I am a fairly regular visitor to Lanhydrock, an impressive Jacobean house near Truro, owned by the National Trust. However, while the house is 17th century originally, much of the house was rebuilt and redesigned, with new furniture, after a serious fire in 1881. Lord Robartes instructed architects to reconstruct the house along its original lines, keeping the traditional features of the house as well as imposing a segregation by gender, age and class on its inhabitants. The architects instructed were James MacLaren and Richard Coad; the latter was a Cornishman who had worked on Lanhydrock previously, and was supervised by George Gilbert Scott. He went into partnership with his previous apprentice, MacLaren, whose work was closely associated with the Arts and Crafts movement and whose work was to influence Rennie Mackintosh. There is much of Lanhydrock that manifests the influence of the pair; a Pugin wallpaper, Morris-inspired papers (and a spectacular green gilt ‘Sunflower’ paper which is modern but perfectly in keeping with the tone of the house). The Smoking Room has a wonderful Arts and Crafts chimney piece, dated 1883, and other small details such as Minton tiles demonstrate the incorporation of and enthusiasm for this late-Victorian aesthetic. As the guidebook notes, much of the house’s interior was influenced by Charles Eastlake, an architect trained by Philip Hardwick and a strong advocate for Morris’s medieval style. Eastlake’s book A History of the Gothic Revival (1872) has clear implications for Lanhydrock’s furnishings, and it is fascinating to see how such manuals of style influenced the creation of rooms such as those found here.
The paintings found throughout the house are often family portraits, many by outstanding painters of their day, such as Gainsborough and Joseph Wright of Derby. What particularly caught my eye, though, were works which were often less prominently displayed, but which suggest to me that someone in the house, perhaps Lord Robartes or his wife, had a particular interest in the style of painting produced by the Pre-Raphaelites. On the whole the paintings don’t include the big names of the PRB; there are no Rossettis or Burne-Joneses here, but the aesthetic is unmistakeable. There are a number of works which are untitled and for whom the artist and date are unknown, which in their colour and subject matter suggest a Pre-Raphaelite influence, and others where it is clearer. The Madonna with Attendant Angels (1901) by John Melhuish Strudwick is one of the best examples of this; Strudwick had worked as an assistant to Burne-Jones and Spencer Stanhope, and the influence of this is very clear. The painting is striking if somewhat overblown, known also as Virgin and Child, with glowing gold leaf halo; it was bought for the house by Michael Trinick, the Trust’s regional director, who perhaps had himself a penchant for Pre-Raphaelitism. Another, more obscure example, is A Girl with a Violin (1884-1896) by Henry Harewood Robinson, a St Ives based artist whose other interest was music. A young woman with long red hair in a green medieval style dress contemplatively plays a violin, surrounded by lilies; though little seems to be known of the artist the clearly implies an emulation of Pre-Raphaelite subject matter and use of colour; the painting was given to the family by the artist’s widow. Similarly, a head of Pan (1889) by the unknown C E Lawrance recalls Simeon Solomon’s poised and beautiful heads of young men; this appears to have been in the Robartes collection.
The house has a print of Millais’s infamous Bubbles, as well as two of Holman Hunt’s The Light of the World, though I don’t think either are on display, and many of the works do have a religious themes, which is unsurprising for a devout family. A painting entitled The Nativity (date unknown) is unassumingly monogrammed EP, for Evelyn Pickering, later Evelyn de Morgan, whose work, along with her husband William’s, is well-known for its Pre-Raphaelite style. This work is a beautiful, subtle monochrome work in chalk and charcoal, with the angels’ faces clearly recalling the work of Burne-Jones. Another religious painting is St Luke writing his Gospel at the Dictation of the Virgin Mary (1892) by Clement Oswald Skilbeck (1865-1954), whose name I didn’t know but whose work again appears influenced by the PRB; he was a friend of Morris and Burne-Jones, it seems, and the jewel colours of his painting, the hyper-real style coupled with the medievalised aesthetic demonstrate their influence. This, however, is one of the paintings which was bought by the National Trust in the 1970s rather than originating with the family.
The house, and its contents, are a late Victorian gem. Though much was lost in the fire, the beautiful restoration of the house and its contents captures the late Victorian aesthetic and its preoccupation with beauty, colour, morality and faith in a remarkable way. And, although this is beyond the remit of this post, it also tells us a lot about a Victorian and Edwardian way of life, in the remarkably well preserved servants quarters, the artefacts of everyday life in an enormous house, and the effective way in which the house is set up so you might believe the family could come back at any moment.
I really enjoyed this post. Thank-you, Serena.
Thank you, Simon – I appreciate it!