Sir John Vanbrugh (/ˈvænbrə/; 24 January 1664 (baptised) – 26 March 1726) was an English architect and dramatist, perhaps best known as the designer of Blenheim Palace and Castle Howard. He wrote two argumentative and outspoken Restoration comedies, The Relapse (1696) and The Provoked Wife (1697), which have become enduring stage favourites but originally occasioned much controversy. He was knighted in 1714.
Vanbrugh was in many senses a radical throughout his life. As a young man and a committed Whig, he was part of the scheme to overthrow James II, put William III on the throne and protect English parliamentary democracy, and he was imprisoned by the French as a political prisoner. In his career as a playwright, he offended many sections of Restoration and 18th century society, not only by the sexual explicitness of his plays, but also by their messages in defence of women's rights in marriage. He was attacked on both counts, and was one of the prime targets of Jeremy Collier's Short View of the Immorality and Profaneness of the English Stage. In his architectural career, he created what came to be known as English Baroque. His architectural work was as bold and daring as his early political activism and marriage-themed plays, and jarred conservative opinions on the subject.
Sir John Vanbrugh
|Born||24 January 1664 (baptised)|
|Died||26 March 1726 (aged 62)|
Seaton Delaval Hall
Kings Weston House
Born in London and baptised on 24 January 1664, Vanbrugh was the fourth child (of 19), and eldest surviving son, of Giles Vanbrugh, a London cloth-merchant of Flemish-Protestant background (as evident in the name, contracted from "Van Brugh"), and his wife Elizabeth, widow of Thomas Barker (by whom Vanbrugh's mother had the first of her twenty children, Vanbrugh's elder half-sister, Elizabeth), and daughter of Sir Dudley Carleton, of Imber Court, Thames Ditton, Surrey. He grew up in Chester, where his family had been driven by either the major outbreak of the plague in London in 1665, or the Great Fire of 1666.[a] It is possible that he attended The King's School in Chester, though no records of his being a scholar there survive. Another candidate would have been the school at Ashby-de-la-Zouch, founded by Henry Hastings, 3rd Earl of Huntingdon. It was also not uncommon for boys to be sent to study at school away from home, or with a tutor.
The architectural historian Kerry Downes is sceptical of earlier historians' claims of a lower middle-class background, and writes that a 19th-century suggestion that Giles Vanbrugh was a sugar-baker has been misunderstood. "Sugar-baker" implies wealth, as the term refers not to a maker of sweets but to the owner of a sugar house, a factory for the refining of raw sugar from Barbados. Sugar refining would normally have been combined with sugar trading, which was a lucrative business. Downes' example of one sugar baker's house in Liverpool, estimated to bring in £40,000 a year in trade from Barbados, throws a new light on Vanbrugh's social background, one rather different from the picture of a backstreet Chester sweetshop as painted by Leigh Hunt in 1840 and reflected in many later accounts.
To dispel the myth of Vanbrugh's low origins, Downes took pains to explore Vanbrugh's background, closely examining the family and connexions of each of his four grandparents: Vanbrugh, Jacobs or Jacobson, Carleton, and Croft, summing up the characteristics of each line and concluding that, far from being of lower middle class origins, Vanbrugh was descended from Anglo-Flemish or Netherlandish Protestant merchants who settled in London in the 16th and 17th centuries, minor courtiers, and country gentry. The complex web of kinship Downes' research shows that Vanbrugh had ties to many of England's leading mercantile, gentry, and noble families. These ties reveal the decidedly Protestant and sometimes radical milieu out of which Vanbrugh's own political opinions came. They also gave him a very wide social network that would play a role in all sections of his career: architectural, ceremonial, dramatic, military, political, and social.
Taken in this context, though he has sometimes been viewed as an odd or unqualified appointee to the College of Arms, it is not surprising, given the social expectations of his day, that by descent his credentials for his offices there were sound. His forebears, both Flemish/Dutch and English, were armigerous, and their coats of arms can be traced in three out of four cases, revealing that Vanbrugh was of gentle descent (Jacobson, of Antwerp and London [the family of his paternal grandmother Maria daughter of Peter brother to Philip Jacobson, jeweller and financier to successive English kings, James I, and Charles I, and monied backer of the Second Virginia Company and the East India Company]; Carleton of Imber Court; Croft of Croft Castle).
After growing up in a large household in Chester (12 children of his mother's second marriage survived infancy), the question of how Vanbrugh spent the years from age 18 to 22 (after he left school) was long unanswered, with the baseless suggestion sometimes made that he had been studying architecture in France (stated as fact in the Dictionary of National Biography). In 1681 records name a 'John Vanbrugg' working for William Matthews, Giles Vanbrugh's cousin. It was not unusual for a merchant's son to follow in his father's trade and seek similar work in business, making use of family ties and connections. However, Robert Williams proved in an article in the TLS ("Vanbrugh's Lost Years", 3 September 1999) that Vanbrugh was in India for part of this period, working for the East India Company at their trading post in Surat, Gujarat where his uncle, Edward Pearce, had been Governor. However, Vanbrugh never mentioned this experience in writing. Scholars debate whether evidence of his exposure to Indian architecture can be detected in any of his architectural designs.
The picture of a well-connected youth is reinforced by the fact that Vanbrugh in January 1686 took up an officer's commission in his distant relative the Earl of Huntingdon's foot regiment. Since commissions were in the gift of the commanding officer, Vanbrugh's entry as an officer shows that he did have the kind of family network that was then essential to a young man starting out in life. Even so in August 1686 he left this position when the regiment was ordered to help garrison Guernsey.
In spite of the distant noble relatives and the lucrative sugar trade, Vanbrugh never seemed to possess any capital for business ventures (such as the Haymarket Theatre), but always had to rely on loans and backers. The fact that Giles Vanbrugh had twelve children to support and set up in life may go some way towards explaining the debts that were to plague John all his life.
Some of Vanbrugh's kinsmen – as he addressed them in his letters:
Vanbrugh's own first and second cousins included Sir Humphrey Ferrers (1652–1678), Sir Herbert Croft Bt (1652–1720), Sir Roger Cave Bt (1655–1703) and Cave's sister, wife of Sir Orlando Bridgeman Bt (1650–1701).
From 1686, Vanbrugh was working undercover, playing a role in bringing about the armed invasion by William of Orange, the deposition of James II, and the Glorious Revolution of 1689. He thus demonstrates an intense early identification with the Whig cause of parliamentary democracy, with which he was to remain affiliated all his life. Returning from bringing William messages at The Hague, Vanbrugh was arrested at Calais on a charge of espionage (which Downes concludes was trumped-up) in September 1688, two months before William invaded England. Vanbrugh remained in prison in France for four and a half years, albeit in reasonable comfort. In 1691 he requested to be moved from Calais to Vincennes, at his own expense, where his treatment deteriorated enough to suffice his writing to Louis XIV, leading to his eventual transfer to the Bastille in February 1692. This raised the profile of his case once more, finally prompting his release in November of the same year, in an exchange of political prisoners.
His life is sharply bisected by this prison experience, which he entered at age 24 and emerged from at 29, after having spent, as Downes puts it, half his adult life in captivity. It seems to have left him with a lasting distaste for the French political system but also with a taste for the comic dramatists and the architecture of France.
The often-repeated claim that Vanbrugh wrote part of his comedy The Provoked Wife in the Bastille is based on allusions in a couple of much later memoirs and is regarded with some doubt by modern scholars (see McCormick). After being released from the Bastille, he had to spend three months in Paris, free to move around but unable to leave the country, and with every opportunity to see an architecture "unparalleled in England for scale, ostentation, richness, taste and sophistication". He was allowed to return to England in April 1693; once he returned to England he joined the Navy and took part in an unsuccessful naval attack against the French at Brest. At some point in the mid-1690s, it is not known exactly when, he exchanged army life for London and the London stage.
Vanbrugh's London career was diverse and varied, comprising playwriting, architectural design, and attempts to combine these two overarching interests. His overlapping achievements and business ventures were sometimes confusing even to Vanbrugh himself.
