had spent time in study. There are several books of contemporary engravings
showing these country houses and several resemble Mavisbank House, especially in respect of the roof design.
This paper has attempted to position Sir John Clerk of Penicuik in the
early eighteenth architectural context, and show the learned proficiency of
his poem The Country Seat. Compared to the poem, Mavisbank House itself
measures up closely to the strictures laid out. It is therefore possible to recog������
nise a further layer of influence acting on the poem, already rooted in Virgil,
Vitruvius, seventeenth-century poetry and current architectural theory; the
experience of building Mavisbank itself. By comparing Clerk’s generalised
theories for the proper arrangement and decoration of the royal palace, house
of state and villa, to the detailed and practical considerations for the “useful
House”, it seems clear that his specific knowledge of this type of building directly informed the composition of the poem. Indeed as the “useful house”
is not commonly used in any other architectural literature of the period, it
might even be speculated that Clerk coined it specifically to describe Mavisbank. Both Mavisbank House and The Country Seat continue to be neglected
by scholars and it is hoped that this paper has gone some way to establishing
their importance in the architectural and cultural history of Scotland.
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R. Gale, Letter of 26 August 1739 to Revd Dr Stukeley about Mavisbank House, The
Family Memoirs of the Rev. William Stukeley, M.D. and the Antiquarian and Other
Correspondence of William Stukeley, Roger & Samuel Gale etc. Vol. I (Surtees Society,
1880) 98.
W. Spink, ‘Sir John Clerk of Penicuik; Landowner as designer’, in P. Willis, Furor Hortensis, Essays on the History of the English Landscape Garden in memory of H. F. Clerk
(Edinburgh: Elysium Press, 1974) 31.
A. Ramsay, The Works of Allan Ramsay, B. Martin and J. W. Oliver et al. Vol. III (Edinburgh: Blackwood, 1951-1974) 261-264.
A. Fowler, The Country House Poem: A Cabinet of Seventeenth-Century Estate Poems
and Related Items (Edinburgh: Edinburgh University Press, 1994) 11.
Ibid., 23.
A. A. Tait, The Landscape Garden in Scotland, 1735-1835 (Edinburgh: Edinburgh University Press, 1980) 20.
R. L. Braverman, Plots and counterplots: sexual politics and the body politic in English
literature, 1660-1730 (Cambridge: Cambridge University Press, 1993) 276.
J. Fleming, Robert Adam and his Circle in Edinburgh and Rome (London: J. Murray,
1962) 26.
J. D. Hunt and P. Willis, The Genius of the Place: the English landscape garden, 16201820 (London: Elek, 1975) 205.
For instance, J. Summerson, Architecture in Britain 1530-1830 (London: Yale University
Press, 1993).
J. Gifford, William Adam 1689-1748: Scotland’s Universal Architect (Edinburgh: Mainstream Press, 1989) 92.
Fleming, Robert Adam and his Circle, 32.
Mavisbank Conservation Plan (Simpson & Brown Architects, Edinburgh: 2004).
The Country Seat exists only in manuscript form in the Clerk of Penicuik papers in the
National Archives of Scotland (GD18, with kind permission of Baron Clerk), and the author
is grateful for the transcription by Vanessa Stephen. Her transcript has no page numbers or
line numbers referring to the original document. Clerk’s footnotes are part numbered and
part referred to by symbols :+: and +, between numbers. Thus 42:+: follows footnote 42.
St Andrews Journal of Art History and Museum Studies
Vol. 13
2009
45
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