DOI Page / Citation link:
https://doi.org/10.11588/diglit.66024#0231
ANGELICA’S DECORATIVE WORK 131
This entry is specially interesting as it is the only instance we have been able
to discover of payment for Angelica’s decorative work, but it shows that she
was considered a competent artist in that class of art.1
Mr. Bolton, in Architecture of Robert and James Adam2 has some remarks
on the method employed by the artists of the period when decorating ceilings.
He states : “ Many of the ceiling paintings by Angelica Kauffmann and others
at this period were painted on drawing-paper and pasted in position. It was
thus possible for the lady artist to paint her decorative works in her own studio.”
The advantage of this method is obvious.
It is very likely that Angelica as a rule provided designs only and the finished
works were painted by her assistants. It is unfortunate that she did not as a
rule sign her ceiling paintings. She has, however, done so in one case, where,
at Chandos House, the medallions in the back parlour or drawing-room ceiling
are actually signed by her. This so far is the only specimen of decorative work
known to us that has even her initials upon it; in all other cases we have to rely
on tradition, travellers’ notes, or memoirs. Chandos House, a notable
example of eighteenth-century architecture, has lately passed into the possession
of the Earl of Shaftesbury. The subjects seem to be Angelica’s favourite
“ Gods and Goddesses,” and the colouring is remarkably fresh and brilliant.
The house contains other finely painted ceilings, and it may be assumed
that Angelica was responsible at any rate for the designs of all of them, if
not for the actual paintings. Chandos House was built for James, third
and last Duke of Buckingham and Chandos. The old house is well preserved
and cared for by its owners.
Perhaps one of the finest mansions decorated by Angelica was 20 St. James’s
Square, built originally for Sir Watkin Williams Wynn. This was for many
years the home of the present Duchess of York, but has now passed into the
hands of the well-known firm of estate auctioneers, Messrs. Hampton & Sons.
The ceiling of the dining-room, built originally for a music-room, and a small
room on the ground floor, are stated to be Angelica’s work, and the style is
certainly such as she adopted. The paintings in the dining room are in this
case actually painted on foolscap paper, and are her favourite classical subjects;
the centre medallion being supposed to represent the story of “ Alexander
resigning his mistress Campaspe to Apelles.” The smaller ovals surrounding
it represent the fine arts and are charming in design and colour.
Brewer, in his Dictionary of Phrase and Fable, states that Campaspe was
handed over by Alexander to Apelles, who drew her-
“ Cupid and my Campaspe played
At cards for kisses : Cupid paid.”—J. Lylye.
The episode was a favourite theme with Angelica, and T. Burke engraved it
in stipple.
1 Sir Joshua’s figure of “ Theory ” is still to be seen at Burlington House.
2 Vol. I, p. 286.
This entry is specially interesting as it is the only instance we have been able
to discover of payment for Angelica’s decorative work, but it shows that she
was considered a competent artist in that class of art.1
Mr. Bolton, in Architecture of Robert and James Adam2 has some remarks
on the method employed by the artists of the period when decorating ceilings.
He states : “ Many of the ceiling paintings by Angelica Kauffmann and others
at this period were painted on drawing-paper and pasted in position. It was
thus possible for the lady artist to paint her decorative works in her own studio.”
The advantage of this method is obvious.
It is very likely that Angelica as a rule provided designs only and the finished
works were painted by her assistants. It is unfortunate that she did not as a
rule sign her ceiling paintings. She has, however, done so in one case, where,
at Chandos House, the medallions in the back parlour or drawing-room ceiling
are actually signed by her. This so far is the only specimen of decorative work
known to us that has even her initials upon it; in all other cases we have to rely
on tradition, travellers’ notes, or memoirs. Chandos House, a notable
example of eighteenth-century architecture, has lately passed into the possession
of the Earl of Shaftesbury. The subjects seem to be Angelica’s favourite
“ Gods and Goddesses,” and the colouring is remarkably fresh and brilliant.
The house contains other finely painted ceilings, and it may be assumed
that Angelica was responsible at any rate for the designs of all of them, if
not for the actual paintings. Chandos House was built for James, third
and last Duke of Buckingham and Chandos. The old house is well preserved
and cared for by its owners.
Perhaps one of the finest mansions decorated by Angelica was 20 St. James’s
Square, built originally for Sir Watkin Williams Wynn. This was for many
years the home of the present Duchess of York, but has now passed into the
hands of the well-known firm of estate auctioneers, Messrs. Hampton & Sons.
The ceiling of the dining-room, built originally for a music-room, and a small
room on the ground floor, are stated to be Angelica’s work, and the style is
certainly such as she adopted. The paintings in the dining room are in this
case actually painted on foolscap paper, and are her favourite classical subjects;
the centre medallion being supposed to represent the story of “ Alexander
resigning his mistress Campaspe to Apelles.” The smaller ovals surrounding
it represent the fine arts and are charming in design and colour.
Brewer, in his Dictionary of Phrase and Fable, states that Campaspe was
handed over by Alexander to Apelles, who drew her-
“ Cupid and my Campaspe played
At cards for kisses : Cupid paid.”—J. Lylye.
The episode was a favourite theme with Angelica, and T. Burke engraved it
in stipple.
1 Sir Joshua’s figure of “ Theory ” is still to be seen at Burlington House.
2 Vol. I, p. 286.