A committed Whig, Vanbrugh was a member of the Kit-Cat Club – and particularly popular for "his colossal geniality, his great good humour, his easy-going temperament". The Club is best known today as an early 18th-century social gathering point for culturally and politically prominent Whigs, including many artists and writers (William Congreve, Joseph Addison, Godfrey Kneller) and politicians (the Duke of Marlborough, Charles Seymour, the Earl of Burlington, Thomas Pelham-Holles, Sir Robert Walpole and Richard Temple, 1st Viscount Cobham who gave Vanbrugh several architectural commissions at Stowe).
Politically, the Club promoted the Whig objectives of a strong Parliament, a limited monarchy, resistance to France, and primarily the Protestant succession to the throne. Yet the Kit-Cats always presented their club as more a matter of dining and conviviality, and this reputation has been successfully relayed to posterity. Downes suggests, however, that the Club's origins go back to before the Glorious Revolution of 1689 and that its political importance was much greater before it went public in 1700, in calmer and more Whiggish times. Downes proposes a role for an early Kit-Cat grouping in the armed invasion by William of Orange and the Glorious Revolution. Horace Walpole, son of Kit-Cat Sir Robert Walpole, claims that the respectable middle-aged Club members generally mentioned as "a set of wits" were originally "in reality the patriots that saved Britain", in other words were the active force behind the Glorious Revolution itself. Secret groups tend to be poorly documented, and this sketch of the pre-history of the Club cannot be proved. But as we have seen, young Vanbrugh was indeed in 1688 part of a secret network working for William's invasion. If the roots of the Club go back that far, it is tempting to speculate that Vanbrugh in joining the club was not merely becoming one of a convivial London "set of wits" but was also linking up with old friends and co-conspirators. A hero of the cause who had done time in French prison for it, could have been confident of a warm welcome.
In 1703, Vanbrugh started buying land and signing backers for the construction of a new theatre in Haymarket, designed by himself and managed by Vanbrugh along with Thomas Betterton and his associate William Congreve. It was intended for the use of an actors' cooperative (see The Provoked Wife below) and hoped to improve the chances of legitimate theatre in London. Theatre was under threat from more colourful types of entertainment such as opera, juggling, pantomime (introduced by John Rich), animal acts, travelling dance troupes, and famous visiting Italian singers. They also hoped to make a profit, and Vanbrugh optimistically bought up the actors' company, making himself sole owner. He was now bound to pay salaries to the actors and, as it turned out, to manage the theatre, a notorious tightrope act for which he had no experience. The often repeated rumour that the acoustics of the building Vanbrugh had designed were bad is exaggerated (see Milhous), but the more practical Congreve had become anxious to extricate himself from the project, and Vanbrugh was left spreading himself extremely thin, running a theatre and simultaneously overseeing the building of Blenheim, a project which after June 1705 often took him out of town.
Unsurprisingly under these circumstances, Vanbrugh's management of the Queen's Theatre in Haymarket showed "numerous signs of confusion, inefficiency, missed opportunities, and bad judgment". Having burned his fingers on theatre management, Vanbrugh too extricated himself, expensively, by selling the business in 1708, though without ever collecting much of the putative price. He had put a lot of money, his own and borrowed, into the theatre company, which he was never to recover. It was noted as remarkable by contemporaries that he continued to pay the actors' salaries fully and promptly while they were working for him, just as he always paid the workmen he had hired for construction work; shirking such responsibilities was close to being standard practice in early 18th century England. Vanbrugh himself never seems to have pursued those who owed him money, and throughout his life his finances can at best be described as precarious.
Vanbrugh's introduction and advancement in the College of Arms, remain controversial. On 21 June 1703 the obsolete office of Carlisle Herald was revived for Vanbrugh. This appointment was followed by a promotion to the post of Clarenceux King of Arms in March 1704. In 1725 he sold this office to Knox Ward and he told a friend he had "got leave to dispose in earnest, of a place I got in jest". His colleagues' opposition to an ill-gotten appointment ought to have been directed to Lord Carlisle, who as Deputy Earl Marshal, arranged both appointments and against whose wishes they were powerless. Vanbrugh went on to make more friends than enemies at the College, however. The pageantry of state occasions appealed to his theatrical sense, his duties were not difficult, and he appears to have performed them well. In the opinion of a modern herald and historian, although the appointment was "incongruous", he was "possibly the most distinguished man who has ever worn a herald's tabard." In May 1706 Lord Halifax and Vanbrugh—representing the octogenarian Garter King of Arms, Sir Henry St George—led a delegation to Hanover to confer the Order of the Garter on Prince George. Vaughan Hart has shown how Vanbrugh's interest in arms and heraldry found expression in, and gave meaning to, his architecture.
In 1719, at St Lawrence Church, York, Vanbrugh married Henrietta Maria Yarburgh of Heslington Hall, York, aged 26 to his 55. In spite of the age difference, this was by all accounts a happy marriage, which produced two sons. Unlike that of the rake heroes and fops of his plays, Vanbrugh's personal life was without scandal.
Vanbrugh died "of an asthma" on 26 March 1726, in the modest town house designed by him in 1703 out of the ruins of Whitehall Palace and satirised by Swift as "the goose pie". His married life, however, was mostly spent at Greenwich (then not considered part of London at all) in the house on Maze Hill now known as Vanbrugh Castle, a miniature Scottish tower house designed by Vanbrugh in the earliest stages of his career. A Grade I listed building, and formerly a RAF Boys' School, it is today divided into private apartments.
Vanbrugh arrived in London at a time of scandal and internal drama at London's only theatre company, as a long-running conflict between pinchpenny management and disgruntled actors came to a head and the actors walked out. A new comedy staged with the makeshift remainder of the company in January 1696, Colley Cibber's Love's Last Shift, had a final scene that to Vanbrugh's critical mind demanded a sequel, and even though it was his first play he threw himself into the fray by providing it.
Cibber's Love's Last Shift Colley Cibber's notorious tear-jerker Love's Last Shift, Or, Virtue Rewarded was written and staged in the eye of a theatrical storm. London's only and mismanaged theatre company, known as the United Company, had split in two in March 1695 when the senior actors began operating their own acting cooperative, and the next season was one of cutthroat rivalry between the two companies.
Cibber, an inconspicuous young actor still employed by the parent company, seized this moment of unique demand for new plays and launched his career on two fronts by writing a play with a big, flamboyant part for himself: the Frenchified fop Sir Novelty Fashion. Backed up by Cibber's own uninhibited performance, Sir Novelty delighted the audiences. In the serious part of Love's Last Shift, wifely patience is tried by an out-of-control Restoration rake husband, and the perfect wife is celebrated and rewarded in a climactic finale where the cheating husband kneels to her and expresses the depth of his repentance.
Love's Last Shift has not been staged again since the early 18th century and is read only by the most dedicated scholars, who sometimes express distaste for its businesslike combination of four explicit acts of sex and rakishness with one of sententious reform (see Hume). If Cibber indeed was deliberately attempting to appeal simultaneously to rakish and respectable Londoners, it worked: the play was a great box-office hit.
Sequel: The Relapse Vanbrugh's witty sequel The Relapse, Or, Virtue in Danger, offered to the United Company six weeks later, questions the justice of women's position in marriage at this time. He sends new sexual temptations in the way of not only the reformed husband but also the patient wife, and allows them to react in more credible and less predictable ways than in their original context, lending the flat characters from Love's Last Shift a dimension that at least some critics are willing to consider psychological (see Hume).
In a trickster subplot, Vanbrugh provides the more traditional Restoration attraction of an overly well-dressed and exquisite fop, Lord Foppington, a brilliant re-creation of Cibber's Sir Novelty Fashion in Love's Last Shift (Sir Novelty has simply in The Relapse bought himself the title of "Lord Foppington" through the corrupt system of Royal title sales). Critics of Restoration comedy are unanimous in declaring Lord Foppington "the greatest of all Restoration fops" (Dobrée), by virtue of being not merely laughably affected, but also "brutal, evil, and smart" (Hume).
