Irish Arts Review

From Torpedo Boat to Temples of Culture: Carlo Cambi's Route to IrelandAuthor(s): Patricia McCarthySource: Irish Arts Review Yearbook, Vol. 18 (2002), pp. 71-79Published by: Irish Arts ReviewStable URL: http://www.jstor.org/stable/25488311 .

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From Torpedo Boat to Temples of Culture

Carlo Cambi's Route to Ireland

Patricia McCarthy

records the commissioning of some Italian woodwork

for the National Museum, Library, and Gallery

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1. Carlo CAMBI (b.1847): The 1st Class Buffet of the P &0 Liner 'Rome'. 1881. The credenza doors and the panelling have been painted over and, in some cases, carvings on friezes and narrow panels are picked out in gilt or in a dark colour.

The

deputation from the Cabinetmakers' Society had

requested a meeting with the chairman of the Board of

Works on behalf of their members to inquire as to why orders for

woodwork for the Science and Art Museum1 were being sent out

of the country without even asking companies in Dublin if they

could execute it. The provision of doors for the Museum was

one of their main concerns. According to the report in The Irish

Builder the cabinetmakers' information was that these doors

were being made in Italy and would cost ?2,000. Why, they demanded, could they not be made in Dublin at a fraction of

that cost? The architect, who was present at the meeting,

replied that firstly the value of the doors was greatly exaggerated -

they would cost about ?700 including carriage; secondly, they

were being placed in the Museum 'as examples of Italian work

and they will have a place in the Museum just as any other

exhibit.' The chairman, General Sankey, added that the doors

'represented a class of work which it was very desirable to have

in Dublin....that could really only be turned out in Italy at about

half the amount they would cost in Dublin.' Apparently the dep utation was persuaded by the argument.2

The doors, which were subsequently fitted in the Museum, were carved in Siena by Carlo Cambi (b.1847) who had a thriv

ing workshop there during the last quarter of the 19th century.

His work in Ireland is usually associated with the architect,

Thomas Manly Deane (1851-1933), who, together with his

father, Thomas Newenham Deane (1828-1899) was responsible for the building of the National Museum and the National

Library. Manly Deane later designed the Milltown extension at

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From Torpedo Boat to Temples of Culture: Carlo Cambi's Route to Ireland

the National Gallery of Ireland where Cambi's work can also be seen.

Carlo Cambi lived and worked for almost all his life in Siena.

He learned his trade as a carver in the workshop of Pietro Giusti

and during his apprenticeship he attended courses in decoration,

drawing, and architecture at the Istituto delle Belle Arte in

Siena.3 He moved to Florence for a few years in the 1870s but

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2. SCIENCE AND Art MUSEUM, DUBLIN: Section through the Grand Staircase. 1885. From The Irish

Builder, August 1886. Now the National Museum of Ireland, the 'Foreign Doors' and

'Burmantofts Faience' can be seen in the doorways on the first and second floors.'

returned to set up his own workshop in the centre of Siena

where he became master of carving at the Institute of Deaf

Mutes. By the 1880s he had the busiest workshop in the city in

which he employed about one hundred workers and he was

attracting important commissions for the production of furniture

and furnishings. He regularly took part in exhibitions winning

awards on at least two occasions, in Rome (1885) and in

Copenhagen (1889). Cambi's workshop was awarded a most prestigious and lucra

tive commission in 1881 when the English shipping company, Peninsular and Oriental, asked him to provide furnishings for

their steamships.4 To judge from the photographs of Cambi's

work on the P&O ships it is not difficult to understand why he

would need a large workshop (Fig 1). Not only did he provide furniture such as credenzas, tables, and chairs, but also stair

cases, wall and ceiling panels, doors, and even pianos .5

Following his success with this commission, he was

invited by Robert Caird of Greenock, whose ship

yard was building the P&O ships, to relocate in

France in order to manage the production and

installation of furniture and fittings in two shipyards,

bringing with him a team of Sienese workers.6 A

similar offer came from the American transport

company, Pullman, inviting him to move, with his

workshop, to Chicago in order to undertake the

construction of furniture for its railway carriages.7

Both invitations were declined. But surely one of the

most intriguing commissions must have been that

from the Italian navy. Cambi was asked to produce

furnishings for their ships, including the torpedo boat Vesuvio, for which in 1887 he received praise from the local press for 'conserving the art which

has glorious traditions in our city.'8 Regretfully, no

photograph of the furnishings of this boat has yet come to light.

