The Rise of Consensus, 1650 to 1760 Transcript
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Simon Thurley, ‘Kensington Palace: an Incident in Anglo-Dutch Architectural Collaboration?’, the Georgian Group Journal, Vol
Simon Thurley, ‘Kensington Palace: an incident in Anglo-Dutch architectural collaboration?’, The Georgian Group Journal, Vol. XVII, 2009, pp. 1–18 TEXT © THE AUTHORS 2009 KENSINGTON PALACE: AN INCIDENT IN ANGLO-DUTCH ARCHITECTURAL COLLABORATION? SIMON THURLEY illiam III was brought up in what is often The second was after the death of Charles II in Wtermed the ‘Golden Age’ of Dutch culture, in when William and Mary became next in line to the a country whose intellectual and artistic singularity throne of England after James II. In this period and creativity were recognised across Europe. William’s court, such as it was, was swelled by He came, as King, to a country that Voltaire saw as English visitors and his palaces were enlarged and having made, since , ‘greater progress in all the made more magnificent, both to entertain them, and arts than in all preceding ages’, and having the to reflect his increased status. These bursts of cultural influence to create in Europe the ‘Age of the architectural activity were triggered by the practical English’. The marriage of the two cultures in the requirements of a prince, rather than being the result person of King William was surely to hold great of a love of building and architectural display such as things for the state of English architecture. Yet, in that which drove his grandparents. In Jacob van reality, the English king who spent more on building der Does wrote of William’s grandfather, Frederik than any other in the seventeenth century led court Hendrik, that he was ‘possessed by such a passion architecture into a cul-de-sac. -
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. -
2000 Jaargang 99
Robert Hook Hollandd ean : Dutch influenc architecturs hi n eo e Alison Stoesser-Johnston The use of these publications by English architects and arti- Introductie)!! sans and the design of Wollaton Hall were not based on any Dutch classicism was a recent arrival in England when first-hand personal impressio f classicisno Italymn i . Thid ha s Robert Hooke made his first architectural designs in the late emergence th waio t r fo t f Inigeo o Jone s architectsa visis Hi . t 1660s. 'e constructioPrioth o t r f Hugo n h May's Eltham to Italy in 1613-'14 in the entourage of Thomas Howard, 2nd Lodg 1663-'64n i e e firsth , t exampl f Dutceo h classicisn mi Earl of Arundel, his close interest in Roman antiquities and England, classical elements straight from Italy and via Flan- intimate knowledge of Palladio's drawings are most ders had been used in English architecture for nearly a hund- dramatically exemplifie Banquetins hi n di g Hous f 1619-22eo . red years. Initially these had been mainly of a decorative na- Not only, however, has Jones here used Palladian "vocabulary" ture but vvith the construction of Inigo Jones' Banqueting 7 but hè has combined it with the application of Scamozzian House (1619-'21) there was a dramatic change in the way orders, the Composite being superimposed on the lonic. This classicism was adapted to English architecture. Jones drew combination of Palladian elements with Scamozzian also on the examples of Palladio and Scamozzi in his architecture influence beginninge th d f Dutcso h classicism.8 Jones' design using both Palladio's treatise, / quattro libri, personal know- was not only a major innovation in England but it also inspired ledge of his architecture and, in the case of Scamozzi, per- Jaco n Campe s va bfirs hi tn i narchitectura l commission i n sonal contact e applieH . -
The Design of the English Domestic Library in the Seventeenth Century: Readers and Their Book Rooms
The Design of the English Domestic Library in the Seventeenth Century: Readers and Their Book Rooms Lucy Gwynn Abstract The seventeenth century saw the increase in size of book collec- tions in private hands. Domestic library collections were becoming more visible as important adjuncts to the lives of their socially and culturally engaged owners. This article explores the ways in which the practical and intellectual problems of storing books were ad- dressed in the English home, through inventories and buildings accounts as well as contemporary literature. The changes in library furniture design over the course of the century are traced, together with the emergence of formal organizing systems such as catalogues and subject classification. Finally, the adoption of a different stylistic approach is examined. From Renaissance paintings of scholar saints like Jerome and Augustine to modern cinema’s portrayals of wizards and academics, the image of the private library has remained surprisingly consistent. The rooms belonging to Gandalf, Dumbledore, and John Dee (in Shekhar Kapur’s Elizabeth: the Golden Age), cluttered as they are with scientific instruments, taxidermy, and tottering piles of books, are striking in their resemblance to the humanist models represented by Carpaccio and Antonello da Messina. Bonnie Mak and Dora Thornton have demonstrated that the libraries of Renaissance Italy were as deliberately and artificially designed as their cinematic copies (Mak, 2002; Thornton, 1998). The books themselves be- came representative of their contents through their display, and the pres- ence of trompe l’oeil effects exaggerated the use of the study as a “theatri- cal space for self-exhibition” (Mak, 2002, p. -