The Relapse, however, came very close to not being performed at all. The United Company had lost all its senior performers, and had great difficulty in finding and keeping actors of sufficient skills for the large cast required by The Relapse. Members of that cast had to be kept from defecting to the rival actors' cooperative, had to be "seduced" (as the legal term was) back when they did defect, and had to be blandished into attending rehearsals which dragged out into ten months and brought the company to the threshold of bankruptcy. "They have no company at all", reported a contemporary letter on 19 November 1696 "and unless a new play comes out on Saturday revives their reputation, they must break". That new play, The Relapse, did turn out a tremendous success that saved the company, not least by virtue of Colley Cibber again bringing down the house with his second impersonation of Lord Foppington. "This play (the Relapse)", writes Cibber in his autobiography forty years later, "from its new and easy Turn of Wit, had great Success".
Vanbrugh's second original comedy, The Provoked Wife, followed soon after, performed by the rebel actors' company. This play is different in tone from the largely farcical The Relapse, and adapted to the greater acting skills of the rebels. Vanbrugh had good reason to offer his second play to the new company, which had got off to a brilliant start by premièring Congreve's Love for Love, the greatest London box-office success for years. The actors' cooperative boasted the established star performers of the age, and Vanbrugh tailored The Provoked Wife to their specialities. While The Relapse had been robustly phrased to be suitable for amateurs and minor acting talents, he could count on versatile professionals like Thomas Betterton, Elizabeth Barry, and the rising young star Anne Bracegirdle to do justice to characters of depth and nuance.
The Provoked Wife is a comedy, but Elizabeth Barry who played the abused wife was especially famous as a tragic actress, and for her power of "moving the passions", i.e., moving an audience to pity and tears. Barry and the younger Bracegirdle had often worked together as a tragic/comic heroine pair to bring audiences the typically tragic/comic rollercoaster experience of Restoration plays. Vanbrugh takes advantage of this schema and these actresses to deepen audience sympathy for the unhappily married Lady Brute, even as she fires off her witty ripostes. In the intimate conversational dialogue between Lady Brute and her niece Bellinda (Bracegirdle), and especially in the star part of Sir John Brute the brutish husband (Betterton), which was hailed as one of the peaks of Thomas Betterton's remarkable career, The Provoked Wife is something as unusual as a Restoration problem play. The premise of the plot, that a wife trapped in an abusive marriage might consider either leaving it or taking a lover, outraged some sections of Restoration society.
In 1698, Vanbrugh's argumentative and sexually frank plays were singled out for special attention by Jeremy Collier in his Short View of the Immorality and Profaneness of the English Stage, particularly for their failure to impose exemplary morality by appropriate rewards and punishments in the fifth act. Vanbrugh laughed at these charges and published a joking reply, where he accused the clergyman Collier of being more sensitive to unflattering portrayals of the clergy than to real irreligion. However, rising public opinion was already on Collier's side. The intellectual and sexually explicit Restoration comedy style was becoming less and less acceptable to audiences and was soon to be replaced by a drama of sententious morality. Colley Cibber's Love's Last Shift, with its reformed rake and sentimental reconciliation scene, can be seen as a forerunner of this drama.
Although Vanbrugh continued to work for the stage in many ways, he produced no more original plays. With the change in audience taste away from Restoration comedy, he turned his creative energies from original composition to dramatic adaptation/translation, theatre management, and architecture.
The precise reasons and motivations behind Vanbrugh's change in career remain unclear, but the decision was sudden enough even to be remarked upon by commentators of his time:
Swift, in this quote, suggests that Vanbrugh had no previous training in, nor studied architecture, but applied himself to the discipline whole-heartedly.
As an architect (or surveyor, as the term then was) Vanbrugh is thought to have had no formal training (see "Early life" above). To what extent Vanbrugh's exposure to contemporary French architecture during years of imprisonment in France affected him is hard to gauge, in April 1691 he was transferred to Château de Vincennes in the months he spent as a prisoner there he would have got to know the architect Louis Le Vau's grand classical work (1656–61) in the château well. On his release from prison (he was at the Bastille by then) on 22 November 1692 he spent a short time in Paris, there he would have seen much recent architecture including Les Invalides, Le Vau's Collège des Quatre-Nations and Claude Perrault's east wing of the Louvre Palace. His inexperience was compensated for by his unerring eye for perspective and detail and his close working relationship with Nicholas Hawksmoor. Hawksmoor, a former clerk of Sir Christopher Wren, was to be Vanbrugh's collaborator in many of his most ambitious projects, including Castle Howard and Blenheim. During his almost thirty years as a practising architect, Vanbrugh designed and worked on numerous buildings. More often than not his work was a rebuild or remodel, such as that of Kimbolton Castle, where Vanbrugh had to follow the instructions of his patron. Consequently these houses, which often claim Vanbrugh as their architect, do not best display his own architectural concepts and ideas. In the summer of 1699 as part of his architectural education Vanbrugh made a tour of northern England, writing to Charles Montagu, 1st Duke of Manchester, (he was still an Earl at the time) on Christmas Day of that year: 'I have seen most of the great houses in the North, as Ld Nottings (sic): Duke of Leeds Chattesworth (sic) &C.' This itinerary likely included many of the great Elizabethan houses, including: Burghley House, Wollaton Hall, Hardwick Hall & Bolsover Castle, whose use of towers, complex skylines, bow widows and other features would be reinterpreted in Vanbrugh's own buildings.
Though Vanbrugh is best known in connection with stately houses, the parlous state of London's 18th century streets did not escape his attention. It was reported in the London Journal of 16 March 1722–23:
Vanbrugh's chosen style was the baroque, which had been spreading across Europe during the 17th century, promoted by, among others, Bernini and Le Vau. The first baroque country house built in England was Chatsworth House, designed by William Talman three years before Castle Howard. In the contest for the commission of Castle Howard, the untrained and untried Vanbrugh astonishingly managed to out-charm and out-clubman the professional but less socially adept Talman and to persuade the Earl of Carlisle to give the great opportunity to him instead. Seizing it, Vanbrugh instigated European baroque's metamorphosis into a subtle, almost understated version that became known as English baroque. Four of Vanbrugh's designs act as milestones for evaluating this process:
Work on each of these projects overlapped with that on the next, providing a natural progression of thoughts and style.
Charles Howard, 3rd Earl of Carlisle, a fellow member of the Kit-Cat Club, commissioned Vanbrugh in 1699 to design his mansion, often described as England's first truly baroque building. The baroque style at Castle Howard is the most European that Vanbrugh ever used.
Castle Howard, with its immense corridors in segmental colonnades leading from the main entrance block to the flanking wings, its centre crowned by a great domed tower complete with cupola, is very much in the school of classic European baroque. It combined aspects of design that had only appeared occasionally, if at all, in English architecture: John Webb's Greenwich Palace, Wren's unexecuted design for Greenwich, which like Castle Howard was dominated by a domed centre block, and of course Talman's Chatsworth. A possible inspiration for Castle Howard was also Vaux-le-Vicomte in France
The interiors are extremely dramatic, the Great Hall rising 80 feet (24 m) into the cupola. Scagliola, and Corinthian columns abound, and galleries linked by soaring arches give the impression of an opera stage-set – doubtless the intention of the architect.
Castle Howard was acclaimed a success. This fantastical building, unparalleled in England, with its facades and roofs decorated by pilasters, statuary, and flowing ornamental carving, ensured that baroque became an overnight success. While the greater part of Castle Howard was inhabited and completed by 1709, the finishing touches were to continue for much of Vanbrugh's lifetime. The west wing was finally completed after Vanbrugh's death, to an altered design. The acclaim of the work at Castle Howard led to Vanbrugh's most famous commission, architect for Blenheim Palace.
Regarding the commission, William Talman, an already established architect and Comptroller of the King's Works had initially been the architect of choice, charging more than the Lord had thought reasonable. Vanbrugh's charm, and Talman's lack thereof, may have been enough to convince the patron to change his architect. However, it remains unknown how Vanbrugh, totally untrained and inexperienced, persuaded Earl Carlisle to grant the responsibility of architect to him. The design process began in the summer of 1699, before the end of the year the model for Castle Howard was under construction, stone was being quarried and foundations discussed.
It appears that the early drawings of the design for Castle Howard were made by Hawksmoor and in 1700 he was formally introduced by Vanbrugh into the project as draughtsman and clerk of works. Designs varied and evolved until 1702, the pair working together.
