266 Appendix: Matthew Digby Wyatt WRITINGS (The following list of Wyatt's writings is from the catalogues of the British Museum, the Royal Institute of British Architects, the Victoria and Albert Museum, and from the obituary notice in The British Architect, VII.) On the Art of the Mosaic, Ancient and Modern. Trans. Soc. of Arts, 1847. A Report on the Eleventh French Exposition of the Products of Industry. London, 1849. Observations on Polychromatic Decoration in Italy. MS. R.I.B.A., 1850. On the construction of the Building for the Exhibition . . . in 1851. Proc. Inst. The Industrial Arts of the Nineteenth Century, fol. London, 1851-3. An attempt to Define the Principles which should determine Form in the Metalwork and its Artistic Design, fol. London, 1852. A.A.P.C. Blanc, The History of the Painters of all Nations, ed. M. D. Wyatt. Remarks on G. Abbati's Paper on Pompeian Decorations. Sess. Papers, R.I.B.A., The Byzantine and Romanesque Courts in the Crystal Palace (with J. B. Waring). The Italian Court in the Crystal Palace (with J. B. Waring). London, 1854. An Address delivered in the Crystal Palace at the opening of an Exhibition of Works of Mosaics... of Sta Sophia at Constantinople. Sess Papers, R.I.B.A., 1856. Paris Universal Exhibition; Report on Furniture and Decorations. London, 1856. Notice of the late John Britton. Sess. Papers, R.I.B.A., 1857. The Sacred Grotto of St Benedict at Subiaco. Sess Papers, R.I.B.A., 1857. Observations on Metallic Art (in J. B. Waring, The Art Treasures of the United Influence Exercised on Ceramic Manufactures by the late Herbert Minton. London, Early Habitations of the Irish, and especially the Cramoges of Lake Castles. Sess. On the Architectural Career of Sir Charles Barry. Sess. Papers, R.I.B.A., 1859–60. Illuminated Manuscripts as Illustrative of the Arts of Design. London, 1860. What Illuminating Was. London, 1861. On the Present Aspect of the Fine and Decorative Arts in Italy. Journal Soc. of Arts, 1862. The Loan Collection at South Kensington. Fine Arts Quart. Rev., I and II, 1863. On Pictorial Mosaic as an Architectural Embellishment. Sess Papers, R.I.B.A., 1866. A Report to Accompany the Designs for a National Gallery. London, 1866. The Relations which should exist between Architecture and the Industrial Arts. On the Foreign Artists employed in England during the Sixteenth Century. The History of the Manufacture of Clocks. London, 1868. Report on the Art of Decoration at the International Exhibition. Paris, 1867; London, 1868. Introduction and Notes on Examples of Decorative Design, Selected from Drawings of Fine Art; its History, Theory, Practice. (Slade Lectures at Cambridge.) London Report on Miscellaneous Paintings, London International Exhibition, 1871. London, 1871. An Architect's Notebook in Spain. London, 1872. On the Most Characteristic Features of the Buildings of the Vienna Exhibition of 1873. The Utrecht Psalter; Reports on the Age of the Manuscript. (By Sir M. D. Wyatt and ARCHITECTURAL AND OTHER WORKS Adelphi Theatre, London, designs for redecoration executed by F. Sang. Pompeian, Byzantine, English Gothic, Italian, Renaissance Courts, etc., at the Paddington Station, London (with Brunel as engineer), 1854-5. The Builder, XII. Garrison Church, Woolwich (with T. H. Wyatt), 1862. The Builder, XXI and Office Building, Grafton Street, Dublin, 1863. The Builder, XXI. Saloon and Fernery, Ashridge, Herts., 1860 and 1864. Drawings for the Fernery at R.I.B.A. (a) WORKS ILLUSTRATED IN JOURNALS OR MENTIONED IN OBITUARY NOTICES Addenbrooke's Hospital, Cambridge, 1864–5 (extensions; new west front). India Office, London, Inner Courtyard, 1867. The Builder, XXV; Building News, Castle Ashby, Northants, Garden Gates, 