A Visit to Chiswick House, Part One

Victoria here, taking you today to the London suburbs to see a benchmark in the evolution of English architecture. Chiswick House was built by Richard Boyle, 3rd Earl of Burlington (1694-1753) in the second quarter of the 18th century. Not only is it a lovely jewel-box of a structure, it had a widespread and lasting influence on subsequent buildings in Britain.

First we must step back a century or so to Inigo Jones (1573–1652), architect of the Queen’s House, Greenwich (left), the Banqueting House in Whithall (below), and many other neo-classical buildings in London and the countryside.

 The neo-classical style, however, temporarily was overtaken in most building projects by baroque influences such as the styles of Sir Christopher Wren, John Vanbrugh, and Nicolas Hawksmoor.  However, the style would return and dominate British architecture in the late 18th century and onwards, largely due to the influence of a young nobleman.

Richard Boyle, 3rd Earl of Burlington, 4th Earl of Cork and Baron Clifford (1694–1753), inherited a great deal of money and property upon the death of his father, Charles Boyle, in 1704.  A few years later, young Richard made several Grand Tours of Europe during which he became especially interested in the designs of Italian Renaissance architect Andrea Palladio (1508–1580). Lord Burlington also met William Kent (1685–1748),  a painter born in England, who also took up architectural, furniture, and garden design.

When he returned from Italy, Burlington set about building Burlington House in Piccadilly in London. At right, the elevations by architect Colen Campbell, of 1725. Today’s Burlington House, the home of the Royal Academy of Art, looks quite different, having been greatly modified in the 19th century, though some of the original work can be seen, particularly in the John Madejski Fine Rooms inside.

Lord Burlington was an eager amateur architect, meaning no disrespect, in the same way the aristocrats of his time encouraged and participated in music, the arts, and sciences. One of his first projects, now demolished, was the Bagnio or Casino in the gardens of Chiswick, left.  He designed and built it with Colen Campbell in between his trips to Italy, where he studied the buildings of Palladio. It had several rooms, but was in the nature of a garden folly or decoration.

At right is an 18th century view of the allees of Chiswick’s gardens with the Bagnio as the focal point of the central walkway. At the end of the right path is a small temple Lord Burlington  built as another part of his formal garden, and still remains. It is pictured at the end of this post.

Palladio’s La Rotunda (left) in the Veneto Region of Italy is a prime example of his work, a direct influence on Burlington, Kent, Campbell and many others who soon championed their own versions of Palladianism.

The popularity of the style spread quickly through artistic and wealthy aristocratic circles in Britain.

Among the many properties inherited by Lord Burlington was a medium sized Jacobean mansion west of the city used as a summer retreat to get away from the heat of London. After a fire in 1725, Lord Burlington redid the house, adding a villa with a connecting structure. The mansion itself was pulled down
in 1788 leaving the villa, part of the connecting link, and the gardens.  The villa now known as Chiswick House was used as an office, gallery and rooms for entertaining. In Part Two, we will explore the actual building and its garden.

Lord Burlington (left) used his great wealth in sponsoring the work of many artists, architects and musicians. Handel was first a guest at Chiswick in 1712, and came back many times. The English Heritage Guidebook to Chiswick comments on the character of Burlington’s work: “Lord Burlington’s principal objective was to recreate the architecture and gardens of ancient Rome (and) re-establish its meaning…which told a story or painted a moral. Chiswick House incorporates an allegorical exposition of the polite arts; its garden includes reference to political liberty.”

 

Another house greatly influenced by Palladio and perhaps by Burlington is Thomas Jefferson’s Monticello in Virginia.  Jefferson was also a gentleman architect and there is no doubt that his tastes and those of the American founding  fathers resembled the tastes of those British aristocrats who also loved Palladianism and the neoclassical styles of the late 18th and early 19th centuries.

