aalu Ij:, e 4 '%~a

I

. 11 I IF

The Leeds Art CollectionsFundPresidenlThe Rt. Hon. the Earl of Halifax

Vi ce- Presi dentThe Rt. Hon. the Earl of Harewood, LL.D.

TrusteesC. S. ReddihoughGeorge Black, F.R.c.s.W. T. Oliver, M.A.

CommitleeCouncillor J. S. BinksMrs. Sheila BidgoodW. A. B. Brown, M,A.D. B. Feather, F.R.c.s.A. HaighMrs. S.M. C. TomlinsonProfessor K. S. Zinnemann, D.sc., M.D., F.R.c.pATH.

StaffDirectorRobert Rowe, c.R.E.,M.A., F.st.A.

Principal Keeper (Temple ~ervsam)Christopher Gilbert, sLA., F.M.A.

KeePer (Arl Gallery)Miranda Strickland-Constable, B.A., A.M.A.

KeePer (Lotherlon Hall)Peter Walton, B.A., A,M,A.

Keeper (Decorative Art Studies)Terry F. Friedman, rLA., pH.D.

Senior Assistant KeepersAlexander Robertson, M.A,, A.M.A.Anthony Wells-Cole, M.A., A.M.A.

Trai nee .4ssistanl KeeperVacant

Hon. TreasurerMartin Arnold, B.A.

Hon. SecretaryRobert Rowe, C.E.E.,M.A., F.M.A.

Hon. Membership SecretaryW. B. Blackburn

Hon. Social SecretaryMrs. M. A. Goldie

Conservation SupervisorsMichael SheppardRon Turner

Technical AssistantJohn Berry, B.A.

/unior Technical AssistantJohn Ellerington

SecretaryBarbara Thompson

Leisure Services Committee AdministrationJean English

The Lord MayorCouncillor J. S. Binks (Chairman)Councillor J.R. Sherwin (Deputy Chairman)Councillor B. P. AthaCouncillor E. AtkinsonCouncillor N. M. BrownCouncillor Mrs. E. G. ClarkCouncillor Mrs. M. E. FrameCouncillor B. HaydnCouncillor S. HoodCouncillor G. P. KirklandCouncillor Mrs. E. A. NashCouncillor B. NelsonCouncillor R. H. SedlerCouncillor S. SymmondsCouncillor C. A. Thompson

All communications to be addressed to theHon. Secretary at Temple Newsam House, LeedsSubscriptions for the Arls Calendar should be sent to theHon. Treasurer, c/o E. J. Arnold & Son Limited,Buttcrley Street, Leeds 10

$ 1 per annum, including postage (2 issues)Single copies 1'rom the Art Gallery, Temple Newsam Houseand Lotherton Hall, 50p each

Cover:Portrait ofMary, Lady Gascoigne by Enoch Seeman, r 7a8, oil oncanvas. Gascoigne Collection, Lolherton Hall.

Clerical AssistantsJean GannonEvelyn Race

Leeds Art Collections FundThis is an appeal to all who are interested in the Arts. TheLeeds Art Collections Fund is the source of regular funds forbuying works of art for the Leeds collection. We want moresubscribing members to give $3 or upwards each year.Why not identify yourself with the Art Gallery and TempleNewsam; receive your Arts Calendar free, receive invitations toall functions, private views and organised visits to places ofinterest, by writing for an application form to theHon. Treasurer, E. M. Arnold, Esq., Butterley Street, Leeds to

LEEDS ARTS CALENDAR MICROFILMEDStarting with the first issue published in 1947, the entireLeeds Arts Calendar is now available on microfilm. Write forinformation or send orders direct to:Xerox University MicrofilmsAnn Arbor, Michigan 48106, U.S.A.

LEEDS ARTS CALENDAR No. 77 1975

Editorial

THE GASCOIGNES AS PATRONS OF ART

Sir Edward Gascoigne, Grand Tourist Elisabeth Done

The Gascoigne Monument by Alessandro Galilei Elisabeth Eieven 13

A Present from Cambray Christopher Gilbert

Paper Houses, An Anglo-Irish Interlude Angus Taylor 25

r

I

i.(I!iIII»

It.

Tea equiPage,silver and mahogany, London, 1735,maker's mark: Paul de Lamerie.

Editorial

Because all important projects, particularly thoseinvolving building operations, take so long torealize even when things go according to planand this is an academic point for in practice theynever do the first essential before writing aneditorial is to look up previous issues to avoidsaying the same things again. Repetition is onething, rhetoric another.It can now be recorded that two indisputably

historic events have taken place within a monthof each other and no rhetoric is required toemphasise their importance. The first was theRehallowing of the reconstructed Chapel atTemple Newsam by the Bishop of Ripon onSeptember 18th. The only rider that needs to beadded to this statement is that we hope to openthe chapel, the entrance to which is from outsidethe house, to the public for some time every weekas soon as the necessary staff can be employed.The second was the opening, by the Lord Mayoron October 14th, of the new Oriental Galleryand small shop at Lotherton. Admittedly Octoberis not late spring, even in a year when seasonaldemarcations have been upset by the Italianatesummer, but the hazards leading to accomplish-ment are soon forgotten after the event. Now thesplendours of the Chinese ceramic collection areat last to be seen in carefully contrived units ofspace in which purpose-built cases, colour andbackground materials all pay homage to itssubtle richness —so the subject may now bedropped from future editorials.This Calendar is devoted mainly to the Gas-

coignes as patrons of the arts, and research intotheir history clarifies an image of one of the mostinteresting families to settle in Yorkshire manycenturies ago. It is rather like having an under-water glimpse of the size of the iceberg beneaththe visible tip represented by the collection atLotherton. One of the contributors, ElizabethDone, is an ex-student of ours and her articlestems from the dissertation she wrote for herdegree at Leeds. Another, Angus Taylor, is apost-graduate student. The first degree coursewe run in conjunction with the university hasbeen going for seven years now and is producinga crop of scholarly young people who never seemquite to leave us or the art collections perhaps

this should be put the other way round. Howeveryou say it, nothing could be more satisfying tothose who teach, all ofwhom owe a great deal tothe young minds in super condition with whichthey are constantly in contact. We hope, andcertainly intend, that these offerings will be thefirst of many made by the younger members ofthe growing Leeds arts family.

Now to acquisitions. They make a remarkablestory in a year of financial crisis, and how tiredone gets of that wretched word which is not onlyapplied, but seems to be applicable to almostany situation —another overworked word —today.The Art Galleries were faced with something of adilemma when the Calouste Gulbenkian Founda-tion, under their contemporary purchase scheme,generously offered Leeds g4,000 over a period offour years at the rate of$1,000 per annum if itcould be matched by an equal sum to be raisedlocally, in effect by Leeds City Council, over andabove its 'normal'urchase grant. Happily aGulbenkian/City partnership was arranged, forone year at least, and two purchases were made.The first was by Richard Long, one of the mostimportant young artists working in this country.His work falls into the category of 'ConceptualArt', in that he will set himself a preconceivedprogramme, and then accept whatever resultsfrom that programme, presenting the docu-mentation of the activity as the work of art. Hehas a strong feeling for landscape, especiallywhen it has ancient associations and his FiveStones —with its strong appeal to the poeticimagination —came about when he found a setof heavy boulders on a volcano in Iceland. Heset them rolling down hill and then photographedthe pattern of lines and indentations they madeacross the hillside, dictated by gravity and theterrain. The second purchase was Location byRobert Morris, the inventive and influentialAmerican sculptor. Our piece, a lead andaluminium relief, is a kind of three-dimensionaldocumentation of its own position in space.Morris is much concerned with the space occ-upied by a sculpture in relation to the viewer. InLocation his ideas are expressed in the most directpossible way, by words and adjustable numbercounters, stating the work's position on the wall,

the intellectual puzzle element being set off'ythe very satisfying design —which makes it goodto look at as well as think about. The Leeds ArtCollections Fund contributed to the purchaseof the Morris; so there was a threesome partner-ship here. The L.A.C.F. also bought, this timewith the aid of a 50 /o government grant, MartinNaylor's A I'oung Girl seated at her window, 1973.This young sculptor was born in Morley andspent some years at Batley and Leeds Colleges ofArt before going to the R.C.A.;he recently spenta year in Leeds as Gregory Fellow in Sculptureat the university. His work is expressionist inintent, concerned with private experience con-veyed in enigmatic signs and signals which areclues to feelings that the spectator can identifywith and share.A good case can be made out for maintaining

that only the artist has a right to describe his ownwork. Such a belief would certainly save us allfrom an abundance of spurious art criticism, butit is a bit unfair, for an artist's ability to talkseems to have nothing whatever to do with hisgenius or lack of it. The same applies to all othermortals too of course.How easy it is to talk of three other acquisitions

which must receive at least mention here for onecan leave the world of artistic theories and move-ments and be entirely factual. A year ago, inOctober 1974, an export licence was refused fora superb tea equipage made in 1735 by one of thegreatest silversmiths who ever worked in Britain,Paul de Lamerie. It consists of a silver mountedmahogany casket containing three caddies oneengraved with a B (black tea), another with a G(green tea) and a third, bigger than the others,with an S (sugar). There is also a cream jug,12 teaspoons, a mote spoon, a pair of sugarnippers and a pair of pistol-handled knives. Allthe pieces are of superb quality, as one wouldexpect from this maker, and the equipage seemsto be the only one to have survived complete;this circumstance makes it important not onlyas a work of art, but also as a document for thehistory of tea drinking. What better home couldbe found than Temple Newsam which, inci-dentally, had no piece by de Lamerie. Lackof space makes it necessary to cut the intervening

chapters out, but the important thing is that thestory ends happily, for with the help and patienceof the dealer concerned and a 50 /0 governmentgrant-in-aid the casket is now where it should be.Another 50 /0 government grant made it possibleto buy a pair of candelabra by Matthew Boultonof Birmingham made in white marble andormolu in the early 1770's. These are particularlyfine examples of his work and show at once whyhis metalwork was pre-eminent during the neo-classical period. The guilloche ornament roundtheir bases is echoed on the Harewood librarytable and they make excellent companions forthe pair of cassolettes made by Boulton of thesame materials and bought for the collectionsome seven years ago (illustrated in Calendar No.62 in 1968) . The tea equipage and the candelabraare both reproduced in the new booklet onTemple Newsam issued in October. This publica-tion is in itself something of a landmark: printedthroughout in full colour it brings the story, wehope in very readable and visual form, up to date.It includes, for example, two illustrations of therestored library and another of the study precinctset up on the top floor of the north wing, aliasSmithfield. Back to Lotherton for the thirdacquisition selected for editorial comment. At theDenton Park sale earlier in the year it provedpossible to buy, with the Gascoigne EndowmentFund, quite a large 'package'f costume. Thisincluded three dresses and many pairs of shoesall of early 1920 vintage, a singularly appropriateword incidentally, for they are all of exceptionalquality and therefore make a significant additionto our growing collection of 20th century fashion.Finally a note about staff. Emmeline Leary,

the trainee assistant keeper who did muchexcellent work in all three of the art museums,left in the summer after completing her two yearterm with us. She is now assistant keeper ofdecorative art at Manchester Art Galleries andit is good to think that Leeds has again played apart in launching one of its students on the careerof her choice. We all wish her well and hope tosee quite a lot of her especially as she can beclassed as a neighbour by those who do not regardthe Pennines as an unscaleable natural barrier.

Sir Edward Gascoigne, Grand TouristELISABETH DONE

Sir Edward Gascoigne, the third but eldestsurviving son of John Gascoigne and MaryWiddrington, was born at Parlington, nearAberford in Yorkshire on 9 January 1697 andsucceeded his father as 6th Baronet in 1723. Thefamily was Roman Catholic. Little is known ofEdward's education except that it was roundedoff during 1724 to 1726 by the Grand Tour. Soonafter returning to Yorkshire, he married Mary,the young heiress ofSir Francis Hungate ofnearbyHuddlestone Hall, thereby considerably in-creasing the family fortune and estates. In 1743the Gascoignes went to live at Cambrai innorthern France, perhaps on account of Mary'ill-health or because of Edward's wish to be nearhis sisters, who were nuns at the convent there.From letters written to Henry Ingram, 7thViscount Irwin of Temple Newsam', it is clearEdward was impatient to return to Parlington,a desire that was never fulfilled, as he died atCambrai on 16 May 1750 and was buried in thelocal monastery'.