The tradition in which Cambi worked, and which was so admired by the chairman of the Board o{

Works, was that of the Cinquecento. This neo

Renaissance style came to be recognised 'as the best

interpreter of the national spirit and of italianita' pro

viding a 'national' style for the newly-united Italy.9

Italian periodicals played a major part in promoting

the style with copious illustrations of Renaissance

ornament. A popular style at the Great Exhibition

in London's Crystal Palace in 1851 was that of the

Renaissance, setting a trend seen repeatedly later in

the century in the architecture of Italian pavilions at

foreign exhibitions. It was thus in the evocation of

their past that the woodcarvers of Tuscany, particu

larly those of Siena and Florence, reigned supreme

in the production of high quality furniture and pic ture-frames, making their craft the most prosperous

of the applied arts and constituting an important

item in Italy's foreign trade balance in the latter part

of the 19th century.10

The earliest date that links Carlo Cambi with Thomas Manly Deane is on a drawing stamped by Cambi of a frame for a bed, dated 14 Sept 1884, in the Sir Thomas Manly Deane Sketch

books in the National Gallery of Ireland. In 1876, Deane had

been awarded the Royal Academy Travelling Studentship and went abroad, visiting France and Italy where he remained for

almost a year and a half.11 On his return to Dublin in 1878 he

joined his father's practice. From the drawings and notes made

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From Torpedo Boat to Temples of Culture: Carlo Cambi's Route to Ireland

while in Italy it is clear that Deane was thinking ahead in terms

of commissioning Italian craftsmen to provide work for him, as

was the practice for many English, French, and American archi

tects at this time. But no mention is made of Cambi.

Having succeeded in winning the competition for the design

of the Museum and Library in 1884, the Deanes got the building

underway the following year. A section drawing published in

The Irish Builder in August 1886 (Fig 2)12 shows doorways in

which are written 'foreign doors'. Among the papers of the

quantity surveyors of the building was a note on the provision of

a 'Sum of ?700 to be placed at the disposal of the architects for

'Foreign doors', this provision to include delivery packed in cases

at the building.' Doors were to be of hardwood with carved pan

els and the contractor was to be held responsible for their safety

until the end of contract.13

There are thirty-three 'foreign doors' in the Museum.14 All are

double-leaved, of which ten have an extra blind leaf on one side

to accommodate the symmetry of the rooms in which their door

cases appear. They are carved on both sides except for seven

which are carved on one side only, the side seen by the public.

All of the door surrounds are executed in majolica, with reveals,

and pilasters supporting entablatures with variously shaped pedi

ments in della Robbia colours and in the neo-Renaissance style.

The door surrounds will be discussed later.

The doors are made up of carved panels of various shapes set

into their own frames which in turn are set into the frame of the

door. Oi the approximately one thousand panels on the

Museum doors, few are exactly the same as they not alone vary

in shape but also in the distribution of the motifs. Almost all are

made of oak, while the remainder seem to be of walnut. A num

ber of the doors are heavily varnished making it difficult to iden

tify the wood used. On those that have had their varnish

removed, the warmth and the grain of the wood is apparent and

the carving appears in a higher relief.15 Generally they are in very

good condition but a number have cracks in the panels.

