{"meta":{"version":"2.1","_links":{"self":{"href":"https://api.vam.ac.uk/v2/object/O1604210"},"collection_page":{"href":"https://collections.vam.ac.uk/item/O1604210/"}},"images":{"_primary_thumbnail":"https://framemark.vam.ac.uk/collections/2006AL3100/full/!100,100/0/default.jpg","_iiif_image":"https://framemark.vam.ac.uk/collections/2006AL3100/","_alt_iiif_image":[],"imageResolution":"high","_images_meta":[{"assetRef":"2006AL3100","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2006AL3099","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2006AL3098","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017KM9223","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017KM9220","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017KA7363","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017KA7312","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017KA7279","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017KA5777","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017KA4455","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017KA4220","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017KA4199","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017JV9329","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017JV9310","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017JV9304","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017JV0591","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017JT2147","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017JT2132","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017JT2081","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017JR9392","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017JR9381","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2015HR2565","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2015HR2562","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2015HR2557","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2015HP6326","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2013GV4415","copyright":"© Victoria and Albert Museum, London","sensitiveImage":false},{"assetRef":"2017KA7366","copyright":"©Victoria and Albert Museum, London","sensitiveImage":false}]},"see_also":{"_iiif_pres":"https://iiif.vam.ac.uk/collections/O1604210/manifest.json","_alt_iiif_pres":[]}},"record":{"systemNumber":"O1604210","accessionNumber":"W.1:1-1929","objectType":"Room","titles":[],"summaryDescription":"<b>Object Type</b><br>This room is a rare survival of pure classical architecture from 16th-century England. It may originally have formed part of a long gallery, or it may have served as a closet, though it has an unusually large number of pilasters for a relatively small room. Closets were  private but often ornate rooms, set aside for the owner and his more intimate acquaintances.<br><br><b>Design & Designers</b><br>The design derives largely from an engraving of the interior of the Pantheon in Rome (118-125 AD) from the third volume of  Sebastiano Serlio's  <i>L'architettura</i>, a highly influential book published in Venice in 1541.<br><br><b>Materials & Making</b><br>It is unusual to find bare pine at this date. Normally it was painted in bright colours.","physicalDescription":"A portion of the room panelling was assembled for display in gallery 58 (British Galleries) 2001; this is 16 feet (5m) wide and represents one of the two narrow walls of the room with four pilasters flanking a niche, with short areas of return at either side, at the left with a single pilaster, at the right two. A replica section of white ceiling with 7 plaster pigeons has been installed above, and below, distressed oak floorboards laid transversely. A plaster mould (negative) was cast from one of the pigeon motifs on the ceiling (W.1:157-1929), the dimensions of which are: Beak to tail 28cm, wingspan 20cm, max depth c.3cm; size of box unit 38.5 x 30 x 7.7cm\n\nThe whole room (other elements in storage) comprises an ensemble of softwood wall panelling, windows, aedicules, external doorway overmantel and stone fireplace known as the Haynes Grange Room. The panelling is composed of plain boards divided by fluted pilasters with moulded bases and Corinthian capitals, arranged in pairs at intervals.  The frieze has the soffit of its lower member enriched with strapwork, and has two bands of strapwork above divided by modillions. The arrangement of the walls is as follows:  (a) Side wall has in the centre a fireplace of stone, the lintel carved with scrollwork, flanked by detached Corinthian columns which support a mantelshelf on which rests a pair of similar columns with entablature formed of a frieze carved with strapwork and pediment above.  (b) Side wall, two windows flanked by columns with Corinthian capitals with frieze and pediment above.  Moulded plinth with a cupboard door in centre.  (c) End walls each with columns and pediment above, similar in arrangement to (b).  Outside is fixed a doorway consisting of pilasters supporting a carved frieze. In the 20th century a painted plaster ceiling decorated with rows of moulded birds in flight was created for display with the room based on its appearance c1900 at Haynes Grange. \n\nWood identification from samples was conducted in April 1980 by Josephine Darrah, Senior Conservation Scientist, and identified Scotch pine (almost certainly Pinus sylvestris) which was imported from the Baltic from at least the 12th century.\n\nDESCRIPTION OF THE ROOM [as published by Clifford Smith (1935), with reference to figures included in that publication]\n\nThe room is rectangular in plan. Its dimensions are as follows: Height, 18 feet; length, 28 feet; width, 16 feet. [note: The room has been set up in the Museum as it stood at Haynes Grange: it is impossible to be certain that its proportions were precisely the same. Mr. G. R. Chettle, of H.M. Office of  Works,  after an examination of Inigo Jones's own copy of Palladio (now preserved at Worcester College, Oxford) writes:  \"In his copy of I quattro libri dell’architettura di Andrea Palladio, ch. xxi, line 20, Inigo Jones has this note: 'The fayrest maner of Romes ar 7, Rownd, Square, a Dagonall  proportion, a square and a third, a square and a half, a square and 2 thirds or two squares.'  In the Queen's House at Greenwich he uses the proportion of a square and two thirds for the larger rooms. (The great hall is a cube.) This proportion would make the room in the Museum about 9 inches or a foot wider.\"]\n\nIt is constructed of pinewood throughout. [note: The oak floor is modern.] The wall surface is composed [p.15] of plain boards butt-jointed and set vertically round the room. [note: In the Double Cube Room at Wilton, lined with wide boards butted together, the designed by Inigo Jones, the walls between the woodwork being painted, in accordance with wooden framing of the portraits are similarly the custom of the day.] These boards which extend from floor to cornice, without skirting, are 16 feet in height, 1 inch thick, and of varying width, the widest measuring 17 inches across.\n\n(Fig. i)\n\nThe architectural scheme of the room, as can be seen from the drawings of the elevations shown on Plates II, III, and V, is a system of large pilasters set against the wall surface and supporting a continuous entablature. The arrangement of the four walls is as follows:\n\n(a)\tA side wall (Plate III), containing a chimney-piece as its central feature, flanked by three pilasters on either side.\n\n(b)\tA side wall opposite (Plate II), containing two windows, with six pilasters grouped in pairs between and on either side of them. [p.16]\n\n(c) and (d) Two end walls identical in arrangement (Plate V), with a central feature of similar design to the windows, flanked by two pilasters.