Edward's Account Books for the years 1721 to1737s for the most part deal with mundanematters of estate management and social engage-ments and his Grand Tour was undoubtedly thehighpoint of an otherwise hardly eventful life.He must have sensed this would be so anddecided from the outset to record his adventuresand impressions in a travel diary.The characteristics, aims and achievements

of the Grand Tour have been widely discussedby modern writers and do not need repeatinghere.4 However, the particular circumstances ofEdward's tour should be defined. It is importantto stress that his travels belong to the earlyhistory of the Grand Tour, which in the seven-teen-twenties had only just become an integralpart of English aristocratic life and was stillthe prerogative of the wealthy. Edward wastwenty-eight when he set out from England in1724. The accepted age for such excursions, asthey were normally undertaken either as analternative or adjunct to a university education,was nearer twenty. As the eighteenth centuryprogressed and the popularity of the Grand Tourincreased, writers became obsessed with this

question of age. Many came to the conclusionthat the traveller of mature years benefitted farmore than 'raw boys'rom Continental traveland contact with foreigners of intelligence andtaste.s Edward's Diary bears this out: choicepieces of gossip which occupy so many pages oftourists'etters are entirely absent; instead theaccumulation of facts and observations on widelydiverse subjects, written for the most part inFrench and Italian, is material proof of theearnestness with which he pursued his studiesabroad. His tardiness in departing from Englandcan perhaps be explained by the Jacobite Risingin 1715 and subsequent related events: theremoval of the Old Pretender's Court to Romein 1717,his marriage and the birth of an heir, theopen support given to the Jacobite cause by thePope and many of his cardinals; all these eventsmade travelling to Italy, particularly for aRoman Catholic, a hazardous venture. TheBritish government had spies everywhere, butmore particularly in Rome, where Baron vonStosch was appointed, under the guise of anantiquary, to report on the behaviour of alltravellers.6 It is not surprising then that EdwardGascoigne, whose family had had some con-nections with the Rising,'as wary of goingabroad during these difficult years. By 1724 thesituation appeared calmer; for instance, in thefollowing year, Thomas Bentley wrote from Italythat Stosch's services were hardly required as theJacobite cause was so low.s For Edward it wasthe perfect moment to travel. He was as yetunmarried, he had recently come into a con-siderable inheritance and the Penal Code de-barred him from civil or military appointments.His aim in going abroad, like that ofmany of hiscontemporaries, was 'to enrich the mind withknowledge, to rectify the judgement, to composethe outward manners, and to form the completegentleman'.9Edward was accompanied by Dr. Henry

Bostock, who acted as companion and physician,for Edward did not enjoy good health. They wereattended by a manservant named Collin and aFrench master, Mr. Warren. This modestentourage (for it did not approach the splendour

of some English milords who traversed Italy witha veritable army of tutors, guides, servants,antiquarians, baggage and carriages) arrived atOstend on 18August 1724.After a few days spentat Cambrai, the party went on to Paris, whereEdward purchased fashionable garments, availedhimself of the services of dancing and fencingmasters and acquainted himself with Continentalcustoms. Then the towns of central and southernFrance were given a cursory inspection, theincentive, as for all Grand Tourists, being toreach Italy as soon as possible. After exploringthe north Italian towns ofMilan, Turin, Veniceand Bologna, the party reached Rome, wherethey remained for three months. Edward'sarrival was recorded by von Stosch." A visit toNaples was next on the itinerary but he left norecord of his impressions of the town which wasfor most travellers of the period the southern-most point of their journey. From Naples hesailed to Leghorn and visited Pisa, Florence andLucca. Then to an extent retracing his steps,visiting some towns for a second time, he leftItaly via the Brenner Pass, returning throughGermany and the Low Countries and arrivinghome in May 1726. He had been abroad nearlytwo years.For all the towns Edward visited, the text of

the Diary follows a general pattern. It first sumsup their external features: the size, situation andstate of houses and roads and, most important,the type of fortifications and government. Hisimpressions of Bologna may be quoted by way ofillustration: 'a large Town well built in a beautifulsituation, ye Streets handsome not only thro'emany palaces but likewise by ye Portichi[arcades] they are adorned with'. The inn, itsproprietor and food are usually commentedupon, as at Avignon, where he 'Laid att thePelican a nasty dirty house yet the best in theTown'. Particularly in southern France thesesummaries are amplified by descriptions of thenatural vegetation. Moreover, with his impend-ing responsibilities at Parlington, Edward wasanxious to understand French agriculturalmethods and consulted local landowners abouttypes of seeds, crop rotation, land prices and thefarming calendar. He tried the local delicaciesand listed the merits and prices of the regionalwines. These observations are generally con-cluded by a list of people he met, a note on withwhom he dined and who he accompanied to theopera or ball. References to contemporary

travellers and artists form one of the mostfascinating aspects of the Diary. He mentions,for instance, John Breval who, following astormy career at Cambridge and military serviceunder Marlborough, acted as tutor or 'bear-leader to many English Grand Tourists; he alsowrote plays under the name ofJohn Gay. Brevallater published an account of his travels entitledRemarks on Several Parts of Europe, 1723—6.Edward Gascoigne was a subscriber to the revised1738 edition.Acceptance into the circle of the Italian

nobility meant more than a social triumph forthe English milords; it afforded an opportunityof seeing great works of art amidst the sumptuousdecorations of palaces. Edward showed littleoriginality in the choice of works he admired;moreover, he was content merely to cataloguepaintings and sculpture without comment. As aresult much of his Diary is tedious. However,some of his remarks shed interesting light onartistic and social events of the time. For example,as we have seen, he interrupted his journey atCambrai and was probably aware that a con-gress was then being held there to reconcile theEmperor with the King of Spain, since the Diarylists the names of several diplomats who werepresent. More important is the fact that theFrench pastellist, Martin Quentin de La Tour(1704—88) was also present painting some of thesediplomats; this was accomplished with suchsuccess that the English Ambassador prevailedon him to come to England. One wonders ifEdward Gascoigne knew of this important artis-tic presence.Throughout the tour, he paid regular visits to

the opera, where he saw some leading performers:the singers, Faustina and Bernacchi, and thefamous oboe player, San Martini. Opera inEngland from around 1720 received a freshstimulus from the Italian artists who began toappear here, many actively encouraged by GrandTourists and some even returning in theirentourage. As Edward was to see Faustina andSan Martini perform again in London and York,it is conceivable that he played some part inpersuading them to come to England." In apassage devoted to the opera in Venice, Edwardobserved 'Signora Rosalba fine painter incrayons'. Rosalba Carriera (1675—1757) was anaccomplished pastellist of European stature whowas kept 'busily employed making portraits inpastel'f English Grand Tourists,'s although

apparently not of Edward. It is significant thathe mentions her in the context of music since shewas herself a notable musician.In connection with Edward's interest in

Italian opera it is worth drawing attention to hisadmiration for the work of the Bibienas. Thistalented family who designed stage sets and manyof the actual theatres throughout Italy, wasacclaimed across Europe, but Edward's repeatedreferences to them is unusual in Grand Tourliterature. For example, he wrote a lengthydescription of the villa and garden at Colorno,designed by Ferdinando Bibiena for the Duke ofParma, while those otherwise perceptive travel-lers, Edward Wright and his bear, Lord Parker,found nothing there 'so remarkable to

engage'heir

stay.'4 Edward's enthusiasm for their workmight have extended to obtaining a copy of Fer-dinando Bibiena's L'Architettura Cioile, 1711, ashe recorded in his Account Book on 22 May 1727:'Evening adjusted ye Architettura Civile'.Edward's equally sympathetic response to the

work of the Campi Family of Cremona againdistinguishes him from contemporary Englishtourists. He bought some of their prints:'Comprati gli Disegni d'una parte della ColonnaTrajana da Campi, 2F. Famiglia Sta. del Giul:Campi 2F'. Most travellers considered Cremonahad little to recommend it in the way of art andno other diary or travel book known to theauthor of this article mentions the work of theseminor, sixteenth century Mannerist painters andcertainly not in such glowing terms as to awardtheir work four stars, a tribute usually reservedfor artists of Correggio's stature.

An interesting passage in the Diary refers tothree Bolognese painters, Nunzio Ferrajuoli,Antonio Paltronieri (called Il Mirandolese) andFrancesco Monti, as collaborators in a 'paese perSigr. Swinny'. This is a reference to one of thepaintings commissioned from these artists by theBritish opera manager, Owen McSwinney be-tween 1720 and 1730, which was part of a seriesof twenty-four depicting imaginary tombs inlandscape settings dedicated to British worthies;they were executed by some of the leadingBolognese and Venetian painters of the day,including Marco and Sebastiano Ricci andAntonio Canaletto. The series was later sold tovarious British collectors.'5 Edward's reference,while it does not illuminate contemporarythought on the paintings themselves, does helpto date this important commission more

accurately to the early seventeenth-twenties andis also evidence of his interest in contemporaryartistic events.In Genoa, Edward visited a marble merchant

and wrote a lengthy and detailed account of thetypes, sizes and prices of chimneypieces, tabletops and the like. This interest was by no meansunusual: the vogue for marble table tops ledmany Grand Tourists to have pieces shippedback to England. Another popular purchase wasantique statues and copies after celebratedantique pieces, so much so that even those ofmodest means felt their journey incompletewithout some such momento to adorn theirhouse. Edward mentions in the Diary buying a'Cicero's Head'nd the Account Book recordsthe arrival at Parlington of some undesignatedmarbles, which were almost certainly thechimneypieces and marble-top tables orderedfrom the Florentine architect, AlessandroGalilei "Numismatics was Edward's particular passion

and whole sections of the Diary describeindividual coins, medals and gems in Italiancollections. Amongst the books he acquired atthis time was Bononi's Eumismata PontificumRomanorum, 1699. He also purchased 307 Con-sulary and 130 Imperial medals in Rome and'silver medals Imperial and Consulary'romCount Furrieri, a notable Milanese collector.t'n

returning to England we read of Edwardsorting and looking over 'ye consulary medals',perhaps with the intention of creating a cabineton Continental lines; none of these items havebeen traced.A particularly interesting receipt in the Diary

(Appendix A) records that Edward paid for thepriviledge of having an engraving of an antiquesarcophagus dedicated to himself and publishedin Antonio Francesco Gori's Inscriptiones antiquaein Etruriae urbibus exstantes, 1726—43 (Fig. 1).Other British tourists paid Gori for such dedica-tion plates, including Sir Thomas Derham, SirFrancis Head, Thomas Mostyn and JohnCrawley, who Edward had met in Italy, as wellas notable figures like Conyers Middleton,Daniel Wray and Consul Joseph Smith.

Edward's most important commission, madewhen he was in Rome, was for his own portrait(Fig. 2). On stylistic grounds it can be attributedto Francesco Trevisani (1656—1746),who showeda marked preference for sitters with Jacobitesympathies." Here he follows a popular format

(for instance, as used in the portrait of ThomasCoke, 1st Earl of Leicester, at Holkham Hall,1717) of placing the sitter in a Baroque settingwith ornate gilt furniture and swirling drapery.But, in other ways Edward's portrait occupiesan important place in the evolution of the GrandTour portrait, for there is already present here ahint of the new direction this portrait type wasto take. The desire by tourists to be seen in somekind ofrapport with classical ruins, in this instancethe Colosseum, has already begun to intrudeupon the interior setting. The balance betweeninterior and exterior, however, is still awkward,since Edward, seated in a rigidly frontal pose,points uncomfortably behind him. In the nextfew years this ambiguity was to be resolved: inTrevisani's own work (notably the portrait of theDuke of Beaufort at Badminton, where interiorparaphenalia has been stripped away) but more

1. Engraving from A. F. Corps Inscriptinnes antiquae inEtruriae urbibus exstantes, r 7z6—gy.

especially in the brilliant portraits of PompeoBatoni.tttSoon after returning to England, Edward

Gascoigne commissioned two more paintings.One was a portrait miniature of himself (Fig. 3).A piece of paper inserted into the Account Bookreveals that on 2 November 1726, he paid 'Zinkfor picture 7-7-0'nd that he was 'to give 8-8-0more'. On 17November he paid for an 'EnamelldPicture of Zinke 25-15-0, Setting 4-10-0, To MrGibson for Box for my picture 0-8-0'. Since hisarrival from Dresden in 1706, Christian FrederichZincke (1684—1767) had quickly established areputation in English royal and aristocraticcircles for his enamel miniatures. Andre Rouquet,who imitated his style with considerable success,commended Zincke's careful study ofthe chemicalproperties of colours and grounds 'without whichhis portraits would never have had that freedom,that freshness, and that strength, which rendersthem so natural, and which constitutes theprincipal merit of his works'.au

2. Portrait of Sir Edward Gascoigne by Francesco Trevisani, s7ay—6, oil on canvas. Gascoigne Collection, Lotherton Hall.

The other commission was a portrait of hiswife, Mary (Cover). Whilst in London in thespring of 1728, she sat for Enoch Seeman (1694—1744). Work was evidently finished by 10 Juneof that year, when Edward paid 'Zemon for mywife's picture 10-10-0'Account Book). This wasprobably intended as a companion to theTrevisani portrait since they accord in size, in thepose of the sitter and in such details as the designof the chair and table. In the seventeen-twentiesSeeman was a fashionable artist who hadsecured royal partonage although his work wasinexpensive; the diarist, George Vertue recordedthat 'his price not much, but as he could

get'.2'uring

the same trip to London, Edward paidof visit to 'Grisbock Statuary &. Gu[ss P]et'.'Grisbock's probably a corruption of JohnMichael Rysbrack (1694—1770), then emergingas the most successful sculptor in England.'Guess]et'ight be a reference to either Isacc(1713—99) or Matthew (1683—1744) Gosset, whowere leading wax modellers.2'nfortunately,Edward omitted to state the purpose of thesevisits and no work in the family collection hassurvived attributable to these artists.In the seventeenth-twenties Zincke, Seeman,

Rysbrack and the Gossetts were held in thehighest esteem by artists and connoisseurs alikeand Edward Gascoigne was merely followingfashion in commissioning work from them. Theydo not reflect his taste for Italian art. However,this was not the case with Edward's architecturalimprovements at Parlington.This important work appears to have had its

genesis in Rome. There, on 18 April 1725,Edward undertook a course of instruction in therudiments of design 'wth ye Architect master'.No name is recorded but his master may havebeen Pietro Paulo Coccetti, who is recorded asengraving architectural scenes around 1725 andfrom whom Edward bought drawing instru-ments and a manuscript book. Such behaviourwas not without precedent; a few years earlier,Thomas Coke had employed a 'Signor

Giacomo'o

perform a similar task, probably alreadyhaving in mind the building of his Norfolk house,Holkham Hall. as Edward also was anxious toobtain designs for a new house.24 There arereferences to building at Parlington in hisAccount Book for the early seventeen-thirties.For example, a payment is recorded to 'Thacka-ray for Corner Stones &. Windows ofEast End offront 288 foot 11 inches 6-11-6'. 'Thackaray'ay