In July 1700 the King granted Vanbrugh permission to build on the ruins of Whitehall at his own expense. Brick and stone from the ruins of the Palace of Whitehall were used and the house was sited on what was the Vice-Chamberlain's lodgings. The small, two storied house is unique in design, its unconventional elevation departs from the standard of a regular elevation in one plane, with identical bays of rectangular windows. The house had 7 bays in its elevation, the central three are rusticated and the two outer bays only project on the ground floor. Instead of being terraced like other town houses of modest size, Vanbrugh's house stood on its own freely. Its size and proportions led the house to be called unflatteringly by Swift, a 'goose-pie'.
The house was demolished in 1906.
The Duke of Marlborough's forces defeated King Louis XIV's army at Blenheim, a village on the Danube in 1704. Marlborough's reward, from a grateful nation, was to be a splendid country seat, and the Duke himself chose fellow Kit-Cat John Vanbrugh to be the architect. Work began on the palace in 1705, though as Vanbrugh wasn't a trained architect he worked alongside Nicholas Hawksmoor on the project.
Blenheim Palace was conceived to be not only a grand country house, but a national monument. Consequently, the light baroque style used at Castle Howard would have been unsuitable for what is in effect a war memorial. It is in truth more of a castle, or citadel, than a palace. As it was designed as a national monument first and a comfortable family home second, Vanbrugh had many arguments with the Duchess who wanted the Palace to be a comfortable country house for her family, I made Mr. Vanbrugh my enemy by the constant disputes I had with him to prevent his extravagance As a result of these arguments Vanbrugh resigned before the palace was completed in November 1716.You have your end Madam, for I will never trouble you more Unless the Duke of Marlborough recovers so far, to shelter me from such intolerable Treatment.
The qualities of the building are best illustrated by the massive East Gate (illustration, below, left), set in the curtain wall of the service block, it has been described as resembling an impregnable entrance to a walled city. The gate, its tapering walls creating an illusion of greater height, also serves as water tower for the palace, thus confounding those of Vanbrugh's critics, such as the Duchess, who accused him of impracticability.
Blenheim, the largest non-royal domestic building in England, consists of three blocks, the centre containing the living and state rooms, and two flanking rectangular wings both built around a central courtyard: one contains the stables, and the other the kitchens, laundries, and storehouses. If Castle Howard was the first truly baroque building in England, then Blenheim Palace is the most definitive. While Castle Howard is a dramatic assembly of restless masses, Blenheim is altogether of a more solid construction, relying on tall slender windows and monumental statuary on the roofs to lighten the mass of yellow stone.
The suite of state rooms placed on the piano nobile were designed to be overpowering and magnificent displays, rather than warm, or comfortable. Cosy, middle class comfort was not the intention at Versailles, the great palace of Marlborough's foe, and it was certainly not deemed a consideration in the palace built to house the conqueror of Versailles' master.
As was common in the 18th century, personal comfort was sacrificed to perspective. Windows were to adorn the facades, as well as light the interior. Blenheim was designed as a theatre piece both externally and also from the 67 foot (20 m) high great hall, leading to the huge frescoed saloon, all designed on an axis with the 134 foot (41 m) high column of victory in the grounds, with the trees planted in the battle positions of Marlborough's soldiers. Over the south portico (illustrated right), itself a massive and dense construction of piers and columns, definitely not designed in the Palladian manner for elegant protection from the sun, a huge bust of Louis XIV is forced to look down on the splendours and rewards of his conqueror. Whether this placement and design was an ornamental feature created by Vanbrugh, or an ironic joke by Marlborough, is not known. However, as an architectural composition it is a unique example of baroque ornament.
At Blenheim, Vanbrugh developed baroque from the mere ornamental to a denser, more solid, form, where the massed stone became the ornament. The great arched gates and the huge solid portico were ornament in themselves, and the whole mass was considered rather than each facade. As the palace is still treated as an important part of English heritage, it became a World heritage site in 1987.
Kings Weston House was built between 1712 and 1719 for Edward Southwell on the site of an earlier Tudor house. A significant architectural feature is the grouping of all the chimneys into a massive arcade. The Kings Weston estate possesses one of the largest collections of buildings designed by Sir John Vanbrugh in the UK. Whilst the house and the majority of the estate buildings are still standing others have been demolished or been heavily altered. Bristol is the only UK city outside London to possess buildings designed by Vanbrugh.
On 29 April Edward Southwell wrote in his journal at Kings Weston "Upwards of 60 men preparing stones and digging the foundation of the new house" and on 16 June 1712 work formally began on building the new house by John Vanbrugh.His client, Edward Southwell, did not desire a house on a monumental scale. The result was one of Vanbrugh's smaller houses. It is also his severest in style, obtaining high architectural drama by the well judged disposition of elements that are few in number, and simple in their nature. The exterior of the house would have been at the point of completion in 1717, the date on the contract for one of the parapet vases. The interior would have been virtually complete by 1719, when the design for inlay on the stair landings was drawn up. Two of the facades have since been remodelled, by Robert Mylne, who remodelled the interior in the 1760s. The stone, which was quarried on the site, was originally ochre in colour but has weathered to an orange-pink.
The arcade formed by linking the chimneys, which rises above the roof, is a notable external feature of the building, reminiscent of the belvederes of Blenheim Palace and producing a 'castle air'. It is square in shape and open on the northeast. The current structure is the result of a rebuilding in 1968, using Bath Stone.
The entrance front, on the southwest, has a centre containing six Corinthian pilasters, with those at each side paired to produce three bays, each of which contains a round arched window. The pediment has a central lunette, and each side consists of two bays in which the windows have wide flat surrounds. There are four parapet vases. The steps originally had low flank walls perpendicular to the facade, which were removed in the later remodelling.
On the southeast facade, the centre has a Doric temple front with open pediment, which surrounds the doorway. The centre has an attic as its upper storey, topped by a blocking course with scrolled supports at each end. A design with a pediment was prepared for this front, but is thought never to have been built. Though the only decoration is the rustication on the Doric temple's pilasters, a remarkably rich effect is achieved.
The northeast and northwest facades of Vanbrugh's original design were entirely undecorated, and a consequent lack of popular appeal may be the reason why they were largely destroyed in later remodelling.
Vanbrugh's northwest facade consisted of a single flat surface, in which a Venetian window on each floor filled the central space between two shallow projections. Perhaps to improve the view down to Avonmouth, the centre was remodelled by Mylne with a canted bay window, at odds with the tautness of Vanbrugh's overall design of the house, in which all planes were parallel or perpendicular to the walls. On the northeast the wall was moved forward during nineteenth-century remodelling, destroying an aesthetically significant alignment between wall projections and the break in the roof arcade, which had been present in Vanbrugh's design.
Seaton Delaval Hall was Vanbrugh's final work, this northern, seemingly rather bleak country house is considered his finest architectural masterpiece; by this stage in his architectural career Vanbrugh was a master of baroque, he had taken this form of architecture not only beyond the flamboyant continental baroque of Castle Howard, but also past the more severe but still decorated Blenheim. Ornament was almost disguised: a recess or a pillar was not placed for support, but to create a play of light or shadow. The silhouette of the building was of equal, if not greater, importance than the interior layout. In every aspect of the house, subtlety was the keyword.
Built between 1718 and 1728 for Admiral George Delaval, it replaced the existing house on the site. It is possible that the design of Seaton Delaval was influenced by Palladio's Villa Foscari (sometimes known as "La Malcontenta"), built circa 1555. Both have rusticated facades and similar demilune windows over a non-porticoed entrance. Even the large attic gable at Villa Foscari hints at the clerestory of Seaton's great hall.
The design concept Vanbrugh drew up was similar to that employed at Castle Howard and Blenheim: a corps de logis between two flanking wings. At Seaton Delaval the wings have a centre projection of three bays, crowned by pediment, either side of which are 7 bays of sash windows above a ground floor arcade. However, Seaton Delaval was to be on a much smaller scale. Work began in 1718 and continued for ten years. The building is an advancement on the style of Blenheim, rather than the earlier Castle Howard. The principal block, or corps de logis, containing, as at Blenheim and Castle Howard, the principal state and living room, forms the centre of a three-sided court. Towers crowned by balustrades and pinnacles give the house something of what Vanbrugh called his castle air.