1868. The Builder, XXVI. (See also (b).) Clare College, Cambridge, 1870-2 (restoration of Hall and Combination Room). Alford House, Kensington, London. Drawings shown at Royal Academy, 1872. Azores: Mansion. Burma: work at Rangoon. Cambridge: Portico of the Pitt Club, c. 1865 and as purely classical as if it were Essex: Barracks, Chapel for the East India Company at Warley, 1857. Gloucestershire: Bristol, consultant on Temple Meads Station, 1865–78. India: Post Office at Calcutta. Lancashire: Aldingham Hall, between Barrow and Ulverston, 1846–50, for Dr John Stonard, the wealthy parson of Aldingham; Wyatt's earliest preserved building-Gothic in style, of white stone, symmetrical to the sea, but with an asymmetrically placed staircase tower at the back. London: (i) Adelphi Theatre (with T. H. Wyatt); (ii) Burlington Fine Arts Northants: (i) Castle Ashby, Conservatory, Gloriette Gates (with much ter- Surrey: (i) house at Caterham; (ii) Newells, Lower Beeding, near Horsham; Sussex: (i) Newells, 1860, with additions of 1904, Elizabethan with mullioned Wiltshire: (i) Rowde, front, 1850. Wyatt at the time owned Rowdeford House; (d) DESIGNS Executed for Messrs Woollam (wallpapers), Maw (tiles, 1861), Templeton (carpets), Hurell James and Co., and others. 269 Notes I DESIGN AND INDUSTRY THROUGH THE AGES Pages 11-17 1 V. Gay: Glossaire Archéologique du Moyen Age et de la Renaissance, Paris, 1882-1928, vol. I., p. 580. 2 L. T. Belgrano: Vita Privata dei Genovesi, Genoa, 1875, p. 202. 3 R. Koechlin: Les Ivoires Gothiques Français, Paris, 1924, vol. I., p. 33, etc. 4 R. Papini, in L'Arte, XIII, 1910, and A. Bouillet in Bulletin Monumental, LXV, 1901. 5 W. H. St. John Hope in The Archaeological Journal, LXI., 1904, p. 234 and J. Evans: Art in Mediaeval France, Oxford, 1948, p. 281. 6 London, 1947, p. 281. 7 V. Goloubew: Les Dessins de Jacopo Bellini, Brussels, 1908. 8 A. B. Chamberlain: Hans Holbein the Younger, London, 1913, vol. II., p. 265, etc. 9 P. Jessen: Der Ornamentstich, Berlin, 1920. 10 M. Fenaille: Histoire de la manufacture des Gobelins, Paris, 1923; also E. Gerspach: La Manufacture Nationale des Gobelins, Paris, 1892. 11 H. Jouin, Paris, 1889; P. Marcel, Paris (1909); also L. de Laborde: De l'union des arts et de l'industrie, vol. I, Paris, 1856, pp. 121, etc. 12 Information kindly supplied by Messrs. Wedgwood. 13 F. Watson, in The Connoisseur, CIIL, October 1961, p. 166. 14 D. Ledoux-Lesard: Les ébénistes parisiens, 1795-1870, 1965, p. 251. I owe this and the previous reference to Francis Watson. 15 P. Lafond: L'Art décoratif et le mobilier sous la République et l'Empire, Paris, 1900. 16 F. Podreider: Storia dei Tessuti d'Arte in Italia, Bergamo, 1928, p. 267. 17 J. Godart, L'ouvrier en soie, 1899, p. 20-23. I owe this reference to Miss Natalie Rothstein. 18 H. Clouzot: Histoire du Papier peint en France, Paris, 1935, p. 47, etc. 19 Sophie in London, London, 1933. Mr. R. W. Symonds kindly drew my attention to this book. 20 H. Clouzot: Historie de la manufacture de Jouy, Paris, 1928; also E. Lewis: The Romance of Textiles, New York, 1937, which Mr. Alec Hunter told me about. 21 Mechanization takes Command, New York, 1948. 22 Sir H. T. Wood: A History of the Royal Society of Arts, London, 1913, p. 153. 23 Quoted from Harvard's Dictionnaire, vol. II, 1888, col. 84, etc. 24 Philippe de la Salle; son oeuvre au Musée des Tissus de Lyon, Paris, 1905. 25 Clouzot, loc. cit. 26 E. Lewis, loc. cit. 27 Clouzot, loc. cit. 28 H. Lefuel: Georges Jacob, Paris, 1923, pp. 142-43. 29 Nouvelles Archives de l'Art Français, 1877, p. 368, etc.; also Thieme-Becker's Künstlerlexikon. 30 M. Adams in Journal of the Royal Institute of British Architects, 1912, p. 646; also T. Perry in The Architectural Review, XXXIII, 1900, p. 119. 