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The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): an Exploration Into the Masonic and Occult Imagination of the Late Enlightenment
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2003 The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Terrance Gerard Galvin University of Pennsylvania Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Architecture Commons, European History Commons, Social and Behavioral Sciences Commons, and the Theory and Criticism Commons Recommended Citation Galvin, Terrance Gerard, "The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment" (2003). Publicly Accessible Penn Dissertations. 996. https://repository.upenn.edu/edissertations/996 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/996 For more information, please contact [email protected]. The Architecture of Joseph Michael Gandy (1771-1843) and Sir John Soane (1753-1837): An Exploration Into the Masonic and Occult Imagination of the Late Enlightenment Abstract In examining select works of English architects Joseph Michael Gandy and Sir John Soane, this dissertation is intended to bring to light several important parallels between architectural theory and freemasonry during the late Enlightenment. Both architects developed architectural theories regarding the universal origins of architecture in an attempt to establish order as well as transcend the emerging historicism of the early nineteenth century. There are strong parallels between Soane's use of architectural narrative and his discussion of architectural 'model' in relation to Gandy's understanding of 'trans-historical' architecture. The primary textual sources discussed in this thesis include Soane's Lectures on Architecture, delivered at the Royal Academy from 1809 to 1836, and Gandy's unpublished treatise entitled the Art, Philosophy, and Science of Architecture, circa 1826. -
Robert Adam's Revolution in Architecture Miranda Jane Routh Hausberg University of Pennsylvania, [email protected]
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Robert Adam's Revolution In Architecture Miranda Jane Routh Hausberg University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Hausberg, Miranda Jane Routh, "Robert Adam's Revolution In Architecture" (2019). Publicly Accessible Penn Dissertations. 3339. https://repository.upenn.edu/edissertations/3339 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3339 For more information, please contact [email protected]. Robert Adam's Revolution In Architecture Abstract ABSTRACT ROBERT ADAM’S REVOLUTION IN ARCHITECTURE Robert Adam (1728-92) was a revolutionary artist and, unusually, he possessed the insight and bravado to self-identify as one publicly. In the first fascicle of his three-volume Works in Architecture of Robert and James Adam (published in installments between 1773 and 1822), he proclaimed that he had started a “revolution” in the art of architecture. Adam’s “revolution” was expansive: it comprised the introduction of avant-garde, light, and elegant architectural decoration; mastery in the design of picturesque and scenographic interiors; and a revision of Renaissance traditions, including the relegation of architectural orders, the rejection of most Palladian forms, and the embrace of the concept of taste as a foundation of architecture. -
Peter Harrington London
Summer Miscellany Peter Harrington london 136 We are exhibiting at these fairs: 8–10 September 2017 brooklyn Brooklyn Antiquarian Book Fair Brooklyn Expo Center 79 Franklin St, Greenpoint, Brooklyn, NY www.brooklynbookfair.com 7–8 October pasadena Antiquarian Book, Print, Photo & Paper Fair Pasadena Center, Pasadena, CA www.bustamante-shows.com/book/index-book.asp 14–15 October seattle Seattle Antiquarian Book Fair Seattle Center Exhibition Hall www.seattlebookfair.com 3–5 November chelsea Chelsea Old Town Hall Kings Road, London SW3 www.chelseabookfair.com 10–12 November boston Boston International Antiquarian Book Fair Hynes Convention Center bostonbookfair.com 17–19 November hong kong China in Print Hong Kong Maritime Museum www.chinainprint.com VAT no. gb 701 5578 50 Front cover illustration by John Minton from Elizabeth David’s A Book of Mediterranean Food, item 68 Peter Harrington Limited. Registered office: WSM Services Limited, Connect House, Illustration above of Bullock’s Museum from John B. Papworth’s Select Views of London, item 162 133–137 Alexandra Road, Wimbledon, London SW19 7JY. Design: Nigel Bents; Photography Ruth Segarra Registered in England and Wales No: 3609982 Peter Harrington london catalogue 136 Summer Miscellany All items from this catalogue are on exhibition at Dover Street mayfair chelsea Peter Harrington Peter Harrington 43 Dover Street 100 Fulham Road London w1s 4ff London sw3 6hs uk 020 3763 3220 uk 020 7591 0220 eu 00 44 20 3763 3220 eu 00 44 7591 0220 usa 011 44 20 3763 3220 usa 011 44 7591 0220 Dover St opening hours: 10am–7pm Monday–Friday; 10am–6pm Saturday www.peterharrington.co.uk 1 1 ACKERMANN, Rudolph (publ.) The Mi- crocosm of London; or, London in Min- iature. -
