GETTY RESEARCH INSTITUTE iRnwn 3 3125 01203 1577 A book O F C E I L I N G S, IN THE STILE OF THE ANTIQUE GROTESQUE; COMPOSED, DESIGNED, and ETCHED, GEORGE RICHARDSON, F S. A. LONDON , March 22, mdcclxxiv. To the PUBLIC. London, March 22, 1774. ■« a v T N G had raanv Advantages in the Study of Architedture, both at Home and Abroad, under y thefe eminent Matters Meflrs. ADAM of the AD E LP HI, for whom I was employed in !l ? iTS* *1 Drawing and Defigning upwards of eighteen Years; I now propofe, with the utmoft Deference 5K5j?3S5S5i5S^?5Pi!^S{ and Refpeft, to offer to the Public, and fubmit to its Judgment, a Colleftion of Ceilings which I have feme Reafon to hope will meet with their Approbation. As many of the principal Nobility and Per- fons of Diftinclion and the mod eminent Archite&s both in Town and Country, have already patronized them, and warmly recommended the Publication, being perfuaded, from the Stile in which they are compofed, that they cannot fail of a favourable Reception. Thefe Ceilings are all in the Tafte of thofe of the Antients, in which Squares, Circles, Oftagons, &c. were effen- tial Ingredients. I have therefore not only adopted them, but in the Compartments aifo have introduced fuitable Ornaments in the antique Stile. And as the general Difpofition of the whole, and the feveral Parts are allowed to have been adjufted with Symmetry and Propriety, while at the fame Time they have the Recommendation of Novelty, as differing from every Thing of the Kind hitherto offered to the Public, They may I prefume with¬ out Vanity be juftly accounted original ProducSions. Hence I would fain hope with fome Degree of Confi¬ dence, that thefe Defigns will not only be an acceptable Amufement, but a confiderable Acquifition to the Nobility and Gentry of diftinguilhed Tafte, and Artifts of different Profeffions. The former having fuch a Col¬ lection m their Pofleffion, may not only make Choice of any one they like, and have it executed, but may fmgle out particular Parts and Ornaments from the whole, and by blending them with others, thereby form new Ones, according to their Fancy : By this Means may prevent a Repetition of Drawings, which frequently happens from a bare Defcription, and feldom proves fatisfaftory to either Party. They may be occafionally ufeful to Architeits, whofe Genius is capable of arranging them in different Figures, as they will admit of almoft infinite Variations. Builders, who are not always intimately acquainted with Defigns of this Nature, may receive many ufeful Hints from them; Plaifterers in particular, may reap great Advantage from the Publication of this Work. And it may confiderably aflift in improving tile Genius of Beginners in the Science of Architeflure, both lyith Retpedf to Drawing and Defign. In fine, it may be ferviceable to Mechanics of different Employments for various Purpofes, as many of the En¬ richments and Pieces of the Ornaments may be introduced in the infide Decorations of Houfes, and on other Ob- jedls that require Embellifhment. If fome of thefe Defigns fhould be thought rather too expenfive, various Pieces of the Ornaments may be omit¬ ted in the Execution, or others more fimple introduced in their Stead, by Perfons of Judgment and Tafte in Compofitions of this Sort; and they may ftill produce an agreeable Effedf, tho’ enlarged or diminifhed at Plealure, to fuit Rooms of different Dimenfions. I never attempted to etch before this Publication, and hope to improve in this Kefpedl, in proceeding with the other Numbers. N° 95 , Great Titchfield- 1 Street , Caz’cvdijh-Square. 