Relief on the panels varies from deeply undercut carvings in a

high relief to a very low relief where the design is little more

than etched into the wood. Among those of the highest quality are the central oval panels on the first floor landing showing

what appears to be alchemical equipment (Fig 3). A photograph cannot do justice to the detail. The motifs used throughout are

those which would have been common currency in neo

Renaissance ornament: intertwining arabesques of plants with

flowing lines and tendrils, candelabra, vases, cornucopia, musi

cal instruments and trophies, mythological animals and birds,

and grotesque heads.16 The door of the director's office is a veri

table textbook of botanical specimens and with its thirty-five small panels, it almost provides an index of the decoration to be

seen on the other doors (Fig 4).17 From the fine detail here it

must be concluded that Cambi was using specific botanical text

books as his models. The five doors depicting the months of the

year on the first floor have their zodiacal signs carved on the top

panels, the name of the month on strapwork underneath and in

a roundel contained within strapwork is a task or a sport relating

to that time of year.

It is interesting that there seemed to be no plan to match the

motifs to the exhibits into which they led. It would have made sense to have the two 'botanical' doors on the second floor where

originally the Herbarium and Botanical Museum was located.18

Of course, it is possible that a final decision had not been made

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3. Sir Thomas Manly Deane (1851-1933): Sketchbook 1886. (National Gallery of Ireland, cat no 7398). Photographs of four of the doors from the

National Museum with Cambi's stamp on each.

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4. Sir Thomas Manly Deane: Drawing of a

Chimneypiece. (National Gallery of Ireland). The Door and Surround. 1889. Drawn by Thomas Manly

Deane for the Revd H Palmer from Killiney.

'

'JL : I

5. Sir Thomas MANLY DEANE: Drawing of a Pulpit. (National Gallery of Ireland).

Measured drawing of pulpit for St Stephen's Church, Dublin, with Cambi's stamp.

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From Torpedo Boat to Temples of Culture: Carlo Cambi's Route to Ireland

6. National Gallery of Ireland: The Milltown Rooms: Ground Floor Doors. 1899. An enfilade of walnut doorways can be seen on both floors of the Milltown

Rooms.

about the layout of the exhibition spaces at the time the doors

were being put in place and by 1892 some of the collections were

already too great for the spaces originally allotted to them.19

While the evidence points to Manly Deane as the designer of

the interior decorative programme in the Museum and the

patron of Carlo Cambi, it does not stretch to him as designer of

all of the doors but rather to a collaborative effort between the two men and this is backed up by the drawings and photographs in the National Gallery collection. Included are twenty pho

tographs of doors for the Museum, all marked with Cambi's own stamp: Carlo Cambi Siena Scultore in Legno (Fig 5).20 While it might seem more likely that Cambi would send the panels to

Dublin to be made up into doors, from these photographs it

appears that he assembled them in Siena using his standard

7. Sir Thomas MANLY DEANE: Drawing of a Door and Surround. 1889. (National

Gallery of Ireland). Door drawn by Deane onto which Burmantofts have painted in watercolour their proposed surround. On the verso of this is their stamp and

an inscription: To Mr Dean [sic] & Son, Nov. 11th, 1889.

repertoire of designs on panels appropriate both to the measure

ments sent to him and to the commission itself and sent them

to Dublin.21 By using a convenient motif like strapwork onto

which can be carved relevant names and places, such as

Dublino, Siena, and the names of the architects as well as

Cambi's own name on a number of doors, the commission is

given a personalised quality.