\n\nThe plaster ceiling, which is flat, is decorated with rows of pigeons in flight, modelled in low relief, their feathers picked out in blue and their feet and bills in red.[note: This ceiling differs from any other known example of contemporary English plaster-work. The usual plan of enriched plaster ceilings of the time consists of a geometrical arrangement of ornamental bands with handsome moulded pendants at their points of intersection. A typical example is the ceiling of the Bromley Room (in Room 54 of the Museum) which is dated 1606.]\n\nInstead of oak, which was exclusively employed at this time for wall panelling and continued to be alone used for this purpose until the end of the seventeenth century, this room is constructed entirely of pine. Save for the convex sections of the cornice, which are painted blue to harmonize with the blue pigeons on the ceiling, the wood shows no sign of ever having been painted, as was the almost invariable practice with pine panelling in England from the time it came into general use in the early part of the eighteenth century. Three centuries of exposure to the atmosphere have given it a beautiful mellow amber tone; and the absence of paint or other surface treatment is an indication not only of the appreciation with which pinewood was held in this country in early times, but also of the respect with which this room in particular seems to have been regarded in subsequent years.\n\nThe singularly perfect condition of its carved details, such, for example, as the openwork foliated capitals of the columns, testify to the care with which it must have been handled on the occasions of its dismantling and reassembling, on four separate occasions; and it is worthy of note that while some of the mouldings at ground-level have been renewed, the chief ornamental features are almost completely free from even minor repairs.\n\nThis is probably the earliest complete room of pinewood extant in this country, and is certainly the earliest untouched example. Pine panelling was, however, in use in Scotland at an earlier date. \"The oldest example of pine wood in the form of panelling\", writes Elwes, [note: Elwes and Henry, The Trees of Great Britain and Ireland, vol. iii, p. 595.] \"is in the room known as Queen Mary's room, at Castle Menzies, which was occupied by Mary Queen of Scots in 1577. This is now perfectly sound, and much [p.17] darkened in colour by age.\" He concludes from the width and somewhat knotty character of the boards that it was made from locally grown Scots pine. At Culross Palace and other Scottish houses of Jacobean date where pinewood panelling was used, the wood appears to have been almost invariably painted.\n\nA suggestion has been made that the wood used for this room may have been imported from Scandinavia.[note: \"The Inigo Jones Pine Room\", Country Life, June 30, 1928, p. 981.] A sample recently submitted to the Director of the Royal Botanic Gardens, Kew, has, however, been pronounced to be Scots pine (Pinus sylvestris), grown in the British Isles—either in Scotland or in England. [note: \"The panels indicate by the large knots that they were cut from rather coarse grown timber, probably from isolated trees, or from trees grown in very open plantations, and not from a dense forest. This suggests that the trees felled may have corresponded with park or garden-grown trees of the present day. . . . There would be no difficulty in places where the tree grew well in procuring timber large enough to saw into panels as large as those in the pine room in the Victoria and Albert Museum. . . . The Forest of Glenmore was at one time renowned for the size of the Scots pine trees it contained, and a plank measuring no less than 5 ft. s ins. wide stands to-day in the Entrance Hall at 2 Gordon Castle.\"—Report by Mr. W. Dallimore, Keeper of Museums, Royal Botanic Gardens, Kew.] Evelyn, in. Silva, written in 1663, tells us that Scots pine was \"plentiful in England as far south as Staffordshire\"; and it may equally well have grown in other places, for it is known that James I gave his active encouragement to the importation among other articles of Scottish origin, of young firs and the seeds of fir-trees from Scotland. [note: Letter from King James I to the Earl of Mar, dated October 3oth, 1621, with instructions to send to the Marquess of Buckingham at Burley on the Hill, four or five thousand \"young firre trees\", together with \"some store of seede to be gathered eyther in your owne boundes or in those of the Marquis of Huntlie\", and . . . \"send a man of purpose to Burley on the Hill\". (Report of the Historical MSS. Commission, 1904, p. 103.)] It is not impossible that the builder of the room may have ordered a consignment of pinewood from Scotland. The timber, conveyed by sea, would have entered the Ouse at King's Lynn and been carried thence direct to Bedford.\n\nThe architectural order employed throughout the room is the Corinthian. The pilasters are of box-like construction. Their fronts and sides, of one-inch boards, are so accurately built up that the joining of the boards, which occurs in the first of the side flutes, is almost invisible. The columns, twelve in number, belonging to the chimney-piece, niches, and windows of the room are solid.\n\nThe pilasters, which are 13 feet 9 inches high exclusive of their bases and [p.18] capitals, have 9 flutes in front and 4 on either side, the flutes being stopped 4 feet from the ground, that is, to about a third of their total height.[note: Details of the pilasters are shown on Plate VIII. Further measured drawings, including a large detail of one of the capitals are given in the Architectural Review, vol. xxiv (1908), p.15.] The flutings of both the pilasters and the columns are so near in width to the fiat fillet that an impression of unusual delicacy of workmanship is produced, and an increase is given to their apparent height. The carving of the capitals of both pilasters and columns is very vigorous and effective, and at the same time exceedingly scholarly and accurate. In this respect we must notice a striking contrast to similar details on other contemporary English woodwork.\n\nOf the twenty tall pilasters, two on the window-side of the room have concealed cupboards constructed in their bases, which are fitted with tall narrow pigeon-holes separated by shaped partitions. They have locks and keyholes but no escutcheons, and being in the nature of secret hiding-places are placed between the windows where they would be least visible. They are obviously later than the rest of the room, being afterthoughts carried out in the days of Queen Anne or George I.\n\nThe architrave, which rests upon the pilasters and extends round the room, has three facias. Strapwork occurs in three positions: on the soffit of the main cornice, on the frieze, and on the underside of the corona. The upper member of the cornice is unusually large and spreading and appears to be intended to carry the eye up to the ceiling. With the exception of the dentil course which, carved out of the solid, is of unusual size and forms an effective feature in the cornice, [note: The chimney-piece by Inigo Jones in the Double Cube Room at Wilton (illustrated in Blomfield's Renaissance Architecture in England, vol ii.p.116) shows a similar large dentil course.] - in combination with strictly classical mouldings, is one of the surprising features of the room. [note: ] there is an absence of all enrichments to the mouldings such as are so common in later work of this kind.