Statue of Henry Chichele attrib. to John Massyngham, All Souls College, Oxford

The Sculpture in the Codrington Library
All Souls College, Oxford.

Part 31.

The Sculpture in the Chapel,

at All Souls College, Oxford.

The Life Size Stone Statue of Henry Chichele (1364 - 1433).
Archbishop of Canterbury.
Co founder of All Souls with King Henry VI.

Attributed by Howard Colvin to John Massyingham.

The 'Great Stone statues' which were over the high alter in the Chapel at All Souls were specifically stated to have been the work of Massyngham. This array of Saints in the niches of the East wall of the chapel were destroyed in the reformation.

The All Souls statues are cut from stone from a quarry either at Burford or Taynton, Oxfordshire.

For further references to the statue of Henry VI, the architecture and sculptural programs  at St John College, Oxford see my previous posts.





South Front of All Souls
Engraving by James Basire
c. 1800.


Image Courtesy Wellcome Library
__________________________


For some later portraits of Chichele see my post on the Roubiliac bust at the Codrington Library - http://english18thcenturyportraitsculpture.blogspot.co.uk/2017/06/sculpture-at-all-souls-college-oxford.html





Birds eye view of All Souls College, Oxford, looking North
Prior to the construction of the Codrington Library began in 1716.
from Oxonia Illustrata.
David Loggan.
engraving.
1675.

Image from Victoria and Albert Museum.


Clearly showing the statues of Archbishop Henry Chichele (on the right) and King Henry VI in the niches above the main gate.

________________________________




Archbishop Henry Chichele.
Sir James Thornhill (1675 - 1734).
Oil on Canvas
238 x 157 cms.
All Souls College, Oxford.


This portrait shows the gateway of St John College with the statues of Chichele and Henry VI in the niches above.


_________________________________

All photographs above taken by the author under difficult circumstances.

____________________________

Archbishop Henry Chichele.
oil on canvas.
127 x 107 cms.

New College Oxford
Image from Art UK.


___________________________





Archbishop Henry Chichele
Portrait by anonymous artist
Lambeth Palace.

___________________________________







Archbishop Henry Chichele
Life size Marble Bust
Louis Francois Roubiliac

at the Codrington Library, 
All Souls College, Oxford.
Photograph taken by the author.

see my next post

__________________________________






Engraving
1703.

National Portrait Gallery










Details of the Monument to Archbishop Chichele put up in Canterbury Cathedral

see - https://aclerkofoxford.blogspot.co.uk/2012/09/a-colourful-canterbury-tomb.html


________________________________________





Henry Chichele
Archbishop of CanterburyArchbishop
This engraving is based on a stained glass window at All Souls,
Drawn by John Taylor in 1771.

Engraving
Francesco Bartalozzi, 1772.

487 x 276 mm

Victoria and Albert Museum.

This print was made in 1772 and its frame was added slightly later. The print combines two techniques - etching and engraving. Both involved creating a pattern of grooves to hold ink in a metal printing plate. The etched lines were made using acid, while the engraved lines were scored by means of a sharp tool called a burin. The grooves were then filled with ink and the image was transferred onto a blank sheet of paper.

Subjects Depicted

In 1438 Henry Chichele, Archbishop of Canterbury co-founded All Souls College at Oxford. Francesco Bartolozzi based this depiction of Chichele on an 18th-century drawing, which in turn recorded a stained glass window at the College.

Ownership & Use

This print and its pair (museum no. W.98:1-2-1978) are thought to have originally belonged to the writer and collector Horace Walpole (1717-97) and to have hung in his Gothic-revival house at Strawberry Hill, near Twickenham in Middlesex. The style of the frame, with an inner Gothic arch and stylised flowers in the upper corners, would have fitted in well with the house's decoration. Both were sold in 1842, when the house contents were auctioned. After this the prints were for some time at Brookhill Hall in Nottinghamshire, before being spotted by a curator in an antique shop near the V&A, when they were bought by the Museum.

Info above lifted from the V&A website, see -

https://collections.vam.ac.uk/item/O58184/print/#

Henry Chichele
Archbishop of Canter bury

Stained and painted glass panel.

Anti Chapel
All Souls College, Oxford.

