LEEDS ARTS CALENDAR

RESTORATION Ai D

CON S E R VAT IONof the Antique, Oriental and Occidental

A few examples of woik undertaken

BRONZES, BUHL, CERAMICS, ENAMELS, IVOI<YCARVINGS, JADES, MOTHER OI. PEARL, ORMOLU,MARBLES, OBJETS D'RT, SNUFFS, TORTOISE-SHELL

AND WORKS OF ART

Restorers to the leading Aluseums

G. GARBEFoUNDED 1770 CHARLOT TE STREET

LON DON W. I MUSeum t26tt

?96'o. 46-47Price 3/-

The Libraries and Arts Sub-CommitteeArt Gallery and?emple Newsam House

The Lord Mayor

ChairmanAlderman A. AdamsonAlderman F. H. O'Donnell, J.p.Alderman H. S. Vick, J.p.Councillor W. L. BarrettCouncillor St. John BinnsCouncillor Mrs G. BrayCouncillor P. CrottyCouncillor Mrs A. M. M. Happold, M.A.Councillor Mrs L. LyonsCouncillor A. S. Pedley, D.F.c.Councillor H. M. Waterman, Lc.a.Councillor J.T. V. Watson, LL.B.

Co-opted /V?embersLady MartinMr Quentin Bell, M.A.Mr W. T. OliverMr Eric Taylor, R.E., A.R.G.A.

DirectorMr Robert S. Rowe, M.A. A.M.A.

?he Leeds Art Collections Fund No. 46-47 xg6r

PresidentH.R.H. The Princess Royal

Vice-PresidentThe Rt Hon the Earl of Harewood

TrusteesSir Herbert Read, D.s.o. M.c.Mr W. GilchristMr C. S. Reddihough

CommitteeAlderman A. AdamsonMr George BlackMr W. T. OliverMr H. P. PeacockMr David B.RyottMr Eric Taylor

ContentsEditorial

On Patronage

On Collecting

Arts Calendar

Architectural Drawings

page 2

page 4

page 12

inset centre

page 20

Hon TreasurerMr Martin Arnold

Hon SecretaryMr Robert S. Rowe, M.A. A.M.A.

Hon. Social SecretaryMrs S. Gilchrist

All communications to be addressed to the Hon Secretaryat ?emple Ãewsam House, Leeds

Subscriptions for the Arts Calendar should be sent toThe Hon Treasurer, c/o E.J.Arnold & Son Ltd.Butterley Street, Leeds 10

3/- per issue (postage 5d.) t3/- per annum, post free

Single copies from the Art Gallery andTemple Newsam House

Editorial

All the articles in this double issue of theCalendar deal in one way or another withBritish taste in the arts. They are in thissense connected with Temple Newsam, forcountry house museums must of theirnature be museums of taste; in fact this isone of the things distinguishing them fromfolk museums which superficially —fur-nished rooms and all the rest of it—seemto perform a similar function. The greathouses opened by their owners to thepublic at certain times, are, in their turn,quite distinct for they are lived in andhuman bric-a-brac, even in the bestcircles, can never, thank goodness, be com-pletely tidied away.No, the country house museum is some-

thing which belongs to the twentiethcentury and from the curatorial point ofview, is still in the experimental stage. Thedangers are rife—a middle-course has tobe steered between the Scylla of the'museum atmosphere'nd the Charybdisof the 'imitation home'. According to themotive behind the claim it could be main-tained that, for example, Temple Newsamwas the finest possible visual aid to educa-tion or that it was simply a pleasure palaceof a particularly lavish kind. The truth isthat it is both and that many people,regarded as eccentric by some of theirfellows perhaps, enjoy being educated orperhaps one should say informed.Certain it is that people who come to

country house museums should be able tofind out what it is that they are enjoying;it can't be right, for instance, that anyoneshould go away thinking that the sedanchair they saw was an eighteenth-centurytelephone box.There are three ways of providing

information, one animate and two inani-mate—sometimes horribly so. You canhave human guides to take parties round;but there are many snags for so muchdepends on the individual, his memory,his taste, and not least his ability as araconteur. The most popular guides areoften those with the most vivid imagina-tions who regale their audiences with talesofmurder, ghosts and secret passages. It isvery hard to stop them; for it is really aquestion ofdemand and supply. Then thereis the room-to-room guide; observationwill show that many public man-hours arespent looking at the book and trying to fita description to an object. Everythingmust be described or, in the interests ofeconomy, only the most important items

which may well not be what the readeris interested in. When furniture is moved,of course, the whole thing becomes a kindof quiz to find the missing piece—notlikely to appeal to the less mobile con-noisseur. It should be added here perhapsthat the increase in the collections alonemeans that rooms must be changed; it isvery rarely that one can simply add a new

piece of furniture or a picture withoutupsetting the whole layout.The answer must surely lie in the third

alternative —labels. But it would be a kindof auctioneers'ightmare if on entering aroom everything was seen to be ticketed.The ideal solution would be for labels toappear only when wanted and it is some-thing like this that we have had thetemerity to attempt at Temple Newsam.By placing labels flat on the top of dadosfortunately most of the rooms have these

useful architectural features—and as nearthe object as possible, they cannot in factbe seen until one is close enough to readthem. Such a scheme will take time it issurprising how many things there are inthe house but one day everything willhave its label and visitors will be able toenjoy the full visual impact of each roombefore they find out the details. Indeedthey will go from the general to theparticular which is surely as it should be. ?emple Netosam House

?he?errace Room toas redecorated, and relabelled, in1960.

3

On Patronage

I.Kiveton House, adetail fromBadeslade's vieto.