31 Mrs. Esdaile in The Architect and Building News, for January 19 and 26, 1940. See now the detailed account in R. Gunnis, Dictionary of British Sculptors 1660-1851, London, 1953. 32 A. Cox-Johnson: John Bacon (St. Marylebone Society Publications No. 4), 1961. 33 E. Metyard: The Life of Josiah Wedgwood, London, 1865, vol. II, p. 131. 34 Horace Walpole: Letter of Nov. 13, 1776. 35 Lafond, loc. cit., p. 14. 36 N. Pevsner: Academies of Art past and present, Cambridge, 1940, p.159, etc. 37 Clouzot, loc. cit. 38 Vorbilder für Fabrikanten und Handwerker, 1821-37. On Schinkel see p. 164 ff of Vol. I of these essays. 39 Q. Bell: The Schools of Design, London, 1963. 40 For the following see in more detail the paper on High Victorian Design, p. 38 ff. 41 Thomas Hope in his Household Furniture, i.e. already in 1807, had written (p. 2) that handicraft was being debased 'by the entire substitution of machinery for manual labour'. 42 Wood, loc. cit., p. 405. 43 Wood, loc. cit., p. 154. 44 The Collected Works of William Morris, vol. XXII, London, 1914, p. 114-5. 45 See my Academies of Arts Past and Present. 46 A. V. Sugden and J. L. Edmondson: A History of English Wallpaper, London, ?1926, p. 159, etc. III HIGH Victorian Design Pages 38-95 1 The Architectural Review, LXXXI, 1937. 2 The Great Exhibition, London, 1951. 3 Library Edition, i.e. The Works of John Ruskin, edited by E. T. Cook and A. Wedderburn, London 1903-12, vol. III, p. 450. 4 'Ode sung at the Opening of the International Exhibition'. 5 See for all this Henry Cole's autobiography Fifty Years of Public Work, 1884. 6 Journal of Design and Manufactures, IV, 1850/51, p. 30. 7 T. Martin, Life of the Prince Consort, 1876, vol. 2, p. 365. 8 The Principal Speeches and Addresses of H.R.H. the Prince Consort, 1862, p. 110. 9 Life and Letters of Macaulay, 1876, vol. II, p. 210. 10 Official Descriptive and Illustrated Catalogue, vol. I, pp. 1 and 35. II Dr Giedion's Mechanization takes Command, New York, 1948, may be looked up with profit on the development of domestic and agricultural machinery in the early nineteenth century. 12 See for instance R. D. Best: Brass Chandelier, London, 1940, p. 128. 13 Past and Present. 14 The Seven Lamps of Architecture, Library Edn., vol. VIII, p. 218. Is Library Edn., vol. VIII, p. 81. 16 G. Semper: Wissenschaft, Industrie und Kunst, Brunswick, 1852. 17 Ibid., pp. 9-10. 18 R. N. Wornum in an essay to be referred to in more detail later (Art Journal Volume on the Exhibition, p. XIV***): 'These specimens of machine carvings... are quite equal to the general average of that executed wholly by hand; and when many examples of one design are required, as in church carving, the saving of labour and expense must be enormous'. 19 Library Edn., vol. VIII, p. 60. 20 According to information kindly supplied by Professor Walter Gropius he lived from 1821 to 1888 and was the son and assistant of Carl Wilhelm Gropius, a wellknown diorama painter. Paul's title later was 'Dekorationsmaler für die Königlichen Bühnen'. 21 The Builder in 1851, p. 135, illustrated a Renaissance ceiling of papier maché put up in that year at Parnell & Smith's Army & Navy Club in London. 22 Other new materials never caught on, for instance Class 26 No. 125: 'Specimen of a material produced from the mixture of moss or peat, in certain proportions, with sawdust, etc. It is subjected to a pressure of 800 tons, to make it fit for use; it then becomes hard and durable, and capable of being polished and worked'. Also 'Plastic material made from moss and lime, which has been submitted to a heat of 160 degrees without showing any crack or flaw'. 23 Giedion: Mechanization takes Command, P. 326. 