Richard Boyle, Third Earl of Burlington (1694-1753)
The Third Earl inherited the title and estates at the age of eleven after the death of his father, and by the age of 20 was a well established Whig aristocrat from the north of England.
He developed an interest in architecture and took a Grand Tour in 1719 to study the works of Palladio, armed with the reference books of Inigo Jones which he used for reference and note taking. Burlington was well-travelled. In all he took three Grand Tours between 1714-19 and other trips to Paris.
On his return he appointed Colen Campbell, the other god father of the Palladian movement, to work on his London home in Piccadilly, Burlington House, now the home of the Royal Academy of Art.
By the mid 1720’s he had a new protegé in William Kent (1685-1748), a fellow Yorkshireman who he had met in Italy in 1719. Kent, initially a painter, lived at Burlington House. Kent was also asked to edit Burlington’s pet project, the publication of The Designs of Inigo Jones.
Burlington, an architect in his own right and often referred to as ‘the architect Earl‘, and ‘The Apollo of the Arts‘, for he was also a lover of music. He had Georg Frederic Handel dedicate two works to him whilst staying at Burlington House, and In 1719, was one of main subscribers in the Royal Academy of Music, which produced baroque opera for stage.
He was designer of some of the earliest and most important Palladian buildings including a Villa at Tottenham Park, Wiltshire (1721), a House for General Wade in Great Burlington Street, London (1723) and the New Assembly rooms in York (1731-2), and the Dormitory at Westminster School, London (1722 – 1730), the first public work by Burlington, for which Sir Christopher Wren had provided a design, which was rejected in favor of Burlington’s, a sign of changing English taste.
He also built another home of his own, Chiswick House, Middlesex. His architectural drawings, inherited by his son-in-law the Duke of Devonshire are preserved at Chatsworth, and enable attributions that would not otherwise be possible.
After the Assembly Rooms in York he designed few other buildings, and by 1740 was a semi-recluse living between Chiswick and Yorkshire. The Palladian Style he was ‘godfather’ of was however to flourish for many decades to come.
Burlington House
Burlington House located in Piccadilly is home to the Royal Academy of Arts and a number of Societies known as the Courtyard Societies. In relation to the London Grand Tour it is the history of the buildings that is of greater importance.
The original house was one of a number of very large private residences built on the north side of Piccadilly from the 1660s. Originally a red-brick mansion by Sir John Denham, it was sold unfinished in 1667 to Richard Boyle, 1st Earl of Burlington, after whom it is named.
In 1704 the house passed to the ten-year old Richard Boyle, 3rd Earl of Burlington, later known as “the architect earl” and “Apollo of the Arts”, he was to be the principal patron of the Palladian movement in Britain after three European Grand Tours 1714 – 1719, and a further trip to Paris in 1726. On his 1719 tour he carried his copy of Andrea Palladio’s book I Quattro Libri dell’Architettura with him as a reference and note-book.
Palladio and his books had been discovered a century earlier by the architect Inigo Jones, the first Grand Tourist, whose work the Earl would have known well; the Queens House in Greenwich (1719), the Banqueting House in Whitehall (1722) and Covent Carden (1730).
Jones had not executed many of his ideas and the Palladian style had not become a fashion until the Earl instigated the Georgian Palladian Revival when he retained Colen Campbell as architect for work on his own home, Burlington House. Campbell’s appointment in 1717/18, was a key moment in the history of English architecture. His work, in strict Palladian style, and the aesthetic preferences of Campbell, Burlington and their close associate William Kent, who also worked on Burlington House, turned the Palladian style into a dominant one for decades, and its influence can still be seen today.
On Lord Burlington’s death in 1753, Burlington House passed to the Dukes of Devonshire, but they had no need of it as they already owned Devonshire House just along Piccadilly. The 4th Duke’s younger son Lord George Cavendish and a Devonshire in-law, the 3rd Duke of Portland (namesake of the Portland Vase), each used the house for at least two separate spells. It then had a number of owners before being sold to the British government in 1854 for £140,000. In 1867 The Royal Academy of Art took over the main block on a 999 year lease with rent of £1 per year.