1 George Richardson. ■ ' P R E F ACE. S OME of the defigns in this book were originally compofed for particular a- partments, and executed in different parts of Great Britain. Several of them have been copied in new ereCted buildings both in town and country. The difcerning traveller, who has ob- ferved the beautiful fragments of the painted and ftucco ceilings by the ancients, in the remains of the baths and palaces of the Ro¬ man Emperors in Rome and its environs, a- long the coaft of the Baian fhorenear Naples, and other parts in Italy, will readily re¬ mark, that the following defigns are ail imi¬ tations of thofe much admired compofiti- ons; the ftyle of which has been attentively adhered to, though the formation of the .compartments has been completely varied. They are judged by the firft connoifleurs, to have the recommendation of novelty. They are intended in general to be of ftuc- co, but may alfo with propriety be done in painting. The fubjeCts of the pictures and bafreliefs are principally taken from Home r , Virgil, Ovid, and the Iconology of Cavaliere Ri¬ ta, and many of them are adapted to the rooms for which they were defigned. From this collection, the nobility and gentry may not only make a choice and have it executed, but by blending particular parts, with others, may form new defigns according to their fancy. The architect may alfo occasionally find afliftance from this work, by altering the arrangement of the different compartments, as they admit of almofl infinite variation. The builder, who is not always familiarly acquainted with defigns of this nature, may confult them with peculiar advantage. The plaifterer in par¬ ticular will reap much benefit from this pub¬ lication. It may alfo be ferviceable to fe- veral profeffions for other purpofes, as the figures, the ornaments and the enrichments can be introduced with propriety in other fubjeCts that require embellifhment. It is prefumed that the riclinefs of the de¬ figns enhance the value of this performance, but if forne of them fliould, on certain occa- fions, be thought rather too profufely deco¬ rated, firndry parts of the ornaments may properly be omitted in the execution, or others more fimple introduced in their head, and tho’ enlarged or diminifhed at pleafure to fbit rooms of different dimenfions, they will ftill produce an agreeable effect. The author confiders the encouragement he lias had in the profecution of this work, from perfons of diftinguifhed rank and ap¬ proved tafte, from artifts and others, as a proof of its utility, and has throughout the whole, but particularly toward the conclufi- on, as he became more convinced of its impor¬ tance, exerted his utmofl abilities to render it in fome meafure worthy of their approba¬ tion. If the execution correfponds in any degree with his zeal for the fervice, and the grateful fenfe he entertains of the coun¬ tenance and protection with which he has been honoured, he cannot have altogether failed in the attempt. No. 95. Great Titchfield Street, Cavendish Square. ‘ ' . . LIST OF PLATES EXPLANATION OF THE PICTURES and BAS-RELIEFS. PLATE I. Anti Room. YMPHS preparing a facrifice. PLATE II Drelllng Room Hercules and Omphale-— 1 This ceiling is ex¬ ecuted for the Right Honourable, the Lord de Montalt in Dublin, by Mr. Edward Rob¬ bins. PLATE III. Drawing Room. The ftory of Vertumnus and Pomona. The boys in the fmaller circles are allegori¬ cal reprelentations of the feafons. PLATE IV. Bed Chamber. Mars and Venus attended by Cupid. PLATE V. Library. Nymphs adorning a vale fuppofed to con¬ tain the allies of a decealed companion. The boys and griffins in bas-relief, are em¬ blems of Love and Immortality. PLATE VI. Dining Room. The picture in the centre reprelents the Judgment of Paris; thole in the end com¬ partments, are various Bacchanalian boys at play, in imitation of antique bas-reliefs. PLATE VII. Anti Room. Nymphs facrificing to the God Terminus. PLATE VIII. Supper Room. The three Graces dancing, attended by Cupid. PLATE IX. Mufick Room. Three of the Mules. PLATE X. Bed Chamber. The Judgment of Hercules. The boys in the four fmall circles, are in imitation of antique medallions. PLATE XI. This ceiling is executed in the court room of the worfliipful company of Drapers, Lon¬ don. The middle bas-relief reprelents Minerva introducing the arts to commerce. The o- ther two circles contain emblematical figures reprefenting fpinning and weaving; being in allufion to