\n\nThe use here of strapwork or strap ornament -an arrangement of interlacing straps familiar to students of Elizabethan and Jacobean decoration [note: Strapwork is also admirably represented in the Museum on the frieze and pilasters of the Bromley Room, dated 1606.] in combination with strictly classical mouldings, is one of the surprising features of the room. [note: The presence of this strapwork is of importance as supplying a date to the room, since shortly after the accession of Charles I, in 1625, its use in English woodwork disappeared.] Bands of this strap ornament, showing a great deal of variety and fancy in their design also occur elsewhere in it. Altogether [p.19] there are some dozens of feet of this conventional pattern carefully carved on the flat surfaces.[note: A detail drawing of one of the strapwork patterns from the frieze of the main entablature is shown on Plate VIII. A full set of large-scale drawings of all the strapwork ornament in the room is reproduced in. the Architectural Review, xxiv, pp. 12, 13, 15 and 16.]\n\nIt will be noticed that there is no visible indication of a doorway in the walls of the room. Access to it was originally obtained by a gib door set flush with the walls, the pilaster being cut through at the required height, and swung back together with the necessary amount of wall-boarding required to provide it. When closed, the doorway was invisible, and the interior of the room resumed its symmetrical design.\n\nSince the room in course of time has doubtless undergone some rearrangement, it is not possible to ascertain the original position of the door or doors. Owing to the necessity, when the room was erected in the Museum, of setting it against a blank wall, no provision could be made for the gib doors, and an entrance to it was provided at one end by means of a narrow opening made in the woodwork between two of the pilasters. Outside this opening is now fixed the carved wood doorway, which originally formed .an entrance into the room (Plate XI). It is framed by two fluted pilasters with Doric capitals supporting an. entablature, the frieze of which has conventional triglyphs, and rosettes carved in. the metopes, the soffit of the architrave being decorated with a strapwork pattern. This doorway, an exceptionally fine example of Jacobean architectural woodwork, is constructed, like the room, of pine; and except for its ornamental details—the rosettes and strapwork—is likewise of pure classical design. [note: An architectural drawing of this doorway, with scale drawings of its details, is reproduced in the Architectural Review, vol. xxiv, p. 10.] The use here of the Doric Order is especially worthy of note, for this is the Order used on each of the lower loggias on the north and west façades of Houghton House.\n\n\nTHE CHIMNEY-PIECE.\n\nIn the centre of the wall facing the windows is the chimney-piece--the most conspicuous feature of the room (Plate IV). The opening for the fireplace, which is 6 feet 2 inches wide, has a stonework surround with moulded jambs supporting a stone lintel, 12 inches high, elaborately carved with scrollwork and floral ornament of conventional Jacobean design (Plate Xb) The raised projecting hearth is of stone enclosed by a moulded oak curb [note: A profile drawing of this curb is shown on Plate VIII.] [p.20] —a rare feature of which few examples have survived. [note: Two contemporary moulded wooden curbs in front of a raised hearth are to be seen in the Museum at Eastgate House, Rochester. (See L. A. Shuffrey, The English Fireplace, Plates 38 and 44.)] The lower part of the mantelpiece is composed of a pair of detached fluted columns with Corinthian capitals which support an entablature forming a mantel-shelf. The overmantel has a pair of similar columns resting upon the mantel-shelf and supporting a second entablature surmounted by a triangular pediment. The two orders, one above the other, are identical except in. scale—the whole mantelpiece following in its arrangement the recognized architectural system current at the time.\n\nThe order throughout is of the purest Corinthian, except that the frieze and the soffit of each architrave, as well as the soffit of the pediment and of each corona, is enriched with bands of strapwork.[note: A drawing of the moulded stonework surrounding the fireplace, and details of the flutes and capitals of the wooden columns, are shown on Plate VIII. A complete set of measured drawings of all the details of the chimney-piece can be found in the Architectural Review, vol. xxiv, pp. 12 and 13.]\n\nComment has been made that the chimney-piece is unexpectedly wide for its height. But its proportions may have been governed by the existence of a massive carved stone fireplace of slightly earlier date, already built into the fabric of the walls. This supports the view that the room was an. addition made to Houghton House at the same time as the loggias—in about 1620.\n\nUpon the upper part of the wall space above the mantel-shelf, in Roman lettering carved in relief, are the following lines in Latin elegiac verse:[note: See Plate Xa.]\n\n VIVE ALIIS IPSIQVE TAMEN TIBI MORTVVS ESTO\n\nQVICQVID VITALE EST SPIRITVS INTVS ALAT \n\nCORPVS PRATA DOMOS VIVI CENSETO SEPVLCRA\n\nNE VIS PECCATIS VLLA SIT INDE TVIS \n\nASSIDVE MORIENS IETERNVM VIVERE PERGE\n\nTETRA DIES MVLTIS SIC ERIT ALMA TIBI\n\nThey have been translated thus:\n\nLive thou for others, to thyself be dead\n\nAnd let thy Life be by the spirit fed.\n\nLet house and home and body be thy vaults\n\nLest from them strength be given to thy faults.\n\nSo daily dying, Life shall endless be,\n\nAnd Death, that others dread, be kind to thee.\n\n \n\n[p.21] The verses, with their reminiscence in the phrase spiritus intus alat, of Vergil's sixth book of the Aeneid, are presumably of seventeenth-century date, for it may be noted that they deviate in sentiment from normal classical use.\n\n\nTHE NICHES AND WINDOWS.\n\nIn the centre of each end wall (Plate V) is a niche flanked by Corinthian columns supporting an entablature with a pediment, and resting upon a moulded plinth. These two niches are identical in detail with the upper part of the mantelpiece, though differing froth it in scale and proportion.\n\nAn. architectural composition upon a plinth, of precisely similar design to the niches, forms a framework and support to each of the two windows in the wall facing the fireplace (Plate II). Every moulding here, as elsewhere throughout the room, is shallow but of good projection, and the profiles are very fine.\n\nThe suggested source of the design. of the whole room and of these niches in particular will be given later; but it is of interest to note that in the original drawing for the west front of St. Paul's Cathedral, made by Inigo Jones about 1637, [note: In the collection of the Royal Institute of British Architects.] the lower storey shows two pedimented niches enclosed with columns of the Corinthian order and flanked by Corinthian pilasters of precisely the same character as those in this room (Plate XIII).