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SIR WILLIAM CHAMBERS (1726-1796)

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Originally appearing in Volume V05, Page 821 of the 1911 Encyclopedia Britannica.
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SIR See also:WILLIAM See also:CHAMBERS (1726-1796)  , See also:British architect, was the See also:grandson of a See also:rich See also:merchant who had financed the armies of See also:Charles XII., but was paid in See also:base See also:money, and whose son remained in See also:Sweden many years endeavouring to obtain 'A new and enlarged edition of this See also:work, edited by See also:David See also:Patrick, LL . D., appeared in 1903.redress . In 1728 the latter returned to See also:England and settled at See also:Ripon, where See also:William, who was See also:born in See also:Stockholm, was educated . At the See also:age of sixteen he became See also:supercargo to the See also:Swedish See also:East See also:India See also:Company, and voyaging to See also:Canton made drawings of See also:Chinese See also:architecture, See also:furniture and See also:costume which served as basis for his Designs for Chinese Buildings, &c . (1757) . Two years later he quitted the See also:sea to study architecture seriously, and spent a See also:long See also:time in See also:Italy, devoting See also:special See also:attention to the buildings of classical and See also:Renaissance architects . He also studied under Clerisseau in See also:Paris, with whom and with the sculptor See also:Wilton he lived at See also:Rome . In 1755 he returned to England with See also:Cipriani and Wilton, and married the beautiful daughter of the latter . His first important See also:commission was a See also:villa for See also:Lord See also:Bessborough at Roehampton, but he made his reputation by the grounds he laid out and the buildings he erected at See also:Kew between 1757 and 1762 for See also:Augusta, princess See also:dowager of See also:Wales . Some of them have since been demolished, but the most important, the See also:pagoda, still survives . The publication in a handsome See also:volume of the designs for these buildings assured his position in the profession . He was employed to See also:teach architectural See also:drawing to the See also:prince of Wales (See also:George III.), and gained further professional distinction in 1759 by the publication of his See also:Treatise of See also:Civil Architecture .

He began to exhibit with the Society of Artists in 1761 at See also:

Spring Gardens, and was one of the See also:original members and treasurer of the Royal See also:Academy when it was established in 1768 . In 1772 he published his Dissertation on See also:Oriental Gardening, which attempted to prove the inferiority of See also:European to Chinese landscape gardening . As a furniture designer and See also:internal decorator he is credited with the creation of that " Chinese See also:Style " which was for a time furiously popular, although See also:Thomas See also:Chippendale (q.v.) had published designs in that manner at a somewhat earlier date . It is not unreasonable to See also:count the honours as divided, since Chippendale unquestionably adapted and altered the Chinese shapes in a manner better to See also:fit them for European use . To the rage for every possible See also:form of chinoiserie, for which he is chiefly responsible, See also:Sir William See also:Chambers owed much of his success in See also:life . He became architect to the See also:king and See also:queen, See also:comptroller of his See also:majesty's See also:works, and afterwards surveyor-See also:general . In 1775 he was appointed architect of See also:Somerset See also:House, his greatest See also:monument, at a See also:salary of £2000 a See also:year . He also designed See also:town mansions for See also:Earl See also:Gower at See also:Whitehall and Lord See also:Melbourne in Piccadilly, built See also:Charlemont House, See also:Dublin, and Duddingston House near See also:Edinburgh . He designed the See also:market house at See also:Worcester, was employed by the earl of See also:Pembroke at Wilton, by the See also:duke of See also:Marlborough at See also:Blenheim, and by the duke of See also:Bedford in Bloomsbury . The See also:state See also:coach of George III., his See also:constant See also:patron, was his work; it is now in the See also:Victoria and See also:Albert Museum . Although his practice was mainly Classic, he made See also:Gothic additions to See also:Milton See also:Abbey in See also:Dorset . Sir William Chambers achieved considerable distinction as a designer of furniture .

In addition to his work in the Chinese style and in the contemporary fashions, he was the author. of what is probably the most ambitious and monumental piece of furniture ever produced in England . This was a combined See also:

bureau, dressing-See also:case, See also:jewel-See also:cabinet and See also:organ, made for Charles IV., king of See also:Spain, in 1793 . These See also:combination pieces were in the See also:taste of the time, and the effort displays astonishing ingenuity and resource . The panels were painted by W . See also:Hamilton, R.A., with representations of the four seasons, See also:night and See also:morning, See also:fire and See also:water, See also:Juno and See also:Ceres, together with representations of the See also:Golden Fleece and the Immaculate Conception . The organ, in the domed See also:top, is in a case decorated with See also:ormolu and See also:Wedgwood . This remarkable achievement, which possesses much sober elegance, formed See also:part of the See also:loan collection of See also:English furniture at the Franco-British See also:Exhibition in See also:London in 1908 . Sir William Chambers numbered among his See also:friends Dr See also:Johnson, See also:Goldsmith; Sir See also:Joshua See also:Reynolds, David See also:Garrick and Dr See also:Burney .

End of Article: SIR WILLIAM CHAMBERS (1726-1796)
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