James Gibbs

The highly individualistic achievement of the British architect James Gibbs (1682-1754) stands between the English baroque school and the Palladian school.

James Gibbs was born at Footdeesmire near Aberdeen, Scotland, in December 1682, the younger son of a Scottish gentleman. As a young man, he traveled on the Continent, pursuing his fondness for drawing. In Rome he determined to become an architect and entered the school of Carlo Fontana. Gibbs became acquainted with many members of the English aristocracy, for whom he made drawings and who were helpful to him in later life. He returned to England in 1709.

Through the influence of Edward Harley, Earl of Oxford, Gibbs was made one of the surveyors to the commissioners for building 50 new churches in London in 1713, and in this capacity he designed St. Mary-le-Strand (1714-1717), his first public building. Here he expressed not only influences of Sir Christopher Wren but also ideas absorbed from Italian baroque and mannerist architecture. Gibbs was employed by Lord Burlington in rebuilding the east block of Burlington House, Piccadilly, before that patron embraced Palladianism, but was superseded by the earl's protegé, Colen Campbell.

When the Whigs, who supported the Palladians, came to power, Gibbs as a Tory of baroque tendencies lost his official post in 1715, but his private practice among Tory patrons continued to be exclusive and remunerative. He built Cannons House, Middlesex (1716-1719; demolished 1747) for the Duke of Chandos; added a chapel and library at Wimpole Hall, Cambridgeshire (ca. 1720), for Lord Harley; built the exquisite Octagon Room at Twickenham, Middlesex (1720), with beautiful plasterwork by Italian stuccoworkers; and erected Ditchley House, Oxfordshire (1720-1725), probably his most splendid house, for the Earl of Lichfield, again with remarkable plasterwork by Italian craftsmen.

But public commissions were not entirely lacking. In 1720 Gibbs designed St. Martins-in-the-Fields (built 1722-1726), one of his outstandingly beautiful works. Like St. Mary-le-Strand and many of his houses, the interior was decorated with plasterwork by the fashionable Italian stuccoworkers, who probably came to England through his encouragement. St. Martins was followed by another building of extreme elegance and dignity, the Senate House at Cambridge (1722-1730), as well as the new buildings of King's College. Many of the ornamental buildings in the park at Stowe House, Buckinghamshire, are his work, including the Temple of Diana (1726), the Temple of Friendship (1739), the Gothic Temple (1740), and the Column with a statue of Lord Cobham.

Gibbs's general influence among architects and clients was great because of his exhaustive knowledge of architecture acquired through long study in Rome, an experience rare among architects of that generation, although later more common. This influence he extended by means of his Book of Architecture (1728), a record of both his executed and unexecuted work, and especially his Rules for Drawing the Several Parts of Architecture (1732), a work used by countless architects, students, scholars, and builders up to the present day.

Of Gibbs's later works the circular Radcliffe Library at Oxford (1737-1749) is his most ambitious and monumental achievement; it shows much influence of Nicholas Hawksmoor. Gibbs published the designs in the large folio volume Bibliotheca Radcliviana in 1747, and he received from the university the honorary degree of master of arts. He designed the new decorations of Ragley Hall, Warwickshire (ca. 1750-1755), in the rococo taste then becoming fashionable. A distinguished late work is the church of St. Nicholas at Aberdeen (1751-1755). In his last years Gibbs held the sinecure post of architect to the Office of Ordnance. He died in London on Aug. 5, 1754.

In his early buildings, especially in his churches, Gibbs displayed that discreet form of the baroque which he had absorbed from Carlo Fontana in Rome and also from Wren's example. Characteristic features of his work are window architraves interrupted by prominent rustication blocks, oeil de boeuf (oxeye) windows, boldly projecting cornices, and parapets topped by urns. In his later buildings the exterior form conformed more closely to severe Palladian principles, but the interiors retained a baroque exuberance.

Further Reading

The only monograph on Gibbs and his work is Bryan D. Little, The Life and Work of James Gibbs, 1682-1754 (1955). There are brief discussions of him in Peter Kidson and Peter Murray, A History of English Architecture (1962; rev. ed. 1965), and John Gloag, The English Tradition in Architecture (1963). Gibbs's relationship to contemporary baroque and Palladian architects is dealt with in John Summerson, Architecture in Britain, 1530-1830 (1955; rev. ed. 1963). See also K. A. Esdeile, St. Martins-in-the Fields, New and Old (1944), and Christopher Hussey, English Country Houses: Early Georgian, 1715-60 (1955).