\n\nIt is possible that these niches may have been designed in the first place for classical statues, which at about this time were beginning to be brought to this country by that celebrated connoisseur, the Earl of Arundel—called by Walpole the 'Father of Vertu in England'. We know that he was accompanied on his travels, in 1614, by Inigo Jones; and Clarendon, in his History of the Rebellion, tells us that he \"made a wonderful and costly purchase of excellent statues whilst he was in Italy and Rome\".","artistMakerPerson":[{"name":{"text":"Sir John Osborne","id":"AUTH360600"},"association":{"text":"","id":""},"note":"Attributed to Sir John Osborne (c.1550-1628), probably for Chicksands Priory; made in England by unidentified joiners and carvers"}],"artistMakerOrganisations":[],"artistMakerPeople":[],"materials":[{"text":"Scotch pine","id":"AAT12680"}],"techniques":[{"text":"carving","id":"AAT53149"},{"text":"joining","id":"AAT137062"}],"materialsAndTechniques":"Carved and joined pine, unpainted; plaster ceiling a modern replica","categories":[{"text":"Interiors","id":"THES48933"},{"text":"Architectural fittings","id":"THES48994"},{"text":"Woodwork","id":"THES48877"}],"styles":[],"collectionCode":{"text":"FWK","id":"THES48597"},"images":["2006AL3100","2006AL3099","2006AL3098","2017KM9223","2017KM9220","2017KA7363","2017KA7312","2017KA7279","2017KA5777","2017KA4455","2017KA4220","2017KA4199","2017JV9329","2017JV9310","2017JV9304","2017JV0591","2017JT2147","2017JT2132","2017JT2081","2017JR9392","2017JR9381","2015HR2565","2015HR2562","2015HR2557","2015HP6326","2013GV4415","2017KA7366"],"imageResolution":"high","galleryLocations":[{"current":{"text":"58E","id":"THES49233"},"free":"","case":"3","shelf":"FS","box":"1"}],"partTypes":[[{"text":"Section of room walls","id":""}]],"contentWarnings":[{"apprise":"","note":""}],"placesOfOrigin":[{"place":{"text":"England","id":"x28826"},"association":{"text":"made","id":"x28654"},"note":"Almost certainly Bedfordshire"}],"productionDates":[{"date":{"text":"1590-1620","earliest":"1590-01-01","latest":"1620-12-31"},"association":{"text":"made","id":"x28654"},"note":""}],"associatedObjects":[],"creditLine":"Purchased with Art Fund support, and the assistance of Sir Edmund Davis and a body of subscribers","dimensions":[{"dimension":"Height","value":"548.6","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"Whole room as erected 1928","note":""},{"dimension":"Width","value":"853.4","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""},{"dimension":"Depth","value":"487.7","unit":"cm","qualifier":"","date":{"text":"","earliest":null,"latest":null},"part":"","note":""}],"dimensionsNote":"From catalogue H. 17 ft. 7 ½ in., W. 16 ft. 1 in., L. 27 ft. 10 ½ in.\n\n(H. 537.2 cm, W. 490.2 cm, L. 849.6 cm)","marksAndInscriptions":[{"content":"VIVE ALIIS IPSIQVE TAMEN TIBI MORTVVS ESTO\r\nQVICQVID VITALE EST SPIRITVS INTVS ALAT \r\nCORPVS PRATA DOMOS VIVI CENSETO SEPVLCRA\r\nNE VIS PECCATIS VLLA SIT INDE TVIS \r\nASSIDVE MORIENS IETERNVM VIVERE PERGE\r\nTETRA DIES MVLTIS SIC ERIT ALMA TIBI\r\n","inscriber":{"name":{"text":"","id":""},"association":{"text":"","id":""}},"date":{"text":"","earliest":null,"latest":null},"description":"","interpretation":"","language":"","medium":"","method":"","position":"","script":"","translation":"They have been translated thus:\r\nLive thou for others, to thyself be dead\r\nAnd let thy Life be by the spirit fed.\r\nLet house and home and body be thy vaults\r\nLest from them strength be given to thy faults.\r\nSo daily dying, Life shall endless be,\r\nAnd Death, that others dread, be kind to thee.","transliteration":"","type":"","note":"Inscribed above the mantelshelf"}],"objectHistory":"Given by a body of subscribers, assisted by the N.A.C.F. (Art Fund) to a total value of £4000 (see below); further details of the acquisition are given by H. Clifford Smith, below. Museum registered file RF 28/11235; [dept. file note: portions destroyed 39/2301]\n\nIn Jan 1909 T.A. Lehfeldt of the museum had examined the panelling while it was offered for sale at £3000 by Messrs. Hindley and Wilkinson's Ltd., 8 Old Bond Street  (Registered file 1910/5759(?), and written: 'The doors at either end are not original, their framework being used as decorative features, at a height of a few feet from the ground. The mouldings round some of the bases of the pilasters are also modern. With these exceptions, the panelling dates from the early part of the 17th century it is attributed to inigo Jones, but there appears to be no authority for this.’...‘In connection with the question of price it is to be considered that the panelling is very simple in material and treatment, its value consisting chiefly in the harmony of the proportions and the general xxxx effect; it is without any delicate carvings, such as in the Clifford’s Inn room (£606). It is to be remembered also that the ceiling and the two doors are not original, and that the pieces of framework now used as doorways I'm not in the position they occupied when the panelling was taken down. Access to the room was then gained by a small door on the right of the chimney piece. The doors as now placed are Messrs Hindley's innovations. I think the board should not pay more than, say, £500 or £600. Apart however from price, the size of the room, especially its height, (18ft.) and, from the point overview of precautions against fire, the narrowness of the doorways present great objections to its acquisition.’ T.A.Lehfeldt, 8/3/1909\r\n\nCondition at acquisition (1929): 'The plaster ceiling in part a reconstruction, dimensions slightly modified'. In fact the ceiling as displayed in the museum from 1929 was wholly 20th century, almost certainly created by the museum, and was based on the ceiling still c1908 visible at Haynes Grange.\n\n<u>Deaccessioned elements:</u>\nFourteen sections of plaster ceiling with pigeon motif (W.1:112 to 126-1929, 20th century plaster of Paris, created by the museum for display with the panelling in 1929) were deaccessioned (2010-2021, V&amp;A Registered File 2010/45). Previously, two small wooden elements were said to have been deaccessioned in 1939.\n\nOnly since the 2001 have the original location and authorship of this exceptional Renaissance room been established. The authorship of Sir John Osborne, a civil servant, M.P. and 'gentleman architect', was established by Guerci in 2006. It is now accepted that the room must have been installed ('the Pigeon Gallery' as it was later known) at Chicksands Priory, Bedfordshire, a private house (formerly a Gilbertine priory) in the possession of the Osborne family from 1587 (see <i>The Buildings of England: Bedfordshire, Huntingdonshire, and Peterborough</i>, by Charles O’Brien and Nikolaus Pevsner, 2014). It seems most likely that Sir John Osborne designed the room after the death in 1592 of his father Peter Osborne (b.1521), but before 1605-10 when he designed the more ambitious 'Porticus' for Salisbury House. For Sir John Osborne, see Mark Girouard, <i>Biographical Dictionary of English Architecture 1540-1640</i>(forthcoming 2021).\n\nFor Chicksands Priory see Girouard (1992, p.184ff). The location of the room at Chicksands was probably a gallery with windows on both sides, altered in the 18th century, which occupied the space above what used to be the north cloister walk, but which has not yet been researched in detail. It was described in 1827: 'in the upper part of the north side is a long apartment called the Pigeon Gallery, having pigeons painted on the ceiling, the cause of which we do not exactly know.' (quoted by Girouard, p.185). Guerci suggests that the birds actually represented halcyons, a species of kingfisher symbolising peacefulness.