Tag: William Burges

“Gleanings from Westminster Abbey.” The second edition which came out in 1863, not long after the first edition sold out far more rapidly than had been hoped for. By George Gilbert Scott who was architect and Surveyor of the Fabric at the Abbey from 1849-1878 with help from William Burges and eleven other learned gentlemen most of whom were Fellows of the Society of Antiquaries. Where kings of England have been crowned going back to before Henry V of Agincourt fame was crowned here in 1413.

ORIGIN OF WINDOW TRACERY: Triforium, Peterborough Cathedral, A.D. 1140. – Saint Maurice, York. ca. 1160 – Porch of Saint Mary’s Shrewsbury, ca. 1180. Plate II, Page 44 of Gleanings from Westminster Abbey. George Gilbert Scott and William Burges et al, authors. Orlando Jewitt, engraver. Second edition, published in 1863 by John Henry and James Parker, Oxford and London, printers, publishers and booksellers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/gleaningsfromwes00scot_0/page/n44/mode/1up
PROGRESS OF WINDOW TRACERY: Bourges Cathedral – Chartres Cathedral – Tours Cathedral. Plate III Page 46 of Gleanings from Westminster Abbey. George Gilbert Scott and William Burges et al, authors. Orlando Jewitt, engraver. Second edition, published in 1863 by John Henry and James Parker, Oxford and London, printers, publishers and booksellers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/gleaningsfromwes00scot_0/page/n46/mode/1up
PROGRESS OF WINDOW TRACERY: Auxerre Cathedral – Bourges Cathedral – Saint Martin des Champs, Paris – Sainte-Cbapelle, Paris. Plate V, Page 49 of Gleanings from Westminster Abbey. George Gilbert Scott and William Burges et al, authors. Orlando Jewitt, engraver. Second edition, published in 1863 by John Henry and James Parker, Oxford and London, printers, publishers and booksellers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/gleaningsfromwes00scot_0/page/n49/mode/1up
CLERESTORY WINDOWS: Choir – Northeast angle of nave, a. Eastern jamb temp, Henry III. b. Western Jamb Temp, Edward I – Junction of styles, Nave. a. Eastern jamb, temp. Edward I. b. Western jamb temp, Richard II. Plate X, Page 74 of Gleanings from Westminster Abbey. George Gilbert Scott and William Burges et al, authors. Orlando Jewitt, engraver. Second edition, published in 1863 by John Henry and James Parker, Oxford and London, printers, publishers and booksellers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/gleaningsfromwes00scot_0/page/n74/mode/1up

These are just the window tracery engravings there is a lot more in this book. So more coming

Living semi-medieval but with your own bathtub upstairs. Almost looks like Henry V could be dropping by for dinner. Home furnishings and decor designed by William Burges A.R.A. for his own home which this house was. Strictly Gothic Revival with a few extra bells and whistles tossed in.