Photographs by the author

Unfortunately the photographs are in a rather low resolution - at the time I had no idea of what I was photographing - usually if I have time I will try to take photographs of the stained glass for my records when I visit any church or chapel.

For the surviving stained glass at All Souls, College Chapel, Oxford.

see - Collectanea, iv (O.H.S.), 131–3; F. E. Hutchinson, Medieval Glass at All Souls College (1949).

___________________________

Henry Chichele
Archbishop of Canterbury
Robert Cabell Roffe
Engraving
250 x 181mm
1805

National Portrait Gallery


_______________________________________







Henry Chichele
Archbishop of Canterbury
anonymous

Probably 18th Century

National Portrait Gallery


______________________________________

Henry VI Stone Sculpture in the Chapel at All Souls College, Oxford

The Sculpture in the Codrington Library
All Souls College, Oxford.

Part 30.

The Sculpture in the Chapel 

at All Souls College.

The Life Size Stone Statue of Henry VI (1421 - 71).
Co founder of All Souls with Archbishop Henry Chichele.

Attributed by Howard Colvin to John Massyingham.

Although there is no direct evidence -

The 'Great Stone statues' which were over the high alter in the Chapel at All Souls were specifically stated to have been the work of Massyngham. This array of Saints in the niches of the East wall of the chapel were destroyed in the reformation.


The All Souls statues are cut from stone from a quarry either at Burford or Taynton, Oxfordshire.

For more on Massyingham and the building of All Souls see - Historical Essays in Honour of James Tait, Manchester University Press, Page 121, The Building of All Souls College, 1438 - 1443 - E.F. Jacob - annoyingly some of this essay is missing online.


 - For the excerpts available on line see - 

https://books.google.co.uk/books?id=h2i7AAAAIAAJ&pg=PA130&lpg=PA130&dq=John+Massyngham+sculptor&source=bl&ots=UdjNvwXjXD&sig=UYIKdSon6mOlRFOxFo10nJ_gMCI&hl=en&sa=X&ved=2ahUKEwjvyeCSmY3bAhVBQMAKHU4iCd8Q6AEwB3oECAEQQQ#v=onepage&q=John%20Massyngham%20sculptor&f=false


______________________________




see also, for a very good overview - All Souls, An Oxford College and its Buildings, Howard Colvin & J.S.G. Simmons, Oxford University Press. 1989. (not available on line).

___________________________________




Birds eye view of All Souls College, Oxford, looking North
Prior to the construction of the Codrington Library began in 1716.
from Oxonia Illustrata.
David Loggan.
engraving.
1675.

Image from Victoria and Albert Museum.


Clearly showing the statues of Archbishop Henry Chichele (on the right) and King Henry VI in the niches above the main gate.







____________________________


Excerpt below adapted from British History online -

http://www.british-history.ac.uk/vch/oxon/vol3/pp173-193#h3-0009

On the south face there are three niches. The history of the figures which filled these niches is mysterious. In the Typus the niches appear empty, but in 1633 'the three statues over our gates of our Saviour, of King Henry the sixt and our founder were … polished, smothed and renewed with varnishe and guilt as formerly they had beene'.

How the medieval figures survived the Reformation is suggested by the following entry in the Computus Roll of 1548 (rep. infra), 'pro clavi et reparacione sere ostii domus in qua imagines reponebantur'.

 In 1642 the Parliamentarian soldiers 'discharged at the image of our Saviour over All Soules gate and would have defaced all the worke there had it not byn for some townesmen who entreated them to forbeare'. Loggan shows the big central niche, where our Saviour had stood, empty save for the souls at its foot, but the two lower niches filled by statues.

The 18th-and early-19th-century views do the same. The angel and souls in the upper niche were 'reworked in Bath stone' in the restoration of 1826–7, and the two lower figures were 'repaired and cleaned' at the same time.

The niches were recarved and the statues replaced by modern sculptures by Mr. W. C. H. King in 1939–40

__________________________________

All photographs taken by the author

Henry VI

Engraving 61 x 38 cms.

Francesco Bartolozzi (1721 - 1815).