Gibbs, James (1682-1754). As an architect Gibbs was unusual for his time, not because he was Scottish-born or even because he was Roman catholic, but because he spent six years in Rome and studied under Carlo Fontana (1703-9). His thought was unblushingly baroque. Appointed as surveyor for the ‘50 new churches’ legislated for London in 1711, Gibbs built St Mary-le-Strand (1714), but he lost the ‘political’ surveyorship in 1715. He was appointed architect for the unbaroque St Martin-in-the-Fields (1722-6). Probably his best-known secular building is Oxford's Radcliffe library, the ‘Camera’, completed 1748; at Cambridge, he built the Senate House and Gibbs's Building at King's.

A Scots RC, he turned to architecture in 1704 while training for the priesthood in Rome, and became a pupil of Carlo Fontana. He returned to Britain in 1709, having acquired a thorough knowledge of Roman Baroque. Partly through the good offices of Wren, he became one of the two Surveyors to the Commissioners for Building Fifty New Churches in London in 1713, and designed the masterly St Mary-le-Strand (1714–24), with its powerfully Roman side elevations and modelling recalling works by Cortona and Borromini, which made his reputation. With Queen Anne's death in 1714 and the new regime of King George I (1714–27) and Whiggery, Gibbs, who, as a Tory, Scot, and Papist, was suspect, was dismissed. He was then patronized by Burlington, but shortly afterwards superseded by Campbell as architect of Burlington House. Campbell's machinations also led to the omission of any mention of Gibbs from Vitruvius Britannicus. Through John Campbell, 2nd Duke of Argyll (1680–1743), he was employed to design Sudbrooke House, Petersham, Surrey (c.1717–20), and in 1720 designed St Martin-in-the-Fields, London (1722–6), with its Roman temple-front, steeple derived from the works of Wren, and galleried rectangular body with two rows of windows, which became the prototype for urban Anglican churches for the next century, being widely copied even across the Atlantic. He also designed Derby Cathedral (1723–5), the mausoleum at Kirkleatham Church, Yorks. (1740), and St Nicholas Church West, Aberdeen (1741–55).

His secular buildings were many, and his training in Italy gave him an advantage over his rivals, compensating for his difficulties of birth and religion. He designed the Senate House, Cambridge (1722–30), Fellows' Building, King's College, Cambridge (1724–49), and the Radcliffe Library, Oxford (1737–8). The last owes much to earlier designs by Hawksmoor, but as completed shows an Italian influence unthinkable in Hawksmoor.

Among other works are the cupolas at Houghton Hall, Norfolk (1725–8), various fabriques at Stowe, Bucks., including the Gothic Temple of Liberty (1741–4), Temple of Friendship (1739), and Belvedere (1726–8—demolished). He also designed numerous monuments, including several in Westminster Abbey (e.g. Dryden, 1720). Gibbs advertised his work in A Book of Architecture (1728—2nd edn. 1739), which spread his influence far and wide, and was probably the most widely used architectural book of C18. He also published Rules for Drawing the Several Parts of Architecture (1732—with further editions of 1736, 1738, and 1753).

Bibliography

• Colvin (1995)
• Friedman (1984); Gibbs (1728, 1732, 1747)
• E.Harris (1990)
• Little (1955)
• Summerson (ed.) (1993)

The full bibliography for this book is available to download as a pdf file.
Download the bibliography for A Dictionary of Architecture and Landscape Architecture (PDF: 1.2MB)

James Gibbs, painted about 1750 by Andrea Soldi

James Gibbs (1682-1754) was one of Britain's most influential architects. Born in Scotland, he trained as an architect in Rome, and practised mainly in England. His most important works are St Martin-in-the-Fields, in London, and the cylindrical Radcliffe Camera at Oxford University.

Gibbs was a Roman Catholic and a Tory, and was therefore not part of the Palladian movement which was prevalent in English architecture of the period. The Palladians were largely Whigs, led by Lord Burlington and Colen Campbell, a fellow Scot who developed a rivalry with Gibbs. Gibbs' Italian training under the Baroque master, Carlo Fontana, also set him apart from the Palladian school. However, despite being unfashionable, he gained a number of Tory patrons and clients, and became hugely influential through his published works, which became popular as pattern books for architecture.