In 1735, Christopher Reyner, "face-painter", lay languishing in Ouzebridgegaol at York, and in a desperation born ofhis situation, applied to "my patron"Charles, third Earl of Carlisle, the builderof Castle Howard, to intercede for hisrelease. The responsibilities of patronagerarely call for such all-embracing services,but it is true that the more one studiesEnglish art and architecture, the moreregional does it often become, and thatmany significant events and people hadtheir origins in the north. It is the purposeof this article to trace the activities of anumber of art patrons living in Yorkshirein the seventeenth and eighteenth centuries—the third Earl of Carlisle, the first DukeofLeeds, the Robinson family and WilliamWeddell of Newby. What is true for themis true to a lesser extent of the patrons (SirWilliam Wentworth among them) who

sent William Kent to study architecturein Italy and Thomas Chippendale to setup in London.The career of the 3rd Earl of Carlisle

is reasonably well defined, except in theaspect here mentioned —his travels inItaly in the late seventeenth century. Hereturned from them with objects for hiscollection and with sufficient appreciationof grand architecture to employ Sir JohnVanbrugh to build Castle Howard forhim. We examined the interior decorationof this house in detail in the previous issueof this Calendar (No. 45).The third Earl's notebook is full of

details of poets he admired and Cardinalsand other dignitaries he had met. He men-tions that Bernini had been dead some fiveyears. This would date his travels to about1690,when he was twenty-one years old.In the recent Royal Academy winter

exhibition which surveyed "The Age ofCharles II" was an imperious portrait(reproduced here) by Sir Godfrey Knellerof Thomas Osborne, first Duke of Leeds(1620—1712). The Duke was one of theleading politicians of his day, Treasurer ofEngland, Lord President of the Counciland an active supporter of the Prince ofOrange. Whilst described by contem-poraries as the "thin ill-natured ghost" and"a gentleman of admirable natural parts,great knowledge and experience... butofno reputation with any party" he amass-ed a considerable fortune and in the lateryears of his career spent large sums onbuilding and decoration. This expenditurecan be partly traced in the family docu-ments deposited in the library of theYorkshire Archaeological Society. Particu-larly is this so for his house, Kiveton (Pl. 1)which lay near to the Sheffield —Worksoproad. This was built 1694—1704, andpulled down (regrettably so, for it wouldhave been as revered as Belton or Chats-worth) about 1812.Dr. Margaret Whinney and Mr. John

Harris have each discussed various aspectsof the career of William Talman, Comp-troller of the Works to William III. Anelevation of Kiveton by Talman at thelibrary of the Royal Institute of BritishArchitects leads us to assume that theoriginal conception of Kiveton, and thesuggested list of master craftsmen to beemployed, emanated from Talman. Yet inthe many documents about the detailedbuilding of the house—it would be possiblewith a great deal of painstaking researchto establish exactly almost when each doorand window was inserted —Talman's nameis nowhere mentioned. A careful examina-tion of these documents suggests noreason for this except that many noblemenhad cause to be disappointed whenemploying him by his expensive andarrogant ways'.The responsibility of erecting the house

at Kiveton fell to Daniel Brand and hisson Daniel. His agreement and accountssurvives and sho~ that on the structure,apart from decoration, some /10,344 4s. 6d.was spent in eight or nine years. An extractof these disbursements survives and showsall the varied items needed, lead, stone

from the "home quarries", nails, ropesand ladders, "scaffolding stuff" andscaffolds, coal to burn bricks and tiles,timber (principally deal board for floor-ing), locks, hinges and so on. WilliamWillis and John Hallam, of Heath inDerbyshire, agreed to lay the floors, andJohn Chaplin, a master joiner from Londonwho had worked at Chatsworth andDyrham, agreed all the prices for hiswork in January 1697-8.Briefly, and without the lengthy pre-

amble, these were as follows (I havemodernised the spelling):"for every square yardof old wainscoat fittedup 10$d. p. sq. yardfor every square yard ofnew wainscoat withwhole deal or sht. deal 17d. p. sq. yardfor every square yard ofbead work 20d. p. sq. yardfor new bolection work(moulding) 2/- p. sq. yard"

Any wainscoat, doors, window shutters,cornices, wrought pediments or archesmade and set up were to be the subject ofseparate settlement according to theircomplexity. Chaplin was to receive g2for each journey he made from London toKiveton and the expenses of first conveyinghis workmen and tools there.Similar agreements were presumably

made with all the master craftsmenemployed, but for the remainder we onlyknow their names and the amounts theyreceived with one further exception.Laguerre's contract and drawing for theceiling paintings survives and was pub-lished4 in 1956.It is usually a feature of any impressive

late seventeenth-century house to be richlydecorated. Belton, Chatsworth, Dyrham,the Royal residences at Windsor andHampton Court spring readily to mind.To Kiveton came the craftsmen necessaryto the creation of such splendour. ThomasHighmore for painting, Louis Laguerrefor the history paintings —other than thoseover doors and in panels on the stairswhich were by Hauduroy —plasterworkby Henry Margetts, ironwork by the greatFrench smith, Jean Tijou, whose daughterwas married to Laguerre, and carved

2. Thomas Osborne, first Duke of Leeds, bySir Godfrey Kneller.Collection: The Earl of Leicester.

144 16 8206 0 6

woodwork, over the chapel altar, byJonathan Maine of Oxford, one of themost talented contemporaries of GrinlingGibbons.Within, the house must have presented

to contemporary eyes a lavish scene. Therewere twenty-four chimney pieces, that inthe great dining room being largelycomposed of rich purple marble. As atDyrham, gilt leather panels hung in thelower vestibule. Some twelve feet highand ranging in width from a foot to4 ft. 6 in. wide, they would vie for atten-tion with Maine's superb wood-carving,Laguerre's painting representing thehistory of the marriage between Psycheand Cupid, and the fifty-six paintedpanels over doors and chimney-pieces.The staircase balustrading was probablyby Tijou, as also the entrance gates shownin the detail (Pl. I ) from Badeslade'sview of the house. Tijou's "disciple",John Gardom, who worked at Chatsworth,agreed in 1700 to do the more minor iron-work, gates to kitchen gardens and soforth. As for the Duke, his personal estate"besides leases and grants, HouseholdGoods and Furniture" was valued in 1699at f41,436 9s. 10d. The payments to thecraftsmen were as follows and brought thetotal expenditure on his house, other thanfurniture, to $15,028 18s. 6d. in the years1694-1704.Surveyor-Contractor:Daniel Brand 2,693 16 11

House Painting:Thomas Highmore

Iron-work: Jean TijouHistory-Paintings:Louis Laguerre 279 7 3

Wood-Carving:Jona han Maine 103 16 0

Plasterwork:Henry Margetts 372 16 6

Stone-Cutter: James Hardy 130 4 6Joinery: John Chaplin 706 14 8Purchases of Crown Glass 47 1 0The Duke's partronage of artists and

cabinet-makers must, of course, have beena very considerable one but very fewdocumentary details of this survive. Acareful examination of his bank-accountat the Child's branch of Glyn Mills mightallow a little more detail to be provided.