From a drawing by John Keyse Sherwin

This print was made in 1772 and its frame was added slightly later. The print combines two techniques - etching and engraving. Both involved creating a pattern of grooves to hold ink in a metal printing plate. The etched lines were made using acid, while the engraved lines were scored by means of a sharp tool called a burin. The grooves were then filled with ink and the image was transferred onto a blank sheet of paper.

Subjects DepictedIn 1438 Henry VI co-founded All Souls College at Oxford. Francesco Bartolozzi based this depiction of the patron on an 18th-century drawing, which in turn recorded a stained glass window at the College. An auction catalogue of 1842 mentions the print: 'HENRICUS VI., REX, various of, by Vertue, Bretherton, Faber and Bartolozzi, the latter a whole length, from a splendid fenestral painting in All Souls College, Oxford'.

This print and its pair (museum no. W.97:1-2-1978) are thought to have originally belonged to the writer and collector Horace Walpole (1717-97) and to have hung in his Gothic-revival house at Strawberry Hill, near Twickenham in Middlesex. The style of the frame, with an inner Gothic arch and stylised flowers in the upper corners, would have fitted in well with the house's decoration. Both prints were sold in 1842, when the house contents were auctioned. After this the prints were for some time at Brookhill Hall in Nottinghamshire, before being spotted by a curator in an antique shop near the V&A, when they were bought by the Museum.

Info copied from the Vand A website.

http://collections.vam.ac.uk/item/O58185/print/

__________________________________

Statue of Christopher Codrington by Henry Cheere, Codrington Library All Souls, Oxford

The Portrait Sculpture in The Codrington Library. 

at All Souls College, Oxford University.

Part 29.

Sir Christopher Codrington (1668 - 1710).
Full length Marble Statue.
Signed by Henry Cheere.
Erected in 1734.



https://archive.org/stream/b22652061_0002#page/186/mode/2up

All photographs above taken by the author.

Christopher Codrington.

Attrib. James Thornhill (1675/6 - 1734).

Oil on canvas.

127 x 99 cms

All Souls College, Oxford.

Image courtesy Art U.K.

_________________________________

Christopher Codrington.

Attrib. James Thornhill (1675/6 - 1734).

Copy after?

Oil on canvas 76.1 x 63.5 cms

All Souls College, Oxford.

Image courtesy Art UK.

______________________________________

Christopher Codrington.

Attrib. James Thornhill (1675/6 - 1734).

Oil on canvas.

237.5 x 151.5 cms

All Souls College, Oxford.

Gifted to the College by Nathaniel Lloyd.

Image courtesy Art UK.

Nicholas Hawksmoor and Giles Bennett - busts at the Codrington Library, All Souls College, Oxford.

Updated 8 Feb. 2021.

The Portrait Sculpture in The Codrington Library. 

at All Souls College, Oxford University.

Part 28.

Nicholas Hawksmoor (1661 - 1736).

Bronzed Plaster Bust.

Here attributed to Louis Francois Roubiliac.

(Currently with no documentary evidence).


With grateful thanks to Gaye Morgan, Chief Librarian and Conservator at the Codrington, All Souls Oxford for making this entry possible.

It appears that there is another bust - perhaps by the same hand and inscribed Giles Bennett, / Manciple  1736 that was in The Buttery at All Souls in 1925, but I have not yet had the opportunity to closely inspect it on my visits (see below).

Mrs Webb suggests that they were both made by Henry Cheere in about 1736.

see Poole. vol II, 1925.

https://archive.org/stream/b22652061_0002#page/190/mode/2up

I say Roubiliac at least for the Hawksmoor bust.

For refs to manciple Giles Bennett see -

 https://archive.org/stream/catalogueofarchi00mart#page/n7/mode/2up

Both of these busts are noted as at All Souls (Bennett in the Buttery) in A History of the University of Oxford Including the Lives of the Founders ...  By Alexander Chalmers pub.1810. 

The Bust of Giles Bennett in the Buttery at All Souls, Oxford.

Height 53.3 cms

dated on the support 1737.

This bust has in the past again been attributed to Henry Cheere but I remain unconvinced.

Image below from art uk website -

https://artuk.org/discover/artworks/giles-bennett-275516/search/actor:cheere-henry-17031781/page/1/view_as/grid

________________________________

The Plaster bust of  Nicholas Hawksmoor.