4

3. Portrait of Sir Edward Gascoigne bp C. F. Qirnche, t7o6;oil on copper. Gascoigne Collection, Lotherton Hall.

be identified as the mason, Thomas Thacuary,who was executing work at Wentworth Castlenear Barnsley in 1714. More elusive entriesrefer to the purchase ofmaterials, but the overallpicture is not clear. A more detailed accountsurvives of the redesigning of the gardens inwhich Edward played a prominent role. On 11May 1732, he 'walkd again to see where yeCanal may be'; in 1734 he was concerned with'digging two parallel Walks in ye Wilderness'nd

planting beech, elm and chestnut; in April1735, a grotto and bridge were being builtwhilst as late as 1737, the 'low end of Serpentine& ye Close Wall'ere still unfinished. Variousgarden buildings were proposed, the designs forwhich appear to have been Edward's own. In1733, he 'drew Plan for Rotunda's Floor',although it was not until 1737 that he paid for a'Model of Rotunda'. A notation in the AccountBook gives details of a Temple as follows: 'TheTemple sixty cubits long twenty broad (SanctuSanctor) wch 20 long & 20 broad. The columns35 high, their Capitals 5'. No drawings for thiswork survive, but the description suggest thatEdward was following the new fashion for thesemi-formal Landscape Garden. No doubt con-temporary writings on garden design, actualexamples (Studley Royal and Wentworth Castlewere then in the process of being laid-out) andhis recent acquaintance with the gardens ofItaly as well as Italian landscape painting musthave been formative influences. It is appropriate

to mention here Edward's friendship with LordBurlington, whose protege, William Kent, wasto make one of his greatest contributions as agarden designer. On 12 September 1734, Edwardpaid a visit to Burlington's Yorkshire estate,Londesborough, but more important, he wasone of the subscribers to the York AssemblyRooms, built between 1730 and 1732 to Burling-ton's

design.'arlington was demolished in the nineteen-fifties and despite the complete absence of visualrecords of the appearance of the interior, thereis tangible evidence of Edward's achievementthere. Improvements were in hand by 1727,when he requested from Galilei in Florence thedimensions of chimneypieces and tables, 'for Iam', he wrote, 'preparing a Room or 2 for 'em',"and it is clear that Edward's intention was tocreate a suite of Italianate apartments. He had onseveral occasions in Italy admired decorativework in plaster: 'le stanza finite di stucco d'unbel Lavoro, e Quadri moderni colle loro Quad-ratura di Stucco'. It is not unusual, therefore, tofind him patronizing the Italian plaster decora-tors who had immigrated to England in the earlyyears of the century. The most prominent ofthese were Giovanni and Giuseppe Artari,Giovanni Bagutti, Francesco Vassalli andFrancesco Serena; they had worked at a numberof important houses, including James Johnson'sOctagon at Twickenham, Ditchley, BramhamPark and Castle Howard.~s Parlington may be

conclusively added to their documented oeuvre,with the result that the careers of the two Artaris,Vassalli and his assistant, Martino Quadry,during the early seventeen-thirties may begreatly clarified. The full particulars of thiscommission are published in Appendix B.

Between 1731 and 1733, Edward employedVassalli and Quadry to decorate the Hall,Drawing Room, Chapel and 'Mr. Roger'Room'. They probably had been chosen becauseof Edward's acquaintance with the TowneleyFamily of Towneley Hall at Burnley in Lanca-shire, where these two craftsmen had alreadycollaborated in 1731.'n 1735, Giovanni andGiuseppe Artari, whose work Edward hadencountered on a visit to Cannons Park andMoor Park, near London, were paid for isolatedpanels of stucco work for the same rooms atParlington. These included a narrative depicting'Pan & Diana'n the Drawing Room. For theChapel ceiling Vassalli modelled a 'Trans-figuration', probably inspired by an Italianmodel, and for the Drawing Room an 'Aurora',which was almost certainly based on GuidoReni's famous painting (1621—3) in the PalazzoRospigliosi in Rome.~It is with the superlative decoration of these

stuccatori and the rich marble embellishments toParlington and the family chapel at Barwick-in-Elmet by Alessandro Galilei that the enthusiasmgenerated by Edward Gascoigne's recent GrandTour is most poignantly felt.

Appendix A

Receipt from A. F. GoriAdi 14 Luglio 1725 In Firenze.Io P. Anton Fro. Gori ho ricevuto dal Mols.Honorabile Mmo. Sig. Cavr. Edoardo Gascoignescudi tredici tanti sono per le Spese occorsenell'intaglio di un Sarcofago [ansi co ?] dedicatoal medo. Sig. Cavre. con ricompensarne da.Spesa con essemplari terminata la mia Raccoltadell'ntichita Greche, e Romane della Toscanaa me d. contanti [?].

Today the 14th July 1725 In Florence.I P. Anton Fro. Gori have received from theMost Honorable Sir Cavalier Edward Gascoignethirteen scudi the necessary expense for anengraving of an ancient Sarcophagus dedicatedto the same cavalier by paying back the expenseswith examples from my Collection of Greek andRoman Antiquities of Tuscany, to me cash [?].

10

Appendix B

The Italian Stuccatori at Parlington

I73I:Map 8 Vassalli stay'd here all ye day.August z5 agreed with Vassalli to do my Hall forf63 &. given him now over and above 1-1-0Sept ry sent Jack to VassalliOct z3 given Vassalli's Man for doing Mr.Roger's Room 0-2-0

r 73>.jan ry Quadri camejan z6 Sett out ye Dimensions of ye East Room.March r5 NB bargaind ye 13 with Mr. Vassallito do my Chappel according to plan with aWindow & Cieling in ye Tribune and Upperpart of Transfiguration without ye 2 Figures toye right, and to do ye Aurora in a work'd Frameand Ornamented Cornish in ye Drawingroomye whole at 110 Guineas = f115-10-0, yepartition whereof I reckon to be /50 for drawingRoom &. f65-10-0 for Chappel viz: $50 for yeDesign &. $15-10-0 for Transfiguration.March zg begun to pull down West End ofTribuneApril 3 Sett Mr Quadri upon doing ye Plaisterbetween rail &. Walkboard, in ye Stairs.April 8 To Norseman 10 days at Tribune andpaving new Cellar & making 10 days 0-15-0To Tait for Tribune, Beam filling. Chappel $12.2-0-0july z To Vassalli's Boy 0-2-6August r3 To Mr Vassalli by ye hands of MrRogers 12-12-0Xov o To Plaster owner of Farbourn for 8 LoadPlaister 2-0-0JVov z7 Given Quadri for Self. He had work'dhere 8 weeks 0-10-6JVov z8 Sent Jos. wth Quadri to Mr. Listers

r 733:Fcb 8 To Potts 4-6. Soap 5d Brushes 1—2 all forye Painters 6-0To of York for turning 36 Ballustres forchappel at 10d 1-10-0Feb r6 To Leaf Gold for Chappel 500 = g2.Varnish 8 at 8d etc in all 2-11-7

March 6'greed wth Longueville to Guild yeChappel & find Gold for $8.March 8 they began to prime for guilding yeChappel.March r8 To Longueville at different times byCollin out of Wood Money 6-7-6March z5 Given Longueville by Collin 1-1-0April I3 Paid Longueville Ballance due $12-10-012-10-0May z8 To Longueville 1-1-0Map zg To Vassalli wth f73-2-0 in all pd in all/126-11-0 and abated of his Bill for ye Tribune5-5-0 so remains due to him still upon Hall &.Chappel f24-0-0 53-9-0To Mr. Vassalli towards Coat of Arms, wch hefinish'd in a more expensive way than he thoughtof, & towards new Bargain of ye Drawing Roomwch he is to do for $50 2-2-0To Vassalli's Boy 0-1-0june 22 To Longueville's Man towards Oil 0-10-6.june z6 To Longueville on his sending for aCanvass to York 1-1-0gulp ry For Longueville's Man left with Collingl-10-0 NB he has been at 12 per diem 27 daysbut Longueville says 7 of those days were on hisacct. to do out Doors &. Sashes &, ye Kids Room.gulp z8 To Longueville 2-2-0Sept s6 To Longueville 5-5-0Sept zg To Longueville besides gl-1-0 not settdown to his man but wch will be accounted forin colours etc. 2-2-0A'ov y To Longueville on acct. 2-2-0Dec z3 Vassalli came

173$:Feb 3 To Longueville for Paint 7-5-0&. to ditto for Wages 3-10-0

I735:Feb 6 To for 4 Ton Hall Plaster 1-0-0Oct rg To Artari Senr. for Pan &. Diana in stuccoin drawing room g5-5-0 for Gruppo of Angelsover Altar g2-2-0. 7-7-0Oct zr To Artari younger for Fruit pieces in Hall,for chimney piece Frame &[?] Hall, mending[Sprouts'?] there &. an Staircase etc. very dear.21-0-0

Footnotes

l.2.

3.

5.

6.

7.

8.

10.

11.

12.

13.

Temple Yetosom Correspondence, 16, 17.On 26 May 1750, Jerrard Strickland wrote to HenryIngram from Cambrai: 'If anything could add to mypresent affliction it would be the necessity I lie under tocommunicating it to all the friends of our once dearlybeloved Sir Edward Gascoigne whom we lost onSunday... a quarter before 12 at night...'TNC17/158,. The principal sources for t.he Gascoigne Familyhistory are F. S. Colman, Berwick-in-Elmet, ThorcsbySociety Publications, no. 17, 1908 and E. Done, SirFdivord Goscoigne, Grand Tourist ond Patron of the Arts,B,A, Dissertation, Leeds University, 1975. including;icomplete transcript of Gascoigne's Travel Diary(GC/F6/7), from which extracts appear in this article.GC/F6/12a, b, c.,i ee particularly C. Hibbert, The Grand lour, 1974,W. E,.Mead, The Grand Tour in the Eighteenth Century, 1972,G. Trease, The Grand Tour, 1967.For an interesting discussion of these opinions, seeHibbert, op. cit., pp. 222—34.L. Lewis, Connoisseurs and Secret Agents in EighteenthCentury Rome, 1961 and 'Baron von Stosch', Apollo, May1967, pp. 320—7. Stosch's letters to the British govern-ment are in the Public Record Office (Walton Letters,State Papers 85/15).A Jacobite member of the Gascoigne family was hangedat Tyburn in 1716.Edward's mother, ne Widdrington,was connected by marriage to the Towneleys ofTowneley Hall, Lancashire, a staunch Roman Catholicfamily; members of both families were arrested atPreston in 1715.Richard Bentley Correspondence, 1842, vol. 2, p. 650.T. Nugent, The Grand Tour, 1749, vol. I, Preface.John Breval noted that France 'so vastly frequented byus is scarce better known to the generality of theEnglish (who resort to it chiefly for the Benefit of theclimate, or to learn its Language and Fashions) thanthe most remote Parts of Europe'Remarks on SeveralParts of Europe, 1738, vol. I, Preface).'iVIonsr: Crawley avec le Capte. Breauval sont arrivesicy, comme aussi Mon. Edward Gascoigne CatholiqueRomaine, avec Dr Bostoc'17 March 1725, WaltonLetters, State Papers, 85/15).On 19 May 1728, Edward contributed a guinea 'To-wards Faustina's Fathers picture'nd on 9 June, inLondon, he recorded 'Din: home. Faustina here'. On18 August 1732, in York, he paid 'To Sri Matrini's con-cert wife & self 1-1-0'nd on 19 August, anotherItalian, Senesino, 'sang in ye great Room'.A. Dobson, Rosalbo'c journal, 1915, p. 24.

Abbreviations:GC (Gascoigne Collection, Leeds City Archives Department hKieven (E. )Kieven, 'The Gascoigne Monument by AlessandroGalilei'n this issue of the Golcndorh

14.

15i.

16.17.

18.

19.

20.

22.23.24.

25.

26.

27.28.

21

E. Wright, Some Observations made in travellingthro'rance,Italy etc. in theyeor t7oo, ot 6d oo, London, 1730,

vo. II, p. 457.lid ward was referring to one of three paintings dedicatedto Argyll, Cadogan or Godolphin (E. Croft-VIurray,Decorative Paintings in Fngtond t577—i886, vol. II,pp. 22—4, 239—42).Iiieven, Appendix A, 15, 21.Wright, op. cit., vol. II, pp. 462, 471, describes CountFurrieri as 'a Nobleman of Milan, a great virtuoso[who had) a very numerous collection of Medals,Intaglios, Cameos and drawings...'.F. di Federico, Studies in the Art of F. Trevtsani- A Con-tribution to the History of Roman painting i675—t76o,unpublished PhD thesis, New York, 1970; H. Honour,'Francesco Trevisani', Leeds Arts Calendar, 1954, no. 26,p. 20.Edward Gascoigne's portrait must be one of the earliestto include the Colosseum as a background motif: Forthe evolution of the Grand Tour portrait, see A. Smart,'The Genuine Portrait of General Burgoyne by AllanRamsay', Apollo, September 1971, pp. 198—205, B.Ford, 'A Portrait Group by Gavin Hamilton and somenotes on Portraits of Englishmen in Rome', Bnrtingtiiv.1Iogozine, December 1955.A. Rouquet, Thc Present Stotc of'hc elrtt in Engtovd, 1755,pp. 54—6.Vertue Vote Books, vol, III, p. 125, also pp. 15 6( Walpole Society, 1934).Verbal communication from Mr. John Physick 1975.J. Lees-Milne, Earls of Greotion, 1962, Chapter 5.He wrote to Alessandro Galilei in 1727: 'favour me...wth ye Designe of ye House we talked of'/Kieven,Appendix A, 11).Vernon-Wentworth iiuuniment, LD1121 (193. 180,185) (Sheffield Public Library i. Thacuary's wi>rk atParlington might be identified with the central blockof the house which appears in pre-demolition photo-graphs (National Buildings Record).Apollo of the Artsi Lord Bitrlington ond his Lire/e, Notting-ham L'niversity, 1973, no. 37.Ktveven, Appendix A, 13.G. Beard, 'Italian Stuccoists in England', Apollo, July1964, pp. 48—56, Georgian Craftsmen ond Their Work,1966, Chapter II.R. Wittkower, Art ond Architecture in Italy t6oo to t75o,1958, pl. 24B.

