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William Burges

February 15, 2024

This article is about the Victorian architect. For the Australian politician, see William Burges (politician). For other people, see William Burgess.

William Burges ARA (/ˈbɜːdʒɛs/; 2 December 1827 – 20 April 1881) was an English architect and designer. Among the greatest of the Victorian art-architects, he sought in his work to escape from both nineteenth-century industrialisation and the Neoclassical architectural style and re-establish the architectural and social values of a utopian medieval England. Burges stands within the tradition of the Gothic Revival, his works echoing those of the Pre-Raphaelites and heralding those of the Arts and Crafts movement.

William Burges

ARA
Born(1827-12-02)2 December 1827
Died20 April 1881(1881-04-20) (aged 53)
The Tower House, Kensington, London, England
Alma materKing's College School
King's College London
OccupationArchitect
ParentAlfred Burges
Buildings

Burges's career was short but illustrious; he won his first major commission for Saint Fin Barre's Cathedral in Cork in 1863 when he was 35. He died in 1881 at his Kensington home, The Tower House aged only 53. His architectural output was small but varied. Working with a long-standing team of craftsmen, he built churches, a cathedral, a warehouse, a university, a school, houses and castles.

Burges's most notable works are Cardiff Castle, constructed between 1866 and 1928, and Castell Coch (1872–91), both of which were built for John Crichton-Stuart, 3rd Marquess of Bute. Other significant buildings include Gayhurst House, Buckinghamshire (1858–65), Knightshayes Court (1867–74), the Church of Christ the Consoler (1870–76), St Mary's, Studley Royal (1870–78), in Yorkshire, and Park House, Cardiff (1871–80).

Many of his designs were never executed or were subsequently demolished or altered. His competition entries for cathedrals at Lille (1854), Adelaide (1856), Colombo, Brisbane (1859), Edinburgh (1873), and Truro (1878) were all unsuccessful. He lost out to George Edmund Street in the competition for the Royal Courts of Justice (1866–67) in The Strand. His plans for the redecoration of the interior of St Paul's Cathedral (1870–77) were abandoned and he was dismissed from his post. Skilbeck's Warehouse (1865–66) was demolished in the 1970s, and work at Salisbury Cathedral (1855–59), Worcester College, Oxford (1873–79), and at Knightshayes Court had been lost in the decades before.

Beyond architecture, Burges designed metalwork, sculpture, jewellery, furniture and stained glass. Art Applied to Industry, a series of lectures he gave to the Society of Arts in 1864, illustrates the breadth of his interests; the topics covered including glass, pottery, brass and iron, gold and silver, furniture, the weaver's art and external architectural decoration. For most of the century following his death, Victorian architecture was neither the subject of intensive study nor sympathetic attention and Burges's work was largely ignored. The revival of interest in Victorian art, architecture, and design in the later twentieth century led to a renewed appreciation of Burges and his work.

Early life and travels edit

Burges was born on 2 December 1827,[1] the son of Alfred Burges (1796–1886), a wealthy civil engineer. Alfred amassed a considerable fortune, which enabled his son to devote his life to the study and practice of architecture without requiring that he actually earn a living.[2]

 
Burdett House, 15–16 Buckingham Street, to the right of the York Water Gate. Burges had his home/studio in a building on the site of No.15.[a]

Burges entered King's College School, London, in 1839 to study engineering, his contemporaries there including Dante Gabriel Rossetti and William Michael Rossetti.[6] He left in 1844 to join the office of Edward Blore,[6][7] surveyor to Westminster Abbey. Blore was an established architect, having worked for both William IV and Queen Victoria, and had made his reputation as a proponent of the Gothic Revival. In 1848 or 1849, Burges moved to the offices of Matthew Digby Wyatt.[8][9] Wyatt was as prominent an architect as Blore, evidenced by his leading role in the direction of The Great Exhibition in 1851. Burges's work with Wyatt, particularly on the Medieval Court for this exhibition, was influential on the subsequent course of his career.[10] During this period, he also worked on drawings of medieval metalwork for Wyatt's book, Metalwork, published in 1852,[11] and assisted Henry Clutton with illustrations for his works.[8]

Of equal importance to Burges's subsequent career was his travelling.[12] Burges believed that all architects should travel, remarking that it was "absolutely necessary to see how various art problems have been resolved in different ages by different men."[12] Enabled by his private income, Burges moved through England, then France, Belgium, Holland, Switzerland, Germany, Spain, Italy, Greece and finally into Turkey.[13] In total, he spent some 18 months abroad developing his skills and knowledge by sketching and drawing.[14] What he saw and drew provided a repository of influences and ideas that he used and re-used for the whole of his career.[15]

Although he never went beyond Turkey, the art and architecture of the East, both Near and Far, had a significant impact on him;[16] his fascination with Moorish design found ultimate expression in the Arab Room at Cardiff Castle, and his study of Japanese techniques influenced his later metalwork.[17] Burges received his first important commission at the age of 35, but his subsequent career did not see the development that might have been expected. His style had already been formed over the previous twenty years of study, thinking and travelling. J. Mordaunt Crook, the foremost authority on Burges, writes that, "once established, after twenty years' preparation, his 'design language' had merely to be applied, and he applied and reapplied the same vocabulary with increasing subtlety and gusto."[18]

Early works edit

 
All Saints Church, Fleet, in Hampshire, before an arson attack in 2015

In 1856 Burges established his own architectural practice in London at 15 Buckingham Street, The Strand.[19] Some of his early pieces of furniture were created for this office and were later moved to The Tower House, Melbury Road, Kensington, the home he built for himself towards the end of his life.[20] His early architectural career produced nothing of major note, although he won prestigious commissions, which remained unbuilt, for Lille Cathedral,[21] the Crimea Memorial Church[22] and the Bombay School of Art.[23]

His failed entry for the Law Courts in the Strand,[24] if successful, would have given London its own Carcassonne, the plans being described by the architectural writers Dixon and Muthesius as "a recreation of a thirteenth-century dream world [with] a skyline of great inventiveness."[25] In 1859, he submitted a French-inspired design for St John's Cathedral in Brisbane, Australia, which was rejected.[26][27] He also provided designs for Colombo Cathedral in Ceylon and St Francis Xavier's Cathedral, Adelaide, without success.[28]

In 1855, however, he obtained a commission for the reconstruction of the chapter house of Salisbury Cathedral.[29] Henry Clutton was the lead architect but Burges, as assistant, contributed to the restoration of the sculpture and to the general decorative scheme.[29] Much was lost in restorations of the 1960s.[30] More lasting was Burges's work of 1858 onwards in the substantial remodelling of Gayhurst House, in Buckinghamshire, for Robert Carrington, 2nd Baron Carrington.[31] Rooms there contain some of his large signature fireplaces, with carving by Burges's long-time collaborator Thomas Nicholls, in particular those in the Drawing Room which include motifs from Paradise Lost and Paradise Regained.[31] He also designed a circular lavatory for the male servants, the Cerberus Privy, which Jeremy Cooper describes as being "surmounted by a growling Cerberus, each of his three heads inset with bloodshot glass eyes."[32]

 
Maison Dieu, Dover

In 1859 Burges began work with Ambrose Poynter on the Maison Dieu, Dover, which was completed in 1861.[33][34] Emulation of the original medieval style can be seen in his renovation of the grotesque animals and in the coats of arms incorporated into his new designs.[35] Burges later designed the Council Chamber, added in 1867,[35] and in 1881 began work on Connaught Hall in Dover, a town meeting and concert hall.[33] The new building contained meeting rooms and mayoral and official offices. Although Burges designed the project, most of it was completed after his death by his partners, Pullan and Chapple.[35] The listed status of the Maison Dieu was reclassified as Grade I in 2017 and Dover District Council, the building's owner, is seeking grant funding to enable a restoration, focussing on Burges's work.[36]

In 1859–60, Burges took over the restoration of Waltham Abbey from Poynter, working with Poynter's son Edward Poynter and with furniture makers Harland and Fisher.[37] He commissioned Edward Burne-Jones of James Powell & Sons to make three stained-glass windows for the east end, representing the Tree of Jesse.[38] The Abbey is a demonstration of Burges's skills as a restorer, with "a profound sensitivity towards medieval architecture."[39] Mordaunt Crook wrote of Burges's interior that, "it meets the Middle Ages as an equal."

In 1861–2, Burges was commissioned by Charles Edward Lefroy, secretary to the Speaker of the House of Commons, to build All Saints Church, Fleet, as a memorial to Lefroy's wife.[40] She was the daughter of James Walker, who established the marine engineering company of Walker and Burges with Burges's father Alfred, and this family connection brought Burges the commission.[41] Pevsner says of Fleet that "it has no shape, nor character nor notable buildings, except one,"[40] that one being All Saints. The church is of red brick and Pevsner considered it "astonishingly restrained."[40] The interior too is simply decorated but the massive sculpture, particularly of the tomb of the Lefroys and of the gabled arch below which the tomb originally stood, is quintessentially Burges, Crook describing it as "not so much muscular (gothic) as muscle-bound."[42]

Saint Fin Barre's Cathedral, Cork edit

Main article: Saint Fin Barre's Cathedral
 
Saint Fin Barre's Cathedral, Cork, Ireland – Burges's first major commission

Despite early competition setbacks, Burges was sustained by his belief that Early French provided the answer to the crisis of architectural style that beset mid-Victorian England, writing "I was brought up in the thirteenth century belief and in that belief I intend to die";[43] and in 1863, at the age of 35, he finally secured his first major commission, for Saint Fin Barre's Cathedral, Cork.[44][45] Burges's diary records his delight at the result: "Got Cork!"[46]

Saint Fin Barre's was to be the first new cathedral built in the British Isles since St Paul's.[42] The competition occurred as a result of widespread dissatisfaction with the existing church of 1735 which the Dublin Builder described as "a shabby apology for a cathedral which has long disgraced Cork."[47] The proposed budget was low, at £15,000, but Burges ignored this constraint, producing a design that he admitted would cost twice as much.[48] Despite the protestations of fellow competitors, it won, though the final cost was to be in excess of £100,000.[49]

Burges, who had worked in Ireland before, at the Church of St Peter, Carrigrohane, at the Holy Trinity Church Templebreedy, at Frankfield and at Douglas,[50] enjoyed strong local support, including that of the Bishop, John Gregg. In addition, as the Ireland Handbook notes, Burges "combined his love of medievalism with a conspicuous display of Protestant affluence"[51] which was an important factor at a time when the established Anglican Church in Ireland was seeking to assert its predominance.[48]

For the exterior, Burges re-used some of his earlier unexecuted plans, the overall design from the Crimea Memorial Church and St John's Cathedral, Brisbane, the elevations from Lille Cathedral.[52] The main problem of the building was its size. Despite the prodigious efforts of its fundraisers, and despite Burges exceeding the original budget, Cork was still unable to afford a really large cathedral.[53] Burges overcame this obstacle by using the grandeur of his three-spired exterior to offset the lesser scale of the remainder of the building.[53]

Although the cathedral is modest in size, it is very richly ornamented. As was his usual practice, from his office in Buckingham Street and in the course of many site visits, Burges oversaw all aspects of the design, including the statuary, the stained glass and the furniture, charging 10% rather than his usual 5%, owing to the high level of his personal involvement. He drew designs for every one of the 1,260 sculptures that adorn the West Front and decorate the building inside and out.[54] He sketched cartoons for the majority of the 74 stained glass windows. He designed the mosaic pavement, the altar, the pulpit and the bishop's throne.[55] Lawrence and Wilson consider the result "undoubtedly [Burges's] greatest work in ecclesiastical architecture"[46] with an interior that is "overwhelming and intoxicating."[56] Through his ability, by the careful leadership of his team, by total artistic control, and by vastly exceeding the intended budget of £15,000,[45] Burges produced a building that in size is little more than a large parish church but in impression is described in Lawrence and Wilson's study as "a cathedral becoming such a city and one which posterity may regard as a monument to the Almighty's praise."[57]

Architectural team edit

 
Cardiff Castle, worked on by many members of Burges's architectural team

Burges inspired considerable loyalty within his team of assistants, and his partnerships were long-lived.[58] John Starling Chapple was the office manager, joining Burges's practice in 1859.[59] It was Chapple, designer of most of the furniture for Castell Coch, who completed its restoration after Burges's death.[60] Second to Chapple was William Frame,[59] who acted as clerk of works. Horatio Walter Lonsdale was Burges's chief artist,[61] contributing extensive murals for both Castell Coch and Cardiff Castle. His main sculptor was Thomas Nicholls who started with Burges at Cork, completing hundreds of figures for Saint Fin Barre's Cathedral, worked with him on his two major churches in Yorkshire, and undertook all of the original carving for the Animal Wall at Cardiff.[62]

William Gualbert Saunders joined the Buckingham Street team in 1865 and worked with Burges on the development of the design and techniques of stained-glass manufacture, producing much of the best glass for Saint Fin Barre's.[63] Ceccardo Egidio Fucigna was another long-time collaborator who sculpted the Madonna and Child above the drawbridge at Castell Coch, the figure of St John over the mantelpiece in Lord Bute's bedroom at Cardiff Castle and the bronze Madonna in the roof garden. Lastly, there was Axel Haig, a Swedish-born illustrator, who prepared many of the watercolour perspectives with which Burges entranced his clients.[64] Crook calls them "a group of talented men, moulded in their master's image, art-architects and medievalists to a man – jokers and jesters too – devoted above all to art rather than to business."[65]

Partnership with the Marquess of Bute edit

 
 
Burges and Bute. Left:An 1875 painting of Burges by Edward Poynter. Right:Portrait of John Patrick Crichton-Stuart, 3rd Marquess of Bute

In 1865, Burges met John Patrick Crichton-Stuart, 3rd Marquess of Bute. This may have resulted from Alfred Burges's engineering firm, Walker, Burges and Cooper, having undertaken work on the East Bute Docks in Cardiff for the second Marquess.[66][b] The 3rd Marquess became Burges's greatest architectural patron;[68] both were men of their times; both had fathers whose industrial endeavours provided the means for their sons' architectural achievements, and both sought to "redeem the evils of industrialism by re-living the art of the Middle Ages".[69]

On his succession to the Marquessate at the age of one, Bute inherited an income of £300,000 a year,[70] and, by the time he met Burges, he was considered the richest man in Britain,[71] if not the world.[72] Bute's wealth was important to the success of the partnership: as Burges himself wrote, "Good art is far too rare and far too precious ever to be cheap."[73] But, as a scholar, antiquarian, compulsive builder and enthusiastic medievalist, Bute brought more than money to the relationship and his resources and his interests allied with Burges's genius to create what David McLees considers to be "Bute's most memorable overall achievement."[74]

"A prime example of the partnership of aristocratic patron and talented architect produc[ing] the marvels of Cardiff Castle and Castell Coch."

—Dixon and Muthesius characterising the relationship between Burges and Bute.[75]

However occasioned, the connection lasted the rest of Burges's life and led to his most important works. To the Marquess and his wife, Burges was the "soul-inspiring one".[76] The architectural writer Michael Hall considers Burges's rebuilding of Cardiff Castle and the complete reconstruction of the ruin of Castell Coch, north of the city, as representing his highest achievements.[70] In these buildings, Crook contends that Burges escaped into "a world of architectural fantasy"[18] which Hall describes as "amongst the most magnificent the Gothic Revival ever achieved."[77]

Cardiff Castle edit

Main article: Work of William Burges at Cardiff Castle
 
Cardiff Castle in the 1890s

In the early nineteenth century, the original Norman castle had been enlarged and refashioned by Henry Holland for the 1st Marquess of Bute, the 3rd Marquess's great-grandfather. The 2nd Marquess occupied the castle on visits to his extensive Glamorgan estates, during which he developed modern Cardiff and created Cardiff Docks as the outlet for coal and steel from the South Wales Valleys, but did little to the castle itself, beyond completing the 1st Marquess's work.

The 3rd Marquess despised Holland's efforts, describing the castle as having been "the victim of every barbarism since the Renaissance",[78] and, on his coming of age, engaged Burges to undertake rebuilding on a Wagnerian scale.[74] Almost all of Burges's usual team were involved, including Chapple, Frame and Lonsdale,[79] creating a building which John Newman describes in Glamorgan: The Buildings of Wales as the "most successful of all the fantasy castles of the nineteenth century."[71]

The skyline of the capital of Wales[:] the dream of one great patron and one great architect has almost become the symbol of a whole nation

—Crook describing the castle's silhouette.[80]

Work began in 1868 with the 150 feet high Clock Tower,[81] in Forest of Dean ashlar. The tower forms a suite of bachelor's rooms, the Marquess not marrying until 1872. They comprise a bedroom, a servant's room and the Summer and Winter Smoking Rooms.[81] Externally, the tower is a re-working of a design Burges used for the unsuccessful Law Courts competition. Internally, the rooms are sumptuously decorated with gilding, carvings and cartoons, many allegorical in style, depicting the seasons, myths and fables.[82] In his A History of the Gothic Revival, written as the tower was being built, Charles Locke Eastlake wrote of Burges's "peculiar talents (and) luxuriant fancy."[83] The Summer Smoking Room is the tower's literal and metaphorical culmination. It rises two storeys high and has an internal balcony that, through an unbroken band of windows, gives views to Cardiff docks, one source of Bute's wealth, the Bristol Channel, and the Welsh hills and valleys. The floor has a map of the world in mosaic and the sculpture is by Thomas Nicholls.[84]

As the castle was developed, work continued with alterations to Holland's Georgian range, including his Bute Tower, and to the medieval Herbert and Beauchamp Towers, and the construction of the Guest Tower and the Octagonal Tower.[79] In plan, the castle broadly follows the arrangement of a standard Victorian stately home. The Bute Tower includes Lord Bute's bedroom and ends in another highlight, the Roof Garden, with a sculpture of the Madonna by Fucigna and painted tiles by Lonsdale.[85] Bute's bedroom has much religious iconography and a mirrored ceiling. The Marquess's name, John, is repeated in Greek, ΙΩΑИΣ, along the ceiling beams.[86] The Octagon Tower followed, including the oratory, built on the spot where Bute's father died, and the Chaucer Room, the roof of which Mark Girouard cites as "a superb ... example of Burges's genius in the construction of roofs."[87] The Guest Tower contains the site of the original kitchen at its base and above, the Nursery, decorated with painted tiles depicting Aesop's Fables and characters from nursery rhymes.[79]

 
The Clock Tower, Cardiff Castle

The central block of the castle comprises the two-storey banqueting hall, with the library below. Both are enormous, the former to act as a suitable reception hall where the Marquess could fulfil his civic duties, the latter to hold part of his vast library. Both include elaborate carvings and fireplaces, those in the banqueting hall depicting the castle itself in the time of Robert, Duke of Normandy, who was imprisoned there in 1126–1134.[88] The fireplace in the library contains five figures, four representing the Greek, Egyptian, Hebrew and Assyrian alphabets, while the fifth is said to represent Bute as a Celtic monk.[89] The figures refer to the purpose of the room and to the Marquess, a noted linguist. The decoration of these large rooms is less successful than in the smaller chambers; much was completed after Burges's death and Girouard considers that the muralist, Lonsdale, "was required to cover areas rather greater than his talents deserved."[87]

The central portion of the castle also included the Grand Staircase. Illustrated in a watercolour perspective prepared by Axel Haig,[90] the staircase was long thought never to have been built but recent research has shown that it was constructed, only to be torn out in the 1930s,[79] reputedly after the third Marchioness had "once slipped on its polished surface."[91] The staircase was not universally praised in the contemporary press; the Building News writing that the design was "one of the least happy we have seen from Mr Burges's pencil...the contrasts of colour are more startling than pleasing."[92] The Arab Room in the Herbert Tower was the last room on which Burges was working when he fell ill in 1881. Bute placed Burges's initials, together with his own and the date, in the fireplace of that room as a memorial.[93] The room was completed by Burges's brother-in-law, Richard Popplewell Pullan.[61]

 
Burges's design for the Summer Smoking Room at Cardiff Castle

Following Burges's death, further areas of the castle were developed along the lines he had set by, amongst others, William Frame. This included extensive reconstruction of the walls of the original Roman fort.[86] The Animal Wall, completed in the 1920s by the 4th Marquess, originally stood between the castle moat and the city and has nine sculptures by Thomas Nicholls, with a further six sculpted by Alexander Carrick in the 1930s. The Swiss Bridge, which crossed the leat to Bute Park, was moved in the 1920s and demolished in the 1960s.[94] The stables, which lie to the north, on the edge of Bute Park, were designed by Burges in 1868–69.[95]

Megan Aldrich contends that Burges's interiors at Cardiff have "rarely [been] equalled, [although] he executed few buildings as his rich fantastic gothic required equally rich patrons (..) his finished works are outstanding monuments to nineteenth century gothic",[96] the suites of rooms he created at Cardiff being amongst "the most magnificent that the gothic revival ever achieved."[97] Crook goes further still, arguing that the rooms reach beyond architecture to create "three dimensional passports to fairy kingdoms and realms of gold. In Cardiff Castle we enter a land of dreams".[98]

The Castle was given to Cardiff City Corporation by the 5th Marquess of Bute in 1947.[93]

Castell Coch edit

Main article: Castell Coch
 
Castell Coch

In 1872, while work at Cardiff Castle was proceeding, Burges presented a scheme for the complete reconstruction of Castell Coch,[80] a ruined thirteenth-century fort on the Bute estate to the north of Cardiff. Burges's report on the possible reconstruction was delivered in 1872[99] but building was delayed until 1875, in part because of the pressure of works at Cardiff Castle and in part because of an unfounded concern on behalf of the Marquess's trustees that he was facing bankruptcy.[100]

The exterior comprises three towers, described by Newman as "almost equal to each other in diameter, [but] arrestingly dissimilar in height."[101] Burges's main inspiration was the work of the almost contemporaneous French architect Eugène Viollet-le-Duc[102] who was undertaking similar restoration and building work for Napoleon III. Viollet-le-Duc's work at the Château de Coucy, The Louvre and particularly at the Château de Pierrefonds is echoed at Castell Coch, Burges's Drawing Room roof drawing heavily on the octagonal, rib-vaulted chambre de l'Imperatrice at Pierrefonds.[102] Burges's other main source was the Château de Chillon, from which his conical, and conjectural, tower roofs are derived.[102]

Severely damaged during Welsh rebellions in the early fourteenth century,[103] Castell Coch fell into disuse and by the Tudor period, the antiquary John Leland described it as "all in ruin no big thing but high."[104] A set of drawings for the planned rebuilding exists, together with a full architectural justification by Burges. The castle reconstruction features three conical roofs to the towers that are historically questionable. According to Crook, Burges "supported his roofs with a considerable body of examples of doubtful validity; the truth was that he wanted them for their architectural effect."[105]

"The distant view, of unequal drum towers rising under candlesnuffer roofs from the wooded hillside, is irresistibly appealing. Here the castle of romantic dreams is given substance."