Burlington House will be visited on the London Grand Tour. Follow the link for tour reservations
Banqueting House
The Banqueting House is the only remaining complete building of Whitehall Palace and remains one of London’s most important banqueting venues. It plays host to many royal and society events.
Whitehall Palace was the principal royal residence between 1530 and 1698, and the Banqueting House dates from 1622. It was designed and built by Inigo Jones for James I (1603-25) to host occasions of state, plays and masques. At the time of its building it was one of the first classical buildings in Britain, surrounded by red-brick Tudor buildings.
The site upon which the Banqueting House was built had stood York Place, the London residence of the Archbishops of York since the 14th century. It’s proximity to the king’s residence was a sign of the importance of the archbishopric of York, the most important in the Church.
In 1514 Thomas Wolsey (c.1475-1530) was made Archbishop of York and had an unparralleled position of trust with King Henry VIII (1509-47). York Place became a favourite place for the king to visit. The King was later to own it, when he his relationship with Wolsey failed and Henry stripped him of all his properties in the South of England. It was renamed Whitehall and became a residence of the King.
By the time of Henry’s death the palace was the largest in Europe, but it was far more than just a residence. Within the grounds temporary structures were also built for special occasions. The largest of these was a banqueting house built by Queen Elizabeth I (1553-1603) to host entertainments associated with her marriage negotiations. This building occupied the site of the current banqueting house.
The initial structure of timber and canvas stood for 25 years before being replaced by a brick structure which was completed in 1609 for james I. It was built for the performance of elaborate masque performances; a cross between a ball, an amateur theatrical, a play and a fancy dress party, designed to communicate messages of royal authority.
Inigo Jones was a set designer and scene painter of such masques, and later became an architect after his Grand Tours of Europe. He worked closely with his partner and playwright Ben Jonson who had also spent time abroad. Jones’s travels inspired the classical sets he designed for the Masques, the finest example being of the masque Coelum Britannicum, performed on Shrove Tuesday 1634.
By this time a third structure stood on the site, the current Banqueting House, which has been designed and built by Jones in 1622 after the previous structure had been destroyed by fire in 1619. His design was based on an ancient form of building that most closely resembled the usage of the banqueting house, a basilica (an ancient Roman meeting hall). The Roman architect Vitruvius stipulated that a basilica should be twice as long as it is wide, which the banqueting House is. The structure was also raised on a vaulted basement.
The work began in 1619 and was completed in 1622 at a cost of £15,618 14s. By 1635 its use as a venue for masques ended due to concern about the damage smoke may do to the ceiling painting by Rubens. The painting meant the building could not be used for its original purpose. But from this point on it was a venue for important receptions.
The Banqueting House was also the venue of a more dark and sinister event in 1649. After years of struggle between the authority of Parliament and the power of the King there was a Civil War (1642-9), during which Charles I was found guilty of treason and sentenced to death. His execution took place on a scaffold erected in front of the banqueting House.
For some time after the execution the banqueting House was not in use. But, in 1654 it became the Lord Protector’ hall of audience. In that year Oliver Cromwell had become Head of State as Lord Protector. After Cromwell’s death in Whitehall (1658), the house was again unused until 1660 when the monarchy was restored. It was then restored for use as a ceremonial court chamber and reception venue.
One of the ceremonies carried out here was the distribution of bread, fish, wine, cloth and money on Maundy Thursday. It also included a traditional washing of the feet of the poor by the sovereign. The tradition of distributing Maundy money continues, taking place at a number of cathedral venues.
A highlight of the building is the ceiling painting by Paul Rubens. It was commissioned by Charles I (1625-49), to celebrate the life and wise government of his farther James I. They were installed in March 1636 after being shipped from Antwerp where Rubens had painted them in his studio. Some sketches of the scenes that date from his visit to London (1629-30) are now in the National Gallery.
