18th and 19th Centuries Modern Architecture

Sir John Vanbrugh, famed as a dramatic author, now came into prominence as an architect. To his care had been entrusted the naval buildings at Plymouth dock. He found further scope for his theories of vast scale at Castle Howard, Blenheim palace and Seaton Delaval. Vanbrugh was influenced not only by the work of Sir Christopher Wren but by contemporary French work, and the designs of Daniel Marot. His pupil Thomas Archer created St. Philip, Birmingham, and the temple at Wrest park, Bedford shire. Vanbrugh forms the chief link between the school of Wren and the coterie of early ISth century architects who favoured the style of Palladio, and the revival of the style initiated in the previous century by Inigo Jones. James Gibbs is another link. In this case the Palladian influence is carried on to the work of Sir William Chambers. Gibbs is renowned for the church of St. Martin-in-the-Fields and the Radcliffe library at Oxford, as well as for country and town houses. By the year i 73o, building on the great scale had definitely turned to Palladian and Roman doc trines. William Kent was engaged on Holkham hall, Norfolk, and Devonshire house, London. The amateur had entered the lists, and the earl of Burlington was looked upon as the chief patron of the arts. The extent of the revived Palladian movement can be judged from the character of the villa at Chiswick (1729, a modi fication of the Villa Capra, Vicenza), Mereworth castle, Kent, Houghton hall, Norfolk (the seat of Sir Robert Walpole), and Prior park, Bath, by John Wood.

The fashion of the "Grand Tour" and the acquisition of antique statuary both contributed to the passion for authentic classicism, and it was not long before architects followed in the steps of the rich patrons to Rome. Henceforword two factors determined the status of an architect, i.e., travel in Italy and the publication of a work on architecture. The folio works edited by Leoni, Ware, Gibbs and Chambers had the immediate effect of reducing archi tectural design to a mere repetition of rules. Another influence was the founding of the Society of Dilettanti which resulted in the extension of classical research to Greece. While the building of great palaces belongs more especially to the first half of the cen tury, the practice was continued to the end of the period. In the works of Sir Robert Taylor, Robert and James Adam, Sir William Chambers and Carr of York is evidenced an extension of private palace building on a diminished scale. In this regard the Palladian type can be regarded as dominant.

Types of Buildings.

The social conditions of the period are reflected in the development of town planning (see TOWN AND CITY PLANNING), more especially in the Squares of London, the stately streets of Bath and the New Town of Edinburgh. Although the bulk of early i8th century architecture consisted of private mansions there was also scope for new types of public buildings (see GOVERNMENTAL ARCHITECTURE), Of which in London the Bank of England, designed by Sampson and later remodelled by Sir Robert Taylor and Sir John Soane, was the chief. Other

official buildings include the Mansion house, by Dance the Elder; the Admiralty, Whitehall, by Ripley ; the Horseguards, by Kent ; and South Sea house. In various cities outside London town halls were built, as at Liverpool by John Wood, Bristol, Don caster, Warwick and Salisbury. The Georgian theory of civics included hospitals such as St. Bartholomew's, by James Gibbs, St. Luke's by George Dance the younger, prisons such as Newgate, guildhalls and lawcourts. The principal Government buildings were erected in the second half of the century. The exponent of the matured Roman Palladian style was Sir William Chambers, a worthy associate of Reynolds and Dr. Johnson. The design of Somerset house ranks among the first works of the second half of the period in London. For this building Chambers evolved a majestic river frontage rising by terraces direct from the water line. The detail shows the influence of contemporary French taste, particularly the works of Neufforge and Gabriel. Broadly speak ing the work of James Gibbs can be regarded as the basis upon which the Chambers manner was modelled. Robert Adam, in collaboration with his brother James, contributed an elegant ren dering of classical detail for his graceful designs, but by contrast with the works of Sir William Chambers the buildings he erected are effeminate. In the hands of Carr of York, James Gandon and Harrison of Chester the Roman Palladian expression was con tinued. Dublin owes its monumental buildings chiefly to Gandon. These latter include the Customs house, the Four Courts and the Kings Inns. Following the leading architects a host of lesser men were adding to the pronounced classicality. Architectural taste was influenced by the publication of folio volumes of designs, Builders' Guides, and other works related to architecture, which had the beneficial effect of restraining eccentricity. The whole tendency towards standardization exactly suited the requirements of the time.

Decline of Palladianism.

Towards the close of the century the Roman Palladian school showed signs of abating interest. True, its principles had been vindicated by the younger Dance in the design of Newgate, but newer forces were becoming active. Archi tects and patrons now took notice of Greek detail and paid atten tion to "Stuarts Athens." The Brothers Adam had already ex ploited Greek detail, for stucco enrichments, but it was left to Henry Holland to imitate a formal Graeco-Roman manner. The most original designer, however, was Sir John Soane. Soane began by following the work of the Adam brothers; he had been employed in the offices of Dance and Holland; later, acting on the advice of Sir William Chambers, he gave attention to the designs of Piranesi. When Soane was commissioned to rebuild the Bank of England he revolutionized the older school of thought by evolving detail for which there was no precedent.