Elisabeth Done, a former B.A. Honours student in the LeedsUniversity/Leeds Art Galleries Decorative Arts Course, is atpresent a post-graduate student at the Courtauld Instituteof Art. She is grateful for permission to publish extracts fromEdward Gascoigne's Travel Diary and Account Books in thepossession of Leeds City Archives Department.

The Gascoigne Monumentby Alessandro GalileiELISABETH KIEVEN

In the north aisle of All Saints, Barwick-in-Elmet, near Leeds, is a window which bears theinscription: 'This window was erected by E.C.Gand Thomas Gascoigne A.D. 1858 in consequenceof the removal of a Monument put up by SirEdwd. Gascoigne Bart. in 1726, which on theRestoration of the Church being commenced,was found too delapidated to be repaired'. Themonument, which has vanished without trace,was described by a visitor in the seventeen-fifties: 'In the church is an handsome Ionickmonument made in Italy, the pillars of whichare of Iallo of Siena; it was erected in memory ofSr John Gascoigne by his son Sr Edward, whois lately dead'.'ow did such a monument cometo be in Yorkshire?Sir Edward Gascoigne, 6th Baronet (1697—

1750), following the death of his father in 1723,had undertaken a Continental tour from 1724to 1726.2 In the Summer of 1725 he was inFlorence, where he commissioned the monumentfrom the Grand-ducal architect, AlessandroGalilei (1691—1737), who was well known inEnglish circles. Around 1711, Galilei had madethe acquaintance of the then British Ambassadorin Florence, John (later 2nd Viscount) Moles-worth and in 1714, on Molesworth's invitation,Galilei followed him to England in order tofurther his studies in mathematics and physicsand attempt to establish an architectural prac-tice here. His designs for country houses, Londonchurches and a new royal palace, however, werenot executed and his first successes came threeyears after his arrival. In 1717, through theintervention of the Molesworths, William Con-nolly, Speaker of the Irish House of Commons,entrusted him with the design of his countryhouse, Castletown, Co. Kildare4 and in 1718,he designed the East Front ofKimbolton Castle,Huntingdonshire, for the Duke of Manchester.5In May 1718, Galilei agreed to work for fiveyears as a building contractor in London inpartnership with Nicholas Dubois (the trans-lator of Leoni's influential 1715 English editionof Palladio's I Quattro Libri

dell'Architettura).'n

1719, through the Tuscan Ambassador inParis and London, the Marchese Neri Corsini,Galilei received and accepted an invitation fromthe Grand Duke of Tuscany, Cosimo III, toreturn to Florence as his court architect. Thepolitical and economic decline of the TuscanCourt under the last Medici, however, led to adecrease in building activity and Galilei'sresponsibilities were above all in the field ofengineering.'hen, in 1730, when his patron,Neri Corsini, became a cardinal following theelection of his uncle, Lorenzo Corsini as PopeClement XII, Galilei began the ascent to thepinnacle of his career. Summoned to Rome todesign the Corsini family chapel in S. Giovanniin Laterano, in 1732, he was appointed architectfor the facade of that church, which was the mostsignificant architectural achievement of theearly eighteenth century in Rome; he alsodesigned and built from 1734 the facade of thenational church, S. Giovanni dei Florentini.After his return to Florence in 1719, Galilei,

thanks to his command of the English languageand the fact that he was married to an Englishwoman, became a reliable and much soughtafter cicerone for British Grand Tourists whowere flocking to Florence in increasingly largenumbers.'e helped them obtain accommoda-tion, negotiated on their behalf in the purchaseof paintings, medals, statues and books andarranged contracts with Florentine

artists.'dward

Wright reported 'Signor Galilei... is amost excellent artist, and a person the mostobliging, the most communicative, and thegreatest civility in all respects that I think wehave met with in our Travels; he was some timehere in England and expresses a particularrespect for the English. He was very servicableto us upon many accounts, both while we were atFlorence, and after we left it'." Florence wasfamous for its skilled copies of paintings andclassical statues, decorative arts and especiallyexquisite inlaid stone work called pietra dura.Orders came from all over Europe and CosimoIII lavished splendid gifts on the courts of

Europe which clearly demonstrated the talentof Florentine artists and craftsmen. For instance,in 1697, he donated a monument to St. FrancisXavier for the Portuguese colony of Goa, whichwas worked by the court sculptor, GiovanniBattista Foggini in Florence and then dis-mantled and shipped East. When Sir EdwardGascoigne was in Florence in 1725, MassimilianoSoldani, another leading sculptor, was justfinishing work on the tomb to the Grand Masterof Malta, Marcantonio Zondadari, destined forthe Cathedral at La Valetta.'2 Perhaps promptedby this work, Sir Edward ordered the monumentto his parents.It appears that this was done shortly before his

departure from Florence, since Galilei forwardedthe design to him in Milan on 1 November 1725.Edward approved it: 'yr genteel Design... istoo handsome to admit of an Objection'Doc. 1) .However, the making of the monument extendedover several years. To begin with, work washeld up because the stone mason appointed byGalilei, Francesco Cerotti, with whom he oftencollaborated ('the best stonemason we have inFlorence','as in Malta from December 1725until February 1726 setting up the ZondadariMonument.'n his return to Florence, he didnot hurry over the execution of the GascoigneMonument, as the money which Sir Edward hadsent arrived late. Moreover, before departingfrom Florence, Edward had only supplied Galileiwith an impression of his signet ring (Doc. 1) andit was not until early in 1727 that he received adetailed, coloured sketch of the family coat-ofarms which was to form the large, centralfeature of the monument (Doc. 3, 5, 9, 10).Whenthe design finally arrived, the arms proved toointricate to be carved by the stonemason andGalilei had to arrange to have it made in pietredura in the Grand-ducal workshops (the 'gal-leria') (Doc. 10, 12).'s Thus, the completion ofthe work was delayed until early in 1728 (Doc.16). In May of that year the finished monumentwas assembled and publicly exhibited in Florencefor ten days: 'all ye nobility of Florence andother people have been to see it and has beenliked and approued by every body for it rallymakes a fine figure and especially ye coat of armswch is indeed a very rare piece of work and Ibelive it will be the first that ever was seen inEngland of this sort', Galilei proudly wrote toSir Edward on 26 June 1728 (Doc. 20). WhenEdward's sister and her husband, Captain

1. Design for a Monument by Alessandro Galilei, r7rd—g(Arohitio di Stato, Firenre).

Callahan, arrived in Florence a few days later,they were able to see only part of the monument,which had already begun to be dismantled, theseparate pieces numbered, packed in twenty-fivecrates and taken to Leghorn, for shipment toEngland by the British merchant, James Quinn(Doc. 17 20). Six months later, at the end ofJanuary 1729, the 6,154 pound load arrived atBarwick-in-Elmet. The chapel was apparentlynot yet ready and the monument, which hadbeen damaged in transit, had to be repaired(Doc. 21). Construction was not begun until 5May. On 19May, it was in place (Doc. 22), fouryears after it had been commissioned, and itremained in situ until 1858.No identifiable drawings for the Gascoigne

Monument remain among Galilei's papers, butfrom the letters exchanged between the sculptorand Sir Edward the essential features can bereconstructed. In 'the middle of the monument'

(Doc. 3) was the coat-of-arms, 'about fowrsquare feet'Doc. 1, 10) and framed by a pairof Ionic pilasters of yellow marble.'n urn(Doc. 20) stood beneath the arms and a largetablet ofblack marble bearing a Latin inscriptionin yellow marble was mounted on tols of apedestal (Doc. 5, 10). The whole monumentappears to have been approximately eight feetlong (Doc. 3).Two designs for monuments, for which draw-

ings exist, give an idea of what the GascoigneMonument may have looked like. One is for ananonymous tomb which probably dates fromGalilei's English period, 1714—1719 (Fig. 1)"the other, incorporating a Viscount's crown, canbe associated with a tomb to John Molesworthordered in 1728 (Fig. 2).~'hey show, like theGascoigne Monument, a concern for strict,architectural composition which agrees withGalilei's ideas of the 'buona e vera architettura';he wished to send Sir Edward 'a perfect piece ofwork'Doc. 10). In contrast to contemporaryBaroque trends, he was not interested in move-ment or the fusion of ornaments, preferring 'adesign pure, severe and simple', and relied foreffect on the subtle gradation of colours anddistribution of different coloured marbles, ofwhich he was a master. In the GascoigneMonument, there were 'severall sorts of verynoble and rich marbles'Doc. 4), includingyellow pilasters and a black and yellow in-scription tablet which contrasted with the lapislazuli of the coat-of-arms. Galilei's remark, toanother client in 1731, is applicable here: 'I haveendeavoured to make it as nice and substantialand genteel as could be, and have followed thebest rules of Architecture and put in thoseornaments which are convenient and Dew tosuch a piece of work'.taApart from the monument, Sir Edward

Gascoigne commissioned from Galilei designsfor a new house ('ye Design of ye House wetalked of', Doc. 11) and for pavement for thefamily chapel (Doc. 21),which were not executed,as well as two chimneypieces of red and yellowmarble and four marble-top tables in the samecolours, possibly intended for the rooms whichwere soon to be embellished with plasterwork bythe Italian stuccatori, the Artaris, Vassalli andQuadry, at Parlington. These items were com-pleted in 1727 (Doc. 3, 12, 13, 15).In all the monument and other marble pieces

cost 600 Ilorentine scudi (Doc. 4, 10, 12), of

et

i&a s:.e t ts t t * < 't r t t r 't le ta < te r t ts c<'I~*

1

2. Design for a Monument, perhaps to john, and ViscountMolestvorth by Alessandro Galilei, r7a8 (Archivio di Stato,Fi renre ) .

which 460 scudi (the equivalent to about $110)were accounted for by the monument.Sir Edward Gascoigne wrote to Galilei in

March of 1729: 'every thing is perfectly hand-some, k I will doubt not be much

admired'Doc.

21). Nothing remains of this Italiansplendour.

15

Appendix A

Abbreviations: E.G. (Edward Gascoigne), A.G.(Alessandro Galilei) .

l. E.G. to A.G., Milan 9.12.1725 (ASF, fasc.1, f. 233)Sr,

I received yr obliging letter of ye 11thpast wth yr genteel Design therein inclosed,wch is too handsome to admit of any Objection,yet if you approve of it I think in ye Execution itw'd be no worse to make ye Arms something less;I will send 'em you out of England, and in yemean time you'l please to give Orders about yerest of ye Monument & ye Chimneys etc. as weagreed on. I shoud be glad you w'd att yr Leisuretell me ye Colours ofye Marbles, it will be enoughto name ye different pieces of ye Architecture&. I'l rub up my Memory to find out where theylay. Pardon ye Trouble.

I have now further to beg you'l assureMrs. Galilei of my Respects wth wishes of yeseason, as also to Mr Deg, whom please to tellyt notwithstanding he forgets his Promise ofwriting to me, I shall soon by a scrawl interrupthis better Employment.

I propose very soon leaving this Place forBavaria and from thence go into Lorraine, whereif you have any Service favour me wth yeCommands chez Mons.r Warren a Nancy, andthey will be forwarded to Dr Sr

Yr ever obedient Ser.tEdw.d Gascoigne

Milan, Dec. 9th/1726 [1725]They have in this Country two Marbles hardlyto be distinguished from ye Orientell &. EgyptianGranites, but are so hard yt no body esteems 'emexcept for rough Building &, to polish 'em theyask me very dear, tho'e value of ye stone benot known here.

2. Simon Degge'o A.G., Milan 10.3.1725[1726] (ASF, fasc. 1, f. 168)

While I was at Cremona I met with SrEdward Gascoigne, who had been there for 3 or4 days only, and all the rest of the time at Milan.he has laid out a great deal ofmoney in Virtu. he

has bought pictures, but I am afraid not socheap as the Rubens at Florence. He enquiredwhether his Monument and Tables were begun.I told him the marble workman was gon toMalta, &, and that nothing could be done till hisreturn. I shall write to him &. give him a hint thewheels must be greas'd before they are set arunning...