—Newman describing the prospect of Castell Coch.[106]

The Keep Tower, the Well Tower and the Kitchen Tower comprise a series of apartments, of which the main sequence, the Castellan's Rooms, lie within the Keep. They begin weakly, the Banqueting Hall, completed well after Burges's death, being described by Newman as "dilute [and] unfocused"[107] while Crook considers it "anaemic."[108] It contains a colossal chimney piece, carved by Thomas Nicholls.[109] The identity of the central figure in the overmantel is uncertain; Girouard states that it is King David while McLees suggests that it depicts St Lucius. The Drawing Room is a double-height room with decoration that Newman describes as illustrating the "intertwined themes (of) the fecundity of nature and the fragility of life."[110] A stone fireplace by Nicholls features the Three Fates, spinning, measuring and cutting the thread of life.[111] The murals around the walls draw on Aesop's Fables with delicate drawings of animals in the Aesthetic Movement style.[112]

 
The Three Fates chimneypiece, Castell Coch

The octagonal chamber with its great rib-vault, modelled on Viollet-le-Duc's chambers at Coucy and Pierrefonds, is decorated with drawings of butterflies and birds.[113] Off the hall lies the Windlass Room, in which Burges delighted in assembling the fully functioning apparatus for the drawbridge, together with murder-holes for expelling boiling oil.[114] The Marquess's bedroom provides some spartan relief[115] before the culmination of the castle, Lady Bute's Bedroom. Crook considers this room "pure Burges: an arcaded circle, punched through by window embrasures, and topped by a trefoil-sectioned dome."[115] The decorative theme is 'love', symbolised by monkeys, pomegranates and nesting birds.[115] The decoration was completed long after Burges's death but his was the guiding spirit. "Would Mr Burges have done it?" William Frame wrote to Thomas Nicholls in 1887.[115] Burges's original design for the castle included a chapel to be built on the roof of the Well Tower.[116] It was never finished and the remains were removed in the late nineteenth century.[117]

Following Burges's death in 1881, work on the interior continued for another ten years. The castle was little used, the Marquess never came after its completion, and its main function was as a family sanatorium, although the Marchioness and her daughter, Lady Margaret Crichton-Stuart, did occupy it for a period following the death of the Marquess in 1900. In 1950, the 5th Marquess of Bute handed the castle over to the Ministry of Works.[118] McLees views it as "one of the greatest Victorian triumphs of architectural composition",[118] whilst Crook writes of Burges "recreating from a heap of rubble a fairy-tale castle which seems almost to have materialised from the margins of a medieval manuscript."[115]

Later works edit

Bute's commissions formed the major corpus of Burges's work from the 1860s until his death. However, he continued to accept other appointments.

Worcester College, Oxford edit

 
Ceiling by Burges
Main article: Worcester College, Oxford

The interiors of the Hall and Chapel of Worcester College, Oxford, had been designed by James Wyatt in 1776–90.[119] In 1864, Burges was commissioned to overhaul Wyatt's unremarkable designs for the chapel by the Reverend H. C. O. Daniel, a member of the college's Senior Common Room and future Provost, who had known Burges when they were contemporaries at King's College London.[120] Burges's extensive iconography envelopes the building, with animals and birds depicted on the end of pews,[121] and Burges's mosaic flooring astonished his contemporaries.

Drawing on his rare knowledge of medieval techniques and working with his meticulous attention to detail, Burges created a chapel that Crook describes as "almost unique amongst High Victorian ecclesiastical interiors."[122] The richly symbolic iconography"[123] and Masonic influences on the scheme of decoration are significant, Gillingham suggesting that Burges's Freemasonry connections were a partial explanation for his appointment and noting that a "symbolic masonic commentary pervades the Chapel.[124] Unusually, in the redecoration of the Chapel, Burges did not use members of his usual team. The stained glass and the ceiling paintings are by Henry Holiday, and the statues, lectern and candlesticks are by William Grinsell Nicholl.[125]

"Exit Burges. [The college fellows] will be sorry in fifty years."

—Pevsner on the College Fellows' decision to remove Burges's work in the Hall and reinstate that of Wyatt.[126]

In 1873–79 Burges undertook a redecoration of the College's Hall. The funds needed for the Hall were raised by an appeal in which the decorated wooden panels on the walls were individual gifts, incorporating the crests and shields of the donors. In some cases, where there were no known crests or shields, those of former members were substituted and Burges made several painted imitations of marbling on wood.[127] The large window at the end of the Hall was also filled with the armorial bearings for which room had not been found in the panels. A fireplace was also inserted on the dais.[128] Almost all[129] of Burges's work in the Hall was lost in a redevelopment of the 1960s in which Wyatt's designs were reinstated, although the fireplace was removed to Knightshayes Court and the East Window, above the high table, was restored circa 2009.[129]

Skilbeck's Warehouse edit

Skilbeck's Warehouse, formerly at 46 Upper Thames Street, London, and now demolished, was a drysalter's warehouse constructed by Burges in 1866 and is important as his only foray into industrial design. Burges was commissioned by the Skilbeck Brothers to remodel an existing warehouse; the result was influential,[130] Eastlake describing it as, "one of the very few instances of the successful adaptation of Gothic for commercial purposes".[131] Bradley writes of Burges's remodelling as using "twin pointed bays under a single Gothic relieving arch and gable".[132]

The use of exposed cast iron was revolutionary.[133] Modern materials and technologies were combined with gothic iconography, an article of 1886 in The Ecclesiologist describing "the great crane supported by a corbel carved into a bust of a fair Oriental maid, symbolising the clime from which so much of the drysalter's materials are brought, and over a circular window in the gable (a) ship bringing in its precious freight."[134] The total cost of the work was £1,413.[135]

Knightshayes Court edit

Main article: Knightshayes Court
 
Knightshayes Court, Tiverton, Devon

The commission for the brand new house of Knightshayes Court was obtained from Sir John Heathcoat-Amory in 1867 and the foundation stone was laid in 1869. By 1874, the building was still incomplete, owing to ongoing difficulties with Heathcoat-Amory, who objected to many of Burges's designs on the grounds of cost and of style.[136] Although work had begun on the interior, the turbulent relationship between architect and client led to Burges's sacking in 1874 and his replacement by John Dibblee Crace. Nevertheless, Knightshayes Court remains the only example of a medium-sized Burges country house, built in a standard Victorian arrangement. Early French Gothic in style, it follows a standard neo-Tudor plan[137] of a large central block with projecting gables. The tower Burges planned was never built.[137]

"Judging by the mix-and-match style of its construction, evidently they [Heathcoat-Amory and Burges] never quite managed to agree on the eventual style of the house. Burges' obsession with the Middle Ages resulted in a plethora of stone curlicues, ornate mantles and carved figurines, but Amory preferred austere Victorian grandeur, best seen in the billiard room and the ornate boudoir."

—David Else commenting on the design of Knightshayes Court in the Lonely Planet Guide to England.[138]

The interior was to have been a riot of Burgesian excess but not a single room was completed to Burges's designs.[139] Of the few interior features that were fully executed, much was altered or diluted by Heathcoat-Amory and his successors.[137] However some of the interiors, such as the library, vaulted hall and the arched red drawing room, remain[140] or have been re-instated.[137]

Since the house passed to the National Trust in 1972, major works of restoration and re-creation have been undertaken and a number of pieces of Burges furniture, mostly not original to the house, are displayed. These include a bookcase from Buckingham Street and a chimney piece from the Hall at Worcester College, Oxford, where, in the 1960s, some decorative works by Burges were removed,[126] although his redecoration of the college Chapel remains.[125] The aim is, as far as possible, to reinstate the work of Burges and Crace.[137]

Park House edit

Main article: Park House, Cardiff
 
Park House, Park Place, Cardiff

Park House, Cardiff, was built by Burges for Lord Bute's engineer, James McConnochie, between 1871 and 1875.[141] With its steep roofs and boldly textured walls, Park House revolutionised Cardiff's domestic architecture, and was highly influential, in the city and beyond. The impact of the building can be seen in many of Cardiff's inner suburbs, where imitations of Park House and its features can frequently be identified.[141] Cadw described it as "perhaps the most important 19th century house in Wales",[142] a position reflected in its status as a Grade I listed building.[143]

The style of the house is Early French Gothic, with triangle and rectangle to the fore, although it is without the conical tower Burges considered appropriate both for his own home, The Tower House and for Castell Coch.[141] Burges used various building stones for Park House: Pennant Sandstone for the walls, Bath Stone around the windows, entrance porch and plinths, with pillars in pink Peterhead granite from Aberdeenshire.[144] The external frontage comprises four gables, the windows of the last gable concealing what Newman describes as "the major peculiarity of the interior. On entering, one is immediately confronted by the underside of the staircase, and has to skirt round it to reach the rest of the house."[141] The arrangement was not repeated at The Tower House, which is an almost reversed replica with added conical tower. The interior fittings are of high quality, including the massive, mahogany staircase and marble chimneypieces. Both the drawing room and the dining room have beamed ceilings. The whole is built with a solidity that was guaranteed by the use of the Marquess of Bute's own workforce from Cardiff Docks.[145] Henry-Russell Hitchcock, the American architecture critic, considered Park House "one of the best medium-sized stone dwellings of the High Victorian Gothic".[146]

Christ the Consoler, St Mary's and St Paul's Cathedral edit

Main articles: Church of Christ the Consoler; St Mary's, Studley Royal; and St Paul's Cathedral
 
Church of St Mary, Studley Royal

Burges's two finest gothic churches were also undertaken in the 1870s, the Church of Christ the Consoler, Skelton-on-Ure, and St Mary's, Studley Royal. His patron, George Robinson, 1st Marquess of Ripon, although not as rich as Bute, was his equal in romantic medievalism[147] and had been a friend of Bute's at Oxford, which may account for the choice of Burges as architect. Both churches were built as memorial churches for Ripon's brother-in-law, Frederick Grantham Vyner, who was murdered by Greek bandits in 1870.[148] Vyner's mother commissioned the Church of Christ the Consoler and his sister St Mary's. Both begun in 1870, Skelton was consecrated in 1876 and Studley Royal in 1878.[149]

The Church of Christ the Consoler, in the grounds of Newby Hall in North Yorkshire, is built in the Early English style.[c][152] The exterior is constructed of grey Catraig stone, with Morcar stone for the mouldings.[152] The interior is faced with white limestone, and richly fitted out with marble.[153] The work was undertaken by members of Burges's usual team, Gualbert Saunders making the stained glass, from cartoons by Lonsdale, and Nicholls sculpting the carvings.[149] Leach and Pevsner describe the scheme of stained glass as "uncommonly excellent."[154] It is particularly interesting as representing an architectural move from Burges's favourite Early French style to an English inspiration. Pevsner considers it: "Of determined originality; the impression is one of great opulence, even if of a somewhat elephantine calibre."[152]

"Our ancestors had their churches made as beautiful as they could afford. A great cathedral must have been an encyclopedia of all the knowledge at the time ... It is only by acting in a similar manner that we shall ever progress and have an art of our own."

—Burges commenting on churches in 1867.[155]

The Church of St Mary, Studley Royal, is also in the Early English style and is located in the grounds of Studley Royal Park at Fountains Abbey, in North Yorkshire. As at Christ the Consoler, the exterior is of grey limestone, with a two-stage west tower topped with a soaring spire.[156] The interior is equally spectacular, exceeding Skelton in richness and majesty,[156] Leach commenting that "everything is precisely calculated as to its visual impact."[157] The theme, previously used at Gayhurst, is Paradise Lost and Paradise Regained.[158] The stained glass, by Saunders & Co, is of particularly high quality. Pevsner describes St Mary's as "a dream of Early English glory"[152] and Crook writes, "[although] Cork Cathedral may stand as Burges's greatest Gothic work, Studley Royal is his 'ecclesiastical' masterpiece."[156] Burges also constructed an estate cottage in 1873.[159]

In 1870, Burges was asked to draw up an iconographic scheme of internal decoration for St Paul's Cathedral, unfinished since the death of Sir Christopher Wren. In 1872, he was appointed architect and over the next five years produced what Crook describes as a "full-blown scheme of early Renaissance decoration"[160] for the interior which he intended would eclipse that of St Peter's in Rome. However, as Crook writes, his plans were "rather too creative for most Classicists"[160] and these artistic, and linked religious, controversies led to Burges's dismissal in 1877 with none of his plans undertaken.[161]

Trinity College, Hartford, Connecticut edit

Main article: Trinity College, Hartford
 
Trinity College, Hartford: Burges's revised, three-quadrangle, masterplan

In 1872, Abner Jackson, the President of Trinity College, Connecticut, visited Britain, seeking models and an architect for a planned new campus for the college.[162] Burges was chosen and he drew up a four-quadrangled masterplan, in his Early French style.[162] Lavish illustrations were produced by Axel Haig. However, the estimated cost, at just under one million dollars, together with the sheer scale of the plans, thoroughly alarmed the College Trustees.[163]

Only one-sixth of the plan was executed, the present Long Walk, with Francis H. Kimball acting as local, supervising, architect, and Frederick Law Olmsted laying out the grounds.[162] Crook considers the result, "unsatisfactory ..[but important].. in its key position in the development of late nineteenth-century American architecture."[162] Other critics have viewed Burges's design more positively: the American architectural historian Henry-Russell Hitchcock thought Trinity "perhaps the most satisfactory of all of [Burges's] works and the best example anywhere of Victorian Gothic collegiate architecture"; whilst Charles Handley-Read suggested the college was "is in some ways superior to Butterfield's Keble or Seddon's Aberystwyth."[163]

The Tower House edit

Main article: The Tower House
 
The Tower House: Burges's Palace of the Arts

From 1875, although he continued to work on the completion of projects already begun, Burges received no further major commissions. The construction, decoration and furnishing of his own home, The Tower House, Melbury Road, Kensington, occupied much of the last six years of his life. Burges designed the house in the style of a substantial thirteenth-century French townhouse.

Of red brick, and in an L plan, the exterior is plain. The house is not large, its floor-plan being little more than 50 feet square.[164] But the approach Burges took to its construction was on a grand scale: the floor depths were sufficient to support rooms four or five times their size and the architect Richard Norman Shaw wrote of the concrete foundations as being suitable "for a fortress."[165] This approach, combined with Burges's architectural skills and the minimum of exterior decoration, created a building that Crook describes as "simple and massive".[164] As was usual with Burges, many elements of earlier designs were adapted and included, the street frontage from the McConnochie House, the cylindrical tower and conical roof from Castell Coch and the interiors from Cardiff Castle.[164]

"The most complete example of a medieval secular interior produced by the Gothic Revival, and the last."