For the moment, however, we do not knowthe author and cost of the fine settee andday-bed at Temple Newsam House, whichbears his ducal coronet and which wasformerly at Kiveton and Hornby Castleand presented to us in 1950 by Sir HenryPrice. Osborne was created first Duke ofLeeds in 1694, and the suite is probablywithin a year or so in date. It is illustratedin colour in the Dictionary of'nglishFurniture which describes the day-bed as"one of the most important specimens oflate Stuart furniture in existence, both onaccount of design and upholstery". Thewoodwork is of beech, painted black andgilt. The scrollwork of the cresting centreson the Duke's cypher and coronet. Thetaper legs are connected by oval stretchers.It is however the fiowered Genoa velvetof the upholstery which forms the grandfinishing touch.The Duke's "Book of Extra Payments"

c. 1701, mentions only one upholsterer,"Hibbert" s, but there is no other evidenceas yet to connect him with any of thefurniture formerly in the Duke's collection.With his wife, and his son and daughter-in-law, Lord and Lady Osborne, heattended Queen Anne's Coronation, hiringthe coronets from his banker, Sir FrancisChild, for f36 8s. 10d. His portrait waspainted by Kneller, by a follower of Lely(that now in the National Portrait Gallery)and the one by Johann Kerseboom andJan van der Vaart, signed by both artistsin 1704, is loaned to the Ministry ofWorksby the present Duke of Leeds.Peregrine, the second Duke of Leeds,

married Bridget Hyde, the step-daughterof Sir Robert Vyner, Banker and Gold-smith to Charles II. Sir Robert was one ofthe most famous members of the familywhich in the names of Aislabie and Vynerhas long been seated at Studley Royal,near Ripon. The switch-over to our nextsubject, the Robinson family, is completewhen we remember that Sir WilliamRobinson (1655—1736) married Mary Ais-labie of Studley Royal. The close connec-tions of the Newby and Studley Royalfamilies means that the relevant docu-mentation is in the two collections ofmanuscripts6.Sir William's main interest for us is his

employment of Colen Campbell to buildNewby (now Baldersby) Park, near Riponfor him in 1720—21. This much was knownfrom the plates which appeared in Camp-bell's Vilruvius Britannicus. Campbell usedas the foreman on the site William Ettyof York, who had been clerk of works toSir John Vanbrugh in the later years ofwork at Castle Howard, and at SeatonDelaval.Sir William writes on May 3rd [1720—I]

to his son Metcalfe, on whom he issettling the estate, "I shall goe to Newbyfor this summer, shall have enough troublein pulling down an old house &. buildinga Wing of a new one". On May 26th hehopes that when Metcalfe has "settled allyr matters &. discours'd Mr Cambcllabout yr Library &. Gallery you will comedown & see it finished to yr mind." Hisletter of June 2nd makes it clear that the"main house" was by Campbell, and to beleft in detail to his son's fancy, and thatthe wing which "wee are busy building"was by Etty who "assures me it will notcost above f200". Three days later hewrites again to his son "Yr house atNewby begins to appear above ground. Iam very intent on that design, having nearfifty workmen. Etty has been here all thisweek, is gone to Admirall De LavallsISeaton Delaval], to lay ye foundation ofhis house & will return next week, byTopcliff fair." The family were also knownto Vanbrugh. Mary Robinson writes toher brother from York"Mr Vanbrook is at Castle Howard. MyLrd is erecting in his Park a noblePiller* in memory of ye Duke ofMarl-borough & all his great victorys"

and a little later in the same letter, "wehave had dined here Mr Vanbrook & allye broaken officers in town...." Van-brugh probably maintained a connectionwith soldier friends, a reminder that hehad held a commission with the Earl ofHuntingdon's regiment until his appoint-ment in 1702 as Comptroller of the Works.The neighbouring estate of Newby was

sold in the middle of the eighteenthcentury to William Weddell. He it was

* The erection of this pillar in 1714-15 dates theletter.

who engaged Robert Adam to redesignand extend the house in order to provide asuitable setting for his antique sculpture,Gobelins tapestries and pictures. Weddell'sname often figures in the Robinsoncorrespondence for when he died in 1792the Newby Hall estate passed to his great-nephew, Thomas Philip Robinson, thirdLord Grantham. In March 1765, ThomasGray wrote to his friend, the Rev. WilliamPalgrave, advising him to keep a record ofthe tour of Italy he was about to undertakewith Weddell. * We have shown in aprevious issue of this Calendar that in theearly 1760's, Thomas, second LordGrantham, was on the Grand Tour inItaly and that he wrote an interestingletter contrasting the merits of thefashionable portrait-painters, PompeoBatoni and Anton Raphael Mengs. It isto this Thomas Robinson that ThomasJenkins writes in another letter, and whichdirects our attention on Weddell's acquisi-tion of his large collection of classicalstatutary. This is still at Newby Hall inthe Statue Galleries designed by RobertAdam, and decorated for the most partin stucco by Joseph Rose, junior (1746—99).Thomas Jenkins (1722—98) was living

in Rome in 1752 with the artist RichardWilson. He became a dealer and agent forEnglish collectors, and also a banker inRome. Writing to Robinson on "June the5 1765" from Rome, he says"My Good SirI had duly the honour of yours from

Newby the 3d ofDec'ast, the Drawingsent was really meant to be that whichyou desired at the Villa Albani, butsince it is not the same the right oneshall be found out, and sent to you,together with an Explanation of thatwhich you already have, as Soon asEver it can be obtained from AbateWinckelman who is the Pope's Anti-quarian, and the Cardinals Librarian:by what means I know not, but mostassuredly an Involuntary mistake, Ifind in my possession two Ivory headsby Pozzi your Property, the one repre-sents Agrippina, the other Antinous,both which shall be sent you in one ofMr Weddells Cases. When I had last

3. William Weddell,by JVathaniel Dance.Collection: MajorEdtoard Compton.

the honour of writing to you, andMentioned the Collection I had made,I then little thought the major part ofthem was destined for Newby, yourRelation Mr Weddell, who has greatJudgment and taste, and having been byyours and Mr Grants kind recommenda-tion of me to him prejudiced in myfavour, has been pleased so far to honourme with his confidence as to have pur-chased the greatest part of the Paintingsand Sculpture that I had. You may beassured I was much Interested on thisoccasion, and anxious to render theCollection respectable to be worthy ofthe Proprietor, and of you his Relationand friend who have been so essentiallyconcerned in producing the Connectionwithout which, probably nothing woudhave been done...."The remainder of the letter concerns

itself (somewhat fulsomely) with sayingthat "The most respectable objects in thisCollection" are a statue of Brutus, life-size, and as a companion to it, a "Cast ofmy Venus", both ofwhich casts he sends asgifts to Robinson. He concludes his letterwith a reference to the Barberini Venus,now at Newby:"My Venus is likewise Sold, but I haveorders not to say to whom, until shemakes her appearance in the habitationdestined for her: the obtaining permis-sion for the sending her out ofRome wasat tended with no Small difficulties,nothing less than an Express Licencefrom the Pope himself being Necessary,the which woud never have beenobtained had it not been for the for-tunate Circumstance of its being aNaked female...."This letter in Yorkshire focusses atten-

tion again on this remarkable incident—even for Jenkins—in the acquisition ofclassical statuary in Italy. From the variousauthorities —listed by Adolf Michaelis'—it appears that Gavin Hamilton discoveredthe statue in the cellars of the BarberiniPalace, and gave it to the sculptor Pacili

o A portrait group by Nathaniel Dance showingWeddell and Palgrave at Rome in 1765 is at UptonHouse, Banbury. Exh. Portrait Groups in JVationalTrust Houses. Arts Council 1960-61. (20) repr. pl. 8.

