The Architecture of Robert Adam (1728-1792)

The Castle Style

Castles of the Imagination

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Introduction to the Castle Style

Robert Adam's Castle Style Designs

 The Sublime, Picturesque and Beautiful in C18th Thought

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Castles of the Imagination

Fig 1. Castle on a Hill Overlooking a Loch. Soane Museum Ref. 68/1/3 The castle in this image is beside a loch, or possibly a wide river. The painting has great depth. The bank and trees in the foreground, painted in darker colours and in great detail, help to divide the painting spatially. They create distance between us, the viewer, and the trees, acting as a screen to and distancing what is going on in the painting behind. The large tree also splits the picture into two parts, on the right is the middle distance with the castle, painted in less strong colours to appear further away. On the left is the loch and the mountains in the far distance beyond. Connecting the two parts and running behind the tree in the middle distance a promontory runs down from the hill to the loch.

Compared to other paintings in this ouvre by Adam, the landscape and scenery are relatively tame. The figures, people, horses, carts etc. help to give scale and depth, but also provide a degree of interest in their own right. There is a lot of incidental detail which provides a vignette or story...peasant life in Scotland. A road has been cut up through the escarpment and a cart holding a man and a heavy load is being pulled by two horses, that are toiling up the hill. The front horse is beginning to strain. A man in the cart is facing backwards gesticulating with a whip or stick at a woman following him up the road. In silhouette there are two figures on the hillside near the loch and two more down near the water. Actually, there, the scale of the figures has gone slightly wrong. The standing figure is too tall compared to the figures on the beach and the sailing boats.

The castle is only a part of the overall composition but in some respects is the part that along with the far distance, looks most spontaneous in execution. The castle here is large and ruinous, or at least in a delapidated state, with the turrets and battlements broken, windows out and plants growing from the ramparts.

According to John Clerk of Eldin, Robert Adam's ambition, before joining his father William Adam's firm, was to be a landscape painter. While studying at Edinburgh University between the ages of 15 ands 17, he had "very sedulously occupied his leisure hours" at the college in sketching landscapes.1

The only surviving examples of these youthful efforts are some pen-and-ink copies of engravings after Salvator Rosa and other fashionable Old Masters. These have been described as "rather clumsy in handling though interesting as indications of a taste for the romantic and picturesque which was to remain an important though often repressed element in his style as an architect."2

Salvatore Rosa's scenes included wild landscapes with ruins and darkly imaginative themes, which seem to have appealed to the 18th century imagination.

While working on the construction of Fort George for his father the architect William Adam between 1749 and 1754, Robert Adam met and become friendly with Paul Sandby (1730-1809), a surveyor and talented draftsman, who spent much of his free time painting landscapes. His topographically accurate scenes are now well known. They had a great impact on Robert and the two became friends and painting companions. There are a number of sketches and watercolours by both from the same viewpoint. Another friend and painting and sketching companion was John Clerk of Eldin, who was also his brother-in-law and wrote a biography of Robert. Paintings of all three are usually from picturesque viewpoints, and contain many of the components of the fantasy compositions that Robert Adam continued to create for most of his life, ruined castles, cliffs, rivers and gorges. In Robert's paintings these elements are generally in strong dramatic light and various techniques are used to give them great depth.3

Adam continued painting picturesque scenes like these almost all his life. In many, the foregrounds and middle distance have the stylised quality of eighteenth century paintings, particularly the trees and rock faces. There is a striking similarity between his technique for drawing trees, and that of his painting teacher while on his Grand Tour in Italy, Charles-Louis Clerisseau. The backgrounds of these picturesque scenes, the far distance, is sketched more freely and often look very like Scottish mountain scenery. He produced a prodigious number of these watercolour paintings which he apparently kept in carefully numbered sets arranged in special albums.4 Many are now lost. He knew to them to be of value both as works of art and in the sale rooms.

In 1774 Robert and James Adam's business was nearly ruined as a result of a poor speculation - the development of a mixed housing and warehousing development in London called the Adelphi. His problems were compounded by the sudden collapse of the Scottish Banking system. At this critical juncture he gave 1000 of his "picturesque fantasies" to his sisters, so that if the financial problems did lead to bankruptcy, they would have something of value to sell to support themselves.

In fact Adam's picturesque compositions may have been more widely known in his own day than they are now. On his death in 1792, his obituary in The Gentleman's Magazine stated "His talents extended beyond the line of his own profession; he displayed in his numerous drawings in landscape a luxuriance of composition, and an effect of light and shadow, that has scarce ever been equalled".

