The ceiling of the Central Hall consists of six rows of painted panels, three on each side of the roof's apex. Above the landing at the southern end of the building, the ceiling is divided into nine-panel blocks. The uppermost three panels in each block consist of what Waterhouse termed "archaic" panels, depicting stylised plants on a green background. Each of the lower six panels in each block depicts a plant considered of particular significance to the British Empire, against a pale background. Above the remainder of the Central Hall the archaic panels remain in the same style, but each set of six lower panels depicts a single plant, spreading across the six panels and against the same pale background; these represent plants considered of particular significance either to visitors, or to the history of the museum.
Introduction
Ceilings of the Natural History Museum, London
Ceilings of the Natural History Museum, London | Introduction
The central hall depicts plants considered significant to the history of the museum, o the British Empire and the smaller North Hall depicts plants growing in the British Isles. Fruits and flowers. plants growing in the British Isles. Plants considered significant to the history of the museum, to the British Empire or the museum's visitors and highly stylized decorative botanical paintings
who designed the ceilings of the natural history museum in london?
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Alfred Waterhouse
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what drawings do those depict?
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The design was intended to draw the viewer's eye upwards, and to give the impression that the plants are growing.
Ceilings of the Natural History Museum, London | Main ceiling
Records do not survive of how the plants to be represented were chosen and who created the initial designs. Knapp & Press (2005) believe that it was almost certainly Waterhouse himself, likely working from specimens in the museum's botanical collections, while William T. Stearn, writing in 1980, believes that the illustrations were chosen by botanist William Carruthers, who at the time was the museum's Keeper of Botany. To create the painted panels from the initial cartoons, Waterhouse commissioned Manchester artist Charles James Lea of Best & Lea, with whom he had already worked on Pilmore Hall in Hurworth-on-Tees. Waterhouse provided Lea with a selection of botanical drawings, and requested that Lea "select and prepare drawings of fruits and flowers most suitable and gild same in the upper panels of the roof"; it is not recorded who drew the cartoons for the paintings, or how the species were chosen.
Ceilings of the Natural History Museum, London | Central Hall
Between the main entrance and the landing of the main staircase, the lower two rows of panels all have a pale cream background, intended to draw the viewer's attention to the plant being illustrated; each plant chosen was considered significant either to visitors, or to the museum itself. Each block of three columns depicts a different species, but all have a broadly similar design. The central column in the lowest row depicts the trunk or stalk of the plant in question, while the panels on either side and the three panels of the row above depict the branches of the plant spreading from the lower central panel.
Ceilings of the Natural History Museum, London | Main ceiling
The ceiling of the smaller North Hall comprises just four rows of panels. The two uppermost rows are of a simple design of heraldic symbols of the then constituent countries of the United Kingdom; each panel in the lower two rows depicts a different plant found in Britain or Ireland, in keeping with the room's intended purpose as a display of British natural history.
Ceilings of the Natural History Museum, London | Introduction
The ceiling of the smaller North Hall consists of 36 panels, 18 of which depict plants growing in the British Isles. Painted directly onto the plaster of the ceilings, they also make use of gilding for visual effect. The natural history collections had originally shared a building with their parent institution the British Museum, but with the expansion of the British Empire there was a significant increase in both public and commercial interest in natural history, and in the number of specimens added to the museum's natural history collections. In 1860 it was agreed that a separate museum of natural history would be created in a large building, capable of displaying the largest specimens, such as whales.
Ceilings of the Natural History Museum, London | Introduction
During the construction of the building Waterhouse had been under intense pressure from the trustees to cut costs, and consequently was forced to abandon his proposed wooden ceiling. Instead, beneath a slate roof, the ceilings were constructed of lath and plaster. The ribs that frame the panels were reinforced with animal hair, but the panels themselves were not reinforced. As a consequence, the ceiling panels are unusually susceptible to vibration and to expansion and contraction caused by temperature variations. The elaborate nature of the building's design means that its roof slopes at multiple angles, with numerous gutters and gullies, all of which are easily blocked by leaves and wind-blown detritus.
Ceilings of the Natural History Museum, London | Deterioration, restoration and conservation
The ceilings of the Natural History Museum are a pair of decorated ceilings in the main Central Hall (officially Hintze Hall since 2014) and smaller North Hall of the Natural History Museum in South Kensington, London, unveiled at the building's opening in 1881. They were designed by the museum's architect Alfred Waterhouse and painted by the artist Charles James Lea. The ceiling of the Central Hall consists of 162 panels, 108 of which depict plants considered significant to the history of the museum, to the British Empire or the museum's visitors and the remainder are highly stylised decorative botanical paintings.
Ceilings of the Natural History Museum, London | Introduction
Knapp & Press (2005) speculate that the apparent lack of public interest in the design of the ceiling could be owing to the prevalence of William Morris's ornate floral wallpaper and fabric designs rendering the decorations of the ceiling less unusual to Victorian audiences than might be expected.
Ceilings of the Natural History Museum, London | After completion
As with the rest of the Hall, the ceiling is still divided into blocks of nine panels. The archaic panels still run the full length, providing a thematic and visual connection with the rest of the ceiling. The six lower panels of each set do not depict a single plant spreading across each set of panels; instead, each of the 36 panels in the lower two rows depicts a different plant. These each represent a plant considered of particular significance to the British Empire.
Ceilings of the Natural History Museum, London | South landing
The ceiling of the Central Hall consists of six rows of painted panels, three on each side of the roof's apex. Above the landing at the southern end of the building, the ceiling is divided into nine-panel blocks. The uppermost three panels in each block consist of what Waterhouse termed "archaic" panels, depicting stylised plants on a green background. Each of the lower six panels in each block depicts a plant considered of particular significance to the British Empire, against a pale background. Above the remainder of the Central Hall the archaic panels remain in the same style, but each set of six lower panels depicts a single plant, spreading across the six panels and against the same pale background; these represent plants considered of particular significance either to visitors, or to the history of the museum.
Ceilings of the Natural History Museum, London | Introduction
Waterhouse and Lea's design for the ceiling is based on a theme of growth and power. From the skylights on each side, three rows of panels run the length of the main hall, with the third, uppermost rows on each side meeting at the apex of the roof. The two lower rows are divided into blocks of six panels apiece, each block depicting a different plant species. Plants spread their branches upwards towards the apex, representing the theme of growth. The supporting girders of the ceiling are spaced at every third column of panels, dividing the panels into square blocks of nine; the girders are an integral part of the design, designed to be barely visible from the ground but highly visible from the upper galleries, representing industry working with nature.