Seaton Delaval is one of the few houses Vanbrugh designed alone without the aid of Nicholas Hawksmoor. The sobriety of their joint work has sometimes been attributed to Hawksmoor, and yet Seaton Delaval is a very sombre house indeed. Whereas Castle Howard could successfully be set down in Dresden or Würzburg, the austerity and solidity of Seaton Delaval firmly belongs in Northumberland landscape. Vanbrugh, in the final stage in his career, was fully liberated from the rules of the architects of a generation earlier. The rustic stonework is used for the entire facade, including on the entrance facade, the pairs of twin columns supporting little more than a stone cornice. The twin columns are severe and utilitarian, and yet ornament, as they provide no structural use. This is part of the furtive quality of the baroque of Seaton Delaval: the ornamental appears as a display of strength and mass.
The likewise severe, but perfectly proportioned, garden facade has at its centre a four-columned, balcony-roofed portico. Here the slight fluting of the stone columns seems almost excessive ornament. As at Blenheim, the central block is dominated by the raised clerestory of the great hall, adding to the drama of the building's silhouette, but unlike Vanbrugh's other great houses, no statuary decorates the roof-scape here. The decoration is provided solely by a simple balustrade hiding the roof line, and chimneys disguised as finials to the balustrading of the low towers. The massing of the stone, the colonnades of the flanking wings, the heavy stonework and intricate recesses all create light and shade which is ornament in itself.
Among architects, only Vanbrugh could have taken for his inspiration one of Palladio's masterpieces, and while retaining the humanist values of the building, alter and adapt it, into a unique form of baroque unseen elsewhere in Europe.
Vanbrugh's prompt success as an architect can be attributed to his friendships with the influential of the day. No less than five of his architectural patrons were fellow members of the Kit-Cat Club. In 1702, through the influence of Charles Howard, Earl of Carlisle, Vanbrugh was appointed Comptroller of the King's Works. In 1703, he was appointed commissioner of Greenwich Hospital, which was under construction at this time, and succeeded Wren as the official architect (or Surveyor), while Hawksmoor was appointed Site Architect. Vanbrugh's small but conspicuous final changes to the nearly completed building were considered a fine interpretation of Wren's original plans and intentions. Thus what was intended as an infirmary and hostel for destitute retired sailors was transformed into a magnificent national monument. His work here is said to have impressed both Queen Anne and her government, and is directly responsible for his subsequent success.
Vanbrugh's reputation still suffers from accusations of extravagance, impracticability and a bombastic imposition of his own will on his clients. Ironically, all of these unfounded charges derive from Blenheim – Vanbrugh's selection as architect of Blenheim was never completely popular. The Duchess, the formidable Sarah Churchill, particularly wanted Sir Christopher Wren. However, eventually a warrant signed by the Earl of Godolphin, the parliamentary treasurer, appointed Vanbrugh, and outlined his remit. Sadly, nowhere did this warrant mention Queen, or Crown. This error provided the get-out clause for the state when the costs and political infighting escalated.
Though Parliament had voted funds for the building of Blenheim, no exact sum had ever been fixed upon, and certainly no provision had been made for inflation. Almost from the outset, funds had been intermittent. Queen Anne paid some of them, but with growing reluctance and lapses, following her frequent altercations with her one time best friend, Sarah, Duchess of Marlborough. After the Duchess's final argument with the Queen in 1712, all state money ceased and work came to a halt. £220,000 had already been spent and £45,000 was owing to workmen. The Marlboroughs went into exile on the continent, and did not return until after Queen Anne's death in 1714.
The day after the Queen's death the Marlboroughs returned, and were reinstated in favour at the court of the new King George I. The 64-year-old Duke now decided to complete the project at his own expense; in 1716 work restarted and Vanbrugh was left to rely entirely upon the means of the Duke of Marlborough himself. Already discouraged and upset by the reception the palace was receiving from the Whig factions, the final blow for Vanbrugh came when the Duke was incapacitated in 1717 by a severe stroke, and the thrifty (and hostile) Duchess took control. The Duchess blamed Vanbrugh entirely for the growing extravagance of the palace, and its general design: that her husband and government had approved them, she discounted. (In fairness to her, it must be mentioned that the Duke of Marlborough had contributed £60,000 to the initial cost, which, supplemented by Parliament, should have built a monumental house.) Following a meeting with the Duchess, Vanbrugh left the building site in a rage, insisting that the new masons, carpenters and craftsmen were inferior to those he had employed. The master craftsmen he had patronised, however, such as Grinling Gibbons, refused to work for the lower rates paid by the Marlboroughs. The craftsmen brought in by the Duchess, under the guidance of furniture designer James Moore, completed the work in perfect imitation of the greater masters, so perhaps there was fault and intransigence on both sides in this famed argument.
Vanbrugh was deeply distressed by the turn of events. The rows and resulting rumours had damaged his reputation, and the palace he had nurtured like a child was forbidden to him. In 1719, while the duchess was "not at home", Vanbrugh was able to view the palace in secret; but when he and his wife, with the Earl of Carlisle, visited the completed Blenheim as members of the viewing public in 1725, they were refused admission to even enter the park. The palace had been completed by Nicholas Hawksmoor.
That Vanbrugh's work at Blenheim has been the subject of criticism can largely be blamed on those, including the Duchess, who failed to understand the chief reason for its construction: to celebrate a martial triumph. In the achievement of this remit, Vanbrugh was as triumphant as was Marlborough on the field of battle.
Under this stone, reader, survey
Dead Sir John Vanbrugh's house of clay.
Lie heavy on him, Earth! For he
Laid many heavy loads on thee!
Throughout the Georgian period reaction to Vanbrugh's architecture varied. Voltaire, who visited Blenheim Palace in the autumn of 1727, described it as 'a great mass of stone with neither charm nor taste' and thought that if the apartments 'were but as spacious as the walls thick, the house would be commodious enough'.
In a letter dated 10 March 1740, the German Jacob Friedrich, Baron Bielfeld had this to say about Vanbrugh:
This building (Blenheim) has been severely censured, and I agree that it is not entirely exempt from rational censure as it is too much loaded with columns and other heavy ornaments. But if we consider that Sir John Vanbrugh was to construct a building of endless duration, that no bounds were set to expense, and that an edifice was required that should strike with awe and surprise even at a distance; the architect may be excused for having sacrificed, in some degree, the elegance of design to multiplicity of ornament. All the several parts are moreover exactly calculated, all the rules of art are well observed, and this immense fabric reminds us, on the first glance, of the majesty and state of those of Greece and ancient Rome. When we behold it a distance, it appears not as a single palace, but as an entire city. We arrive at it by a stately bridge of a single arch, and which is itself a masterpiece of architecture. I have contracted a very intimate friend ship with the son of Sir John Vanbrugh, who has lately obtained a company in the foot guards, and is a young gentleman of real merit. He has shown me, not only all the designs of his father, but also two houses of his building, one near Whitehall, and the other at Greenwich. They are indeed mere models of houses, but notwithstanding their confined situation, there are everywhere traces of a master to be discovered in their execution. The vulgar critic finds too many columns and ornaments; but the true connoisseur sees that all these ornaments are accompanied with utility, and that an inventive genius is visible in every part. This architect was likewise author of several comedies, which are indeed written in a style that is rather licentious, but at the same time are resplendent with wit and vivacity. So true it is, that genius is not confined to one subject, but wherever exercised, is equally manifest.
In 1766 Lord Stanhope described the Roman amphitheatre at Nîmes as 'Ugly and clumsy enough to have been the work of Vanbrugh if it had been in England.' In 1772 Horace Walpole described Castle Howard thus:
Nobody had informed me that I should at one view see a palace, a town, a fortified city, temples on high places, woods worthy of being each a metropolis of the Druids, vales connected to hills by other woods, the noblest lawn in the world fenced by half the horizon, and a mausoleum that would tempt one to be buried alive; in short I have seen gigantic places before, but never a sublime one.'
