Chiswick House is a Palladian villa in Burlington Lane, Chiswick, London W4, England.

The house belonged to Richard Boyle, 3rd Earl of Burlington better known as Lord Burlington, whose taste and skill as an architect have been frequently recorded. The "architect earl" designed it in 1729, with garden design input from William Kent. Burlington's daughter Charlotte married William Cavendish, 4th Duke of Devonshire, and the house and gardens passed to that family after her early death.

The octagonal domed Palladian villa is inspired by the Villa Capra "La Rotonda" near Vicenza and at the same time a fine example of 18th-century architecture, with its colonnaded portico on the upper storey, the frescoed ceilings, the velvet rooms and the stone rooms. There is also a superb collection of paintings and palladian furnishings.

The gateway was originally designed by Inigo Jones in 1621 and removed and rebuilt by Burlington at Chiswick House in 1738.

The ascent to the house is by a noble double flight of steps, on one side of which is a statue of Palladio, and on the other that of Inigo Jones. The portico is supported by six fluter Corinthian pillars, with a pediment; and a dome at the top enlightens a beautiful octagonal saloon. "This house," says Mr. Walpole, "the idea of which is borrowed from a wellknown villa of Palladio, and is a model of taste, though not without faults, some of which are occasioned by too strict adherence to rules and symmetry. Such are too many corresponding doors in spaces so contracted; chimneys between windows, and, which is worse, windows between chimneys; and vestibules however beautiful, yet little secured from the damps of this climate. The trusses that support the ceiling of the corner drawing-room are beyond measure massive, and the ground apartment is rather a diminutive catacomb than a library in a northern latitude. Yet these blemishes, and Lord Hervey's wit, who said 'the house was too small to inhabit, and too large to hang to one's watch,' cannot depreciate the taste that reigns throughout the whole. The larger court, dignified by picturesque cedars, and the classic scenery of the small court, that unites the old and new house, are more worth seeing than many fragments of ancient grandeur which our travellers visit under all the dangers attendant on long voyages."

The gardens are in the Italianate taste, "but divested of conceits, and far preferable to every style that reigned till our late improvements." A good example of the English Landscape School , they contain a fair number of interesting features: temples, statues, obelisks, exedra, sphinx, amphitheatre, cascade and wilderness. The "Casina" in the garden (1717) was Burlington's first essay in architectural design.

" The buildings are heavy, and not equal to the purity of the house. The lavish quantity of urns and sculpture behind the garden front should be retrenched." Such were the sentiments of Mr. Walpole on this celebrated villa, before the noble proprietor began the capital improvements which have since been completed. Two wings have been added to the house, from the designs of Mr. Wyattville. These remove the objections that have been made to the house, are more fanciful and beautiful than convenient and habitable; the gardens have also been considerably improved, and now display all the beauties of modern planting.

It is a remarkable coincidence that at this secluded and beautiful villa Charles James Fox terminated his glorious career, in the same month, and having arrived at the same age (fifty-seven) as Mr. Canning.

The House and gardens are in the care of English Heritage. The garden has been a public park since 1929.

As many of our readers may be induced to visit this quiet and picturesque spot, we would recommend them to pass down the carriage-way which leads from Turnham-green to the porter's lodge, and having reached the door that opens to a rural lane which runs in front of the villa, to turn into the field, the gate of which is situated near a small bridge, and from thence a delightful view may be obtained of this celebrated villa. It was on this spot the above view was sketched. In returning through the lane which we have just alluded to, the first turning on the right conducts to the church, which interestingly-ancient edifice demands a remark in this place.

Chiswick church is situated near the water side. The present structure originally consisted only of a nave and chancel, and was built about the beginning of the fifteenth century, at which time the tower was erected at the charge of William Bordal, vicar of Chiswick, who died in 1435. It is built of stone and flint, as is the north wall of the church and chancel; the latter has been repaired with brick: a transverse aisle, at the east end of the nave, was added on the south side in the middle of the last, and a corresponding aisle on the south side, towards the beginning of the last century. The former was enlarged in the year 1772, by subscription, and carried on to the west end of the nave: both the aisles are of brick.

In the churchyard is a monument to the memory of William Hogarth. On this monument, which is ornamented with a mask, a laurel wreath, a palette, pencils, and a book, inscribed, "Analysis of Beauty," are the following lines, by his friend and contemporary, the late David Garrick:—

"Farewell, great painter of mankind,

Who reached the noblest point of art,

Whose pictur'd morals charm the mind,

And through the eye correct the heart!

If genius fire thee, reader, stay;

If nature move thee, drop a tear;

If neither touch thee, turn away,

For Hogarth's honour'd dust lies here."