—Crook writing on the Tower House.[166]

The interior centres on the double-height entrance hall, Burges having avoided the error that he had made at the McConnochie House when he placed a vast central staircase in the middle of the building.[164] At The Tower House, the stair is consigned to the conical tower. The ground floor contains a drawing room, dining room and library, while the first floor holds bedroom suites and a study. If Burges shunned exterior decoration at The Tower House, he more than compensated internally. Each room has a complex iconographic scheme of decoration: that of the hall is Time, in the drawing room, Love, in Burges's bedroom, the Sea. Massive fireplaces with elaborate overmantels were carved and installed, a castle in the Library[167] and mermaids and sea-monsters of the deep in his own bedroom.[168] His brother-in-law, Pullan, wrote that "Chaucer and Tennyson's poems were Mr Burges' chief text-books when engaged in designing these decorations."[169]

In designing the medieval interior to the house, Burges also illustrated his skill as a jeweller, metalworker and designer,[170] and produced some of his best works of furniture including the Zodiac settle, the Dog Cabinet and the Great Bookcase, the last of which Charles Handley-Read described as "occupying a unique position in the history of Victorian painted furniture."[171] The fittings were as elaborate as the furniture: the tap for one of the guest washstands was in the form of a bronze bull from whose throat water poured into a sink inlaid with silver fish.[172] Within the Tower House Burges placed some of his finest metalwork; the artist Henry Stacy Marks wrote "he could design a chalice as well as a cathedral ... His decanters, cups, jugs, forks and spoons were designed with an equal ability to that with which he would design a castle."[173]

Upon completion, the Tower House was sensationally received. In a survey of the architecture of the past fifty years, published by The Builder in 1893, it was the only private town house to be included.[165] In 1966, when the house was empty, Handley-Read described it as "unique in London, a precious anthology of designs by one of the most imaginative of all Victorian architects."[174] Crook considers the house, the "synthesis of [Burges's] career and a glittering tribute to his achievement."[175] The Tower House, which remains a private home, owned by Jimmy Page for many years, retains much of its internal structural decoration, but the furniture and contents that Burges designed for it have been dispersed.[176]

Metalwork, jewellery and ceramics edit

 
Green glass and silver decanter designed by Burges, commissioned in 1865 (Victoria and Albert Museum)

Burges was a notable designer of Gothic-inspired metalwork and jewellery, and he has been cited as "Pugin's successor in the Gothic revival style".[177] Although Burges was foremost an architect, Edmund Gosse described his buildings as "more jewel than architecture",[178] and Crook states that "Burges's genius as a designer is expressed to perfection in his jewellery and metalwork."[179] He began with religious artifacts (candlesticks, chalices, pectoral crosses) as individual commissions or as part of the decorative scheme for buildings over which he had complete artistic control. Examples include the chalices for St Michael's Church, Brighton,[180] the statue of the Angel which stands above St Fin Barre's and which was his personal gift to the cathedral, and the Dunedin Crozier. This item, carved in ivory and depicting St George slaying the dragon, was made for the first Bishop of Dunedin. Burges had an early, and close, connection to the Ecclesiological Society and in 1864 took on the role of superintendent of the Society's church plate scheme, from which position he imposed Barkentin as the Society's official manufacturer.[181] In 1875 Burges published the design in a French magazine as a thirteenth century original,[182] an example of his delight in tricks and jokes. Similarly inventive were his designs for fish plates for Lord Bute, in which a service of eighteen plates is decorated with punning illustrations, such as a skating skate, and a winged perch seated on the branch of a tree.[183] He also undertook commissions for other patrons, including the Sneyd dessert service. On 3 April 1872, Burges produced a gothic-style brooch for the marriage of the Marquess of Bute to Lady Bute.[184] In September 1873, he produced another brooch for the Marchioness, in the shape of a gothic G, a gold heraldic shield in enamel, encrusted with gems and pearls.[185][186] He followed this with a necklace and earrings, an attempt to "design in Castellani's archeological style."[187] Another example of the works that Burges created for Lady Bute as a present for her husband, was a silver cruet set, in the form of two medieval retainers carrying tiny barrels of salt and pepper; the answer to the question of "what to give a man who (could) afford everything."[188]

His most notable metalworks were, however, created for himself, often with the proceeds of the winning of an architectural competition. Together, they display "a dazzling originality that surpasses any other silver designed earlier in the century".[189] Examples include the Elephant Inkstand, which Crook considers "the very epitome of its creator's special genius",[190] the pair of jewelled decanters paid for with the fees for the plans of the Crimea Memorial Church and for his series of lectures, Art Applied to Industry,[191] and the Cat Cup, created by Barkentin in commemoration of the Law Courts competition, of which Crook writes: "Its technical virtuosity sets standards for the Arts and Crafts phase. But the overall conception, the range of materials, the ingenuity, the inventiveness, the sheer gusto of the design, is peculiarly, triumphantly Burges."[192] Burges also designed more utilitarian articles which were nonetheless imbued with his love of allusion and punning, including silverware featuring mermaids, spiders and other creatures[186] and a set of knives and forks for the Tower House, with the handles, carved by Nicholls, showing symbols of "meat and vegetables, veal, venision, onion, pea and so on."[193] He was also a knowledgeable critic,[194] referred to by a contemporary as "one of the best judges of armour in Europe."[195] His large collection of armour, parts of which came from the famed collection of Sir Samuel Rush Meyrick,[196] was bequeathed to the British Museum upon his death.[197]

Only four examples of works in ceramic by Burges are known to exist. These are the tulip vases created for the corner corbels of the Summer Smoking Room at Cardiff Castle. Removed by the Fifth Marquess when the castle was given to the City of Cardiff in 1947, the vases were subsequently sold. They are now held by The Higgins Art Gallery & Museum, Bedford, the Victoria and Albert Museum, Amgueddfa Cymru – Museum Wales and the National Museum of Scotland.[198][199]

The whereabouts of some of Burges's most important pieces are unknown,[200] but discoveries are sometimes made: a brooch which he designed as a wedding present for his friend John Pollard Seddon was identified on the BBC television series Antiques Roadshow and subsequently sold at auction for £31,000 in August 2011.[201]

Stained glass edit

"The impact created by all these glowing, coloured religious images is overwhelming and intoxicating. To enter St Fin Barre's Cathedral is an experience unparalleled in Ireland and rarely matched anywhere."

—Lawrence writing on the stained glass windows of St Fin Barre's Cathedral.[56]

Burges played an important role in the renaissance of High Victorian stained glass.[202] The provision of glass of appropriate colour and richness was central to many of his decorative themes, and he invested effort in working with the best cartoonists and manufacturers to achieve this. He also studied the history of glass production, writing in his second Art Applied to Industry lecture, "[a] use of antiquarian studies is to restore disused arts, and to get all the good we can out of them for our own improvement."[203] In the catalogue to the exhibition of stained glass cartoons from Cardiff Castle, Sargent pays tribute to "his deep knowledge of the history and techniques of glass manufacture"[204] and Lawrence considers him a pioneer who, by his "painstaking studies, re-established the principles of medieval decoration and used this to make [his] own bold and original statements."[205] The results were outstanding; Lawrence wrote that Burges designed with "a vibrancy, an intensity and a brilliance which no other glass maker could match."[206] He acknowledges Burges's debt to the manufacturers and craftsmen with whom he worked, in particular, Gualbert Saunders, whose "technique [gave] Burges's glass its most distinctive characteristic, namely the flesh colour. This is unique, had no precedents and has had no imitators."[207] As well as at Saint Fin Barre's, Burges designed stained glass for all of his own significant churches, for reconstructions of medieval churches undertaken by others, and for his secular buildings. He undertook significant work at Waltham Abbey with Edward Burne-Jones, but much of his work there was destroyed in the Blitz.[208] Crook writes, "At Waltham, Burges does not copy. He meets the Middle Ages as an equal.".[209]

 
Stained glass and winged lion at St Mary's, Studley Royal

Windows by Burges continue to be discovered. In 2009, a stained glass window found in the vaults of Bath Abbey was confirmed as a design by Burges. The window, which was commissioned by Mallet and Company, featured on the Antiques Roadshow in early 2010[210] and is currently on display at the Bath Aqua Theatre of Glass.[211] In March 2011, two glass panels designed by Burges were purchased for £125,000 by Cadw.[212] The panels were part of a set of twenty Burges designed for the chapel at Castell Coch but were removed when the unfinished chapel was demolished. Ten of the panels were put on display at Cardiff Castle, and eight were used in the model of the chapel in the attic room of the Well Tower at Castell Coch; the two purchased by Cadw were considered lost until they failed to sell at auction in Salisbury in 2010.[212] The Inspector of Ancient Monuments for Cadw, speaking after their purchase, said, "The panels show a variety of Welsh and British saints and key biblical figures and are of the highest quality Victorian stained glass. William Burges' work attracts enormous worldwide attention and the price reflects the artistic genius of the man and the rare quality of these glass panels."[212]

Research has also led to being Burges properly credited with work previously attributed to others. In his 1958 volume on North Somerset and Bristol, Pevsner praises the "aesthetic quality" of the stained glass at the Church of St James, in Winscombe, but erroneously describes it as "one of the best examples of Morris glass in existence and quite unrecorded."[213] In fact, the glass is by Burges.[214]

Furniture edit

Main article: List of furniture by William Burges
 
The Great Bookcase – "the most important example of Victorian painted furniture ever made"

Burges's furniture was, second to his buildings, his major contribution to the Victorian Gothic Revival; as Crook writes, "More than anyone, it was Burges, with his eye for detail and his lust for colour, who created the furniture appropriate to High Victorian Gothic."[215] Enormous, elaborate and highly painted, Crook considers his "art furniture medieval in a way no other designer ever approached."[216] The first detailed study of Burges's work in this area was by Charles Handley-Read in his article in The Burlington Magazine of November 1963, Notes on William Burges's Painted Furniture.[217] Despised as much as his buildings in the reaction against Victorian taste that occurred in the twentieth century, his furniture came back into fashion in the latter part of that century and now commands very high prices.[218]

Burges's furniture is characterised by its historical style, its mythological iconography, its vibrant painting and, often, by rather poor workmanship. The Great Bookcase collapsed in 1878 and required complete restoration.[219] It was also expensive; Charlotte Ribeyrol, in her study William Burges's Great Bookcase & The Victorian Colour Revolution, published in 2023, reproduces the invoice for the bookcase showing that it cost Burges £240, half of which comprised the commissions paid to the artists who worked on the panels.[220] The painting of his furniture was central to Burges's views on its purpose. Describing his ideal medieval chamber in the lecture on furniture, delivered as part of the Art Applied to Industry series, he writes of its fittings being "covered with paintings; it not only did its duty as furniture, but spoke and told a story."[221] The designs were frequently collaborative, with artists from Burges's circle completing the painted panels that they mostly comprise. The contributors were often notable, Vost's sales catalogue for the Mirrored Sideboard suggesting that some of its panels were by Dante Gabriel Rossetti and Edward Burne-Jones.[222]

"His furniture is witty, inventive and erudite."

—Gordon Campbell writing on the furniture of Burges in The Grove Encyclopedia of Decorative Arts (2006).[223]

Burges's furniture did not receive universal contemporary acclaim. In his major study of English domestic architecture, Das englische Haus, published some twenty years after Burges's death, Hermann Muthesius wrote of The Tower House, "Worst of all, perhaps, is the furniture. Some of it is in the earlier manner, some of it box-like and painted all over. This style had now become fashionable, though with what historical justification it is not easy to say".[224]

Much of his early furniture, such as the Great Bookcase and the Zodiac settle, was designed for his offices at Buckingham Street and subsequently moved to the Tower House. The Great Bookcase was also part of Burges's contribution to the Medieval Court at the 1862 International Exhibition.[225] Others, such as the Yatman Cabinet, were created as commissions. Later pieces, such as the Crocker Dressing Table and the Golden Bed and its accompanying Vita Nuova washstand, were specifically made for suites of rooms at the Tower House.[226] The Narcissus washstand was originally made for Buckingham Street and subsequently moved to Burges's bedroom at the Tower House. John Betjeman, later Poet Laureate and a leading champion of the art and architecture of the Victorian Gothic Revival, was left the remaining lease on the Tower House, including some of the furniture, by E. R. B. Graham in 1961. He gave the washstand to the novelist Evelyn Waugh who made it the centrepiece of his 1957 novel, The Ordeal of Gilbert Pinfold, in which Pinfold is haunted by the stand.[227]

Examples of Burges's painted furniture can be seen in major museums including the Victoria and Albert Museum, the Detroit Institute of Arts, the National Museum Wales and the Manchester Art Gallery. The Higgins Art Gallery & Museum, Bedford, holds a particularly fine collection, begun with a large number of purchases from the estate of Charles and Lavinia Handley-Read, including the Narcissus washstand,[228] Burges's bed and the Crocker Dressing Table.[229] The most recent acquisition by the Bedford Museum is the Zodiac settle (1869–70), painted by Henry Stacy Marks. The Museum paid £850,000 for the settle, comprising a £480,000 grant from the National Heritage Memorial Fund, £190,000 from the Trustees of the Cecil Higgins Art Gallery and £180,000 from the Art Fund[230] after the British government imposed an export ban on the work.[231]

Personal life edit

 
Burges as jester, circa 1860

Burges, who never married,[232] was considered by his contemporaries to be eccentric, unpredictable, over-indulgent and flamboyant.[140][233] He was also physically unprepossessing, described by the wife of his greatest patron as "ugly Burges".[234] Short, fat, and so near-sighted that he once mistook a peacock for a man,[235] Burges appears to have been sensitive about his appearance and very few images of him exist.[236] The known portraits are: a painting of 1858 by Edward John Poynter on an internal panel of the Yatman Cabinet;[237] a photograph from the 1860s, by an unknown author, showing Burges dressed as a court jester; a sketch of 1871 in The Graphic by Theodore Blake Wirgman; a pencil drawing in profile of 1875 by Edward William Godwin; three posed photographs from 1881 by Henry Van der Weyde[236] and a posthumous caricature by Edward Burne-Jones.[238]

Whatever his physical shortcomings, his personality, his conversation and his sense of humour were attractive and infectious, Crook commenting that "his range of friends [covered] the whole gamut of pre-Raphaelite London."[239] Burges's childlike nature occasioned comment; Dante Gabriel Rossetti composing a limerick about him (see box).[d][241]

"There's a babyish party called Burges,
Who from childhood hardly emerges.
If you hadn't been told,
He's disgracefully old,
You would offer a bull's-eye to Burges."

—Dante Gabriel Rossetti's limerick on Burges's childish nature

Robert Kerr's novel of 1879, The Ambassador Extraordinary, involves an architect Georgius Oldhousen, whom Crook considers to be based on Burges; he is "not exactly young in years but is in an odd way youthful in appearance and in manners Georgius can never grow old ... His strong point is a disdain for Common Sense ... His vocation is Art ... [a] matter of Uncommon Sense."[242] Burges was a clubbable man.[243] Elected to the Institute of British Architects in 1860, in 1862 he was appointed to its Council and in 1863 was elected to the Foreign Architectural Book Society, the FABS, which comprised the RIBA elite and was limited to fifteen members.[244] He became a member of the Athenaeum Club in 1874, was a member of the Arts Club, the Medieval Society,[6] the Hogarth Club, and was elected to the Royal Academy in the year of his death.[245] As with many of his friends Burges also joined The Artists Rifles.[246]

Burges was a fanatical collector,[247] particularly of drawings and metalwork. He was also a Freemason,[248] a member of the same London lodge as his fellow architect William Eden Nesfield.[249] Other pursuits included ratting and opium.[250] The influence of drugs on his life and his architectural output has been debated; Crook speculating that it was in Constantinople, on his tour in the 1850s, that he first tasted opium[251] and the Dictionary of Scottish Architects stating with certainty that his early death was brought about "at least partly as a result of his bachelor lifestyle of smoking both tobacco and opium."[252] The architectural writer Simon Jenkins speculated as to why Sir John Heathcoat-Amory chose as his architect "an opium-addicted bachelor Gothicist who dressed in medieval costume."[253] Burges's own diary of 1865 includes the reference, "Too much opium, did not go to Hayward's wedding",[241] and Crook concludes that "it is hard to resist the conclusion that [opium] reinforced the dreamier elements in his artistic make-up".[241]

Death edit

 
Burges's sarcophagus at West Norwood Cemetery, London

Burges died, aged 53, in his Red Bed at the Tower House, at 11.45 p.m. on Wednesday 20 April 1881.[254] While on a tour of works at Cardiff, he caught a chill and returned to London, half-paralysed, where he lay dying for some three weeks.[255] Among his last visitors were Oscar Wilde and James Whistler.[255] He was buried in the tomb he designed for his mother at West Norwood, London. On his death, John Starling Chapple, Burges's office manager and close associate for more than twenty years, wrote "a constant relationship ... with one of the brightest ornaments of the profession has rendered the parting most severe. Thank God his work will live and ... be the admiration of future students. I have hardly got to realize my lonely position yet. He was almost all the world to me."[256] Lady Bute, wife of his greatest patron, wrote, "Dear Burges, ugly Burges, who designed such lovely things – what a duck."[234]

"[He was] the most dazzling exponent of the High Victorian Dream. Pugin conceived that dream; Rossetti and Burne-Jones painted it; Tennyson sang its glories; Ruskin and Morris formulated its philosophy; but only Burges built it."

—Crook writing about Burges's role in the High Victorian Dream.[257]

In Saint Fin Barre's, together with memorials to his mother and sister, there is a memorial plaque to Burges, designed by him, and erected by his father. It shows the King of Heaven presiding over the four apostles, who hold open the Word of God.[258] Under the inscription "Architect of this cathedral" is a simple shield and a small, worn, plaque with a mosaic surround, bearing Burges's entwined initials and name. Legal complications obstructed Burges's wish to be buried in the cathedral he had built.[259] Burges's own words on Saint Fin Barre's, in his letter of January 1877 to the Bishop of Cork, sum up his career, "Fifty years hence, the whole affair will be on its trial and, the elements of time and cost being forgotten, the result only will be looked at. The great questions will then be, first, is this work beautiful and, secondly, have those to whom it was entrusted, done it with all their heart and all their ability."[73]

Legacy and influence edit

 
Animal Wall Cardiff Castle – The Monkeys: One of nine original sculptures carved in 1891 by Thomas Nicholls to designs by Burges

On Burges's death in 1881, his contemporary, the architect Edward William Godwin, said of him that "no one of the century of this country or any other that I know of, ever possessed that artistic rule over the kingdom of nature in a measure at all comparable with that which he shared in common with the creator of the Sphinx and the designer of Chartres."[260] But the Gothic Revival he championed with such force was in decline. Within twenty years his style was considered hopelessly outdated and owners of his works sought to eradicate all traces of his efforts.[137] From the 1890s to the later twentieth century, Victorian art was under constant assault, critics writing of "the nineteenth century architectural tragedy",[261] ridiculing "the uncompromising ugliness"[262] of the era's buildings and attacking the "sadistic hatred of beauty" of its architects.[263] Of Burges, they wrote almost nothing. His buildings were disregarded or altered, his jewellery and stained glass were lost or ignored, and his furniture was given away. The architectural historian Megan Aldrich writes, "He founded no school ... had few adherents outside the circle of his practice ... and trained no further generation of designers."[264] In comparison with more prolific contemporaries, he completed relatively few works and lost many architectural competitions. Burges's collaborator, the artist Nathaniel Westlake, lamented "competitions are seldom given to the best man – look at the number poor Burges won, or should have won, and I think he executed only one."[265] Burges occasionally acted as a judge in architectural competitions[266] and Eastlake also commented on Burges's failure to win them; "in one case only has he traversed this always arduous road to fame with anything like substantial success."[267]

 
Burges as architect, by Frederick Weekes

Almost his sole champion in the years after his death was his brother-in-law, Richard Popplewell Pullan. Primarily an illustrator, as well as a scholar and archaeologist,[61] Pullan trained with Alfred Waterhouse in Manchester, before joining Burges's office in the 1850s. In 1859, he married Burges's sister. Following Burges's death in 1881, Pullan lived at The Tower House and published collections of Burges's designs, including Architectural Designs of William Burges (1883) and The House of William Burges (1886).[268] In his preface to Architectural Designs Pullan expressed the hope that illustrated volumes of his brother-in-law's work "would be warmly welcomed and thoroughly appreciated, not only by his professional brethern, but by all men of educated taste in Europe and America."[269] This hope was not to be fulfilled for a hundred years but Burges's work did continue to attract followers in Japan. Josiah Conder studied under him, and, through Conder's influence, the notable Japanese architect Tatsuno Kingo was articled to Burges in the year before the latter's death.[270][271] Burges also received brief, but largely favourable, attention in Muthesius's Das englische Haus, where Muthesius described him as "the most talented Gothicist of his day".[224]

From the later twentieth century to the present a renaissance has occurred in the study of Victorian art, architecture and design[272] and Crook contends that Burges's place at the centre of that world, as "a wide-ranging scholar, an intrepid traveller, a coruscating lecturer, a brilliant decorative designer and an architect of genius,"[273] is again appreciated. Crook writes further that, in a career of only some twenty years, he became "the most brilliant architect-designer of his generation,"[274] and, beyond architecture, his achievements in metalwork, jewellery, furniture and stained glass place him as Pugin's only "rival [.] as the greatest art-architect of the Gothic Revival."[275]

Architectural scholarship edit

 
The Resurrection Angel – Burges's personal gift to Saint Fin Barre's Cathedral, Cork, in which he wished to be buried

Burges's limited output, and the general unpopularity of his work for much of the century following his death, meant that he was little studied. In a seventy-one page guide to Cardiff Castle, published in 1923, he is referenced only three times, and on each occasion his name is misspelt as "Burgess".[276] Pevsner's 1951 volume on the exhibits at The Great Exhibition, High Victorian Design, makes no mention of him, despite his significant contributions to the Medieval Court. The 1950s saw the small beginnings of a reaction against the condemnation of all that the Victorian architects, including Burges, had produced. John Steegman's pioneering study, Consort of Taste (re-issued in 1970 as Victorian Taste, with a foreword by Pevsner), was published in 1950 and began a slow turn in the tide of opinion "towards a more serious and sympathetic assessment."[277] The exhibition of Victorian and Edwardian Decorative Arts held at the Victoria and Albert Museum in 1952 included five pieces of his furniture and four examples of his metalwork.[278] This was followed by the foundation of the Victorian Society in 1958. Victorian Architecture, a collection of essays edited by Peter Ferriday and published in 1963, contained an article on him by Charles Handley-Read,[279] perhaps the first serious scholar of Burges. Handley-Read took a measured view of Burges's work writing that, "as a designer, he (was) apt to be aggressive rather than charming",[280] but he was in no doubt of Burges's significance, writing of his best works as "indispensable examples of 'Victorian Conservanda'."[e][282]

The last thirty years, however, have seen a significant revival of interest. Burges's rehabilitation can be dated to 1981, the centenary of his death, when a major exhibition on his life and works was held, firstly at the National Museum Cardiff, until October 1981, and then at the Victoria and Albert Museum, London, from November 1981 to January 1982.[283] The catalogue to that exhibition, entitled The Strange Genius of William Burges, was edited by J. Mordaunt Crook. A much smaller exhibition of his work was also held at the Crawford Municipal Art Gallery in Cork.[284] In the same year, the only full study of Burges, Crook's William Burges and the High Victorian Dream, was published. In the dedication to that volume, "In Mem. C.H.-R",[285] Crook acknowledges his debt to Charles Handley-Read, whose notes on Burges Crook inherited following Handley-Read's suicide.[286] A revised edition was published in February 2013.[287] Other sources include articles on Cardiff Castle and Castle Coch in Mark Girouard's The Victorian Country House. The Buildings of England, The Buildings of Wales, The Buildings of Scotland and The Buildings of Ireland series provide comprehensive coverage of Burges's works by county, although in the last instance it is not yet complete. The former curator of Cardiff Castle, Matthew Williams,[288] has also written a number of book and articles on Burges and the third Marquess of Bute.[289] The Cathedral of Saint Fin Barre at Cork, by David Lawrence and Ann Wilson, covers Burges's work in Ireland.[50]

List of works edit

Main article: List of buildings by William Burges

The chronological list of Burges's major buildings is believed to be complete, although some minor works, or minimal additions to pre-existing structures, have not been included. The list of furniture and other works is selective. No listing is given of his extensive creations of jewellery, metalwork and stained glass. Crook has a comprehensive, chronological, appendix of Burges's work with indications as to whether the work is still in situ, was never executed, has been removed elsewhere, has been demolished or where the present location is unknown.