Ceilings of the Natural History Museum, London | Main ceiling
(Wales was not represented, as in this period it was considered a part of England.) In keeping with Owen's intent that the room be used for a display on the topic of the British Isles, the nine lower panels on each side each illustrate a different plant found in Britain or Ireland. The plants depicted were chosen to illustrate the variety of plant habitats in the British Isles. Uniquely in the building, the ceiling panels of the North Hall make use of silver leaf as well as gilt. (During conservation work in 2016 it was found that initially some panels in the Central Hall had also made use of silver leaf, but the silver sections had subsequently been overpainted with ochre.) The style of illustration is similar to that of those over the south landing, but instead of the pale backgrounds of the main ceiling and the panels above the landing, the illustrations in the North Hall are set against a dark green background; Waterhouse's intent was that the darker colour scheme would create an intimate feel by making the ceiling appear lower.
Ceilings of the Natural History Museum, London | North Hall
The lowest of the beams, separating the panels from the skylights, is painted deep burgundy and is labelled with the scientific name of the plant depicted in the panels above; the names are flanked with a motif of gilt dots and highly stylised roses. At Owen's request, the plants were labelled with their binomial names rather than their English names, as he felt this would serve an educational purpose to visitors. Other than on the outermost edges of the panels at the two ends of the hall, each set of nine panels is flanked alongside the girders by an almost abstract design of leaves; these decorations continue along the space between the skylights and the girders to reach the terracotta walls below, providing a visible connection between the walls and the ceiling designs.
Ceilings of the Natural History Museum, London | Main ceiling
The superintendent of the natural history departments, Richard Owen, envisaged that visitors would enter a large central hall containing what he termed an "index collection" of representative exhibits, from which other galleries would radiate, and a smaller hall to the north would display the natural history of the British Isles. Waterhouse's Romanesque design for the museum included decorative painted ceilings. Acton Smee Ayrton, the First Commissioner of Works, refused to permit the decoration of the ceilings on grounds of cost, but Waterhouse convinced him that provided the painting took place while the scaffolding from the museum's construction was still in place it would incur no extra cost; he further managed to convince Ayrton that the ceiling would be more appealing if elements of the paintings were gilded.
Ceilings of the Natural History Museum, London | Introduction
Best & Lea agreed a fee of £1975 (about £ in 2020 terms) for the work. How the panels were painted is not recorded, but it is likely Lea painted directly onto the ceiling from the scaffolding.
Ceilings of the Natural History Museum, London | Central Hall
In 1823 Robert Smirke was hired to design a replacement building, the first parts of which opened in 1827 and which was completed in the 1840s.
Ceilings of the Natural History Museum, London | Background
The panels are arranged in blocks of nine. The two central, uppermost rows (55–108) constitute the archaic panels. Of the outer two rows, in the six blocks at the southern end of the hall above the landing and the main entrance (1–18 and 109–126) each panel depicts a different plant considered of particular significance to the British Empire, while the twelve six-panel blocks above the main hall (19–54 and 127–162) each depict a single plant considered of particular importance to visitors or to the history of the museum, spreading across six panels.
Ceilings of the Natural History Museum, London | Central Hall panels
As a consequence, it posed a difficulty to Waterhouse's plans to decorate the building. As the skylights were lower than the ceiling the roof was in relative darkness compared to the rest of the room, and owing to the routes to be taken by visitors, the design needed to be attractive when viewed both from the floor below, and from the raised balconies to the each side. To address this, Waterhouse decided to decorate the ceiling with painted botanical panels. Acton Smee Ayrton, the First Commissioner of Works, was hostile to the museum project, and sought to cut costs wherever possible; he disliked art, and felt that it was his responsibility to restrain the excesses of artists and architects.
Ceilings of the Natural History Museum, London | Central Hall
The ceiling of the balconies flanking the Central Hall are also decorated, albeit to a far more simple design. The ceilings are painted with a stencilled motif of square panels, each containing a small illustration of a different plant or animal. All the birds and insects from the archaic panels are included; the panels also feature cacti, cockatoos, crabs, daisies, fish, hawks, lizards, octopuses, pinecones, pomegranates, snails and snakes. The ceilings of the lobbies at the northern end of each balcony—originally the entrances to the museum's refreshment room—are each decorated with a single large panel of stencilled birds, insects, butterflies and paterae.
Ceilings of the Natural History Museum, London | Balconies
Unlike the six-panel sets the archaic panels are not labelled, and while some plants on the archaic panels are recognisable others are stylised beyond recognition. No records survive of how Waterhouse and Lea selected the designs for the archaic panels, or on from which images they were derived. Owing to the flattened nature of the designs, it is possible that they were based on pressed flowers in the museum's herbarium, or on illustrations in the British Museum's collection of books on botany. Some of the archaic panels appear to be simplified versions of the illustrations in Nathaniel Wallich's book "Plantae Asiaticae Rariores".
Ceilings of the Natural History Museum, London | Archaic panels
Waterhouse's design was a Romanesque scheme, loosely based on German religious architecture; Owen was a leading creationist, and felt that the museum served a religious purpose in displaying the works of God. The design was centred around a very large rectangular central hall and a smaller hall to the north. Visitors would enter from the street into the Central Hall, which would hold what Owen termed an "index collection" of typical specimens, intended to serve as an introduction to the museum's collections for those unfamiliar with natural history. Extended galleries were to radiate to the east and west from this central hall to form the south face of the museum, with further galleries to the east, west and north to be added when funds allowed to complete a rectangular shape.
Ceilings of the Natural History Museum, London | Waterhouse's building
Above the six-panel sets and adjacent to the apex of the roof lie the top rows of panels. These panels, called the "archaic" panels by Waterhouse, are of a radically different design to those below. Each panel is surrounded by gilded strips and set against a dark green background, rather than the pale cream of the six-panel sets; the archaic panels also continue beyond the six panel sets and over the landing of the main staircase, to run the full length of the Central Hall. The archaic panels depict flattened, stylised plants in pale colours with gilt highlighting, sometimes accompanied by birds, butterflies and insects.