the inftitution of the company; Lions are the fupporters, and a Lamb is the creft of the company’s arms, they are there¬ fore introduced in the fmall circles. PLATE XU. This ceiling is executed in the great din¬ ing hall of the aforefaid Company. The centre bas-relief, is Apollo in his chariot, or a reprefentation of the fun; in the circles next to him arc- the four feafons of the year; and round the grand circle are the twelve figns of the Zodiack. In the four larger circles of the end compartments, are reprefented the quarters of the world; in the two fmaller ones between them, are emblematical figures of Britannia, and tiie city of London. All the bas-reliefs in the two lalt menti. oned ceilings are of flucco, excellently mo¬ delled by the ingenious Jofeph Nollekens, Eiq; R. A. and the ornaments are execut¬ ed in a very malterly manner, by Meffis. Role and Collins. I PLATE XIII. Drefiing Room. Venus attired by the Graces. The flying Cupids in the four fmaller circles, hold dif¬ ferent emblems of Love. PLATE XIV. Bed Chamber. Juno in her chariot, is accompanied by Iris; the fleeping Cupids in the fmall cir¬ cles, allude to the ufe of the room. PLATE XV. Library. The centre picture exhibits an emblema¬ tical reprefentation of Aftronomy. The four circles contain allegorical figures, reprelent- ing the elements*, thole in the end com¬ partments, are feveral of the fciences cha- raCteriled by Genii, with their different' attributes. PLATE XVI. Breakfafting Room. A reprefentation of Aurora, or the Morning. PLATE XVIL Dining Room. This ceiling is executed for the Right Honourable Sir Lawrence Dundas, Baronet, at Edinburgh. The middle picture exhibits a feaft of the Gods, attended by Ganymede and Hebe; various Bacchanalian figures are introduced in the circles of the end compartments* after the manner of antique bas-reliefs. PLATE XVIII. Drawing Room. This ceiling is executed for the Right Honourable Sir Lawrence Dundas, Baronet. The circular picture reprefents Juno bor¬ rowing the cseftus of Venus. Thole in the oblong pannels exprels the triumph of Venus; Apollo and the Mufes, Minerva rewarding the arts, and Diana with her Nymphs. The medallions round the bow, are in imi¬ tation of the antique. The ornaments of the two laft mentioned ceilings are executed by Meflrs. Clayton and Coney. PLATE XIX. Breakfafting Room. The middle picture reprelents Ceplialus and Aurora going to the chafe : the four leff- er ones exprels different incidents in the ftory of Ceplialus and Procris. PLATE XX. Anti-Chamber. Mutius Scaevola burning his hand on the altar before Porfenna, King of Clufium, in Etruria. PLATE XXI. Library. The centre picture is an emblematical figure of the city of Rome, crowned by Victory, and attended by Fame. In the four femicircles next the centre, are reprefented the quarters of the world; and in thole at the ends, Peace and War. PLATE XXII. Supper Room. The circular picture reprelents the feaft of Mark Anthony, and Cleopatra. In the four oblong pannels are exprefted different remarkable paftages in the lives of thofe re- nouned lovers. PLATE XXIII. Dining Room. The lubjeCt of the centre picture is Bac¬ chus and Ariadne; and thole in the lelfer circles are different Bacchanalian figures. PLATE XXIV. Drawing Room. The three Graces facrificing to Hymen. The boys in the Imall circles hold different emblems of love. PLATE XXV. A coved ceiling for a ltudy. The fiibjeCt of the middle picture is Mi¬ nerva introducing the Arts to Munificence. The emblematical figures in the circles, are, Painting, Sculpture, Architecture and Mu- fick. XXVI. PLATE Library. The picture reprefents an emblematical figure of Truth dictating to Clio, the Mufe of Hiftory, while Time is deftroying monu¬ ments of antiquity. The medallions in the circles of the end compartments are imi¬ tations of the antique, and reprefent facri- fices, hiftory pieces, &c. PLATE XXVII. Drawing Room. The fubjeft of the middle picture, is the ftory of Venus introducing Helen to Paris. The flying Cupids in the