Buildings edit

Main article: List of buildings by William Burges

Unexecuted designs edit

Major pieces of furniture with locations edit

Main article: List of furniture by William Burges

Footnotes edit

  1. ^ Burdett House was constructed in 1968, replacing a building of 1906 which was destroyed in World War II. That building replaced two earlier Georgian buildings, 15 & 16, Buckingham Street. No. 15 was home to Burges, 1856–1875, Charles Dickens, circa 1834,[3] and William Smith, 1804–1819.[4] It has also, erroneously, been described as home to Peter the Great during the London stage of his Grand Embassy in 1698. The block stands to the right of the York Water Gate.[5]
  2. ^ Pauline Sargent, a member of the South Glamorgan County Architects department and curator of an exhibition of Burges drawings and stained glass cartoons held at Cardiff Castle from July to August 1977 suggests that John (James) McConnochie may have made the introduction. McConnochie was employed by Burges, Walker and Cooper, Burges's father's firm, and subsequently worked for Bute as Chief Engineer at Cardiff Docks.[67]
  3. ^ Burges also undertook some remodelling of the grounds of Newby Hall, including the pair of gates, with piers, on the eastern front.[150][151]
  4. ^ The "Jester" portrait, now held in the National Portrait Gallery, has Rossetti's limerick inscribed in pencil on the reverse.[240]
  5. ^ As late as the 1970s, Burges's work could provoke strong negative reactions. J. Mordaunt Crook recorded James Lees-Milne's reaction to a Royal Academy exhibition of the Handley-Read collection, which contained many important pieces by Burges; "The hideousness of the furniture and ornaments [are] beyond belief...no wonder both Handley-Reads committed suicide...their house was apparently stuffed with these ghastly things."[281]