Title page, Image 1 of The House of William Burges A.R.A, edited by R. P. Pullman, who also wrote the text it looks like. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/mode/1up
View from Melbury Road. The Porch, which is of semi-classical character-resembling the early Gothic of the South of France-and the adjoining turret, make this front very picturesque. The large window on the Ground Floor is that of the Dining-room. In the windows of the Guest’s Chamber above may be seen the gilt lattices, which subdue the light of the interior and render the gilding and colouring more harmonious. Plate 6, Image 26 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n26/mode/1up
The Entrance Hall. Though of small dimensions, is one of the chief features of the House. It goes up the full height of the first two storeys. At the top of the photograph is seen the balustraded gallery which gives access to the Bedrooms, supported by a massive stone corbel painted with the device which Mr. Burges adopted as his own, viz., a heart between three darts. Under the pointed arches, which spring from a rich column of red marble, is the circular stone staircase which occupies the turret. There are five doorways in the Hall. That seen in the view leads to the Dining-room. The destination of this apartment is indicated by a flask of wine and a dish painted on the lintel. Opposite to it is the front door, with the symbol of a latch-key in a like position; on the same side is the garden door with a rose over it At the end of the Hall is the door of the Drawing-room, with musical instruments, and adjoining it, on the same side as that of the Dining-room, the door of the Library, with open books. The pavement consists of a fine mosaic of the combat between Theseus and the Minotaur in the middle of the Labyrinth of Crete. The Hall is lighted by a large window filled w.th stained glass, symbolising the divisions of the twenty-four hours, by figures of four maidens issuing from bells-representing Dawn, Noon, Twilight, and Night. They are on a large scale, and are treated in a bold manner. The decorative paintings on the walls and ceilings also have reference to Time, Light, and the Solar System The sun and the moon, the morning and evening stars, are represented by graceful figures, and on the ceiling are the emblems of the constellations in the positions in which they were when the house was first occupied. The ront door and that leading to the Garden are covered with bronze. They have panels filled with figures; the former has four compartments, with the Ages of Man, and an inscription recording the date of its construction. That leading to the Garden has a sitting figure of the Virgin and Child in a Gothic niche. Plate 7, Image 28 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n28/mode/1up
The Dining Room. Is almost a square in plan, and faces Melbury Road. The walls are lined with polished Devonshire marble to a height of six feet. In this dado it was intended that square panels of bronze with figures should be placed at intervals. The decorations of this room are meant to convey an idea of Chaucer’s House of Fame. Over the fireplace there is a sitting figure of Fame, with an ivory head and eyes of sapphire, modelled from Chaucer’s description “The figure of Fame was in the House of Fame, Had al so fele up stondyng eres And tonges, as on bestes heres, And on hir fete wexen I sauorh Partiches winges redely.” A deep frieze above the dado is occupied by a procession of the characters from familiar fairy tales and other legends. On one side we see Jack the Giant-Killer side by side with Jack and the Beanstalk, followed by the Yellow Dwarf, the Beast without Beauty, Reynard the Fox, Little Red Riding Hood riding on the Wolf, which draws a car containing the Sleeping Beauty, the dames from the story of Pearls and Toads, Blue Beard and Fatima, Peter Wilkins and his Winged Wife, Robinson Crusoe and Friday, and Robin Hood, accompanied by Maid Marian and Friar Tuck. Plate 8, Image 30 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n30/mode/1up
An Escritoire (The exterior). Externally, the pictures refer to the uses of writing. On one side, an urchin is learning to write, while the monk, his instructor, is punishing him for his slow progress by pulling his ear. In front, a young man who has written a letter to his lady-love is represented as kissing it before depositing it in the trunk of a tree ; a merchant is seen in his counting house writing up his ledger; and on the other side an old man is in the act of making his will. The figures in the panel below are illustrative of the estates of life — King, Priest, Warrior, Merchant and Labourer. At the sides, there are emblematical figures of History and Poetry, and the portraits of two dogs. Plate 11, image 34 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n34/mode/1up
The Drawing Room. When completed, this will be the richest room of all. Many of the decorations are of a temporary nature, but the whole scheme is complete. The room is lit by three large mullioned windows, which face the Garden. They are divided by massive piers of reddish marble, leaving recesses for divans or tables. The “motif” for the decoration is “the tender passion of Love.” A medieval Cupid, modestly habited in robes of various hues, figures in the three central compartments of the ceiling as a king, a conqueror, and a pilgrim. He also graces the elaborate chimney-piece. Round the room there is a series of pictures, having reference chiefly to the misfortunes of lovers. The stories of Hero and Leander, Ariadne and Theseus, Pyramis and Thisbe, Cupid and Psyche, Venus and Adonis, Francesca di Rimini, Circe and Ulysses, and Lancelot and Guinevere, are represented in glowing colours in the style in which they would have been illustrated in an illuminated MS. of the Thirteenth Century. The stained glass of the windows has, in addition to birds of splendid plumage, imaginary portraits of the celebrated women of former times-Eve, Aspasia, Galliana, Joan of Arc, Cleopatra, &c. On the sides of the room are lockers with painted doors. Here also stands the mediaeval settle seen in Photograph Number 17. There are sliding doors divided by a marble column of serpentine, between the Drawing-room and Library. These are opened in summer, and closed in winter. Plate 15, Image 44 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n44/mode/1up
The Chimney-Piece in the Drawing Room. This is a most poetical composition. It is executed in Caen stone, and richly gilt and painted. The scenes represented in the sculptures are derived from Chaucer’s version of the ” Roman de la Rose.” In that poem the hero, Gillaume de Lorris, dreams that he sees a beautiful garden, “With high walles embattailed, Portrayed without and well entayled With many rich portraytures.” These ” portraytures ” represented the enemies of Love. They are arranged in the following order on the frieze of the chimney-piece:— Poverty, with rents in his dress, and a spoon in his cap. Envy, “that never lough.” Sorrow was painted next Envy on that wall of masonry.” ” Full sad, pale, megre also, Was never wight so full of woe.” Papalardid that seemed like a hypocrite. Viellesse is ” dire and dwined all for elde.” Lastly comes Haine, ” grinning for despitous rage.” Gillaume enters the garden through a gate opened by Idleness (Oyseuse), and finds the friends of Love dancing beneath the trees. These are signified by handsome men and women in diapered robes, with their names written beneath in Provencale. Here are Largesse, Richesse, J olivet e”, Liesce, Deduit, Beaute”, Dons regars, and Franchise. On the opposite side of the chimney-piece to that in which Gillaume is seen as entering the garden, he is represented as plucking the rose, Jealousy meanwhile looking on. All the figures are elegantly modelled. To show how careful Mr. Burges was about details, I may mention that I have found amongst his memoranda studies for the diapers on their draperies copied from ancient examples. Plate 16, Image 45 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n45/mode/1up
The Ceiling is divided into longitudinal compartments by rounded beams, powdered with hearts and darts; and it is enlivened by small convex mirrors surrounded by gilt rays, which reflect the light in a marvellous manner. Plate 29 Image 71 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n71/mode/1up
A Table with Articles of Domestic Use. This table, which is a model of all the tables in the house, has upon it a collection of plates and faience, the mountings of which were designed by Mr. Burges. Amongst these articles may be seen his decanters, cat-cup sugar-basm, pomegranate teapot, and other ornamental vessels. All these were frequently used by him, both at his chambers and in his house; for, as he was accustomed to say, “What is the object of having pretty things unless one makes use of them?” Plate 40 image 93 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive 71 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive

Also an outer front porch floor mosiac featuring a Cave Canem with the dog being a portrait of Mr. Burges’ favorite poodle Pinkie.

William Burges died a few years before this was privately published. If you are interested there are many more images, I just used a few. The descriptions are long but fascinating. At least recently I haven’t come across any with poems by Geoffrey Chaucer in the original Middle English.