\n\nPreviously, a number of other buildings have been proposed as the location of the room, including Houghton House near Ampthill, Bedfordshire (a hypothesis disproved by Girouard, 1992), the Vicarage at the nearby village of Haynes, built by Osborne c.1590 for Thomas Brightman, or Haynes Grange, a 16th century house on the Chicksands estate. Around 1754 it appears that the panelling was moved from Chicksands to Haynes Grange, and reduced to fit what may have been a newly created space, including the removal of a door and windows, with a ceiling created above it featuring birds that referenced the ceiling at Chicksands. In 1908 the panelling was removed from Haynes Grange and sold by the owner, Sir Algernon Osborn of Chicksands Priory, to Messrs. Hindley &amp; Wilkinson in whose London showrooms it was erected (with a plaster cast pigeon motif ceiling). It was bought by Edmund Davis and installed c1909 at no. 13 Lansdowne Road, Holland Park, London, from which it was purchased for the V&amp;A Museum. (The museum had considered its purchase in 1908 for £3000 but had been unable to proceed.) \n\n<u>Display history at the V&amp;A</u>:\nc1935-c1983 Octagon Court (gallery 40c); viewed through the two windows, with recreated oak flooring and a flat,  putty colour painted plaster ceiling to which were applied about 50 identical plaster casts of a 'pigeon' with outstretched wings, the feathers picked out in blue, their feet and bills in red; the cast is presumed to have been cast from one of the 18th century plaster birds on the ceiling at Haynes Grange when the panelling was sold c1908, or more likely cast from a 20th century cast of one of those birds. When the room was constructed at the V&amp;A different methods of lighting were tried including a six light brass chandelier (a copy of that in the Burgomaster’s Room, Town Hall, Haarlem) hanging from the ceiling and lamps with reflectors behind the pediments of the windows. In 1935 the director at the time, Eric Maclagen rejected the idea of adding floor lighting under the windows on the basis that the existing lighting was already ‘rather too artificial in effect.’ \nFrom 2001, one end wall of the room, with two short returns was set up in gallery 58 (British Galleries) with sections of recreated flooring and plaster 'pigeon' ceiling; the other parts remain in store.\n\n\n<u>NAMES OF SUBSCRIBERS [as published by Clifford Smith, 1935]:</u>\nSir Edmund Davis £1000\nNational Art-Collections Fund £525. 6. 0.\nViscount Bearsted, M.C. £500\nHon. Mrs Ionides £500\nHon. Mrs Sebag-Montefiore £500\nLord Duveen £250\nGeoffrey Howard, Esq. £100\nSir Robert Mond, LL.D. F.R.S. £100\nMessrs. Acton, Surgery &amp; Co. £50\nC.J. Charles, Esq. £50\nLord Melchett, F.R.S. £50\nFrederick Tibbenham, Esq. £50\nMessrs. T. Crowther &amp; Son £30\nLionel L. Levey, Esq. £25\nE.J. Meaker, Esq. £25\nFrancis Mallett, Esq. £21\nOswald Falk, Esq. £20\nA.D. Narramore, Esq £20\nT. M. Adie £10. 10. 0.\nMessrs. Victor &amp; Robert Bagues £10. 10. 0.\nEdward J. Benjamin, Esq. £10. 10. 0.\nSir William Burrell, £10. 10. 0.\nW.W. Jenkins, Esq. £10. 10. 0.\nKent Gallery, Ltd. £10. 10. 0.\nCecil Millar, Esq. £10. 10. 0.\nSpanish Gallery (Lionel Harris, Esq.) £10. 10. 0.\nSir Charles Allom £10\nViscount Burnham, C.H., G.C.M. G. £10\nLord Plender, G.B.E. £10\nMessrs. W.F. Greenwood &amp; Co. £10\nMrs Arthur Hill, £10\nC.H. St. John Hornby, Esq. £10\nClaude Lemon, Esq. £10\nJ. Rochelle Thomas, Esq. £10\nGilbert Allom, Esq. £5 5. 0.\nPaul Guieu, Esq. £5 5. 0.\nLt.-Colonel Hon. E.F. Lawson, D.S.O, M.C. £5\nMessrs. Marryat &amp; Co. £2. 2. 0.\nA.W. Little, Esq. £1. 1. 0.\nT.G. Smith, Esq. £1. 1. 0.","historicalContext":"THE SOURCE OF THE DESIGN [as published by Clifford Smith, 1935]\n\nWith regard to the actual source of the design of the room, Mr. H. J. Harding [note: First Assistant to the Professor of Architecture at the Royal College of Art, South Kensington.] writes:\n\n\"In search of an Order of architecture bearing the Roman Corinthian base, [p.22] which is such a distinctive feature of the columns and pilasters used m the Haynes Grange Room, I found in the architectural works of Serlio and Palladio not only the base but the complete Order, and also the idea which is the basis of the composition. In the Museum Library are the following books:\n\ni.\tA. Palladio: I quattro libri dell'architettura. Published in Venice 1570.\n\nii.\tS. Serlio: Il prima (—quinto) libro d'architettura. Published in Venice 1540-51.\n\n[Fig. ii]\n\nThese volumes show that the design of the pine room from Haynes Grange is composed of elements skilfully adapted from the internal elevation of the Pantheon in Rome, much reduced in and applied to a rectangular room. [note: The Pantheon, a circular building, was erected by the Emperor Hadrian about A.D. 115-25.]\n\n\"The details of the Order used in the large pilasters, the design of the niche and window surrounds, and the relationship of the niches to the adjoining groups  of pilasters, are taken directly from illustrations in one or other of [p.23] these two books: mainly from Serlio. Below is a list of the relevant plates:\n\nPalladio: Libro quattro.\n\nPage 81-2. \tInternal elevation of the Pantheon.[note: See Fig. ii.]\n\n83.\tIncludes a plan of the internal pilasters showing 9 flutes. (As used in the Haynes Grange Room.)\n\n84.\tLarge details of the pedimented surrounds to the Pantheon niches or altars, which have been reproduced in the Haynes Grange Room.\n\nSerlio: Libro terzo.\n\nPage IX. Internal elevation of the Pantheon.\n\nXIII. Bases of columns.\n\nXVI. Elevation of one bay, showing altar.[note: See Plate VII.]\n\nXVII. Details of caps, bases, &amp;c., on page XVI. [note: See Plate IX.]\n\nSerlio: Libro quattro.\n\nPage XLVII (back) setting out of base.\n\nXLVIII. Corinthian column and base, and section through cornice.\n\nXLIX. The Order as used in the room, including cornice without ovolo between dentils and corona, and column with stopped flutes. On the back a plinth, with base and cimatium from the Pantheon, as used in the room.\n\nAll these plates contain material which has been drawn upon by the designer of the Haynes Grange Room.\n\n\"Reference to comparatively modern French measured drawings of the Pantheon shows that the large internal pilasters have 9 stopped flutes, and the base as used in the Haynes Grange Room. (See H. d'Espouy, Monuments antiques, vol. ii, pp. 137 and 139; and Babouty Desgodetz, Les Edifices antiques de Rome, vol. i, Plate XVI.)\n\n\"In the room three variations from the normal Renaissance type are to be noted (apart from the exceptional length of columns and pilasters):\n\n(a) all cornices, great and small, are of a simplified type without an ovolo between the corona and dentil course; [p.24]\n\n(b)\tthe circa reversa is missing from the cirnatium of the pedestals of the niches and window surrounds, although a space is provided for it; and\n\n(c)\ta fillet occurs on the centre line of each column instead of the usual flute.\n\nWith regard to (a), this agrees with the important plate on page xlix of S. Serlio. This page, both sides, and the plate on page xvi conclusively identify the Order. It is interesting to observe that in a sketch made by Inigo Jones for the Queen's House, Greenwich (1637), the cornice of the upper part of the mantelpiece is of a similar type (see Plate XXII of Gotch's Inigo Jones). In the chimney-piece to the Double Cube Room at Wilton the same feature occurs.\n\n\"With regard to (c) a similar deviation from what is now considered normal practice occurs in the large Ionic columns of the interior of the Banqueting House, where all but one have a fillet on the centre line.\n\n\"With the Pantheon recognized as the parent of the design, other obscure points appear to be automatically elucidated and brought into focus.\n\ni.\tWhen the Pantheon is accepted as the underlying theme, the ceiling of the room, with its flight of birds, becomes intelligible as an endeavour to reproduce the effect of birds flying across the open sky, as seen through the great eye in the dome of the Pantheon. If this is so, it suggests that the architect was not only a scholar, but one who had the instincts of an artist, and may have observed the phenomenon on the spot.\n\nii.\tThe austere inscription over the fireplace and the flush, unpanelled entrance door, which, when shut, leaves no visible means of exit, seem to imply that the room was to be regarded almost as a temple or tomb, as a retreat out of the world, where, surrounded by the sombre dignity of ancient architectural forms, time was to be spent in meditation.