in exchange for some other marble. Pacilirestored it—a head was added, the wholebody smoothed over, and it was then soldto Jenkins for 1000 scudi. According toanother account, Jenkins bought the statuefor a hundred sequins of Hamilton direct,while it was still without a head, and hadit restored by Cavaceppi. Anyway, Jenkinsbrought the statue to light with its newhead in 1764, without stating where it hadbeen discovered, and asserted, as we learnfrom Winckelmann's letters that it hadbeen found intact. In 1765, according toCasanova, Weddell bought it for 16,000scudi (about $3,500)—according to Heynefor $6,000—but the "authorities" all differand this probably accounts for the storythat inviolable silence was promised andobserved on both sides about the price.The Customs House authorities were

conscientiously informed of all repairs, socarefully hidden from the buyer, so as tolessen the duty on the permission to exportthe treasure, the value of which was setdown in the Papal Chamberlain's ofFiceregisters as 300 scudi. These exportwarrants, dated March 27th, April 15th andMay 17, 1765, list the 19 chests full ofantiques and the Venus which John Dick,the British Consul in Genoa and Weddellsent to Newby.William Weddell died in 1792. A

splendid classical monument was erectedin Ripon Minster. The inscription de-scribes him as one " in whom every virtuethat ennobles the mind was united withevery elegance that adorns it". The sur-vival of Newby "all ornamented by MrAdam in his highest and indeed... besttaste", as the Countess of Bute wrote toher friend Mrs. Delaney confirms us inbelieving that Weddell was indeed such aman, and one of the foremost patrons ofhis time in Yorkshire.In preparing this article I am indebted

to Miss A. G. Foster, tt.A. (YorkshireArchaeological Society); to Mr. HenryVyner, and Mr. A. T. Browne, AssistantLand Agent, for help in consulting MSS.,at Studley Royal; and to Mr. M. Collinson(Leeds Reference Library, ArchivesDepartment).

10

NOTES1 Jnl. of the Warburg and Courtauld Institutes, 6

1955 and 1960.2 A list of these noblemen is given by H. M.

Colvin, Biographical Dictionarv of EnglishArchitects, 1954, p. 592.

3 Yorkshire Archaeological Society Library.Duke of Leeds MSS, Boxes, 3, 16, 32, 33 givemost of the relevant documentation for thebuilding and decoration. 7

4 Burlington Magazine, November 1956.5 Presumably John Hibbert who died in 1717.

Sir Ambrose Heal, London Furniture-Makers,1660-1860, 1956.

Leeds Reference Library, Newby Hall MSS.;Studley Royal Estate Office, Vyner MSS.,listed by the National Register of Archives.This latter source includes the Robinsoncorrespondence which refers to Campbell'swork at Newby Park, and to William Weddell,and Thomas Jenkins.

A. Michaelis Ancient Marbles in Great Britain,1882, pp. 522—34.

G.W.B.

On Collecting

"Commerce, which carries along with it the curiosities and arts of countries, as well as the riches,daily brings us something from Italy. How many valuable collections ofpictures are there establishedin England on the frequent ruins and dispersion of the finest galleries in Rome and other cities."

Horace WalPole. Introduction to Aedes Walpolianae 1743(Works, VoL 2, 1798)

It is the purpose of this article to de-scribe certain items of furniture recentlyadded to the Temple Newsam collectionsand to set them against the broad patternof patronage and taste which producedand acquired them.The recent Royal Academy exhibition

which surveyed "The Age of Charles II"enabled one to realise the superb qualityof some of the furniture produced in thelate seventeenth century. A love of richdecorative effect was encouraged in par-ticular by vogue for japanning, a mainfeature of the fine cabinet of about 1690illustrated here (Pls. 4—6).The East India Company had set the

fashion in Oriental taste by importing allsorts of Chinese and Japanese objects,including lacquer panels. Towards theend of the seventeenth century the LondonGapette frequently advertised "JappanCabinets" for sale. The term "japan" atthis time was employed without it havingany geographical significance. As so oftensince, close relations between the Courts ofEngland and France gave impetus to anynew decorative trend. Jesuit priests resi-dent in China on their missionarycampaigns, studied the art and brought thedetails back to France. Workshops forlaquage were installed at the Gobelinsfactory late in the seventeenth century.Transference of ideas was swift, so that by1703 the Yorkshire historian RalphThoresby could write "I visited Mr.Lumley, an excellent artist in manyrespect, paints excellently, japans in-comparably."

In 1688 an important "text-book" ofthis art appeared, John Stalker andGeorge Parker's Treatise on japanning andVarnishing. By studying Oriental specimensand the activities of craftsmen in Hollandworking under the aegis of the DutchEast India Company they give a coherentaccount which is still a basic work ofreference, and has ensured the book beingreprinted as recently as 1960.They explainhow the wooden cabinet was overlaid witha preparation of "whiting and parchmentsize in as many layers as deemed necessary,permitting it to drie between every wash".This was then polished and varnished (theexact procedures are listed) until thesurface is made to "glissen and relects yourface like a mirror". The ground could thenbe coloured, lampblack being chieflyused as in the case of our cabinet. The redjapan cabinets are incomparably splendidbut the matter is one of preference, andthe seventeenth-century purchaser wasoffered black, red, chestnut, "blew", olive,yellow, green and counterfeit tortoiseshelljapan.

After the coloured ground, in this caseblack, was sufficiently polished, the pictureor design was drawn on in gold-size mixedwith gum water. The parts to be in relief,on the doors in particular, were put in witha paste made from gum arabic water,mixed with whiting and sometimes thick-ened with fine sawdust. This was droppedwith a rush pencil-stick until in sufficientrelief. The raised pattern was then polishedand gilded with various metal powders,such as brass dust and green gold.