24 On railway furniture and indeed on all adjustable furniture Dr Giedion's book is again to be recommended. 25 See P. F. R. Donner in The Architectural Review, XCIII, 1943. 26 See for ample details Mrs. P. Stanton's yet unpublished monumental monograph on Pugin. 27 On Wornum see Ruskin: Library Edn., vol. XVI, p. 331. 28 Appendix to the Art Journal, Exhibition volume, pp. V** and VI*** 29 How alien on the other hand the meaning of Ruskin's 'Lamp of Life' was to Wornum is crushingly proved by his remark (p. XV***) that the illumination of mediaeval manuscripts was an inordinate waste of labour over trifles'. His acceptance of machine carving quoted above (note 17) goes well with that. 30 See the next essay. 31 1851-53, plates 106 and 108. 32 Suppl. Report on Design, Reports of the Juries, 1852, pp. 725 and 717. 33 The True Principles of Pointed or Christian Architecture, 1841, p. 9. 34 Library Edn., vol. VIII, pp. 252-8. 35 Somerleyton, (illustrated in The Builder, IX, 1851, p. 363) and Preston Hall, Kent. 36 See The Builder, XIX, 1861. 37 E.g., R. Redgrave in his Suppl. Report on Design, l.c., p. 726. 38 See K. R. Towndrow: Alfred Stevens, 1939. 39 But the Art Journal volume mentions about a dozen times staff-designers of firms by name, e.g. pp. 1 (Copeland), 138, 205. 40 Art Journal, Exhibition volume, p. 159; Catalogue p. 683. 41 Art Journal, Exhibition volume, pp. 69, 74, 109, 132, 149, 161, 165, 168, 191. 42 Illustrated Journal of Design and Manufactures, vol. I, 1849, p. 11, Grüner was also responsible for the publication of the garden pavilion. It was done through John Murray's, by Command of the Queen. 43 Pp. 39, 40, 321, 328. 44 On industrial designers from 1850 to 1950, see N. Pevsner in Designers in Britain, vol. III. 45 An Apology for the Revival of Christian Architecture in England, 1843, pp. 10–11. 46 Ruskin, Seven Lamps, Library Edn., vol. VIII, p. 28, added note of 1880. 47 Ruskin, Seven Lamps, Library Edn., vol. VIII, p. 67. 48 Pugin in an unpublished letter to Hardman kindly conveyed to me by Mrs Stanton speaks of the 'glass-monster', the 'glasshorror' and the 'crystal humbug'. 49 Pp. 109-110. 50 See too Note 47 to Matthew Digby Wyatt, below. 51 On him, see D. Harbron in The Architectural Review, XCII, 1942, and P. F. R. Donner in The Architectural Review, XCIII, 1943. 52 Though G. M. Young has found it used as early as 1851, Victorian England, p. 87. 53 Library Edn., vol. VIII, p. 252. 54 Wissenschaft, Industrie und Kunst, Brunswick 1852, p. II. 55 Towndrow, op. cit., p. 97. 56 Library Edn., vol. VIII, p. 101. 57 L.c. (Note 16 above), p. 1I. 58 The Builder in 1865, p. 117 etc. has plates of modern naturalistic capitals. 59 Quoted from Y. ffrench, l.c., p. 263. 60 See N. Pevsner in The Architectural Review, LXXXVI, 1939. 61 Quoted from J. Steegman: Consort of Taste, 1830-70, 1950, p. 201. 62 Quoted from A. T. Gardner: Yankee Stonecutters, 1945, p. 28. 63 Quoted from C. H. Gibbs-Smith: The Great Exhibition, London, 1950, p. 16. 64 Journal of Design, IV, p. 1. 65 I shall quote from this Journal in the Matthew Digby Wyatt essay to which I wish to refer also for the contents of the next few pages. See also S. Giedion: Mechanization Takes Command, pp. 347 etc. Professor Giedion however attributes too much of the Journal to Cole personally. The 'wry comment' on the Match Box in the shape of a Crusader's Tomb can, e.g., not be by Cole; for the Match Box was actually one of the Summerly Art Manufactures, see H. Cole: Fifty Years of Public Work, vol. 2, p. 186. 66 I, p. 3. 