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America is changing and so is the world.
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I'm Tristan Redman in London and this is The Global Story.
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Hello, the architect Sir John Soane, who lived from 1753 to 1837, was the son of a bricklayer but rose up the ranks of his profession as an architect and saw many of his designs realised to great acclaim, particularly at the Bank of England, although his work there has been largely destroyed.
He is now best known for his house in Lincoln's Inn Fields in London, which he remodelled and crammed with antiquities and artworks.
He wanted visitors to experience the house as a dramatic, grand tour of Europe in microcosm.
He became Professor of Architecture at the Royal Academy and in a series of influential lectures he set out his belief in the power of buildings to enlighten people about the poetry of architecture.
With me to discuss John Soane are Francis Sands, the Curator of Drawings and Books at the Sir John Soane Museum, Frank Salmon, Associate Professor of the History of Art at the University of Cambridge, and Julian Darley, a historian and Soane's biographer.
Gillian, start with you.
What do we know about John Soane's early life?
Well, we know really very little about the beginning of his life, and that's one of the strange things for a man who left a house which is essentially his autobiography.
Very modest beginnings, as you say.
His father was a worker in brick, possibly a superior worker in brick, an artisan, and disappears from the picture quite early on.
His brother William, was literally a hod carrier, the man who goes up the ladder with the bricks in a little container.
His education was in Reading and it was just really almost like being fostered because he lived with the schoolteachers.
And the books that were very much part of that establishment really made Soane the man he became.
Well, he was an autodidact, if I can use that word.
He just never stopped bringing in information for himself on every side.
How did he enter the, let's call it, the architecture business?
I think he must have had an extraordinary application, which people seemed to pick up on.
So that a man called James Peacock, who was living in his area of the Thames Valley, which was where they were spotted him.
And through James Peacock, he became noted by George Dance Jr, who was an extraordinarily nice and generous man, who was the city architect, the architect of the city of London.
That wasn't a bad way to start, so that he was learning at the elbow of and living with the dance family.
Then he moved to another architect family, the Hollands, and this was all the way through his teens.
And they must have seen something very particular.
And I assume, essentially, it was the drivenness of this boy that caught their eye.
Thank you.
Frank, Frank Simon.
He travelled widely in Italy as a young man.
It's one of the scholarships he got.
He started doing scholarships quite early on, didn't he?
One a minor scholarship, a major scholarship.
Then this two years abroad, Rome particularly, from which he learned a great deal.
Can you discuss that?
Yes, absolutely.
I think it's probably important to note that Soane became a student at the Royal Academy of Arts, which had just recently been founded, in 1768.
He was one of the first students there and that provided an education for him in addition to what he was learning with Henry Holland and had learned from George Dance.
And he was also able, through the Royal Academy, to win some awards a silver medal for a measured drawing and a gold medal for a design.
This attracted the attention of the treasurer of the Royal Academy, the King's architect, Sir William Chambers, who was just at that moment beginning work building Somerset House in London.
And as a result of that, Soane was sent on a travelling scholarship to the continent.
He said, that was the most fortunate event of my life.
And he celebrated the day of his departure for Italy almost like it was a birthday for the rest of his life.
Now, what was fortunate about that?
Two things, I think.
I mean first.
It was a wonderful educational opportunity to go and see what he called the remains of departed greatness, the ruins of ancient Rome and indeed some Greek ruins as well.
He didn't get to Greece, but he saw Greek temples at Paestum near Naples and in Sicily. as well.
And of course, also the post-medieval reuse of classical architecture in the Renaissance.
It was a wonderful opportunity to experience the sorts of things that the leading architects of the day not just Chambers and Dance himself, but also Robert Adam, the most fashionable architect of this period of time.
They had the same experience of being to Italy.
So it was a transformative moment for him.
Just to give us a stare on him.
Can you outline his most important architectural achievements?
The Bank of England, the Pitshanger Manor and so on?
Yes, I mean, Sobe was an extremely prolific architect.
For example, there are over 100 country houses he was involved in.
100?
Over 100, yes.
18 new built, I think is correct.
And very prolific, but a huge office.
He had over 30 pupils in his lifetime and another 20 or so assistants.
So probably the biggest office of its time, I think.
But as for the major buildings well, as you mentioned in your introductory comments, the great ones are really gone.
The Bank of England, sadly destroyed in the 1920s when the current building was built.
The wonderful works at Westminster Law Courts that were nestled in between the buttresses of Westminster Hall, demolished in the 1880s, I believe.
And the Royal Entranceway and Royal Chambers to the House of Lords, all gone in the Victorian age.
I mean if you are the architect of major public buildings and it's the age before preservation societies exist and laws exist to protect ancient buildings.
What went up fairly soon came down.
From the way you put it, it seems a meteoric rise.
Did it seem that to everybody else?
I think it did, and it was aided by the connections that Soane was able to make on his travels.
I don't call it a grand tour.
I think that's what the aristocrats were doing.
What he was doing was the journey for professional improvement.
Really.
And the key person for this really was Thomas Pitt, later Baron Camelford, who was the cousin of William Pitt, the Prime Minister.