Ceilings of the Natural History Museum, London | Archaic panels
The girders themselves are based on 12th-century German architecture. Each comprises a round arch, braced with repeating triangles to create a zig-zag pattern. Within each upward-facing triangle is a highly stylised gilded leaf; the six different leaf designs repeat across the length of the hall. Running perpendicular to the girders—i.e., along the length of the hall—are seven iron support beams. The topmost of these forms the apex of the roof, and the next beam down on each side, separating the topmost from the middle row of panels, is painted with a geometric design of cream and green rectangles. The next beam down on each side, separating the middle from the lowest row of panels, is decorated in the same shades of cream and green, but this time with a design of green triangles pointing upwards.
Ceilings of the Natural History Museum, London | Main ceiling
Unlike the cavernous, intentionally cathedral-like feel of the main space of the Central Hall, the ceiling of the landing above the main entrance, connecting the balconies to the upper level, has a different design. Instead of the exposed and decorated iron girders of the main space, the structural girders of this end of the building are faced in the same terracotta style as the building's walls. As the structure of the landing and staircases meant that the ceiling at this end of the room was not clearly visible from the ground floor, there was less of a need to make the designs appear attractive from far below; instead, the design of this stretch of the ceiling was intended to be viewed from a relatively close distance.
Ceilings of the Natural History Museum, London | South landing
Although the terracotta decorations of the museum do contain some botanical motifs, most of the decor of the building with the exception of the ceiling depicts animals, with extinct species depicted on the east wing and extant species on the west. A statue of Adam originally stood between the two wings over the main entrance, celebrating humanity as the peak of creation, but was dislodged during the Second World War and not replaced. Much was written at the time of the museum's opening about the terracotta decorations of the museum, but very little was written about how the ceiling was received.
Ceilings of the Natural History Museum, London | After completion
Archways flanking the northern staircase to the balcony level lead to the North Hall, intended by Owen for a display of the natural history of the United Kingdom. Waterhouse designed a ceiling for the North Hall representing this theme. As with the Central Hall, this ceiling comprises rows of panels above a long skylight along each side of the room; there are two rows per side rather than three, and nine panels on each row. Unlike the archaic panels in the top row of the Central Hall, the upper rows on each side consist of plain green panels, each containing a heraldic rose, thistle or shamrock in representation of England, Scotland and Ireland, the three nations then constituting the constituent parts of the United Kingdom.
Ceilings of the Natural History Museum, London | North Hall
There are two rows of nine panels apiece on each side of the apex. The central (highest) rows on each side consist of plain green panels, each containing a heraldic rose, thistle or shamrock in representation of England, Scotland and Ireland, the three nations then constituting the United Kingdom. The nine lower panels on each side each illustrate a different plant found in Britain or Ireland.
Ceilings of the Natural History Museum, London | North Hall panels
Having already insisted that Waterhouse's original design for wooden ceilings and a lead roof be replaced with cheaper plaster and slate, Ayrton vetoed Waterhouse's plan to decorate the ceiling. Waterhouse eventually persuaded Ayrton that provided the ceiling were decorated while the scaffolding from its construction remained in place, a decorated ceiling would be no more expensive than a plain white one. He prepared two sample paintings of the pomegranate and magnolia for Ayrton, who approved £1435 (about £ in 2020 terms) to decorate the ceiling. Having obtained approval for the paintings, Waterhouse managed to convince Ayrton that the paintings' appeal would be enhanced if certain elements were gilded.
Ceilings of the Natural History Museum, London | Central Hall
(It was reported that when the Royal Commission on Scientific Instruction asked Owen how much space would be needed, he replied "I shall want space for seventy whales, to begin with".) In October 1861 Owen gave William Ewart Gladstone, the newly appointed Chancellor of the Exchequer, a tour of the cramped natural history departments of the British Museum, to demonstrate how overcrowded and poorly lit the museum's galleries and storerooms were, and to impress on him the need for a much larger building. After much debate over a potential site, in 1864 the site formerly occupied by the 1862 International Exhibition in South Kensington was chosen.
Ceilings of the Natural History Museum, London | Plans for a Natural History building
One of the last parts of the initial museum to be completed, the display of British natural history in the North Hall was somewhat arbitrary, and did not reflect Owen's original intentions. Stuffed native animals such as birds and rats were exhibited, alongside prize-winning racehorses, common domesticated animals such as cows and ducks, and an exhibit on commonly grown crops and garden vegetables and on the control of insects. The display was unsuccessful, and was later removed, with the North Hall used as a space for temporary exhibitions before eventually becoming the museum's cafeteria.
Ceilings of the Natural History Museum, London | North Hall
However, he decided that it would diminish the significance of his new museum were it not to cover the whole of nature, and when the Royal Commission on Scientific Instruction was convened in 1870 to review the national policy on scientific education Owen successfully lobbied for the museum to retain its botanical collections. In 1873 construction finally began on the new museum building.
Ceilings of the Natural History Museum, London | Plans for a Natural History building
In addition to the collection at the RIBA, the Natural History Museum holds a significant quantity of drawings by Waterhouse relating to the design of the terracotta sculpture on the building. The 136 pages of drawings are bound together in two volumes and cover the period 1874 to 1878. The subject matter is not just flora, insects, fish, lizards, snakes and animals, some of extinct species, but ornament as well. Extinct species decorated the eastern side of the building internally and externally, living species likewise decorated the western half of the building as well as the North Hall and Main Hall.
Alfred Waterhouse | The Waterhouse drawings collection
As such, during periods of heavy rainfall water often penetrates the slate roof and reaches the fragile plaster ceiling. In 1924 and 1975, the museum has been obliged to repair and restore the ceilings owing to water damage. The height of the Central Hall ceiling made this a complicated and expensive process, requiring floor-to-ceiling scaffolding across the length and width of the Central Hall. The need to avoid damage to the fragile mosaic flooring and the terracotta tiling on the walls caused further difficulty in erecting the scaffolding. The exact nature and the cost of the repairs conducted in 1924 and 1975 is unknown, as is the identity of the restorers, as the relevant records have been lost, although it is known that cracks in the ceiling were filled with plaster and the paintwork and gilding retouched; it is possible that some of the panels were replaced entirely.
Ceilings of the Natural History Museum, London | Deterioration, restoration and conservation
Francis Fowke, who had designed the buildings for the International Exhibition, was commissioned to build Owen's museum. In December 1865 Fowke died, and the Office of Works commissioned little-known architect Alfred Waterhouse, who had never previously worked on a building of this scale, to complete Fowke's design. Dissatisfied with Fowke's scheme, in 1868 Waterhouse submitted his own revised design, which was endorsed by the trustees. Owen, who considered animals more important than plants, was unhappy with the museum containing botanical specimens at all, and during the negotiations that led to the new building supported transferring the botanical collections to the new Royal Botanic Gardens at Kew to amalgamate the national collections of living and preserved plants.