12

S

."(

.''',5

~ r,

, 7.

I1

.'K:

1 I'I'I

I.

'.":.',."..".-.",".'.",';, -- "'- -,"„",,-,",-;=.-'...='-:.'='.'--',",.',"'- ',-"'*;; --'- -: '.:"::=.'.;--,"..".

~*'„"",g~k="."'::.-i'~",

ng.'>, '0„,, r,' „',„"~ .~ cw ~ ~ a ~ . r~- — "' . se'J,

, .t

~ I II ~

'L4I5 ee.Imp @

I,

5jiiiiiiii!jliM'.": — =~. „=., " " .'."""'!jj ..

rgljjl Fj lj

mm

i Ij~

".::';,"':,:;, '.'-,:,,—,.—,.;:-;-.',-":,:-';:":I,~ 'C.5I I I~ 'I I I~Pl~ ' '

I I l@!5 j Sm 8~ SINI Igj~j gI ~I~~,'~,.IX'+~~:;, . '' jI

g ¹. 11(I'

"i"- '-'-;.ry. 'I

@Ac '„', .I I ~- ~I

" '~ ~~I

I I

":I

I I

1M—;=;.~m~Wg;. — ~5~=

~ M MIIINP

INIjkmv! ~~plI I I

I!!Ih,"==—..j~:.-..„„~~[IIE',

~BU'~ ggQI~Bljj Ak jjMS'll U ja$ 3~II I

~S MIIII 1 'N'. +~«5 IIN I

Nl FI tlag+ ljS s~ = .'. ' IIIRJl ~ ~

'..'gm)~La~+~~jI~Iiss,'',=.jjjl (j !'@)~j

Ngj0 I &,'Igf m'! j ) lm

III%1 '

amm,I.. - ~ --I~~ .~$585lj~- - —-'imi

~

I1 ll'

4

w IR lll $

eeefftlll

V~ 4

!~~INII1441

!!W'WN

IS~~I 4~~$% 'I I RR%~Elggj 1g ~1441 '~4$ j..:g 41 ftwi I44%14%

gwae II[I"M

.QK~N 44 g fl te 844 ~Mg

I41.If

444 >II -'I Itaali414mt 4~ I 4

I ~ Ii 54144"@-' =;a e crees~~4 IMMI 44 ~ I ~I4

ISN

I4 gggEll&m

IWI

——:IglilIl She;=

I444t t I I

PF I'l

4

f

1

T

t '

'

J

~ >'l'.

I'

F'

~ ' t

l

4.Cabinet, c. 1690. Black and gold lacquer panels.Purchased 1960.

I

Detail of the drawers in the cabinet.

~11 I

nr ~'ns I

,0 pahatl

6.Detail of the soft-wood cresting to the cabinet.

The cabinet is crested by a profusion ofrich carving (Pl. 6) in softwood, subse-quently gilded. French influence is shownin the lambrequin ornament beneath thebasket of flowers. The stand has an apron offoliage scrolls and scrolled cross stretchers.The finials are missing from the stretchers,but as they were always made to lift off,and carved in a soft wood they were easilybroken. This no doubt accounts for theirdisappearance.It is too fanciful perhaps to regard one

piece of furniture as indicative of an entireage, movement or taste. And yet with thegreen velvet chair from Houghton inNorfolk there is enough to conjure up thequiet squirearchy into which Sir RobertWalpole was born, and in which the set ofchairs was perfectly acceptable. To markthe completion of the house and collection,Horace Walpole presented his father with acatalogue raisonne of its treasures, entitledpedes Walpoli anae. The dedication con-cludes "could those virtuous men, yourfather and grandfather arise from yonderchurch, how would they be amazed to seethis noble edifice and spacious plantationswhere once stood their plain, homelydwelling". Walpole of course was able tocontrast what stood before with the splen-did new State Rooms largely created bythe taste and money of Sir Robert, andthe labours of, in particular, WilliamKent.In the second volume of his standard

biography of Sir Robert Walpole, Dr. J.H. Plumb has shown that Sir Robert didnot achieve success easily. Nevertheless, itwas with an income of some $2000 a yearthat he started on a political career whichnot only changed the fortunes of his familybut caused the erection and decoration ofa house which gave employment in doingso to the best craftsmen in an age accus-tomed to splendour. The walls andfurniture in the saloon are covered incrimson Utrecht velvet, the Stone Hall hasimpressive chimneypieces by Rysbrack,the plasterwork is by the best known of theItalian stuccatori, Giuseppe Artari, and theceiling paintings are by William Kent.This mention of Kent reminds us that hewas the first English architect to take aserious interest in furniture, seeking to

establish an harmonious relationshipbetween the item and its setting.Kent was employed to decorate the

interior of Houghton c. 1726—31 . It isunlikely that he had any hand in designingthe particular set of chairs we are discuss-ing. Indeed his design for a table atHoughton is dated November 1731. Weknow little enough of Kent's work infurniture designing. Very few actualdesigns for furniture by him have survived.A few were published by John Vardy inSome Designs of Mr. Inigo jones and ofMr. Ilrilliam Eent, 1744. Mr. John Harrishas recently showns that Kent derived hisideas for designing certain armchairs atHoughton from a book by Daniel Marot,published in 1703, showing details of statecoaches. "This type of borrowing andsynthesis persists through Kent's repertory...a difficulty in tracing the sources forhis style might hint that he was an originaldesigner in a similar class to AndreCharles Boulle". Mr. Harris concludeshowever that this cannot be the case.This digression has been necessary to

show that whilst it might easily be assumedthat furniture from Houghton presupposesKent's authorship such a thesis cannot beheld on grounds of style and dating for thisparticular set of chairs. We should look forthe display of Kent's contribution to thedesign of English furniture more in theside tables from Boynton Hall and inthose from Ditchley (probably made byMatthias Lock) all now at TempleNewsam House. There is here a strangedisplay ofKent's Palladian interests whichserved well for the grand State Rooms atHoughton, and reflected the

'official'aste

of the first Minister in a way thewalnut chair never could.The furniture makers of the eighteenth

century needed constantly to keep in mindthe needs of the collector. Coins, enamels,cameos, jewels, miniatures, prints, allwere gathered on the Grand Tour andprobably found their way into manysimilar cabinets to the one recentlyacquired by Leeds Art Collections Fund.Within its upper part, this cabinet,made in mahogany and dated about 1745,has thirty small drawers, and in all fiveadjustable shelves. The "architectural"

14

7.Detat'l oj'he chairshown in Pl. 8.