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February 15, 2024
william, burges, this, article, about, victorian, architect, australian, politician, politician, other, people, ɜː, december, 1827, april, 1881, english, architect, designer, among, greatest, victorian, architects, sought, work, escape, from, both, nineteenth,. This article is about the Victorian architect For the Australian politician see William Burges politician For other people see William Burgess William Burges ARA ˈ b ɜː dʒ ɛ s 2 December 1827 20 April 1881 was an English architect and designer Among the greatest of the Victorian art architects he sought in his work to escape from both nineteenth century industrialisation and the Neoclassical architectural style and re establish the architectural and social values of a utopian medieval England Burges stands within the tradition of the Gothic Revival his works echoing those of the Pre Raphaelites and heralding those of the Arts and Crafts movement William BurgesARABorn 1827 12 02 2 December 1827Died20 April 1881 1881 04 20 aged 53 The Tower House Kensington London EnglandAlma materKing s College SchoolKing s College LondonOccupationArchitectParentAlfred BurgesBuildingsSaint Fin Barre s Cathedral Cardiff Castle Castell Coch The Tower HouseBurges s career was short but illustrious he won his first major commission for Saint Fin Barre s Cathedral in Cork in 1863 when he was 35 He died in 1881 at his Kensington home The Tower House aged only 53 His architectural output was small but varied Working with a long standing team of craftsmen he built churches a cathedral a warehouse a university a school houses and castles Burges s most notable works are Cardiff Castle constructed between 1866 and 1928 and Castell Coch 1872 91 both of which were built for John Crichton Stuart 3rd Marquess of Bute Other significant buildings include Gayhurst House Buckinghamshire 1858 65 Knightshayes Court 1867 74 the Church of Christ the Consoler 1870 76 St Mary s Studley Royal 1870 78 in Yorkshire and Park House Cardiff 1871 80 Many of his designs were never executed or were subsequently demolished or altered His competition entries for cathedrals at Lille 1854 Adelaide 1856 Colombo Brisbane 1859 Edinburgh 1873 and Truro 1878 were all unsuccessful He lost out to George Edmund Street in the competition for the Royal Courts of Justice 1866 67 in The Strand His plans for the redecoration of the interior of St Paul s Cathedral 1870 77 were abandoned and he was dismissed from his post Skilbeck s Warehouse 1865 66 was demolished in the 1970s and work at Salisbury Cathedral 1855 59 Worcester College Oxford 1873 79 and at Knightshayes Court had been lost in the decades before Beyond architecture Burges designed metalwork sculpture jewellery furniture and stained glass Art Applied to Industry a series of lectures he gave to the Society of Arts in 1864 illustrates the breadth of his interests the topics covered including glass pottery brass and iron gold and silver furniture the weaver s art and external architectural decoration For most of the century following his death Victorian architecture was neither the subject of intensive study nor sympathetic attention and Burges s work was largely ignored The revival of interest in Victorian art architecture and design in the later twentieth century led to a renewed appreciation of Burges and his work Contents 1 Early life and travels 2 Early works 3 Saint Fin Barre s Cathedral Cork 4 Architectural team 5 Partnership with the Marquess of Bute 5 1 Cardiff Castle 5 2 Castell Coch 6 Later works 6 1 Worcester College Oxford 6 2 Skilbeck s Warehouse 6 3 Knightshayes Court 6 4 Park House 6 5 Christ the Consoler St Mary s and St Paul s Cathedral 6 6 Trinity College Hartford Connecticut 6 7 The Tower House 7 Metalwork jewellery and ceramics 8 Stained glass 9 Furniture 10 Personal life 11 Death 12 Legacy and influence 13 Architectural scholarship 14 List of works 14 1 Buildings 14 2 Unexecuted designs 14 3 Major pieces of furniture with locations 15 Footnotes 16 References 17 Sources 18 External linksEarly life and travels editBurges was born on 2 December 1827 1 the son of Alfred Burges 1796 1886 a wealthy civil engineer Alfred amassed a considerable fortune which enabled his son to devote his life to the study and practice of architecture without requiring that he actually earn a living 2 nbsp Burdett House 15 16 Buckingham Street to the right of the York Water Gate Burges had his home studio in a building on the site of No 15 a Burges entered King s College School London in 1839 to study engineering his contemporaries there including Dante Gabriel Rossetti and William Michael Rossetti 6 He left in 1844 to join the office of Edward Blore 6 7 surveyor to Westminster Abbey Blore was an established architect having worked for both William IV and Queen Victoria and had made his reputation as a proponent of the Gothic Revival In 1848 or 1849 Burges moved to the offices of Matthew Digby Wyatt 8 9 Wyatt was as prominent an architect as Blore evidenced by his leading role in the direction of The Great Exhibition in 1851 Burges s work with Wyatt particularly on the Medieval Court for this exhibition was influential on the subsequent course of his career 10 During this period he also worked on drawings of medieval metalwork for Wyatt s book Metalwork published in 1852 11 and assisted Henry Clutton with illustrations for his works 8 Of equal importance to Burges s subsequent career was his travelling 12 Burges believed that all architects should travel remarking that it was absolutely necessary to see how various art problems have been resolved in different ages by different men 12 Enabled by his private income Burges moved through England then France Belgium Holland Switzerland Germany Spain Italy Greece and finally into Turkey 13 In total he spent some 18 months abroad developing his skills and knowledge by sketching and drawing 14 What he saw and drew provided a repository of influences and ideas that he used and re used for the whole of his career 15 Although he never went beyond Turkey the art and architecture of the East both Near and Far had a significant impact on him 16 his fascination with Moorish design found ultimate expression in the Arab Room at Cardiff Castle and his study of Japanese techniques influenced his later metalwork 17 Burges received his first important commission at the age of 35 but his subsequent career did not see the development that might have been expected His style had already been formed over the previous twenty years of study thinking and travelling J Mordaunt Crook the foremost authority on Burges writes that once established after twenty years preparation his design language had merely to be applied and he applied and reapplied the same vocabulary with increasing subtlety and gusto 18 Early works edit nbsp All Saints Church Fleet in Hampshire before an arson attack in 2015In 1856 Burges established his own architectural practice in London at 15 Buckingham Street The Strand 19 Some of his early pieces of furniture were created for this office and were later moved to The Tower House Melbury Road Kensington the home he built for himself towards the end of his life 20 His early architectural career produced nothing of major note although he won prestigious commissions which remained unbuilt for Lille Cathedral 21 the Crimea Memorial Church 22 and the Bombay School of Art 23 His failed entry for the Law Courts in the Strand 24 if successful would have given London its own Carcassonne the plans being described by the architectural writers Dixon and Muthesius as a recreation of a thirteenth century dream world with a skyline of great inventiveness 25 In 1859 he submitted a French inspired design for St John s Cathedral in Brisbane Australia which was rejected 26 27 He also provided designs for Colombo Cathedral in Ceylon and St Francis Xavier s Cathedral Adelaide without success 28 In 1855 however he obtained a commission for the reconstruction of the chapter house of Salisbury Cathedral 29 Henry Clutton was the lead architect but Burges as assistant contributed to the restoration of the sculpture and to the general decorative scheme 29 Much was lost in restorations of the 1960s 30 More lasting was Burges s work of 1858 onwards in the substantial remodelling of Gayhurst House in Buckinghamshire for Robert Carrington 2nd Baron Carrington 31 Rooms there contain some of his large signature fireplaces with carving by Burges s long time collaborator Thomas Nicholls in particular those in the Drawing Room which include motifs from Paradise Lost and Paradise Regained 31 He also designed a circular lavatory for the male servants the Cerberus Privy which Jeremy Cooper describes as being surmounted by a growling Cerberus each of his three heads inset with bloodshot glass eyes 32 nbsp Maison Dieu DoverIn 1859 Burges began work with Ambrose Poynter on the Maison Dieu Dover which was completed in 1861 33 34 Emulation of the original medieval style can be seen in his renovation of the grotesque animals and in the coats of arms incorporated into his new designs 35 Burges later designed the Council Chamber added in 1867 35 and in 1881 began work on Connaught Hall in Dover a town meeting and concert hall 33 The new building contained meeting rooms and mayoral and official offices Although Burges designed the project most of it was completed after his death by his partners Pullan and Chapple 35 The listed status of the Maison Dieu was reclassified as Grade I in 2017 and Dover District Council the building s owner is seeking grant funding to enable a restoration focussing on Burges s work 36 In 1859 60 Burges took over the restoration of Waltham Abbey from Poynter working with Poynter s son Edward Poynter and with furniture makers Harland and Fisher 37 He commissioned Edward Burne Jones of James Powell amp Sons to make three stained glass windows for the east end representing the Tree of Jesse 38 The Abbey is a demonstration of Burges s skills as a restorer with a profound sensitivity towards medieval architecture 39 Mordaunt Crook wrote of Burges s interior that it meets the Middle Ages as an equal In 1861 2 Burges was commissioned by Charles Edward Lefroy secretary to the Speaker of the House of Commons to build All Saints Church Fleet as a memorial to Lefroy s wife 40 She was the daughter of James Walker who established the marine engineering company of Walker and Burges with Burges s father Alfred and this family connection brought Burges the commission 41 Pevsner says of Fleet that it has no shape nor character nor notable buildings except one 40 that one being All Saints The church is of red brick and Pevsner considered it astonishingly restrained 40 The interior too is simply decorated but the massive sculpture particularly of the tomb of the Lefroys and of the gabled arch below which the tomb originally stood is quintessentially Burges Crook describing it as not so much muscular gothic as muscle bound 42 Saint Fin Barre s Cathedral Cork editMain article Saint Fin Barre s Cathedral nbsp Saint Fin Barre s Cathedral Cork Ireland Burges s first major commissionDespite early competition setbacks Burges was sustained by his belief that Early French provided the answer to the crisis of architectural style that beset mid Victorian England writing I was brought up in the thirteenth century belief and in that belief I intend to die 43 and in 1863 at the age of 35 he finally secured his first major commission for Saint Fin Barre s Cathedral Cork 44 45 Burges s diary records his delight at the result Got Cork 46 Saint Fin Barre s was to be the first new cathedral built in the British Isles since St Paul s 42 The competition occurred as a result of widespread dissatisfaction with the existing church of 1735 which the Dublin Builder described as a shabby apology for a cathedral which has long disgraced Cork 47 The proposed budget was low at 15 000 but Burges ignored this constraint producing a design that he admitted would cost twice as much 48 Despite the protestations of fellow competitors it won though the final cost was to be in excess of 100 000 49 Burges who had worked in Ireland before at the Church of St Peter Carrigrohane at the Holy Trinity Church Templebreedy at Frankfield and at Douglas 50 enjoyed strong local support including that of the Bishop John Gregg In addition as the Ireland Handbook notes Burges combined his love of medievalism with a conspicuous display of Protestant affluence 51 which was an important factor at a time when the established Anglican Church in Ireland was seeking to assert its predominance 48 For the exterior Burges re used some of his earlier unexecuted plans the overall design from the Crimea Memorial Church and St John s Cathedral Brisbane the elevations from Lille Cathedral 52 The main problem of the building was its size Despite the prodigious efforts of its fundraisers and despite Burges exceeding the original budget Cork was still unable to afford a really large cathedral 53 Burges overcame this obstacle by using the grandeur of his three spired exterior to offset the lesser scale of the remainder of the building 53 Although the cathedral is modest in size it is very richly ornamented As was his usual practice from his office in Buckingham Street and in the course of many site visits Burges oversaw all aspects of the design including the statuary the stained glass and the furniture charging 10 rather than his usual 5 owing to the high level of his personal involvement He drew designs for every one of the 1 260 sculptures that adorn the West Front and decorate the building inside and out 54 He sketched cartoons for the majority of the 74 stained glass windows He designed the mosaic pavement the altar the pulpit and the bishop s throne 55 Lawrence and Wilson consider the result undoubtedly Burges s greatest work in ecclesiastical architecture 46 with an interior that is overwhelming and intoxicating 56 Through his ability by the careful leadership of his team by total artistic control and by vastly exceeding the intended budget of 15 000 45 Burges produced a building that in size is little more than a large parish church but in impression is described in Lawrence and Wilson s study as a cathedral becoming such a city and one which posterity may regard as a monument to the Almighty s praise 57 Architectural team edit nbsp Cardiff Castle worked on by many members of Burges s architectural teamBurges inspired considerable loyalty within his team of assistants and his partnerships were long lived 58 John Starling Chapple was the office manager joining Burges s practice in 1859 59 It was Chapple designer of most of the furniture for Castell Coch who completed its restoration after Burges s death 60 Second to Chapple was William Frame 59 who acted as clerk of works Horatio Walter Lonsdale was Burges s chief artist 61 contributing extensive murals for both Castell Coch and Cardiff Castle His main sculptor was Thomas Nicholls who started with Burges at Cork completing hundreds of figures for Saint Fin Barre s Cathedral worked with him on his two major churches in Yorkshire and undertook all of the original carving for the Animal Wall at Cardiff 62 William Gualbert Saunders joined the Buckingham Street team in 1865 and worked with Burges on the development of the design and techniques of stained glass manufacture producing much of the best glass for Saint Fin Barre s 63 Ceccardo Egidio Fucigna was another long time collaborator who sculpted the Madonna and Child above the drawbridge at Castell Coch the figure of St John over the mantelpiece in Lord Bute s bedroom at Cardiff Castle and the bronze Madonna in the roof garden Lastly there was Axel Haig a Swedish born illustrator who prepared many of the watercolour perspectives with which Burges entranced his clients 64 Crook calls them a group of talented men moulded in their master s image art architects and medievalists to a man jokers and jesters too devoted above all to art rather than to business 65 Partnership with the Marquess of Bute edit nbsp nbsp Burges and Bute Left An 1875 painting of Burges by Edward Poynter Right Portrait of John Patrick Crichton Stuart 3rd Marquess of Bute In 1865 Burges met John Patrick Crichton Stuart 3rd Marquess of Bute This may have resulted from Alfred Burges s engineering firm Walker Burges and Cooper having undertaken work on the East Bute Docks in Cardiff for the second Marquess 66 b The 3rd Marquess became Burges s greatest architectural patron 68 both were men of their times both had fathers whose industrial endeavours provided the means for their sons architectural achievements and both sought to redeem the evils of industrialism by re living the art of the Middle Ages 69 On his succession to the Marquessate at the age of one Bute inherited an income of 300 000 a year 70 and by the time he met Burges he was considered the richest man in Britain 71 if not the world 72 Bute s wealth was important to the success of the partnership as Burges himself wrote Good art is far too rare and far too precious ever to be cheap 73 But as a scholar antiquarian compulsive builder and enthusiastic medievalist Bute brought more than money to the relationship and his resources and his interests allied with Burges s genius to create what David McLees considers to be Bute s most memorable overall achievement 74 A prime example of the partnership of aristocratic patron and talented architect produc ing the marvels of Cardiff Castle and Castell Coch Dixon and Muthesius characterising the relationship between Burges and Bute 75 However occasioned the connection lasted the rest of Burges s life and led to his most important works To the Marquess and his wife Burges was the soul inspiring one 76 The architectural writer Michael Hall considers Burges s rebuilding of Cardiff Castle and the complete reconstruction of the ruin of Castell Coch north of the city as representing his highest achievements 70 In these buildings Crook contends that Burges escaped into a world of architectural fantasy 18 which Hall describes as amongst the most magnificent the Gothic Revival ever achieved 77 Cardiff Castle edit Main article Work of William Burges at Cardiff Castle nbsp Cardiff Castle in the 1890sIn the early nineteenth century the original Norman castle had been enlarged and refashioned by Henry Holland for the 1st Marquess of Bute the 3rd Marquess s great grandfather The 2nd Marquess occupied the castle on visits to his extensive Glamorgan estates during which he developed modern Cardiff and created Cardiff Docks as the outlet for coal and steel from the South Wales Valleys but did little to the castle itself beyond completing the 1st Marquess s work The 3rd Marquess despised Holland s efforts describing the castle as having been the victim of every barbarism since the Renaissance 78 and on his coming of age engaged Burges to undertake rebuilding on a Wagnerian scale 74 Almost all of Burges s usual team were involved including Chapple Frame and Lonsdale 79 creating a building which John Newman describes in Glamorgan The Buildings of Wales as the most successful of all the fantasy castles of the nineteenth century 71 The skyline of the capital of Wales the dream of one great patron and one great architect has almost become the symbol of a whole nation Crook describing the castle s silhouette 80 Work began in 1868 with the 150 feet high Clock Tower 81 in Forest of Dean ashlar The tower forms a suite of bachelor s rooms the Marquess not marrying until 1872 They comprise a bedroom a servant s room and the Summer and Winter Smoking Rooms 81 Externally the tower is a re working of a design Burges used for the unsuccessful Law Courts competition Internally the rooms are sumptuously decorated with gilding carvings and cartoons many allegorical in style depicting the seasons myths and fables 82 In his A History of the Gothic Revival written as the tower was being built Charles Locke Eastlake wrote of Burges s peculiar talents and luxuriant fancy 83 The Summer Smoking Room is the tower s literal and metaphorical culmination It rises two storeys high and has an internal balcony that through an unbroken band of windows gives views to Cardiff docks one source of Bute s wealth the Bristol Channel and the Welsh hills and valleys The floor has a map of the world in mosaic and the sculpture is by Thomas Nicholls 84 As the castle was developed work continued with alterations to Holland s Georgian range including his Bute Tower and to the medieval Herbert and Beauchamp Towers and the construction of the Guest Tower and the Octagonal Tower 79 In plan the castle broadly follows the arrangement of a standard Victorian stately home The Bute Tower includes Lord Bute s bedroom and ends in another highlight the Roof Garden with a sculpture of the Madonna by Fucigna and painted tiles by Lonsdale 85 Bute s bedroom has much religious iconography and a mirrored ceiling The Marquess s name John is repeated in Greek IWAIS along the ceiling beams 86 The Octagon Tower followed including the oratory built on the spot where Bute s father died and the Chaucer Room the roof of which Mark Girouard cites as a superb example of Burges s genius in the construction of roofs 87 The Guest Tower contains the site of the original kitchen at its base and above the Nursery decorated with painted tiles depicting Aesop s Fables and characters from nursery rhymes 79 nbsp The Clock Tower Cardiff CastleThe central block of the castle comprises the two storey banqueting hall with the library below Both are enormous the former to act as a suitable reception hall where the Marquess could fulfil his civic duties the latter to hold part of his vast library Both include elaborate carvings and fireplaces those in the banqueting hall depicting the castle itself in the time of Robert Duke of Normandy who was imprisoned there in 1126 1134 88 The fireplace in the library contains five figures four representing the Greek Egyptian Hebrew and Assyrian alphabets while the fifth is said to represent Bute as a Celtic monk 89 The figures refer to the purpose of the room and to the Marquess a noted linguist The decoration of these large rooms is less successful than in the smaller chambers much was completed after Burges s death and Girouard considers that the muralist Lonsdale was required to cover areas rather greater than his talents deserved 87 The central portion of the castle also included the Grand Staircase Illustrated in a watercolour perspective prepared by Axel Haig 90 the staircase was long thought never to have been built but recent research has shown that it was constructed only to be torn out in the 1930s 79 reputedly after the third Marchioness had once slipped on its polished surface 91 The staircase was not universally praised in the contemporary press the Building News writing that the design was one of the least happy we have seen from Mr Burges s pencil the contrasts of colour are more startling than pleasing 92 The Arab Room in the Herbert Tower was the last room on which Burges was working when he fell ill in 1881 Bute placed Burges s initials together with his own and the date in the fireplace of that room as a memorial 93 The room was completed by Burges s brother in law Richard Popplewell Pullan 61 nbsp Burges s design for the Summer Smoking Room at Cardiff CastleFollowing Burges s death further areas of the castle were developed along the lines he had set by amongst others William Frame This included extensive reconstruction of the walls of the original Roman fort 86 The Animal Wall completed in the 1920s by the 4th Marquess originally stood between the castle moat and the city and has nine sculptures by Thomas Nicholls with a further six sculpted by Alexander Carrick in the 1930s The Swiss Bridge which crossed the leat to Bute Park was moved in the 1920s and demolished in the 1960s 94 The stables which lie to the north on the edge of Bute Park were designed by Burges in 1868 69 95 Megan Aldrich contends that Burges s interiors at Cardiff have rarely been equalled although he executed few buildings as his rich fantastic gothic required equally rich patrons his finished works are outstanding monuments to nineteenth century gothic 96 the suites of rooms he created at Cardiff being amongst the most magnificent that the gothic revival ever achieved 97 Crook goes further still arguing that the rooms reach beyond architecture to create three dimensional passports to fairy kingdoms and realms of gold In Cardiff Castle we enter a land of dreams 98 The Castle was given to Cardiff City Corporation by the 5th Marquess of Bute in 1947 93 Castell Coch edit Main article Castell Coch nbsp Castell CochIn 1872 while work at Cardiff Castle was proceeding Burges presented a scheme for the complete reconstruction of Castell Coch 80 a ruined thirteenth century fort on the Bute estate to the north of Cardiff Burges s report on the possible reconstruction was delivered in 1872 99 but building was delayed until 1875 in part because of the pressure of works at Cardiff Castle and in part because of an unfounded concern on behalf of the Marquess s trustees that he was facing bankruptcy 100 The exterior comprises three towers described by Newman as almost equal to each other in diameter but arrestingly dissimilar in height 101 Burges s main inspiration was the work of the almost contemporaneous French architect Eugene Viollet le Duc 102 who was undertaking similar restoration and building work for Napoleon III Viollet le Duc s work at the Chateau de Coucy The Louvre and particularly at the Chateau de Pierrefonds is echoed at Castell Coch Burges s Drawing Room roof drawing heavily on the octagonal rib vaulted chambre de l Imperatrice at Pierrefonds 102 Burges s other main source was the Chateau de Chillon from which his conical and conjectural tower roofs are derived 102 