Sir Roger Pratt's Library
Reading as a Gentleman and an Architect: Sir Roger Pratt’s Library by KIMBERLEY SKELTON This article illuminates the changes in English seventeenth-century architectural practice when members of the gentry educated themselves as architectural professionals and as a result several became noted practitioners. The author analyses the rarely examined notes and library of Sir Roger Pratt to explore how a seventeenth-century gentleman both studied and practised architecture literally as both gentleman and architect. Also she considers Pratt’s notes chronologically, rather than according to their previous thematic reorganisation by R. T. Gunther (1928), and offers a full reconstruction of Pratt’s library beyond Gunther’s catalogue of surviving volumes. Mid-seventeenth-century England experienced a sharp change in architectural practice and education. For the first time, members of the gentry began to design buildings and to educate themselves as professionals in architecture. From the late 1650s, Sir Roger Pratt designed country houses, and several members of the landed and educated classes became prominent architects: Sir Christopher Wren, Robert Hooke, Hugh May, William Winde, William Samwell, and William Talman. These gentleman architects brought new techniques to the study of architecture since they were more highly trained in analysing text than image. Scholars have yet to consider the seventeenth-century emergence of the gentleman architect in detail; they have focused more on monographic studies of architects, patronage, and building types than on shifts in the architectural profession.1 This article explores how a seventeenth-century gentleman would both study and practise architecture; it considers the rarely examined library and manuscript notes of Sir Roger Pratt.2 I argue that Pratt practised and read as literally patron and architect – using the techniques of a patron to answer the questions of an architect designing for English geographical and social particularities. -
'X'marks the Spot: the History and Historiography of Coleshill House
UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Department of History ‘X’ Marks the Spot: The History and Historiography of Coleshill House, Berkshire by Karen Fielder Thesis for the degree of Doctor of Philosophy June 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES DEPARTMENT OF HISTORY Doctor of Philosophy ‘X’ MARKS THE SPOT: THE HISTORY AND HISTORIOGRAPHY OF COLESHILL HOUSE, BERKSHIRE by Karen Fielder Coleshill House was a much admired seventeenth-century country house which the architectural historian John Summerson referred to as ‘a statement of the utmost value to British architecture’. Following a disastrous fire in September 1952 the remains of the house were demolished amidst much controversy shortly before the Coleshill estate including the house were due to pass to the National Trust. The editor of The Connoisseur, L.G.G. Ramsey, published a piece in the magazine in 1953 lamenting the loss of what he described as ‘the most important and significant single house in England’. ‘Now’, he wrote, ‘only X marks the spot where Coleshill once stood’. Visiting the site of the house today on the Trust’s Coleshill estate there remains a palpable sense of the absent building. This thesis engages with the house that continues to exist in the realm of the imagination, and asks how Coleshill is brought to mind not simply through the visual signals that remain on the estate, but also through the mental reckoning resulting from what we know and understand of the house. In particular, this project explores the complexities of how the idea of Coleshill as a canonical work in British architectural histories was created and sustained over time. -
Working with Building Preservation Trusts Build Renew Restores Restore
Institute of Historic Building Conservation No 114 May 2010 Working with building preservation trusts Build Renew Restores Restore From cathedrals and abbeys to small churches and chapels. From stately homes and royal palaces to small houses and cottages. For historic buildings across Britain, Linford-Bridgeman is the contractor of choice for repair, restoration and conservation. For more information about Linford-Bridgeman, find us at: www.linfordrestores.com, or call 01543 414 234 Compton Verney, Warwickshire. RIBA Award 2004. Linford-Bridgeman Ltd, Quonians, Lichfield, Staffordshire WS13 7LB Tel: 01543 414 234 Fax: 01543 258 250 [email protected] www.linford.com LINFORD SPECIALIST WORKS Linford Masonry • Dorothea Restorations • Trumpers • Linford Joinery Stonemasonry • Architectural Metalwork • Traditional Plastering • Fine Joinery Linford Specialist Works brings together Linford Group's renowned stable of craft companies to Linford Specialist Works provide a unique service for the