3. E.G. to A.G., Parlington 24.8.1726 (ASF,fasc. 1, f. 217)Dr Sr,

I do not know what Opinion you can haveform'd of me for having so long neglectedwriting to you att a time yt you were so good togive yrself so much Trouble about my Business;nor should I be able to excuse myself had not yeDelay of ye Herald yt.was to draw my Arms outdeceiv'd me; for ever since my return intoEngland (wch was about 3 Months ago) I haveexpected a Draught of all our Bearings yt Imight have sent it you to put in ye Middle of yeMonument. But finding it will be yet some littleTime before I can have it don I thought it betteratt least to give you ye Trouble of two Lettersthan appear any longer unmindfull of ye favouryou are doing me by directing ye Monument &.Chimneys. As to ye first there will be Roomenough for it in my Burying place ye End Idesign it for being better than eight foot wide;I have made ye Inscription I design for it, buthaving sent it to a Friend to be revised, you can'have it till I send ye Arms. I think we did notagree to have slabs of ye same as ye Chimnypieces so yt I shall order white Marble for'em.'Tis so long since I had ye Pleasure of hearingfrom Florence yt I am a perfect stranger towhat's doing there; but I hope all my Friendsare well, particularly Mrs. Galilei &. all yeFamily to whom I desire my best service as alsoto Mr. Colman,s~ ye Sig.ri Ridolfi &. I pray beso good as enquire of Mr Giuseppe Ridolfiwhether our Velvet be made & tell him yt tho'e

has never answer'd my Letter yet I shall 'erelong write to him again. Sr Francis Head ismarried, Sr Thomas Peyton is att Paris, andlittle Mortyn in Holland. Against ye Time yt Ishall be favourd with a Letter from you, I hope

16

you'l guess att ye Expence my Marbles will cometo, that ye Returns made be made by Sr yr mostobedient

humble Serv.tEdw. Gascoigne

Parlington Aug. 24th 1726

please to direct for me att Mr Wright's GoldsmithRussel Street Covent Garden, London.

4. A.G. to E.G.,undated (Florence, September-October 1726) (ASF, f. 219)

With a geat deal of pleasure I received yefavour of your letter, dated ye 24th ofAug: Youmay assure yourself that all your Friends hereand expecially myself have been extreamly gladto hear from you after so long a silence. Yourmarbles for ye monument are working andindeed it will be very fine, for it is composed ofseverall sorts of very noble and rich marbles, andwill be eytreamly well done, and the tables andchimneis are already begun. I can now give youan exact account of ye cost that all this marblework will ammount. First the Monument willbe four hundred florentin scudis, and the fourTables and two chimeneis with slabs of whitemarble will be a hundred and forty scudies sothat ye whole summ will come to five hundredand forty florentin scudis. You must be so kindas to let me know who is ye merchant which is topay ye money; for ye workman has asked me forsome for to go on with ye work being usuall hereto give them some part of ye money now andthen when they want it, therefore you may sendan order to the merchant of 540 scudis to bepayed to me in severall times when I shallremand them and I shall send you ye workman'srecipt, besides ye cost of ye marbles you mustorder ye mechant to pay what will be thecharges of conceing the said marbles to leghornefor they all must be cassed into wooden cassesbesides the carhagges [carriages] and Further atCustom house. I can not exactly tell whatsumm it will be in all but I will take care tospend the least I can just as it was for myself.

I expect the design of yr coat of armstogether with ye description, and ye arms shallbe done of naturall stones exactly of ye coloursyou send them.

5. E.G. to A.G., 4.12.1726 (ASF, fasc. 1, f. 229)

Dr Sr, I receiv'd yr obliging letter &. have senta Bill of fifty pounds Sterling to a Mercht. inLondon who 'ere long return it to Mr QuinMercht. in Casa Batocchi a Livorno, who uponreceipt will give you ye Value of it in yr Money inpart ofwhat will be due for ye Marble Work youare so good to get don for me; & I will in a littletime return ye remainder & give Mr Quin suchOrders as you desire. I have already sent to MrQuin ye Design of my Coat of Arms wth all itsQuarterings wch are very numerous & wch I'mafraid will enhaunce ye price, but I w'd have 'emdon as plane as they can be e.g. one Bird in oneStone etc. and not in difl'erent pieces, tho'heymight be nicer so; in fine you'l be so good whenyou see 'em to give me ye opinion of 'em andof ye Charge, & if anything reasonable, I w'dstill have it in ye stones of ye proper colours, forall paint will soon decay in a Church; they tellme I ought to have slabbs for ye Chimneys ofye same Marble, but yt of ye yellow wd not Iguess be proper because ye pieces might risebefore the fire, but ye red one I desire you'lsuite wth a slabb of ye same. I send you yeInscription over again because as I remember Imade a Blunder in ye last. I beg pardon for allthese Importunities, & shall ever be desirous toacknowledge myself Dr Sr

Yr very obedient Serv.tEdw.d Gascoigne

Dec. ye 4th)1726

My kind service to Mrs. Galilei, whom I praytell yt I have now likewise got a Bedfellow havingbeen married about a Week.

f. 230D.O.M.Memoriaep perpetuae Johannis Gascoigne Bar.tiParlingtonij hae in Vicinia NatiQui non sine Laude et Bonorum Amore 63Annos vixit ad V Id.m Juniarum Anni a Xtonato MDCCXXI IINec non Mariae Widdrington Haeredis Har-bottlensisQuisdem punctissimae uxorisQua tertio Non. Mart.Aetatis 41 Salutis HumanaeAnno MDCCXXIMatura Colo valedixit Terrae.Parentum Optimorum Filius non immemor.Ed.Gascoigne Bart.tus Hoc PietatisMonumentum maerens posuit.R.I.P.

17

6. James Quinn to A.G., Leghorne 24.1.1727(ASF, f. 243)Sir

In answer to your most obliging favourof 2lstIns.t I have also reved [received] a letterof ye 5th Decem.r from Sr Edward Gascoignewherein he advises me from his Country Seat inYorkshire yt he had sent M.George &. Gerald ofLondon a Packett to be forwarded hither to mefor yr good self wch when appears here shall besent you with.o Delay, together with the valueof $50.Sterl. wch he also advises would bereturn'd to me by said Msz.Gerald in order tomake ye same good to you. but as yet I have noaccount from said Mss. Gerald about one nor theother, but suppose I may soon succeedingaccordingly you may depend on being punctuallyadvised tereof. Interim if I can in any thing beservicable to you spare not to lay yours Com-mands with all freedom on

SrYour most ob.t humb.ServantJames Quinn

Livorno 24th Jan.ry 1727

7. James Quinn to A.G., Leghorne 5.3.1727(ASF, fasc. 1, f. 247)

By the last post from London I had a Bill ofExch.e for P.241:4:1 wch will not fall due tillthe 13th ofMay next att wch time you may pleaseto give your Directions about the Disposal thereof being for your account. The Shipp yt has aBundle from Sr Edward Gascoigne to be sentyou does not yet appear, &. when doth Due careshall be taken thereof. In the mean while Pleaseto note yt the above money has been remittedone by his ord.r...Leghorne 5th March 1727

8. James Quinn to A.G., Leghorne 14.5.1727(ASF, fasc. 1, f. 258)In answer to your corteous favour of yesterday'date I now desire Sig.re Dom.co Batacchi to payfor acc.tto of Sr Edward Gascoigne the summ ofP.241:4:1 for wch you'1 please to sign a receiptLeghorne 14.May 1727

9. A.G. to E.G., Florence 6.3.1727 (ASF,fasc. 1, f. 245)Dr Sr

I hope to be excused if I have delayed toacknowledge ye favour of yr obliging letter datedye 5th of Decemb.e last because I have beenwaiting to see whether ye fifty pounds and yedesign of ye coat of arms mentioned in yr letterwere remitted to me, but having not long agoeheard from Mr Quinn as he alsoe expectes fromMss. Gerald of London ye order and ye Packett,and will remitt it to me as soon as it comes to hishands, therefore I would not ommitt any longherto answer yr kind Letter. I have receivd yeInscription wch I never had before and think itvery fine, ye marble work goes on very well andonly wait for ye money to make it go on faster.I hear ye Quarterings of ye coat of arms are verynumerous, when I shall see ye design shall notfaill to advice my oppinion about it as you desire,I doe assure you that ye work shall be as planeas can be and done very nice and all in one pieceof stone and ye stones shall be of ye propercolours and not painted. as for ye slabbs of yeChimneys that of ye red may be of the samemarble, but of ye yellow it w'd not doe becauseof ye severall pieces I think it may be made oretheir [either] of white, red or bleu just as youwill be pleased to order.

My wife has been extreamly pleased tohear of yr mariage. She presentes her veryhumble respects both for yrself and to yr Ladyand wishes you much Joy together with all yehappiness you desire, and a pretty boy beforeye year be over, and likewise all ye good friendshere do ye same.

March ye 6th 1727

10. A.G. to E.G. Florence 17.5.1727 (ASF,fasc. 1, f. 260)Sir

I give myself the honour to acquaint youas the marble work of the monument etc. goeson very well and am in hopes it will be of yrliking. I have received from Mr Quinn ye summof 198-18 Florentin Scudis wch I have payed tothe workman and taken his receipt. I have gotalsoe ye design of your coat of Arms wch is veryfine but soe very numerous of Quarterings thatwhen the workman saw it he was astonished forwhen I made the bargaigne of the work I shewed

18

him the impresion of ye Seal wch you left withme and I told him that I only waited for thedesign you ordered to see ye different colours ofthe stones. But this is a scutcheon with 25 coatof arms and ye workman cannot do it himself butmust have it made in ye G:D:s Gallery workedof stones inlade like the Tables you have seen inthe said Gallery. it will be really very fine, andye stones exactly of the colours and for the blewthey take Lapislazuli. the bigg ones of thescutchion will be about fowr square feet. Butthat coat of arms has ye price sixty corowns moresoe that the whole price of ye monument comesto 460 florentin scudis. The Tables and Chimeneyswith ye slabs are almost half done, and themonument alsoe is pretty forward wherefore Ihope that in 6.or 7.months time every thing shallbe ready to be sent over in England. and if it wasnot for ye coat of Arms, I should be in hopes tohave it finished sooner. The inscription shall beupon black marble with ye letters inlead ofyellow wch will looking well. I take all possiblecare to endeawor to send over a perfect piece ofwork as I hope it will be judged soe, if in themean time you will be pleased to order to MrQuenn to remitt one upon request till ye summof600 Florentin scudis with ye 198 I have alreadygot for I shall deamanded it in severall timeswhen ye workman asks me for it.May 17.1727

11. E.G. to A.G., 22.11.1727 (ASF, fasc. 1, f.269)

Nov.22d/ 27

Dr SrYou shoud much sooner have heard from

me in answearing to yr last obliging letter but Iwaited for one from Mr Quinn to inform mewhat Money he had of mine in his hands, andhaving got I hereto annexed send you a Bill oftwo hundred Dollars, and shall 'ere long remitwhat will be further wanting for ye Marble, andwork. I'm confident will be exceedingly don byyr Direction k I'm sure ye Design is genteel. Ihope you will be so good as favour me also wthye Design of ye House we talked of; as well asorder me a Brass Lamp wth shade etc. In fine Ihave already so many obligations to you ytinstead of asking new Favours I ought rather tosee wch way I c'd best acquit myself ofwhat I am

already indebted to you for wt can't be forgetby Dr Sr

Yr very obedient Serv.t Edw.d Gascoigne

My best compliments attend on Mrs.Galilei Rall Friends particularly Mr.Coleman.

12. A.G. to E.G., Florence 22.11.1727 (ASF,fasc. 1, f. 270)Dr Sr

I take ye liberty to trouble you with thesefew lines for to let you know as the Monument isat most quite finished and in two months hencewill be certainly ready to be sent over and if itwas not for the coat of arms wch is a very longand tedious piece of work it could be ready agreat deal sooner but that work takes up a greatdeal of time. The Tables and Chimeneys areentirely finished and am in hopes they will be ofyr liking for they are of the finest marble I eversaw of that sort wrought to ye best perfection,and also is the monument together with the coatof Arms wch will be a very rich piece of work, Iwill have it set up together here before I send itover and shall have every piece marked withletters wch will answer to a design, that I intendto send you because they may not meet with anydificulty in seting it up there into his place. Ifyouplease you may in the meantime for to pay yeworkman remit me the remainder of the moneywhich is together with the Increasing of the Arms402 florentin scudis with the 198you have alreadypaied makes the sum of 600 florentin scudis wchis the cost of all the marbles, and you may alsosend an order to Mr Quinn for the Charges ofcasseing carriage and custom wch I cannotexactly tell what sum it may be but you maydepend that I will take all possible care tospend the least that can be as I have done inevery thing also.

November ye 22th N.S. 1727

13. E.G. to A.G., 30.12.1727 (ASF, fasc. 1, f.273)

My Dr SrThis will be forwarded to you by Mr Quin

to whom by this Post I have made anotherRemittence wch when he receives I have desiredhim to pay to you and to supply you wth what-ever sum you shall have accorded for on Account

19

of ye Marbles wch are —confident so perfectlywell ordered yt I long to see 'em safe home. Youare extremely obliging to take so much troubleabout 'em; wt I must further beg you and pleaseto measure, and let Mr Quin know how manysuperficial Feet they obtain, for here they mustpay Duty p. Foot but I guess you need not bescrupulously...

You will likewise please to let Sement besent wch 'em, for it can't be had here. And sinceit will be some time before these Marbles canarrive in England, I beg you w'd in yr nextfavour me wth an Account of ye Dimensions ofye Chimneys & Tables, for I am preparing aRoom or 2 for 'em. May I beg leave to remindyou of ye Brass Lamp wth all its Furniture wchI should be very fond of. In short I'm ashamed ofye Trouble I give you, and if this spring I can inLondon find some little thing yt I think may beacceptable to you I shall not fail sending it as afurther acknowledgment of ye obligations

ol'r

SrYr obliged humble Serv.tEdw. Gascoigne

My respects & best wishes of many happy Yearsattend to Mad.m Galilei &. ye worthy Resident,& and I pray make my compliments to Mess.rsRidolfi, and all Friends.

