About the same time with Gibbs, Sir John Vanburgh practised architecture extensively in England ; but al though the works he executed were all palaces and for nobles, yet, being for private persons, it is Blenheim alone which can be admitted in the list of public edifices. The style of this splendid palace, (see Plate CLXX IX.) erected at the public expense early in the 18th century, displays much boldness and originality of genius. The diversity and novelty of the outlines, both in the plan and elevation, form a strong contrast with the tameness of other buildings. The whole facade has more the ap pearance of a triumphal monument than a private dwell ing. His poetical mind, independent of previous ca nons, imagined forms expressive of the character he had assumed; and certainly, in what regards general outlines, and the disposition of the principal members, few archi tectural works have so completely succeeded ; but in the subordinate features, his taste has been grossly deficient; and it is difficult to conceive, how talents like his could admit the rude clumsiness which but too frequently de forms his buildings. The central front of Blenheim is scarcely a sufficient mass for the wings.
In the conduct of great public works, the next archi lcct was Sir William Chambers. He has displayed a strong disposition to investigate subjects connected with architecture. He took much pains to acquire a know ledge of the Chinese mode of building and gardening. On this subject he published a treatise, and produced specimens in the king's gardens at Kew. He bestowed still more attention upon the Roman style; and, in his Treatise on Civil Architecture, he has, with great care, made a judicious selection from the purest remains of antiquity in Italy, and from the works of its ablest re storers. He was so totally ignorant of Greek architec ture, as to dispute its being carried to much perfection, or practised on a large scale by that people. his situation, as surveyor-general of the board of works, led him to be employed in edifices. where there was abundant op portubities of displaying his talents. The square of So merset Place is entirely from his designs, and executed under his direction. Its situation on the banks of the Thames is favourable for being viewed from the middle of the river, or Westminster Bridge. Towards the street, the front, which is on a line with the houses on each side of it, is seen to disadvantage. The inside of the square has all the advantages a similar space can afford. The whole design has not been completed, but the central part has ; and we therefore sec what must have been intended as the principal features of the com position. In the river front, there is a fine terrace ; but the extensive facade, which is elevated upon it, is defi cient in majesty. The disproportioned height of the basement takes away from the effect of the order. In the dark recesses, the columns appear very diminutive. If the basement had been only so high above the terrace, as to raise the order to be all seen from the middle of the river, the parts would have been more distinct and im pressive ; and had the face of the building been plain, instead of being wholly cut into small rustics, there would have been more simplicity. The dome in the cen
tre of the roof is much too small. The small extent of the street front renders the improper height of the base ment more conspicuous; and the whole is rather crowd ed than grand. Within the square, which is 300 feet north and south, and 200 east and west, there is a tire some repetition of rustic work : there are many fine door-cases and windows, and much exquisite sculpture; but as a great design, it is deficient in the magnificence which a national edifice of this description ought to pos sess. The interior of the building is at ranged with much care ; and it has several fine stair-cases. This architect appears to have been careful and persevering, in en deavouring correctly to follow what he conceived the true classical style ; but he was ignorant of, or despised Greek architecture, and seems to have been deficient in original genius and taste. He died in 1796.
About this time, Robert Adam also rose to much emi nence as an architect : in many respects, he appears to have been the reverse of Sir William Chambers. He early travelled into Italy; and probably from a desire of distinguishing himself, by introducing a subject untouch ed by former students, he, with much assiduity and care, made accurate measurements and drawings of the once splendid palace of the Emperor Dioclesian, at Spalatro in Dalmatia ; these lie published, with finely engraved plates, in one folio volume in 1764. He designed the buildings called the Adelphi, and, in conjunction with his two brothers, conducted the erection of them ; al though composing a series of private houses, yet as a piece of street architecture, or facade to the river, the Adelphi becomes a public building. From the river the effect is very imposing. Economy rendered it necessary to build with brick, instead of Portland stone, and to make the ornamental pacts of a composition which he invented. Being of less extent than Somerset IIouse, it acquires more apparent elevation and lightness. The outlines of the tall pilasters, in the centre building and wings, add very much to this effect, while the long ho rizontal lines of light frieze and cornice preserve great simplicity ; but perhaps the most striking feature is, the appearance of the whole mass standing upon the dark caverns, formed by arcades under the terrace, and the arched passages which lead from the wharfs on the shore up to the street called the Strand. The desire of con verting as much as possible of the space into buildings, has made the streets of the Adelphi too narrow. This is both inconvenient and unpleasant. Towards the Strand the architecture is disfigured by circles, and a profusion of unnecessary and minute ornaments. In this instance, as well as in many of his designs for individuals, it ap pears, that his fertile mind had been unfortunately too strongly infected by the luxuriant, but depraved style of Dioclesian's palace. The Register Office at Edinburgh will be noticed in the Architecture of Scotland ; and his other numerous and masterly works will be noticed un der the Section of DOMESTIC ARCHITECTURE and that Of SCOTLAND. He died in 1792.