Much of Soane's early work was for people he met on the Grand Tour and people he met through Thomas Pitt.
And that includes his appointment in 1788 to be architect to the Bank of England, which came through the Prime Minister, on whose house he'd made a few alterations.
Thank you.
Frances Sands, did he have a guiding vision of what he wanted to do with buildings?
Certainly.
He was quite strict actually in his intentions, particularly when he was speaking to his apprentices and his students.
And his intentions were threefold.
Firstly, they had to be financially responsible.
He got very cross when contemporary architects did not adhere to the quotes that they'd given to their patrons, and Soane felt that was very important.
Secondly, Soane felt very strongly that his buildings should be structurally sound.
Of course structural engineering was not a profession in those days, but Soane himself took structural engineering extremely seriously, even designing new materials, for example fireproof bricks for the Bank of England when required.
And he would send his apprentices to building sites whilst buildings were under construction so that they could see the inner workings of the fabric.
And then thirdly, and I think most importantly this thing, you've mentioned, the poetry of architecture, that a building should be fit for purpose, both physically and aesthetically.
The building had to do what the patron required.
For example, a house needed adequate plumbing, but it also needed the ornamental repertoire that was appropriate to the building at hand.
For example, Soane got very cross when traditionally religious ornamental motifs were used on non-religious buildings.
Where did he draw this aspiration from?
Well, I mean, he was himself an intellectual maximalist and he said as such to his students, and he felt that people really had no business designing anything in their own personal signature style if they had not yet first investigated everything that came before.
Because indeed, how can you discount something that you don't know about?
So I think that he was a voracious reader.
We know that from the fact that he had 7,000 books in his collection in his home.
And he was also, as Frank has intimated, extremely fortunate to have travelled on the continent and experienced so much that many people at the time would never have had the opportunity to do.
Is it a bit crude, or is it useful to pop in that he married an heiress, which gave him access to funds to buy a lot of the things that we see in the museum?
I do think that being financially independent was extremely helpful to Soane.
He was financially affluent.
He was financially affluent.
He had two very large income streams.
He married for love, but conveniently, to an heiress named Eliza Smith.
She inherited a great deal of money from her property developer uncle, George Wyatt.
But Soane was also of course, hugely professionally successful, so he had an enormous income from his professional practice.
So these two income streams were extremely beneficial to his ability to acquire anything that took his fancy.
Well, let's turn now to this unique and amazing gem in the middle of London in Lincoln's Inn Fields.
This house there, three houses put together to form the most concentrated and brilliant museum imaginable really, isn't it?
I quite agree.
I've worked there 15 years.
So the Soane Museum is composed of numbers 12, 13 and 14 on the north side of Lincoln's Inn Fields.
And Soane essentially bought each house sequentially as he ran out of space, as his collection grew.
He started in 1792, shortly after the inheritance from his wife's uncle, buying No.
12 Lincoln's Innfields as a family home.
It wasn't a salubrious area of London but it was a convenient one for working at places like the Bank of England and elsewhere, and also near to High Holborn where he could hire a carriage to get out of London to other architectural projects.
The buildings were on that side of the fields, originally 17th century.
So each time would knock the building down and rebuild his own designs.
He ended up buying number 13, the central house in 1807, and then finally number 14 in 1823.
And each time he would rebuild and create this extraordinary building, sort of laboratory of architecture, where he was experimenting both as an architect but also creating a home for his collection of artworks and antiquities, which functioned as a piece.
You know, the building and its contents are a complete work of art, a gestammkund work as the Germans would have it.
And his extraordinary ingenuity.
I mean, I was in the other day.
You just can't believe that.
A wall switches round and there's many paintings on the back of the walls, on the front of the wall.
You look down and there's another floor below that, you can see the sarcophagus and look up and there's a dome bringing in a particular and absolutely relevant type of light or shade of light, and on it goes.
It is crammed with stuff, and it doesn't seem to be claustrophobic.
Absolutely.
Well, some people do find it claustrophobic, but I'm glad that you didn't, Melvin.
But Soane was a great genius with space.
He would utilise every square inch and, as you mentioned, he had these incredible movable planes where walls would open and create further surfaces for hanging works of art in frames.
There are apertures both above and below.
He's very clever with light.
He refers to lumière mystérieuse mysterious light because he felt that both bright light and pools of shadow were incredibly important for the emotive effect of the interior of a building.
So quite often you can be standing within his home and you can't quite work out if you're looking through a window or perhaps at a reflection, or perhaps into a different space, or indeed looking at a reflection that makes you think you're looking into a different space.
It can be quite confusing, but not, I think, in an overwhelming way, rather in an exciting way that I think Soane was quite deliberately trying to get people to wonder at how on earth he'd managed to create so much within a small footprint.
And how he managed to get hold of so much.
Yes, indeed.
So many objects in it throughout.
Absolutely.
And that was perhaps where the heiress came in.
Certainly.
I mean, I think that financial independence was incredibly useful.
But do bear in mind that the vast majority of the collection the artworks, the antiquities, the books, the drawings were acquired in quite a piecemeal fashion and within London.