Placing surrounds of majolica on the doorways was a master

stroke on Deane's part, balancing the dark and monumental

doors with the brightness of the glazed della Robbia colours, a

combination he would probably have encountered in Italy. When ordering the majolica from Burmantofts of Leeds he

would sketch a door on which were carved panels (in the style of

Cambi) and measurements and send it to Leeds with instruc

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From Torpedo Boat to Temples of Culture: Carlo Cambi's Route to Ireland

tions for the supply of door surrounds and pediments and such

like in this style, to complement the doors. A number of such

drawings are in the National Gallery, around which Burmantofts

have designed their frame; in some cases, they even used water

colours to show the colour scheme (Fig 7). This majolica is not

applied, like tiles, but rather made of blocks for architectural use

and built into the structure, making it possible for them to be

used successfully on the exteriors of buildings, as they were fre

quently in England.22 The blues, yellows and whites of the

majolica lend colour and light to the Museum. In the 1950s the

then director ordered that they be painted over as they were

attracting attention away from the exhibits but, happily, most

have been restored in recent years to their natural brilliance and

it is hoped that the rest will follow suit (Fig 11). Thomas Manly Deane also included Cambi's work in the

National Library where there is much decorative woodwork, the

principal item being the oak screen in the reading room. But

Cambi's work here consists only of ten chimneypieces, nine of

which are in situ, the tenth having been taken out earlier this

century. All of the other woodwork was executed by John

Milligan of Dublin, whose work is on the whole chunkier, less

attenuated, and less elegant that that of Cambi.23 The chimney

pieces vary in quality from being fairly ordinary to quite superb.

A diagram drawn by Thomas Manly Deane gives their locations

and though the sketches are rough and rapidly executed, it is

possible to recognise some of them, though not all are located in

the rooms in which Deane has placed them.24 But it does give us

an idea of what the missing chimneypiece looked like and a sim

ilar one can be seen among the photographs oi the work of

Cambi's workshop in the Archivio dell'Istituto d'Arte di Siena.

Those on the mezzanine level are fairly mundane and not

helped by being so heavily varnished.25 Of more interest are

those located in the rooms adjoining the Reading Room but

unfortunately all three are difficult to see as they are partially

blocked by office furniture.

However, the most interesting chimneypieces are those in the

Trustees' Room, to the left of the entrance hall, and in the

director's office opposite. In both cases beautifully carved herms

with flowing hair guard each side of the mantel while banded

festoons of exotic fruits, reminding us of the 'botanical * doors of

the Museum, surround the fireplaces. What is curious about

these two chimneypieces is not just that they are of oak while

the others are of walnut but that Cambi has left such accom

plished work unsigned. The apparently arbitrary use of his signa

ture is a facet of his oeuvre in Ireland. It is noteworthy that in his

work in the Library, there is not a literary reference to be seen.

This can be explained perhaps by Simone Chiarugi's belief that

the photographs in the Siena Archives formed part of an illus

trated catalogue of Cambi's work and this can be borne out by

the pictures of Cambi's chimneypieces cut out from a magazine

or more probably from a catalogue in the National Gallery col

8. National Museum of Ireland: The Ground Floor Doors. 1886. Detail of

panels from the doors of the director's office showing paterae, arms, strapwork, and some of the exotic fruits which are a feature of this door.

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From Torpedo Boat to Temples of Culture: Carlo Cambi's Route to Ireland

lection.26 It is probable then that Deane had Cambi's catalogue in front of him as he sketched the selected chimneypieces onto

his plan.

Late in 1899 the building of the Milltown Rooms, designed by the Deane family firm, began at the National Gallery. Behind

the new portico, the exhibition space stretched back in an

enfilade of six octagonal rooms on the ground floor, with a

square room off the sixth to the left. There is a similar arrange

ment on the first floor but here all the rooms are square. The

Irish Builder reported in 1903 that 'The carved walnut trimmings of the door opes between the Gallery rooms have been executed

by Signor Carlo Cambi of Siena in his usual beautiful style and

workmanship.'27 Not mentioned here but attributed to Cambi on

stylistic grounds is the lovely chimneypiece in the original office

of the director on the first floor. These rooms are greatly

enhanced by the doorcases, particularly when viewed as an

enfilade from either end (Fig 6). But it is in the very finely exe

cuted carving in the jambs and soffits of the doorcases that we

see the virtuosity of the carver, particularly in the narrow panels

where the work is small in scale (Fig 9). Added to his repertoire of motifs here and used more than once in the gallery, are the

tools of the painter, the palette and brushes.

