The Usher Gallery, Lincoln

   To Lincoln yesterday on a rattletrap bus. A lovely late summer's day.  I thought I'd share these pictures of the Usher Gallery, Lincoln, and Lincolnshire's, most important gallery.  I think you could say that it holds the county's collection of art.

  There's a good collection of applied arts: porcelain, clocks and watches.  It holds one important Piper oil, an atmospheric watercolour by Andrew Wyeth and some lovely work by Clausen - his small oil of an orchard is particularly fine.  I surprised I should like that sort of thing - I usually find much of British Post-Impressionism sentimental. There is also a really good collection of Peter De Wints (1784 - 1849) and other 18th & 19th century watercolourists connected with county.
   The building was erected in 1924, a design of Sir Reginald Blomfield.  One of his better buildings, I think - I'm not great fan of his work - it is compact and well detailed, influenced both by English Baroque and early French Neo-classicism.

   From an Arts and Crafts beginning Blomfield, like Lutyens and many others, went on to design in the Grand Manner on a large scale, of which the Usher Gallery is a well-mannered and bijou example.  (I do love Victorian and Edwardian architecture, but I often find the overblown scale of some it, for instance in the work of Sir Richard Norman Shaw, really off-putting.  It's just too overpowering.)   Blomfield in his later career produced some really monstrous buildings like the Quadrant, Regent St (albeit he did have to incorporate the rear façade of Shaw's elephantine Piccadilly Hotel) and the Headrow Leeds.  And there are his proposals for Carlton House Terrace overlooking the Mall, in London.  Thankfully the Nash Terraces survive...
   The odd thing is that architects like Blomfield, a Classicist, could be such a vandal, while early-Modernists like J M Richards such committed conservationists.  Another blot on Blomfield's copy-book is his partial responsibility for the (British) electricity pylon!  (Look closely at one; it's actually an obelisk...) 

   That said The Usher Gallery is a rather fine building. And he didn't like English Neo-Palladianism.  So he evidently got some things right.

Addendum

I forgot to mention that Blomfield was a prolific writer on architecture, producing a number of histories on English and French architecture.  He is perhaps, however, best remembered for his seminal book 'The Formal Garden' with its ravishing pen and ink illustrations by Francis Inigo Thomas.  I like them almost as much as I like the work of FL Griggs.  Thomas was no mean garden designer himself; he was designer of the exquisite Arts and Crafts gardens at Athelhampton.

F L Griggs RA RE 1876 - 1938

I have been labouring on this post for months on and off, and finally it is here - phew!

A page from the Highways and Byways of Sussex, 1904, Steyning Church

   It was looking at Gavin Stamp's proficient pen drawings back in November last year that turned my mind back to a favourite illustrator of mine, Frederick Landseer Maur Griggs.  Quite a mouthful.  The 'Maur' was added when he converted to Roman Catholicism.
   There were many fine architectural artists and illustrators in late Victorian and Edwardian Britain - but then it was Golden Age for architecture and related arts - Pennell, Haig, Atkinson, Brangwyn, Walcot, but for me the finest was Griggs.  All of them could work in pen and ink with amazing fluency, but Griggs's work has an intensity and lyrical poetry that at times is breath taking.  He was draftsman of prodigious talent, and an etcher of sometimes visionary transcendence.  And being a bit of armchair biker myself I've always warmed to the idea of him biking around England drawing old buildings.  Seems an ideal way of spending your time.
I was introduced to his work by an article by the architectural historian and critic Alan Powers - not a bad draughtsman himself - in 'Country Life' magazine (April 17th 1986).  A fitting place considering that it too was a product of that late flowering in British architecture.
   F L Griggs was born and raised in Hitchin, Hertfordshire - a small market town on the northern edge of the Chiltern Hills.  He studied at the Slade School of Fine Art, in London, and 1897 he moved to Bedford to train as an architect under the Arts and Crafts influenced C E Mallows, who himself was no bad draughtsman.  Before then however Griggs had been introduced to the work of Samuel Palmer (1805 -1881).  Palmer, one of a number of followers of William Blake known as the 'Ancients', was a mystical painter and etcher of extraordinary, haunting vision.  He was also a convert from non-conformity to High Anglicanism.  Palmer's powerful influence, which was as much intellectual and spiritual as it was artistic, was to remain with Griggs for the rest of his life; and it is by the assimilation of both Palmer's life and work to his own, and later in life the direct and indirect influence he had on Graham Sutherland, Robin Tanner and Paul Drury, that Griggs became a link in a Romantic, if not mystical, chain that is a persistent, if sometime underground, element in English art.
   Griggs soon earned a reputation as an excellent draftsman and made perspectives for other architects such as the Arts and Crafts practitioners Charles Ashbee and Guy Dawber.  In 1902 he commenced work the 'Highways and Byways' volume on Hertfordshire.  He had in effect become a full-time illustrator, and henceforth it seems practiced architecture rarely - I have only found a few examples of his work, and two of those were domestic work, (a renovation and a 'new build'), for himself.  The 'Highways and Byways' work would, unintentionally, occupy the rest of his life, illustrating a further 12 volumes right up until the time of his death.