Walpole was not as complimentary of Blenheim, describing it as 'execrable within, without & almost all round' and went on 'a quarry of stone that looked at a distance like a great house'. In 1773 Robert Adam and James Adam in the preface to their Works in Architecture wrote that:
Sir John Vanbrugh's genius was of the first class; and, in point of movement, novelty and ingenuity, his works have not been exceeded by anything in modern times. We should certainly quote Blenheim and Castle Howard as great examples of these perfections in preference to any work of our own, or of any other modern architect; but unluckily for the reputation of this excellent artist, his taste kept no pace with his genius, and his works are so crowded with barbarisms and absurdities, and so born down by their own preposterous weight, that none but the discerning can separate their merits from their defects. In the hands of the ingenious artist, who knows how to polish and refine and bring them into use, we have always regarded his productions as rough jewels of inestimable value'.
In 1786 Sir Joshua Reynolds wrote in his 13th Discourse '...in the buildings of Vanbrugh, who was a poet as well as an architect, there is a greater display of imagination, than we shall find perhaps in any other.' In 1796 Uvedale Price described Blenheim as 'uniting in one building the beauty and magnificence of Grecian architecture, the picturesqueness of the Gothic, and the massive grandeur of a castle.' In his fifth Royal Academy lecture of 1810, Sir John Soane said that 'By studying his works the artist will acquire a bold flight of irregular fancy', calling him 'the Shakespeare of architects'. Sir Robert Smirke was less complimentary 'Heaviness was the lightest of (Vanbrugh's) faults... The Italian style...which he contrived to caricature...is apparent in all his works; he helped himself liberally to its vices, contributed many of his own, and by an unfortunate misfortune adding impurity to that which was already greatly impure, left it disgusting and often odious'. Charles Robert Cockerell had this to say about Castle Howard 'great play & charm in Hall. I could not leave it. Vast effect, movement in staircases &c. good effect of long passages on entering.'
Vanbrugh is remembered today for his vast contribution to British culture, theatre, and architecture. An immediate dramatic legacy was found among his papers after his sudden death, the three-act comedy fragment A Journey to London. Vanbrugh had told his old friend Colley Cibber that he intended in this play to question traditional marriage roles even more radically than in the plays of his youth, and end it with a marriage falling irreconcilably apart. The unfinished manuscript, today available in Vanbrugh's Collected Works, depicts a country family travelling to London and falling prey to its sharpers and temptations, while a London wife drives her patient husband to despair with her gambling and her consorting with the demi-monde of con men and half-pay officers. As with The Relapse at the outset of Vanbrugh's dramatic career, Colley Cibber again became involved, and this time he had last word. Cibber, now a successful actor-manager, completed Vanbrugh's manuscript under the title of The Provoked Husband (1728) and gave it a happy and sententious ending in which the provocative wife repents and is reconciled: a eulogy of marriage which was the opposite of Vanbrugh's declared intention to end his last and belated "Restoration comedy" with marital break-up. Cibber considered this projected outcome to be "too severe for Comedy", and such severity was in fact rarely to be seen on the English stage before Ibsen.
On the 18th century stage, Vanbrugh's Relapse and Provoked Wife were only considered possible to perform in bowdlerised versions, but as such, they remained popular. Throughout Colley Cibber's long and successful acting career, audiences continued to demand to see him as Lord Foppington in The Relapse, while Sir John Brute in The Provoked Wife became, after being an iconic role for Thomas Betterton, one of David Garrick's most famous roles. In the present day, The Relapse, now again to be seen uncut, remains a favourite play.
With the completion of Castle Howard, English baroque came into fashion overnight. It had brought together the isolated and varied instances of monumental design, by, among others, Inigo Jones and Christopher Wren. Vanbrugh thought of masses, volume and perspective in a way that his predecessors had not.
He was adept at delivering buildings for his clients, that successfully met their requirements. His reputation has suffered because of his famed disagreements with the Duchess of Marlborough, yet, one must remember his original client was the British Nation, not the Duchess, and the nation wanted a monument and celebration of victory, and that is what Vanbrugh gave the nation.
His influence on successive architects is incalculable. Nicholas Hawksmoor, Vanbrugh's friend and collaborator on so many projects continued to design many London churches for ten years after Vanbrugh's death. Vanbrugh's pupil and cousin the architect Edward Lovett Pearce rose to become one of Ireland's greatest architects. His influence in Yorkshire can also be seen in the work of the amateur architect William Wakefield who designed several buildings in the county that show Vanbrugh's influence.
Vanbrugh is commemorated throughout Britain, by inns, street names, a university college (York) and schools named in his honour. However, his greatest attribute was his versatility and ability to combine his talents. His architectural works have been described as "the architectural equivalent of the heroic play, theatrical, grandiose, a dramatic grouping of restless masses with little reference to function."
| Comptroller of the King's Works
1702 – 1726
The year 1704 in architecture involved some significant events.Blenheim Palace
Blenheim Palace (pronounced BLEN-im) is a monumental country house in Blenheim, Oxfordshire, England. It is the principal residence of the Dukes of Marlborough, and the only non-royal, non-episcopal country house in England to hold the title of palace. The palace, one of England's largest houses, was built between 1705 and 1722, and designated a UNESCO World Heritage Site in 1987.The palace is named for the 1704 Battle of Blenheim, and thus ultimately after Blindheim (also known as Blenheim) in Bavaria. It was originally intended to be a reward to John Churchill, 1st Duke of Marlborough for his military triumphs against the French and Bavarians in the War of the Spanish Succession, culminating in the Battle of Blenheim. The land was given as a gift, and construction began in 1705, with some financial support from Queen Anne. The project soon became the subject of political infighting, with the Crown cancelling further financial support in 1712, Marlborough's three-year voluntary exile to the Continent, the fall from influence of his duchy and lasting damage to the reputation of the architect Sir John Vanbrugh.
Designed in the rare, and short-lived, English Baroque style, architectural appreciation of the palace is as divided today as it was in the 1720s. It is unique in its combined use as a family home, mausoleum and national monument. The palace is notable as the birthplace and ancestral home of Sir Winston Churchill.
Following the palace's completion, it became the home of the Churchill (later Spencer-Churchill) family for the next 300 years, and various members of the family have wrought changes to the interiors, park and gardens. At the end of the 19th century, the palace was saved from ruin by funds gained from the 9th Duke of Marlborough's marriage to American railroad heiress, Consuelo Vanderbilt.Castle Howard
Castle Howard is a stately home in North Yorkshire, England, 15 miles (24 km) north of York. It is a private residence, and has been the home of the Carlisle branch of the Howard family for more than 300 years.
Castle Howard is not a true castle, but this term is also used for English country houses erected on the site of a former military castle.
It is familiar to television and film audiences as the fictional "Brideshead", both in Granada Television's 1981 adaptation of Evelyn Waugh's Brideshead Revisited and a two-hour 2008 remake for cinema. Today, it is part of the Treasure Houses of England group of heritage houses.Eastbury Park
Eastbury Park was a country estate near Tarrant Gunville in Dorset, England. It contained a large mansion designed by Sir John Vanbrugh. The mansion has not survived, but its former service wing has become a country house known as Eastbury House, a Grade I listed building.English Baroque
English Baroque is a term sometimes used to refer to the developments in English architecture that were parallel to the evolution of Baroque architecture in continental Europe between the Great Fire of London (1666) and the Treaty of Utrecht (1713).
Baroque aesthetics, whose influence was so potent in mid-17th century France, made little impact in England during the Protectorate and the first Restoration years.Sir Christopher Wren presided over the genesis of the English Baroque manner, which differed from the continental models by clarity of design and subtle taste for classicism. Following the Great Fire of London, Wren rebuilt fifty-three churches, where Baroque aesthetics are apparent primarily in dynamic structure and multiple changing views. His most ambitious work was St Paul's Cathedral (1675–1711), which bears comparison with the most effulgent domed churches of Italy and France. In this majestically proportioned edifice, the Palladian tradition of Inigo Jones is fused with contemporary continental sensibilities in masterly equilibrium. Less influential were straightforward attempts to engraft the Berniniesque vision onto British church architecture (e.g., by Thomas Archer in St. John's, Smith Square, 1728) and the contemporary mood soon shifted toward the stripped down orthodoxy of British Palladianism popularised by Colen Campbell's influential Vitruvius Britannicus.
