Copyright DJ Lewis 2010 | All Rights Reserved |

 Site designed by Snap Frame Supplies

John Carr (1723–1807) was a prolific English architect. He was born in Horbury, near Wakefield, England, the eldest of nine children and the son of a master mason, under whom he trained. He started an independent career in 1748 and continued until shortly before his death. John Carr was Lord Mayor of York in 1770 and 1785. In the later stages of his life, Carr purchased an estate at Askham Richard, near York, to which he retired. On February 22, 1807 he died at Askham Hall. He was buried at Horbury church which he built and paid for near his place of birth.  Carr decided to remain in Yorkshire rather than move to London because he calculated that there was ample patronage and the wealth to sustain it. No job was too small. His largest work, only partially finished, was the Hospital de Santo António in Oporto, Portugal.  Carr’s own favourite work was the Crescent at Buxton in Derbyshire, an early example of multifunctional architecture. As well as hotels and lodging houses, it contained Assembly Rooms, shops, a post office and a public promenade all under one roof. On a smaller scale, the same is true of his Newark Town Hall.  Other public buildings included hospitals (e.g. Lincoln and York), racecourse grandstands (e.g. York, Doncaster and Nottingham), and prisons at Wakefield and Northallerton. He designed new churches as well as repairing old ones. His single span roof construction allowed him to build without the traditional subdivision into nave and aisles.  He served as bridgemaster for both the North and West ridings of Yorkshire, leaving a legacy of countless bridges the majority of which still stand today.  During his long career there were several major changes in architectural style. His early work is a mixture of the Palladian and the Rococo. He then sought a purer Antique Roman style with occasional French influences before adapting the currently fashionable style associated with Robert Adam. At the end of his life he returned to the bolder Palladian style of his youth but with detail that looked forward to 19th century usage.  Carr's work was influenced by the books of Sebastiano Serlio and Andrea Palladio. He subscribed to many architectural pattern books, including those of his friend George Richardson, and also contemporary publications by Robert Morris and William Chambers.