CPSA Palladianism Timeline
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Strand Walk Lma.Pdf
LGBTI HERITAGE WALK OF WHITEHALL Trafalgar’s Queer • In a 60 minute walk from Trafalgar Square to Aldwych you’ll have a conversation with Oscar Wilde, meet a transsexual Olympian, discover a lesbian ménage a trois in Covent Garden, find a transgender traffic light, walk over Virginia Woolf, and learn about Princess Seraphina who was less of a princess and more of a queen. • It takes about an hour and was devised and written by Andy Kirby. Directions – The walk starts at the statue This was the site of the Charing Cross, one of of King Charles I at the south side of the Eleanor Crosses commemorating Edward I’s Trafalgar Square. first wife. The replica is outside Charing Cross Station. Distances from London are measured here, where stood the pillory where many gay men were locked, mocked and punished. The Stop 1 – Charing Cross picture is of a similar incident in Cheapside. On 25 September 2009 Ian Baynham died following a homophobic attack in the square. Joel Alexander, 20, and Ruby Thomas, 19, were imprisoned for it. Directions – Walk to the front of the National At the top of these steps in the entrance to the Gallery on the north side of Trafalgar Square National Gallery are Boris Anrep’s marble mosaics directly in front of you. laid between 1928 and 1952. Two lesbian icons are the film star Greta Garbo as Melpomene, Muse of Stop 2 – National Gallery & Portrait Gallery Tragedy and Bloomsbury writer Virginia Woolf wielding an elegant pen as Clio, Muse of History. To the right of this building is the National Portrait Gallery with pictures and photographs of Martina Navratilova, K D Lang, Virginia again, Alan Turing, Harvey Milk and Joe Orton. -
Architectural Digest May Earn a Portion of Sales from Products That Are Purchased Through Our Site As Part of Our Affiliate Partnerships with Retailers
The Grecian Valley at Stowe, Buckinghamshire (showing the Temple of Victory and Concorde), this year's beneficiary of the Royal Oak Foundation's gala dinner. Photo: Andrew Butler, courtesy of the National Trust THE REPORT The Royal Oak Foundation Looks to Stowe's 1730s Temple of Modern Virtue as its Latest Beneficiary The William Kent structure will benefit from the proceeds of the organization's annual Timeless Design Dinner By Mitchell Owens October 16, 2018 Stowe, the English country estate that shares its land with an elite boarding school, is a name that galvanizes attention in the architecture world. The sprawling Buckinghamshire destination, administered by the National Trust, astounds with the richness and variety of a property that was augmented, enriched, and, indeed, reshaped by an all-star 18th- century cast hired by the aristocratic Temple family: Charles Bridgeman, Sir John Vanbrugh, James Gibbs, William Kent, John Michael Rysbrack, and Lancelot “Capability” Brown, who was then just starting out on a career that would result in England’s transformation from stiff formal gardens to rolling landscapes that look utterly natural—but actually aren’t. “There’s so much going on at Stowe,” says David Nathans, the president of the Royal Oak Foundation, the energetic American fundraising arm of the National Trust. By that he means not only plants, trees, lakes, and the earthly like but scores of monuments, follies, temples, bridges, and other architectural delights that the public can see 365 days a year. Among them is what’s left of the 1730s Temple of Modern Virtue, a William Kent limestone frivolity that was built as a fool-the-eye ruin—it was intended as sarcastic commentary on Sir Robert Walpole, the avaricious British prime minister, who is depicted as a headless torso—but which has become, literally, tumble-down. -
The Avarice and Ambition of William Benson’, the Georgian Group Journal, Vol
Anna Eavis, ‘The avarice and ambition of William Benson’, The Georgian Group Journal, Vol. XII, 2002, pp. 8–37 TEXT © THE AUTHORS 2002 THE AVARICE AND AMBITION OF WILLIAM BENSON ANNA EAVIS n his own lifetime William Benson’s moment of probably motivated by his desire to build a neo- Ifame came in January , as the subject of an Palladian parliament house. anonymous pamphlet: That Benson had any direct impact on the spread of neo-Palladian ideas other than his patronage of I do therefore with much contrition bewail my making Campbell through the Board of Works is, however, of contracts with deceitfulness of heart … my pride, unlikely. Howard Colvin’s comprehensive and my arrogance, my avarice and my ambition have been my downfall .. excoriating account of Benson’s surveyorship shows only too clearly that his pre-occupations were To us, however, he is also famous for building a financial and self-motivated, rather than aesthetic. precociously neo-Palladian house in , as well He did not publish on architecture, neo-Palladian or as infamous for his corrupt, incompetent and otherwise and, with the exception of Wilbury, consequently brief tenure as Surveyor-General of the appears to have left no significant buildings, either in King’s Works, which ended in his dismissal for a private or official capacity. This absence of a context deception of King and Government. Wilbury, whose for Wilbury makes the house even more startling; it elevation was claimed to be both Jonesian and appears to spring from nowhere and, as far as designed by Benson, and whose plan was based on Benson’s architectural output is concerned, to lead that of the Villa Poiana, is notable for apparently nowhere. -
