THE KAMAT GROUP has been operating hotels and restaurants for about forty years, if not longer. One of the branches is opposite the Jumma Masjid in the busy Commercial Street district of Bangalore (Bengaluru) in South India. I have visited this eatery many times during the 28 years that I have been making visits to Bangalore.
We usually drop in, or rather ascend the steps to, the seating area of Kamat’s to have a cup of coffee after doing errands in the crowded lanes that form the bustling area through which Commercial Street runs.
The interior of Kamat never changes. It has probably looked as it does today ever since it opened sometime before my fist visit to Bangalore. Its walls are simply decorated with mirrors and polished woodwork. A wooden barrier runs along the midline of the rectangular seating area, which comprises basic tables and chairs.
Despite not having the latest, trendy internal decor, Kamat in Commercial Street attracts many customers. The owners have done nothing noticeable to modernise the place; to make it compete with the many much more glitzy places in the city. Clearly, they understand the maxim ‘if it ain’t broke don’t fix it’
THE NOTTING HILL GATE public library is close to where we live. It consists of three main rooms. Two of them have beautiful painted stucco ceilings. The third, which might have once had such a ceiling, does not have one now. However, it retains some wood panelling with an upper carved wooden margin. Each of the rooms retains the remnants of fine stucco work on their walls. The library occupies much of the ground floor of a large house at the corner where Pembridge Square meets Pembridge Road.
I asked one of the librarians about the history of the building housing the library. She believed that it had once been a large private residence, which the last owner had given the local authority many years ago. She told me that in addition to the library, the house has fats on its upper floors. Sadly, the ceilings have to be restored often because there are often water leaks from the upper floors.
A few years ago, there was a real risk that this branch library would be closed by the local Council (The Royal Borough of Kensington and Chelsea). Vigorous protests by the branch library’s many users and other locals saved the place from closure. To reduce running costs, the library is not always open, but access is possible at odd times almost every day of the week except Sunday.
IN CASE YOU ARE WONDERING, this piece is not all about me, Adam Robert Yamey. My father, a well-known economist, was all for calling me ‘Adam Smith Yamey’, in honour of the famous Scottish economist and author of “The Wealth of Nations”, Adam Smith (1723-1790), but my mother was against this. My ‘Robert’ might have been chosen because my mother had a brother called Robert, but maybe they chose the name because they knew about a more celebrated Robert, the Scottish architect and Adam Smith’s contemporary, Robert Adam (1728-1792). Lately, we have visited two buildings whose appearances owe much to Adam the architect. One is Osterley House, west of London, and the other Kenwood House in north London.
According to a mine of information, “Handbook to the Environs of London” by James Thorne (published in 1876), the manor of ‘Osterlee’ belonged to John de Osterlee in the reign of Edward I (lived 1239-1307). Through the years it moved through the hands of men such as John Somerseth (died 1454), Henry Marquis of Exeter (1498-1538), Edward Seymour (Protector Somerset 1500-1552), Augustin Thaier, and then Sir Thomas Gresham (1519-1579).
Gresham was, according to Thorne, was “… the prince of merchants”. An able financier, he worked on behalf of King Edward VI, Queen Mary I, and Queen Elizabeth I, and was also the founder of the Royal Exchange in London. In 1857, the economist Henry Dunning Macleod, used Thomas’s surname to name a law of economics, namely ‘bad money drives out good’. By 1577, Gresham enclosed Osterley Park and constructed a magnificent mansion. Although there are no surviving images of this building, its architectural style can be imagined by looking at the Tudor stable block (c1560) that stands next to the present Osterley House.
After Gresham’s death, the building began to decline even while his widow, Anne (née Ferneley), continued to dwell in it. After her death in 1596 at the age of 75, Osterley House and its grounds were owned by a series of people until about 1713, when the banker Sir Francis Child (1642-1713) bought the property.