Standards of Taste« Augustus Charles Pugin Und Die >Specimens of The
Originalveröffentlichung in: Carqué, Bernd u. Daniela Mondini u. Matthias Noell (Hrsgg.): Visualisierung und Imagination : materielle Relikte des Mittelalters in bildlichen Darstellungen der Neuzeit und Moderne, Bd. 2 (Göttinger Gespräche zur Geschichts- wissenschaft ; 25), Göttingen 2006, S. 417-464 MATTHIAS NOELL »Standards of taste« Augustus Charles Pugin und die >Specimens of the itectural Antiquities of Norman, I. Die Normandie im Bild Im Jahr 1828 erschien in London die letzte Lieferung einer Publikation, welche die bekanntesten und größten nor mannischen Bauten des Mittelalters in Kupferstichen vor stellte und in begleitenden Texten beschrieb, die Specimens of the Architectural Antiquities of Normandy (Abb. 1). Illustratoren waren der mittlerweile in England beheima tete nordfranzösische Architekt Augustus Charles Pugin (ca. 17691832) und, als Kupferstecher, die Brüder John und Henry Le Keux. Das Buch wurde von John Britton (17711857) herausgegeben und verlegt, der nicht zuletzt auch als Verfasser aller abgedruckten Texte verantwort lich zeichnete.1 Alle vier beteiligten Personen waren aus gewiesene Spezialisten auf ihrem jeweiligen Gebiet und 1 Augustus Charles Pugin, Specimens of the Architectural Antiquities of Normandy. With historical and descriptive notices by John Britton, London 1828; 2., veränd. Neuaufl. London 1841; 3., veränd. Neu- aufl., hg. v. Richard Phene Spiers, London 1874. Sechs Alben mit den Zeichnungen Pugins sowie seiner Schüler und einer Maquette des Buches befinden sich heute im CCA in Montreal, vgl. hierzu Helene Lipstadt, »Architectural Publications, Competitions, and Exhibi- tions«, in: Architecture and Its Image. Four Centuries of Architec tural Representation. Works from the Collection of the Canadian Centre for Architecture, Ausst.-Kat. CCA Montreal, hg. v. Eve Blau u. -
SAHGB Publications Limited
SAHGB Publications Limited !"#$%&'%&'(%)'(*+,!-'.'/,+*%0'12'34'(4'"*5,66 .#78*09):-'.6,;<&=0<'>,=$5**= ?*#0@,-'.0@8%7,@7#0<6'(%)7*02A'B*64'CD'9DEFF:A'GG4'DHDIJKL "#16%)8,='12-'?.(MN'"#16%@<7%*&)'O%+%7,= ?7<16,'PQO-'http://www.jstor.org/stable/1568542 .@@,)),=-'CKRDKRJKKE'DJ-KK Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=sahgb. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. SAHGB Publications Limited is collaborating with JSTOR to digitize, preserve and extend access to Architectural History. http://www.jstor.org 'Pugin in his home' A memoir byJ. H. -
Landscape Gardening and the Metropolis: Reptonian Influences on John Nash’S Transformation of St James’S Park, 1814–30
j a n w o u d s t r a landscape gardening and the metropolis: reptonian influences on john nash’s transformation of st james’s park, 1814–30 When, in 1800, Humphry Repton (1752–1818) fell out with his partner, the architect John Nash (1752–1835), after a dispute over the fact that Repton’s contribution was not properly acknowledged and rewarded, Repton also withdrew his architect son, John Adey, who had been working in Nash’s office. By this time, however, Nash had befriended his former partner’s clients and absorbed his principles of design, which, besides to private estates, he applied to urban schemes and parks, aided in this by Repton’s other son, George Stanley, who had joined Nash in 1802 and remained till 1818. Reptonian principles would also be applied for the improvements to transform St James’s Park, London, into a modern public park. This paper investigates the design of the park in the context of provisions for the general public, and with respect to the overall concept as a pleasure ground as well as design detail, applied particularly to the shrubberies. The latter were to feature as an innovation in Prince von Pückler Muskau’s hints on landscape gardening (published in German in 1834) as being planted according to ‘Mr Nash’s method’. In historiography, this early prototype of a public park and its design influences have hitherto been overlooked but deserve critical review. By selecting one case study, this paper investigates humphry repton’s influence on the design of public parks. -