All Souls College, Oxford.

Photographs taken by the Author.

_______________

The Roubiliac  Hawksmoor and Wither Busts Compared.

......................

The William Wither Monument.

Monument to William Wither. d.1732.

Wootton St Lawrence Church, Hampshire.

Bust with very similar drapery to that on the bust of Hawksmoor .

The church was rebuilt in 1863.

see Roubiliac and Cheere .... Malcolm Baker in the Journal of the Church Monuments Society Vol X 1995.

_______________________________









Nicholas Hawksmoor.

Bronze .

1962

546 mm wide.

A modern cast taken from the original plaster at All Souls, Oxford.

Cast by the Morris Singer Foundry.

Given to the NPG by the Warden and Fellows of All Souls in 1962.

Image Courtesy National Portrait Gallery.

If it were up to me I would replace the socle with a smaller and less clumsy and insensitive version as in the black and white photograph above.

__________________

The Busts on the Monuments of Thomas Missing and Charles Gounter Nichol.

Here again the two busts use the same drapery.

Shown here for comparison.

Two busts which have been attributed to Henry Cheere but are probably by Roubiliac.

The reuse of the drapery in further busts by using some sort of pointing machine seems to be a practised that was only used by Roubiliac.

..................

 Thomas Missing.

Marble Bust on the Monument.

Probably Louis Francois Roubiliac.

Holy Rood Church, Crofton and Stubbington, Hampshire.

Formerly Crofton.

1738.

Thomas Missing built the south transept in 1725 to accommodate his family pews and mausoleum. He was MP for Southampton and the merchant responsible for victualling Gibraltar. He was presumably responsible for the shaped gable and segmental windows to the south transept shown in a mid C19 illustration in the National Monuments Record.

Noted in the London Magazine of November, 1738.

Thomas Missing, a Portsmouth merchant whose parentage has not been ascertained, was made a freeman and alderman there in January 1711. 

In March 1715 he obtained a lucrative contract for victualling the garrison at Gibraltar, which he held till his death. Five years later he was given similar contracts for troops in Nova Scotia and Newfoundland. Returned, presumably as a Whig, for Southampton in 1722, he was defeated in 1727. 

In September 1728 he proposed to the board of Trade that ‘as he hath a correspondence that way and hath with reputation carried over a great many to America’, he should be engaged to transport yearly a number of Protestant Palatines to Carolina ‘and victual them till they can support themselves’.3 

He died 6 July 1733.

Whilst the link is tenuous, the son of Thomas Missing another Thomas, was married to Anne Streatfield daughter of Henry Streatfield whose bust by Roubiliac is in the Mausoleum at Chiddingstone in Kent.

see - http://bathartandarchitecture.blogspot.com/2015/07/jonathan-tyers-and-his-bust-by-roubiliac.html

____________

The Gounter Nicoll Monument, Racton, Sussex.

c.1733/4.

The monument probably made in the workshop of Henry Cheere, the bust by Roubiliac.

The 18c memorial inscription reads

Here be the Remains  /  Of the Honourable Sr. CHARLES GOUNTER NICOLL  /  Knight of the most Honourable Order of the Bath;  /  Descended from a long Train of Ancestors  / Fam’d for their Religion, Loyalty and Virtue,  /   He had all the Qualifications  /  Of a compleat and accomplishe’d Gentleman, /  Amiable in his Person,  /  Gracefull in his Address. /  In Private,  /  He was easy, affable, condescending’  /  In Publick,  /  He was steady, uniform consistent;  /  Favour’d by this Prince,  /  And a Friend to his Country.  /  In this distinguish’d Situation, /  Esteem’d, belov’d and honour’d, /  He died the 24th Day of November 1733  /  In the 30th Year of his Age.

 

ELIZABETH, his belov’d Wife  /  Daughter and Heiress of WILIAM BLUNDEN Esqr.  /  (By whom He left two Daughters  /  ELIZABETH and FRANCES-CATHERINE)  /  Erected this to his Memory.

These images and words from

https://westbournedeanery.wordpress.com/2013/07/07/racton-st-peter/

I will return to this subject once things become clearer and I can obtain better images.

______________________