So really it wasn't that Soane was sending people out to acquire specific things.
He was simply acquiring the cream of the crop from what was available on the art market at the time.
Gillian, he uses light very effectively.
Can you give us a brief description of that?
I can.
I mean it's partly a function, I think, of working on extremely restricted space from the beginning, but he's hardly settled into Lincoln's fields.
Then he got the job at the bank and he was actually dealing with the same constraints, writ super large, so that his entire focus was how do you bring light into a very constricted space?
And at home, that could be through attractive, reflective surfaces.
I mean, I think somebody has counted up the number of mirrors that are in the golden breakfast room alone.
And it's in the hundreds, I think.
It is over a hundred, Gillian, yeah.
And so it's just this richness of a very theatrical scene.
We must keep remembering it's just a house, because ingenuity gives an example, a feeling of not so much space and density but variety and the amount of stuff there is there without it being, as I alluded to earlier, crowded.
Can I turn to you, Frank?
He was born in the Georgian era and died in 1837, the year that Queen Victoria came to the throne.
How does his work fit in with the different styles of those two times?
Well, not very much, actually.
I mean, Soane is a unique figure.
He's derived his own style of architecture partly, it must be said, based on what he learned with his master, George Dance the Younger.
But when we think about the period in which he's primarily working, let's say from 1788 or 1790 to his death in 1837, as you say, that carries us through the period that leads up to the accession of Victoria.
And it's really the period that, broadly conceived, we would call the Regency in architectural history.
Now, when we think about other buildings that are going on in that period of time, it is a period of time when the great architectural historian described as really a time of fancy dress.
You could have whatever style you wanted really in this period of time.
And that was the joy of it.
Let's think of a building like the Royal Pavilion at Brighton by John Nash who, along with Robert Smirk, was one of the three so-called attached architects to the Office of Works, the effectively the public body of works in this country from 1910.
1814 onwards.
Indian exterior, Chinese interior.
The other architect attached to the works, Robert Smirk, let's think of him.
Greek revival architecture, the British Museum would be a good example there.
We've got the Gothic revival starting up.
Think about King's College in Cambridge, not the chapel, but all the rest that you see on King's Parade, or nearly all of it, is Gothic revival from the 1820s.
You could have Egyptian shopfronts if you wanted to, soon described them as paltry.
Not an appropriate use of historical precedent in the way that Fran was responding to it.
So Soane's construction of his own style was really a unique thing.
How do you illustrate unique in his case?
I think that perhaps the best way to think about that is to realise that Soane would have seen himself as a classical architect.
But whilst he said that, to quote him, art cannot go beyond the Corinthian order, that's the ornate third of the orders of the Greco-Roman world, he didn't use the columns and the orders that much, actually.
And he doesn't quote buildings that we recognise very much in his architecture, unlike some of the architects he admired, like Robert Adam, for example, who puts the triumphal arch of Constantine into the back of Kedleston House, a building that Soane thought was superb.
Soane doesn't do this very often at all.
A familiar moment might perhaps be on the Tivoli corner of the Bank of England, where Lothbury and Princes Street meet, where we see the little round temple.
From Tivoli, outside of Rome worked into the London streetscape to get us round an awkward corner of the building.
But, generally speaking, Soane's language of architecture was a language of planes, often of brick walls with arches set into them, rather like bringing the interior of the house to the exterior.
Chelsea stables, for example, at the Royal Hospital in Chelsea.
He has a simple elevation of brick with three entranceways in it, but each of the entranceways has three relieving arches over it, like a Russian doll, I suppose.
One thing within another thing within another thing.
The interior conception of space brought to moderate this outside wall.
Thank you.
Francis, Soane described his house as an academy of architecture.
What did he mean by that?
Well, in 1806, when Soane was 53, he was made Professor of Architecture at the Royal Academy and he took his teaching career extremely seriously.
Unfortunately however, the majority of his teaching took place during the Napoleonic Wars, when his own students weren't able to travel.
So, in order to combat that great fracture in their architectural education, Soane invited his students, on the days before and after each of his lectures, to attend his home, Lincoln's Innfields, and observe his collection of artworks and antiquities, as you mentioned, as a grand tour in microcosm.
The idea being that they would be able to see things that would normally only be available to them on a grand tour or travelling around the continent.
So suddenly, a collection which had been designed for Soane's own architectural inspiration and personal enjoyment took on a pedagogical element.
It became a teaching collection.
And that meant that Soane was collecting all the more heavily.
He wanted an object to illustrate everything he wanted to teach about.
And, of course, it meant that his museum became more and more full of objects, and why we ended up with three houses crammed full with all these wonderful things.
He either bought directly or bought from people who'd been to these countries and brought stuff back, or bought from the auction room.
So he had three main sources of plunder.
Yes, well, I mean, I wouldn't refer to it as plunder.
Soane is quite sensitive to the notion of theft.
But he is acquiring his collection principally in London, either through art dealers, auction houses, in the sale of other people's collections or very largely at antiquarian book dealers.
He was particularly keen on Mr Boone on the Strand.
