# Dictionary of National Biography, 1885-1900/Gwynn, John

​GWYNN, GWYN, or GWYNNE, JOHN (d. 1786), architect, was born 'of a respectable family' in Shrewsbury, probably in the parish of St. Chad's, but the year of his birth is not known. He is said to have left his native town in early childhood. He does not seem to have been educated as an architect. In 1760 he was described as 'till of late of another profession' (Observations on Bridge Building, p. 22). He became known in London as early as 1734, as a writer on art and a draughtsman. In 1749 (3 Oct.) he published 'A Plan for Rebuilding the City of London after the great fire in 1666; designed by that great architect, Sir Christopher Wren,' engraved by E. Rooker (Wren, Parentalia, p. 267, plans published by the Soc. Antiq. Lond. 1748), and in 1755 (27 May) a large plate of the 'Transverse Section of St. Paul's Cathedral, decorated according to the original intention of Sir Christopher Wren,' also engraved by E. Rooker and dedicated to the Prince of Wales (as to the source of his information see Longman, History of the Three Cathedrals, p. 149, and Gwynn, London and Westminster Improved, p. 42). In this he was assisted by S. Wale, afterwards R.A., who supplied the figures. When taking measurements for the drawing on the top of the dome, Gwynn is said to have missed his footing and slipped down some distance till arrested by a projecting piece of lead, where he remained till assistance was rendered (Hornor, Plan of London, 1823, p. 21). The late was reissued in 1801. Gwynn and Wale resided in Little Court, Castle Street, Leicester Fields, and worked much together. Gwynn provided architectural backgrounds for his friend's designs, and received, it is said, help from Wale in his literary work. In 1758 (26 June) they published a plan of St. Paul's Cathedral, engraved by John Green, on which the dimensions are carefully figured. They also prepared an elevation of the cathedral, which Lowry began to engrave, but never finished. About 1755 Gwynn declined the appointment of instructor in architecture to the Prince of Wales (afterwards George III). William Chambers [q. v.], just returned from Italy, received the post. Gwynn desired the establishment of schools of art (see his Essay on Design and London and Westminster Improved), and in 1755 was a member of the committee formed for creating a 'Royal Academy of London for the improvement of painting, sculpture, ​and architecture.' He exhibited eight architectural drawings in the exhibitions of the Society of Artists, first in the Strand (in rooms of the Society of Arts) in 1760, and afterwards in the society's own rooms in Spring Gardens till 1767 . Among these were two designs for Blackfriars Bridge in 1760 and 1762, a 'section of St. Paul's' in 1764, and ’A Drawing showing what is proposed for finishing the east end of St. Paul's, the historical parts by Mr. Wale,’ in 1766. In 1766 he subscribed the roll declaration of the Society of Incorporated Artists of Great Britain, and is named as a director in the royal charter. In 1768, when the imperfections of the original charter caused dissension (cf. Gwynn, London and Westminster Improved, p. 25; Pye, Patronage of British Art, pp. 91-136), the proposed plan for a new 'Royal Academy of Arts in London' was submitted to the king and signed by him 10 Dec. 1768. Gwynn was one of the original members, Sir W. Chambers, Thomas Sandby, G. Dance, and he representing architecture. In the Royal Academy he exhibited four times, 'A design for the alteration of an old room in Shropshire' in 1769, 'A design to make Whitehall a part of the British Museum by the addition of a centre-piece opposite the Horse Guards' in 1771, and designs of works on which he was engaged.