The 3rd Earl of  Burlington married Lady Dorothy Savile, daughter of the 2nd Marquess of Halifax, an heiress who brought additional estates to the family. She became a lady in waiting to Caroline of Anspach, wife of George II. Burlington held many important government posts before resigning all offices in 1732 over his oppositions to an Excise Bill. From then on, he occupied himself with improving his properties, scholarship and promoting the arts. He had no sons; his only surviving daughter Charlotte (1731-1754) inherited his properties; she was the Marchioness of Hartington, married to the eventual 4th Duke of Devonshire. Note that Charlotte had a very short life; her son William Cavendish (1748-1811), above, was born when she was a mere 17. But through her the possession of Lord Burlington passed into the hands of the Cavendish/Devonshire family. The Cavendish family frequently stayed and entertained at Chiswick.
Georgiana, Duchess of Devonshire, wife of the 5th Duke, often entertained at Chiswick, particularly her friends in Whig politics.  In the 1860’s, the Cavendish/Devonshire family rented the villa to a number of prominent persons, but by the early 19th century, it had become an asylum, then a fire station. Eventually, it was sold to Middlesex County and taken over by a trust to preserve the house and gardens.

In Part Two, we will explore the specific design of Chiswick House, which incidentally is prounced Chis-ick, with a silent W.

For more information on Chiswick, click here.

For an interesting article on recent developments, click here   

Leading Man News

Emma Thompson received her star on Hollywood’s Walk of Fame last month
and showed up at the unveiling with a pig and a pint.

Yipppeee for Emma Thompson. Yes, I know Emma’s not a leading man, but she is working on a new project, a remake of My Fair Lady, to star Carey Mulligan as Eliza Doolittle and rumour is that she’s tapped Colin Firth to play Henry Higgins, with Hugh Grant in a supporting role. Emma has said in interviews that she was dissatisfied with the original film version’s sugary take on the storyline of Pygmalion which, however one slices it, revolves around a father’s having sold his daughter to an older man in a form of prostitution. Emma has said:

“It’s a very terrible thing [Eliza Doolittle’s father] does, selling his daughter into sexual slavery for a fiver. I suppose my cheekiness is in saying, “This is a very serious story about the usage of women at a particular time in our history. And it’s still going on today.” 

About the original film, and its female lead, Emma said:
“I’m not hugely fond of the film. I find Audrey Hepburn fantastically twee … Twee is whimsy without wit. It is mimsy-mumsy sweetness without any kind of bite. And that’s not for me. She can’t sing and she can’t really act, I’m afraid. I’m sure she was a delightful woman — and perhaps if I had known her I would have enjoyed her acting more, but I don’t and I didn’t, so that’s all there is to it really.”

With equal honesty, Emma spoke to the Daily Telegraph of Firth’s chances of playing Higgins, “He would do it brilliantly, but because it’s a really expensive movie it’s really up to the studio. They’re always really picky about these things.”

So, does this mean that Emma’s version of My Fair Lady will be more like dark molasses than white sugar? In the end, will Colin Firth actually play Henry Higgins? We’ll have to wait and see, but in the meantime, as Victoria let us know in yesterday’s post, it’s dead cert that Firth will be playing King George VI in The King’s Speech. Set to open in November, Geoffrey Rush plays royal speech therapist Lionel Logue, who worked to help George VI overcome his stammer. Helena Bonham Carter will play the Queen Mum (!?).

Happy 50th to Colin Firth, Actor Extraordinaire

Victoria here, wishing many happy returns to Colin Firth, another actor that fascinates me — handsome, talented, versatile and all the other adjectives one can apply to British actors in the tradition of Olivier,  Gielgud, and so many others.  I wonder if Firth ever realized what a heart-throb he would become by playing Jane Austen’s memorable hero in the 1995 version of Pride and Prejudice, with a screenplay by Andrew Davies, produced by Sue Birtwistle and directed by Simon Langton for the BBC and A and E.

Of course, some of that had to do with the famous wet shirt scene, at which one might swoon — over what Jane Austen would have made of it!! 
But it also had to do with the smoky, sexy looks Darcy cast Elizabeth’s way — sigh!  Talk about “fine eyes.”  Firth made an excellent Darcy, looking suitably grim and bored at the beginning, and changing over the six episodes to recognize his love for Lizzy. This did not preclude his continued arrogance and his reluctance to share the real story of Mr. Wickham. But in the end, was anyone in doubt of the happy- ever-after ending?  Not I.
Firth did a sort of reprise of his P and P role when he played Mark Darcy in the Bridget Jones movies in 2001 and 2004.

