John Chessell Buckler (1793-1894) stands as a significant, if sometimes controversial, figure in the landscape of 19th-century British art and architecture. An architect, topographical artist, and dedicated antiquarian, Buckler's long life spanned a period of immense change in how Britain viewed, documented, and preserved its historical buildings. His meticulous drawings and architectural works, primarily in the Gothic Revival style, have left an invaluable legacy for understanding the nation's built heritage, even as his restoration practices occasionally drew criticism from his contemporaries.
Early Life and Artistic Inheritance
Born in Oxford on December 23, 1793, John Chessell Buckler was immersed in the world of art and antiquarianism from a young age. He was the eldest son of John Buckler (1770-1851), himself a highly respected and prolific topographical draughtsman and architect. The elder Buckler was renowned for his extensive series of drawings of English cathedrals and parish churches, establishing a formidable reputation for accuracy and dedication to recording the nation's architectural treasures. This paternal influence was undoubtedly profound, shaping John Chessell's own career path and instilling in him a deep appreciation for medieval architecture and its detailed representation.
The Buckler family was, in essence, an artistic dynasty dedicated to the study and depiction of British antiquities. John Chessell Buckler, often referred to as J.C. Buckler to distinguish him from his father, naturally followed in these footsteps. He received his early training under his father's tutelage, learning the meticulous techniques of architectural drawing and surveying that would become hallmarks of his own extensive oeuvre. The environment in which he grew up was one where the precise rendering of Gothic tracery, the careful observation of structural forms, and the historical significance of ancient edifices were daily subjects of discussion and practice.
While his father's style has sometimes been described as somewhat "mechanical and dry," John Chessell Buckler, while inheriting the commitment to accuracy, developed his own nuances. His work, like his father's, was crucial in an era before photography became widespread, providing vital records of buildings that might since have been altered, damaged, or lost. He was not merely a copyist; his understanding of architectural principles allowed him to convey the essence and structural integrity of the buildings he depicted.
The Gothic Revival and Buckler's Architectural Vision
John Chessell Buckler's career unfolded during the ascendancy of the Gothic Revival, a movement that profoundly reshaped British architecture and aesthetics. This architectural style, which sought to revive medieval Gothic forms, was not merely an aesthetic preference but was often imbued with moral, religious, and nationalistic significance. Buckler became a notable practitioner and proponent of this style, both in his drawings and his architectural commissions. His work celebrated the perceived authenticity and spiritual depth of Gothic architecture, contrasting it with the classical forms that had dominated previous centuries.
His commitment to the Gothic Revival was evident in his meticulous attention to detail. Whether designing new structures or restoring existing ones, Buckler aimed for what he considered an authentic replication of medieval craftsmanship and design principles. This dedication to "correct" Gothic forms was a hallmark of many architects of the period, including prominent figures like Augustus Welby Northmore Pugin, whose passionate advocacy for Gothic as the only true Christian architectural style had a widespread impact. While Buckler may not have shared Pugin's fervent religious zeal to the same extent, his work clearly aligned with the broader aims of the movement.
Buckler's architectural practice involved both new designs and, significantly, the restoration of historic buildings. This latter aspect would prove to be a source of both acclaim and considerable controversy. The 19th century was a period of intense debate regarding the appropriate methods for restoring ancient structures. Figures like John Ruskin championed a philosophy of minimal intervention, advocating for preservation over restoration, while others, including many practicing architects, believed in restoring buildings to a perceived original state, even if it meant removing later additions or making conjectural reconstructions. Buckler often found himself navigating these complex and contentious issues.
Principal Works and Publications
John Chessell Buckler's output was prodigious, encompassing a vast number of drawings, published illustrations, and architectural projects. One of his most significant early publications was "Views of the Cathedral Churches of England and Wales" (1822). This work, following in the tradition of his father, provided detailed and accurate illustrations of these magnificent structures, serving as both an artistic achievement and a valuable historical record. Such publications were vital for disseminating knowledge about architectural styles and for fostering public appreciation for the nation's heritage.
He was also involved in other illustrative projects, such as "A Historical and Descriptive Account of the Palace of Eltham" (1847), showcasing his skills in depicting secular as well as ecclesiastical architecture. His drawings of the towns and rural buildings of North Wales, including churches, castles, sepulchral monuments, and manor houses, further demonstrate his wide-ranging antiquarian interests and his ability to capture the character of diverse architectural forms. These works are invaluable for local historians and those studying regional architectural variations.