Antoine Claudet and the Spectacle of Photography in Victorian London Stephen Monteiro
Veiling the Mechanical Eye: Antoine Claudet and the Spectacle of Photography in Victorian London Stephen Monteiro In 1851, the French photographic journal La Lumière published a lengthy article under the headline ‗Heliography on Metal Plates: A Visit to Mr. Claudet‘.1 In a detailed description of the daguerreotype technique as practiced by Antoine François Jean Claudet, London correspondent F. A. de La Rivière hailed the professional longevity of this French-born portrait photographer and inventor who had immigrated to Britain in 1827. Claudet had just opened his third and final studio, at the height of his career, on Regent Street in the British capital. ‗Throughout the twelve years that he‘s made his art the occupation of his days and nights,‘ La Rivière exulted, ‗[Claudet] has maintained all the fervour of the first day‘.2 If this celebrated photography pioneer, who had begun his career as a glass merchant, still maintained the ‗fervour‘ of exploits stretching back nearly to the 1839 announcement of the medium‘s invention, his success had lain in converting sheer enthusiasm into a sophisticated promotion of photography itself. In particular, the evolution of Claudet‘s studios in the first two decades of commercial photography saw an increasing effort to veil the technological and scientific apparatus of photography in a spectacle of creativity and luxury.3 Although Claudet continued his scientific experiments, culminating in his election to the Royal Society in 1853, as his business grew from a simple rooftop laboratory to a multi-floor showroom, he embedded his means of production deeper and deeper within a Fig. -
Microcosm of London Special Collections Featured Item for May 2009 by Lucy Atkinson, MERL Assistant Librarian
Fiona Melhuish Section name Special Collections Services The Microcosm of London Special Collections featured item for May 2009 by Lucy Atkinson, MERL Assistant Librarian. Rudolph Ackermann. The microcosm of London. London : Published at R. Ackermann’s Repository of Arts, 101 The Strand, 1808-10. Item held in Printing Collection Folio–942.1-MIC, University of Reading Special Collections Services. The Microcosm of London (‘London in miniature’) is attributed to the celebrated nineteenth century publisher, Rudolph Ackermann (1764-1834). He was born in Stollberg, Saxony, and originally studied saddlery and coach-building before moving to London where he took over a drawing school at 96, The Strand in 1795. This had been established by William Shipley, the founder of the Society of Arts, and it was here that he set up a print shop. The following year he moved to larger premises at 101, The Strand, which was known as the Repository of Arts from 1798. It became one of the chief social institutions in London. The Microcosm [see title-page shown above] was the first major colour plate book Ackermann published. It originally appeared in monthly parts, usually by subscription, between 1808 and 1810. Each issue cost seven shillings and included four coloured plates. It later appeared in its final bound folio format of three volumes, each containing over thirty full-page hand- coloured aquatints depicting London’s principal buildings in the nineteenth century. ©University of Reading 2009 Page 1 Ackermann was responsible for a series of books with coloured aquatints, including the History of the Abbey church of St. -
Durham E-Theses
Durham E-Theses The Churchmanship of A.W.N. Pugin Pickett, Richard James How to cite: Pickett, Richard James (2002) The Churchmanship of A.W.N. Pugin, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/3780/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk ABSTRACT Augustus Welby Northmore Pugin (1812-1852) has received proficient attention in both his roles as an artist and an author. Similarly, his significance in influencing the neo-medixval party in the Roman Catholic revival of the 1830s and '40s has been recognised, and has received intermittent consideration. However, little attempt has been made to produce a comprehensive consideration of the development of Pugin's religious beliefs which informed his ecclesiological practice. It is, therefore, the intention of this thesis to examine the influences lying behind Pugin's strain of churchmanship, and also to demonstrate that his religious beliefs were tl1e underpinning dynamic of his literary and artistic ceuvre.