Colin Firth was born September 10th, 1960, in Grayshott, Hampshire. He lived in Nigeria during part of his childhood later spent a year in the U.S. as a teen. He studied acting at the Drama Centre and was “discovered” while playing Hamlet.
Firth has appeared on the stage in London but has kept very busy with films, such as the role of the artist Vermeer in The Girl with the Pearl Earring (2003).  He appeared in Valmont (1989), The English Patient (1996), Shakespeare in Love (1998), and Love, Actually (2003), among many more.
Firth has worked with many fine actresses, none better than Judi Dench in Shakespeare in Love.  Kristen Scott Thomas, Jennifer Ehle, Meg Tilly,  Renee Zellweger, Isabella Rossellini, and Emma Thompson, to name a few more.
If I had been advising Colin Firth on his choice of roles, I guess I would have nixed Mamma Mia (2008).  Perhaps they had a great time filming it. Or working with Meryl Streep was impossible to give up.  Although Colin’s singing was just fine, Pierce Brosnan was dreadful.  But that last scene with all of them dressed in those shiny suits fro the 70’s and parading across the stage made me howl with laughter.

Firth received international kudos for his role in A Single Man (2009), including the BAFTA, an Oscar nomination, and awards from the Venice International Film Festival.   In the role of Professor George Falconer, he mourns the death of his long-time companion.
In the meantime, A Single Man has been released on DVD. Colin Firth’s performance is truly excellent.  His co-star is Julianne Moore who is also very good, much better than in her usual roles. 
Among Firth’s upcoming films is his starring role as King George VI in The King’s Speech, co-starring Geoffrey Rush as the coach who helped the King, father of the current Queen Elizabeth II, overcome his stammer. It should be released later in 2010.

I am sure that Colin Firth will continue to engage us with his portrayals on stage, screen and television, into his middle age.  And aren’t we lucky that we all can own a copy of Pride and Prejudice to watch whenever we like? In fact, you can watch a damp Firth in the  “lake scene” from Pride and Predjudice here. And the marriage proposal here.

A Note From Kristine and Victoria

Windsor June 2010
As we approach our six month anniversary, Victoria and I wanted to take a moment to thank everyone for their support of Number One London. Judging by the comments and emails we receive, you’re enjoying this site, but not half as much as we enjoy blogging! It’s really been a labour of love.
When we first started Number One London, one of our goals was to have a place where like minded Georgian, Regency and Victorian history addicts could share research and interesting stories they’d uncovered. We’d like to once more extend the invitation for you to become a guest blogger. Is there a particular area of history you’re fascinated by? An unforgettable personality? A little known fact regarding daily life? If so, please share it with the rest of us! We’ve all got our own particular interests so it’s rather nice to have a place to learn about things we wouldn’t necesarily research on our own. You might also submit a film or book review or a piece about your own visit to a stately home, museum or other location within the UK.

Furthering the effort to get connected, we’ve begun running a “real time” Recent Comments list in our left sidebar. Without having to open individual posts and click on the comments links, you can immediately see who’s been to Number One London and what they had to say. And we hope you’ve enjoyed the reaction boxes we added below each post, enabling you to leave a quick reaction with just the tick of a box.


Do you have suggestions or comments regarding the future of Number One London? If so, please use the email link in the left sidebar to email us – or leave your comment below this post. We’d love to hear them.

Once again, thanks so much for your support. Really. You know, Victoria and I each write our posts and then send them onto the web and wonder just who, if anyone, is reading them besides ourselves. I can’t tell you how encouraging it is for us to see your comments, reactions and emails.

The Fullerton Sisters, Sir Thomas Lawrence, 1825

Victoria here, taking a moment to thank everyone and encourage all of you to contribute your thoughts via a comment or a full-blown post.  You wouldn’t be here if you weren’t a fan of England, British topics and so forth.  What do you love to read and where do you dream of going? 

