The Architect of Kedleston Hall
Setting the Record Straight
It is entirely possible that no one cares about this subject except me, but that is the fun of this blog. I get to talk about subjects that you can choose to read. . . or not.
Kedleston Hall in Derbyshire is considered one of the finest “Great Houses” in England, largely because it of its unique design and exquisite interiors.
If the name, Kedleston, is not familiar maybe the picture at right will ring a bell. Kedleston is the only Great House I have ever seen that uses curving arcades to connect its two wings to the main block. As graceful as the exterior is, the interior is even more impressive. As one reviewer explains, it manages to be a comfortable home as well as an artistic masterpiece. The work is credited to Robert Adam. Today Adam is the best known late 18th century name in architecture and interior design.
Years ago, while doing research at the National Gallery of Art (DC) I was taking a break from going through their amazing collection of Rowlandson cartoons and asked to see the design books of James Paine, one of the most prominent architects of the very competitive late eighteenth century. To my surprised delight I found, in this primary source, the design for Kedleston dated significantly before Adam’s involvement in the projecet.
For years I have tried to solve this puzzle. Why is Adam credited with this masterwork when it was Paine’s design? The architects of the period had a very competitive streak and it is hard to believe that Paine would allow credit to go to someone else.
I found the answer, or enough of one to satisfy me, in a book edited by Robert Haring, then editor of HOUSE AND GARDEN magazine. The book, THE GREAT HOUSE AND FINEST ROOMS OF ENGLAND, was published in 1969 and found its way to me through my wonderful local second hand book store, Second Looks Books.
Kedleston had not one but three architects. The design that is so famous was the idea of Matthew Brettingham. According to Haring, Brettingham is “responsible for the essential structure we see today: a central block with two wings connected by curving corridors.”
The central block was completed under Brettingham’s direction before Paine took over and prepared “fresh designs” for the whole building. Haring is not specific on how Paine’s designs differed from Brettingham’s, but the next time I go to the National Gallery of Art (DC) I am going to ask if they have any of Brettingham’s work and do my own comparison.
Paine’s most famous contribution, besides the fresh design, is the North Front of the central block (the second photo above).
Adam may have gained the commission for the same reason that Paine had supplanted Brettingham: Robert Adam was the up and coming name in architecture and design. Indeed while Paine was still listed as the architect, Adam had already been commissioned to prepare designs for the interior decoration of the house. In the end Paine gave way to Adam and the two remained civil to each other despite Paine’s initial resistance and profound disappointment.
Adam is responsible for the South Front (at right below) of the central block and in a comparison of the two we see each architects interpretation of the Palladian style. The North Front by Paine is representative of the “correct” interpretation of the Palladian idea and the south front demonstrates the virtues of “movement” that gives energy to a static style.
What a relief to have that architectural question solved. By the way, the interior of Kedleston is even more impressive than the exterior. More on that next time.
If you have read all the way though you must care a little about such an esoteric question. Tell me, have you ever discovered a question in your research that has puzzled or confused you? Is there any subject you love, but is so obscure you are sure no one else is interested? I am.
It is entirely possible that no one cares about this subject except me, but that is the fun of this blog. I get to talk about subjects that you can choose to read. . . or not.
Kedleston Hall in Derbyshire is considered one of the finest “Great Houses” in England, largely because it of its unique design and exquisite interiors.
If the name, Kedleston, is not familiar maybe the picture at right will ring a bell. Kedleston is the only Great House I have ever seen that uses curving arcades to connect its two wings to the main block. As graceful as the exterior is, the interior is even more impressive. As one reviewer explains, it manages to be a comfortable home as well as an artistic masterpiece. The work is credited to Robert Adam. Today Adam is the best known late 18th century name in architecture and interior design.
Years ago, while doing research at the National Gallery of Art (DC) I was taking a break from going through their amazing collection of Rowlandson cartoons and asked to see the design books of James Paine, one of the most prominent architects of the very competitive late eighteenth century. To my surprised delight I found, in this primary source, the design for Kedleston dated significantly before Adam’s involvement in the projecet.
For years I have tried to solve this puzzle. Why is Adam credited with this masterwork when it was Paine’s design? The architects of the period had a very competitive streak and it is hard to believe that Paine would allow credit to go to someone else.
I found the answer, or enough of one to satisfy me, in a book edited by Robert Haring, then editor of HOUSE AND GARDEN magazine. The book, THE GREAT HOUSE AND FINEST ROOMS OF ENGLAND, was published in 1969 and found its way to me through my wonderful local second hand book store, Second Looks Books.
Kedleston had not one but three architects. The design that is so famous was the idea of Matthew Brettingham. According to Haring, Brettingham is “responsible for the essential structure we see today: a central block with two wings connected by curving corridors.”
The central block was completed under Brettingham’s direction before Paine took over and prepared “fresh designs” for the whole building. Haring is not specific on how Paine’s designs differed from Brettingham’s, but the next time I go to the National Gallery of Art (DC) I am going to ask if they have any of Brettingham’s work and do my own comparison.
Paine’s most famous contribution, besides the fresh design, is the North Front of the central block (the second photo above).
Adam may have gained the commission for the same reason that Paine had supplanted Brettingham: Robert Adam was the up and coming name in architecture and design. Indeed while Paine was still listed as the architect, Adam had already been commissioned to prepare designs for the interior decoration of the house. In the end Paine gave way to Adam and the two remained civil to each other despite Paine’s initial resistance and profound disappointment.
Adam is responsible for the South Front (at right below) of the central block and in a comparison of the two we see each architects interpretation of the Palladian style. The North Front by Paine is representative of the “correct” interpretation of the Palladian idea and the south front demonstrates the virtues of “movement” that gives energy to a static style.
What a relief to have that architectural question solved. By the way, the interior of Kedleston is even more impressive than the exterior. More on that next time.
If you have read all the way though you must care a little about such an esoteric question. Tell me, have you ever discovered a question in your research that has puzzled or confused you? Is there any subject you love, but is so obscure you are sure no one else is interested? I am.
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