\n\n\"It is significant that on the 31st of May, 1614, Inigo Jones was examining the Pantheon, and made this marginal note in his Palladio: 'This temple I observed exactly ye last of Maye 1614, and have noated what I found more than is in palladio.'\n\n\"Identification of the sources of the design and the boldness of the adaptation must, I think, give strength to the tradition which attributes the work to Inigo Jones. He spent much time in Rome, absorbing the spirit of the antique buildings. He had a well-used\tvolume of Palladio, purchased in 1601, and [p.25] now preserved with others of his books at Worcester College, Oxford. There is reason to believe that he possessed a Serlio also, and we recall that both books were published in Venice, where he spent many months of study. In 1615, when Houghton House was built, he was fresh back from his last important visit to Italy.\"\n\nThe evidence here assembled, which has been supplemented by Mr. Harding's contribution, seems to point to the conclusion that the room came originally from Houghton House, and that Inigo Jones was probably associated with the design, though the presence of the Jacobean strapwork suggests the hand of a local craftsman.","briefDescription":"Room panelling with pilasters and fire place, known as the Haynes Grange Room (from Haynes Grange, Bedfordshire); pine walls and plaster ceilng; 1590-1620","bibliographicReferences":[{"reference":{"text":"","id":""},"details":"","free":"From: H. Clifford Smith, Catalogue of English Furniture & Woodwork \r\n(London 1930), 637, Plate 43.\n\nTHE HAYNES GRANGE ROOM: THE ORIGIN OF THE ROOM  [with reference to figures included in that publication]\r\nTHE Haynes Grange Room is so called after a farm-house of that name, near Houghton House, a Jacobean mansion situated on a hill seven miles south of Bedford, which was erected between 1615 and 1621 by Mary, Countess of Pembroke, sister of Sir Philip Sidney, and is now generally held to be the \"true originall\" of the \"House Beautiful\" described by Bunyan in The Pilgrim's Progress.\r\nFor some time it has been thought that the room may have been removed in 1794 to Haynes Grange on the dismantling of Houghton House, which has since become a ruin; and as a result of recent investigations made by the author both at Haynes Grange and on the ruined site of Houghton House under the guidance of Professor A. E. Richardson, F.S.A., F.R.I.B.A.,[note 1- Professor of Architecture at University College, London.] it is possible, despite the absence of documentary evidence, to suggest with some assurance that it originally formed a part of Houghton.\r\nThe name of Inigo Jones has long been associated with Houghton. House. The original design for this room has likewise been attributed to him; and its conjectured history may now be placed on record.\r\nThe Haynes Grange Room differs entirely from any other known example of English interior woodwork; and the erection of a room of classical design in Jacobean times, when it was the almost invariable custom to line walls with small framed panels of oak, for long seemed inexplicable. It remained, in fact, a complete plink to architects and connoisseurs alike, from the time that it was discovered at Haynes Grange and brought to London in 1909, until the intensive research lately made by Mr. H. J. Harding, A.R.I.B.A., of the Royal College of Art, brought to light the illuminating fact that its design is taken almost direct from the interior of the Pantheon in Rome.\r\nFurther factors which have aroused the constant interest and curiosity of architects and antiquaries are its construction entirely in pine—then a rare wood—the surface of which has remained untouched by paint from the time that it left the craftsman's hands; the existence of an. exhortation in contemporary Latin verse carved in relief above the chimney-piece; and the [p.I0] unexpected presence of pigeons in flight, carefully modelled in their natural colourings, upon the plaster ceiling.\r\n\nACQUISITION OF THE ROOM\n\r\nHaynes Grange, where the room remained for a hundred and fifteen years, originally belonged to the Gilbertine Priory of Chicksands, some three miles distant. It is a small, early sixteenth-century, half-timber building covered with rough-cast, and consists of a central block with gabled wings at either end. The south wing, which is somewhat higher than the other, has a stone basement storey, and the whole of the first floor is occupied by a single large, lofty room. It was in this room that the panelling stood until 1908, when it was sold by the owner, Sir Algernon Osborn, of Chicksands Priory. From there it was brought to London and set up in a dealer's shop in Bond Street; and in the autumn. of 1909 it was offered for sale to the Victoria and Albert Museum, but its purchase could not at that time be undertaken.\r\nIn the following year the room was acquired by Sir Edmund Davis and placed in an annex specially built for it on to his London house, 13 Lansdowne Road, Notting Hill. In its reconstruction the shape of the room was slightly changed, being widened by two feet and shortened by one foot. To allow places for three doors—on either side of the fire-place and at one end of the room--the spacing of the pilasters was altered; while in order to obtain more light a third window with a complete architrave was added. By the aid, however, of measured drawings of the room which were made before its removal from Haynes Grange, it has been possible to reconstruct it at the Museum in the form in which it previously stood.\r\nFor eighteen years the room remained in Sir Edmund Davis's possession, gaining considerable reputation as a work of art by its unique and austere character, its striking proportions, the harmonious beauty of its colour, the quality of its craftsmanship, and the mystery then attached to its origin and purpose. When, therefore, in 1928, the owner decided to leave London, its ultimate destination was a matter of some concern. On June 3oth, 1928, a proposal for its purchase by the nation was published in Country Life in the following terms:\r\n\"Considering the very low figure that is being asked for it and the exceptional character of the decoration, it is very much to be hoped that [p. 11] some public-spirited friend of the arts or a group of connoisseurs will take advantage of this opportunity of preserving it as a national work of art, which it undoubtedly is.\"\r\nThe project for its acquisition by the Victoria and Albert Museum found an active and powerful advocate in Professor A. E. Richardson, who five years before had purchased and saved from destruction the ruins of Houghton House, for which, in his opinion, the room had originally been designed. If that were the case, it stood there for nearly two hundred years before its transfer to Haynes Grange.\r\nA private appeal was immediately set on. foot, and in less than a fortnight the whole of the sum required, £4,000, was obtained, the total number of subscribers amounting to exactly forty.[note 1: The names of the subscribers will be found on page 26.]