So he is buying things at a remove from the continent, but he is being quite careful to adhere to the narratives within his museum and the themes that he's creating within the different spaces.
Julian, it contains some remarkable paintings.
Joseph Gandhi, Canaletto, Hogarth, massive Hogarth, Piranesi.
Let's pick out Gandhi, perhaps the least known of those names.
What was important to you? that he worked with Gandhi.
Gandhi is the lens you see sewn through.
What we know of the thinking that went into the design for his beloved wife's tomb in St Pancras.
That was worked out dozens of times by Gandhi.
So Gandhi was a perspectivist or a visualiser of all these things.
Can you Frank, can you tell us what you think is distinctive about his own style and about what he created around it?
Well, we talked about that a little bit already in terms of the effects of light and colour and mirrors and indeed coloured glass as well.
But what we haven't perhaps also talked about is this very distinctive approach to producing domes.
Not the domes of the Pantheon in Rome or of St Peter's or St Paul's in London, but the very low, saucer-shaped elliptical domes that often come down to very delicate points of the corner of a square or a rectangular space.
They have an opening at the top called an oculus, But very often there are windows outside of the curvature of the dome but still inside the building, so that the light, as Gillian was describing, can filter down from hidden sources.
And that is one of the great marvels of Sohn's works and one of the things that appeals to architects today, I think.
Francis, you want to come in?
I think the key...
America is changing, and so is the world.
But what's happening in America isn't just a cause of global upheaval.
It's also a symptom of disruption that's happening everywhere.
I'm Asma Khalid in Washington, D.C.
I'm Tristan Redman in London, and this is The Global Story.
Every weekday, we'll bring you a story from this intersection, where the world and America meet.
Listen on BBC.com or wherever you get your podcasts.
Chasson's architectural style is attenuation.
He was, as Frank says, working in the classical style, but he would take classical motifs, traditional classical motifs, and pair them back to the absolute bare minimum.
And that very severe attenuation, of course is, in the most basic sense, what the modernists were doing during the 20th century.
So for that reason, Sona is often hailed as the father of modernism.
He was doing something entirely innovative in its time and which was hugely influential a century later over the great architects who pared everything back as much as possible.
He gave lectures.
Was there a theme to these lectures, or was he given a lecture when something new turned up in the museum?
Certainly.
Soane gave a series of 12 lectures at the Royal Academy and then a paired-back series at the Royal Institution for the public as well.
The lectures deal with the history of architecture across the entirety of history, from the Neolithic to Soane's own contemporaries, and indeed across the geography of the entire world.
As I said earlier, Soane was a great intellectual maximalist and felt that one needed to understand everything before you could ignore it or discredit it in any way.
So he was giving lectures which explored world architectural history, and then he would offer his opinions as to the good and bad examples of the architectural craft within world architectural history, so as to guide his students towards what he felt were good practice.
There's a strange disjunction as well, isn't there, Francis?
Between, on the one hand, this being the professor of architecture at the Royal Academy, the person who's supposed to set up the theory of architecture that architects of his time should follow and, as I was saying earlier on the fact that well, architects didn't really follow his lectures.
They were ideas largely drawn from Soane's own youth and from the French education and reading that he'd undertaken, probably under the influence of William Chambers back then.
So, in some ways, the lectures were a rather glorious anomaly, And if you read them though, they are packed full of useful information.
They're very dry and they are at times repetitive, and I think the best thing about the lectures, and indeed Soane's teaching career, is not the actual text but the drawings that were created to illustrate those lectures.
Soane, instead of paring back his office during the lean war years, decided to utilise his apprentices to create over a thousand large-scale colour-washed illustrative lecture drawings to show buildings from throughout time and across time, the whole world, to illustrate these lectures, obviously providing a snapshot of these important buildings to students who would never have a chance to go to the far-flung corners of the world.
And the result is, we think, the earliest attempt at a graphic history of world architecture.
I would like just to drop in a mention for his fellow professor, who was Turner.
And Turner's lectures, which were running concurrently, I think for a while, involved aspects of optics and perspective and so on.
So if you actually put those two things together...
And the fact that the two men were firm friends and spent quite a lot of time fishing very harmoniously, meandering down the Thames near Goring, fishing away, perhaps occasionally discussing what they might put up.
I don't think they ever said anything to each other.
It was all silent, I should imagine.
They both had a tendency to be morose personalities, of course.
If we're talking a bit more personally about him, he had a rather fractious relationship with his sons, didn't he?
He did.
And is it worth feeding that into his status as an architect?
What effect did it have on what we're talking about?
I think we certainly need to feed it into the story of the two houses.
George, his younger son, had strong literary inclinations and he was quite soon doing adaptations of classics and working in the great theatres.
But for Soane this was a complete negation of the great dynastic project that he had hoped to start, because John, the elder son, was not very well, not very gifted, and in fact died relatively soon after adulthood.
I mean, he had a child, but that was it.
So the houses were sort of Well.
First of all, Pitsanger was going to be this centre of the beginning of the Soane dynasty.
It didn't happen.