8.Chair, c. 1715-20.Walnut with giltenrichments.Purchased 1960.

9. Cabinet, c. 1745. Mahogany. Purchased by theLeeds ysrt Collections Fund, 1960.

treatment of the door panels and thecrisp carving combine to form an unusuallysatisfying whole. This is a piece that needscareful study to appreciate its finer points.The brass bolts securing the doors stillslide with their original precision andeach shelf moves freely in any of thehorizontal grooves.The Houghton chair was made in

walnut but this wood was too rare andtoo brittle to be used in solid constructionand furniture makers quickly discoveredin mahogany properties of lightness,durability, strength and rich colouringabsent in oak and walnut. Large quantitiesof mahogany were imported and when, in1733, Walpole removed the duty fromimported timber, the trade increased,particularly with the West Indies. TempleNewsam is fortunate in now possessingtwo pieces of furniture which date fromthe early use of this wood in England.Both are cabinets for collectors—that ofabout 1735 given by Mrs. Frank Tugwell,and the 1745 item described above. It ismahogany again which is used in the foursuperb armchairs of unusual delicacywhich were purchased for Temple NewsamHouse in January 1961, with the aid of agrant from the Victoria and AlbertMuseum. They are dated about 1760 andin the Chinese Chippendale style (Pls.11—14).We mentioned at the beginning of this

article the interest in oriental works of artand the spread of the japanning processesin Europe. As a youth, the architect SirWilliam Chambers had been in the employof the Swedish East India Company andhad visited China. He was one of the fewEuropean artists of his day who had suchan opportunity to study Chinese art. Hisdrawings, which he published in 1757 asDesigns of Chinese Buildings, Furniture,Dresses, Machines and utensils..., came at atime when intelligent interest in chinoiseriewas firmly established. Architects, cabinet-makers, chair-makers and all the dillettantistruggled to conform to prevailing tasteJ. Shebbeare in his Letters on the EnglishNation said "every chair in an apartment,the frames and glasses and tables must beChinese...." For ten years or so in themiddle of the century, struggling in com-

16

petition with Horace Walpole's belovedGothic style, this mode persisted untilboth were ousted by the neo-classicalrevival.The most prevalent of these borrowings

from the Chinese was the type of lattice-work, known as 'Chinese railing'o beseen in the back of the chair (Pl. 12) underreview. The first engraved designs for this'railing're found in William Halfpenny'sJato Designs for Chinese Temples (1750), andsimilar motifs are given in the Jato Bookof Chinese Designs (1754), by Edwards andDarley and in the first edition, also of1754, of Chippendale's celebrated TheGentlemen and Cabinet-Maker's Director. Itfound its way into the parapets of tea-tables, trays, the tops of bookcases andcabinets and applied to chairs and gardenseats. As for the Gothic style, a strikingexample is the library table which formerlybelonged to 'Single Speech'amilton, ofwhich a detail is shown for comparison.The present chairs were presumably

part of a larget set and were probably madeabout 1760 (according to the crest incor-porated in the cresting) for George Lane-Fox, who was created Lord Bingley in1762.The coronet on the chairs, having thefive leaves for Lane, rather than the usualthree, was presumably in use by adescendant of the Lanesborough family inthe female line. When the second ViscountLanesborough died in 1724, his heir washis half-sister, Frances, who married HenryFox. They had three sons, of whom theeldest, George, succeeded to the Laneproperty (principally Bramham Park,Yorks., and Harcourt House, CavendishSquare). On 22nd March, 1750—51, hetook the name of Lane before Fox by aAct of Parliament and in 1762 was raised,as stated, to the Peerage as Lord Bingley,a title previously held by his father-in-law.He died without issue in 1773 and wassucceeded by his nephew.The maker of the chairs is unknown-

the relevant family papers at LeedsReference Library give no idea of any suchpurchases. It is probable that the brasscastors were put on some years after thechairs were made. Leather wheels wereusual until the 1770's when castors, all ofbrass as these are, were available in fifteen

stock sizes. These are plate castors,secured to the square leg by three screws.The plates have been cut to fit the moreslender back legs. They are ingeniouslymade having two small wheels, in additionto the roller, which they balance andsupport as it swings its full circle. MissD. M. Norris has kindly searched theBirmingham metal-pattern books for usand reports that "Keep and Hinkley,brassfounders, of Birmingham," madecastors of this type. They do not appear inthe Birmingham directories earlier than1841.The Birmingham Reference Libraryhas a catalogue for this firm bearing thedate 1845." It would seem therefore thatthe castors were added sometime early inthe nineteenth century.The collection of furniture at Temple

Newsam, acquired over the years byjudicious purchase and often with generousgrants from such bodies as the Victoria andAlbert Museum, National Art—CollectionsFund, and the Leeds Art Collections Fund,is now at a stage where it allows compari-son and study on a scale almost unequalledin the provinces. That this should be so ina county which saw both the birth ofWilliam Kent and Thomas Chippendale,and within a few miles of the incomparableChippendale furniture at Nostell andHarewood, is a reason for justifiable pride.

10.Detail of'he cabinetshown in Pt. 9.

17

~ r

i

I %ii)$ g"=-

@IWli r

L.

il I~i

Details of recent Furniture acquisitions, mentioned inthis artie!e

1. CABINET, c. 1690Fnglish, with black and gold lacquer panels inthe Chinese taste.Carved and gilt cresting and stand.Height: 7 ft. 5< in. Length: 3 ft. 5$ in. Depth:2 ft. $ in.Coll. Acquired by the Victoria and Albert

Museum in 1927.Purchased for Temple Newsam House,1960, with the aid of a grant from theVictoria and Albert Museum.

I.it. Dictionary of English Furniture, 2nd revd.edn. 1954, repr. p. 176.

2. CHAIR, c. 1715—20English, walnut with gilt enrichments. Coveredin emerald green velvet. The Legs, hipped atseat, end in hoof feet.Height: 3 ft. 5s in. Height to seat: I ft. 6 in.Width of seat: 1 ft. 11 in (front), I ft. 6 in. (back);Depth of seat: 1 ft. 6$ in.Coll. Formerly at Houghton Hall, Norfolk.

Purchased for Temple Newsam House,1960, with the aid of a grant from theVictoria and Albert Museum.

Exh. Royal Academy, 1955—6 English Taste in theEighteenth Century No. 7.

Lit. Percy MacQuoid,?he Age of Walnut, 1938,repr. p. 194;Dictionary of English Furniture, 2nd revd.edn. 1954, repr. p. 260.