The Gibbs Range of Classical Porches • the Gibbs Range of Classical Porches •
THE GIBBS RANGE OF CLASSICAL PORCHES • THE GIBBS RANGE OF CLASSICAL PORCHES • Andrew Smith – Senior Buyer C G Fry & Son Ltd. HADDONSTONE is a well-known reputable company and C G Fry & Son, award- winning house builder, has used their cast stone architectural detailing at a number of our South West developments over the last ten years. We erected the GIBBS Classical Porch at Tregunnel Hill in Newquay and use HADDONSTONE because of the consistency, product, price and service. Calder Loth, Senior Architectural Historian, Virginia Department of Historic Resources, USA As an advocate of architectural literacy, it is gratifying to have Haddonstone’s informative brochure defining the basic components of literate classical porches. Hugh Petter’s cogent illustrations and analysis of the porches’ proportional systems make a complex subject easily grasped. A porch celebrates an entrance; it should be well mannered. James Gibbs’s versions of the classical orders are the appropriate choice. They are subtlety beautiful, quintessentially English, and fitting for America. Jeremy Musson, English author, editor and presenter Haddonstone’s new Gibbs range is the result of an imaginative collaboration with architect Hugh Petter and draws on the elegant models provided by James Gibbs, one of the most enterprising design heroes of the Georgian age. The result is a series of Doric and Ionic porches with a subtle variety of treatments which can be carefully adapted to bring elegance and dignity to houses old and new. www.haddonstone.com www.adamarchitecture.com 2 • THE GIBBS RANGE OF CLASSICAL PORCHES • Introduction The GIBBS Range of Classical Porches is designed The GIBBS Range is conceived around the two by Hugh Petter, Director of ADAM Architecture oldest and most widely used Orders - the Doric and and inspired by the Georgian architect James Ionic. -
Landscape,Associationism & Exoticism
702132/702835 European Architecture B landscape,associationism & exoticism COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice Pope's Villa at Twickenham Pevsner, Studies in Art, Architecture and Design, I, p 89 CCHISWICKHISWICK Chiswick, by Lord Burlington, begun 1725, south front Jeff Turnbull Chiswick and its garden from the west, by Pieter Rysbrack, 1748 Steven Parissien, Palladian Style (London 1994), p 99 Chiswick: drawing by Kent showing portico and garden John Harris, The Palladian Revival: Lord Burlington, his Villa and Garden at Chiswick (Montréal 1994), p 255 Chiswick: general view of house and garden, by P J Donowell, 1753 Jourdain, The Work of William Kent, fig 103 Doric column, Chiswick, perhaps by William Kent, c 1714 Harris, The Palladian Revival, p 71 Bagno, Chiswick, by Burlington, 1717 Campbell, Vitruvius Britannicus, III, p 26 Bagno and watercourse, Chiswick Jourdain, The Work of William Kent, fig 105 Chiswick: plan of the garden Architectural Review, XCV (1944), p 146. Chiswick, garden walks painting by Peter Rysbrack & engraving Lawrence Fleming & Alan Gore, The English Garden (London 1988 [1979]), pl 57. B S Allen, Tides in English Taste (1619-1800) (2 vols, New York 1958 [1937]), I, fig 33 Bagno and orange trees, Chiswick, by Rysbrack, c 1729-30 Fleming & Gore, The English Garden, pl 58 Bagno or Pantheon, Chiswick,probably by William Kent Jeff Turnbull Chiswick: design for the Cascade, by William Kent Harris, The Palladian Revival, p 14 Chiswick: the Great Walk and Exedra, by Kent. -
London View Management Framework SPG MP26
26 Townscape View: St James’s Park to 219 Horse Guards Road 424 The St James’s Park area was originally a marshy water meadow, before being drained to provide a deer park for Henry VIII in the sixteenth century. The current form of the park owes much to Charles II, who ordained a new layout, incorporating The Mall, in the 1660s. The park was remodelled by John Nash in 1827-8 and his layout survives largely intact. St James’s Park is maintained to an extremely high standard and the bridge across the lake provides a frequently visited place from which to appreciate views through the Park. The landscape is subtly lit after dark. St James’s Park is included on English Heritage’s Register of Parks and Gardens of Special Historic Interest at Grade I. 425 There is one Viewing Location at St James’ Park 26A, which is situated on the east side of the bridge over the lake. 220 London View Management Framework Viewing Location 26A St James’s Park Bridge N.B for key to symbols refer to image 1 Panorama from Assessment Point 26A.1 St James’s Park Bridge – near the centre of the bridge 26 Townscape View: St James’s Park to Horse Guards Road 221 Description of the View 426 The Viewing Location is on the east side of the footbridge Landmarks include: across the lake. The bridge was built in 1956-7 to the designs Whitehall Court (II*) of Eric Bedford of the Ministry of Works. Views vary from Horse Guards (I) either end of the bridge and a near central location has been The Foreign Office (I) selected for the single Assessment Point (26A.1) orientated The London Eye towards Horse Guards Parade. -
