THE “QUEEN ANNE” “GEORGIAN,” “PEDIMENT AND PORTICO,” STYLE

Comprises the reigns of Anne (1702-14),

George II (1727-60),

George III (1760-1820)

ARCHITECTURAL CHARACTER

​ Castle Howard

​ Plan of Central Portion

In the latter part of the seventeenth, and during the eighteenth century, the plan of the smaller type of house was usually a square, as at the King’s (Queen’s) House, Greenwich (No. 238 A), or an oblong, as at Chevening (No. 131 H, J), both already mentioned (page 569). In the square type the center was frequently occupied by the top-lip saloon, two stories in height, as at Greenwich. In the oblong type, the house was usually roughly divided into three, the center third being occupied by the hall, saloon and staircases. The basement in both types contained the kitchen, storerooms and cellars.

In the larger type of house, the ground floor was frequently treated as a basement, the first floor being the principal one, rached by an external flight of steps as at Rainham in Norfolk, Castle Howard (No. 258 A, B, C), and Kendlestone (No. 258 D, E, F) and this led to the internal staircase being reduced in importance. The hall, saloon, and reception-rooms, to which everything was sacrificed, were placed in a central block, either square or oblong on plan (No.258 C, F) superseding the E and H-shaped Jacobean plans. On either side symmetrical detached wings were added, as at Holfham Hall (No. 131 K, or connecting portions of quadrant form, often treated as colonnades, as at Stoke Park, Nothants (No 131 G) Castle Howard, Yorkshire (No. 258 C), Blenheim, Oxfordshire (No. 238 F), Latham Hall, Lancashire, Moor Park, Herts, and Kendlestone, Derbyshire (No. 258 F).

The Jacobean gallery survived in a modified form, as at Caslte Howard (No. 258), Chatsworth, and Holkham (No. 131 K), and many other examples.

The Publication, by the Earl of Burlington, of the design of the Inigo Jones, and of the drawings of the “Antiquities of Rom,” by Palladio, in the early part of the century, are thus referred to by Pope in one of his epistles to the Earl of Burlington,

“You show us, Rome was glorious, not profuse,

And pompous buildings, once were things of use,

Yet shall, my Lord, your just, your noble rules,

Fill half the land with imitating fools;

Who random drawings froum your sheets shall take,

And of one beauty many blunders make;

Land some vain church with old theatric state,

Turn arcs of triumphs to a garden gate;

Shall call the winds through long arcades to roar,

Proud to catch cold at a Venetian door.”

This passage suggest what really did happen, and well characterizes the style of architecture.

There were many famous architects of this period, and as they were contemporaries, practicing at the same time, their names and principal works are given.

The design of the buildings, not excepting the domestic class, was influenced by a passion for symmetry and grandeur, which almost entirely put aside as unworthy of consideration the comfort and convenience of the people who had to occupy them, a point remarked upon by Pope:

- “tis very fine, But where d’ye sleep, or where d’ye dine?

I find by all you have been telling

That ‘tis is a house, but not a dwelling.”

Or the remarks of Lord Chesterfield to General Wade may be quoted, viz, that the latter had better take a lodging opposite his Palladian mansion (by Lord Burlington), if he liked nothing but the front.

The fact must not be overlooked, however, that at this time there grew up a national style, most of the less important houses fog the middle class people being erected in the useful and modest Queen Anne and Georgian type of square house. Moreover, corridor planning did much for convenience and comfort on domestic architecture, and the fast developing trade of the joiner admitted of the elaboration of internal fittings.

​Kedlestone Hall

EXAMPLES

Nicholas Hawksmoor

(1632-1732)

Was a pupil of Wren and followed him in his practice. Principal works: -S. George, Bloomsbury; S. Mary Woolnoth; S. George in the East; S. Anne, Limehouse; Christ Church, Spitalfields - all in London. He also assisted Sir John Vanbrugh at Castle Howard and Blenheim. His works were much influenced both by Wren and Vanbrugh, but ideas of some originality and granduer were too often marred by eccentricities of treatment, and his architectural detail, as with other of Wren's pupils, was often badly designed.

Hawksmoor held several Government appointments, notably clerk of the works at Kensington Palace and Greenwich Hospital.

James Gibbs

(1683-1754)

Principal works were:- S. Martin in the Fields; S. Mary-le-Strand (A.D.1714) (the tower is an oblong on plan), the steeple, S. Clement DanesChurch; and Bartholomew's Hospital - all in London; the Radcliffe Library, Oxford, and the Senate House, Cambridge. He published a book of his own designs, in which the above works, with others, may be found.