His architectural style did incorporate Palladian elements, as well as forms from Italian baroque and Inigo Jones (1573-1652), but was most strongly influenced by the work of Sir Christopher Wren (1632-1723), who was a supporter of Gibbs during the latter's early career. Overall, Gibbs was an individual who formed his own style independently of current fashions. Architectural historian John Summerson describes his work as the fulfillment of Wren's architectural ideas, which were not fully developed in his own buildings.^[1] Despite the influence of his books, Gibbs, as a stylistic outsider, had little effect on the later direction of British architecture, which saw the rise of Neoclassicism shortly after his death.

Contents 1 Biography 2 Architecture 2.1 Early works 2.2 Country houses 2.3 Churches 2.4 The universities 3 Published works 4 See also 5 References 5.1 Bibliography 6 External links 7 Further reading

Biography

James was born in Aberdeen, Scotland, a younger son of a Roman Catholic family, and studied at Marischal College there. He later travelled through Europe, visiting Flanders, France, Switzerland and Germany, before entering the Scots College in Rome, in 1703, to train for the Catholic priesthood. Gibbs left the following year, and entered the studio of the Baroque architect Carlo Fontana (1634 or 1638–1714), where he trained until 1709.^[2] He came to London in 1710, having attracted the notice of the Earl of Mar while abroad.

The Palazzo Branconio dall'Aquila, Rome, inspiration for St Mary-le-Strand

Architecture

Early works

Mar attached Gibbs' name among the list of architects to be responsible for the new churches to be built under the Act for Fifty New Churches, and in 1713 he was appointed one of the Commission's two surveyors, the contemporary term for an architect, alongside Nicholas Hawksmoor. He held this post for two years, until he was forced out by the Whigs, because of his Tory sympathies, and replaced by John James.^[3] During his tenure he completed his first important commission, the church of St Mary-le-Strand (1714-1717), in the City of Westminster. A previous design had been prepared by the English Baroque architect Thomas Archer, which Gibbs developed in an Italian Mannerist style, influenced by the Palazzo Branconio dall'Aquila in Rome, attributed to Raphael, as well as taking elemnts from Wren.^[4] Such strong Italian influence was not popular with the Whigs, who were now taking political control following the accession of King George I in 1714, leading to Gibbs' dismissal, and causing him to modify the foreign influences in his work.^[2] Colen Campbell's Vitruvius Britannicus (1715), which promoted the Palladian style, also contains unfavourable comments regarding Carlo Fontana and St Mary-le-Strand.^[2] Campbell went on to replace Gibbs as the architect of Burlington House around 1717, where the latter had designed the offices and colonnades for the young Lord Burlington.

Design for the pavilions at Stowe; the stone pyramidal roof is no longer atop either pavilion

Other early designs include the house of Cannons, Middlesex (1716-1720), for James Brydges, 1st Duke of Chandos, and the tower of Wren's St. Clement Danes (1719).^[5] At Twickenham he designed the pavilion at Orleans House, called the Octagon Room, for a Scottish patron, James Johnston (1655-1737) former Secretary of State for Scotland, about 1718.^{[citation needed]} It is the only part of the house and grounds that has survived.

Country houses

Gibbs' "mature" style emerges in the early 1720s, with the house of Ditchley, Oxfordshire (1720-1722), for George Lee, 2nd Earl of Lichfield. It typifies his conservative domestic manner, which changed little throughout the rest of his career.^[6] His other houses include Sudbrooke Lodge, Petersham (1728), for the Duke of Argyll, works at Wimpole Hall, Cambridgeshire, for the 2nd Earl of Oxford, Patshull Hall, Staffordshire (1730) for Sir John Astley, and modifications to Colen Campbell's designs at Houghton Hall in Norfolk. Gibbs also completed the Gothic Temple (1741-1748), a triangular folly at Stowe, Buckinghamshire. Other garden buildings at Stowe include a pair of garden pavilions, which were later altered to remove the pyramidal stone roofs of his original design.^{[citation needed]}

St Martin-in-the-Fields, London, is the prototype of many New England churches.