Ceilings of the Natural History Museum, London | Plans for a Natural History building
In 1858 a group of 120 leading scientists wrote to Benjamin Disraeli, at the time the Chancellor of the Exchequer, complaining about the inadequacy of the existing building for displaying and storing the natural history collections. In January 1860, the trustees of the museum approved Owen's proposal. (Only nine of the British Museum's fifty trustees supported Owen's scheme, but 33 trustees failed to turn up to the meeting. As a consequence, Owen's plan passed by nine votes to eight.) Owen envisaged a huge new building of for the natural history collections, capable of exhibiting the largest specimens. Owen felt that exhibiting large animals would attract visitors to the new museum; in particular, he hoped to collect and display whole specimens of large whales while he still had the opportunity, as he felt that the larger species of whale were on the verge of extinction.
Ceilings of the Natural History Museum, London | Plans for a Natural History building
Other collectors continued to sell, donate or bequeath their collections to the museum, and by 1807 it was clear that Montagu House was unable to accommodate the museum's holdings. In 1808–09, in an effort to save space, the newly appointed keeper of the natural history department George Shaw felt obliged to destroy large numbers of the museum's specimens in a series of bonfires in the museum's gardens. The 1821 bequest of the library of 60,000 books assembled by George III forced the trustees to address the issue, as the bequest was on condition that the collection be displayed in a single room, and Montagu House had no such room available.
Ceilings of the Natural History Museum, London | Background
Uniquely for the time, Waterhouse's building was faced inside and out with terracotta, the first building in England to be so designed; although expensive to build, this was resistant to the acid rain of heavily polluted London, allowed the building to be washed clean, and also allowed it to be decorated with intricate mouldings and sculptures. A smaller North Hall, immediately north of the Central Hall, would be used for exhibits specifically relating to British natural history. On 18 April 1881 the new British Museum (Natural History) opened to the public. As relocating exhibits from Bloomsbury was a difficult and time-consuming process, much of the building remained empty at the time the museum opened.
Ceilings of the Natural History Museum, London | Waterhouse's building
As well as being large, the Central Hall was to be very high, rising the full height of the building to a plaster-lined mansard roof, with skylights running the length of the hall at the junction between the roof and the wall. A grand staircase at the northern end of the hall, flanked by archways leading to the smaller North Hall, led to balconies running almost the full length of the hall to a staircase which in turn led to a large landing above the main entrance, such that a visitor entering the hall would walk the full length of the floor of the hall to reach the first staircase, and then the full length of the balcony to reach the second.
Ceilings of the Natural History Museum, London | Central Hall
By the time of Owen's appointment, the collections of the natural history departments had increased tenfold in size in the preceding 20 years, and the museum was again suffering from a chronic lack of space. There had also long been criticism that because of the varied nature of its displays the museum was confusing and lacked coherence; as early as 1824 Sir Robert Peel, the Home Secretary, had commented that "what with marbles, statues, butterflies, manuscripts, books and pictures, I think the museum is a farrago that distracts attention". Owen proposed that the museum be split into separate buildings, with one building to house the works of Man (art, antiquities, books and manuscripts) and one to house the works of God (the natural history departments); he argued that the expansion of the British Empire had led to an increased ability to procure specimens, and that increased space to store and display these specimens would both aid scholarship, and enhance Britain's prestige.
Ceilings of the Natural History Museum, London | Plans for a Natural History building
During the Second World War, South Kensington was heavily bombed. The north, east, south and west of the building sustained direct bomb hits; the east wing in particular suffered severe damage and its upper floor was left a burned-out shell. The bombs missed the centre of the museum, leaving the fragile ceilings of the Central and North Halls undamaged. Since the 1975 restoration the ceiling once more began to deteriorate, individual sections of plaster becoming unkeyed (detached from their underlying laths), paintwork peeling from some panels, and the delicate plasterwork cracking. The ends of the Central Hall suffered the worst deterioration, with some cracks above the landing and the northern end of the hall becoming large enough to be visible to the naked eye, while the gilding in the North Hall became gradually tarnished.
Ceilings of the Natural History Museum, London | Deterioration, restoration and conservation
The paper used was normally European paper framed by a blue frame while some have no frames at all suggesting there are two artist.
William Farquhar Collection of Natural History Drawings | Introduction
With more space for displays and able to accommodate large numbers of visitors, the new British Museum proved a success with the public, and the natural history department proved particularly popular. Although the museum's management had traditionally been dominated by classicists and antiquarians, in 1856 the natural history department was split into separate departments of botany, zoology, mineralogy and geology, each with their own keeper and with botanist and palaeontologist Richard Owen as superintendent of the four departments. By this time the expansion of the British Empire had led to an increased appreciation of the importance of natural history on the part of the authorities, as territorial expansion had given British companies access to unfamiliar species, the commercial possibilities of which needed to be investigated.
Ceilings of the Natural History Museum, London | Plans for a Natural History building
Due to the variable quality of work done by some artists, some drawings have proved difficult to identify. Nonetheless, botanists have identified some of these problematic drawings, one a drawing of a male Raffles's malkoha in which the breast is too yellow. Others which have yet to be identified include a drawing of a climber similar to "Smilax". Plate 29 of the collection inscription reads "Soogow", probably a misspelling of "saga". However, the drawing shows little resemblance to the latter. Historians suggest that many of the backdrops of the drawings were copied from drawing manuals. One such example is a drawing of the greater mousedeer, the background of which shows a leafless climber attached to a rock.
William Farquhar Collection of Natural History Drawings | Controversy
Other institutions have holdings of Waterhouse drawings: the Public Record Office have drawings for the Natural History Museum; the Victoria and Albert Museum holds several of his perspective drawings; Manchester School of Architecture have drawings and perspectives of Manchester Town Hall and some of his other buildings; Balliol College, Oxford, drawings for his work at the College; The Waterhouse family still own some of his drawings, sketches and watercolours.
Alfred Waterhouse | The Waterhouse drawings collection
All the spaces on the cream background are filled with illustrations imitating the original maiolica style, featuring stylised goats and fauns, cornucopia, grapes, birds and flowers, but also angels and putti in the centre. The decoration around the edge has a Green Man.