He was already thinking about getting rid of it about six or eight years after it all began.
So that was finished.
So hence the return to Lincoln's Inn Fields as an absolutely.
It was sort of the core, the nexus of the whole project.
And that, in a way, drove him on and on and on.
And Soane saw in the beginning of 1815, wasn't it in print, an anonymous denigration of his work at Dulwich and the Bank?
The Cauliflowers on the Roof.
And he knew without question that the person who had penned this was his son with the literary abilities, George.
And his wife, Eliza, saw these lines and Selim said it killed her.
Anyway, she died very soon after.
I think that Soane's youngest son George, was embittered by the fact that, when he'd been thrown into debtor's prison in 1815, his father, John Soane, had refused to bail him out, wanting George to finally be financially independent.
He'd always been reliant on an allowance from his wealthy mother, Eliza.
So when he did get out of debtor's prison, he got his revenge by writing these two articles in a newspaper called The Champion, now long defunct, in which, as Gillian has said, he was criticising Soane's architectural output, but also his collecting and even his working-class background.
And Soane was completely heartbroken by this.
But worse still was Eliza's reaction, because she was a very fond mother and she was suffering from gallstones at the time.
And being so heartbroken, she essentially gave up the will to fight.
And she went to her husband and she said, "'George has dealt me my death blows.
I shall never hold up my head again.'
And she took to her bed and she died six weeks later and Soane felt that it was entirely George's fault and, as a result, he was disinherited.
And we have the museum.
Yes.
Can we go back to the work and take a deep breath?
Frank, can you tell us more about his interest in classical ruins?
Yes.
Yes, I think it goes right back to his time in Italy, actually.
And you mentioned earlier on Piranesi, Giovanni Battista Piranesi, the great Italian architect and printmaker.
So he met Piranesi in the last three months of Piranesi's life in 1778 and was given some prints by Piranesi.
And I think he seemed to have a complete fascination with the extraordinary imagination that Piranesi we know today.
In fact, for a period of time, I believe, he even slept.
Sohn slept in his bedroom with Pyrenees on the wall, including the drawings of the Greek temples at Paestum that Sohn had acquired later on.
So he was surrounded really by this Pyreneesian vision.
And Gandhi, who we've spoken about earlier on, was a man who had graphic skills that Soane could only dream of and was able to transform Soane's ideas of his own architecture into such a vibrant image as would attract the eye of people at the Royal Academy exhibition who, of course, were looking at paintings and sculptures.
Architectural drawings are, for the non-expert, a little bit dull perhaps, but Gandhi was able to bring them to life in this extraordinary way.
In 1798, Gandhi makes a drawing of the rotunda, the central round room of the Bank of England, which had just been completed, and Gandhi makes a drawing of it in ruins, with vegetation growing out of it, as though it was some sort of Roman imperial bath complex or something like that.
And this seems to have sparked off a whole, a whole kind of debate in Soane's mind about the nature of ruins in relation to the present, and the past and the future.
Because in 1812, just when he's building number 13, Lincoln's in Fields, he writes an extraordinary manuscript, published in the 20th century, called Crude Hints Towards the History of My House, in which he imagines himself as an antiquary in the future, coming back to Lincoln's in Fields and asking what this building could be.
Is it the house of an enchanter?
Is it a Roman temple?
Is it a convent of nuns, even?
And he finally says no, it should be seen to be the house of an artist, perhaps an architect or a painter.
And really the whole notion of ruination comes from that.
And in 1820 Gandhi makes an extraordinary cutaway aerial perspective view of the Bank of England just approaching completion as a ruin, in the way that we see in Piranesi's engraving the bars of Caracalla in Rome, from the same angle as well.
I think that really illustrates the relationship between Gandhi and Soane, because in many ways there must have been conversations between them when Soane had the germ of an idea and Gandhi had the outline of a kind of rendering of that idea and that those two put together in some cases I think were the genesis of some of Soane's greatest buildings, the greatest parts of the bank, the big court.
Indeed, and of course, as I mentioned before, Soane's trip to Italy was to see departed greatness.
And perhaps you know, the depiction of his own buildings in ruination was future, departed greatness, as it were.
Can I come back to something we have mentioned?
But just to try to get the listener even closer to it.
What sort of impression if you walk through one of these doors?
What would you be mostly struck by?
I think that the most striking thing at the Soane Museum is the combination of extraordinarily small and complex architectural spaces, but which are very densely packed, filled with objects, many of them sculptural, some of them framed,
Some antiquities, some interesting items of furniture, a great many glazed bookcases full of all sorts of magnificent volumes.
And then underneath objects.
People often don't look down, but if you look down, underneath there are drawers.
And the drawers are packed full of drawings, 30000 of them, ranging from late medieval up to some contemporary period.
So I think that the impression that one gets when walking around the building is one of awe, perhaps being slightly overwhelmed, but in a positive way.
And I think of curiosity and the desire to know more.
And there's one other thing.
I think that it took me a long time to realise that when moving around those three houses, that actually quite often you find yourself you're in the back of the one next door but nothing has actually indicated that you've moved from one house to the other.