Banquesting House is visited on the London Grand Tour. Follow the link to make a tour reservation
Covent Garden
Covent Garden is a district of London, located on the eastern fringe of the West End. It is mainly associated with the former fruit and vegetable market located in the central square which is now a popular shopping and tourist site, and the Royal Opera House, which is also known as “Covent Garden”.
In the 16th century, it was an Anglo-Saxon trading town of Lundenwic for a brief time, before becoming “the garden of the Abbey and Convent”, associated with Westminster Abbey. In 1540 Henry VIII took the land belonging to the Abbey after the Dissolution of the Monasteries, including, what was by then named “the Covent Garden”. Henry’s son then granted to John Russell, 1st Earl of Bedford in 1552.
It was the The 4th Earl, Francis Russell (1593-1641), who commissioned Inigo Jones to develop the area. The commission had been prompted by Charles I who took offence at the condition of the road and houses along Long Acre. Work began in 1631 with the building of the church of St Paul’s, the first protestant church in England after the restoration.It was completed in 1633 at a cost of £4000, and consecrated in 1638.
The houses and piazza were completed in 1637. The design of the square was new to London, and had a significant influence on modern town planning in London. I was became a prototype that was much repeated. as the city grew.
The fruit and vegetable market began as a small open air market on the south side of the fashionable square around 1654. In time, Coven Garden became and area of disrepute with taverns, theatres, coffee-houses and prostitutes. The gentry started to leave and a more bohemian population moved in. By the 18th century Covent Garden had become a well-known red-light district, attracting notable prostitutes, and Harris’s List of Covent Garden Ladies, a guidebook to the prostitutes and whorehouses, became a bestseller.
An Act of Parliament was drawn up to control the area, and Charles Fowler’s neo-classical building of 1830 was designed to cover and organise the market. other buildings were added later: the Floral Hall, Charter Market, and in 1904, the Jubilee Market.
By the 1960s, traffic congestion was causing problems, and in 1974 the market relocated to the New Covent Garden Market at Nine Elms, in a suburb of London. The central building re-opened as a shopping centre in 1980, and is now a popular tourist location containing cafes, pubs, small shops, and a craft market called the Apple Market; along with another market held in the Jubilee Hall.
Covent Garden and the St Paul’s Church, Covent Garden are visited on the London Grand Tour. Follow the link to make a tour reservation
Georgian Palladian
Palladian is the name given to style of architecture after the Venetian architect Andrea di Pietro della Gondola (1508-1580), more commonly known as Palladio, and derives from Palladio’s studies of Marcus Vitruvius Pollio (born c. 80–70 BC, died after c. 15 BC).
Palladio was a great fascination for the Original grand tourist Inigo Jones who brought the style to the Britain. Although few if Jones’s own designs were ever built: the Banqueting House (1622), Covent Garden (1630) and the Queens House Greenwich (1717). Whilst magnificent works, they did not create a fashion for the Palladian style, that was to come a century later.
The Georgian Palladian revival was instigated by Lord Burlington (1694-1753) and Colen Campbell (1676-1729). It then became the dominant British style for over two centuries; a feature of every high street, and the favoured style for many banks, public buildings and country houses. It was also adopted in the creation of spectacular city planning projects in Bath and Edinburgh.
Richard Boyle, 3rd Earl of Burlington, also known as ‘the Apollo of the Arts’ and ‘ the architect earl’, took three Grand Tours in Europe between 1714 – 1719 and a further trip to Paris in 1726. They gave him opportunities to develop his ‘taste’. His professional skill as an architect was unusual for an English aristocrat. He carried his copy of Andrea Palladio’s book I Quattro Libri dell’Architettura with him when touring in 1719, and made many notes and regords in it.
Burlington relied on Palladio, and Palladio’s pupil, Scamozzi as his interpreters of the classic tradition. He was also inspired by Palladio’s own drawings belonging to Inigo Jones, and to Jones’ pupil John Webb.