property owners, architects and specialist contractors A division of Linford Group concerned with the care of traditional and heritage buildings. Quonians, Lichfield, Our skilled and directly-employed teams can be contracted individually or in combination for projects of Staffordshire WS13 7LB all sizes across the UK. By helping our clients to source multiple craft services from a single organisation, [email protected] www.linfordSW.com we can deliver outstanding craft quality alongside savings in client time and money. For more information about Linford Specialist Works, please visit www.linfordSW.com, or call us on 01543 414 234 today. ii CONTEXT 1 1 4 : MAY 2 0 1 0 Context IHBC comment on PPS5 2 New life for Portaferry Briefing 5 Nick Brown 34 Out of Context 6 Partnership at Oxford Castle Debbie Dance 37 Letters 6 The Vivat Trust’s special buildings www.ihbc.org.uk The writer’s voice 7 Laura Norris 40 Registered as a Charity Number 1061593. -
Alex Echlin, 'Like Father Like Son: the Architectural Patronage of Andrew Fountaine Sr.', the Georgian Group Journal, Vol. X
Alex Echlin, ‘Like father like son: The architectural patronage of Andrew Fountaine Sr.’, The Georgian Group Journal, Vol. XXV, 2017, pp. 37–52 TEXT © THE AUTHORS 2017 LIKE FATHER LIKE SON: THE ARCHITECTURAL PATRONAGE OF ANDREW FOUNTAINE SR. ALEXANDER ECHLIN Narford Hall, Norfolk, is at once one of England’s destroyed in 1891, has received scant attention from most architecturally significant houses, yet also one of architectural historians. Yet the design of Brookmans its most mysterious. Chief amongst these mysteries is casts an interesting light on that of Narford. Here the identity of the architect of the house commissioned I outline the evidence relating to the building of at the start of the eighteenth century by Andrew Brookmans Park and argue that it shows that Andrew Fountaine Sr. (1634 – 1707). In this article I show that Fountaine Sr. was a man with a close interest in Narford Hall was not the only house to have been built architecture and, more speculatively, that he may by Fountaine. Brookmans Park, Hertfordshire, was have been an amateur architect. erected to his commission in the 1680s. This house, Fig. 1: Narford Hall, Norfolk, engraving by E. Roberts, from T. Cromwell, Excursions through Norfolk, volume II, (London, 1819); the house built by Andrew Fountaine Sr. from 1702, surrounded by later alterations, consists of the central, pedimented three bays and the two bays on either side. (© Alec Barr) THE GEORGIAN GROUP JOURNAL VOLUME XXV LIKE FATHER LIKE SON : THE ARCHITECTURAL PATRONAGE OF ANDREW FOUNTAINE SR . n last year’s Georgian Group Journal, William have been built by Andrew Fountaine Sr., who had IKelley and I presented a new attribution to Sir commissioned Brookmans Park, Hertfordshire, Andrew Fountaine (1676–1753) of Narford Hall.1 The in the 1680s.3 Architectural historians have largely purpose of the present article is to draw attention ignored Brookmans ever since its destruction by to the architectural patronage of Sir Andrew fire in 1891. -
The Origins of Building Science in the Architecture of Renaissance England
Dean Hawkes The Origins of Building Science in the Architecture of Renaissance England In the twenty–first century, building science is a firmly established con- cept and plays an important role in both the practice of architecture and architectural education. In its modern definition, the origins of building science can be traced back to the nineteenth century. In the wake of the in- dustrial revolution, it developed hand–in–hand with the new technologies 1 of building: structure, construction, and heating and ventilation. Joseph 1 Important texts of particular relevance to the relation of technology and architecture Gwilt’s, Encyclopaedia of Architecture (Gwilt 1825) was a major reference are; Sigfried Giedion, Mechanization Takes work for British practice.2 The book is in four parts: Command: a contribution to anonymous his- tory, Oxford University Press, Oxford, 1948 and Lewis Mumford, Technics and Civilization, Routledge, London, 1934. Reyner Banham’s Book I, History of Architecture The Architecture of the Well–tempered En- Book II, Theory of Architecture vironment, The Architectural Press, London, 1969, opened up the study of environmen- Book III, Practice of Architecture tal science and technology that has been developed further by the present author and Book IV, Valuation of Property others. See Dean Hawkes, The Environmen- tal Tradition, E & F N Spon, London & New York, 1996, The Environmental Imagination, It is in “Book II, Theory of Architecture” that we find the technical/scien- Routledge, London & New York, 2008 and Architecture and Climate, Routledge, London tific content, chapters discussing: & New York, 2012. Mathematics and Mechanics of Construction 2 Joseph Gwilt, An Encyclopaedia of Archi- tecture: Historical, Theoretical and Practical, Materials used in Building Longmans, Brown & Green, London, 1st Edi- Use of Materials or Practical Building – this includes extensive sections on tion, 1825. -
Domestic 3: Suburban and Country Houses Listing Selection Guide Summary