circles hold vari¬ ous fymbols of Love and Joy. PLATE XXVIII. Supper Room, This picture exhibits a feaft of Jupiter and Juno, attended by Ganymede. The flying- figures in the finall circles, are after the manner of the ancients. PLATE XXIX. Dining Room. The four pidfures are emblematical repre- fentations of the feafbns of the year with their different attributes. PLATE XXX. This defign was intended for finiftiing the femi-domes of the Society of Artifts’ exhibi¬ tion room, London. In the pannel round the Iky-light, are re- prefented, the different Genii of the polite Arts. The Iubje£I of the centre pidlure, is Apollo rewarding Merit, and punifhing Ig¬ norance: that on one fide, is Alexander the Great giving his miftrefs to Apelles; on the other, Pygmalion falling in love with the ftatue of exquifite workmanfliip which he had made; and Venus at his entreaty fends Cupid to infpire it with life : the other two reprefent Minerva inftrucfting Thefeus about the building of Athens; and Orpheus play¬ ing on the lyre. The Genii in the fix fin alt¬ er circles, hold the different emblems of Honour, Fame, Peace and Plenty, &c. The whole of this defign was to have been done in painting, except the ftucco mould- ings, and their enrichments. PLATE XXXI. Drefling Room. Diana bathing, attended by her Nymphs. The circles contain hunting pieces and facri- fices in bas-reliefs. PLATE XXXII. Library. The pi&ure in the centre reprefents Ura¬ nia, the Mufe of Allrology, dilcouriing with Apollo concerning the motion of the Iplieres. The reft of the Mules are intro¬ duced in the femi-circles of the end com¬ partments. PLATE XXXIII. Hall. The centre picture exhibits Thetis entreat¬ ing Vulcan to make the armour of Achilles. In the four lefler circles are Sea Nymphs. The trophies are in allufion to the fubjcCl in the centre. PLATE XXXIV. Dining Room. The four pictures reprefent Pomona with a garden Nymph; Bacchus with a Satyr; Ceres in her chariot, and Silenus bound by two Nymphs. The flying figures in the Iquares, are in imitation of the antique. The medallions of boys at play with gar¬ lands of flowers, fruit, &c. are applicable to the ule of the room, PLATE XXXV. A coved ceiling for a Drawing Room. The fubjefft of the middle picture is, -Eneas going to kill Helen, but is prevented by Venus. The other four exhibit iE.neas* flight from the Flames of Troy ; his meet¬ ing with Venus in the wood; his entrance into Dido’s palace and going to the chale with Dido. The figures in the cove, are in imita¬ tion of thole by the ancients. m PLATE XXXVI. A deiign for the dome of a Saloon. In the fixteen fmall circles are intended the twelve liours of the day, with Morning, Noon, Evening, and Night; and in the lixteen fegments, allegorical figures reprefenting the twelve months, and the four feafons of the year. P L A T E XXXVIL Veltibule. Venus fhowing ALneas the arms which Vulcan had made at her requelt. The pic¬ tures or bas-reliefs of boys in the lemi-cir- cles amufing themfelves with various pieces of antique armour; and the trophies in the (quares, allude to the fubjecl in the centre. plate XXXVIII. Mufick Room. The three large pidlures reprefent Juno deliring iEolus to raiie a tempeft in order to deftroy iEneas; iEolus letting out the winds; and Neptune calming the tempeft. Emble¬ matical figures of the winds are in the four lefler circles ; the fix fmall ones contain dif¬ ferent antique mufical inftruments, applica¬ ble to the ufe of the room. PLATE XXXIX. Dining Room. The fubjects of the three pictures are* Achilles and Patrocles entertaining the Gre¬ cian Chiefs, who were lent by Agamemnon to entreat their return; Achilles going to kill Agamemnon, is difuaded by Venus ; and Patrocles receiving from Achilles his impene¬ trable armour. The boys and ornaments in the (emi-circles, are in imitation of the antique. PLATE XL. Anti-Chamber. The centre picture is an allegorical repre- fentation of Peace fetting fire to different trophies of War, with one hand, and with the other, crowning Plenty