It's sleight of hand.
I mean, it's extraordinary spatial reorganisation which you can see them on plan, but it's still more than you can really easily comprehend.
Is there any sense in which it was lived in as a normal house by Soane and his family?
No.
I think what we have to remember is that the collecting became more and more frenetic as Soane aged, and when Eliza died in 1815 the collection was an awful lot smaller than it was at the end of Soane's life, so the building would have functioned in a much more domestic capacity.
And indeed the rooms on the second floor, the private apartments of bathrooms, dressing rooms bedrooms, would really have been very domestic indeed.
It's really in the last 10, 15 years of Soane's life when he's collecting so heavily that you end up with this sort of horror vacui of spaces that are so full that you really can't even function or use them in a traditional domestic manner.
Yes, and we also have to bear in mind, don't we, Fran, that it was a working space.
I mean the back of the house where the museum is was the workshop where up to eight or nine or ten assistants or pupils could be working away at any one time.
And indeed so precious was the space, or so much pressure was on the space, that Soane had to construct a drafting office in a kind of mezzanine level on columns within the space of the museum itself.
Did the museum take off immediately to something approaching the popularity it now had?
By no means.
After Soane's death, his style was ridiculed by many people.
It was a very different thing from the way that Victorian architecture started to develop towards big neoclassical buildings initially, then the Gothic revival.
So Soane was largely a neglected figure and the museum was rarely open I think it's fair to say in that period of time very rarely open and really just a place that connoisseurs of particular kinds of antiquity and paintings would go.
It was certain days of the week during the season if the weather was fine.
Yeah.
And it drew out of Henry James one of the most wonderful little.
It's a novella called A London Life and it consists of a desperate, dramatic drama around the sarcophagus, which was the absolute jewel in the collection latterly bought under the nose of the British Museum, who failed to get it Belsoni's Trophy from Egypt, right down at the bottom of the museum.
So if you cut a section through the building, that's what you see.
And some of the Gandhi visualisations do it wonderfully.
In a way you couldn't see it where you're standing there.
So at the bottom and lit in a very theatrical way.
And so the Henry James story so written 30 years after the museum has been opened to the public in the theory, almost entirely dark, hardly ever open dusty, dirty.
But anyway, there's an assignation and this sweet girl goes wandering around with her American friend just having a little chat.
And lo and behold, there is somebody's sister or brother having an assignation.
I can't remember which way.
Anyway, it's the perfect place for a romantic assignation in a Very gothic sort of space.
So when did his reputation turn and start to go up and then went up and up and up?
Coming back to the point about the weather that Fran raised earlier on, there's a wonderful cartoon, I think, in the Daily Star newspaper in 1924 in which two men are caught in the rain in Lincoln's-in-Fields and decide to go into the museum to get out of the rain.
After looking at a few things, including the sarcophagus of Seti, they come out again saying I think we've done the weather rather a disservice.
The numbers were very small in the early part of the 20th century.
Ironically just when Soane's reputation was starting to rise again.
The numbers of visitors to the museum really only starts to pick up in the 1960s and 70s.
But so if the museum itself was relatively little visited, Soane's reputation was starting to build again in the 1920s onwards.
But when it fell, the centenary, 1933, questions were being asked in the House.
What are we doing supporting this sort of moribund cultural item?
And it's not really until John Somerson takes over in 1945, straight after the war, that things begin to mesh.
That's right.
But in the meantime, Soane's reputation amongst architects has already started to rise.
And it's an interesting moment around about 1920.
We've got the conservative or academic branch of architecture, represented by Sir Albert Richardson, later president of the Royal Academy, starting to look at Soane as one of the great architects of the 18th and indeed the 19th century classical traditions, holding him up as a model academic architect.
And then we have Roger Fry coming in and giving a lecture at the RIBA, the Royal Institute of British Architects, in 1921, looking at Sohn as a primitivistic architect and comparing him to post-Impressionist artists and attracting the attention of as Fran said earlier modernist architects towards Sohn's legacy and possible influence.
And then what happens, I think in the period when Somerson becomes the curator after 1945, is that architects start to take an interest in specifically the sort of forms of what Sohn is trying to do and the fragmentations of what Sohn is trying to do.
So we're looking about postmodernism at this point in time.
And then people like Philip Johnson in America or Rafael Moneo in Madrid start to utilise some of Sohn's very distinctive forms.
It's curious that none of you have mentioned the attention Sohn paid to the construction, to the engineering behind the collection.
Well, I think that because he was so interested in the structural engineering of his own architectural designs and indeed that his apprentices and students should be conversant in safe structural engineering, he was extremely careful about about the arrangement of his collection.
So, for example, the sarcophagus of Setti, which we've talked about already, is in the basement.
You know, it's not on a first floor.
It's an incredibly heavy object, so it is safely located somewhere where it can't do any damage.
Objects are very carefully placed.
So, for example, we have some beautiful first century AD composite urns within the dome area of the museum.
They look like they're placed very precipitously around a hole looking down into Soane's crypt where the sarcophagus is located, but actually Soane placed these rather clever metal rods up the inside so they can't possibly move.