Landscape and Architecture COMMONWEALTH of AUSTRALIA Copyright Regulations 1969
702132/702835 European Architecture B landscape and architecture COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice garden scene from a C15th manuscript of the Roman de la Rose Christopher Thacker, The History of Gardens (Berkeley [California] 1979), p 87 Monreale Cathedral, Palermo, Sicily, 1176-82: cloisters of the Benedictine Monastery commercial slide RENAISSANCERENAISSANCE && MANNERISMMANNERISM gardens of the Villa Borghese, Rome: C17th painting J D Hunt & Peter Willis, The Genius of the Place: the English Landscape Garden 1620-1820 (London 1975), p 61 Villa Medici di Castello, Florence, with gardens as improved by Bernardo Buontalenti [?1590s], from the Museo Topografico, Florence Monique Mosser & Georges Teyssot [eds], The History of Garden Design: The Western Tradition from the Renaissance to the Present Day (London 1991 [1990]), p 39 Chateau of Bury, built by Florimund Robertet, 1511-1524, with gardens possibly by Fra Giocondo W H Adams, The French Garden 1500-1800 (New York 1979), p 19 Chateau of Gaillon (Amboise), begun 1502, with gardens designed by Pacello de Mercogliano Adams, The French Garden, p 17 Casino di Pio IV, Vatican gardens, -
Wren and the English Baroque
What is English Baroque? • An architectural style promoted by Christopher Wren (1632-1723) that developed between the Great Fire (1666) and the Treaty of Utrecht (1713). It is associated with the new freedom of the Restoration following the Cromwell’s puritan restrictions and the Great Fire of London provided a blank canvas for architects. In France the repeal of the Edict of Nantes in 1685 revived religious conflict and caused many French Huguenot craftsmen to move to England. • In total Wren built 52 churches in London of which his most famous is St Paul’s Cathedral (1675-1711). Wren met Gian Lorenzo Bernini (1598-1680) in Paris in August 1665 and Wren’s later designs tempered the exuberant articulation of Bernini’s and Francesco Borromini’s (1599-1667) architecture in Italy with the sober, strict classical architecture of Inigo Jones. • The first truly Baroque English country house was Chatsworth, started in 1687 and designed by William Talman. • The culmination of English Baroque came with Sir John Vanbrugh (1664-1726) and Nicholas Hawksmoor (1661-1736), Castle Howard (1699, flamboyant assemble of restless masses), Blenheim Palace (1705, vast belvederes of massed stone with curious finials), and Appuldurcombe House, Isle of Wight (now in ruins). Vanburgh’s final work was Seaton Delaval Hall (1718, unique in its structural audacity). Vanburgh was a Restoration playwright and the English Baroque is a theatrical creation. In the early 18th century the English Baroque went out of fashion. It was associated with Toryism, the Continent and Popery by the dominant Protestant Whig aristocracy. The Whig Thomas Watson-Wentworth, 1st Marquess of Rockingham, built a Baroque house in the 1720s but criticism resulted in the huge new Palladian building, Wentworth Woodhouse, we see today. -
English-Palladianism.Pdf
702132/702835 European Architecture B Palladianism COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 Warning This material has been reproduced and communicated to you by or on behalf of the University of Melbourne pursuant to Part VB of the Copyright Act 1968 (the Act). The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. do not remove this notice THETHE TRUMPETTRUMPET CALLCALL OFOF AUTHORITYAUTHORITY St George, Bloomsbury, London, by Hawksmoor, 1716- 27: portico Miles Lewis St Mary-le-Strand, London, by James Gibbs, 1714-17: in a view of the Strand Summerson, Architecture in Britain, pl 171A. In those admirable Pieces of Antiquity, we find none of the trifling, licentious, and insignificant Ornaments, so much affected by some of our Moderns .... nor have we one Precedent, either from the Greeks or the Romans, that they practised two Orders, one above another, in the same Temple in the Outside .... and whereas the Ancients were contented with one continued Pediment .... we now have no less than three in one Side, where the Ancients never admitted any. This practice must be imputed either to an entire Ignorance of Antiquity, or a Vanity to expose their absurd Novelties ... Colen Campbell, 'Design for a Church, of St Mary-le-Strand from the south-east my Invention' (1717) Miles Lewis thethe EnglishEnglish BaroqueBaroque vv thethe PalladianPalladian RevivalRevival Christopher Wren Colen Campbell -