Severely damaged during Welsh rebellions in the early fourteenth century 103 Castell Coch fell into disuse and by the Tudor period the antiquary John Leland described it as all in ruin no big thing but high 104 A set of drawings for the planned rebuilding exists together with a full architectural justification by Burges The castle reconstruction features three conical roofs to the towers that are historically questionable According to Crook Burges supported his roofs with a considerable body of examples of doubtful validity the truth was that he wanted them for their architectural effect 105 The distant view of unequal drum towers rising under candlesnuffer roofs from the wooded hillside is irresistibly appealing Here the castle of romantic dreams is given substance Newman describing the prospect of Castell Coch 106 The Keep Tower the Well Tower and the Kitchen Tower comprise a series of apartments of which the main sequence the Castellan s Rooms lie within the Keep They begin weakly the Banqueting Hall completed well after Burges s death being described by Newman as dilute and unfocused 107 while Crook considers it anaemic 108 It contains a colossal chimney piece carved by Thomas Nicholls 109 The identity of the central figure in the overmantel is uncertain Girouard states that it is King David while McLees suggests that it depicts St Lucius The Drawing Room is a double height room with decoration that Newman describes as illustrating the intertwined themes of the fecundity of nature and the fragility of life 110 A stone fireplace by Nicholls features the Three Fates spinning measuring and cutting the thread of life 111 The murals around the walls draw on Aesop s Fables with delicate drawings of animals in the Aesthetic Movement style 112 nbsp The Three Fates chimneypiece Castell CochThe octagonal chamber with its great rib vault modelled on Viollet le Duc s chambers at Coucy and Pierrefonds is decorated with drawings of butterflies and birds 113 Off the hall lies the Windlass Room in which Burges delighted in assembling the fully functioning apparatus for the drawbridge together with murder holes for expelling boiling oil 114 The Marquess s bedroom provides some spartan relief 115 before the culmination of the castle Lady Bute s Bedroom Crook considers this room pure Burges an arcaded circle punched through by window embrasures and topped by a trefoil sectioned dome 115 The decorative theme is love symbolised by monkeys pomegranates and nesting birds 115 The decoration was completed long after Burges s death but his was the guiding spirit Would Mr Burges have done it William Frame wrote to Thomas Nicholls in 1887 115 Burges s original design for the castle included a chapel to be built on the roof of the Well Tower 116 It was never finished and the remains were removed in the late nineteenth century 117 Following Burges s death in 1881 work on the interior continued for another ten years The castle was little used the Marquess never came after its completion and its main function was as a family sanatorium although the Marchioness and her daughter Lady Margaret Crichton Stuart did occupy it for a period following the death of the Marquess in 1900 In 1950 the 5th Marquess of Bute handed the castle over to the Ministry of Works 118 McLees views it as one of the greatest Victorian triumphs of architectural composition 118 whilst Crook writes of Burges recreating from a heap of rubble a fairy tale castle which seems almost to have materialised from the margins of a medieval manuscript 115 Later works editBute s commissions formed the major corpus of Burges s work from the 1860s until his death However he continued to accept other appointments Worcester College Oxford edit nbsp Ceiling by BurgesMain article Worcester College Oxford The interiors of the Hall and Chapel of Worcester College Oxford had been designed by James Wyatt in 1776 90 119 In 1864 Burges was commissioned to overhaul Wyatt s unremarkable designs for the chapel by the Reverend H C O Daniel a member of the college s Senior Common Room and future Provost who had known Burges when they were contemporaries at King s College London 120 Burges s extensive iconography envelopes the building with animals and birds depicted on the end of pews 121 and Burges s mosaic flooring astonished his contemporaries Drawing on his rare knowledge of medieval techniques and working with his meticulous attention to detail Burges created a chapel that Crook describes as almost unique amongst High Victorian ecclesiastical interiors 122 The richly symbolic iconography 123 and Masonic influences on the scheme of decoration are significant Gillingham suggesting that Burges s Freemasonry connections were a partial explanation for his appointment and noting that a symbolic masonic commentary pervades the Chapel 124 Unusually in the redecoration of the Chapel Burges did not use members of his usual team The stained glass and the ceiling paintings are by Henry Holiday and the statues lectern and candlesticks are by William Grinsell Nicholl 125 Exit Burges The college fellows will be sorry in fifty years Pevsner on the College Fellows decision to remove Burges s work in the Hall and reinstate that of Wyatt 126 In 1873 79 Burges undertook a redecoration of the College s Hall The funds needed for the Hall were raised by an appeal in which the decorated wooden panels on the walls were individual gifts incorporating the crests and shields of the donors In some cases where there were no known crests or shields those of former members were substituted and Burges made several painted imitations of marbling on wood 127 The large window at the end of the Hall was also filled with the armorial bearings for which room had not been found in the panels A fireplace was also inserted on the dais 128 Almost all 129 of Burges s work in the Hall was lost in a redevelopment of the 1960s in which Wyatt s designs were reinstated although the fireplace was removed to Knightshayes Court and the East Window above the high table was restored circa 2009 129 Skilbeck s Warehouse edit Skilbeck s Warehouse formerly at 46 Upper Thames Street London and now demolished was a drysalter s warehouse constructed by Burges in 1866 and is important as his only foray into industrial design Burges was commissioned by the Skilbeck Brothers to remodel an existing warehouse the result was influential 130 Eastlake describing it as one of the very few instances of the successful adaptation of Gothic for commercial purposes 131 Bradley writes of Burges s remodelling as using twin pointed bays under a single Gothic relieving arch and gable 132 The use of exposed cast iron was revolutionary 133 Modern materials and technologies were combined with gothic iconography an article of 1886 in The Ecclesiologist describing the great crane supported by a corbel carved into a bust of a fair Oriental maid symbolising the clime from which so much of the drysalter s materials are brought and over a circular window in the gable a ship bringing in its precious freight 134 The total cost of the work was 1 413 135 Knightshayes Court edit Main article Knightshayes Court nbsp Knightshayes Court Tiverton DevonThe commission for the brand new house of Knightshayes Court was obtained from Sir John Heathcoat Amory in 1867 and the foundation stone was laid in 1869 By 1874 the building was still incomplete owing to ongoing difficulties with Heathcoat Amory who objected to many of Burges s designs on the grounds of cost and of style 136 Although work had begun on the interior the turbulent relationship between architect and client led to Burges s sacking in 1874 and his replacement by John Dibblee Crace Nevertheless Knightshayes Court remains the only example of a medium sized Burges country house built in a standard Victorian arrangement Early French Gothic in style it follows a standard neo Tudor plan 137 of a large central block with projecting gables The tower Burges planned was never built 137 Judging by the mix and match style of its construction evidently they Heathcoat Amory and Burges never quite managed to agree on the eventual style of the house Burges obsession with the Middle Ages resulted in a plethora of stone curlicues ornate mantles and carved figurines but Amory preferred austere Victorian grandeur best seen in the billiard room and the ornate boudoir David Else commenting on the design of Knightshayes Court in the Lonely Planet Guide to England 138 The interior was to have been a riot of Burgesian excess but not a single room was completed to Burges s designs 139 Of the few interior features that were fully executed much was altered or diluted by Heathcoat Amory and his successors 137 However some of the interiors such as the library vaulted hall and the arched red drawing room remain 140 or have been re instated 137 Since the house passed to the National Trust in 1972 major works of restoration and re creation have been undertaken and a number of pieces of Burges furniture mostly not original to the house are displayed These include a bookcase from Buckingham Street and a chimney piece from the Hall at Worcester College Oxford where in the 1960s some decorative works by Burges were removed 126 although his redecoration of the college Chapel remains 125 The aim is as far as possible to reinstate the work of Burges and Crace 137 Park House edit Main article Park House Cardiff nbsp Park House Park Place CardiffPark House Cardiff was built by Burges for Lord Bute s engineer James McConnochie between 1871 and 1875 141 With its steep roofs and boldly textured walls Park House revolutionised Cardiff s domestic architecture and was highly influential in the city and beyond The impact of the building can be seen in many of Cardiff s inner suburbs where imitations of Park House and its features can frequently be identified 141 Cadw described it as perhaps the most important 19th century house in Wales 142 a position reflected in its status as a Grade I listed building 143 The style of the house is Early French Gothic with triangle and rectangle to the fore although it is without the conical tower Burges considered appropriate both for his own home The Tower House and for Castell Coch 141 Burges used various building stones for Park House Pennant Sandstone for the walls Bath Stone around the windows entrance porch and plinths with pillars in pink Peterhead granite from Aberdeenshire 144 The external frontage comprises four gables the windows of the last gable concealing what Newman describes as the major peculiarity of the interior On entering one is immediately confronted by the underside of the staircase and has to skirt round it to reach the rest of the house 141 The arrangement was not repeated at The Tower House which is an almost reversed replica with added conical tower The interior fittings are of high quality including the massive mahogany staircase and marble chimneypieces Both the drawing room and the dining room have beamed ceilings The whole is built with a solidity that was guaranteed by the use of the Marquess of Bute s own workforce from Cardiff Docks 145 Henry Russell Hitchcock the American architecture critic considered Park House one of the best medium sized stone dwellings of the High Victorian Gothic 146 Christ the Consoler St Mary s and St Paul s Cathedral edit Main articles Church of Christ the Consoler St Mary s Studley Royal and St Paul s Cathedral nbsp Church of St Mary Studley RoyalBurges s two finest gothic churches were also undertaken in the 1870s the Church of Christ the Consoler Skelton on Ure and St Mary s Studley Royal His patron George Robinson 1st Marquess of Ripon although not as rich as Bute was his equal in romantic medievalism 147 and had been a friend of Bute s at Oxford which may account for the choice of Burges as architect Both churches were built as memorial churches for Ripon s brother in law Frederick Grantham Vyner who was murdered by Greek bandits in 1870 148 Vyner s mother commissioned the Church of Christ the Consoler and his sister St Mary s Both begun in 1870 Skelton was consecrated in 1876 and Studley Royal in 1878 149 The Church of Christ the Consoler in the grounds of Newby Hall in North Yorkshire is built in the Early English style c 152 The exterior is constructed of grey Catraig stone with Morcar stone for the mouldings 152 The interior is faced with white limestone and richly fitted out with marble 153 The work was undertaken by members of Burges s usual team Gualbert Saunders making the stained glass from cartoons by Lonsdale and Nicholls sculpting the carvings 149 Leach and Pevsner describe the scheme of stained glass as uncommonly excellent 154 It is particularly interesting as representing an architectural move from Burges s favourite Early French style to an English inspiration Pevsner considers it Of determined originality the impression is one of great opulence even if of a somewhat elephantine calibre 152 Our ancestors had their churches made as beautiful as they could afford A great cathedral must have been an encyclopedia of all the knowledge at the time It is only by acting in a similar manner that we shall ever progress and have an art of our own Burges commenting on churches in 1867 155 The Church of St Mary Studley Royal is also in the Early English style and is located in the grounds of Studley Royal Park at Fountains Abbey in North Yorkshire As at Christ the Consoler the exterior is of grey limestone with a two stage west tower topped with a soaring spire 156 The interior is equally spectacular exceeding Skelton in richness and majesty 156 Leach commenting that everything is precisely calculated as to its visual impact 157 The theme previously used at Gayhurst is Paradise Lost and Paradise Regained 158 The stained glass by Saunders amp Co is of particularly high quality Pevsner describes St Mary s as a dream of Early English glory 152 and Crook writes although Cork Cathedral may stand as Burges s greatest Gothic work Studley Royal is his ecclesiastical masterpiece 156 Burges also constructed an estate cottage in 1873 159 In 1870 Burges was asked to draw up an iconographic scheme of internal decoration for St Paul s Cathedral unfinished since the death of Sir Christopher Wren In 1872 he was appointed architect and over the next five years produced what Crook describes as a full blown scheme of early Renaissance decoration 160 for the interior which he intended would eclipse that of St Peter s in Rome However as Crook writes his plans were rather too creative for most Classicists 160 and these artistic and linked religious controversies led to Burges s dismissal in 1877 with none of his plans undertaken 161 Trinity College Hartford Connecticut edit Main article Trinity College Hartford nbsp Trinity College Hartford Burges s revised three quadrangle masterplanIn 1872 Abner Jackson the President of Trinity College Connecticut visited Britain seeking models and an architect for a planned new campus for the college 162 Burges was chosen and he drew up a four quadrangled masterplan in his Early French style 162 Lavish illustrations were produced by Axel Haig However the estimated cost at just under one million dollars together with the sheer scale of the plans thoroughly alarmed the College Trustees 163 Only one sixth of the plan was executed the present Long Walk with Francis H Kimball acting as local supervising architect and Frederick Law Olmsted laying out the grounds 162 Crook considers the result unsatisfactory but important in its key position in the development of late nineteenth century American architecture 162 Other critics have viewed Burges s design more positively the American architectural historian Henry Russell Hitchcock thought Trinity perhaps the most satisfactory of all of Burges s works and the best example anywhere of Victorian Gothic collegiate architecture whilst Charles Handley Read suggested the college was is in some ways superior to Butterfield s Keble or Seddon s Aberystwyth 163 The Tower House edit Main article The Tower House nbsp The Tower House Burges s Palace of the ArtsFrom 1875 although he continued to work on the completion of projects already begun Burges received no further major commissions The construction decoration and furnishing of his own home The Tower House Melbury Road Kensington occupied much of the last six years of his life Burges designed the house in the style of a substantial thirteenth century French townhouse Of red brick and in an L plan the exterior is plain The house is not large its floor plan being little more than 50 feet square 164 But the approach Burges took to its construction was on a grand scale the floor depths were sufficient to support rooms four or five times their size and the architect Richard Norman Shaw wrote of the concrete foundations as being suitable for a fortress 165 This approach combined with Burges s architectural skills and the minimum of exterior decoration created a building that Crook describes as simple and massive 164 As was usual with Burges many elements of earlier designs were adapted and included the street frontage from the McConnochie House the cylindrical tower and conical roof from Castell Coch and the interiors from Cardiff Castle 164 The most complete example of a medieval secular interior produced by the Gothic Revival and the last Crook writing on the Tower House 166 The interior centres on the double height entrance hall Burges having avoided the error that he had made at the McConnochie House when he placed a vast central staircase in the middle of the building 164 At The Tower House the stair is consigned to the conical tower The ground floor contains a drawing room dining room and library while the first floor holds bedroom suites and a study If Burges shunned exterior decoration at The Tower House he more than compensated internally Each room has a complex iconographic scheme of decoration that of the hall is Time in the drawing room Love in Burges s bedroom the Sea Massive fireplaces with elaborate overmantels were carved and installed a castle in the Library 167 and mermaids and sea monsters of the deep in his own bedroom 168 His brother in law Pullan wrote that Chaucer and Tennyson s poems were Mr Burges chief text books when engaged in designing these decorations 169 In designing the medieval interior to the house Burges also illustrated his skill as a jeweller metalworker and designer 170 and produced some of his best works of furniture including the Zodiac settle the Dog Cabinet and the Great Bookcase the last of which Charles Handley Read described as occupying a unique position in the history of Victorian painted furniture 171 The fittings were as elaborate as the furniture the tap for one of the guest washstands was in the form of a bronze bull from whose throat water poured into a sink inlaid with silver fish 172 Within the Tower House Burges placed some of his finest metalwork the artist Henry Stacy Marks wrote he could design a chalice as well as a cathedral His decanters cups jugs forks and spoons were designed with an equal ability to that with which he would design a castle 173 Upon completion the Tower House was sensationally received In a survey of the architecture of the past fifty years published by The Builder in 1893 it was the only private town house to be included 165 In 1966 when the house was empty Handley Read described it as unique in London a precious anthology of designs by one of the most imaginative of all Victorian architects 174 Crook considers the house the synthesis of Burges s career and a glittering tribute to his achievement 175 The Tower House which remains a private home owned by Jimmy Page for many years retains much of its internal structural decoration but the furniture and contents that Burges designed for it have been dispersed 176 Metalwork jewellery and ceramics edit nbsp Green glass and silver decanter designed by Burges commissioned in 1865 Victoria and Albert Museum Burges was a notable designer of Gothic inspired metalwork and jewellery and he has been cited as Pugin s successor in the Gothic revival style 177 Although Burges was foremost an architect Edmund Gosse described his buildings as more jewel than architecture 178 and Crook states that Burges s genius as a designer is expressed to perfection in his jewellery and metalwork 179 He began with religious artifacts candlesticks chalices pectoral crosses as individual commissions or as part of the decorative scheme for buildings over which he had complete artistic control Examples include the chalices for St Michael s Church Brighton 180 the statue of the Angel which stands above St Fin Barre s and which was his personal gift to the cathedral and the Dunedin Crozier This item carved in ivory and depicting St George slaying the dragon was made for the first Bishop of Dunedin Burges had an early and close connection to the Ecclesiological Society and in 1864 took on the role of superintendent of the Society s church plate scheme from which position he imposed Barkentin as the Society s official manufacturer 181 In 1875 Burges published the design in a French magazine as a thirteenth century original 182 an example of his delight in tricks and jokes Similarly inventive were his designs for fish plates for Lord Bute in which a service of eighteen plates is decorated with punning illustrations such as a skating skate and a winged perch seated on the branch of a tree 183 He also undertook commissions for other patrons including the Sneyd dessert service On 3 April 1872 Burges produced a gothic style brooch for the marriage of the Marquess of Bute to Lady Bute 184 In September 1873 he produced another brooch for the Marchioness in the shape of a gothic G a gold heraldic shield in enamel encrusted with gems and pearls 185 186 He followed this with a necklace and earrings an attempt to design in Castellani s archeological style 187 Another example of the works that Burges created for Lady Bute as a present for her husband was a silver cruet set in the form of two medieval retainers carrying tiny barrels of salt and pepper the answer to the question of what to give a man who could afford everything 188 His most notable metalworks were however created for himself often with the proceeds of the winning of an architectural competition Together they display a dazzling originality that surpasses any other silver designed earlier in the century 189 Examples include the Elephant Inkstand which Crook considers the very epitome of its creator s special genius 190 the pair of jewelled decanters paid for with the fees for the plans of the Crimea Memorial Church and for his series of lectures Art Applied to Industry 191 and the Cat Cup created by Barkentin in commemoration of the Law Courts competition of which Crook writes Its technical virtuosity sets standards for the Arts and Crafts phase But the overall conception the range of materials the ingenuity the inventiveness the sheer gusto of the design is peculiarly triumphantly Burges 192 Burges also designed more utilitarian articles which were nonetheless imbued with his love of allusion and punning including silverware featuring mermaids spiders and other creatures 186 and a set of knives and forks for the Tower House with the handles carved by Nicholls showing symbols of meat and vegetables veal venision onion pea and so on 193 He was also a knowledgeable critic 194 referred to by a contemporary as one of the best judges of armour in Europe 195 His large collection of armour parts of which came from the famed collection of Sir Samuel Rush Meyrick 196 was bequeathed to the British Museum upon his death 197 Only four examples of works in ceramic by Burges are known to exist These are the tulip vases created for the corner corbels of the Summer Smoking Room at Cardiff Castle Removed by the Fifth Marquess when the castle was given to the City of Cardiff in 1947 the vases were subsequently sold They are now held by The Higgins Art Gallery amp Museum Bedford the Victoria and Albert Museum Amgueddfa Cymru Museum Wales and the National Museum of Scotland 198 199 The whereabouts of some of Burges s most important pieces are unknown 200 but discoveries are sometimes made a brooch which he designed as a wedding present for his friend John Pollard Seddon was identified on the BBC television series Antiques Roadshow and subsequently sold at auction for 31 000 in August 2011 201 Stained glass edit The impact created by all these glowing coloured religious images is overwhelming and intoxicating To enter St Fin Barre s Cathedral is an experience unparalleled in Ireland and rarely matched anywhere Lawrence writing on the stained glass windows of St Fin Barre s Cathedral 56 Burges played an important role in the renaissance of High Victorian stained glass 202 The provision of glass of appropriate colour and richness was central to many of his decorative themes and he invested effort in working with the best cartoonists and manufacturers to achieve this He also studied the history of glass production writing in his second Art Applied to Industry lecture a use of antiquarian studies is to restore disused arts and to get all the good we can out of them for our own improvement 203 In the catalogue to the exhibition of stained glass cartoons from Cardiff Castle Sargent pays tribute to his deep knowledge of the history and techniques of glass manufacture 204 and Lawrence considers him a pioneer who by his painstaking studies re established the principles of medieval decoration and used this to make his own bold and original statements 205 The results were outstanding Lawrence wrote that Burges designed with a vibrancy an intensity and a brilliance which no other glass maker could match 206 He acknowledges Burges s debt to the manufacturers and craftsmen with whom he worked in particular Gualbert Saunders whose technique gave Burges s glass its most distinctive