So everything is very carefully considered and very safely located.
And the Act of Parliament that created the museum provides that the museum should be preserved as far as is practicable in the state it was when Soane left it.
That did change in the 19th and 20th century, but it's been the work of a number of curators in the last three or four decades to put everything back to where it was.
And so did his very best to ensure that everything remained as he intended.
He left a legacy for the support of the museum, but that unfortunately ran out just as the Second World War was beginning, which is one of the reasons why, as Julian was saying, it was in the 1930s that there was a public conversation about what is this place and what should we do to support it.
What lasting impression do you think Soane and that museum has had?
As Frank has said, many of his great buildings are now lost to us.
There are a few wonderful examples that people are able to visit.
The Soane Museum itself, Pitshanger Manor is open to the public.
Soane's Country House in Ealing and his great triumph in Dulwich, the Great Picture Gallery at Dulwich College.
But I think that the lasting impression and reputation that Soane has given us is one of philanthropy, education and curiosity and a love of all the arts.
He was an architect, but he valued all the arts equally, because he felt that it was important to understand the entire arena in order to really excel in any one area.
So he's really prompting us to question and better ourselves.
And what's your view on the lasting impression, Gillian?
I think the thing that I took away from my years with Soames, so to speak, was his respect for his fellow workmen tradesmen, artisans and so on.
And I can only think that that comes from right back from his own mysterious origins.
And it's a two-way business because he knew when he was really busy, when he was beginning his country house years, he could say to somebody who did plaster work do the breakfast room in Somerset like the one you did in North Norfolk.
You know how to do it.
We did it there.
And that plain speaking between the professional and and the hands-on team is.
I mean, I think it's a lesson that every architectural student should think about.
Well, I would agree with that.
And Gillian, your wonderful biography of Soane.
Is it subtitled John Soane an accidental romantic, and when I'm talking about him with my students, I discuss whether that's a good way of thinking about him or whether we might call him a worldly romantic, because there's this wonderful combination of romance.
The poetry of architecture, as you said Melvin, in your opening comments, is one of Sohn's favourite phrases for what architecture should be.
And, of course, the practical and the professional.
This is a man who, on the one hand, could fish with Turner or arrange an evening for the launch of the acquisition of the sarcophagus of Setti.
The house is filled with candles, and Turner is there and Coleridge is there and Prime Minister is there.
And then the next day it could be actually compiling accounts for clients who deeply respected him and having lunch with those clients or dinner with those clients a mile away from the hod, carrying bricklayer from Goring by Streetly, who started out in 1753.
Well, thank you all very much indeed.
Thank you, Frances Sands, Frank Salmon and Julian Darnley.
Next week, Catherine of Aragon, Henry VIII's first wife, whose refusal to agree to an annulment of their marriage led to the creation of the Church of England.
Thanks for listening.
And the In Our Time podcast gets some extra time now, with a few minutes of bonus material from Melvin and his guests.
What would you like to have said that you didn't get time to say, Frances?
My particular interest in Soane is the extraordinary collection of architectural drawings within his institution.
People often assume that the architectural drawings we house at the museum are merely when I say merely they're fabulous, the drawings from his own architectural practice.
Those in and of themselves number 8000 items.
But we have another 22000 architectural drawings that Soane collected because he really felt that the power of architectural drawing was the magic that an architect was able to wield.
If they could draw well, it meant that they would be much more likely to be able to design well.
And he went to some length in his lectures to talk about the power of architectural drawing.
He cited Sir William Chambers as being a particularly great master at drawing.
So, by collecting this enormous array of architectural drawn matter, he was forming something which, at the time, was entirely unique a comprehensive overview of architectural matter on the page, and something which has inspired later collections.
For example, the magnificent collection now at the Royal Institute of British Architects was inspired by that at the Soane Museum.
So it's incredibly important to think about Soane not just as an architect and a teacher, but as a collector, and the fact that his collecting had such a huge impact over the world as we know it too.
Gillian, would you like to say what you wanted to say?
I know you asked if it was the only house like it, and I'm sort of in between our conversations.
I've been trying to think where is the nearest equivalent, and I suspect it would be more likely to be.
One of those houses of American sculptors in the Hudson Valley where you would go to a house in a glorious, the landscape being part of the story in that case, and the work and the person's life.
Is it Frederick Church?
I've got the right name.
I remember going sometime ago.
It's that sort of feeling of the house and the work and the life being consonant, being all one thing moment, and it sort of does need to be something of that moment you can't really.
I mean, I suppose Willow Road, you know, the modernist house, the National Trust, it's much easier to.
You're talking about the thing in Hampstead.
Yes, The thing I mean you're talking about, the house in Hampstead.
Yes Well, maybe some of the sort of St Ives the Hepworth.
You're struggling.
I am, I am.
It's true.
Let me help you out.
I just wonder if what he saw there, meeting that great artist in that environment, put into his mind the idea of spaces that were crowded out with the detritus and the exemplars of past great culture.
What was the detritus?
The fragments, the broken down bits and pieces.