Beyond his published works, Buckler undertook numerous architectural commissions. He was involved in the restoration and alteration of various churches and collegiate buildings, particularly in and around Oxford. His work at Magdalen College, Oxford, for instance, led to his appointment as the college's "bailiff and surveyor of works," a testament to his recognized expertise. He was also responsible for designs for new churches and other buildings, consistently employing the Gothic Revival style that he championed. His drawings are now held in significant collections, including the Bodleian Library at Oxford and the British Museum, underscoring their enduring importance.
Collaborations, Contemporaries, and Competitors
The art and architectural world of 19th-century Britain was a vibrant and interconnected community, and John Chessell Buckler was an active participant. He collaborated with various artists and engravers on his published works. For instance, some of his illustrations were engraved by skilled craftsmen who translated his drawings into printable plates. The provided information mentions collaborations with figures such as Robert Bremmel Schnebbelie, Hugh Irvine, and William Henry Brooke for book illustrations, and with George Perfect Harding and Daniel King for additional engravings in architectural collections.
His contemporaries included a host of architects, artists, and antiquarians. The field of topographical and architectural illustration was populated by talented individuals. John Britton, for example, was a prolific antiquarian and publisher whose "Cathedral Antiquities of England" and "Architectural Antiquities of Great Britain" were landmark publications, setting a high standard in the field. Buckler's work can be seen as part of this broader movement to document and celebrate Britain's architectural past. Other notable architectural illustrators of the era included Frederick Mackenzie, known for his delicate watercolours of Gothic buildings, and Edward Blore, an architect and antiquarian artist who also produced numerous drawings of ancient structures.
In the realm of architectural practice, particularly within the Gothic Revival, Buckler worked alongside and sometimes in competition with major figures. George Gilbert Scott, one of the most successful and prolific Gothic Revival architects, was a dominant force. As will be discussed, Scott and Buckler would later clash significantly over restoration philosophies. Other architects like William Butterfield and George Edmund Street were also pushing the boundaries of the Gothic Revival, each with their distinct interpretations of the style. The period was characterized by vigorous debate and a shared passion for medieval forms, even if approaches differed. The influence of theorists like Thomas Rickman, whose "An Attempt to Discriminate the Styles of English Architecture" provided a systematic classification of Gothic periods, was also pervasive, informing the work of architects like Buckler.
The competitive aspect is also noted in the provided information, suggesting that his drawings of church stained glass, for example, might have been seen in comparison or competition with those of his father, John Buckler Sr., or other specialists in that niche. Similarly, in projects involving multiple engravers, such as William Edward Finden and Robert Grave, there would have been an inherent comparison of skill and style. This environment of collaboration and competition was typical of the period and helped to drive standards and innovation.
The Lincoln College Controversy: A Clash of Restoration Philosophies
One of the most defining and challenging episodes in John Chessell Buckler's career was the controversy surrounding his restoration work at Lincoln College, Oxford, between 1859 and 1866. Buckler, serving as the college's architect, undertook a significant restoration of the college's chapel and other buildings. During this process, he was accused of "scraping" the exterior stonework – a practice that involved removing the weathered outer surface of the stone to reveal a fresher layer underneath.
This practice was highly contentious. Proponents argued that it restored the building's original appearance and removed decaying material. However, critics, including influential figures like George Gilbert Scott and members of organizations such as the Ecclesiological Society (likely the "priestly association" mentioned in the source material, which advocated for "correct" Gothic forms and practices), argued vehemently against it. They contended that scraping destroyed the historical patina of the building, removed original tooling marks, and often led to an overly harsh, "new" appearance that was historically inauthentic. This was part of the broader "scrape" versus "anti-scrape" debate that raged throughout the Victorian era, with figures like William Morris later becoming a leading voice for the "anti-scrape" (preservationist) approach through the Society for the Protection of Ancient Buildings.
The accusations against Buckler at Lincoln College generated considerable public debate, with extensive coverage in architectural journals, national newspapers, and local press for over six months. Buckler defended his actions vigorously, even publishing an impassioned book to justify his methods. However, rather than quelling the criticism, his defense reportedly further antagonized many in the architectural establishment. This incident highlights the passionate, and often deeply personal, nature of debates surrounding heritage conservation in the 19th century. It also underscores the evolving understanding of what constituted appropriate care for historic structures. While Buckler believed he was acting in the best interests of the buildings, his methods clashed with an increasingly influential preservationist sentiment.