characteristic namely the flesh colour This is unique had no precedents and has had no imitators 207 As well as at Saint Fin Barre s Burges designed stained glass for all of his own significant churches for reconstructions of medieval churches undertaken by others and for his secular buildings He undertook significant work at Waltham Abbey with Edward Burne Jones but much of his work there was destroyed in the Blitz 208 Crook writes At Waltham Burges does not copy He meets the Middle Ages as an equal 209 nbsp Stained glass and winged lion at St Mary s Studley RoyalWindows by Burges continue to be discovered In 2009 a stained glass window found in the vaults of Bath Abbey was confirmed as a design by Burges The window which was commissioned by Mallet and Company featured on the Antiques Roadshow in early 2010 210 and is currently on display at the Bath Aqua Theatre of Glass 211 In March 2011 two glass panels designed by Burges were purchased for 125 000 by Cadw 212 The panels were part of a set of twenty Burges designed for the chapel at Castell Coch but were removed when the unfinished chapel was demolished Ten of the panels were put on display at Cardiff Castle and eight were used in the model of the chapel in the attic room of the Well Tower at Castell Coch the two purchased by Cadw were considered lost until they failed to sell at auction in Salisbury in 2010 212 The Inspector of Ancient Monuments for Cadw speaking after their purchase said The panels show a variety of Welsh and British saints and key biblical figures and are of the highest quality Victorian stained glass William Burges work attracts enormous worldwide attention and the price reflects the artistic genius of the man and the rare quality of these glass panels 212 Research has also led to being Burges properly credited with work previously attributed to others In his 1958 volume on North Somerset and Bristol Pevsner praises the aesthetic quality of the stained glass at the Church of St James in Winscombe but erroneously describes it as one of the best examples of Morris glass in existence and quite unrecorded 213 In fact the glass is by Burges 214 Furniture editMain article List of furniture by William Burges nbsp The Great Bookcase the most important example of Victorian painted furniture ever made Burges s furniture was second to his buildings his major contribution to the Victorian Gothic Revival as Crook writes More than anyone it was Burges with his eye for detail and his lust for colour who created the furniture appropriate to High Victorian Gothic 215 Enormous elaborate and highly painted Crook considers his art furniture medieval in a way no other designer ever approached 216 The first detailed study of Burges s work in this area was by Charles Handley Read in his article in The Burlington Magazine of November 1963 Notes on William Burges s Painted Furniture 217 Despised as much as his buildings in the reaction against Victorian taste that occurred in the twentieth century his furniture came back into fashion in the latter part of that century and now commands very high prices 218 Burges s furniture is characterised by its historical style its mythological iconography its vibrant painting and often by rather poor workmanship The Great Bookcase collapsed in 1878 and required complete restoration 219 It was also expensive Charlotte Ribeyrol in her study William Burges s Great Bookcase amp The Victorian Colour Revolution published in 2023 reproduces the invoice for the bookcase showing that it cost Burges 240 half of which comprised the commissions paid to the artists who worked on the panels 220 The painting of his furniture was central to Burges s views on its purpose Describing his ideal medieval chamber in the lecture on furniture delivered as part of the Art Applied to Industry series he writes of its fittings being covered with paintings it not only did its duty as furniture but spoke and told a story 221 The designs were frequently collaborative with artists from Burges s circle completing the painted panels that they mostly comprise The contributors were often notable Vost s sales catalogue for the Mirrored Sideboard suggesting that some of its panels were by Dante Gabriel Rossetti and Edward Burne Jones 222 His furniture is witty inventive and erudite Gordon Campbell writing on the furniture of Burges in The Grove Encyclopedia of Decorative Arts 2006 223 Burges s furniture did not receive universal contemporary acclaim In his major study of English domestic architecture Das englische Haus published some twenty years after Burges s death Hermann Muthesius wrote of The Tower House Worst of all perhaps is the furniture Some of it is in the earlier manner some of it box like and painted all over This style had now become fashionable though with what historical justification it is not easy to say 224 Much of his early furniture such as the Great Bookcase and the Zodiac settle was designed for his offices at Buckingham Street and subsequently moved to the Tower House The Great Bookcase was also part of Burges s contribution to the Medieval Court at the 1862 International Exhibition 225 Others such as the Yatman Cabinet were created as commissions Later pieces such as the Crocker Dressing Table and the Golden Bed and its accompanying Vita Nuova washstand were specifically made for suites of rooms at the Tower House 226 The Narcissus washstand was originally made for Buckingham Street and subsequently moved to Burges s bedroom at the Tower House John Betjeman later Poet Laureate and a leading champion of the art and architecture of the Victorian Gothic Revival was left the remaining lease on the Tower House including some of the furniture by E R B Graham in 1961 He gave the washstand to the novelist Evelyn Waugh who made it the centrepiece of his 1957 novel The Ordeal of Gilbert Pinfold in which Pinfold is haunted by the stand 227 Examples of Burges s painted furniture can be seen in major museums including the Victoria and Albert Museum the Detroit Institute of Arts the National Museum Wales and the Manchester Art Gallery The Higgins Art Gallery amp Museum Bedford holds a particularly fine collection begun with a large number of purchases from the estate of Charles and Lavinia Handley Read including the Narcissus washstand 228 Burges s bed and the Crocker Dressing Table 229 The most recent acquisition by the Bedford Museum is the Zodiac settle 1869 70 painted by Henry Stacy Marks The Museum paid 850 000 for the settle comprising a 480 000 grant from the National Heritage Memorial Fund 190 000 from the Trustees of the Cecil Higgins Art Gallery and 180 000 from the Art Fund 230 after the British government imposed an export ban on the work 231 Personal life edit nbsp Burges as jester circa 1860Burges who never married 232 was considered by his contemporaries to be eccentric unpredictable over indulgent and flamboyant 140 233 He was also physically unprepossessing described by the wife of his greatest patron as ugly Burges 234 Short fat and so near sighted that he once mistook a peacock for a man 235 Burges appears to have been sensitive about his appearance and very few images of him exist 236 The known portraits are a painting of 1858 by Edward John Poynter on an internal panel of the Yatman Cabinet 237 a photograph from the 1860s by an unknown author showing Burges dressed as a court jester a sketch of 1871 in The Graphic by Theodore Blake Wirgman a pencil drawing in profile of 1875 by Edward William Godwin three posed photographs from 1881 by Henry Van der Weyde 236 and a posthumous caricature by Edward Burne Jones 238 Whatever his physical shortcomings his personality his conversation and his sense of humour were attractive and infectious Crook commenting that his range of friends covered the whole gamut of pre Raphaelite London 239 Burges s childlike nature occasioned comment Dante Gabriel Rossetti composing a limerick about him see box d 241 There s a babyish party called Burges Who from childhood hardly emerges If you hadn t been told He s disgracefully old You would offer a bull s eye to Burges Dante Gabriel Rossetti s limerick on Burges s childish nature Robert Kerr s novel of 1879 The Ambassador Extraordinary involves an architect Georgius Oldhousen whom Crook considers to be based on Burges he is not exactly young in years but is in an odd way youthful in appearance and in manners Georgius can never grow old His strong point is a disdain for Common Sense His vocation is Art a matter of Uncommon Sense 242 Burges was a clubbable man 243 Elected to the Institute of British Architects in 1860 in 1862 he was appointed to its Council and in 1863 was elected to the Foreign Architectural Book Society the FABS which comprised the RIBA elite and was limited to fifteen members 244 He became a member of the Athenaeum Club in 1874 was a member of the Arts Club the Medieval Society 6 the Hogarth Club and was elected to the Royal Academy in the year of his death 245 As with many of his friends Burges also joined The Artists Rifles 246 Burges was a fanatical collector 247 particularly of drawings and metalwork He was also a Freemason 248 a member of the same London lodge as his fellow architect William Eden Nesfield 249 Other pursuits included ratting and opium 250 The influence of drugs on his life and his architectural output has been debated Crook speculating that it was in Constantinople on his tour in the 1850s that he first tasted opium 251 and the Dictionary of Scottish Architects stating with certainty that his early death was brought about at least partly as a result of his bachelor lifestyle of smoking both tobacco and opium 252 The architectural writer Simon Jenkins speculated as to why Sir John Heathcoat Amory chose as his architect an opium addicted bachelor Gothicist who dressed in medieval costume 253 Burges s own diary of 1865 includes the reference Too much opium did not go to Hayward s wedding 241 and Crook concludes that it is hard to resist the conclusion that opium reinforced the dreamier elements in his artistic make up 241 Death edit nbsp Burges s sarcophagus at West Norwood Cemetery LondonBurges died aged 53 in his Red Bed at the Tower House at 11 45 p m on Wednesday 20 April 1881 254 While on a tour of works at Cardiff he caught a chill and returned to London half paralysed where he lay dying for some three weeks 255 Among his last visitors were Oscar Wilde and James Whistler 255 He was buried in the tomb he designed for his mother at West Norwood London On his death John Starling Chapple Burges s office manager and close associate for more than twenty years wrote a constant relationship with one of the brightest ornaments of the profession has rendered the parting most severe Thank God his work will live and be the admiration of future students I have hardly got to realize my lonely position yet He was almost all the world to me 256 Lady Bute wife of his greatest patron wrote Dear Burges ugly Burges who designed such lovely things what a duck 234 He was the most dazzling exponent of the High Victorian Dream Pugin conceived that dream Rossetti and Burne Jones painted it Tennyson sang its glories Ruskin and Morris formulated its philosophy but only Burges built it Crook writing about Burges s role in the High Victorian Dream 257 In Saint Fin Barre s together with memorials to his mother and sister there is a memorial plaque to Burges designed by him and erected by his father It shows the King of Heaven presiding over the four apostles who hold open the Word of God 258 Under the inscription Architect of this cathedral is a simple shield and a small worn plaque with a mosaic surround bearing Burges s entwined initials and name Legal complications obstructed Burges s wish to be buried in the cathedral he had built 259 Burges s own words on Saint Fin Barre s in his letter of January 1877 to the Bishop of Cork sum up his career Fifty years hence the whole affair will be on its trial and the elements of time and cost being forgotten the result only will be looked at The great questions will then be first is this work beautiful and secondly have those to whom it was entrusted done it with all their heart and all their ability 73 Legacy and influence edit nbsp Animal Wall Cardiff Castle The Monkeys One of nine original sculptures carved in 1891 by Thomas Nicholls to designs by BurgesOn Burges s death in 1881 his contemporary the architect Edward William Godwin said of him that no one of the century of this country or any other that I know of ever possessed that artistic rule over the kingdom of nature in a measure at all comparable with that which he shared in common with the creator of the Sphinx and the designer of Chartres 260 But the Gothic Revival he championed with such force was in decline Within twenty years his style was considered hopelessly outdated and owners of his works sought to eradicate all traces of his efforts 137 From the 1890s to the later twentieth century Victorian art was under constant assault critics writing of the nineteenth century architectural tragedy 261 ridiculing the uncompromising ugliness 262 of the era s buildings and attacking the sadistic hatred of beauty of its architects 263 Of Burges they wrote almost nothing His buildings were disregarded or altered his jewellery and stained glass were lost or ignored and his furniture was given away The architectural historian Megan Aldrich writes He founded no school had few adherents outside the circle of his practice and trained no further generation of designers 264 In comparison with more prolific contemporaries he completed relatively few works and lost many architectural competitions Burges s collaborator the artist Nathaniel Westlake lamented competitions are seldom given to the best man look at the number poor Burges won or should have won and I think he executed only one 265 Burges occasionally acted as a judge in architectural competitions 266 and Eastlake also commented on Burges s failure to win them in one case only has he traversed this always arduous road to fame with anything like substantial success 267 nbsp Burges as architect by Frederick WeekesAlmost his sole champion in the years after his death was his brother in law Richard Popplewell Pullan Primarily an illustrator as well as a scholar and archaeologist 61 Pullan trained with Alfred Waterhouse in Manchester before joining Burges s office in the 1850s In 1859 he married Burges s sister Following Burges s death in 1881 Pullan lived at The Tower House and published collections of Burges s designs including Architectural Designs of William Burges 1883 and The House of William Burges 1886 268 In his preface to Architectural Designs Pullan expressed the hope that illustrated volumes of his brother in law s work would be warmly welcomed and thoroughly appreciated not only by his professional brethern but by all men of educated taste in Europe and America 269 This hope was not to be fulfilled for a hundred years but Burges s work did continue to attract followers in Japan Josiah Conder studied under him and through Conder s influence the notable Japanese architect Tatsuno Kingo was articled to Burges in the year before the latter s death 270 271 Burges also received brief but largely favourable attention in Muthesius s Das englische Haus where Muthesius described him as the most talented Gothicist of his day 224 From the later twentieth century to the present a renaissance has occurred in the study of Victorian art architecture and design 272 and Crook contends that Burges s place at the centre of that world as a wide ranging scholar an intrepid traveller a coruscating lecturer a brilliant decorative designer and an architect of genius 273 is again appreciated Crook writes further that in a career of only some twenty years he became the most brilliant architect designer of his generation 274 and beyond architecture his achievements in metalwork jewellery furniture and stained glass place him as Pugin s only rival as the greatest art architect of the Gothic Revival 275 Architectural scholarship edit nbsp The Resurrection Angel Burges s personal gift to Saint Fin Barre s Cathedral Cork in which he wished to be buriedBurges s limited output and the general unpopularity of his work for much of the century following his death meant that he was little studied In a seventy one page guide to Cardiff Castle published in 1923 he is referenced only three times and on each occasion his name is misspelt as Burgess 276 Pevsner s 1951 volume on the exhibits at The Great Exhibition High Victorian Design makes no mention of him despite his significant contributions to the Medieval Court The 1950s saw the small beginnings of a reaction against the condemnation of all that the Victorian architects including Burges had produced John Steegman s pioneering study Consort of Taste re issued in 1970 as Victorian Taste with a foreword by Pevsner was published in 1950 and began a slow turn in the tide of opinion towards a more serious and sympathetic assessment 277 The exhibition of Victorian and Edwardian Decorative Arts held at the Victoria and Albert Museum in 1952 included five pieces of his furniture and four examples of his metalwork 278 This was followed by the foundation of the Victorian Society in 1958 Victorian Architecture a collection of essays edited by Peter Ferriday and published in 1963 contained an article on him by Charles Handley Read 279 perhaps the first serious scholar of Burges Handley Read took a measured view of Burges s work writing that as a designer he was apt to be aggressive rather than charming 280 but he was in no doubt of Burges s significance writing of his best works as indispensable examples of Victorian Conservanda e 282 The last thirty years however have seen a significant revival of interest Burges s rehabilitation can be dated to 1981 the centenary of his death when a major exhibition on his life and works was held firstly at the National Museum Cardiff until October 1981 and then at the Victoria and Albert Museum London from November 1981 to January 1982 283 The catalogue to that exhibition entitled The Strange Genius of William Burges was edited by J Mordaunt Crook A much smaller exhibition of his work was also held at the Crawford Municipal Art Gallery in Cork 284 In the same year the only full study of Burges Crook s William Burges and the High Victorian Dream was published In the dedication to that volume In Mem C H R 285 Crook acknowledges his debt to Charles Handley Read whose notes on Burges Crook inherited following Handley Read s suicide 286 A revised edition was published in February 2013 287 Other sources include articles on Cardiff Castle and Castle Coch in Mark Girouard s The Victorian Country House The Buildings of England The Buildings of Wales The Buildings of Scotland and The Buildings of Ireland series provide comprehensive coverage of Burges s works by county although in the last instance it is not yet complete The former curator of Cardiff Castle Matthew Williams 288 has also written a number of book and articles on Burges and the third Marquess of Bute 289 The Cathedral of Saint Fin Barre at Cork by David Lawrence and Ann Wilson covers Burges s work in Ireland 50 List of works editMain article List of buildings by William Burges The chronological list of Burges s major buildings is believed to be complete although some minor works or minimal additions to pre existing structures have not been included The list of furniture and other works is selective No listing is given of his extensive creations of jewellery metalwork and stained glass Crook has a comprehensive chronological appendix of Burges s work with indications as to whether the work is still in situ was never executed has been removed elsewhere has been demolished or where the present location is unknown Buildings edit Main article List of buildings by William Burges Salisbury Cathedral Wiltshire 1855 59 Chapter House restoration 290 Treverbyn Vean Cornwall 1858 62 decoration and fittings for Col C L Somers Cocks 291 Since altered Gayhurst House Buckinghamshire 1858 65 alterations for Lord Carrington 32 Bewholme Vicarage East Riding of Yorkshire 1859 commission for an unknown client 292 Maison Dieu Dover and Town Hall 1859 75 alterations and extensions 293 Waltham Abbey 1859 77 restoration 37 Elizabeth Almshouses 294 and Chapel Worthing Sussex 1860 for his father Alfred who founded the charity 295 The Old School House Winchfield Hampshire 1860 61 296 All Saints Church Fleet Hampshire 1860 62 297 Saint Fin Barre s Cathedral Cork Ireland 1863 1904 298 Yorke Almshouses Gloucestershire 1863 64 299 Church of St James Winscombe Somerset 1863 64 chancel restoration and stained glass for the Rev J A Yatman 300 Church of St Helen Kilnsea East Riding of Yorkshire 1864 65 partly paid for by Burges s father Alfred 301 Church of St Mary Forthampton Gloucestershire 1864 66 chancel restoration and fittings for the Yorke family 302 St Anne s Court Soho 1864 66 model lodgings for Lachlan Mackintosh Rate Since demolished 297 Church of St Nicholas Charlwood Surrey 1864 67 303 Worcester College Oxford 1864 69 redecoration of the Chapel and 1873 79 redecoration of the Hall The latter is substantially altered with little of Burges s work remaining the former complete 126 Oakwood Hall Bingley Yorkshire 1864 65 internal decoration in collaboration with Edward Burne Jones Since altered 297 Church of St Peter Carrigrohane County Cork Ireland 1865 extensions for the Reverend Robert Gregg 297 Skilbeck s Warehouse London 1865 66 remodelling of a drysalter s warehouse on Upper Thames Street Since demolished 304 Holy Trinity Church Templebreedy Crosshaven County Cork Ireland 1866 68 297 Church of St Margaret of Antioch Darenth Kent 1866 68 restoration for the Reverend R P Coates 297 Cardiff Castle Glamorgan 1866 1928 reconstruction and restoration for Lord Bute 233 St Michael and All Angels Church Lowfield Heath Sussex 1867 68 297 Knightshayes Court Tiverton Devon 1867 74 297 St Michael s Church Brighton Sussex 1868 designs for extensions 1892 99 designs executed 305 Church of St John the Baptist Outwood Surrey 1869 297 Milton Court Dorking Surrey 1869 80 refurbishment for Lachlan Mackintosh Rate 306 Chevithorne Vicarage Chevithorne Devon 1870 71 for Sir John Heathcoat Amory 307 Church of Christ the Consoler at Skelton on Ure Yorkshire 1870 76 memorial church for Lady Mary Vyner 308 St Mary s Studley Royal near Fountains Abbey Yorkshire 1870 78 memorial church and associated Choristers House for Lord Ripon 309 Park House Cardiff 1871 80 for Lord Bute s chief engineer James McConnochie and previously known as McConnochie House 310 Speech Room Harrow School 1871 77 297 Church of All Saints Murston Kent 1872 73 297 St Faith s Stoke Newington London 1872 73 badly damaged by a flying bomb in 1944 and since demolished 297 Castell Coch Glamorgan 1872 91 recreation for Lord Bute 233 The Choristers House St Mary s Studley Royal Yorkshire 1873 estate cottage 159 Mount Stuart House Isle of Bute oratory 1873 75 for Lord Bute 311 Trinity College Hartford Connecticut United States 1873 82 Seabury Northam and Jarvis Halls collectively the Long Walk 312 The Tower House Melbury Road Kensington 1875 81 for himself 297 Church of St John Cumnock 1878 80 completed after Burges s death 313 Anglican Church Marianske Lazne Czech Republic 1879 memorial church for Mrs Anna Scott 314 Unexecuted designs edit Lille Cathedral 1856 315 St Francis Xavier s Cathedral Adelaide 1856 28 Colombo Cathedral Ceylon 28 Crimea Memorial Church 1856 61 316 St John s Cathedral Brisbane 1859 317 Florence Cathedral West front 1862 318 Sir Jamsetjee Jeejebhoy School of Art Bombay 1865 66 319 Royal Courts of Justice London 1866 67 320 St Paul s Cathedral London 1870 77 interior decoration 321 Church of the Holy Trinity Stratford upon Avon 1870 amp 1872 322 Rothesay Castle Isle of Bute 1872 mostly unexecuted scheme for a full reconstruction 323 St Mary s Cathedral Edinburgh Episcopal Edinburgh 1873 324 Lahore Cathedral 1878 167 Truro Cathedral 1878 29 Major pieces of furniture with locations edit Main article List of furniture by William Burges The Yatman cabinet 1858 the Victoria and Albert Museum 325 St Bacchus sideboard 1858 Detroit Institute of Arts 326 The Architecture cabinet 1859 National Museum Wales 325 The Mirrored buffet 1859 present location unknown 327 Sideboard and wine cabinet 1859 the Art Institute of Chicago 328 Wines and Beers sideboard 1859 Victoria and Albert Museum 216 The Great Bookcase 1859 62 Ashmolean Museum 329 Font at St Peter s Church Draycott Somerset 1861 controversially offered up for sale by Bath amp Wells in 2007 but retained on appeal 330 Taylor bookcase 1862 The Higgins Art Gallery amp Museum Bedford 331 Narcissus washstand 1865 The Higgins Art Gallery amp Museum Bedford 228 The Red Bed 1865 The Higgins Art Gallery amp Museum Bedford 229 Crocker dressing table 1867 The Higgins Art Gallery amp Museum Bedford 168 The Clock cabinet 1867 Manchester City Art Gallery 332 Zodiac settle 1869 70 The Higgins Art Gallery amp Museum Bedford 333 purchased by the museum in February 2011 334 Nursery wardrobe 1875 The Higgins Art Gallery amp Museum Bedford 335 The Golden bed 1879 Knightshayes Court Devon 336 on loan from the Victoria and Albert Museum 337 Philosophy cabinet 1878 79 designed for the guest bedroom at The Tower House now in a private collection 338 Footnotes edit Burdett House was constructed in 1968 replacing a building of 1906 which was destroyed in World War II That building replaced two earlier Georgian buildings 15 amp 16 Buckingham Street No 15 was home to Burges 1856 1875 Charles Dickens circa 1834 3 and William Smith 1804 1819 4 It has also erroneously been described as home to Peter the Great during the London stage of his Grand Embassy in 1698 The block stands to the right of the York Water Gate 5 Pauline Sargent a member of