Wider. Bigger. Greater
WIDER. BIGGER. GREATER. Neo-Palladian Country Houses as Representations of Power Struggle, Globalization and “Britishness” in the United Kingdom of the 1750s Stefanie Leitner s1782088 - [email protected] Supervisor: Dr. J.G. Roding Second reader: Dr. E. den Hartog MA Arts and Culture 2016/2017 Specialization: Architecture TABLE OF CONTENT 1. Introduction ................................................................................................. 1 1.1. Theoretical Framework ......................................................................... 2 1.2. Literature Review ................................................................................. 4 2. Node I – Architecture .................................................................................. 8 2.1. General developments compared to the 1720s .................................... 8 2.2. Introduction of the Case Studies .......................................................... 9 2.2.1. Holkham Hall (1734-1764) ........................................................... 11 2.2.2. Hagley Hall (1754-1760)............................................................... 20 2.2.3. Kedleston Hall (1759) ................................................................... 28 3. Node II – Globalization ............................................................................. 38 3.1. Colonization and the British Empire ................................................. 38 3.2. Connection with continental Europe .................................................. 39 3.3. -
The Lookout Our New Visitor Facility on the Holkham National Nature Reserve First Words
Holkham Gazette Issue 28 Autumn 2018 The Lookout Our new visitor facility on the Holkham National Nature Reserve First words Caring for the Holkham collection Maria de Peverelli is executive chairman of Stonehage Fleming Art Management, serving a client base that includes The Lookout, the new facility on Lady individuals, family offices, foundations, Anne’s Drive on the Holkham trusts and estates. She has recently taken up National Nature Reserve, is well the role of consultant on the collection at worth a visit. The interesting, very Holkham where she will oversee the informative and interactive conservation and preservation, and educational boards and media screens supervise the loan, of items from Holkham’s reward those who take time to study world-famous collection to other art them, offering new insights as to how galleries and museums around the world. the reserve’s precious and precarious Maria is also a Trustee of the Yorkshire landscape is managed and what Sculpture Park and of the Estorick visitors can do to help. Its exciting Collection and serves as a member of the design seems destined for board of Advisers of the Fondazione Palazzo commendation by architects from Strozzi, Florence. She established OmniArt in 2005 and prior to that, Maria was around the country and the ‘green’ gallery director of the Villa Favorita in Lugano (Thyssen-Bornemisza message is very thoughtfully and collection). She has organised exhibitions for the Museum of Applied Arts in effectively conveyed. All that and Frankfurt and taught museum management at the University of Genoa. lavatories too – go and see! Sara Phillips, Editor Contents First words ........................................................ -
Job Description
Job Description Title PA to The Countess of Leicester – maternity cover Location: Holkham Hall, Wells-next-the-Sea, Norfolk Reporting to The Countess of Leicester Lateral relationships PA to The Earl of Leicester, Hall team, PA to the Managing Director The Holkham Estate The Holkham Estate extends over 25,000 acres and has an annual turnover of over £19m. The land and property-based enterprises include residential lettings, commercial lettings, property maintenance and development, farming, forestry, country sports, an inn, a holiday park, beach and car parks. The operations centred on Holkham Hall include day visitors, catering, filming, corporate indoor and outdoor events and concerts. See www.holkham.co.uk for more information. Estate Policy Our vision is to see Holkham as the UK’s leading rural estate against which others will measure their own success. Our purpose is to manage Holkham as a progressive commercial operation set within a thriving local community where rural values are upheld. The aim is to ensure the long-term prosperity of the Estate and of those who live and work on it. Overall Job Purpose The role of the Personal Assistant to Lady Leicester is to enable Lord and Lady Leicester and their family to maintain a happy and balanced family life within the context of a home that is open to visitors, in the middle of a thriving collection of rural businesses. The purpose of this role is to provide flexible, timely and focused support to Lady Leicester so that she can effectively balance the varied and intense demands of her involvement in various local charities and family life while maintaining her preferred level of control and privacy.