Later Life, Family Legacy, and Continued Work
Despite the controversies, John Chessell Buckler continued his architectural practice and artistic endeavors. He lived an exceptionally long life, passing away on January 5, 1894, at the age of 100. His longevity meant he witnessed enormous transformations in British society, art, and architecture, from the Regency period through almost the entirety of the Victorian era.
The Buckler artistic tradition did not end with him. His son, Charles Alban Buckler (1824-1905), also became a distinguished architect, specializing in the Gothic Revival style. Charles Alban was particularly known for his work on Roman Catholic churches and country houses, such as Arundel Castle. He also inherited a significant portion of the family's vast collection of drawings, further ensuring the preservation of this remarkable artistic legacy. The continuity of architectural and antiquarian pursuits across three generations of the Buckler family is a testament to their deep-seated passion for Britain's built heritage.
Throughout his later years, John Chessell Buckler remained a respected, if sometimes debated, figure. His vast collection of drawings, along with those of his father and son, found their way into important public collections, most notably the Bodleian Library at Oxford and the British Library (which inherited parts of the British Museum's collection of manuscripts and drawings). These collections remain an invaluable resource for scholars today, offering detailed insights into the appearance of countless buildings, many of which have since been altered or no longer exist.
Historical Evaluation and Artistic Impact
John Chessell Buckler's historical evaluation is multifaceted. He is undeniably recognized for his skill as an architectural draughtsman. His drawings are prized for their accuracy, detail, and comprehensive coverage of a wide range of British buildings. For architectural historians, his work provides an essential visual record of structures as they appeared in the 19th century, often before significant Victorian restorations or, conversely, before further decay. The sheer volume of his output, and that of his father, created an unparalleled archive of British architectural heritage.
As an architect, his contributions to the Gothic Revival are significant. He was part of a generation that passionately believed in the superiority of Gothic forms and worked diligently to promote their revival. His designs, whether for new buildings or restorations, reflect a deep understanding of medieval precedent, even if his interpretation, like that of many of his contemporaries, was filtered through a 19th-century lens. The criticism of his drawing style as occasionally "mechanical" or "dry" is perhaps a reflection of the primary purpose of much of his work: to record rather than to romanticize. The precision and clarity that might seem "dry" to some were precisely the qualities that made his drawings so valuable as historical documents.
The Lincoln College controversy, while damaging to his reputation in some circles at the time, also serves as an important case study in the history of architectural conservation. It reflects the evolving ethics and practices of restoration, a debate that continues in different forms even today. Buckler's stance, while criticized, was not uncommon among practicing architects of his generation who saw their role as improving and perfecting historic structures according to their understanding of the original design intent.
His influence extended through his publications, which helped to educate both professionals and the public about architectural history and styles. Works like "Views of the Cathedral Churches of England and Wales" contributed to a growing appreciation for the nation's medieval heritage and fueled the enthusiasm for the Gothic Revival. The detailed engravings made from his drawings were widely circulated, influencing other artists and architects and shaping popular perceptions of historic buildings. The work of antiquarians and illustrators like Buckler, John Sell Cotman, and Samuel Prout, who also depicted architectural subjects, played a crucial role in fostering a national consciousness about historic preservation.
Enduring Legacy
John Chessell Buckler's legacy is primarily that of a dedicated chronicler and practitioner of Gothic architecture. His life's work contributed significantly to the 19th-century's understanding and appreciation of Britain's medieval past. While his restoration methods faced scrutiny, the immense body of his drawings remains an undisputed treasure, offering irreplaceable insights into the architectural landscape of his time.
His dedication, shared with his father John Buckler and continued by his son Charles Alban Buckler, ensured that a vast visual record of British architecture was created and preserved. In an age before the widespread use of photography for architectural documentation, the meticulous and skilled draughtsmanship of artists like John Chessell Buckler was paramount. His drawings are not merely artistic representations; they are historical documents of the first order, consulted by researchers, historians, and conservationists to this day. His role in the Gothic Revival, both as an illustrator and an architect, places him firmly within the mainstream of one of the most influential artistic and cultural movements of the 19th century. Despite the occasional professional storm, John Chessell Buckler's century-long life was one of profound dedication to the art and architecture he so clearly revered.