\r\nAn examination of the walls of the large room in the south wing of Haynes Grange, which contained the pine panelling [note 2: This pinewood structure, being built of upright boards set side by side from floor to cornice, is not, technically, \"panelling\". Panelling proper is woodwork composed of panels; and a panel is described in the New English Dictionary as \"consisting . . . of a thinner piece of board ... (normally rectangular) set into the general framework\" of a wainscot.] up to 1908, showed that it could not have been made for it. They were found to be lined on all four sides with rough wooden battening, coach-screwed with iron bolts to the timber framing of the main walls. This was obviously put up as a support for the pine panelling, and proved on investigation to date from the late eighteenth century. Further investigation showed, moreover, that alterations were then made to this wing of the house to form an apartment of suitable dimensions and of the necessary height to receive it - circumstances which left little opening for doubt that the panelling was brought from elsewhere and fixed in the room at that particular time. There is a local tradition that the room was fitted up with the panelling for use as a study or retreat by a recluse of the name of Carteret, a relative of Lord Carteret, the owner of Hawnes (or Haynes), an eighteenth-century mansion standing in the adjoining park, which forms a part of the parish of Haynes.\r\nThis evidence of the date of the arrival of the pinewood panelling at Haynes Grange, coupled with the definite evidences of date and style which the room itself offers, support the theory that it came from Houghton House, [p. 12] only three and a half miles away, which is known to have been dismantled in 1794.[note: It has been suggested that the room may have been brought to Haynes Grange from Toddington Manor, near Luton. But Toddington was a late Elizabethan building, whereas Houghton is Jacobean and of the same date as the panelling. Furthermore, Toddington was pulled down in in 1745 - fifty years before the room was reconstructed at Haynes Grange.]\n\r\nHOUGHTON HOUSE\r\nHoughton Park, the estate in which the ruins of Houghton House now stand, lies partly in the parish of Houghton Conquest, which takes its additional name from the Conquests, who are recorded to have first owned the manor in the thirteenth century.\r\nIn 1615 Sir Edmund Conquest resigned the lease of the royal manor of Houghton Conquest to the King, who granted it to Mary, Countess of Pembroke, for her life; and on the western slope of the sandy ridge across the centre of the park, at no great distance from the road, she built Houghton House.\r\nIt would appear that John Thorpe erected the building about 1615, though a tradition holds that Inigo Jones was responsible for the design. A writer in The Times [note: The Times, June 16th, 1927.] states: \"Thorpe did not complete Houghton House, and there is little doubt that the two stone loggias [of classical design on the north and west fronts] of which considerable portions remain, were added by Inigo Jones with other improvements to the brick structure as left by Thorpe... . Houghton House, even in its present condition, illustrates that sudden leap from Jacobean to Anglo-Classic which was one of the most striking developments in. our architectural history.\"\r\nThe pine room now in the Museum, if from Houghton, would in all probability have been amongst the additions made to the house at the same time as the stone loggias, in about the year 1620.\r\nIn 1738 Houghton was purchased by John, fourth Duke of Bedford; and in 1764 he called in Sir William Chambers, to renovate and fit it up for the use of his son, Francis, Marquess of Tavistock, who had married, in that year, Lady Elizabeth Keppel. Three years later, at the age of twenty-eight, Lord Tavistock was killed by a fall from his horse in the park, and it is said that Lady Tavistock witnessed the accident from one of the loggias. [p. 13] In the Muniment Room at Woburn Abbey is an inventory of the furniture of Houghton House taken immediately after Lord Tavistock's death. A second inventory taken after the death of his widow, two years later, to which a third is attached, shows that the entire contents of the house, as far as movables were concerned, were then dispersed.\r\nIn 1794, when the house had been empty for some twenty-four years, the roof was taken off and the house completely dismantled, [note: The ruins of Houghton House were purchased by public subscription in 1929. In 1935 they were taken over by H.M. Commissioners of Works.] its fittings being distributed throughout the county, where they may still be identified, especially amongst the late eighteenth-century houses at Ampthill. The main staircase went to the Swan Hotel at Bedford; [note: The Rev. L D. Parry in his Illustrations of Bedfordshire,  published in 1827, writes: \"The Swan Inn is a handsome stone building erected, in a great measure, with the materials (piget meminisse) of Houghton House, by the late Duke of Bedford.\"] and if, as is suggested, the pine room then stood at Houghton, it was presumably conveyed to the shelter of Haynes Grange as soon as the alterations could be completed to receive it.\r\nThe Rev. A. J. Foster, who was Vicar of Wootton, Bedfordshire, for many years, in his work Bunyan' s Country: Studies in the Topography of the Pilgrim's Progress (1891), established beyond all reasonable doubt that Bunyan adopted Houghton House for his \"House Beautiful\" in The Pilgrim's Progress. [note: The belief that Bunyan drew his inspiration for the \"House Beautiful\" from Houghton House is supported by Dr. W. H. Hutton, Dean of Winchester, in his John Bunyan (1928), and by Mr. C. G. Harper in The Bunyan Country, also published in 1928.]\r\nBefore the house was finally dismantled in 1794, three careful coloured architectural drawings of the north, west, and south elevations respectively were made, the first two dated 1785 and the third 1788. These hitherto unpublished drawings, signed W. Kimpton, which were done for Francis, Duke of Bedford, are now preserved at Woburn Abbey.\r\nThe building is rectangular and possesses no interior courtyard, the design being based on a French château plan of the late sixteenth century. At the four corners are square towers, once surmounted, as the drawings show, by tall concave roofs. The north and south fronts measure 122 ft. in length, the west and east 75 ft. The centre feature of the north front (Plate XII) consisted of a double arcade of three bays. It terminated in a triangular pediment [p.14] supported by scrolls, while in a panel beneath was a shield carved with the arms of Mary, Countess of Pembroke. [note: The attribution of this central feature to Inigo Jones is strengthened when its attic storey is compared with the pedimented attic storey of his drawing for the west front of St. Paul's Cathedral (Plate XIII). The two are almost identical, except that the coat-of-arms of the Countess of Pembroke takes the place of the sacred monogram beneath the pediment.]\r\nThe chief feature of the south front is the central porch which was carried up two storeys above the main entrance. All the windows on the upper floors of th.is front, unlike those on the north and west, have triangular pediments - a detail of particular interest, seeing that in the pine room, the chimney-piece, the windows, and the niches on the end walls are each surmounted by a similar pediment.\r\nThe windows of the room now in the Museum are of similar proportions to all those with single mullions and double transoms on the ruined fronts of Houghton House. Two such windows formerly gave light to the great hall on the ground floor of the south front. The pine room cannot, however, have been in this position, as the hall has two fire-places; and on the first floor the spacing of the windows which conform to this pattern does not correspond with the spacing of the windows of the Museum room.\r\nAlthough it is not possible, owing to the present condition of the building, to indicate the exact position which the pine room may have occupied,  it may be conjectured that it stood on the upper floor of the east front, for which no drawing appears to have survived."