Bankfield Museum | Ceiling
The library was originally also the smoking room, so it is surprising that the original painted ceiling has survived and could be fully restored. The ceiling is heavily painted, gilded and sculptured in an eclectic manner, taking its general design from classical sources. The background is cream, but there is much use of Pompeiian red, an earth colour which gained popularity in Victorian England after the renewed excavations by Giuseppe Fiorelli in 1860. Small panels feature clearly painted classical motifs and portraits with distressed backgrounds, to look like pieces of ancient frescoes. Four medallions show the named poets Shakespeare, Milton, Chaucer and Tennyson, all admired by the Romantics.
Bankfield Museum | Ceiling
All the ground floor galleries open to the south off an east-west corridor that links them to the Main Hall. Leading off the corridors are links to the ground floor galleries along the Museum's main facade.
Alfred Waterhouse | Natural History Museum
The space these would have occupied are now taken by the Earth Galleries and Darwin Centre. Work began in 1873 and was completed in 1880. The new museum opened in 1881, although the move from the old museum was not fully completed until 1883. Both the interiors and exteriors of the Waterhouse building make extensive use of architectural terracotta tiles to resist the sooty atmosphere of Victorian London, manufactured by the Tamworth-based company of Gibbs and Canning Limited. The tiles and bricks feature many relief sculptures of flora and fauna, with living and extinct species featured within the west and east wings respectively.
Natural History Museum, London | Planning and architecture of new building
The central atrium design by Neal Potter overcame visitors' reluctance to visit the upper galleries by "pulling" them through a model of the Earth made up of random plates on an escalator. The new design covered the walls in recycled slate and sandblasted the major stars and planets onto the wall. The museum's 'star' geological exhibits are displayed within the walls. Six iconic figures were the backdrop to discussing how previous generations have viewed Earth. These were later removed to make place for a "Stegosaurus" skeleton that was put on display in late 2015.
Natural History Museum, London | Geological Museum
Farmer & Brindley were favoured for sculpture, working on nearly one hundred of Waterhouses's buildings, including a tombstone in West Norwood Cemetery, the pulpit in Stanmore Church and the extensive carving on Eaton Hall, plus all the models for the terracotta decoration on the Prudential Assurance buildings. The ceiling of the Great Hall, at the Natural History Museum, is decorated with paintings of plants from across the world, the paintings are executed in a subdued palette and with gilding for highlights, the individual panels have the Latin name of the plant below. Designed by Waterhouse the ceiling was painted by Best & Lea of John Dalton Street, Manchester.
Alfred Waterhouse | Artists, suppliers and sub-contractors
Report by C. Davies Sherborn and J. Hartley Durrant. 1 March 1911. Note: The drawings were shortly thereafter withdrawn from sale and given to the British Museum. As of January 2018, of the known, surviving bound sets, that held by the Natural History Museum, London (subscribed for by the Earl of Sheffield) originally comprised second edition versions of parts 1 - 30 but was corrected some time prior to 1911 by the separate acquisition of a first edition of Volume I. The set belonging to the Linnaen Society is all good except that it contains a number of uncoloured illustrations.
British Entomology | Surviving copies
On 7 June 1753 the British Museum Act 1753 was passed, authorising the unification of the three collections as the British Museum and establishing the national lottery to fund the purchase of the collections and to provide funds for their maintenance. The trustees settled on Montagu House in Bloomsbury as a home for the new British Museum, opening it to the public for the first time on 15 January 1759. With the British Museum now established numerous other collectors began to donate and bequeath items to the museum's collections, which were further swelled by large quantities of exhibits brought to England in 1771 by the first voyage of James Cook, by a large collection of Egyptian antiquities (including the Rosetta Stone) ceded by the French in the Capitulation of Alexandria, by the 1816 purchase of the Elgin Marbles by the British government who in turn passed them to the museum, and by the 1820 bequest of the vast botanical collections of Joseph Banks.
Ceilings of the Natural History Museum, London | Background
Originating from collections within the British Museum, the landmark Alfred Waterhouse building was built and opened by 1881 and later incorporated the Geological Museum. The Darwin Centre is a more recent addition, partly designed as a modern facility for storing the valuable collections.
Natural History Museum, London | Introduction
Some scholars query this, as mousedeer do not live in such rocky habitats. This suggests that either the artists did not visit the habitat of the subject, or, if they did, that they were not particularly observant. In the book Natural History Drawings: The Complete William Farquhar Collection, Malay Peninsula 1803–1818 an article by Kwa Chong Guan suggest that there were two artist, one usually frames his works as seen in the illustration of the durian and one who does the opposite of the latter. Usually, the artist who draws a frame around his work does show fungi like shaped rocks while the other takes the rocks in its own natural form also the artist who draw frames usually has drawings of trees with its roots spread out while the other has its roots in a clenched like manner.
William Farquhar Collection of Natural History Drawings | Controversy
Markwick provided the natural history illustrations for some of his works, both zoological and botanical.
William Markwick | Illustrations
The works were published in two volumes, the first being,"The William Farquhar Collection of Natural History Drawings", published in 1999 showing 141 of these illustrations. A second version containing prints of all 477 works in the Farquhar collection was published by Editions Didier Millet and the National Museum of Singapore in 2010.
William Farquhar Collection of Natural History Drawings | Books
The earliest pictorial record of a natural history cabinet is the engraving in Ferrante Imperato's "Dell'Historia Naturale" (Naples 1599) ("illustration, left"). It serves to authenticate its author's credibility as a source of natural history information, in showing his open bookcases at the right, in which many volumes are stored lying down and stacked, in the medieval fashion, or with their spines upward, to protect the pages from dust. Some of the volumes doubtless represent his herbarium. Every surface of the vaulted ceiling is occupied with preserved fishes, stuffed mammals and curious shells, with a stuffed crocodile suspended in the centre.
Cabinet of curiosities | History
Following his death on 11 January 1753, Sloane stipulated that his collection—by this time filling two large houses—was to be kept together for the public benefit if at all possible. The collection was initially offered to King George II, who was reluctant to meet the £20,000 (about £ in 2020 terms) purchase cost stipulated in Sloane's will. Parliament ultimately agreed to establish a national lottery to fund the purchase of Sloane's collection and the Harleian Library which was also currently for sale, and to unite them with the Cotton library, which had been bequeathed to the nation in 1702, to create a national collection.