11.Armchair, c. 1760.Mahogany, toith asaddle-back seat.In the 'ChineseChippendale'tyle.Purchased 1961.

3. CABINET, c. 1745English, mahogany.The top contains two movable shelves and thirtydrawers; three shelves in lower portion.Height: 7 ft. 5$ in.; Width overall: 3 ft. 8 in.;Depth: 1 ft. 7$ in.Coll. Acquired 1960 by the Leeds Art Collections

Fund, with a sum of money donated by agroup of Leeds printers.

4. ARMCHAIRS, c. 1760. Four of a larger set.English, mahogany, with saddle-back seats.In the 'Chinese Chippendale'tyle.Height overall (without castors): 3 ft. $ in.;Height to seat: 1 ft. 5$ in.; Width of seat:1 ft. 11 in. (front), I ft. 7 in. (back); Depth ofseat: 1 ft. 7sr in.Acquired 1961 with the aid of a grant fromthe Victoria and Albert Museum.

NOTES1 Connoisseur 2"earbook, 1954

Christopher Hussey, English Country Houses,Early Georgian, 1955, p. 72; J. H. Plumb,Sir Robert Walpole, vol. 2, 1961, pp. 81—4.

2 Burlington Magazine, December 1950

G.W.B.

I e

12.Detail of the arm chair shoton in Pl. 11.

13.Detail of the Hamilton Iibrary Table.In the Gothic style. Contrast saith Pl. 12.

14.Detail of the delicate arm of the chair shown in Pl. 11.

15.The elevation of thecourtyard of the VillaGi utia, Rome.Mid-sixteenth-centurydratoing (Stockholm

Architectural Drawings

By Arnold JVoach, D.Phil.

Why should architectural drawings be ofinterest to the layman? This question,asked by a friend some time ago, opened myeyes. Why, indeed? If one has been study-ing a subject for many years the laymantends to become a shadowy figure hoveringin the background of one's thoughts. Asimple, but hardly effectual, answer wouldbe: that in the eighteenth century, manylaymen collected such drawings, togetherwith engravings and books on architecture,

and that these formed a corollary to theircollections of drawings by painters andsculptors. To this one might add that,although such amateurs preferred to callthemselves dilettanti, where architecturewas concerned, they might rather becalled active patrons.Yorkshire is a typical example of a

county where patrons took an active handwhenever they had occasion to do so. Awalk through the park at Studley Royal

20

is enough to show that Aislabie knew whatwas going on in the world of architecture.A small example ofhis activity, the Templeof Piety, shows us how active he was andshows us also that he studied earlierexamples, for this charming temple frontcould not have been built without know-ledge of Antonio Labaco's reconstructionof the Temple of Jupiter, an engravingwhich in Aislabie's day was almost twohundred years old.So much for the intellectual climate of

the eighteenth-century collector of archi-tectural drawings. He had his use for thosedrawings, for they represented an archi-tecture which was still living and not astyle that belonged to the past. But in thetwentieth century they have becomehistory and their interest is historicalwithout, however, losing an attractionwhich is more and more noticeable as timegoes on. Architectural drawings are com-ing back into fashion and there are manyreasons why this should be the case.It may have something to do with the

condition of the art market. The stock ofdrawings coming into the sale rooms isgetting thinner and new markets must fillthe gaps left by the scarcity of

artists'ketches

and the like. Another, moreimportant, reason is that we now regardarchitectural drawings no longer entirelyas material for study, whatever that maybe. They have, to a small but markeddegree, decorative qualities which fit inwith the present tendencies towardsabstraction in design.Most of the great public collections of

drawings possess at least a few boxesmarked 'architectural drawings', whichare usually a rag-bag of designs, views ofcities, ornament and other items of anoften surprising variety. There exist,however, some collections which own alittle explored field in which any amount ofdiscoveries can still be made. The UfFizi,with its hundreds of records of ancientbuildings is best known among these. TheVatican Library owns even more, arrangedaccording to Papal reigns and the names ofnoble families, as yet only partly explored.In Stockholm two vast collections, bothacquired by the Royal Family in theeighteenth century and now in the Print

Room of the State Museum, are at presentbeing catalogued and are beginning to beaccessible to scholars. One of these col-lections was brought together by anarchitect, Nicodemus Tessin, who travelledall over Europe and collected architecturaldrawings in such numbers that a visit toStockholm is essential for the student ofthe history of French architecture in thesixteenth and seventeenth centuries.Records of antiquity are assembled in theNational Library in Vienna as part of thehuge collection of an interesting, thoughshadowy, German, Philip von Stosch,diplomat, adventurer and dilettante of theearly eighteenth century.In England neither the architects nor

the amateurs fell behind. JamesGibbs'ollecteddrawings are in the Ashmolean

Museum at Oxford and contain the fruitof his travels in Italy. Here again onenotices how indiscriminately designs weremixed with views, often by importantartists and not by architects. The collectionofWilliam and John Talman is spread overmost of the Print Rooms of England, butit must have been impressive when it wasstill together as a whole.We should expect to find at Windsor

Castle, at least among architecturaldrawings, a majority of designs by Englisharchitects. Yet this is not the case. TheRoyal collections, amongst the richest inthe country, were for the greater partbrought together in the first few years ofthe reign ofGeorge III.Their provenance,however, at least where the drawings areconcerned, is mainly Italy. In fact many ofthe drawings in the collection as a whole,and particularly architectural drawings,were acquired from Italian sources in twolarge-scale acquisitions. One of thesesources was the British Consul in Venice,Joseph Smith, friend and patron ofCanaletto and other artists, who in 1762sold (in a genteel, non-commercial manner)some of his collections to the King,George III. The other was the collectionofCardinal Albani in Rome, who disposedof his numerous possessions to the King inorder to provide his daughter with a dowryfor her marriage (if indeed the lady washis daughter and the money was used forthat purpose). There is little to add to the