Burlington’s first project was his own London residence, Burlington House, now the Royal Academy of Art in Piccadilly, where he employed the Scottish architect Colen Campbell and William Kent for the interiors. Burlington House was the first major statement of Georgian Palladianism to be executed in Britain.
Colen Campbell had travelled in Italy from 1695-1702 and later published, Vitruvius Britannicus (the British Architect), in three volumes between 1715 and 1725; a catalogue of design, containing engravings of English buildings by Inigo Jones and Sir Christopher Wren, as well as Campbell himself and other prominent architects of the period.
Their success made the neo-Palladian Architecture popular in Great Britain and America during the 18th century. For example, an illustration of Somerset House was an inspiration for the American architect Peter Harrison when he designed the Brick Market in Newport, Rhode Island, in 1761.
By the early 1730s Palladian style was firmly established. Having been adopted by the Italian gentry as town and country villas. The concepts were adaptable and scalable making them appropriate for many private and public uses in Britain.
Inigo Jones: The Original Grand Tourist
Inigo Jones was a young artist, later architect, who went on two grand tours at the end of the 16th century, and in the early 17th Century. There he studied and record the drawings, designs, styles and patterns of Andrea di Pietro della Gondola of Padua (1508-1580). He is more commonly known as Palladio. His work was itself the result of the study of the Roman Vitruvius (c. 80–70 BC, died after c. 15 BC).
Palladio had eventually became Surveyor of Works, or chief architect, to the Republic of Venice. His clients then included the wealthy Venetian nobility. He built theatres, churches and villas which fascinated Inigo Jones.
The introduction of the Palladian style in the United Kingdom was the work of Jones; his interest being aided by his patron and travelling companion on the second tour, Thomas Howard, Earl of Arundel. Howard met Scamozzi, pupil of Palladio’s, and purchased his entire stock of Palladio’s drawings. The Earl and Countess Arundel were preeminent patrons and collectors af antiquities and art at that time.
This second tour Jones described as the most momentous event of his life and it was arguably the most important Grand Tour ever undertaken. Between his two trips Jones had been designer of costumes and scenery for court masques for Queen Anne (wife of JamesI) He later became Surveyor of Works to Henry, Prince of Wales, 1610-12. Upon his return from the second grand tour he became Surveyor of Works to the king himself (1615-1642); first James I and subsequently Charles I.
It was during this period that he used as inspiration two of Palladio’s palaces for the design of the Banqueting House, built in 1622 to replace an earlier one which was destroyed by fire. It is one of Britain’s earliest classical buildings, and is generally deemed to be Jones’ greatest achievements. It was entirely different to all the red-brick Tudor buildings that surrounded it.
On both of his grand tours Jones visited Paris and Italy, both had an influence on his work. In Paris, usually the first stop on the grand tour, visitors would make preparations for their trip which included shoping for cloths and perfume. They would also join the fashionable Parisians in the Italian inspired Place des Vosges square, (originally the Place Royale), built by Henri IV between 1605-12, probably to the designs of Baptiste du Cerceau. It was the first square, and the first attempt at town planning in Paris; later copied in many places across Europe.
A resemblance can be see between the Place des Vosges and Covent Garden, built in the 1630’s. The development was implemented by the fourth Earl of Bedford who had been given the land by Henry VIII. In the square is Jones’ Church, St Paul’s; the first classically designed church, and also the first Protestant church in England.
Covent Garden is even more ‘Italian’ than the Place des Vosges with its arcaded houses and their elegant facades, a reflection of Jones’ more extensive travels. It also incorporated the use of terraced house which are so familiar in the streets and squares of Britain today. Jones was therefore the architect of the style of houses and streets that many Britains have grown up in.
Although Jones had great influence over the development of London few of his own designs were ever built, and his classical ideas were generally disliked by the court. It was only in the theatre, with their elaborate sets, he had the freedom of creative expression. He was in fact a century ahead of his time. Palladio’s ideas were not developed in any considerable way until Lord Burlington and Colen Campbell instigated the Georgian Palladian revival.