    Another page from the 'Highways and Byways of Sussex', 1904, showing the Market Cross and Cathedral Spire, Chichester.

   His drawings for 'Highways and Byways' evoke a hot still summer's day, sometime about midday when everybody is ether at lunch or sheltering from the sun.  They are suffused with light.  It radiates from the page.  Buildings, trees, the grass are drawn in meticulous detail, but are never allowed to overweigh the composition.  Every element - paper, ink and later, pencil - are held in equilibrium.  It is hard not to draw, in that epicene stillness, an analogy to the noon day of British power.  The Empire was drawing to its zenith after a long century of British naval and industrial supremacy.  Perhaps even when they were produced, they had an air of nostalgia and loss; Griggs after all was an Arts and Crafts practitioner, who in 1904 had moved to the epicentre of Arts and Crafts production Chipping Camden, in Gloucestershire.

Yet another page from the Highways and Byways of Sussex, 1904, Old Shoreham Church

    For me the Arts and Crafts movement is pervaded by a sense of deep loss, and it is that sense of things being under threat from industrialisation and progress that can be sensed, I think, in Griggs's illustrations.  It can be argued that for all of Morris's revolutionary socialism the Arts and Crafts movement was essentially conservative - I'm tempted to label it 'High Tory'.  It was just as concerned with the preservation of the past as it was with creating new work.  It's been commented that Griggs's illustrations concentrate on the old to the exclusion of later things; certainly his laborious technique responds most warmly to old buildings - buildings that is with texture and patina.  The magic is just a bit lacking in his drawing of the Pantiles in Royal Tunbridge Wells.  There is however more than that; due to the intellectual influence of Pugin and Ruskin Arts and Crafts practitioners privileged the Middle Ages and had a suspicion of Classicism, which in some ways seen as destructive an influence as industrialisation on native traditions, and I believe that influence is observable in Griggs's illustrations with their careful editing out of the modern world.  I think this can be summed up in his own words. In 1937 he undertook his last 'Highways and Byways' - Essex, and wrote of the experience, which he undertook to support his family, in these terms: "Towards the end I began to get very sick of it, and remembered [Samuel] Palmer's 'The Past for Poets, the Present for Pigs' and was mightily glad to be back among my books again."  F L Griggs died the next year, the final volume incomplete.*
   There is something more with Griggs that sets him apart from the rest of the Arts and Crafts movement: for Morris socialism and art took the place of religion - 'spilt religion', according to T E Hulme.  In 'News from Nowhere' Morris envisaged the post-revolutionary society to be a kind of 'cleansed' Middle Ages - cleansed of religion as well as Capitalism.  A godless society.  An anarchistic one too.  Griggs however followed Pugin: in 1912 he converted to Roman Catholicism.  His utopia had to be western catholic if it was ever it to be like the Middle Ages.  There is a logic to that.  However, as Pugin himself realised, Roman Catholicism had changed post the Reformation crisis, and itself had to be restored.  And so with Griggs, as with Pugin, there came a spiritual as well as a material nostalgia.  This reflected clearly in a great series of visionary etchings he undertook after 1912 until his death, the year (I believe) he established 'The Dover's House Press' to publish his own work.  Influenced by the etching's of Palmer they evoke not the High Church vision of a pastoral Eden, but the Catholic High Middle Ages, and also the melancholy post Reformation decay of the fabric of Catholic England.  And as with his other work the etchings are suffused with light  - his love of East Anglia surely?  Noticeable is general absence of people.  Noticeable too the metamorphosis - England is transformed, and her architecture has become elemental, sublime as though grown out of the earth itself and not the work of man.

   I think it was during my teens, or perhaps during my twenties I saw a documentary on Robin Tanner, the etcher and illustrator; he related how he had been asked that considering his 'radical' politics why his art hadn't taken on a more political or radical aesthetic. His reply was that by showing the world as it once was, or could yet be, his work was his protest.

*  It was finished by Stanley Badmin