Ceilings of the Natural History Museum, London | Background
Irish physician Hans Sloane was born in 1660, and since childhood had a fascination with natural history. In 1687 Sloane was appointed personal doctor to Christopher Monck, the newly appointed Lieutenant Governor of Jamaica, and lived on that island until Monck died in October 1688. During his free time in Jamaica Sloane indulged his passion for biology and botany, and on his return to London brought with him a collection of plants, animal and mineral specimens and numerous drawings and notes regarding the local wildlife, which eventually became the basis for his major work "A Voyage to the Islands , Barbados, Nieves, S.
Ceilings of the Natural History Museum, London | Background
Among the paintings decorating the walls and ceilings of the building are those of Benjamin West and Angelica Kauffman, in the entrance hall (Hutchison 1968, p. 153), moved from the previous building at Somerset House. In the centre is West's roundel "The Graces unveiling Nature" c. 1779, surrounded by panels depicting the elements, Fire, Water, Air and Earth. At each end are mounted two of Kauffman's circular paintings, "Composition" at the West end, and "Painting or Colour" and "Genius or Invention" at the East end.
Royal Academy of Arts | Wall and ceiling paintings
He produced thousands of insect illustrations, as well as several sets of bird illustrations. The majority are preserved in the Natural History Museum, London, the British Museum and Houghton Library at Harvard University. Other repositories of his drawings include Johns Hopkins University, University of South Carolina, Emory University, and the Alexander Turnbull Library. Some have been dispersed following various auctions that included his drawings. The bird and insect specimens that he collected were sent to Britain and Europe, but a certain number were lost at sea, which discouraged him. He nonetheless continued to collect and paint specimens until at least 1835.
John Abbot (entomologist) | Legacy
This explicit separation was at the request of Owen, and has been seen as a statement of his contemporary rebuttal of Darwin's attempt to link present species with past through the theory of natural selection.
Natural History Museum, London | Planning and architecture of new building
The British Architectural Library Drawings Collection has a number of his perspective drawings produced for Royal Academy exhibitions and an incomplete collection of his sketchbooks, photographs and papers. Other documents remain in the possession of his descendants, but he disposed of the majority of his drawings during the Second World War. A bronze bust of Blomfield by Sir William Reid Dick is in the National Portrait Gallery.
Reginald Blomfield | Archival materials
Nevertheless, mankind stands in the center of these events: a man, wrapped in a red cloth, holds an hourglass (presumably an allusion to Chronos, the god of time).
Natural History Museum, Vienna | Ceiling painting
Between 1819 and 1823 Farquhar commissioned unidentified Chinese artists to illustrate local flora and fauna. This project resulted in 477 watercolours of plants, mammals, birds, reptiles, fish and insects found in Malacca and Singapore. These paintings played a pivotal role in revealing the region's biodiversity to Western naturalists, and are interesting in their blending of the stylised oriental manner with the realism of western art. "The William Farquhar Collection of Natural History Drawings", showing 141 of these illustrations, was published in 1999. A volume containing prints of all 477 works in the Farquhar collection was published by Editions Didier Millet and the National Museum of Singapore in 2010.
William Farquhar | Natural history drawings
He has is known for his aerial views. These pictures are based on a map or plan, which were put into perspective, and elevations of buildings were drawn on this perspective plan. Heights of trees and the rise and fall of the land were estimated and added. The pictures required a great deal of research – for instance, a view of Norwich in the time of Richard I was the result of much consultation with archaeologists about the (now often vanished) churches, the layout of the streets and so on. This picture now hangs in Norwich City Hall. A view of the channel tunnel workings at Shakespeare Cliff near Dover was actually commissioned by the V&A Museum during the time of the construction of the Tunnel and is now in the V&A collection.
Richard Sorrell | Work
The ceiling consists of panels painted with the arms of the university.
Duke Humfrey's Library | History
The Main Hall has a gallery at first floor level running down both its flanks, that links the two parts of the main staircases. Immediately north of the Main Hall is the North Hall. Although Romanesque in style, the drama is more akin to Baroque architecture. The front part of the building has three floors of public galleries. Flanking the Main Hall on each side are three large top lit galleries, the large galleries are separated from each other by narrower galleries. The roofs of these single floor galleries is the same form as the Main and North Halls, the lower half of the slope is glass the upper solid.
Alfred Waterhouse | Natural History Museum
The huge collection of the conchologist Hugh Cuming was acquired by the museum, and Gray's own wife had carried the open trays across the courtyard in a gale: all the labels blew away. That collection is said never to have recovered.
Natural History Museum, London | Early history
The museum is particularly famous for its exhibition of dinosaur skeletons and ornate architecture—sometimes dubbed a "cathedral of nature"—both exemplified by the large "Diplodocus" cast that dominated the vaulted central hall before it was replaced in 2017 with the skeleton of a blue whale hanging from the ceiling. The Natural History Museum Library contains extensive books, journals, manuscripts, and artwork collections linked to the work and research of the scientific departments; access to the library is by appointment only. The museum is recognised as the pre-eminent centre of natural history and research of related fields in the world. Although commonly referred to as the Natural History Museum, it was officially known as British Museum (Natural History) until 1992, despite legal separation from the British Museum itself in 1963.
Natural History Museum, London | Introduction
The volume of drawings of the stuffed birds from the Dublin Museum, now the Natural History Museum in Dublin, consists of life sized studies of the mounted birds in the museum. The studies were of exotic birds including hummingbirds.
Mary Battersby | Artistic work
Owen saw that the natural history departments needed more space, and that implied a separate building as the British Museum site was limited. Land in South Kensington was purchased, and in 1864 a competition was held to design the new museum. The winning entry was submitted by the civil engineer Captain Francis Fowke, who died shortly afterwards. The scheme was taken over by Alfred Waterhouse who substantially revised the agreed plans, and designed the façades in his own idiosyncratic Romanesque style which was inspired by his frequent visits to the Continent. The original plans included wings on either side of the main building, but these plans were soon abandoned for budgetary reasons.
Natural History Museum, London | Planning and architecture of new building
The Royal Institute of British Architects Drawings Collection housed in the dedicated study room at Victoria and Albert Museum contains over 9,000 of the drawings from Waterhouse's practice. The collection covers pages from note-books up to metre square drawings, rough onsite sketches to highly finished watercolours perspectives of complete buildings. The drawings span Waterhouse's full career from the 1850s to 1901. Each finished drawing has two numbers normally in the top left corner: the first of upper number is the 'office number' that related to a now lost register in which the draughtsmen's time was recorded; the second number is the 'job number', records the sequence of drawings for an individual commission, against which charges for the client were calculated.