the South Glamorgan County Architects department and curator of an exhibition of Burges drawings and stained glass cartoons held at Cardiff Castle from July to August 1977 suggests that John James McConnochie may have made the introduction McConnochie was employed by Burges Walker and Cooper Burges s father s firm and subsequently worked for Bute as Chief Engineer at Cardiff Docks 67 Burges also undertook some remodelling of the grounds of Newby Hall including the pair of gates with piers on the eastern front 150 151 The Jester portrait now held in the National Portrait Gallery has Rossetti s limerick inscribed in pencil on the reverse 240 As late as the 1970s Burges s work could provoke strong negative reactions J Mordaunt Crook recorded James Lees Milne s reaction to a Royal Academy exhibition of the Handley Read collection which contained many important pieces by Burges The hideousness of the furniture and ornaments are beyond belief no wonder both Handley Reads committed suicide their house was apparently stuffed with these ghastly things 281 References edit Brodie et al 2001 pp 297 298 Crook 1981a p 39 Charles Dickens London Map The Locations in the Novels The Charles Dickens Page Retrieved 4 February 2020 William Smith plaque The Geological Society of London Retrieved 4 February 2020 Buckingham Street British History Online Retrieved 4 February 2020 a b c Crook J Mordaunt 2004 William Burges Oxford Dictionary of National Biography online ed Oxford University Press doi 10 1093 ref odnb 3972 Retrieved 19 February 2012 Subscription or UK public library membership required subscription required Crook 1981a p 40 a b Smith 1984 p 53 Johnson 1979 p 51 Crook 1981a p 42 William Burges 1827 1881 An Overview Victorian Web org 2007 Retrieved 19 February 2012 a b Crook 1981a p 44 Crook 1981a pp 45 50 Old Dominion University Victorians Institute East Carolina University 1987 Victorians Institute Journal East Carolina University Publications p 47 Crook 1981a p 47 Crook 1981a p 51 Crook 1981a p 52 a b Crook 1981b p 11 Country life March 1966 p 600 Weinreb amp Hibbert 1983 p 539 The Builder 1900 p 340 Crinson 1996 p 85 Stewart 1987 p 35 Harper 1983 p 96 Dixon amp Muthesius 1993 p 170 William Burges Encyclopaedia Britannica Retrieved 19 February 2012 The Builder 1881 p 531 a b c Morris 1986 p 171 a b c Crook 1981a p 181 Crook 1981a p 183 a b Pevsner amp Williamson 2003 p 337 a b Cooper 1998 p 66 a b Medieval Dover Dover Museum Archived from the original on 5 July 2013 Retrieved 21 February 2012 Crosthwaite s Register of facts and occurrences relating to literature the sciences amp the arts Crosthwaite and Co 1860 p 1 a b c The Maison Dieu Old Town Hall Dover kent co uk Archived from the original on 19 May 2011 Retrieved 21 February 2012 Heritage at Risk Three of the Victorian Society s latest endangered buildings Church amp Heritage Building 11 March 2017 a b Banham amp Harris 1984 p 146 Harrison amp Waters 1989 p 31 Fawcett 1976 p 91 a b c Pevsner amp Lloyd 1967 p 234 Crook 1981a p 194 a b Crook 1981a p 195 The Builder vol 34 1876 p 18 Richardson 1983 xliv a b Davenport 2010 p 246 a b Lawrence amp Wilson 2006 p 19 Lawrence amp Wilson 2006 p 28 a b Crook 1981a p 196 Lawrence amp Wilson 2006 p 35 a b Lawrence amp Wilson 2006 p 15 Sheehan amp Levy 2002 p 265 Crook 1981a p 199 a b Crook 1981a p 200 Crook 1981a p 201 Crook 1981a p 206 a b Lawrence amp Wilson 2006 p 110 Lawrence amp Wilson 2006 p 37 Crook 1981a p 86 a b Crook 1981a p 83 Cooper 1998 p 68 a b c Crook 1981a p 84 Art book review Art Book Review 1982 p 52 ISBN 9780302005422 Crook 1981a p 188 amp 204 National Art Collections Fund Great Britain 1994 National Art Collections Fund review National Art Collections Fund p 82 Crook 1981a p 85 Crook 1981a p 305 Sargent 1977a Introduction Crook 1981a p 259 Crook 1981b p 33 a b Hall 2009 p 91 a b Newman 2001 p 194 Crook 1981a p 253 a b Lawrence amp Wilson 2006 p 13 a b McLees 2005 p 19 Dixon amp Muthesius 1993 p 14 Bute Letters 29 January 1873 Mount Stuart Collection Hall 2009 p 93 Hall 2009 p 94 a b c d Newman 2001 pp 202 208 a b Crook 1981a p 279 a b Girouard 1995 p 275 Newman 2001 p 204 Eastlake 2012 p 355 Girouard 1995 p 279 Hilling 1975 p 19 a b Newman 2001 p 209 a b Girouard 1995 p 287 Girouard 1995 p 288 Newman 2001 p 206 Crook amp Lennox Boyd 1984 p 9 of the illustrations Crook 1971 p 9 Physick amp Darby 1973 p 70 a b Girouard 1995 p 290 Crook 1981a p 271 Newman 2001 p 210 Aldrich 2005 pp 211 12 Aldrich 2005 p 93 Crook 1981a pp 277 278 McLees 2005 p 22 McLees 2005 p 24 Newman 2001 p 315 a b c McLees 2005 p 27 McLees 2005 p 10 Newman 2001 p 325 Girouard 1995 p 340 Newman 2001 p 314 Newman 2001 p 317 Crook 1981a p 281 McLees 2005 p 40 Newman 2001 p 318 Rowan 1985 p 32 McLees 2005 p 43 Crook 1981a p 282 McLees 2005 p 45 a b c d e Crook 1981a p 283 Girouard 1995 p 341 McLees 2005 p 30 a b McLees 2005 p 31 Crook 1981a p 146 Madan p 13 Clifford 2004 p 49 Crook 1981a p 151 Whiting 1993 p 64 Gillingham 2009 p 21 a b Sherwood amp Pevsner 1996 p 222 a b c Sherwood amp Pevsner 1996 p 223 The Building news and engineering journal 1884 p 440 Madan p 14 a b Gillingham 2009 p 37 Crook 1981a p 238 Eastlake 2012 p 417 Bradley amp Pevsner 2002 p 116 Crook 1981a p 239 The Ecclesiologist 1866 Crook 1981a p 392 Crook 1981a p 302 a b c d e f Cherry amp Pevsner 2004 p 527 Else 2012 p 342 Note The quote says Mallory which appears to be a printing error for Amory Crook 1981a p 304 a b Andrews 2011 p 104 a b c d Newman 2001 pp 218 219 History Park House Club Archived from the original on 6 March 2012 Retrieved 22 February 2012 Park House Castle British Listed Buildings Retrieved 14 June 2012 Cardiff city and bay circular walk BBC Retrieved 22 February 2012 Crook 1981a p 306 Hitchcock 1968 p 188 Crook 1981a p 229 Crook 1981a p 230 a b Crook 1981a p 231 Leach amp Pevsner 2009 pp 603 604 Historic England Inner and Outer Pairs of Gate Piers with Gates approximately 50M east of Newby Hall Grade II 1289313 National Heritage List for England Retrieved 24 December 2020 a b c d Pevsner amp Radcliffe 1967 p 484 Historic England Church of Christ the Consoler with Eleanor Cross to east 1315406 National Heritage List for England Retrieved 24 February 2012 Leach amp Pevsner 2009 p 701 Fawcett 2012 p 1 a b c Historic England Church of St Mary Lindrick with Studley Royal Grade I 1315267 National Heritage List for England Retrieved 3 April 2021 Leach amp Pevsner 2009 p 723 Crook 1981a p 235 a b Leach amp Pevsner 2009 p 724 a b Crook 2003 p 89 Crook 1980a p 291 a b c d Crook 1981a pp 243 244 a b Armstrong Christopher Drew June 2000 Qui Transtulit Sustinet William Burges Francis Kimball and the Architecture of Hartford s Trinity College Journal of the Society of Architectural Historians University of California Press 59 2 194 215 doi 10 2307 991590 JSTOR 991590 a b c d Crook 1981a p 308 a b Crook 1981a p 309 Crook 1981a p 327 a b Crook 1981a p 317 a b Crook 1981a p 325 Pullan 1886 p 4 Crook 1981a p 312 Charles Handley Read article in The Burlington Magazine 1963 p 504 Osband 2003 p 112 Crook 1981a p 316 Handley Read 1966 p 604 Crook 1981b p 58 Cherry amp Pevsner 2002 p 511 Antiques October 1989 p 831 Crook 1981a p 92 Crook 1981b p 104 Crook 1981b p 155 Pope Hennessy 1971 p 33 Crook 1981b p 108 Burges 2012 Gere 1972 p 50 Gere 1972 p 51 a b Karlin 1993 p 144 Gere 1972 p 117 Hannah 2012 p 153 Ritchie 2018 p 18 Crook 1981b p 115 Crook 1981b pp 110 111 Crook 1981b p 112 Jervis 1972 p 34 Soros amp Walker 2004 p 276 Buckingham Sterling amp Maurice 1897 p 721 Lowe 2003 p 143 British Museum William Burges British Museum Retrieved 18 May 2013 Gothic Revival vase by William Burges National Museum of Scotland Retrieved 12 August 2021 Huxtable Sally Anne The Gothic Imagination of William Burges National Museum of Scotland Retrieved 12 August 2021 Crook 1980b Brooch featured on Antiques Roadshow sold for 31 000 BBC News 2 August 2011 Crook 1981a p 186 Burges 2009 p 13 Sargent 1977b Introduction Lawrence amp Wilson 2006 p 91 Lawrence amp Wilson 2006 p 92 Lawrence amp Wilson 2006 p 93 Crook 1981a p 190 Crook 1981a p 192 Bath Abbey window design confirmed as William Burges BBC Bristol 23 August 2010 William Burgess designs in stained glass window found in the Abbey Chambers vaults in Bath Bath Aqua Glass Retrieved 11 March 2012 a b c Burges stained glass panels return home to Coch Visitcardiff com 29 March 2011 Archived from the original on 24 February 2013 Pevsner 1958 p 341 Foyle amp Pevsner 2011 p 719 Crook 1981b p 72 a b Crook 1981a p 295 Handley Read 1963 pp 494 496 507 509 Burton 1978 p 49 Crook 1981b p 75 Ribeyrol 2023 pp 26 27 Burges 2009 p 71 Vost s Fine Art Auctioneers and Valuers 1999 p 1 Campbell 2006 p 162 a b Muthesius 1979 p 157 Banham amp Harris 1984 p 129 Crook 1981b pp 84 85 Crook 1981b p 77 a b Crook 1981a pp 326 327 a b Crook 1981a p 326 William Burges Settle Bedford Borough Council March 2011 Archived from the original on 11 November 2013 Retrieved 10 June 2012 Turner masterpiece among artefacts to leave the UK BBC News 14 December 2011 Crook 1981a p 98 a b c Jones 2005 p 48 a b Crook 1981b p 12 Cecil Higgins Art Gallery Brochure a b National Portrait Gallery website Collections William Burges Hayward 1972 p 7 Burges bed Cecil Higgins Art Gallery Archived from the original on 3 May 2012 Retrieved 8 June 2012 Crook 1981a Explanation William Burges National Portrait Gallery Retrieved 22 October 2023 a b c Crook 1981a p 91 Crook 1981a p 36 Crook 1981a p 72 Crook 1981a p 73 Crook 1981a p 79 Dakers 1999 p 175 Crook 1981a p 89 Crook 1981a p 95 Saint 2010 p 26 Crook 1981a p 99 Crook 1981a p 49 DSA Architect Biography Report Scottisharchitects org uk Retrieved 10 June 2012 Jenkins 2003 p 182 Godwin 2005 p 137 a b Crook 1981a p 328 Lawrence amp Wilson 2006 p 53 Crook 1981b p 35 The Victorian Web William Burges Crook 1981a p 208 JSTOR Organization 1982 The Burlington Magazine Burlington Magazine ISBN 978 0 907716 04 4 Turnor 1950 p 111 Turnor 1950 p 91 Clark 1983 p 191 Aldrich 2005 p 215 Crook 1981a p 252 Harper 1983 p 197 Eastlake 2012 p 353 Crook 1981a p 358 Pullan 1883 Preface Crook 1981a pp 80 82 Finn 1995 pp 21 94 Crook 1981a p 5 Crook 1981a p 1 Crook 1981a p 10 Crook 1981a p 2 Grant 1923 preamble amp pp 33 46 Steegman 1970 p 2 Floud 1952 pp 53 5 Ferriday 1963 pp 185 220 Ferriday 1963 p 187 Crook 2012 p 5 Ferriday 1963 p 198 The Burlington magazine via JSTOR 1981 ISBN 978 0 907716 04 4 Carey 1981 introduction Crook 1981a frontispiece Crook 1981a p 13 William Burges and the high Victorian dream Book 2013 WorldCat org 22 February 1999 OCLC 788236063 History Cardiff Castle 6 June 2011 Archived from the original on 26 February 2012 Williams 2019 Introduction The Wiltshire Archaeological and Natural History Magazine Wiltshire Archaeological and Natural History Society 1 January 2006 p 120 Aldrich amp Atterbury 1995 p 372 Pevsner amp Neave 2005 pp 323 4 Graham 2003 p 370 Weinreb amp Hibbert 1983 p 367 The Building news and engineering journal 1881 p 473 Bullen et al 2010 p 726 a b c d e f g h i j k l m Crook 1981a Appendix B Gilley Sheridan Stanley Brian 2006 World Christianities c 1815 1914 Cambridge University Press p 110 ISBN 978 0 521 81456 0 Hallett 2004 p 25 Crook 1981a p 225 Pevsner amp Neave 2005 p 577 Verey amp Brooks 2002 p 366 7 Historic England Church of St Nicholas 1248610 National Heritage List for England Retrieved 15 March 2012 Sutcliffe 2006 p 35 Locke 2011 p 116 Eastlake amp Sheldon 2009 p 494 Historic England The Old Vicarage 1384705 National Heritage List for England Retrieved 15 March 2012 Betjeman amp Surman 2011 p 1337 Curl 1995 p 88 Dakers 1999 p 174 Johansens 2000 p 251 Crook 1981b pp 243 244 Close amp Riches 2012 p 261 Christ Church Marianskelazne cz Archived from the original on 12 September 2012 Retrieved 19 February 2012 Crook 1981a p 141 Crook 1981a pp 175 179 Crook 1981a pp 179 180 Crook 1981a pp 140 142 Crook 1981a pp 241 242 Crook 1981a pp 246 252 Crook 1981a pp 154 169 Davids 1998 p 16 Davids 1998 pp 16 17 Crook 1981a pp 180 181 a b Victoria and Albert Museum 1996 Western furniture 1350 to the present day in the Victoria and Albert Museum Philip Wilson in association with The Museum p 154 ISBN 9780856674631 Society of Antiquaries of London 1986 The Antiquaries journal Oxford University Press p 580 Country life March 1999 p 116 Sideboard and Wine Cabinet Burges 1859 Chicago Art Institute Retrieved 14 June 2012 Andrew Ffrench 2 April 2016 Galleries refurb at Ashmolean brings back bookcase The Oxford Times Retrieved 13 February 2017 Historic Font to Remain at Draycott Heritage and History com March 2009 Retrieved 19 February 2012 Crook 1981a pp 297 298 Crook 1981b p 80 Crook 1981a p 318 Ignacio Villarreal 16 February 2011 Rare Burges Furniture with Literary Connections Acquired for Bedford Museum Artdaily org Wardrobe Cecil Higgins Art Gallery Archived from the original on 3 May 2012 Retrieved 7 March 2012 The Golden Bed Victoria and Albert Museum 1879 Retrieved 15 August 2014 Crook 1981a p 322 Crook 1981a p 338 Sources editAldrich Megan 2005 Gothic Revival Phaidon Press ISBN 978 0 7148 3631 7 Aldrich Megan Brewster Atterbury Paul 1995 A W N Pugin Master of Gothic Revival Yale University Press ISBN 978 0 300 06656 2 Andrews Robert 2011 DK Eyewitness Top 10 Travel Guide Devon amp Cornwall Dorling Kindersley Ltd ISBN 978 1 4053 7241 1 Banham Joanna Harris Jennifer 1984 William Morris and the Middle Ages a collection of essays together with a catalogue of works exhibited at the Whitworth art gallery 28 September 8 December 1984 Manchester Manchester University Press ISBN 978 0 7190 1721 6 Betjeman Sir John Surman Richard 2011 Betjeman s Best British Churches HarperCollins UK ISBN 978 0 007 41688 2 Bradley Simon Pevsner Nikolaus 2002 London 1 The City of London The Buildings of England Yale University Press ISBN 978 0 300 09624 8 Brodie Antonia Felstead Alison Franklin Jonathan Pinfield Leslie Oldfield Jane 2001 Directory of British Architects 1834 1914 Vol 1 A K New York and London Continuum ISBN 0 8264 4963 8 Buckingham James Silk Sterling John Maurice Frederick Denison 1897 The Athenaeum A Journal of Literature Science the Fine Arts Music and the Drama J Francis OCLC 4856498 Bullen Michael Crook John Hubbuck Rodney Pevsner Nikolaus 2010 The Buildings of England Hampshire Winchester and the North Yale University Press ISBN 978 0 300 12084 4 Burges William 2009 Art Applied to Industry A series of Lectures Bibliobazaar ISBN 978 1 115 19362 7 Burges William 2012 1878 Designs for Fish Plates to be executed for Lord Bute Thomas Heneage Art Books re print Burton Lawrence 1978 A choice over our heads a guide to architecture and design since 1830 Talisman Books ISBN 978 0 905 98306 6 Campbell Gordon 2006 The Grove Encyclopedia of Decorative Arts Oxford Oxford University Press ISBN 978 0 19 518948 3 Carey Maurice 1981 Got Cork an exhibition on the occasion of the centenary of William Burges Cherry Bridget Pevsner Nikolaus 2002 1991 London 3 North West Penguin Books ISBN 978 0 14 071048 9 Cherry Bridget Pevsner Nikolaus 2004 Devon The Buildings of England Yale University Press ISBN 978 0 300 09596 8 Clark Kenneth 1983 The Gothic Revival An Essay in the History of Taste John Murray ISBN 978 0 7195 3102 6 Clifford Helen 2004 A Treasured Inheritance 600 Years of Oxford College Silver Ashmolean Museum ISBN 978 1 85444 195 9 Close Rob Riches Anne 2012 Ayrshire and Arran The Buildings of Scotland Yale University Press ISBN 978 0 300 14170 2 Cooper Jeremy May 1998 Victorian and Edwardian decor from the gothic revival to art nouveau Abbeville Press ISBN 978 0 7892 0446 2 Crinson Mark 1996 Empire Building Orientalism and Victorian Architecture Psychology Press ISBN 978 0 415 13940 3 Crook J Mordaunt 1980a William Burges and the Completion of St Paul s Oxford University Press OCLC 28546641 Crook J Mordaunt 1981a William Burges and the High Victorian Dream John Murray ISBN 978 0 7195 3822 3 Crook J Mordaunt 1981b The Strange Genius of William Burges The National Museum of Wales ISBN 978 0 7200 0259 1 Crook J Mordaunt 2003 The Architect s Secret Victorian Critics and the Image of Gravity John Murray ISBN 0 7195 6057 8 Crook J Mordaunt 1971 Patron Extraordinary John 3rd Marquis of Bute Lecture at the Seventh Conference of the Victorian Society Victorian South Wales Architecture Industry and Society The Victorian Society ISBN 9780901657022 Crook J Mordaunt October 1980b A Multicoloured Fantasy Lost Treasures of William Burges Country Life Crook J Mordaunt November 2012 Billy Burges Revisited The Victorian 41 5 6 Crook J Mordaunt Lennox Boyd C 1984 Axel Haig and the Victorian Vision of the Middle Ages George Allen and Unwin ISBN 978 0 04 720029 8 Curl James Stevens 1995 Book of Victorian churches B T Batsford ISBN 978 0 7134 7490 9 Dakers Caroline 1999 The Holland Park circle artists and Victorian society Yale University Press ISBN 978 0 300 08164 0 Davenport Fionn 2010 Ireland Lonely Planet ISBN 978 1 741 79214 0 Davids Roy 1998 Manuscripts annotated books literary and historical portraits artefacts and works of art Roy Davids LTD OCLC 228660547 Dixon Roger Muthesius Stefan 1993 Victorian Architecture Thames and Hudson ISBN 978 0 19 520048 5 Eastlake Charles Locke 2012 A History of the Gothic Revival Cambridge Cambridge University Press ISBN 978 1 108 05191 0 Eastlake Lady Elizabeth Rigby Sheldon Julie 2009 The letters of Elizabeth Rigby Lady Eastlake Liverpool University Press ISBN 978 1 846 31194 9 Else David 2012 England Lonely Planet ISBN 978 1 741 04567 3 Fawcett Jane 2012 Historic Floors CRC Press ISBN 978 1 136 39856 8 Fawcett Jane ed 1976 The Future of the Past Attitudes to conservation 1174 1974 London Thames and Hudson ISBN 978 0 500 23231 6 Ferriday Peter 1963 Victorian Architecture Jonathan Cape OCLC 270335 Finn Dallas 1995 Meiji Revisited The Sites of Victorian Japan Weatherhill ISBN 978 0 834 80288 9 Floud Peter 1952 Catalogue of an Exhibition of Victorian and Edwardian Decorative Art Her Majesty s Stationery Office OCLC 589822 Foyle Andrew Pevsner Nikolaus 2011 Somerset North and Bristol The Buildings of England Yale University Press ISBN 978 0 300 12658 7 Gere Charlotte 17 April 1972 Victorian Jewellery Design Kimber ISBN 9780718302320 Gillingham Susan 2009 Encountering Burges Reflections on the Art and Architecture of the Chapel at Worcester College Oxford Third Millennium Publishing Limited ISBN 978 1 906507 47 3 Girouard Mark 1995 The Victorian Country House Yale University Press ISBN 978 0 300 02390 9 Godwin Edward William 2005 Kinchin Juliet Stirton Paul eds Is Mr Ruskin Living Too Long Selected Writings of E W Godwin Oxford White Cockade Publishing ISBN 978 18734 8712 9 OCLC 470551179 Graham Clare 2003 Ordering law the architectural and social history of the English law court to 1914 Ashgate Publishing Ltd ISBN 978 0 7546 0787 8 Grant John 1923 Cardiff Castle Its History and Architecture William Lewis Publishers Ltd OCLC 34158534 Hall Michael 2009 The Victorian Country House from the Archives of Country Life Aurum Press ISBN 978 1 84513 457 0 Hallett Anna 2004 Almshouses Osprey ISBN 978 0 747 80583 0 OCLC 62130073 Handley Read Charles November 1963 Notes on William Burges s Painted Furniture The Burlington Magazine Handley Read Charles March 1966 Aladdin s Palace in Kensington William Burges s Tower House Country Life Hannah Rosemary 2012 The Grand Designer Third Marquess of Bute Birlinn ISBN 978 1 78027 027 2 Harper Roger H 1983 Victorian Architectural Competitions An Index to British and Irish Architectural Competitions in The Builder 1843 1900 Mansell Publishing Limited ISBN 0 7201 1685 6 Harrison Martin Waters Bill 1989 Burne Jones Barrie amp Jenkins ISBN 978 0 7126 2193 9 Hayward John 1972 English Cabinets London Victoria and Albert Museum OCLC 924544891 Hilling John 1975 Plans amp Prospects Architecture in Wales 1780 1914 Cardiff Welsh Arts Council OCLC 699239953 Hitchcock Henry Russell 1968 1958 Architecture Nineteenth and Twentieth Centuries Pelican History of Art London Penguin Books OCLC 851173836 Jenkins Simon 2003 England s Thousand Best Houses Allen Lane ISBN 978 0 14 103929 9 Jervis Simon 1972 Victorian and Edwardian Decorative Art The Handley Read Collection Royal Academy of Arts OCLC 2405402 Johansens 2000 Historic Houses Castles and Gardens Great Britain and Ireland Johansens p 251 ISBN 978 1 86017 716 3 Johnson Diana L 1979 Fantastic Illustration and Design in Britain 1850 1930 Rhode Island School of Design ISBN 9780686250913 Jones Nigel R 2005 Architecture of England Scotland and Wales Greenwood Publishing Group ISBN 978 0 313 31850 4 Karlin Elyse Zorn March 1993 Jewelry and Metalwork in the Arts and Crafts Tradition Schiffer Pub ISBN 9780887404535 Lawrence David Wilson Ann 2006 The Cathedral of Saint Fin Barre at Cork William Burges in Ireland Four Courts Press ISBN 978 1 84682 023 6 Leach Peter Pevsner Nikolaus 2009 Yorkshire West Riding Leeds Bradford and the North The Buildings of England Yale University Press ISBN 978 0 300 12665 5 Locke Tim 2011 Slow South Downs amp Sussex Coast Local Characterful Guides to Britain s Special Places Bradt Travel Guides ISBN 978 1 84162 343 6 Lowe Rosalind 2003 Sir Samuel Meyrick and Goodrich Court Woonton Almeley Logaston Press ISBN 9781873827888 OCLC 55235711 Madan Falconer 1921 The Daniel Press memorials of C H O Daniel with a bibliography of the Press 1845 1919 Oxford Daniel McLees David 2005 Castell Coch CADW ISBN 978 1 85760 210 4 Morris Jan 1986 Architecture of the British Empire Vendome Press ISBN 978 0 865 65062 6 Muthesius H 1979 1904 The English House Single volume ed Frogmore Granada Publishing ISBN 0 258 97101 0 Newman John 2001 Glamorgan The Buildings of Wales Penguin ISBN 978 0 14 071056 4 Osband Linda 1 April 2003 Victorian Gothic House Style An Architectural and Interior Design Source Book for Home Owners David amp Charles ISBN 978 0 7153 1438 8 Pevsner Nikolaus 1958 North Somerset and Bristol The Buildings of England Penguin ISBN 9780140710137 OCLC 8991318 Pevsner Nikolaus Lloyd David 1967 Hampshire and the Isle of Wight Penguin ISBN 978 0 14 071032 8 Pevsner Nikolaus Radcliffe Enid 1967 Yorkshire The West Riding The Buildings of England Penguin ISBN 978 0 14 071017 5 Pevsner Nikolaus Williamson Elizabeth 2003 Buckinghamshire The Buildings of England Yale University Press ISBN 978 0 300 09584 5 Pevsner Nikolaus Neave David 2005 Yorkshire York and the East Riding The Buildings of England New Haven and London Yale University Press ISBN 0 300 09593 7 Physick John Darby Michael 1973 Marble Halls Drawings and Models of Victorian Secular Buildings Eyre and Spottiswoode Ltd ISBN 9780901486684 Pope Hennessy John ed 1971 Victorian Church Art London HMSO OCLC 1027243102 Pullan Richard Popplewell 1883 The Architectural Designs of William Burges A R A B T Batsford OCLC 40139673 Pullan Richard Popplewell 1886 The House of William Burges A R A B T Batsford OCLC 19530002 Ribeyrol Charlotte 2023 William Burges s Great Bookcase amp The Victorian Colour Revolution New Haven US and London Yale University Press ISBN 978 0 300 26797 6 Richardson Douglas Scott 1983 Gothic revival architecture in Ireland Garland Publishers ISBN 978 0 824 02723 0 Ritchie Helen 2018 Designers and Jewellery 1850 1940 Jewellery and Metalwork from the Fitzwilliam Museum London and New York Philip Wilson ISBN 9781781300671 OCLC 1055210835 Rowan Eric 1985 Art in Wales An Illustrated History 1850 1980 Welsh Arts Council University of Wales Press ISBN 9780708308547 Saint Andrew 2010 Richard Norman Shaw New Haven and London Yale University Press ISBN 9 780300 15526 6 Sargent Pauline 1977a Catalogue of the Exhibition of Drawings from the Cardiff Castle Collection 1 Cardiff City Council OCLC 913363590 Sargent Pauline 1977b Catalogue of the Exhibition of Stained Glass Cartoons from Cardiff Castle 2 Cardiff City Council OCLC 5924452 Sheehan Sean Levy Patricia 2002 Ireland Handbook Footprint Travel Guides ISBN 978 1 903 47125 8 Sherwood Jennifer Pevsner Nikolaus 1996 Oxfordshire The Buildings of England New Haven and London Yale University Press ISBN 978 0 300 09639 2 Smith Helen 1984 Decorative painting in the domestic interior in England and Wales c 1850 1890 Garland Pub ISBN 978 0 8240 5986 6 Soros Susan Weber Walker Stefanie 2004 Castellani And Italian Archaeological Jewelry Bard Graduate Center for Studies in the Decorative Arts Yale University Press ISBN 978 0 300 10461 5 Steegman John 1970 Victorian Taste A study of the Arts and Architecture from 1830 to 1870 Nelson s University Paperbacks ISBN 978 0 2626 9028 7 Stewart David B 1987 The making of a modern Japanese architecture 1868 to the present Kodansha International ISBN 978 0 870 11844 9 Retrieved 19 February 2012 Sutcliffe Anthony 2006 London an architectural history Yale University Press p 135 ISBN 978 0 300 11006 7 Turnor Reginald 1950 Nineteenth Century Architecture in Britain Batsford OCLC 520344 Verey David Brooks Alan 2002 1970 Gloucestershire 2 The Vale and the Forest of Dean The Buildings of England Yale University Press ISBN 0 300 09733 6 Vost s Fine Art Auctioneers and Valuers 1999 The Mirrored Sideboard designed by William Burges Miro Press Weinreb Ben Hibbert Christopher 1983 The London Encyclopaedia Macmillan ISBN 978 0 333 32556 8 Whiting R C 1993 Oxford Studies in the History of a University Town Since 1800 Manchester University Press ND ISBN 978 0 7190 3057 4 Williams Matthew 2019 Cardiff Castle and the Marquesses of Bute London Scala Arts amp Heritage Publishers Ltd ISBN 978 1 785 51234 6 OCLC 1097577215 External links edit nbsp Wikimedia Commons has media related to William Burges nbsp Wikiquote has quotations related to William Burges Wroth Warwick William 1886 Burges William In Stephen Leslie ed Dictionary of National Biography Vol 7 London Smith Elder amp Co Retrieved from https en wikipedia org w index php title William Burges amp oldid 1197570263, wikipedia, wiki, book, books, library,

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