67 On the schools of design see now Q. Bell, The Schools of Design, London, 1963. Mr Steegman (Consort of Taste, p. 22) quotes Sir Francis Palgrave saying of the effects of the schools (Quarterly Review, 1840): ‘A permanent glut of pseudo-art is created'. Palgrave was the first Deputy Keeper of the Records; Cole became Secretary to the Records Commission in 1833 and an Assistant Keeper in 1838. 68 Pp. 11, 1, 30, 23, 24, 23, 32, 40. 69 III, P. 88. 70 IV, p. 75. 71 I, pp. 87 and 110; III, p. 50. 72 The selling price in Parian was 3s. 6d., in ormolu 6 guineas. The beer-jug sold at 18s., the shaving-pot at 4s., 5s., or 6s. 6d., the Camellia Teapot at 16s., the bread knife at 20s. 73 I, p. 56. 74 IV, p. 15. 75 I, p. 80. 76 III, p. 175. 77 IV, p. 14, etc. 78 Ibid., P. 8. 79 Ibid., p. 11. 80 Ibid., p. 40. 81 Ibid., p. 41 (The Times, 1 July, 1851). 82 V. p. 158. 83 P. 708. 84 See F. M. Hueffer: Ford Madox Brown, London, 1896, p. 161. 85 J. W. Mackail, The Life of William Morris, World's Classics Edition, vol. I, p. 117. IV MATTHEW DIGBY WYATT Pages 96-107 I Matthew Digby Wyatt was born at Rowde, near Devizes, in 1820, died in 1877, and was buried at Usk in Monmouthshire. His father was a barrister in Ireland. He was articled to his brother, Thomas Henry (180780), travelled in France, Germany and Italy in 1844-6, and became surveyor to the East India Company in 1855. Other dates and events are mentioned in the text of the lecture. Some of his travel sketches are in the R.I.B.A. They include Rome, Paris, Arles, Paestum, Aachen, Bamberg, Würzburg, Nuremberg, Augsburg. The R.I.B.A. also has patterns for floor-tiles and designs for metalwork. 2 Sir Henry Cole: Fifty Years of Public Work, London, 1884. See the preceding essay, also the Cole Papers at the Victoria and Albert Museum. 3 'The General Bearing of the Great Exhibition on the Progress of Art and Science' in Lectures on the Results of the Great Exhibition of 1851, London, 1852, p. 1. 4 Victoria and Albert Museum V. 1, and Box 85. They also contain Wyatt's watercolours for the German Medieval Vestibule, the English Medieval Vestibule, the English Medieval Court, the French and Italian Medieval Vestibule, the Renaissance, Elizabethan and Italian Courts and the Italian Vestibule. That these water-colours are by Wyatt's hand is borne out by a water-colour of S. Benedetto at Subiaco at the Royal Institute of British Architects which also owns a set of plans, elevations, sections and perspectives for the Fern-House at Ashridge, and a timid drawing of a Gothic window, dated 1848 (and probably by a lesser Wyatt). At the Victoria and Albert Museum in addition (C. 124) designs for roofing-tiles for Messrs Maw. 5 Among sources of the motif of the continuous, round-headed arcade on short piers with foliated capitals, which was so very popular for mid-nineteenth century town premises, is, for example, the Bargello courtyard in Florence. 6 Wyatt was a good friend to Scott. He advised and backed him in his fight to get the commission for the Government Offices which include the India Office. 7 Queen Victoria in her diary under 15 April 1851 calls him—not a great architectbut 'a very intelligent architect'. 8 IV, 1850-1, pp. 10, et seq. The article is not signed but Wyatt's authorship is proved by the text to his Specimens of Ornamental Art Workmanship in Gold, Silver, Iron, Brass and Bronze, London, 1852. 9 O. Jones, The True and the False in the Decorative Arts, London, 1863 (Lectures given at the School of Practical Art in 1852), p. 14. Cf. Morris, 'The Decorative Arts are in a state of anarchy and disorganisation' (The Lesser Arts, 1877; Coll. Works, vol. XXII, p. 9). 10 Journal of Design, II, 1849-50, p. 17. Morris: 'We, if no age else, have learnt the trick of masquerading in other men's cast-off clothes' (Coll. Works, vol. XXII, p. 315). 11 O. Jones, loc. cit., p. 8. Morris on the Gothic Revivalists of the mid-nineteenth |