and Indullry, while on the back ground Minerva is intro¬ ducing the Arts. The four leffer circles are emblematical reprefentations, of Wifilom, Fortitude, Prudence, and Liberality, with their attributes. PL ATE XLL Picture Room. The middle picture reprefents Juno and Minerva mounting their chariot, in order to affift the Grecians, and Iris lent by Jupiter to diffuade them from their defign. The fubjects of the other two are, Minerva defiring Diomedes to wound Venus, and Venus Hi owing Jupiter the injury file had received from that warriour. The boys with Sphinxes, and the female figures with Griffins, are in the ftyle of the grotefque paintings by the ancients. PLATE XLII. Drawing Room. The middle picture exhibits Andromache, attended by the Trojan Matrons, invoking Minerva for the fafety of the city. The fix i * la - imaller ones contain different flories from Homer’s Iliad, viz. Andromache weaving a mantle for Heftor; the meeting between him and Andromache; Heftor upbraiding Paris; his going to the field accompanied by Paris: Venus filencing Helen, who re¬ proaches Paris for his having retreated from Meneiaus; and /Eneas with other Tro¬ jan chiefs affifting Hector, when overthrown by Ajax, in the femi-circles are reprefentati- ons of Jupiter. Juno, Neptune, Venus, Apollo and Minerva, the mol diftinguithed deities of antlent mythology. PLATE XLIIL Anti-chamber. The centre pidture reprefents Medea de¬ livering the foporiferons herbs to Jafon, by means of which he was to overcome the Dragon. The four fmaller ones are emble¬ matical reprefentations of l 'ame, Victory, Peace and Plenty. XV PLATE Hall. XLIV. The fubjeCt of the middle picture is Mi¬ nerva and Apollo intreating Jupiter to fend back Juflice to the world, that flie might reftore the golden age. The four finaller ones, are repreientations of the four ages, as defcribed by Ovid. PLATE XLV. Ball Room. The three pictures reprefent Venus and Adonis 5 Diana and Endymione $ and Zephy- rus and Flora; the female figures and the dancing boys in the femi-circles, are allufive to the ufe of the room. PLATE XL VI. Library. This defign may anfwer either for a flat or an arched ceiling. The three pictures exhibit Minerva re¬ warding the Arts; Minerva conducting Ge¬ nius to the Temple of Fame ; and that God- dels protecting Genius from Ignorance and Envy. The boys in the oblong pannels, are intended to reprefent the Genii of the polite Arts; in the finall circles are emblematical figures of Rhetorick, Phyfics, Metaphyfics, Logick, Mathematicks, Medicine, Agri¬ culture, and Navigation. PLATE XLVII. An arched ceiling for a Saloon. The eight pictures in the oblong pannels are repreientations of the funeral games in- flituted by Achilles, in honour of Patrocles, viz. the Chariot Race; the Fight of the Casftus; the Wreftling; the Foot Race; the Single Combat; the Difcus; the fhoot- ing with Arrows; and darting the Javelin, as defcribed in Homer’s Iliad. The three circular pictures exhibit Achilles offering a libation at the departure of Patrocles for his fuccefs and fafe return from the field of battle; Thetis hearing the lamentations of her fon, for the lots of Patrocles, comes with her Nymphs to comfort him ; and the funeral feaft. In the four fmaller circles are emblematical repreientations of Honour, Immortality, Magnanimity, and heroick Virtue. PLATE XLVIII. This coved ceiling is executed in the Gre¬ cian Hall, at Kedlefton, the feat of the Right Honourable the Lord Scarfclale. As there are a great many paintings in Chiaro Ofcuro, from the antique, and from Homer’s Iliad, on the fides of the Hall, it w^as judged improper to introduce any hiftorial pictures in this ceiling; Grecian tro¬ phies of ftucco are therefore adopted, as proper accompaniments to the pictures on the fides of the Hall. The trophies, and the other ornaments of this ceiling, are executed by Meffrs. Role, with great tafte. V ■ ■ . ■ . 5 34 J 4 * 24 22 . &. 4-c- IS, 32 (/. ■ tffeAarrf*{rn\?. ZZ 4 44 42 0c 6 <9Z 34 i s 9-4- 36-4 ■ . SUi saw :W» •m^: -»