Wyatt spent six years in Italy, 1762–68, in company with Richard Bagot of Staffordshire, who was Secretary toCharles Compton, 7th Earl of Northampton's embassy to theVenetian Republic. InVenice, Wyatt studied withAntonio Visentini (1688–1782) as an architectural draughtsman and painter. InRome he made measured drawings of the dome ofSt. Peter's Basilica, "being under the necessity of lying on his back on a ladder slung horizontally, without cradle or side-rail, over a frightful void of 300 feet".
Back in England, his selection as architect of the proposedPantheon or "WinterRanelagh" inOxford Street, London, brought him almost unparalleled instant success. His brotherSamuel was one of the principal promoters of the scheme, and it was doubtless due to him that the designs of a young and almost unknown architect were accepted by the committee. When the Pantheon was opened in 1772, their choice was at once endorsed by the fashionable public:Horace Walpole pronounced it to be "the most beautiful edifice in England".
Wyatt's "Pantheon" in Oxford Street, London
Externally it was unremarkable, but the classicising domed hall surrounded by galleried aisles and apsidal ends was something new in assembly rooms, and brought its architect immediate celebrity. The design was exhibited at theRoyal Academy, private commissions followed, and at the age of 26 Wyatt found himself a fashionable domestic architect and on 27 August 1770 an Associate of the Royal Academy.[2] His polished manners secured him friends as well as patrons among the great, and when it was rumoured that he was about to leave the country to become architect toCatherine II of Russia, a group of English noblemen is said to have offered him a retaining fee of £1,200 to remain in their service. His major neoclassical country houses includeHeaton Hall nearManchester (1772),Heveningham Hall inSuffolk (circa 1788–99), andCastle Coole inIreland, as well asPackington Hall, Staffordshire, the home of theLevett family for generations, andDodington Park inGloucestershire for theCodrington family. On 15 February 1785 Wyatt was elected an Academician of the Royal Academy,[1] his diploma work being a drawing of theDarnley Mausoleum.[2]
The Large Dining Room atWestport House, County Mayo was designed by Wyatt
In later years, he carried out alterations atFrogmore for QueenCharlotte, and was madeSurveyor-General of the Works. In about 1800, he was commissioned to carry out alterations toWindsor Castle which would probably have been much more considerable had it not been forGeorge III's illness, and in 1802 he designed for the King the "strange castellated palace" atKew which was remarkable for the extensive employment ofcast iron in its construction.
Between 1805 and 1808 Wyatt remodelledWest Dean House inWest Dean, West Sussex. Wyatt's work was remarkable because it is built entirely of flint, even to the door and window openings, which would normally be lined with stone.
Broadway Tower, Worcestershire, designed by Wyatt in the 1790s
Wyatt was now the principal architect of the day, the recipient of more commissions than he could well fulfil. His widespread practice and the duties of his official posts left him little time to give proper attention to the individual needs of his clients. As early as 1790, when he was invited to submit designs for rebuildingSt Chad's Church atShrewsbury, he broke his engagements with such frequency that the committee "became at length offended, and addressed themselves to Mr. George Stewart". In 1804,Jeffry Wyatt told Farington that his uncle had lost "many great commissions" by such neglect. When approached by a new client, he would at first take the keenest interest in the commission, but when the work was about to begin he would lose interest in it and "employ himself upon trifling professional matters which others could do". His conduct of official business was no better than his treatment of his private clients, and there can be no doubt that it was Wyatt's irresponsible habits which led to the reorganization of the Board of Works after his death, as a result of which the Surveyor's office was placed in the hands of a political chief assisted by three "attached architects".
The Senior Common Rooms and Senior Library ofOriel College, Oxford, designed by Wyatt in the 1780s
Wyatt's work is not characterized by any markedly individual style. At the time he began practice the fashionable architects were the brothers Adam, whose style of interior decoration he proceeded to imitate with such success that they complained of plagiarism in the introduction to theirWorks in Architecture, which appeared in 1773. Many years later Wyatt himself toldGeorge III that "there had been no regular architecture since Sir William Chambers – that when he came from Italy he found the public taste corrupted by the Adams, and he was obliged to comply with it". Much of Wyatt's classical work is, in fact, in a chastened Adam manner with ornaments inCoade stone andEtruscan-style medallions executed in many cases by the painterBiagio Rebecca, who was also employed by his rivals. It was not until towards the end of his life that he and his brother Samuel (with whom must be associated their nephew Lewis) developed the severe and fastidious style of domestic architecture which is characteristic of the Wyatt manner at its best.[a] But among Wyatt's earlier works there are several (e.g., the Christ Church gateway and the mausoleum atCobham) which show a familiarity with Chambers'Treatise on the Decorative Part of Civil Architecture. Had he been given the opportunity of designing some great public building, it is possible that he would have shown himself a true disciple of Chambers;[b] but his career as a government architect coincided with theNapoleonic wars, and his premature death deprived him of participation in the metropolitan improvements of the reign ofGeorge IV.