14. James Quinn to A.G., Leghorne 10.3.1728(ASF, fasc. 1, f. 282)Sr

The inclosed is from Sr Edwd Gascoignewho remitted me p.233.0.2wch will not fall duetill the 12 May next, & then you may please tocommand the same at yr pleasure. Interim Ishould be glad to know if you'1 have occasion ofany more money for said friend's Acco.tto &when may his things be here to be shipt off & nothaveing farther to incomode you beg leave tosubscribe

Sr. James Quinn

Livorno 10.March 1728Ill.mo Sig.r Aless.o Gallilej

15. A.G. to E.G., Florence 16.3.1728 (ASF,fasc. 1, f. 288)Dr Sr

By Mr Quinn I received yr favored letterin wch I hear you have been pleased to makeanother remittance and ordered ye same tosupply me with whatever sum I shall have

occasion for on account of ye Marbles, ye re-mainder of ye cost (as I wrote you in my last) is237 scudis and 5 livres, there and here will befirst the charges of cassing for I recon they willbe about 20 casses, then the carriaging from theworkmans shop to the River, and Dutty to yecustom house here in Florence, all wch expencesI can not foreknow, but I do assure you that Iwill take all possible care just as it was for myself.I hear from Mr Quinn that ye payment of yemoney will not fall due till ye 12th ofMay next,and just by that time the marbles shall be readyto be shipt off for the monument is quite finishedexcept the coat of arms wch they are working inthe Gallery for it takes up a great deal of timebut it will be a very fine piece of work, and yeTables and chimneys are entirely finished andof ye finest marbles I ever saw of that sort, andwrought to perfection, and the monument alsomakes a very great shew wherefore I am in hopesyou will be very well satisfayed and every bodywill like it very much.

I have measured all the marbles wchaltogether come to about 140 superficial Feetwch I will let Mr Quinn know. The Dimensionsof ye two chimneys are, the lenght on the out sideof ye Jambs Feet 5.in. 22, the hight Feet 3.in. 10,the length of ye two little Tables of yellow feet2.in.102 and ye breadth 1 foot & 8 In.<, thegreat Table of yellow 4 foot & 10 In. long, and2 foot & 5 In.+2 brad [broad], the lenght of yeTable of red 6 foot and ye breadth 3 foot.

I have ordered ye brass lamp with all itsfurniture wch will be one of ye best and finestyt can be done here. I desire you would be pleasedto command me without any compliments for youmay be sure that I shall be allwayes very heartlyheartly glad to obey yr commands not only inthis but in any other thing whatsoever you willdo me the facour to command me.

16. A.G. to James Quinn, Florence 18.5.1728(ASF, fasc. 1, f. 288v)This is to lett you know as the marble Work ofSr Edw.Gascoigne is quite finished, and tomorowmorning I begin to have the monument set upas it will be into its place, and then I shall haveit taken down and cassed up to send it to Leg-horne and I shall give all the casses to no otherBoatman but to Cherubino Berinediotti as youdesired. I desire you would att yr Leisure remitme the money wch is due to thise workmen, andfirst the remainder of ye cost of the marbles is

20

237 Florentin Scudis and five Livres, then thecost of 25 wooden casses is 30 scudis, the dutty ofye custom house is ten per cent over the value ofye work but by some friendship I got it valuedper 400 scudis wch is 200 scudis lesser than itcosts, therefore ye charges of dutty comes to40 scudis, and 12 scudis I have agreed for yecarriage from ye workmans shop to ye boat, and4 scudis for ye cost of a lamp wch Sr Edw.d hasdesired me to send him, wherefore you must remitme in all ye summ of 323 florentin scudis andfive livres. ye marbles will be ready to be sentover att ye End of this month.

18 Maggio 1728.

17. James Quinn to A.G., Leghorne 26.5.1728(ASF, fasc. 1, f. 292)According to my promise herewth I remit youfor acc.tto of Sr Edw.d Gascoigne sc.323 mta.[monetalJ on be it soe many scuds viz:sc.223 on Mich.e Vannisc. roo on Carl'Ant.o Caregisc.323Bill drawn as sight by Mess.rs David &, Bozerian[~] to wch you'1 please to procure paym.t &.give aforem.d Gent. credit for ye same, in yemean while Cherubino Navicellaio is now here,but will soon be wth yu there to take what casesyu may have ready...Livorno 26.May 1728

18. E.G. to A.G., Parlington 10.7:.1728 (ASF,fasc. 1, f. 304)Dr Sr

I'm extremely obliged to you for yeparticular Account you in yr last sent me onrelation to my Marbles, ye Beauty & goodWorkmanship thereof I can't doubt of...

Mr Quinn promises to pay for mewhatever charges you shall be at wth ye saidMarbles, so yt att present I need not make anyRemittances, since he will satisfye all Demands;a favour by this post I again desire of him, asalso to deliver to you a small Box I sent for you,before I left London, wth a cane &. 2 pr silkStockins in it, whereof I desire yr Acceptance,& yt you'l beleive me sensible of all yr Favoursyou have done Dr Sr

Yr Edw.GascoigneParlington, July ye 10th/1728

19. James Quinn to A.G., Leghorne 23.6.1728(ASF, fasc. 1, f. 300)Sr Cherubino, ye Navicellaio writes that yuwould send away ye Cases ofMarble next Fryday& for yt reason I come to begg you'1 please to havepatience, & ship 'em till next week, & beforethat time hope you'1 send me ye Dimensions ofeach case as near as yu can to save charges thatotherwise may occur, intending to ship ymDirectly aboard when thy appear here withoutLanding.

Cap.t Callahan wth his Lady Departedhence last Sunday to your place and I fear shallarrive too late to have ye satisfaction of seeingher father's monument, presumeing its alreadypackd up. I begg you'1 present my best respectsto both & believe to be wth perfect Esteem Sr.

James Quinn

Legh.o 23 June 1728

20. A.G. to E.G., 26.6.1728 (ASF, fasc. 1, f.301)Dr Sr,

I take ye liberty to lett you know of yemarble Monument Tables and chimneys arequite finished and cassed up into wooden casseswith ye greatest care that could be taken (theyare about 25 casses); and now wait for the boatman that Mr Quinn sends from Leghorne tofetch them. I hope every thing will come safe yrhands and that you will be satisfayed both withthe severall sorts ofmarbles and ye workmanshipwch is done to the best perfection. I have keeptthe monument sett up in the workmans shop asit is to be in to its place about ten dayes andall ye nobility of Florence and other people havebeen to see it and has been liked and approuedby every body for it rally makes a fine figure andexpecially ye coat of arms wch is indeed a veryrare piece of work and I belive it will be thefirst that ever was seen in England of this sort.I have payed everybody and Mr Quinn hasremitted me in all 686 florentin scudis, 600 thecost of ye marbles, 30 ye wooden casses 12 for thetransport of all ye marbles from the workmansshop to the river and 40 for ye Dutty of yecoustom house wch I have not payed, becauseafter I had receiv'd all ye said money I foundthat in computing I had not considered ye costof ye Lapislazuli wch is in ye coat of arms andsome others little expences, the cost of the brasslamp, wch in all came to 40 scudis, there fore

21

instead of writing to Mr Queen to remit me, Iwould first try if I could get ye extraction of allthis work Dutty free wch ye G.D. [Grand Duke]granted me, but with much adoe, wherefore Ihave employed that money in paying thoseexpences within the casse of ye Urn. You willfind a box marked L, and in it ye brass lamp wchis one of ye best I could get.all the pieces arenumbered therefore it will be easy to sett ittogether. Every casse of ye monument is markedwith a different letter, wch have a refference tothe design I send you because they may easy tofind out the pieces in puting it up. I send alsoback again the design of ye coat of arms becauseyou may see that it has been executed at exactlyas the design is. Three days ago arrived inFlorence yr sister with Cap. t Calla han herHusband. I went immediatly to wait uponthem and my wife gives herself ye honour toserve yr sister and thus we shall do us both allthe while they continue in Florence. I wish theyhad come a day before because then they hadseen entirely the Monument set up but howeverthey have seen all those pieces wch were notcassed up and have liked it very well.21. E.G. to A.G., Parlington 12.3.1729 (ASF,fasc. 1, f. 323)Parlington March 12th/VS 28/29

Dr SrTho it is a considerable Time since I

receiv'd ye Favour of yr last, yet I defer'danswering it till I c'd inform you of ye Arrivalofmy Marbles, wch I have at last got home andI hope not very much broke, tho'e Urn of yeMonument is damaged, k ye yellow Chimneypiece... and every thing is perfectly handsome,R. will I doubt not be much admired when Ihave got ye whole sett up; I have therefore allmy thanks now to renew to you & hope, youwill believe me sensible of ye Obligations I oweyou for ye Mass of Trouble I have given you ofthis score; and if it lay in my power to recommendyr Workman I shall be [?] to do it.

The inclosed Paper is a Pattern of a Floorwch I send to beg you w'd tell me what it w'dcome to 20[?] Foot of 3 different butt commoncoloured Marbles; for as ye Chappel, ye Monu-ment is to stand in, is small, if ye charge of sucha Floor were not very great I shoud possibly doit so, if you approve....

I must likewise beg to know wether youhave any Correspondent at Milan R. whether

you c'd order me a Chimney piece of their stonewch they call meliorola but is realy granito R. ifyou can without Inconveniences I will troubleyou wth ye Design of one; ye stone is very cheapbut very hard to work. I hope you receiv'd yecane R Stockings wch I sent you last year, &. ytyou will in due time get ye Dishes R 2 pound Gelewch I have lately sent to Mrs. Galilei beggingshe w'd accept of them...[on the verso in Galilei's hand]

Mr Pate 15 $ days at 3shis Man 12 at 1.8Cove StonesLetter cuttingby measure at Church

6 4 4added by Sir Edward:His Man z day at weighing 0 0 10

6 5 2

1730May 25 pd Mr Douglas fo Freight ofMarble

monumt. R.c. L 5 fm London 8z forother goods 17s 1 ld 5 17 11

answered ye 19 of May 1729. The price of yePaving four Shilings a foot square.22. Installation of the Monument (E.G's Diary,GC/Fb/12b)1728/29January, 23 ye man yt brought letter about

Marbles $0 1 624 gon to Brotherton to see ye Marbles

loaded25 gon to Berwick with ye Marbles

April 30 gon to Berwick after dinner toreceive[?] ye Marbles of ye Monu-ment all weg wth their casesamounted to 6154 pds.

May 5 Pate begun to set ye Monument...gon to Berwick Church given Pateto drink. he beginning to sett up yeMonument this day $0 1 0

13 To Berwick given Pate ye Monu-ment being set up $0 1 0

17 Given Pate $ 1 1 019 pd Pate in full together with 2 2 0

before 4 3 0[inserted part of a letter in another handwith the following account]:

s. d.2 6 61 0 0010 00 6 42 1 6

22

Footnotes

Abbreviations: ASF (Carte Galilei, Archivio di Stato,Florence), CL (Country Life), Lankheit (K. Lankheit, Floren-tinische Barockplastik, 1962), Toesca (I. Toesca, 'AlessandroGalilei in Inghilterra', English Miscellany, 3, 1952, pp.189—219).

The Travels through England of Dr. Richard Pococke...during r7qo, i75i &'ater years, ed. J. J. Cartwright,Camden Society, N.S., 42 and 44, 1889—9, vol. I,p. 62).See Done's article in this issue of the Calendar.For Galilei's career, see Ioesca; E. Kieven, 'AlessandroGalilei in England', CL,January 25, 1973, pp. 210—12;R. Wittkower, Art and Architecture in Italy s6oo—t75o,1965, pp. 248—52.Knight of Glin, 'New Light on Castletown, Co.Kildare', Quarterly Bulletin of the Irish Georgian Society,vol. VIII, no. 1, January —March 1965, pp. 3—9;Knight of Glin and M. Craig, 'Castletown*, CL, March27, 1969, pp. 722-26.J.Lees-Milne, English Country Houses Baroque t685—i 7r5,1970, pp. 102—11; T. Friedman and D. Linstrum,'Country Houses through Georgian Eyes', CL, Feb-ruary 1, 1973, p. 270.ASF, filza 21 (Toesca, p. 212, n. 7). Between 1718—20,Dubois was building on the Burlington Fstate, in OldBrewer and Burlington streets (Survey of London, TheParish of St. games's Westminster, pt. II, London, 1963,XXXI, p. 219, XXXII, p. 498).He executed only a small number of buildings duringthis period: a gallery in the Palazzo Cerretani inFlorence, begun 1722 (Toesca, p. 206, n. 1, ill) and thelittle church of the Oratorio della Madonna del Vivaioin Scarperia ( Toesca, p. 219, n. 26c, d).Galilei married Letitia Henrietta iMartin on September9, 1718, against her father's will; she accompanied herhusband to Florence, bore him ten children, of whomfour survived childhood, and died in 1731.To mention a few names which appear in Galilei'spapers: Lord Sunderland, Mr. Spencer and hisbrother, Lord March, Lord Mandeville, Lord Parker,Lord John Russell, the Duke of Bedford's brother,Sir Robert Myrtoun, Sir Alexander Murray, ThomasRobinson (perhaps Sir Thomas, the Yorkshire archi-tect), Sir Philip Meadows, Edward Lovett Pearce, theIrish architect and co-designer of Castletown, DanielWray, the antiquarian.

10.

11.

12.13.

14.

16.

18.

20.