There are a number of drawings by Thomas Manly Deane in

the National Gallery collection that can be identified with work

executed by Cambi. Among these are chimneypieces in a num

ber of houses in Killiney, county Dublin (Fig 4) which are proba

bly the earliest works by him in Ireland (1883-6) ;28 and a pulpit for St Stephen's church (the 'Peppercanister') in Upper Mount

Street, Dublin (Fig 5), for which Cambi also made the sedilia

and the prayerdesk.29 But there are other works which can be

attributed to him for which no drawings have been found so far.

Among these are the library of Heywood House, county Laois,

destroyed in the fire of 1950;30 a chimneypiece in the boardroom

of Rathmines Town Hall in Dublin;31 and the Oak Diningroom of the Vienna Woods Hotel, Glanmire, Cork (formerly Lota

Lodge) with its large inglenook chimneypiece.

There is no evidence that Cambi ever came to Ireland. This

type of work was done 'by post', with Irish, English, French and

American architects sending measured drawings to Italian

craftsmen, who then shipped over the work, ready for fitting.

The National Gallery commission appears to be Cambi's last

work in Ireland. Neo-Renaissance ornament was becoming old

fashioned as Art Nouveau established itself in Europe and the

Celtic Revival was making itself felt in Ireland. Its swansong in

Siena was a commission from a banking group, the Monte dei

Paschi, to provide furnishings for their assembly room. This was

a response to a request from a number of Sienese woodcarvers,

including Cambi, to commission a work promoting local artists

in order to revive their flagging tradition. Cambi's work here is

almost jewel-like in its precision and most definitely holds its

own beside the works of the other woodcarvers. But while the

room was much lauded at the time (1897) it did nothing to revi

talise the industry.

The quality of Carlo Cambi's work in Ireland remained consis

tently high from his first works, the simple but well-carved Killiney

chimneypieces to his last in the National Gallery, a commission

that truly gave him an opportunity to display the virtuosity of an

artist in wood. In Thomas Manly Deane he had a patron who was

so convinced of the appropriateness of his work and his style, that

from the early stages of planning the Kildare Street buildings,

arguably one of the most prestigious commissions in the history of

architecture in Dublin, he intended that Cambi's work would be

featured and take its place in the Museum just as any other

exhibit, as was explained to the Cabinetmakers' Society.

PATRICIA McCarthy is a graduate in the History of Art, Trinity College, Dublin.

This article is condensed from her BA thesis on Carlo Cambi. She has recently

completed a commission to research the history of the buildings of the Honorable

Society of the King's Inns.

ACKNOWLEDGMENTS I would like to thank Dr Edward McParland, who supervised

my thesis, for his help and guidance. I am very grateful to Dr Frederick O'Dwyer, and to Peter Carville, Dr Arthur Gibney, Jane McAvock, Brendan O'Donoghue, Dr Pat

Wallace, and the staff of the Irish Architectural Archive, all of whom have assisted

my research in various ways.

(Opposite) 9. National Gallery OF Ireland: The Milltown Rooms. The smaller scale of the work on soffit panels such as these and others show Cambi's virtuosity as a

wood carver.

1 Now the National Museum of Ireland.

2 The Irish Builder, vol 29 (1 Oct 1887), p. 279.

3 S Chiarugi, Botteghe di Mobilieri in Toscana

1780-1900 (Florence 1994), p. 431, fn 3.

4 (As note 3), p. 430.

5 Photographs of the P&O ships are held in the

National Maritime Museum, Greenwich.

Among these is one of a piano in the music

room of the Britannia (launched 1887) on

which the carving is in Cambi's style, if not by his workshop.

6 (As note 3), p. 431, fn 6.