Although Wren was also active in secular architecture, the first truly Baroque country house in England was built to a design by William Talman at Chatsworth, starting in 1687. The culmination of Baroque architectural forms comes with Sir John Vanbrugh and Nicholas Hawksmoor. Each was capable of a fully developed architectural statement, yet they preferred to work in tandem, most notably at Castle Howard (1699) and Blenheim Palace (1705). Appuldurcombe House, Isle of Wight, now in ruins, but conserved by English Heritage, must also be mentioned.Castle Howard is a flamboyant assembly of restless masses dominated by a cylindrical domed tower. Blenheim is a more solid construction, where the massed stone of the arched gates and the huge solid portico becomes the main ornament. Vanbrugh's final work was Seaton Delaval Hall (1718), a comparatively modest mansion yet unique in the structural audacity of its style. It was at Seaton Delaval that Vanbrugh, a skillful playwright, achieved the peak of Restoration drama, once again highlighting a parallel between Baroque architecture and contemporary theatre. Despite his efforts, Baroque was never truly to the English taste and well before his death in 1724 the style had lost currency in Britain.In the early 18th century, the style was associated with Toryism, the Continent and Popery by the dominant Whig aristocracy. At Wentworth Woodhouse, Thomas Watson-Wentworth and his son Thomas Watson-Wentworth, 1st Marquess of Rockingham replaced a Jacobean house with a substantial Baroque one in the 1720s, only to find fellow Whigs unimpressed. As a result, a large Palladian building was added, leaving the older one intact.Grimsthorpe Castle
Grimsthorpe Castle is a country house in Lincolnshire, England 4 miles (6.4 km) north-west of Bourne on the A151. It lies within a 3,000 acre (12 km²) park of rolling pastures, lakes, and woodland landscaped by Capability Brown. While Grimsthorpe is not a castle in the strict sense of the word, its character is massive and martial – the towers and outlying pavilions recalling the bastions of a great fortress in classical dress. Grimsthorpe has been the home of the de Eresby family since 1516. The present owner is Jane Heathcote-Drummond-Willoughby, 28th Baroness Willoughby de Eresby, granddaughter of Nancy Astor, who died at Grimsthorpe in 1964.Kimbolton Castle
Kimbolton Castle is a country house in Kimbolton, Huntingdonshire, Cambridgeshire. It was the final home of King Henry VIII's first wife, Catherine of Aragon. Originally a medieval castle but converted into a stately palace, it was the family seat of the Dukes of Manchester from 1615 until 1950. It now houses Kimbolton School.Kings Weston House
Kings Weston House (grid reference ST529771) is a historic building in Kings Weston Lane, Kingsweston, Bristol, England.Kit-Cat Club
The Kit-Cat Club (sometimes Kit-Kat Club) was an early 18th-century English club in London with strong political and literary associations, committed to the furtherance of Whig objectives, meeting at the Trumpet tavern in London, and at Water Oakley in the Berkshire countryside.
The first meetings were held at a tavern in Shire Lane (parallel with Bell Yard and now covered by the Royal Courts of Justice) run by an innkeeper called Christopher Catt. He gave his name to the mutton pies known as "Kit Cats" from which the name of the club is derived.
The club later moved to the Fountain Tavern on The Strand (now the site of Simpson's-in-the-Strand), and latterly into a room especially built for the purpose at Barn Elms, the home of the secretary Jacob Tonson. In summer, the club met at the Upper Flask, Hampstead Heath.List of works by John Vanbrugh
John Vanbrugh created many disparate works, and this is a list of many of the notable ones.
Castle Howard, c1699 (west wing designed by Sir Thomas Robinson only completed in early 19th century).
The architect's own house in Whitehall, 1700–1701, known as "Goose-pie house", demolished 1898.
The Orangery, Kensington Palace, 1704: probably a modification by Vanbrugh to a design by Hawksmoor.
Haymarket Theatre, 1704–05, has been completely rebuilt since and is now known as Her Majesty's.
Blenheim Palace, 1705–1722, stable court never completed.
Grand Bridge, Blenheim, 1708–22.
Kimbolton Castle, 1708–19, remodelled the building.
Demolished part of Audley End and designed new Grand Staircase, 1708.
Claremont House, 1708, then known as Chargate (rebuilt to the designs of Henry Holland in the 18th century).
Kings Weston House, 1710–14.
Grimsthorpe Castle, 1715–30, only the north side of the courtyard was rebuilt.
Eastbury Park, 1713–1738, completed by Roger Morris who amended Vanbrugh's design (demolished except for Kitchen Wing).
Cholmondeley Castle 1713 Vanbrugh prepared a design to rebuild the house, but it is believed not to have been executed
Great Obelisk, Castle Howard 1714
Morpeth Town Hall, 1714. (Front renewed and back replaced in 1869–70.)
The Belvedere, Claremont Landscape Garden, 1715.
Vanbrugh Castle, 1718–19, the architect's own house in Greenwich. Additionally, houses for other members of Vanbrugh's family (none of which survived beyond 1910).
Stowe, Buckinghamshire, c.1719, added north portico, also several temples and follies in the gardens (the surviving follies are: the Wolfe Obelisk (c.1720), relocated 1759; the Rotunda (1720–21) dome altered; the Lake Pavilions (c.1719) altered) up until his death.
The Temple, Eastbury Park (early 1720s) demolished
Robin Hood's Well, Yorkshire C.1720
Seaton Delaval Hall, 1720–28.
Lumley Castle, 1722, remodelling work.
Pyramid Gate, Castle Howard 1723
Walled Kitchen Garden, Claremont (c.1723)
Newcastle Pew, St George's Church, Esher, 1724.
The Bagnio (water pavilion), Eastbury Park (1725) demolished
Temple of the Four Winds, Castle Howard, 1725–8.Attributed works include:
Completion of State rooms, Hampton Court Palace, 1716–18.
Ordnance Board Building, Woolwich, 1716–20.
Chatham Dockyard Great Store House 1717, now demolished, Vanburgh or Hawksmoor were possibly involved in the design
Berwick Barracks, 1717–21.
The Brewhouse, Kings Weston House (c.1718)
Chatham Dockyard Main gate 1720, is possibly by Vanburgh or Hawksmoor
Loggia, Kings Weston House (c.1722)Nicholas Hawksmoor
Nicholas Hawksmoor (probably 1661 – 25 March 1736) was an English architect. He was a leading figure of the English Baroque style of architecture in the late-seventeenth and early-eighteenth centuries. Hawksmoor worked alongside the principal architects of the time, Christopher Wren and John Vanbrugh, and contributed to the design of some of the most notable buildings of the period, including St Paul's Cathedral, Wren's City of London churches, Blenheim Palace and Castle Howard. Part of his work has been correctly attributed to him only relatively recently, and his influence has reached several poets and authors of the twentieth century.Relapse (disambiguation)
A relapse is a recurrence of a past (typically medical) condition. It may also refer to:
Relapse Records, a record label
Relapse (Eminem album), a 2009 album by Eminem
Relapse (Ministry album), a 2012 music album by Ministry
Relapse (EP), a 2002 EP by Oceansize
The Relapse, a 1696 play by John VanbrughRestoration comedy
"Restoration comedy" is English comedy written and performed in the Restoration period from 1660 to 1710. Comedy of manners is used as a synonym of Restoration comedy. After public stage performances had been banned for 18 years by the Puritan regime, the re-opening of the theatres in 1660 signalled a renaissance of English drama. Sexually explicit language was encouraged by King Charles II (1660–1685) personally and by the rakish style of his court. Historian George Norman Clark argues:
The best-known fact about the Restoration drama is that it is immoral. The dramatists did not criticize the accepted morality about gambling, drink, love, and pleasure generally, or try, like the dramatists of our own time, to work out their own view of character and conduct. What they did was, according to their respective inclinations, to mock at all restraints. Some were gross, others delicately improper....The dramatists did not merely say anything they liked: they also intended to glory in it and to shock those who did not like it.