Alfred Waterhouse | The Waterhouse drawings collection
His drawings of mountain-rats, hanging bats, parrots, and storks are distinctive for having both aesthetic appeal and scientific value. These are now preserved in the Ashmolean Museum in Oxford.
Sheikh Zainuddin | Career
"The Magazine of Art", vol 4, 1881 p36 described the style of the Museum: The distinctive features of the building's facade are the end pavilions with their octagonal attic towers supporting steep roofs, and the twin towers 190 feet high flanking the arched main entrances. Entering through the main doors, these are reached via an exterior staircase. The visitor passes from the Entrance Hall beneath the arch supporting the main staircase from the 1st to the 2nd floor, ahead on the end wall of the main hall, lies the main staircase imperial in form, rising from the ground to the first floor.
Alfred Waterhouse | Natural History Museum
The UK's main collection of Western prints and drawings is held in the British Museum and includes fine examples by the Old Masters. The National Gallery holds no works on paper; only paintings and sculptures of the European tradition. Originally known as the national gallery of British art, Tate Britain holds British prints and drawings, which include the world's largest collection of watercolours, sketches and engravings by JMW Turner, historic works on paper from the late 18th and 19th centuries, and modern and contemporary British and International prints. The Victoria and Albert Museum's works on the paper collection have a particularly broad remit, encompassing works of fine and applied art (including posters) as well as ephemera.
Print room | Often not in the expected museum
The William Farquhar Collection of Natural History Drawings consists of 477 watercolour botanical drawings of plants and animals of Malacca and Singapore by unknown Chinese (probably Cantonese) artists that were commissioned between 1819 and 1823 by William Farquhar (26 February 1774 – 13 May 1839). The paintings were meant to be of scientific value with very detailed drawings, except for those of the birds which have text going beyond their original purpose. For each drawing, the scientific and/or common name of the specimen in Malay, and, occasionally, in English, was written in pencil. A translator also penned the Malay names in Jawi using ink.
William Farquhar Collection of Natural History Drawings | Introduction
Crowle filled fourteen folio volumes, bound in gold-tooled red leather, with a collection of over 3347 prints and drawings of London topography and of portrayals of historical events and people connected with the history of London. It was bequeathed to the British Museum in 1811 where it is registered under number G,1.1. Perhaps the largest project in the genre are the extra-illustrated books and related materials produced by Alexander Hendras Sutherland and his wife Charlotte, née Hussey, between c.1795 and 1839. The Sutherland collection is now shared between the Ashmolean Museum and the Bodleian Library.
Extra-illustration | Leading examples
"Earth's Treasury" shows specimens of rocks, minerals and gemstones behind glass in a dimly lit gallery. "Lasting Impressions" is a small gallery containing specimens of rocks, plants and minerals, of which most can be touched.
Natural History Museum, London | Galleries
The ceiling of The Drawing Room has in its corners heads representing the Four Seasons. The central oval medallion shows four putti, holding in their hands the symbols of the four classical elements: earth, water, fire and air. At the top of the wall panel in the drawing room opposite the chimneypiece are two dragons made of papier-mâché. These are the dragons of the city of London which, as an alderman, William Beckford was permitted to use. It is believed, although there is no concrete evidence, that the plasterers William used for Mansion House were engaged to plaster this, his brother Richard's house, as there are distinct similarities between the plasterwork, including the presence of the city of London dragons.
House of St Barnabas | The Drawing Room
Thwaites supervised the drawings, many of which were illustrations of specimens that he had collected himself. The drawings were accurate and later used by a number of authors publishing on the lepidoptera of Ceylon, notably by George Morrison Reid Henry and L G O Woodhouse. The De Alwis drawings are in the Natural History Museum, London.
William de Alwis | Introduction
The extension, the East Wing, was completed by 1831. However, following the founding of the National Gallery, London in 1824, the proposed Picture Gallery was no longer needed, and the space on the upper floor was given over to the Natural history collections.
British Museum | Growth and change (1800–1825)
The long gallery, along the north side, has a chimneypiece in coloured marbles with busts by Henry Weekes depicting Sir Randolph Crewe and Nathaniel Crew, 3rd Baron Crew, Bishop of Durham. The library, above the carved parlour, contains statuettes of book lovers by Philip and a frieze of scenes from literature by J. Mabey. The drawing room has a facsimile of the Jacobean ceiling, which had been recorded by architect William Burn. Identical in pattern to one at the Reindeer Inn in Banbury, of which the Victoria and Albert Museum has a plaster cast, it was presumably originally the work of the same craftsman.
Crewe Hall | Interior
His archive of drawings is in Drawings and Archives Collections of the Royal Institute of British Architects, which has put a number of images on line including illustrations from "Rural Residences".
John Buonarotti Papworth | Archive
Stewart is best known for his work preparing a long series of natural history illustrations for Sir William Jardine's 40 volume "The Naturalist's Library". The 40 volumes of this encyclopedic work were published between 1833 and 1843. The subjects covered included birds, mammals, fish, and insects, each volume typically being devoted to a group such as Hummingbirds, Cetaceans, British Fishes, or Moths. Stewart made and signed watercolour drawings for 213 mammal plates, 177 bird plates, 140 fish plates and 15 insect plates, a total of 545 under his name, in 28 volumes of "The Naturalist's Library". Many other plates in the series are in similar style and apparently by Stewart, but are unsigned.
James Hope Stewart | Illustrations for "The Naturalist's Library"
His name first appears at the Royal Manchester Institution exhibition in 1842 as a contributor of six drawings, all of buildings in Italy. One of these, ‘Naples with Vesuvius,’ is probably that now in the South Kensington Museum. The British Museum possesses two fairly good examples of his work—‘View of City of Tombs, Cairo,’ 1863, and ‘View in the Forum, Rome’—and many others are in the possession of his widow.
Charles Vacher | Life
Some of the drawings were produced onsite with annotations by the clerk of works alerting the office staff to problems in the design, in a few cases the replies to these have survived. Some drawings were annotated by the client for example The Duke of Westminster queried the design of the screen in the Chapel at Eaton Hall. The collection allows a detailed picture of how the office functioned to be built up, although not unique for the period it is rare. None of the sets of drawings is complete and several of Waterhouse's commissions are no longer represented in the collection.