Meanwhile, Wyatt's reputation as a rival toRobert Adam had been eclipsed by his celebrity as aGothic architect. EveryGeorgian architect was called upon from time to time to produce designs in the medieval style, and Wyatt was by no means the first in the field. However, whereas his predecessors had merely Gothicized their elevations by the addition of battlements and pointed windows, Wyatt went further and exploited to the full the picturesque qualities of medieval architecture by irregular grouping and the addition of towers and spires to his silhouettes. Examples are hisFonthill Abbey (Wiltshire) andAshridge (Hertfordshire); and although crude in scale and often unscholarly in detail, these houses are among the landmarks of theGothic revival in England. In his lifetime Wyatt enjoyed the reputation of having "revived in this country the long forgotten beauties of Gothic architecture", but the real importance of his Gothic work lay in the manner in which it bridged the gap between the rococo Gothic of the mid 18th century and the serious medievalism of the early 19th century.[citation needed]
View in the Gallery, Fonthill: a coloured print from the elaborately-produced souvenir album commissioned by BeckfordSaint Michael's church,Hafod
His work on cathedrals atSalisbury,Durham,Hereford, andLichfield was bitterly criticized byJohn Carter in hisPursuits of Architectural Innovation, and it was due in large measure to Carter's persistent denunciation that, in 1796, Wyatt failed to secure election as a Fellow of theSociety of Antiquaries. In the following year, however, he was permitted to add F.S.A. to his name by a majority of one hundred and twenty-three votes.
Wyatt was elected to theRoyal Academy in 1785, and took an active part in the politics of the Academy. In 1803 he was one of the members of the Council which attempted to assert its independence of the General Assembly of Academicians, and when the resultant dissensions ledBenjamin West to resign the Presidency in the following year, it was Wyatt who was elected to take his place.[1] But his election was never formally approved by the King, and in the following year he appears to have acquiesced in West's resumption of office. Wyatt was one of the founders of theArchitects' Club in 1791, and sometimes presided at its meetings at theThatched House Tavern.[citation needed]
Wyatt died on 4 September 1813 as the result of an accident to the carriage in which he was travelling over theMarlborough Downs with his friend and employer,Christopher Bethell-Codrington of Dodington Park. He was buried in Westminster Abbey.
He left a widow and four sons, of whom the eldest,Benjamin Dean, and the youngest,Philip, were notable architects.Matthew Cotes (1777–1862), the second son, became a well-known sculptor, whose best work is the bronze statue of George III inCockspur Street offTrafalgar Square. Charles, the third son, was for a time in the service of theEast India Company atCalcutta, but returned to England in 1801; nothing is known of his later career. His nephewJeffry Wyatville was a noted architect, known for the renovation ofWindsor Castle.
He had many pupils, of whom the following is an incomplete list:William Atkinson; W. Blogg; H. Brown; Joseph Dixon (perhaps a son of the draughtsman);John Foster, junior of Liverpool; J. M. Gandy; C. Humfrey; Henry Kitchen; James Wright Sanderson; R. Smith; Thomas and John Westmacott; M. Wynn; and his sons Benjamin and Philip Wyatt. Michael Gandy and P. J. Gandy-Deering were also in his office for a time.
Wyatt's principal draughtsman was Joseph Dixon, who, according to Farington, had been with him from the time of the building of the Pantheon.
^For an admirable analysis of the mature "Wyatt manner", see Arthur Oswald article on "Rudding Hall, Yorks"., inCountry Life, 4 February 1949. The architect of Rudding itself is unknown.
^The influence of Somerset House is, in fact, apparent in Wyatt's rejected design forDowning College, Cambridge, of c. 1800 (see Gavin Walkley, "A Recently Found James Wyatt Design", R.I.B.A. Jnl., 12 September, and 17 October 1938).