Influence of the Picturesque Compositions on the Castle Style.

Robert Adam's love of painting and drawing imaginary romantic landscapes with castles has been cited as an important influence in the development of what we now know of as his Castle Style. It is very interesting to compare some of the designs for these castles in the paintings with those that he designed for real sites and real clients. There are many elements that are similar, arched classical window openings, triumphal arch themes, etc. The massing is a little more exaggerated in the painting. Where painting imaginary scenes, the castles are definitely designed by Robert Adam; castles of his imagination, not intended to represent actual castles.

Castles of the Imagination

Fig 2. Castle on the Bend of a River. Soane Museum Ref. 68/1/25 This painting is of a Scottish(?) glen. A large, deep and slow moving river has split and formed a rocky island in midstream. The istand is dwarfed by the vertical rock faces and cliffs on the opposite bank. The island has had two castles built on it. The older one, derelict and ruined, is on a rocky promontory behind. The newer castle, with extensive walls, is largely intact and possibly still in use. There is a visitor approaching the bridge to it on horseback and a horse and cart possibly coming away from the castle, are rounding the bend and coming into view in the foreground. From what we can see of the newer castle, it is more symmetrical in design than the old one.
The river is about to flow into a deep gorge. Here it is faster flowing and potentially dangerous, with waterfalls and cliffs. The river bank has been undermined by the water flowing below, but there are sheep grazing close by - perhaps in danger. Oblivious to them a shepherdess is turning to talk to a shepherdboy(?) who is holding a long crook(?). Beyond them, above the falls, a small skiff with three(!) sails set and a rowing boat are plying their way across the water.

It is also interesting to consider whether for Adam these paintings are landscapes that include imaginary castles as part of their composition, or whether the paintings are a medium to allow him to fantasise about, extend and devise new architectural forms, untrammelled by real considerations such as client, budget, or an actual site. Certainly the castle designs include experimental architectural forms. However, as paintings they also hold together.

Adam uses a number of techniques to structure the paintings. In particular he makes considerable use of chirascuro effects, light and dark, to add drama and often uses dramatic slanting sunbursts of light to great effect. He also uses the technique of using a screen of foliage to create distance from the viewer, thereby giving depth to the painting and directing the eye at the parts beyond in a controlled way. The scenes are quite controlled; structured and stage managed. In this way they might be considered to be "architectural". The paintings also tell us a story. In part the story seems to be about bucolic pastoral peasant life as painted in many a classical scene, though Adam does seem to have added some elements of wry humour, that may have to do with observations from real life...for example in Fig. 1, the man in the cart making his wife walk up the hill, and in Fig. 2. at least one of the sheep looks about to fall into the river, while the shepherdess, oblivious, talks to the shepherd boy.

One striking thing about many of the castles in most of these scenes is their lack of symmetry. When actually designing in the Castle Style Adam generally (with some exceptions) did everything he could to maintain a classical symmetry about the parts. Even in Culzean Castle, cited as being Adams most picturesque castle composition, "echoing the mood of many of his landscape compositions".5 he apparently abandoned symmetry very reluctantly.6 His Castle Style buildings were essentially Classical in spirit.

Other influences on both the subject of these paintings and the development of the Castle Style have quite reasonably been cited as the art works that Adam saw on his Grand Tour, as well as the real castles in Germany and Italy, Italian castellated bridges and hill top towns that he saw while travelling.

References

1. Fleming, John. Robert Adam and His Circle. John Murray Publishers Ltd. January 1962. Page 81. Quoting John Clerk of Eldin.

2. ibid, Page 81

3. Astley, Stephen. Robert Adam's Castles. Essays for the Catalogue of the 2002 Sir John Soane's Museum travelling exhibition of the same name. Pages 8-11. The Soane Gallery. 2002

4. Rowan, Alistair. Designs for Castles and Country Villas By Robert and James Adam page 12. Phaidon Prerss Ltd. 1985

5. Sanderson, Margaret H.B. Robert Adam and Scotland. Portrait of an Architect. Scottish Records Office publication. 1992

5. Harris, Eileen. The Genius of Robert Adam, His Interiors. Yale University Press. 2001. P 320.

6. ibid

Acknowledgements

Many thanks to the Sir John Soane's Museum for permission to use these two examples of Adams landscape painting for inclusion in this set on the Castle Style and to Stephen Astley, Drawings Curator at the museum, for choosing them.

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Introduction to the Castle Style

Robert Adam's Castle Style Designs

 The Sublime, Picturesque and Beautiful in C18th Thought

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Bibliography

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