Scagliola has a wonderful and rich history. The materials used have ancient Egyptian origins. These were developed by the ancient Greeks to produce a shine that ‘would reflect a clear image of its beholder.’ Vitruvius described techniques Romans used to create a marble like finish. 

The wealthy Medici family of The Renaissance used semi-precious stones to create decorative wall panels for their private Chapel. This style influenced Blausius Pfeiffer who combined the craft and artistry of a Stuccoist to create Scagliola in the early 1600’s for Maximilian I’s Secret Chamber Chapel. The use of Scagliola for decoration of Chapels and Altars came under the control of the Benedictine Orderduring the 17th century keeping the methods and techniques used a secret. Although Scagliola spread in spectacular style across the Churches and Chapels of Europe, guarding the techniques and materials existed into the late nineteenth century.

Those techniques arrived in England during the 1660’s with Italian Plaster artists supported by the Monarchy and aristocracy. On his Grand Tour Robert Adam recorded the possibilities of Scagliola. Architects such as John Vanbrugh, Henry Holland, James Wyatt and John Nash used Scagliola in Country Houses, Castles and Palaces such as Kedleston Hall, Castle Howard, Syon House, Lancaster House, Blenheim and Buckingham Palace. 

Later American State Capitols, Courthouses and Theatres were lined with colourful Scagliola before its decline, largely due to World War and subsequent changes in interior style.

Robert Adam 1761“The Scagliola is curious, and could be used to answer different purposes, for instance columns resembling different marbles, for tables resembling mosaic work and for the most elegant baths and floors”

I first came across Scagliola whilst refurbishing the Sir Edwin Lutyens Music Temple at Tyringham Hall. I remember searching for information on how Scagliola was made. There was none readily available! I was fortunate to be shown the basics by a Fibrehand from the Film Studios, information that had been passed down to him. I spent a period studying classical Scagliola and experimenting with new finishes.

I have decades of experience in restoring and recreating original architectural plasterwork in some of England’s finest homes and have a unique understanding of the grammar of ornamentation, gained from working with the original drawings of Robert Adam, Sir John Soane, Sir Edwin Lutyens and John Vardy. With this classical background I am able to create textural pieces that delight the eye and are irresistible to the touch. From classical to an entirely contemporary level and I often merge both.

Every piece I create using time-served skills and techniques, is unique and timeless. Combining natural materials with innovative hand processes, I produce pieces of the highest quality, created to stand the test of time. Commissions are invited from private clients & galleries.