},{"reference":{"text":"","id":""},"details":"","free":"Mark Girouard, <i>Town and Country</i> (Yale University Press, 1992), chapter 1. The Haynes Grange Room, pp. 168-86, 267-8"},{"reference":{"text":"","id":""},"details":"","free":"Fred Roe, 'A Room from Haynes Grange', in Connoisseur, August 1929, pp. 118-120"},{"reference":{"text":"","id":""},"details":"","free":"J. M. W. Halley, 'The Practical Exemplar of Architecture, XXIV', in Architectural Review XXIV (1908), pp. 8-16"},{"reference":{"text":"","id":""},"details":"","free":"Christopher Wilk and Nick Humphrey (eds.): Creating the British Galleries at the V & A - A Study in Museology. (London, V & A Publications, 2004), pp. 70-1, 72, 112, 123, 167"},{"reference":{"text":"","id":""},"details":"","free":"H. Clifford Smith F. S. A.,<i> The Haynes Grange Room</i> (Victoria And Albert Museum - Department Of Woodwork, London, Printed Under The Authority Of The Board Of Education, 1935)\r\n"},{"reference":{"text":"","id":""},"details":"","free":"Frank David, 'A Page for Collectors. The Earliest English Pine Room - from John Bunyan's \"House Beautiful\"', in <i>The Illustrated London News</i>, May 2 1936, p. 780"},{"reference":{"text":"","id":""},"details":"","free":"Guerci, Manolo. (2006). 'John Osborne, the Salisbury House Porticus and the Haynes Grange Room'. The Burlington Magazine. 148. 15-24. 10.2307/20074268. \r\n\r\n"},{"reference":{"text":"","id":""},"details":"","free":"Howard Colvin,<i> A Biographical Dictionary of British Architects 1600-1840</i> (Paul Mellon Centre for Studies in British Art): Fourth Edition, 2008, pp.760-1\r\n"},{"reference":{"text":"","id":""},"details":"","free":"John Harris,<i> Passion for Building: The Amateur Architect in England 1650-1850</i> (Sir John Soane's Museum, London, 2007), pp. 26-8 "}],"production":"","productionType":{"text":"","id":""},"contentDescription":"","contentPlaces":[],"associatedPlaces":[],"contentPerson":[],"associatedPerson":[],"contentOrganisations":[],"associatedOrganisations":[],"contentPeople":[],"associatedPeople":[],"contentEvents":[],"associatedEvents":[],"contentOthers":[],"contentConcepts":[],"contentLiteraryRefs":[],"galleryLabels":[{"text":"PANELLING, about 1600\r\n\nThis panelling is from one of the earliest interiors in  Britain designed according to the principles of classical  architecture. The designer probably based the  proportions on the interior of the ancient temple of the  Pantheon in Rome, illustrated in a treatise by the Italian  architect, Sebastiano Serlio (1475- about 1554). \r\n\nCarved and joined pine, unpainted; plaster ceiling is a modern replica\r\nDesigned by Sir John Osborne c.1551-1628; made in England by unidentified joiners and carvers\r\nMade for Chicksands Priory, Bedfordshire but removed from the nearby Haynes Grange\r\n","date":{"text":"1/3/2021","earliest":"2021-03-01","latest":"2021-03-01"}},{"text":"THE HAYNES GRANGE ROOM.\r\nPine panelling with a plaster ceiling.\r\nEnglish; about 1620.\r\nPresented by a body of subscribers with the aid of a contribution from the National Art-Collections Fund.\n\r\nIt is almost certain that this room originally came from Houghton House, Bedfordshire, the ‘House Beautiful', of Bunyan's 'The Pilgrims Progress’, which was built, about 1615. On demolition of Houghton in 1794, the room was removed to Haynes Grange, an Elizabethan farmhouse, some three and a half miles distant, whence it eventually came to the museum.\n\r\nPanelled rooms at this date usually consist of small framed panels of, oak; earlier examples of the use of pine are found in Scotland but are extremely rare in England. Even more remarkable than the use of pine is the totally classical character of the room; the friezes of strapwork are the only features which resemble contemporary decorative practice. The design of the room is based on the Pantheon, which was illustrated by both Serlio and Palladio; it has been suggested that the pidgeons, on the ceiling are intended to reproduce the effect of birds in flight, as seen through the great open eye of the Pantheon. The Latin verses above the mantleshelf, of which the first line can be translated 'Live thou for others, to thy self be dead’, seem to imply that the room was intended as a retreat, both temple and tomb, where time was to be spent in meditation. Whether this is so or not, the Haynes Grange Room must be considered as one of the most remarkable examples of the correct and scholarly use of the classical language of architecture at this date, and, although no documentary evidence has been found, there is a strong, probability that Inigo Jones, who returned from his last important visit to Italy in 1615, was associated with the design, though the presence of the Jacobean strapwork suggests the hand of a local craftsman.","date":{"text":"1968","earliest":"1968-01-01","latest":"1968-12-31"}},{"text":"PANELLING, 1585-1620\nThis panelling is from one of the earliest interiors in Britain designed according to the principles of classical architecture. The designer probably based the proportions on the interior of the ancient temple of the Pantheon in Rome, illustrated in a treatise by the Italian architect, Sebastiano Serlio (1475- about 1554). \n\nCarved and joined pine, unpainted; plaster ceiling is a modern replica\nDesigner unknown; made in England by unidentified joiners and carvers\nOnce in, and probably made for, Haynes Grange, Bedfordshire\n\nBritish Galleries, 2001 (with braille touch panel)","date":{"text":"1/12/2001","earliest":"2001-12-01","latest":"2001-12-01"}}],"partNumbers":["W.1:1-1929"],"accessionNumberNum":"1","accessionNumberPrefix":"W","accessionYear":1929,"otherNumbers":[{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:2-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:3-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:6-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:8-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:15-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:18-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:23-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:26-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:31-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:32-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:34-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:39-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:40-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:42-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:46-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:48-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:60-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:79-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:85-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:86-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:88-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:89-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:90-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:97-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:98-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:144/5-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:144/11-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:145/1-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:145/2-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:145/5-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:146/3-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:146/13-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:146/15-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:148/7-1929"},{"type":{"text":"Previous number","id":"THES51695"},"number":"W.1:148/8-1929"}],"copyNumber":"","aspects":["WHOLE"],"assets":[],"recordModificationDate":"2025-04-05","recordCreationDate":"2021-04-09","availableToBook":false}}