7 (As note 3), p. 430. 8 II Libero Cittadino, no 46 (9 June 1887), quoted

in C Sisi and E Spalletti (eds), La Cultura

Artistica a Siena nelVOttocento (Siena 1994). 9 M Picone Petrusa, 'The Italian Neo

Renaissance at Exhibitions during the later

Nineteenth Century', in R Pavoni, Reviving the

Renaissance (Cambridge 1997), p. 211.

10 O Selvafolta, The Legacy of the Renaissance

in Periodicals', in R Pavoni, Reviving the

Renaissance, p. 39.

11 F O'Dwyer, The Architecture of Deane and

Woodward (Cork 1997) p. 391.

12 Vol 28, (15 August 1886), p. 231.

13 Patterson Kempster & Shortall Collection

77/1. Bill of Quantities No. 4 Carpentry and

Joinery, (Aug 1885) p. 17, Irish Architectural

Archive.

14 One of the 'foreign doors' has been removed to

facilitate ease of passage for the public into the

audio visual room in the Treasury. The other

doorway in this room was created for the same

purpose, with a plaster cast of the majolica sur

round. The main entrance doors to both

Museum and Library may be by Cambi also.

They are carved of oak, and their door furni

ture appears to be Italian.

15 The director of the Museum hopes to remove

the varnish from the remaining doors in due

course.

16 Heraldic shields are used as motifs on three

doors. Two heralds of arms from the

Genealogical Office inspected these and con

cluded that 'Cambi simply made decorative

use of coats with which he was familiar'; letter

(19 Mar 1999). 17 According to botanist, Peter Carville, the

plants here include, together with lemons,

grapes, and pomegrantes, more unusual speci mens such as medlars, garlic, quinces, hazel,

pepper plant, gourds, two different varieties of

figs, and the locust bean tree. There is a similar

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From Torpedo Boat to Temples of Culture: Carlo Cambi's Route to Ireland

10. NATIONAL Museum OF Ireland: First Floor Landing: detail of doors, c.1888. Detail of one of a pair of doors in this location on which the oval panels contain alchemical

equipment, probably copied from a pattern book and deemed suitable for a museum of science and art.

(Opposite) 11. NATIONAL MUSEUM OF IRELAND: First Floor, Door and surrounds showing how Burmantofts majolica complements the carvings of Carlo Cambi. Most of the

majolica in the museum has been restored to its natural brilliance, having been painted over in the 1950s.

door to this on the same (ground) floor.

18 The second floor in the museum is now closed to the public.

19 General Guide to the Science and Art Museum, Dublin (Dublin 1892), p. 61.

20 Sir Thomas Manly Deane Sketchbooks, Folio

7398, National Gallery of Ireland.

21 Panels alone would be susceptible to damage in transit.

22 M Anders, 'Burmantofts Architectural

Faience', Burmantofts Pottery (Bradford 1983),

p. 29.

23 PKS Collection 77/1 Bill of Quantities No.4. Irish Architectural Archive; Interview with

the late Professor Clive Wainwright (Oct

1998) who believed that Milligan's work is

very typical of English craftsmen at the time

who were trying to imitate Italian carvers.

24 Sir Thomas Manly Deane Sketchbooks, National Gallery of Ireland.

25 In the exhibition room to the left and the

genealogy room to the right, in each of which are two chimneypieces.

26 (As note 3), p. 431.

27 Vol 44 (9 Apl 1903), p. 1702. Zo In looZ, 1 nomas Newenham Deane moved to

Killiney with his family, where his firm later

designed some houses.

29 The donor was H V Jackson who, through his

chairmanship of the Dublin Brick and Tile

Company, would probably have known Deane, and they were likely to have mixed in the same

social circles.

30 Three doors from the library were saved and are in the refectory of the Salesian Order's

building close to the site of the house. Two

chimneypieces were apparently also saved but

their whereabouts is unknown.

31 Both library and town hall were designed by Sir Thomas Drew. As one of the unsuccessful

applicants in the design competition for the

National Museum and Library, he would cer

tainly have been familiar with Cambi's work.

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