Alfred Waterhouse | The Waterhouse drawings collection
In 1976, the museum absorbed the adjacent Geological Museum of the British Geological Survey, which had long competed for the limited space available in the area. The Geological Museum became world-famous for exhibitions including an active volcano model and an earthquake machine (designed by James Gardner), and housed the world's first computer-enhanced exhibition ("Treasures of the Earth"). The museum's galleries were completely rebuilt and relaunched in 1996 as "The Earth Galleries", with the other exhibitions in the Waterhouse building retitled "The Life Galleries". The Natural History Museum's own mineralogy displays remain largely unchanged as an example of the 19th-century display techniques of the Waterhouse building.
Natural History Museum, London | Geological Museum
Some drawings were also made by his daughter Elizabeth (between 1811 and 1815 – it was her poor health that led Hardwicke to leave India). The Indian artists employed by Hardwicke are unknown, except for one Goordial, but they were trained and their style was adapted to the demands of technical illustration using watercolours. The collection was bequeathed to the British Museum in 1835 which was later partly moved to the Natural History Museum. The collection consists of 4500 illustrations.
Thomas Hardwicke | Biography
They each weigh one-and-a-half tons, the deep relief designs showing the River Thames and various London buildings. He also made figures on the exterior columns, interior ceiling plaster reliefs depicting the main periods of English architecture and various building trades and crafts, and stone window-pieces depicting building through the ages. Four years later he made a set of 18 sculptured roundels for the six bronze doors of Norwich City Hall, depicting the history of the city and manual trades practised there.
James Woodford | Life
A fireplace by Thomas Nicholls features the Three Fates, the trio of Greek goddesses who are depicted spinning, measuring and cutting the thread of life. The ceiling's vaulting is carved with butterflies, reaching up to a golden sunburst at the apex of the room, while plumed birds fly up into a starry sky in the intervening sections. Around the room, 58 panels, each depicting one or more unique plants, are surmounted by a mural showing animals from twenty-four of "Aesop's Fables." The plants are wild flowers from the Mediterranean, where Lord Bute spent his winter months each year. Carved birds, lizards and other wildlife decorate the doorways.
Castell Coch | The Drawing Room
Stuart was a keen natural historian and illustrated many species of mammals, birds, insects, fish and plants during his time in Australia. Many of the drawings were bequeathed to William Sharp Macleay and later given to the Linnean Society of New South Wales. They are now held by the New South Wales state archives and the Mitchell Library.
James Stuart (artist) | Illustrations
Denys Ovenden (1 April 1922 – 26 November 2019) was a British natural history illustrator. His preoccupation with drawing began very early, since there are drawings on the fly-leaves of books from that period. His natural history interest began. Watercolor is the basic medium for his work, with occasional "gouache" for highlighting or detail. His preferred working surface is a "fashion" type board, "CS2 not surface" being the favorite. Reference sources are most important, and Denys uses a body-live, pinned or pickled, to work from, as pinned and set specimens can be misleading due to shrinkage, discoloration or loss of parts.
Denys Ovenden | Introduction
But by the time the costs of the fittings were added the total cost was £549,045 (approx £63,000,000 in 2019) with additional expenditure of £7,200 in 1882 when the Spirit Room (where animal specimens were preserved in spirit) was built as a separate building, it has been demolished, and £2,500 in 1884 for two entrance lodges to the grounds. The building was the first in England to have its facades completely clad in terracotta. The style of the building is Romanesque Revival architecture, and is especially influenced by German buildings, notably The Liebfrauen Kirche, Andernach and Worms Cathedral. The main facade is 750 feet in length.
Alfred Waterhouse | Natural History Museum
Eighty-eight of his drawings, mostly watercolours, are in the collection of the Natural History Museum. His works have been used on the postage stamps of Cocos (Keeling) Islands, Gabon, Norfolk Island, and Togo. He supplied work to Royal Mail for a set of United Kingdom postage stamps, depicting two-spot ladybirds, but these were not used. His painting "Butterfly: Large Blue" is in the Royal Collection. It was a gift to Queen Elizabeth II from the Royal Entomological Society in 2002, to mark her Golden Jubilee.
Brian Hargreaves | Legacy
Dundas seems to have sent Cecil a present of sketches, presumably of emblematic devices. Prestongrange's ceiling painted for Mark Kerr and Helen Leslie in 1581 has comic figures from Richard Breton's "Les songes drolatiques de Pantagruel", Paris (1565). Nicolas Elphinstone gave James VI a copy of this book, and there was another in the library of Adam Bothwell, Bishop of Orkney who died in 1593. Other ornaments were taken from 17 engravings after Hans Vredeman de Vries called the "Grottesco", printed by Gerard de Jode in Antwerp (1565–71), and from the "Caryatidum" depicting architectural 'terms' - load bearing figures. The ceiling is dated 1581 and at that time complimented a sideboard gifted by Esmé Stuart.
Scottish Renaissance painted ceilings | Sources of the designs
De Boodt also made many watercolours of native and exotic animals and plants. He filled twelve volumes with 728 illustrations of quadrupeds, reptiles, birds, fish, insects and plants. He thus aimed to depict all creatures of the natural world as his compatriot Joris Hoefnagel who was also working at Rudolph II's court had done earlier in his series of the "Four Elements". De Boodt's volumes can be regarded as a paper museum. He developed a taxonomy and standardisation, which he added in many languages to his drawings. These drawings predate the Academy of the Lynxes around Galileo Galilei for which usually primacy of such material is claimed.
Anselmus de Boodt | Natural history studies
Many of his drawings and paintings are held in the collection of the Westcountry Studies Library, Exeter, at the Devon and Exeter Institution and Devon Record Office.
Edward Ashworth | Paintings and drawings
Parliament voted £25,000 to purchase the rest of his collection for the museum two years later. The cartoon is on display in Gallery 90 of the Museum.
Epifania (Michelangelo drawing) | Introduction
Among them were the illustrations to the ‘History of England,’ 1746–7; ‘The Compleat Angler,’ 1759; ‘London and its Environs described,’ 1761; ‘Ethic Tales and Fables,’ William Wilkie's ‘Fables,’ 1768 (eighteen plates); Henry Chamberlain's ‘History of London,’ 1770; and Oliver Goldsmith's ‘Traveller,’ 1774. His book illustrations show Hayman's influence. He also published numerous plates in the "Oxford Magazine" and other periodicals. He exhibited ‘stained drawings,’ i.e. designs outlined with the pen and washed with indian ink, and occasionally larger drawings in watercolours, at the exhibitions of the Society of Artists in Spring Gardens, 1760–1767, and designed the frontispiece to the catalogue in 1762.
Samuel Wale | Works