We were talking about ruins at one point, and one drawing that I think is very instructive is one made by Gandhi, who I think exhibited over 100 works at the Royal Academy, only one of them in his own name and the rest under Soane's name.
Why was that?
Well, he was employed by Soane, and our ideas of autonomy and artistic freedom are not the same as they were in the early years of the 19th century.
Gandhi was also notoriously bad with money.
Soane had to bail him out of debtor's prison, I think, on one occasion, unlike his son, George.
But I do wonder whether the Pyreneesian vision is what kind of stayed with Soane in that regard.
I think Soane was also hugely inspired by the imaginary interiors within Pyrenees' work.
Think of the Diversi Maniere or the Coturi series where similarly, like the Pyrenees' workshop must have been, you have spaces which are just encrusted principally with sculptural material.
And I think you very definitely get a flavour of that in the dome area at the Soane Museum.
Soane is creating a Pyranasian three-dimensional vision top-lit, with light cascading down to create this very emotive effect.
One of the places that he most treasured and this is much later on, so the CERN house was already growing in complexity and so on was the Rosslyn Chapel.
And that is sort of semi-unexplained, isn't it?
I mean, it's the most extraordinary place.
It's sort of like something out of Portuguese Gothic or something.
It's a very, very strange and elaborate... I don't know if you know it.
It's quite extraordinary.
Soane went there and Gandhi did a wonderful painting called Merlin's Tomb and it's lit from the middle, so it's like sort of this kind of glowing core and that, I think, sort of sums up.
It's another moment when you feel the two of them sort of connecting, because I mean they both had sort of frantic imaginations and I mean Gandhi did end up institutionalised.
It was a very, very sad end.
So there were moments when you could argue he could have been institutionalised.
That's a contentious view.
I think the pressure of circumstances and so on had a sort of visual release in some of these very contorted and very enriched and extraordinary places and visions of places.
I just throw that in because I...
I do think Roslyn is terribly important and I can't really I've never been able to quite work out where it, how much it echoed on.
Well, it's possibly there as well, in the monk's parlour at the Soane Museum, where Soane liked to think of himself as Padre Giovanni, Father John, down there in his Gothic-encrusted grotto-like space.
May I make my pitch of what I take away from Soane, which I think Fran and Julian already had the chance to do.
Sure.
So, because I'm a teacher and because I run a centre for the study of classical architecture, my real takeaway, I think, from Soane is the fact that when I take students to the museum, they are always completely captivated by Soane.
And I love the fact that that can still work today, given that he connects us with the deepest histories, really right back to the Greco-Roman tradition or indeed the Egyptian tradition.
Before that, he would have said himself.
And what it shows us, I think, which I really love, is that the poetry of architecture, the creativity of architecture, is not about following styles that are fashionable at the point in time.
Soane was not a fashionable person.
He carried on wearing silk breeches and stockings when the fashions had changed to long trousers and short jackets.
He must have liked a figure out of the previous century, a Georgian figure in Regency London.
But for him, architecture was not about fashion.
It was about expressing your own deep-seated... learning through the whole history of architecture.
Everything was available to be used.
He even used Gothic ideas as well.
Not so much Gothic forms that occasionally happens where circumstances demanded it but in particular his incised linear ornaments that run right up an arch and over the top without any horizontal interruption, what his assistant, George Wittig, called the ramifying lines of his architecture.
He produces extraordinary vision and it just goes to show us that it's not about style.
It's about creativity and the poetic whilst also meeting the professional obligations.
Should we?
Finally, yes.
I think Sona would be extremely pleased to hear that your students are finding him so alluring.
He, of course, was so incredibly interested in architectural education, but also was a hugely philanthropic man.
And I don't think people necessarily take that away from the museum on first sight.
I think that he was quite a difficult man to deal with and, of course, fell out with his one surviving son famously.
But he was incredibly kind.
He gave very generously to all manner of charities.
And when one of his housemaids developed epilepsy, not only did he go down to the kitchens to see that everything was all right something that the master of the house would just not do normally he then funded her medical care for the rest of her life.
So he was an incredibly kind and giving person.
And I don't think that's immediately obvious from the museum.
So the fact that his educational legacy continues to this day is hugely powerful to me as a curator.
And we should add as well, I think, that in 1834, when the Institute of British Architects subsequently the Royal Institute of British Architects was being established and they lauded Soane as the great figure of his age he was 80, then 81.
Then he gave £5000, I believe, to set up a benevolent fund for distressed architects.
That's a very large amount of money in the 1830s.
So he was generous and we should counterbalance that, as you say Fran, with the more neurotic aspects of his character that clearly made him difficult to deal with in other respects.
Well, thank you all very much indeed.
Melvin, would you like tea or coffee?
I would like tea or coffee.
I can't decide which.
I think tea will be fine.
Francis?
Not for me.
I'm not a caffeine person.
I've still got water.
Thank you.
Hello, Victoria.
I'd love a little tea.
Enjoy that.
Tea would be lovely, thank you.
In Our Time with Melvyn Bragg was produced by Eliane Glazer and it is a BBC Studios audio production for Radio 4.
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