Domestic 3: Suburban and Country Houses Listing Selection Guide Summary Historic England’s twenty listing selection guides help to define which historic buildings are likely to meet the relevant tests for national designation and be included on the National Heritage List for England. Listing has been in place since 1947 and operates under the Planning (Listed Buildings and Conservation Areas) Act 1990. If a building is felt to meet the necessary standards, it is added to the List. This decision is taken by the Government’s Department for Digital, Culture, Media and Sport (DCMS). These selection guides were originally produced by English Heritage in 2011: slightly revised versions are now being published by its successor body, Historic England. The DCMS‘ Principles of Selection for Listing Buildings set out the over-arching criteria of special architectural or historic interest required for listing and the guides provide more detail of relevant considerations for determining such interest for particular building types. See https://www.gov.uk/government/publications/principles-of- selection-for-listing-buildings. Each guide falls into two halves. The first defines the types of structures included in it, before going on to give a brisk overview of their characteristics and how these developed through time, with notice of the main architects and representative examples of buildings. The second half of the guide sets out the particular tests in terms of its architectural or historic interest a building has to meet if it is to be listed. A select bibliography gives suggestions for further reading. This guide, one of four on different types of Domestic Buildings, covers suburban and country houses. -
European Architecture 1750-1890
Oxford History of Art European Architecture 1750-1890 Barry Bergdoll O X fO R D UNIVERSITY PRESS OXFORD UNIVERSITY PRESS Great Clarendon Street, Oxford 0 x2 6 d p Oxford New York Athens Auckland Bangkok Bombay Calcutta Cape Town Dares Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madras Madrid Melbourne Mexico City Mumbai Nairobi Paris Sao Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Oxford is a registered trade mark of Oxford University Press in the U K and in certain other countries © Barry Bergdoll 2000 First published 2000 by Oxford University Press All rights reserved. No part of this publication maybe reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the proper permission in writing o f Oxford University Press. Within the U K, exceptions are allowed in respect of any fair dealing for the purpose of research or private study, or criticism or review, as permitted under the Copyright, Design and Patents Act, 1988, or in the case of reprographic reproduction in accordance with the terms of the licences issued by the Copyright Licensing Agency. Enquiries concerning reproduction outside these terms and in other countries should be sent to the Rights Department, Oxford University Press, at the address above. This book is sold subject to the condition that it shall not, byway o f trade or otherwise, be lent, re-sold, hired out or otherwise circulated without the publisher’s prior consent in any form of binding or cover other than that in which it is published and without a similar condition including this condition being imposed on the subsequent purchaser. -
Media Release 09 March 2017
MEDIA RELEASE 09 MARCH 2017 NATIONAL TRUST LAUNCHES INTERNATIONAL DESIGN COMPETITION FOR CLANDON PARK ©National Trust Images/John Millar • Initiative will bring new life to Clandon Park, the National Trust’s Grade I listed Palladian house, near Guildford in south-east England, which suffered a major fire in April 2015 • High profile project to restore and reimagine this widely admired architectural masterwork has a £30m construction value • Architect-led teams asked to submit details of project understanding, proposed team and relevant experience at the competition’s first stage – deadline 21 April 2017 • Five or more finalists who reach the second stage will create concept designs that integrate a sensitive restoration of some of the principal state rooms with new flexible spaces in the upper floors which encourage and inspire imaginative programming • Jury to be chaired by Sandy Nairne CBE FSA, National Trust Board of Trustees member, and former director of the National Portrait Gallery The National Trust and Malcolm Reading Consultants today [9 March 2017] launched the global search for a world-class multidisciplinary design team to restore and reimagine Clandon Park, the Trust’s Grade l listed, 18th-century Palladian house, near Guildford, which suffered a major fire two years ago. The conservation charity is looking for a team comprising architects, engineers, interpretation specialists and landscape designers. The charity aims to bring the house – widely considered to be a masterwork – back to life through new uses, and transform the visitor experience. Second Floor, 29 Lincoln’s Inn Fields, London, WC2A 3EG T: +44 (0) 207 8312 998 | W: www.malcolmreading.co.uk MEDIA RELEASE 09 MARCH 2017 The fire in April 2015, thought to have been caused by a manufacturing fault in an electrical board, left only a small portion of the house unscathed.