15

17

19

For instance, he arranged the commission for copyingthe statue of Venus and Faun in the Medici collection,which was executed by Pietro Cipriani for Lord Parker(ASF, filza 18, fasc. 1, f. 255—56); he commissioned thestatue of Ganymede to be executed by Antonio Montautifor John Molesworth ( 7 he Tvvilight of the Medici, Detroitand Florence, 1974, p. 86).Some observations made tn travelling through France, Italy,etc. in the years s7zo, i7zr and tyza, London, 1730(1764 ed. p. 388).Lankheit, p. 103.ASF, filza 21, f. 359 (Galilei in a letter to Mr. M.Bernege, secretary to Sir Alexander Murray, 23January 1731, concerning a chimneypiece designed byGalilei and shipped to Scotland in 1731). The GrandMaster in Malta, M. de Vilhena, also spoke in glowingterms of Cerroti (Lankheit, p. 308, Dok. 489), whofollowed Galilei to Rome in 1732 and became stone-mason of all Galileian commissions.Doc. 2 and a letter from Cerroti to Galilei, 12 December1725, announcing his return to Florence about theend of January 1726, although he did not leave Maltabefore 23 February (ASF, filza 21, f. 206; Lankheit, p.155).For the work of the 'gallerie', see The Tuilight of theMedici, Detroit and Florence, 1874.ASF, filza 14, f. 339, pencil, 18 4 x 29.2 cm., Englishwatermark and inscribed 'justice'.ASF, filza14,f. 309, pencil, 19 5 x 27 1 cm., Molesworth'swidow requested Galilei in 1728 'to send a design... fora tomb'ASF, filza 21, f. 308). It is significant thatMolesworth, who owned an estate at Edlington inSouth Yorkshire, and Sir Edward Gascoigne werecorrespondants.ASF, filza 18, f. 344ff., in which Galilei gave his opinionon the erection of a Baroque altar for the 'Battistero'nS. Giovanni in Laterno; he recommended instead aplain, simple one to be in harmony with the antiquebuilding (I. Toesca, Paragone, 4, no. 39, Arte, 1953,pp. 53—5).For Degge, see Historical Manuscript Commission, 67,Polworth, III, 1931, p. 281.The British resident in Florence.

Fraulein Kieven has been researching the career ofAlessandroGalilei for a number of years; her thesis on this subject willbe submitted for the degree of PhD this year to the Philo-sophischc Fakul tat dcr Rheinischen Friedrich-Wilhelms-Universitat, Bonn. The English translation of this article isby R. Savory and L. E. Howell.

23

A Present from CambrayC. G. GILBERT

When Henry Ingram succeeded his brother as7th Viscount Irwin in 1736 he found TempleNewsam in urgent need of repair and decidedto rejuvenate suites of rooms on the north andsouth wings, a scheme which took seven years(1738—45) to complete. The finest new interiorwas the Gallery, decorated by York craftsmen,probably to designs by Daniel Garrett, andsumptuously furnished by a little known Londoncarver and gilder named James Pascall.The original needlework suite consisting of

twenty chairs, four settees and a daybed, alongwith a pair of gesso gilt console tables and aspectacular pair of girondoles, all commissionedin 1746, still grace the room for which they weremade,'ut Lord Halifax, the last private ownerof Temple Newsam, has retained an elegantcheval firescreen framing a tapestry work panelsintended for the Gallery which relates interest-ingly to some contemporary letters.In March 1744/5 Sir Edward Gascoigne wrote

to Lord Irwin from Cambrai in France~ 'I thinkye Tapestry-work Chairs here do look very well,and even not unworthy a place in ye hand-sommest Apartmt in England, such as I think ytyou are furnishing... and really I should thinkit might be worth my Ladys [Lady Irwin] whileto have a handsome design or two drawn & sentover, yr so she might have something quite new...and ye better ye painting ye better would his[Baert, the weaver] work be', adding 'He hasin ye Loom just now a little Screen, wch mywife designs to send first occassion to her Ladyspk wch will shew ye nature of ye Work'. Thetapestry panel did reach Temple Newsam butLord and Lady Irwin chose to upholster theirsuite in brilliantly coloured wool needleworkupon canvas, a more durable material thantapestry. However, they mounted the sample in acheval firescreen with a sliding panel, recordedin the 1808 inventory as 'A mahogany largehorse firescreen with carved frame and coveredwith fine flowered tapestry and green and whitecheck case'.4 When Fletcher Moss visited thehouse in 1910 it had been moved to the GreatHalls and it is now at Garrowby Hall, near York.

The armorial tapestry panel displays the PaternalCoat of Ingram within a floral surround and thewoven inscription FAIT. A. CAMBRAY. PAR.I.BAERT.LE. 15FEVRIER. 1744.Encouragedby a subsidy from the magistrates, Jean Baert ofOudenarde settled in Cambrai early in theeighteenth century. He was succeeded by his son,Jean Jacques, in 1741 who, besides weaving thispanel, produced the hangings of landscape andflowers now in the town hall there.eThe screen gives a valuable insight into the

cross currents of taste between England andthe continent during the mid-eighteenth centuryand commemorates the friendship of two localfamilies.Footnotes1. C. Gilbert, 'The Temple Newsam suite of early Georgian

gilt furniture', Connoisseur, February 1968, pp. 84—88.2. Temple yt'etosam Heirlooms, 1972, no. 25, ill.3. Temple Newsam Papers (Leeds City Archives), TN.

CORR 16i44A.4. Yorkshire Archaeological Society DD 54.5. F. Moss, Pilgrimages to Old Houses, 1910, V, p. 319, ill.6. W. G. Thomson, A History of 1apestry, 1906, p. 450.Photograph reproduced by courtesy of Lord Halifax

24

Paper Houses, an Anglo-Irish InterludeANGUS TAYLOR

These events read like the plot of an earlynineteenth century melodrama. The only son anddirect heir ofSir Thomas Gascoigne ofParlingtondied in a hunting accident at the age of twenty-three in 1809 and four months later his grief-stricken father followed him to the grave. Hisvast Yorkshire estates passed to Richard PhilipOliver of Castle Oliver, Co Limerick, whohad married Mary Turner, eldest daughter ofSir Thomas's wife by her first

marriage.'ichard

took the Gascoigne name and immedi-ately commissioned designs for a sumptuous newmansion at Parlington, which he did not

build,'hen

turned his attention to the stables andkennels, for which he obtained a remarkableseries of designs but again nothing was done. In1825, he bought the nearby Lotherton Hallestate and commissioned designs for remodellingthat house; only minor improvements appear tohave been carried out. He then turned to schemesfor a new mansion at Castle Oliver where, it issaid, the notorious Lola Montez, 'who dancedher way into the lunatic affections of Ludwig Iof Bavaria... and provoked the Revolution of1848', was born.s When Richard Philip OliverGascoigne died in 1843 at the age of eighty hewas still living in the old, inconvenient andhaphazardly planned house at Parlington.Richard Oliver's decision to rebuild Parling-

ton was taken in 1810, the year he inherited andwithin months of Sir Thomas's death. His firstchoice of architect is puzzling. William Pilking-ton (1758—1848), a pupil and assistant of SirRobert Taylor, is not known to have had otherYorkshire patrons nor to have built in Ireland.However, he was born at Hatfield, near Don-caster, his wife came from Knaresborough andhe undoubtedly maintained county connections.4The layout of his Second Design for Parlington(Fig. 1) is extraordinary. Although convention-ally Palladian in the way in which the centralblock is connected to the wings at basement levelby quadrants, Pilkington introduces an ex-ceptional, perhaps unprecedented feature:greatly extended quadrants are joined to theouter rather than the inner corners of the wings.

Moreover, the quadrants are attached to thecentral block not at the corners, the conven-tional solution, but at the second bays, so thatthey cut across the facade and end in curious,arched pavilions the details of which areunknown because of the absence of a corres-ponding elevation drawing.sIf Pilkington's planning is out-of-date, for by

1810 an asymetrical grouping of these variouselements was beginning to be fashionable, theentrance front (Fig. 2) shows him in a con-temporary, neo-classical mood. Composed oftwo storeys and nine bays, the three centre baysare expressed as a curved portico of giantCorinthian columns around which the balustradecontinues unbroken. An almost identical arrange-ment was used by James Wyatt for the north-eastelevation of Castlecoole in Ireland (1790—7),which Pilkington would have known in theillustration published in George Richardson'sXevv Vitruvius Britannicus, 1808—10, a book towhich he

subscribed.'he

signature of Charles Watson of York(c.1790—1830) appears on a 'Summary of workdone for Richard Oliver Gascoigne at Parlingtonin 1812', which approved the considerableexpenditure of $3379.16.10> (including/936.16.9 for the year 1811). This was only ayear after Pilkington's appearance, so that a newarchitect was chosen and the decision to 'im-prove'ather than rebuild the house was takenquickly. This work almost certainly included the'New Drawing Room', the paintwork of whichneeded $2.10.0worth of 'repairs'n

1813.'etween1813 and 1818 several proposals byCharles Watson and his partner, James PigottPritchett (1789—1868),"were made to regulariseand extend the house.'2 The designs concentrateon the entrance front and leave undisturbed thesequence of rooms facing the garden. An April1813 design (Fig. 3) shows a chaste elevationbroken only by the Doric porte cochere and theslight projection of the end bays. The fourwindows to the right of the entrance camouflagea narrow area open to the sky and the wall abovethe portico conceals the existing, single storey

25

„Q,]

1. Design plan for Parlington Hall by William Pilkington,r8ro, Pen and ink.

hall. A June 1813 version encorporating thesame entrance front design attempts a sym-metrical facade to the east as well. In the next,more modest, proposal of 1818 all notion ofuniformity is abandoned and the planningbecomes very confused. This drawing also showsa tentative bow in the centre of the garden front,which may well have been built at this timesince it is shown on a survey plan of 1885.'aThere is also a detailed drawing dated 1825 forthe porte cochere, but this appears in the sameform in the plans of 1813 and 1818, making thedesigning chronology all the more inexplicable.However, it is clear that all Watson and Pritchett'sattempts to bring the disparate parts of thechaotic house into a harmonious if not alwayssymmetrical whole remained unrealized.The Gascoigne family was renowned as horse

breeders and racers. Sir Thomas had had racingsuccesses and Richard carried on this tradition,his horse 'Soothsayer'inning the St. Leger atDoncaster in 1811; this no doubt stimulated hisinterest in horses and their proper

housing.'or

the years 1813 to 1816 there are designsrelating to at least seven projects for stables, noneof which were built.'s Four of these are forcomplete quadrangles far more monumentalthan any of the contemporary house designs. Thefinest have a clock turret over the entrance archstressed by coupled columns or pilasters as wellas a generous display ofopen and blank arcading.All are typical of the Late Georgian classicalstyle.In contrast, the contemporary designs for

kennels are astonishingly refreshing. There is amodest plan of around 1811'yH. Lambert, anotherwise unrecorded architect, as well as fiveother proposals which are either signed byWatson and Pritchett or can be attributed tothem." One forms part of a gigantic farmcomplex of no less than 260 by 440 feet. Theremaining four are interesting in illuminatingthe nature ofWatson and Pritchett's substantialYorkshire practice. Watson was essentially a manof the eighteenth century, while Pritchett, wholived until 1868, in many of his Georgian designsanticipated Victorian attitudes, not least in thefield of planning. During his two years as an

26

2. Design for the Entrance Front for Parlington by William Pitkington, t8to, pen and tnk and coloured wash.

I II,Ft tC

3. Design for the Entrance Front for Parlington by Watson and Pritchett, t8r8, pen and ink and coloured wash.

FF

5 5 Eli.

kI

4. Design for the Entrance Front for Lotherton Hall by Watson, Pritchett and Watson, t8a8, pen and ink and wash.

27

assistant to Daniel Alexander, designer of thefirst Dartmoor Prison (1805 9) as well asMaidstone Goal (1810—17), on which Pritchettactually worked, he acquired an interest andfacility in the planning of elaborate, specialistbuildings in which several interdependent func-tions exist side by side. Thus, in one of theParlington kennel designs (Fig. 5), pointers areseparated from greyhounds and springers, dogsfrom bitches and pups, like the inmates of a goal.There are separate areas for breeding, sleepingand feeding; these units, together with the boil-ing house and Keeper's Lodge, are ingeniouslywoven together in a radial plan within a perimeterwall variously quatrefoil, circular, semi-circularand square.'t was this complicated butrational planning which won for the firm ofWatson and Pritchett the competition for themonumental Pauper Lunatic Asylum at Wake-field in 1815. Here, Watson is seen as contribut-ing the elevations ~~ and in the Parlington kenneldesigns his facades clothe Pritchett's geometry inan austere and wholly appropriate neo-classicalvocabulary

s'rom1818 to 1825 there are neither plans noraccounts for building at Parlington. The immedi-ate cause was undoubtedly the death ofRichard'wife, Mary, in 1819, aged only thirty-seven.By 1825, his interests renewed, he purchased theLotherton Hall estate from Lamplugh Raper'~and in 1828 Watson and Pritchett (joined byanother Watson) supplied designs for alterationsand additions to this house. These too areconfusing: are they additions to the existingRaper house or to building already carried outfor Gascoigne sometime between 1825 and 1828,for which the designs are lost? Watson, Pritchettand Watson's plans of 1828 show plainly thenucleus of the existing house two rooms and astaircase; of these the two rooms (the Libraryand Drawing Room) remain today. The DrawingRoom is of considerable interest. It has a screenof two Greek Doric columns supporting a centralarch at the entrance, facing a large bow with twowindows at the opposite end. This compact ifnot entirely resolved composition recalls thework of Sir John Soane in England and archi-tecture of the Revolutionary period in France.'4In a Yorkshire context, the composition isadvanced for its date and the bold use of GreekRevival vocabulary suggests that Watson andPritchett were indeed the designers.'s Theirproposed entrance front (Fig. 4), which would

have given the house two bows, has an attachedportico of four Ionic columns carrying a shallowsaucer dome. On either side and on both storeysare tripartite windows with lights of equalheight and, on the ground floor, recessed panelsin their bases; this last motif had been used byWatson and Pritchett on the Parlington designof 1813 (Fig. 3). A surviving account for inci-dental spending totalling $534.9.1f on kitchenand offices in 1828—9, suggests that theircomprehensive scheme was not accepted; thisis confirmed by the fact that it was the pre-1828house which was extensively enlarged around1900 to form the present complex.The Gascoignes stayed on at Parlington,~'ut

evidence of any substantial improvements hasbeen obscured by the demolition of the house andstables in the nineteen-fifties. The brick-builtHome Farm, the most substantial survivingbuilding of this period on the estate, appears ona map of 1817"and bears a strong resemblancein plan to Watson and Pritchett's farm designs of1813 and 1815.~~ An abstract of bills for 1829records the expenditure of$352.17.6for a 'newGreenhouse', for which the mason was I. Back-house.s No design exists and the reference isinteresting mainly as representing what wasprobably Richard's last building concern on theestate.In 1821 he repaired St. Ricarius at Aberford,

erecting 'catacombs capable of receiving thirtybodies';s'he church was virtually rebuilt byAntony Salvin in 1861. Work at Boston Spafared better. As Lord of the Manor of Clifford-cum-Boston, Richard built the Spa in 1834 torelieve the crowding of the old well.s~ Thedrawing for the 'neat and commodious bath'"shows a simple, single-storey building of sevenbays, the centre three forming a canted bay; itis dated 1833 and initialled 'J.S.', which maystand for James Simpson.s4 The Bath stillstands, perched on a rusticated plinth tallerthan the building itself, rising directly from theRiver Wharfe.