I’m sort of addicted to visiting country houses myself, as you may have noticed.  Any hints for our next trip?  Favorite spots?  Someplace you want to re-visit — or that you would have for your own (if you win the lottery)?

Scotney Castle, Kent

Tell us all about it.  Or just come along while we tell you about our faves — that’s okay too.  Cheerio!

Burghley House

Mack the Knife

Oh, the shark, babe, has such teeth, dear
And it shows them pearly white
Just a jackknife has old MacHeath, babe
And he keeps it … ah … out of sight.
Ya know when that shark bites, with his teeth, babe
Scarlet billows start to spread
Fancy gloves, though, wears old MacHeath, babe
So there’s nevah, nevah a trace of red.
Now on the sidewalk … uuh, huh … whoo … sunny mornin’ … uuh, huh
Lies a body just oozin’ life … eeek!
And someone’s sneakin’ ‘round the corner
Could that someone be Mack the Knife?

Don’t you love Mack the Knife? I do. I’ve added Bobby Darin’s version of the song to nearly every cd I’ve burned. Imagine my surprise when I learned that Mack the Knife has it’s roots in England . . . . .  The character of Macheath, later to become Mack the Knife, first appeared in The Beggar’s Opera by John Gay (1685-1732). The Beggar’s Opera, a comic ballad opera, took London by storm with it’s portrayal of the lower-class criminals satirizing the government and upper-class society. The main character of The Beggar’s Opera is a swashbuckling thief called Macheath who is polite to the people he robs, shuns violence, and shows impeccable good manners while cheating on his wife. The character is usually understood as partly a satire of Sir Robert Walpole, a leading British politician of the time. The Beggar’s Opera was a success from its first production in 1728, and continued to be performed for many years. It was the first musical play produced in colonial New York and legend has it that George Washington enjoyed it very much.

The Beggar’s Opera by Hogarth

The play was so popular that it prompted Hogarth to fashion a painting upon it. Here is the description of the above painting from the Tate Britain website: “Between 1728 and 1731 Hogarth painted numerous versions of a climactic scene from John Gay’s The Beggar’s Opera, the great theatrical sensation of the period. Hogarth concentrated on a scene set in Newgate prison in which the play’s leading character, a condemned highwayman called Captain Macheath, is shown at the centre of a tug-of-love. The characters of Lucy Lockit and Polly Peachum, both of whom believe themselves married to Macheath, plead with their fathers – respectively a corrupt prison-warden and a crooked lawyer – to set him free. In both versions of A Beggar’s Opera displayed here, Hogarth included the stage trappings and protagonists of the theatrical environment in which Gay’s work was first staged. An elaborate curtain hangs over the proceedings, and Hogarth paints recognisable portraits of such actors as Lavinia Fenton (dressed in white), who famously played Polly Peachum. Furthermore, Hogarth depicts the most fashionable members of the theatre audience sitting on the stage, as was commonplace at this time.”

But back to the song . . . . . the much covered popular tune (Armstrong, Fitzgerald, Darin, Sinatra, Buble, et al) was composed by Kurt Weill with lyrics by Bertolt Brecht for their music drama Die Dreigroschenoper, or, as it is known in English, The Threepenny Opera – based on The Beggar’s Opera. It premiered in Berlin in 1928 and the song became a popular standard. “Mack the Knife” was introduced to the United States hit parade by Louis Armstrong in 1956, but the song is most closely associated with Bobby Darin, who recorded the song in 1958 and won Record of the Year in 1959.

Aah … I said Jenny Diver … whoa … Sukey Tawdry
Look out to Miss Lotte Lenya and old Lucy Brown
Yes, that line forms on the right, babe
Now that Macky’s back in town …

Kurt Weill’s widow, Lotte Lenya, was the star of both the original 1928 German production and the 1954 Blitzstein Broadway version and she happened to be present in the studio during Armstrong’s recording. He spontaneously added her name to the lyrics, which already named several of Macheath’s female victims. All the other women’s names, Suky Tawdry, Jenny Diver, Lucy Brown, etc., appear in the original German version.
 
You can watch a classic video of Bobby Darin singing Mack The Knife here.