Churches

Between 1721 and 1726 Gibbs designed his most important and influential work, the church of St Martin-in-the-Fields, located on Trafalgar Square, London. Gibbs' initial design for the commission was for a circular church, derived from a design by Andrea Pozzo.^[7] This was rejected by the commission, and Gibbs developed the present, rectangular, design. The layout and detailing of the building owes much to Wren, in particular the church of St James', Piccadilly.^[8] However, Gibbs' innovation at St Martin's was to place the steeple centrally, behind the pediment.^[9] By contrast, Wren's steeples were usually adjacent to the church, rather than within the walls. This apparent incongruity was criticised at the time,^[9] but St Martin-in-the-Fields nevertheless became a model for church buildings, particularly for Anglican worship, across Britain and around the world.^[7]

At the same time, Gibbs designed a chapel of ease for the 1st Earl of Oxford, now known as St Peter's Vere Street (1721-1724).^[6] In 1725 he designed All Saints', Derby, now Derby Cathedral, on similar lines to St Martin's, although at Derby the original gothic steeple was retained.^[9] Gibbs created numerous designs for funeral monuments, often collaborating with the sculptor Michael Rysbrack.

The universities

Fellows' Building, King's College, Cambridge

Gibbs worked at both Oxford and Cambridge Universities. Designs for the Senate House (1722-1730) at Cambridge were begun by Gibbs, but as executed the building is probably the work of James Burrough (1691-1764).^[10] The Fellows' Building at King's College (1724-1730) is, however, the work of James Gibbs. A simple composition, similar in style to his houses, the building is enlivened by a central feature incorporating an arch, within a doric portal, and a Diocletian window, all under a pediment. This mannerist composition of features from Wren and Palladio is an example of Gibbs' more adventurous Italian style.^[9]

The Radcliffe Camera, Oxford

More adventurous still was Gibbs' last major work, the Radcliffe Camera, Oxford (1739-1749). A circular library building was first planned by Hawksmoor around 1715, but nothing was done at the time. Sometime before 1736, new designs were submitted by Hawksmoor and Gibbs, with the latter's rectangular design being preferred. However, this plan was abandoned in favour of a circular plan by Gibbs, which drew on Hawksmoor's 1715 scheme, although it was very different in detail.^[11] Gibbs' design saw him returning to his Italian mannerist sources, and in particular shows the influence of Santa Maria della Salute, Venice (1681), by Baldassarre Longhena. The building incorporates unexpected vertical alignments, for instance the ribs of the dome do not line up with the columns of the drum, but lie in between, creating a rhythmically complex composition.^[11] Gibbs was awarded an honorary degree of Master of Arts in recognition of his work.^{[citation needed]}

Published works

Gibbs published his A Book of Architecture in 1728, a folio of his building designs both executed and not, as well as numerous designs for ornaments. It was intended to be a pattern book for both architects and clients, and became, according to John Summerson, "probably the most widely-used architecture book of the century, not only throughout Britain, but in the American colonies and the West Indies".^[11] For example, Plate 58 was an inspiration for the river façade of Mount Airy in Richmond County, Virginia, and perhaps for the floorplan of Drayton Hall in Charleston County, South Carolina, as well.^[12] In 1732, Gibbs published the Rules for Drawing the Several Parts of Architecture, a textbook which was used well into the 19th century.^[11]

In 1735, Gavin Hamilton painted A Conversation of Virtuosis... at the Kings Arms, a group portrait that included Gibbs and Rysbrack, along with other artists who were instrumental in bringing the Rococo style to English design and interiors.

See also

• Category:James Gibbs buildings

References

1. ^ Summerson, pp.330, 333
2. ^ ^{a b c} Summerson, p.324
3. ^ Summerson, p.280
4. ^ Summerson, p.286
5. ^ Summerson, p.325
6. ^ ^{a b} Summerson, p.326
7. ^ ^{a b} Summerson, p.327
8. ^ Summerson, p.328
9. ^ ^{a b c d} Summerson, p.330
10. ^ Summerson, pp.293-294
11. ^ ^{a b c d} Summerson, p.333
12. ^ The Center for Palladian Studies in America, Inc., "Palladio and Patternbooks in Colonial America."

Bibliography

• Summerson, John (1993) Architecture in the United Kingdom, 1530-1830 9th edition. Yale University Press. ISBN 978-0300058864

External links

Wikimedia Commons has media related to: James Gibbs

• James Gibbs, Twickenham Museum

Further reading

• Friedman, Terry. 1984. James Gibbs, (Yale University Press).

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