In 1759 he competed for the erection of Blackfriars Bridge, and his design was one of three presented to the committee. Of these one (Mylne's) had elliptical arches, the others semicircular, and much discussion took place as to their respective merits. Out of 'regard for his friend Mr. Gwyn,' Dr. Johnson entered into the controversy, and wrote letters in favour of semicircular arches, on 1, 8, and 15 Dec. 1759, in the 'Daily Gazetteer' (reprinted in the 'Architect,' 7 Jan. 1887, pp. 13, 14 ; see also Boswell, Life of Johnson (Croker), p. 119, and Hawkins, Life of Johnson, pp. 373-5), but Mylne's design was ultimately chosen. Gwynn designed the new or 'English' bridge at Shrewsbury, the first stone of which was laid 25 June 1769, and the bridge completed in 1774. It was during its construction that Dr. Johnson visited Shrewsbury (10 Sept. 1774), when Gwynn was sent for and showed him the town (Boswell, p. 424). The design was exhibited in the Society of Artiste' rooms in 1768. A plan and elevation was engraved by E. Rooker and published in May 1768 (plates in Beauties of England and Wales, xiii. pt. ii. p. 83, and in Owen and Blakeway, Shrewsbury, i. frontispiece). Gwynn also designed the bridge over the Severn at Atcham four miles below Shrewsbury, the first stone of which was laid 27 July 1769. The bridge at Worcester, executed under his direction, was begun 25 July 1771, completed in 1780, and opened to the public 17 Sept, 1781. The design was exhibited in the Royal Academy in 1770 (drawn plan and elevation in King's Library dated 24 July 1770, engraved by J. Ross in Nash, Worcestershire, ii. App. p. cxv). Gwynn planned several approaches to the bridge, and in December 1783 was presented with the freedom of the city of Worcester in testimony of the general appreciation of his works. On 14 May 1771 he received the appointment of surveyor at Oxford to the new board of commissioners of the Oxford Paving Act. In this capacity he directed the demolition of the east and north gates, the Bocardo (civic prison) and the old Magdalen bridge [see Gwynn's Plans in King's Library, Brit. Mus.], and the construction of temporary bridges over the two arms of the Cherwell. The new and handsome Magdalen bridge was erected from his designs. A drawing of it was in the Royal Academy in 1772. Gwynn's appointment was 'for three years certain and for one year more if necessary,' at a salary of 150l. per annum. The bridge was begun in 1772 and completed in 1782, but Gwynn was probably not employed on it after 1779 (Dallaway, Anecdotes of the Arts, pp. 121-2; plan and elevation engraved by M. A. Rooker in New Oxford Guide (1780?), p. 8). This bridge has been widened within the last few years and the approaches have been awkwardly managed. The general workhouse, or house of industry, at Oxford was built under Gwynn's direction in 1772 (drawn plan and elevation in King's Library, October 1771, signed J. G.), and the new market in 1774 (drawn plan and elevation as approved 2 Oct. 1773, in King's Library, engraved by M. A. Rooker in New Oxford Guide, p. 9). The colonnade surrounding the market was afterwards removed.
Gwynn died on or about 27 Feb. 1786 at Worcester, and was buried in the graveyard of St. Oswald's Hospital. In his will, dated 25 Feb. 1786, made when he was very ill, he mentioned a brother, Richard Gwynn of Liverpool, and made provision for the maintenance and education of a natural son Charles. Failing him the money was to go to the Royal Society and the Royal Academy. Charles Gwynn died in 1795. Gwynn's works show him to have possessed considerable culture and a keen sense of beauty. Owen (in Chambers, Biog. Illustr. of Worcester, p. 504) described him from personal recollection as 'lively, quick, and sarcastic, of quaint appearance and odd manners,' and Boswell called him 'a fine, lively, rattling ​fellow' (see account of his journey to Oxford with Johnson; Boswell, Life, p. 481). An excellent portrait of him was painted by Zoffany.
Among his published works are: 1. 'An Essay upon Harmony as it relates chiefly to Situation and Building,' 1734, 1739. 2. 'The Art of Architecture,' a poem in imitation of Horace's Art of Poetry, 1742. 3. 'Rupert to Maria, an heroic epistle with Maria's genuine answer' (in verse), 1748. 4. 'An Essay on Design, including proposals for erecting a public academy,' 1749. In this work he called attention to the deficiencies of art training in England, and to 'what a small sum compared with the annual revenue of the crown would suffice to support an academy for improving the arts of design.' 5. 'Qualifications of a Surveyor, in a letter to the Earl of . . . ,' 1752. At the end of the book is advertised for sale by the same author 'An Enquiry after Virtue,' 2 parts. 6. 'A second letter with some further remarks,' 1752. 7. 'Thoughts on the Coronation of George III,' 1761, to which Johnson 'lent his friendly assistance to correct and improve' (Boswell, p. 122). 8. 'London and Westminster Improved, to which is prefixed a discourse on publick magnificence,' 1766; the dedication to the king was written by Johnson (ib. p. 181), and the work sums up Gwynn's views on art training. His plans for improvements have gained for him almost a prophetic reputation (see Literary Gazette, 1826, pp. 92, 202, 203; T. F. Hunt, Exemplars of Tudor Architecture, p. 23n.; Smirke, Suggestions, p. 23 ; note by Croker in Boswell's Johnson, p. 181; Quarterly Review, 1826, p. 183). In the last work only does Gwynn's name appear on the title-page.
B. P.