21

story of the transaction with Consul Smith,apart from the fact that the Royalcollection was enriched not only with alarge number of paintings, notably thoseby Canaletto, but with a vast number ofarchitectural drawings as well, records ofbuildings in Venice and other cities, andmanuscripts written and partly illustratedby Antonio Visentini.In addition to romantic suggestions,

there is more that can be said about thesale of the Albani collection to the King.The story has a proper eighteenth-century setting in which the names of twoarchitects play an important part. Jamesand Robert Adam were mainly instru-mental in the transaction; Robert dis-covered the readiness of the Cardinal tosell his possessions, James finished thetransaction with a flourish. He visitedRome in the spring of 1762, playing thepart not of an architect but of a dilettantewho travelled with a large suite of crafts-men and servants. He got permission tovisit the Cardinal's palace near theQuirinal and there got into touch with aGerman who had the official title oflibrarian and secretary to Cardinal Albani.The German's name was Johann Winckel-mann and he was the man whose book, theHistory of Art in Antiquity, was destined tosurprise the learned of Europe and tohave a lasting influence on the study notonly of the art of antiquity, but of all art,for it forms part of the basis on whichthe history of art still rests. Winckelmannwas at that time studying some of thedrawings, particularly those dealing withantique sculpture, which a little later inthe year were to go to England.This would not be the place to describe

the Albani collection as a whole as itexists in the Royal Library. The greaterpart of the drawings are artist's drawings,among which Raphel's and Michelangelo'sare the best known, but it includes worksby a great number and variety of othermasters. The drawings show us somethingof the predilections of an eighteenth-century collector, predilections peculiar tothat age.It is in fact incorrect to talk about 'a

collector', because the Albani collection asit exists now is the work of more than one

man, of more than one generation. Itcontains the effort not only of CardinalAlbani, but also several collections madeby members of his family, notably by PopeClement XI, his uncle. This, however,forms only the smaller part. The bulk wasformed by the acquisition of the life workof one of the most remarkable men whoever lived in seventeenth-century Rome,namely Cassiano dal Pozzo, the founder ofthe Papal Museum. Cassiano dal Pozzowas a nobleman from Turin who, at anearly age, became a judge in Pisa andlater moved to Rome, where he enteredthe suite of Cardinal Francesco Barberini,nephew of Pope Urban VIII. He was aman of moderate means and great intel-lectual ambition. His main field ofstudies was Roman antiquity, but, achild of his age, he found the expressionof these studies in contemporary artisticlife and, to some extent, gave a lead to theartistic life of his period. As a patron ofPoussin, who worked for him as a draughts-man, and found so much inspiration in theresult of dal Pozzo's studies, and as acollector on a wide scale of drawings bymasters of the sixteenth century and ofhis own day, he tried to bring together invisual form a panorama of Roman lifeseen through the eyes of a contemporaryof the great baroque artists ofRome.The vicissitudes of dal Pozzo's collection

resulted in the loss of the majority ofdrawings apart from those acquired byKing George III in the famous transactionof 1762, when Winckelmann was robbedof so much of the material for his ownstudies. What remains at Windsor, how-ever, is of the utmost importance and canroughly be divided into four categories:artist's drawings; records of Romansculpture and of objects of daily use inantiquity; records and designs of Romanbuildings; records and designs of buildingsof the sixteenth and seventeenth centuriesinspired by Roman buildings.There are few names among the

architects represented in the dal Pozzosection of the Albani collection whichsuggest buildings of the first rank. Yetwhat exists in this part of the Windsorcollection gives a great number of addi-tional references to the architecture of the

22

16.The Castello

Sant'ngelo,Rome, before1669.Watercolour, probablpby Carlo Fontana(Salzburg Libraryof Studies).

sixteenth and seventeenth centuries, not-ably in Italy, but not in Italy alone. It isinteresting to find also the work ofarchitects who were not of Italian origin,but who spent years of study in thatcountry. Among these is Philibert de1'Orme, the great architect of the FrenchRenaissance whose drawings, togetherwith those ofVignola, are among the mostimportant of the material provided here.Tracing the history of collections likethose of Cardinal Albani's architecturaldrawings is like finding a box inside a box.We find here, for example, the greater partof the designs made between 1690 and1710 by that prolific architect CarloFontana, who never designed a buildingwithout presenting his patron (in this caseClement XI) with a number of differentversions to chose from. He also was acollector himself and this is reflected here.Another section is represented by twovolumes inscribed by the comparativelyunknown military architect of Urbino,

Muzio Oddi. At least half of the contentsof these volumes was, again, a collectionbrought together by an architect for hisown use. This is not the place to go intodetail about the contents of the collectionof architectural drawings in the RoyalLibrary. It is enough to say that thecataloguing and arranging of such anumber (over two thousand) of disparateitems is no light task.One remark of a more general character

can, however, be made about this. Ithas become clear that there is nearlyalways a link between the collections ofarchitectural drawings which I haveenumerated at the beginning of this essayand the Albani collection at Windsor. Oneoften finds a set broken up and spread overdifferent capitals of Europe. Another moreobvious point is that when George IVgave (or is is 'sold') the old RoyalLibrary to the nation, to be placed as theKing's Library in the British Museum,some manuscripts and volumes ofdrawings

,J

s

/I II uo

23

were separated from the main part whichremained at Windsor.Another, perhaps more intriguing, fact

became evident when the library of theAdam family of architects was sold in181L A fair number of drawings andmanuscripts were bought by Sir JohnSoane and turned out later to haveoriginally belonged to the Albani collec-tion, but which had not been transferredto King George III. These items are nowin the Soane Museum in London.Architectural drawings, as has been said

before, are not always objects of beauty.They also lack the attraction of beingindividual pieces in which the hand of oneman and one man only can be recognised.

An architect's drawing was—and is inmany cases—a collective effort of thearchitect himself and his assistants. Thisinherent lack of individuality is anotherdrawback for the student of architecturaldrawings, for attribution thereby becomesa matter not of stylistic evidence so much asof intrinsic and circumstantial evidence.To identify an architectural drawing oneneeds data concerning finished buildings,even more data than one needs in identify-ing a drawing for a picture. This, however,does not diminish the significance ofarchitectural identifications. They enhancethe study of the history of architecture andprovide in most cases a rich source ofhistorical research.

24

HOLLIDAY, FIELDING a HOt,"KING LTD

Manufacturers of Artists'aselsand Educational Equipment

Picture Frame Makers

CONTRACTORS TO EDUCATIONAL AUTHORITIES

()@'„':' 3 BURLEY STREET LEEDS 3Telephone 27600

Entrust the

PACKING and REMOVALof

Antiques and Morks of ArtTO

PHONES:4I9I94374I

TURNBULLSRemoval and Storage Contractors

as7 ROUNDHAY ROADLEEDS s ESTABLISHED

I867

Published in Leeds by THE LIBRARIES AND ARTS (ART GALLERv AND TEMPLE NEWSAM HOUSE) SUB-COMMITTEEjointly with THE LEEDS ART COLLECTIONS FUNDPrinted by E.J. ARNoI.D tk SoN LTD., LEEDs 10

Cover and half-tone blocks by GLLOHRIsT BRos. LTD., LEEDs 2