Near this is the tomb of Dr. Rose, many years distinguished as a critic in a respectable periodical publication.

In the church, in the Earl of Burlington's vault, is interred the celebrated William Kent, a painter, architect, and father of modern gardening. "In the first character," says Mr. Walpole, "he was below mediocrity; in the second, he was the restorer of the science; in the last, an original, and the inventor of an art that realizes painting and improves nature. Mahomet imagined an Elysium, but Kent created many." He frequently declared, it is said, that he caught his taste in gardening from reading the picturesque descriptions of Spencer. Mason, noticing his mediocrity as a painter, pays this fine tribute to his excellence in the decoration of rural scenery:—

——"He felt

The pencil's power—but fir'd by higher forms

Of beauty than that pencil knew to paint,

Work'd with the living hues that Nature lent,

And realiz'd his landscapes. Generous be,

Who gave to Painting what the wayward nymph

Refus'd her votary; those Elysian scenes,

Which would she emulate, her nicest hand

Must all its force of light and shade employ."

On the outside of the wall of the churchyard, on a stone tablet, is the following curious inscription:—"This wall was made at ye charges of ye right honourable and trulie pious Lorde Francis Russel, Duke of Bedford, out of true zeal and care for ye keeping of this churchyard, and ye wardrobe of God's saints, whose bodies lay therein buried, from violating by swine and other profanation, so witnessed! William Walker, V., A.D. 1623."

We cannot better conclude our description than with a sketch from Sir Richard Phillips's "Morning's Walk to Kew." He was walking on the opposite banks of the river, when on a sudden he caught the sound of a ring of village bells. "Surely," he exclaimed, "they are Chiswick bells!—the very bells under the sound of which I received part of my early education, and, as a schoolboy, passed the happiest days of my life!—Well might their tones vibrate to my inmost soul, and kindle uncommon sympathies!" I now recollected that the winding of the river must have brought me nearer to that simple and primitive village than the profusion of wood had permitted me to perceive, and my memory had been unconsciously acted upon by the tones which served as keys to all the associations connected with these bells, their church and the village of Chiswick! I listened again, and now discriminated those identical sounds which I had not heard during a period of more than thirty years. I distinguished the very words in the successive tones, which the school-boys and puerile imaginations at Chiswick used to combine with them. In thought, I became again a schoolboy—"Yes," said I, "the six bells tell me that my dun cow has just calv'd, exactly as they did above thirty years since!"—Did the reader never encounter a similar key-note, leading to a multitude of early and vivid recollections? Those well-remembered tones, in like manner, brought before my imagination numberless incidents and personages no longer important, or no longer in existence. My scattered and once-loved schoolmates, their characters and their various fortunes, passed in rapid review before me; my schoolmaster, his wife, and all the gentry, and heads of families, whose orderly attendance at divine service on Sundays, while those well-remembered bells were "chiming for church," (but now gone and mouldering in the adjoining graves,) were again presented to my perceptions! With what pomp and form they used to enter and depart from their house of God! I still saw with the mind's eye the widow Hogarth, and her maiden relative, Richardson, walking up the aisle dressed in their silken sacks, their raised head-dresses, their black hoods, their lace ruffles, and their high-crook'd canes, preceded by their aged servant, Samuel; who, after he had wheeled his mistress to church in her Bath-chair, carried the prayer-books up the aisle, and opened and shut the pew! There too was the portly Dr. Griffiths, of the Monthly Review, with his literary wife in her neat and elevated wire-winged cap! And oftimes the vivacious and angelic Duchess of Devonshire, whose bloom had not then suffered from the canker-worm of pecuniary distress, created by the luxury of charity! Nor could I forget the humble distinction of the aged sexton, Mortefee, whose skill in psalmody enabled him to lead that wretched group of singers, whom Hogarth so happily portrayed; whose performance with the pitch-fork excited so much wonder in little boys; and whose gesticulations and contortions of head, hand, and body, in beating time, were not outdone even by Joah Bates in the commemorations of Handel! Yes, simple and happy villagers! I remember scores of you;—how fortunately ye had, and still have, escaped the contagion of the metropolitan vices, though distant but five miles; and how many of you have I conversed with, who, at an adult age, had never beheld the degrading assemblage of its knaveries and miseries!

I revelled in the melancholy pleasure of these recollections, yielding my whole soul to that witchery of sensibility which magnifies the perception of being, till one of the bells was overset, when, the peal stopping, I had leisure to think on the rapid advance of the day, and on the consequent necessity of quickening my speed.

External links

• Chiswick House
• Detailed illustrated discussion of Chiswick

Reference

• John Harris, The Palladian Revival: Lord Burlington, His Villa and Garden at Chiswick. New Haven: Yale University Press, 1994