The socially diverse audiences included both aristocrats, their servants and hangers-on, and a substantial middle-class segment. These playgoers were attracted to the comedies by up-to-the-minute topical writing, by crowded and bustling plots, by the introduction of the first professional actresses, and by the rise of the first celebrity actors. This period saw the first professional female playwright, Aphra Behn.Seaton Delaval Hall
Seaton Delaval Hall is a Grade I listed country house in Northumberland, England. It is near the coast just north of Newcastle upon Tyne. Located between Seaton Sluice and Seaton Delaval, it was designed by Sir John Vanbrugh in 1718 for Admiral George Delaval; it is now owned by the National Trust.Seaton Delaval Hall was recently closed to visitors on account of building work. It re-opened on Saturday 16 February 2019, from Thursdays to Sundays only.Since completion of the house in 1728, it has had an unfortunate history. Neither architect nor patron lived to see its completion; it then passed through a succession of heirs, being lived in only intermittently. Most damagingly of all, in 1822 the central block was gutted by fire, and has remained an empty shell ever since.
The 18th-century gardens of the hall are Grade II* listed on the Register of Historic Parks and Gardens.The Pilgrim (play)
The Pilgrim is a late Jacobean era stage play, a comedy by John Fletcher that was originally published in the first Beaumont and Fletcher folio of 1647.
The play was acted by the King's Men; they performed it at Court in 1621 Christmas season. Since Fletcher's source for his plot, El Peregrino en su Patria (1604), a prose romance by Lope de Vega, was first translated into English in 1621 (from the French translation, not the Spanish original), the play was likely composed and premiered on the stage in that year. The cast list added to the play in the second Beaumont and Fletcher folio of 1679 includes Joseph Taylor, John Lowin, Nicholas Tooley, John Underwood, Robert Benfield, George Birch, John Thompson, and James Horn.
The Pilgrim was both revived and adapted during the Restoration era, as were many of Fletcher's plays. Sir John Vanbrugh made a prose adaptation of Fletcher's verse original that premiered at Theatre Royal, Drury Lane in 1700, with a Prologue, Epilogue, and a "secular masque" written by John Dryden shortly before his death. The actress Anne Oldfield began her stage career in this production, in the role of Alinda. Vanbrugh's adaptation was also published in 1700, with subsequent editions in 1718 and 1753 (in London), and 1788 (in Dublin).The play has attracted attention from critics for its portrayal of madmen and their keepers.The Provoked Wife
The Provoked Wife (1697) is the second original comedy written by John Vanbrugh. It made its first appearance in Lincoln's Inn Fields in May, 1697. The often-repeated claim that Vanbrugh wrote part of his comedy The Provoked Wife in the Bastille is based on allusions in a couple of much later memoirs, but is regarded with some doubt by modern scholars (see McCormick). It is different in tone from his first play, the largely farcical The Relapse, and adapted to the greater acting skills of the new company of actors chosen for its premiere, who walked out not long before in a dispute with management. The actors' cooperative boasted the established star performers of the age, and Vanbrugh tailored The Provoked Wife to their specialties. While The Relapse had been robustly phrased to be suitable for amateurs and minor acting talents, he could count on versatile professionals like Thomas Betterton, Elizabeth Barry, and the rising young star Anne Bracegirdle to do justice to characters of depth and nuance.
The Provoked Wife is a comedy, but Elizabeth Barry who played the abused wife was especially famous as a tragic actress, and for her power of "moving the passions", i.e., moving an audience to pity and tears. Barry and the younger Bracegirdle had often worked together as a tragic/comic heroine pair to bring audiences the typically tragic/comic rollercoaster experience of Restoration plays. Vanbrugh takes advantage of this schema and these actresses to deepen audience sympathy for the unhappily married Lady Brute, even as she fires off her witty ripostes. In the intimate conversational dialogue between Lady Brute and her niece Bellinda (Bracegirdle), and especially in the star part of Sir John Brute the brutish husband (Betterton), which was hailed as one of the peaks of Thomas Betterton's remarkable career, The Provoked Wife is something as unusual as a Restoration problem play. The premise of the plot, that a wife trapped in an abusive marriage might consider either leaving it or taking a lover, outraged some sections of Restoration society.The Relapse
The Relapse, or, Virtue in Danger is a Restoration comedy from 1696 written by John Vanbrugh. The play is a sequel to Colley Cibber's Love's Last Shift, or, The Fool in Fashion.
In Cibber's Love's Last Shift, a free-living Restoration rake is brought to repentance and reform by the ruses of his wife, while in The Relapse, the rake succumbs again to temptation and has a new love affair. His virtuous wife is also subjected to a determined seduction attempt, and resists with difficulty.
Vanbrugh planned The Relapse around particular actors at Drury Lane, writing their stage habits, public reputations, and personal relationships into the text. One such actor was Colley Cibber himself, who played the luxuriant fop Lord Foppington in both Love's Last Shift and The Relapse. However, Vanbrugh's artistic plans were threatened by a cutthroat struggle between London's two theatre companies, each of which was "seducing" actors from the other. The Relapse came close to being not produced at all, but the successful performance that was eventually achieved in November 1696 vindicated Vanbrugh's intentions, and saved the company from bankruptcy as well.
Unlike Love's Last Shift, which never again performed after the 1690s, The Relapse has retained its audience appeal. In the 18th century, however, its tolerant attitude towards actual and attempted adultery gradually became unacceptable to public opinion, and the original play was for a century replaced on the stage by Sheridan's moralised version A Trip to Scarborough (1777). On the modern stage, The Relapse has been established as one of the most popular Restoration comedies, valued for Vanbrugh's light, throwaway wit and the consummate acting part of Lord Foppington, a burlesque character with a dark side.United Company
The United Company was a London theatre company formed in 1682 with the merger of the King's Company and the Duke's Company.
Both the Duke's and King's Companies suffered poor attendance during the turmoil of the Popish Plot period, 1678–81. When the King's Company fell into difficulties due to mismanagement, the Duke's Company joined with them to form the United Company in 1682, managed by the Duke's Company leaders. The United Company began performances in November 1682. The King's Company theatre, the Theatre Royal in Drury Lane, was used mainly for plays, while the Duke's Dorset Garden Theatre was devoted to operas and spectaculars.
The company began performing in November 1682 at Drury Lane. In February 1685 the theatre was closed by the death of Charles II, and reopened in January 1688 under the patronage of James II. The succession of William III and Mary II in 1689 brought no Royal patronage and a decline in interest in theatre.The company formed a monopoly of theatre in London, and this left both actors and playwrights in a weak position in respect to the management. When two companies had competed, many new plays were performed each year, but with the monopoly the number dropped dramatically. Between 1675 and 1678, there were 68 new plays performed by the competing companies, during the first four seasons of the United Company, merely 19 were performed.Christopher Rich took over the management in 1693, and his methods caused a split between the players in 1694. He was described "as sly a Tyrant as ever was at the Head of a Theatre," and the senior actors including Elizabeth Barry, Thomas Betterton and Anne Bracegirdle, with twelve other players left to form their own collaborative company. Barry was one of the original patent-holders of the actors' company, which opened at Lincoln's Inn Fields with the smash hit of Congreve's Love For Love in 1695 and continued to successfully challenge the much-reduced United Company.
Architect and dramatist John Vanbrugh raised a subscription, probably amongst members of the Kit-Kat Club, offering to recover them (that is Betterton's company), therefore, to their due Estimation, a new Project was form'd of building them a stately Theatre in the Hay-Market, by Sir John Vanbrugh, for which he raised a Subscription of thirty Persons of Quality, at one hundred Pounds each, in Consideration whereof every Subscriber, for his own Life, was to be admitted to whatever Entertainments should be publickly perform'd there, without farther Payment for his Entrance. He was joined in the enterprise by his principal associate and manager William Congreve, and the actors' co-operative led by Thomas Betterton. The Queen's Theatre opened on 9 April 1705, with The Loves of Ergasto, an opera by Giacomo Greber. The first season was a failure, at which Congreve departed and Vanbrugh bought out his other partners.Vanbrugh Castle
Vanbrugh Castle is a house designed and built by John Vanbrugh for his own family, located on Maze Hill on the eastern edge of Greenwich Park in London, to the north of Blackheath, with views to the west past the Old Royal Naval College at Greenwich down to the Thames reaching as far as the Houses of Parliament.