Sir Francis left the place to his sons Robert (1674-1721), Francis (1684-1740), and Samuel (1693- 1752). It was the latter’s son, the third Francis Child (1735-1763), who engaged the fashionable architect Robert Adam to make improvements to Osterley House. His was employed in the 1760s to modernise Gresham’s house. The most obvious of Adam’s works can be seen before you enter the house, the neo-classical portico supported by two rows of six Ionic columns that evokes memories of the Propylaeum of the Parthenon in Athens, which Adam might well have known about after his Grand Tour of Europe undertaken between 1755 and 1757, which, incidentally, included a visit to the ruins at Split (now in Croatia). The portico joins two wings of the building that Child inherited.
In addition to the magnificent portico that contrasts with the Tudor brickwork of the rest of the building, Adam redesigned the entire interior of the building, creating a series of beautifully decorated rooms, most of which have eye-catching ornate ceilings. One room, which does not have a decorated ceiling is the Long Gallery which was used to house some of the large collection of paintings that used to hang in the Child’s London home, which they sold in 1767. Most of these artworks were removed from the house when Lord Jersey gifted the house to the National Trust in 1949, and then lost in a fire. They have been replaced by other fine paintings. Many of the chairs and sofas and other furnishings in the Long Gallery (and other rooms) were designed by Robert Adam, who took great interest in every detail of what he created. The absence of ceiling decorations, it was explained to us, was intentional; the ceiling was left unadorned so that viewers of the paintings were not distracted by decorative features above them. In the other rooms, the ceilings rival other aspects for the viewer’s attention. From the grand entrance hall onwards, the visitor is faced with a series of rooms that compete for his or her admiration. Amongst these marvels of interior decoration, I was particularly impressed by the Drawing Room that drew inspiration from the Temple of the Sun at Palmyra (destroyed by ISIS in 2009), the Tapestry Room, and the delicately decorated Etruscan Dressing Room. I have singled out these rooms, but the others are also magnificent. Adam’s creations make a visit to Osterley Park a breath-takingly exciting visual experience.
As the crow flies, Kenwood House is ten miles northeast of Osterley House, or about 15 miles by road. Osterley House was completely remodelled by Robert Adam. Beneath his modifications, its structure is basically the Tudor mansion that the Child family purchased. The situation is different at Kenwood.
“… addition of a new entrance on the north front in 1764, which created the existing full-height giant pedimented portico … modernised the existing interiors, notably the entrance hall (1773), Great Stairs and antechamber, and built a new ‘Great Room’ or library (1767–9) for entertaining. The ground-floor rooms on the south front all received Adam’s new decorative schemes. These social spaces for the family included a drawing room, parlour and ‘My Lord’s Dressing Room’ … designed the south front elevation in 1764, but changed it in 1768 in order to insert attic-storey bedrooms.”
So, he added to the existing building rather than working within its original ‘footprint’. The ‘pièce de résistance’ of Adam’s work at Kenwood is without doubt the Library. It must be seen to be believed. Reluctantly, because I was really impressed by his creations at Osterley, this library exceeds the splendour of all the rooms at Osterley. The South façade of Kenwood is also a successful modification of the building, more effective aesthetically than the portico added to the north side of the house.
Seeing Adam’s Library at Kenwood House is just one of the good reasons to visit the place. The other attractions include the wonderful gardens and the collection of masterpieces of British and European painters that are on display. Including works by Vermeer, Rembrandt, Bols, Turner, Guardi, Reynolds, and many more celebrated artists, the paintings are part of the collection of the Irish businessman and philanthropist, Edward Cecil Guinness, 1st Earl of Iveagh (1847-1927), which he left to the nation following his death.
Those enamoured by the works of Robert Adam must visit the two houses already described, which are open to the public. There is another place in London, Home House in Portman Square, once the home of Sir Anthony Blunt and the Courtauld Institute and now a private members’ club (Home House Club), whose Adam interiors, which I have seen, are also spectacular examples of his creative powers. If you are not fortunate enough to know a member of this club, you will have to satisfy yourself by visiting Kenwood and Osterley Houses, but you will not be disappointed.