As in England, so in Ireland, Richard'building projects did not materialize, but thedesigns for his Co. Limerick estate are amongstthe most fascinating with which he was con-cerned. In May 1826, the brothers, James(1779 1887) and George Richard (1793—1838)Painss supplied two alternative designs forCastle Oliver, which are typical of the earlynineteenth century in that they show the

28

5. Design for a Kennel for Parlington by Watson and Pritchett, c. t8r t, pen and ink.

29

6. Design l'or the Entrance Front for Castle Oliver, Co. Limerick by j and G. R. Pain, r826 pen and ink and coloured trash.

)f

7. Design plan for Castle Oliver, Co. Limerick by j and G. R. Pain, r826, pen and ink.

willingness of architects to work in widelydifferent styles without apparent discomfort.Design No. 1 is for a rigid, rather unimaginativehouse with an Ionic porch, in which the rect-angular silhouette is scarcely broken; even thechimneystacks barely project above the roofline.The most interesting feature is the columnedvestibule which occupies the core of the houseand ofl'which the main rooms open; the upperfloor of the vestibule is surrounded by a gallerygiving access to the bedrooms. Design No. 2. isfor a splendid, picturesque Gothic castle moresuited to the name of the house (Figs. 6 7). Thefree grouping of square, polygonal and roundtowers and rooms, in both plan and elevation,show the Pains'ndebtedness to their teacher,John Nash; the vertical emphasis in the elevationand the splendid sequence of internal spacesporch, hall, staircase suggest the influence ofJames Wyatt's Fonthill (1796—1813) or Ashridge(1808—13).However, the window tracery is styl-istically more 'correct', like that in Wyattville'sreconstruction ofWindsor Castle (1820 30) andthe Pains'wn Mitchelstown Castle (1825), a

larger and less successful design than CastleOliver which was built a few miles away.ssNeither of the Pains'esigns was executed and

the eighteenth century house survived into thelate eighteen-forties, eventually to be rebuilt byRichard's daughters. Their Castle Oliver, orCloughanodfoy Castle as it was then called, wasdesigned by George Fowler Jones of York andsurvives. His design was published in 1850s'nddescribed as being in the 'old Scotch Castle orManor House Style which prevailed during theStuart period', in other words, Scottish Baronial.It has arabesque panels and painted glass panelsinset in the marble fireplaces in the DrawingRooms, all carried out by the Miss Gascoignes.It was they who also succeeded in makingimprovements to their Scottish estate at Glenorthyand in building the Gascoigne Almshouses atAberford (1844), a grandiloquent range whichis a memorial to their father and brothers, aswell as building the lodge at Cloughanodfoy andthe nearby H-shaped Folly, constructed to helprelieve the famine of 1845—7, which still standsin the beautiful Glenosheen.

FootnotesAbbreviations: Colvin (H. M. Colvin, Biographical DictionaryofEnglish Architects s 66o—s84o, 1954), Friedman (T. Friedman,Leeds Arts Calendar, No. 66, 1970, pp. 16—24), GC (GascoigneCollection, Leeds City Archives Department), White (W.White, History, Gazeseer and Directory of the West Riding ofTorkshire, 1837).

l. Sir Thomas Gascoigne's will stipulating the inheritanceof his estates, dated 31 October 1809, is GC/F2/14,Box 13K. Richard was the eldest son of the Rt. Hon.Silver Oliver, M.P.

2. For Thomas's earlier architectural projects for Parling-ton by Carr, Atkinson, Leverton and others, see Fried-man.

3. Montez, ne Marie Gilbert, 1818—61 (Lord Killanin andM. V. Dignam, Shell Guide to Ireland, 1967, p. 68).

4. Colvin, p. 457; Whffe, p. 187.5. Both in the manner of attachment and the extended

form of the quadrants, the design owes something toPalladio's Villa Tressino and Robert Taylor's DansonHill, Kent (1756) and Purbrook, Hants. (Colvin, pp.603—4).

6. For instance, James Wyatt's Dodington Park, Glos.(1798-1808).

7. Vol. II, pls. 65—70.8. Colvin, p. 652. Watson was the partner of William

Lindley of Doncaster from c. 1791 to 1800; their jointwork includes St. John's Doncaster and Ouslethwaitc,near Barnsley (Sheffield Reference Library, ElmhirstMSS. EM 1751—4), Watson moved to York c. 1810 andin 1813 took Pritchett into partnership.

9. GC/E12/13.10. GC/E12/13.

11. Colvin, pp. 477—8. Watson and Pritchett refrontedBurlington's Assembly Rooms at York (1828) andprobably designed and built Rise Park, Humberside(1815—20); the buildings for which Pritchett is bestknown, such as Huddersfield Railway Station (1845—50), date from after the dissolution of the partnership,which in 1831 he had come to dominate.

12. The dates of the drawings show that the set of April1813 predates Pritchett's survey of 'the house in itspresent state'y a month.

13. By G. Fowler Jones of York.14. Sir Thomas won the St. Leger in 1778 and 1798;Richard

entered horses for the race between 1811 and 1841,taking second place in 1822 and winning in 1824 (J. S.Fletcher, The History of the Sl. Leger Slakcs, nd.).

15. In GC are detailed drawings for spouting, racks, doors,windows and framing for the coachhouse cupola (witha letter about this to the joiner), indicating that thesimpler stable block adjoining the house was built(1813—14).

16. Watermark 1811 (GC/MA 51).17. Design No. 2 is not signed but is the pair to the signed

Design No. 1. There are two drawings for a quatrefoil-shaped kennel: an 'Old Design'watermark 1807) andan unfinished pencil drawing (watermark 1810).

18. See young John Soane's circular 'Design for a CanineResidence'c. 1779) (J. Summerson, Sir john Soane,1952, pl. 6).

19. C. Watson and J. P. Pritchett, Plans, Elevaffons &"Sections elc. of the Pauper Lunatic Asylum recently erected asWakcfteld, 1819);R. O. Gascoigne owned a copy of thisbook. (G. H. Broadbent, 'Life and Work of Pritchett ofYork', Sludies tn Architectural History, Vol. II, 1956, pp.102—24).

20.

21.

22.

23.

24.

25.

26.

27.

28.29.

It should be noted that by the time Pritchett joinedhim in 1813, Watson had almost completed theSession House and Goal at Beverley (1808—14), whichhad a complex plan (Broadbent, op. cit., p. 103).Their plan for a vast market at Shetfteld for EarlFitzwilliam (1828) demonstrates the same qualities(Sheffield Reference Library, Wentworth WoodhouseMSS, MP38).There are designs by Peter Atkinson for alterations to ahouse in Aberford for John Raper, a banker, 1811(GC/misc.); the house stands unaltered.The Greek Doric does not often appear in designs forthe Gascoignes: there is a pencil sketch plan for adecagonal garden (?) building with attached half-columns and an elevation of one of these columns, verysquat Greek Doric on a square base (GC/MA 56); thismay be related to Lindley's Cattle Shed designs forSir Thomas Gascoigne, where design No. I is articulatedby attached post-and-cap columns suggestive of theprimitive Doric (Fricdrnan, n. 24).Soane's House of Lords, 1794—6 (Summerson, op. cit.,p. 18) and the Princess Street vestibule of the Bank

of'ngland,1804—5 (D. Stroud, The Architecture of Sirjohn Soanc, 1961, pls. 80—I); C—N. Ledoux's Barriersde la Villette, Paris, 1784—9 (H. R. Hitchcock, Archi-tecture yI'inetecnth and Ttocnticth Centuries, 1958, pl. 2A).They used a Greek Doric order in a design for a lodgeat Sledmere ( Tlic Artist and the Torkshire Country House,Harrogate, 1975, no. 109).Abstract of bills for Lotherton building, 1828—9(GC/E12/13) .Lotherton was the seat of Captain William Ramsden in1837 (White, Vol. II, p. 326).By William Porter (GC/MA 29).Other remaining fragments of buildings at Parlingtoninclude three brick bays of a garden building and atunnel concealing the coal road from the house,probably built at the same time as the bridge, for whichJas. Naylor was paid QI89.9.6f in 1813 (GC/E12/13);both are shown on Porter's map. North-east of the farmare three pedimented, stone pavilions and paddocks

which may be the 'New Padock and stables'or whichNaylor received /471.13.5$ for 'masons work'n 1813(GC/E12/13) .

30. The bricklayer in the work of 1811—12 at Parlingtonwas a William Backhouse (GC/E12/13). Colvin (p. 51)and White (Vol. I, pp. 539, 623) record several Back-houses working in Yorkshire.

31. White, Vol. I, p. 671.32. White, Vol. II, p. 305.33. GC/misc.34. James Simpson of Leeds built chapels in Leeds and

York between 1824—56 (W. White, Directory andCazetecr of Leeds, Bradford, Hahfax, Huddersfteld andWakcfteld, p. 216; N. Pevsner, Tork and the East Riding,1972, pp. 129—30, Torkshire, West Riding, 1967, pp.313—4).

35. The Pains were sons of James Pain, co-author with hisfather of British Polladio and other architectural patternbooks. James and George Richard originally went toIreland to supervise the building of Lough CultraCastle (c. 1811);James settled in Limerick, George inCork, both frequently working together; their buildingsinclude the sombre Doric Goal (1818), the gothic HolyTrinity (1825), both in Cork, and numerous castles.

36. D. Guinness and W. Ryan, Irish Houses and Castles,1971, p. 15.

37. The Builder, Vol. VIII, No. 407, 23 November 1850,pp. 558—9 (H. R. Hitchcock, Early Victorian Architecturein Britain, 1954, VIII, pl. 32, pp. 249—50). Fowler Joneswas called in at Parlington in 1885.

38. Information communicated by Mrs. G. Trench ofCastle Oliver, 1975.

All drawings illustrated in this article, in Leeds City ArchivesDepartment (Gascoigne Collection), are published bypermission of the trustees of the estate of the late Mrs. YvonneStudd-Trench-Gascoigne.Angus Taylor, who is writing a post-graduate dissertationon an aspect of Regency architecture in the North for LeedsUniversity, is a Senior Lecturer in Art in Doncaster and theco-organizer of the exhibition The Websters of Eendat, 1973.

Published in Leeds by thc Leisure Services Committee Jointly rvith thc Leeds Art Collections Fundand a contribution from the 2"orkshirc Arts Association.

32

tVia<e .iemos. oYor <s iire's.drivingAr.s scene

G et The Month in Yorkshire—the magazine published bythe Yorkshire Arts Association.It contains details of all theartistic events taking place inYorkshire plus news,previews, articles and profileson what is happening in thearts.

The magazine is on sale atLeeds City Art Gallery,Exhibition Hall, City Museum,Kirkstall Abbey Museum,Park Square Gallery, NorthernArtists Gallery, The Playhouseand music and record shops,price 10p. Or you can join theAssociation for E2 a yearsubscription. Write to us fordetails or, if you'e never seenthe magazine, a freeintroductory copy.

YORKSHIRE ARTS ASSOCIATIONGLYDE HOUSE, GLYDEGATEBRADFORD BD5 OBQTelephone Bradford 33051

Park SquareGallery57 St. Paul's Street, Leeds z

Telephone Leeds 45642 t

Monday to Fridayzo a.m. to 5 p.m.Saturday zo a.m. to z p.m.

TREVOR JONESRecent Work6th—31stJanuary, 1976

BRENDAN NEILANDPaintings and Prints1st—28th February, 1976

AUSTIN WRIGHTAINSLIE YULESculptors'rawings by twopast Gregory Fellows1st—27th March, 1976

ESTABLISHED 1867

REMOVERS

STORERSPACKERS

SHIPPERS

287 ROUNDHAY ROAD, LEEDS 8

Phones 629282-3

posters, books, magazines, noveltiesLAMPSHADES, CANDLESgreeting cards. stationery, felt tips, giftwrapESSENTIAL OILS, INCENSEblouses, shirts. loons, dresses, sandalsOXFAM, UNICEFtoys, dolls, rugs, bedspreads

Otley Road HEADINGLEY Leeds 6Headingley Lane HYDE PARK CORNER Leeds 621a Chapel Lane off CARDIGAN ROAD Leeds 6Telephone 757825

studio studioateliers atelierslimited limited

Designed and Printed by E.j Arnold td Son Limited at their Broadtoay Factory, Leeds r t.