Dover House – The Building

Rather than catalogue the building work done in the middle of the 18th century, this section will concentrate on the house as it now stands, an amalgam of Paine's work with the later extensive renovations by Sir Henry Holland.

Dover House is thus the work of its original architect James Paine, of whom Thomas Hardwick later remarked that "Sir Robert Taylor and Mr James Paine neatly divided the practice of the profession between them until Mr Robert Adams entered the list" and Sir Henry Holland, celebrated architect of Carlton House. (A portrait of James Paine can be seen in the waiting room of the entrance to the building.) The Main block and the 2 storey wings running into Whitehall were built between 1754-1758. Sir Henry Holland was commissioned to remodel the House, which had been acquired by the Duke of York in 1788. This remodelling was highly successful, a particular example being the magnificent entrance lobby and rotunda. The extensive renovations of the 1790’s did not, however, seek to mask the earlier works. In fact despite the time lapse between original construction and the renovation, the property bears to a remarkable degree the stamp of both its creators with the distinctive Romanesque style of Paine complemented by the Greek influence which was the mark of Holland.

Having bought the House from the widow of Sir Matthew Featherstonehaugh, it is easy to imagine why the Duke was dissatisfied with it as first built. The old entrance at ground floor level (now the lower waiting hall) is, and was, a small, low ceilinged room almost with the air of a country house and, by 1788, a rather old fashioned one at that. One would speculate that this was not at all what the future King's brother felt to be suitable for a person of his station. Holland's solution was brilliant; he gave the Duke a splendid and impressive entrance hall with a magnificent parade up to the first floor state rooms, banishing the stairs to a new wing on the south side of the house, and thus creating a sweeping entry into the grand suite of reception rooms. But whereas Paine provided one floor of reception rooms, Holland created two. He transformed the house into a genuine palace in miniature, with public rooms on the first floor, and the Duke's private suite on the ground floor where offices had been. He also redesigned the park elevation to give a more neo-classical appearance which resembled the north front of Carlton House, a building which he was remodelling and extending for the Prince of Wales at exactly the same time. Holland contrived a new and very up-to-date elevation to Whitehall by simply building a new screen wall and portico.

As well as the major work of creating the Rotunda with its new route to the first floor, Holland extended the old north wing towards the park to allow access to the Duke's bed chamber from the Library; this area contained what must have been a fascinating suite of hot bath, cold bath, water heater and WC between a new valets room, an inner dressing room and wardrobe, and the bed chamber itself.

Holland's original first floor plan showed the three principal rooms of similar dimensions whereas in actuality there is a niche in the ante-room giving access to the principal rooms; the cornices in the second and third rooms are early to mid 19th century in style and are likely to be part of Lord Dover's work. There is a curious lack of enrichment to the doors and architraves in the principal rooms; and one can speculate as to why the Duke built so breathtaking a rotunda and ante-room, with such refinement, but not then finish the rooms themselves with equal style? It is possible that Holland's proposals were curtailed by the Duke's desire for a Mansion in Piccadilly. Lady Melbourne for her part was quite eager to obtain "York House" and an exchange was effected in 1792. We know from a letter from the Prince of Wales to the Duke in August 1791, that "there is not even a ceiling or a floor in the principal floor or any part of the stucco ready or even begun". It is a matter of speculation whether Holland's drawings were amended as a result of the transition, with perhaps the simpler joinery in the great rooms being a reflection of the taste of the Melbourne's.

This section ends with the description of the House given in the London County Council survey of London dated 1931. It would be difficult to better such a succinct description.

"The west elevation overlooking Horse Guard's Parade is executed in Portland stone and consists of a restraining symmetrical design embracing three storeys and an attic with dormer windows in a slate mansard roof. The wall surface is rusticated with the jointing of the grand storey more defined. The ground floor windows finish off the floor level and similar treatment is carried out to the principal floor; the windows of the latter, however, are enhanced with architraves springing from panelled dies and have pedimented heads. The focal point of the façade is a large three-light centre window within an arched recess divided by Ionic Columns on Pies supporting a moulded head on the springing above which is a panelled tympanum. The windows to the floor above have moulded architraves. The whole composition is completed by a delicate modillion cornice surmounted by a high balustraded parapet. Subsequent to the erection of the building a veranda with glass and iron roof was placed at the first floor level, but the roofing was removed some years ago.

"On either side of the façade are slightly recessed wings, the height of which was originally limited by the agreement with the Duke of Dorset. The southern wing has, however, since been covered up higher, the symmetry of the front impaired.

"The elevation of the main Whitehall block is more restrained and has low projecting wings which formerly contained offices and stabling. The general effect as seen from the road is dominated by the entrance portico and screen wall".

Printed from: www.scotlandoffice.gov.uk/history/dover-house/building.html on 21 August 2008