William Talman

(d.1715)

Chatsworth, Desbyshire (A.D.1681), Dynham House, Glouscestershire, and works at Hampton Court.

Kent

(1684-1748)

In collaboration with the Earl of Burlington, erected the Horse Guards, London, notable for skillful grouping; the Treasury Buildings, Horse Guards Parade; Devonshire House, Piccadilly, and Holkman Hall, Norfolk (No. 131 K).

The Earl of Burlington

(A.D.1695-1753)

An amateur architect and patron of Kent and other artists. He designed the Palladian Villa at Chiswick - an English

Sir John Vanbrugh

(1666-1726)

Principal works: - Blenheim Palace (No. 238 F), the most important mansion of the period erected in England, is both picturesque and stately, and it is the commencement of the Palladian type of house, in which a striving after symmetry and monumental granduer, at the expense of usefulness led to the debasement of architecture. In the plan of Blenheim there is an extensive use of corridors as communicating passages, being a great development in planning, and a step towards the privacy which is now insisted upon. Castle Howard, Yorkshire (A.D. 1714) (No. 258), is an example of pounderous character. King's Weston, Glocestershire (A.D. 1713), and Seaton Delaval. Northumberland, are other works.

Thomas Archer

(d. 1743)

Was a pupil of Sir John Vanbrugh. He erected S. John, Westminster, in the Rococo style, and S. Philip Birmingham, in the somewhat heavy style of his master.

Colin Campbell

(d. 17346)

Was the compiler of he "Vitruvius Britannicus" which contains plans and elevations of all the country houses of any importance erected during the century. His best known works were the front and gateway of old Burlington House (1717), Houghton, Norfolk (1723), and Wanstead, Essex (1720).

Isaac Ware

(d. 1766)

He erected Chesterfield House, Mayfair, and was the author of "A Complete Body of Architecture"

Sir Robert Taylor

(1714-1788)

He was the architect of the Pelican Fire Office, Lombard Street; and Ely House, Douver Street.

George Dance Sr.

(d. 1768)

City Architect of London, erected the Mansion House, London. His better known son was the designer of Newgate, the most appropriate of translation the Villa Capra, near Vicenza (page 488).

Robert Adam

(1728-179)

(The Brothers Adam) Robert Adam published "Diocletian's Palace at Spalato," in theyear 1760, a book which influenced architectural design. Other designs are two sides of Fritzroy Square; the Adelphi Terrace (named after the four brothers); the screen in front of the Admiralty, Whitehall (1760); Caen Wood, Hampstead; Kedlestone Hall, Desbyshire (No. 258); Startford Place, London; Lansdowne House, London (1765); Stowe House, Buckingham; Sion House near London (A.D. 1761-1762); Kenwood House, Hampstead (A.D. 1764), and many private houses in London, and the College and Register Office Edinburgh.

The brothers Adam were the authors of a marked style of interiror decoration that is known by their name. Furniture and decoration were treated together with the design of the rooms themselves with refined and elegant details. Adam's chimmey-pieces are specially characteristic.

Brothers Adam in Fitzroy Square

Henry Holland

(1740-1806)

Erected Claremont House, Esher; Carlton House, on the site now occupied by Waterloo Place (the Corinthian columns being employed at the National Gallery); Brooks's Club, London, and the vestibule to Dover House, Whitehall, which is a charming and refined piece of work.

James Wyatt

(1748-1813)

Studied in Rome. The Patheon (1772) in Oxford Street, and White's Club are works in London; Lee Priory, Kent; Castle Coote, Ireland; Bowden Park, Wiltshire; and Fonthill Abbey (1795-1822). He undertook the restoration of many of the cathedrals and important churches in England and Wales, but the small knowledge of the true spirit of Gothic archi-prison designs and lately demolished; also of S. Luke's Hospital.

Sir John Vanbrugh

(1666-1726)

John Wood (1704-1754) of Bath, in conjunction with Dawkins, published the "Illustrations of Baaelbec and Palmyra" in 1750, creating a tast for Roman magnificence. His best known work is Prior Park, Bath (A.D. 1735-1743), and various other works in that city.

Sir William Chambers

(1726-1796)

First Treasurer of the Royal Academy, wrote the "Treatise on the Decorative Part of Civil Architecture." He carried on the traditions of the Anglo-Palladian school, objecting strongly to the Greek revival then commencing. The proportions he adopted for the Classic orders are given in Nos. 261, 262. He travelled largely in Europe and the East. His great work is Somerset House, commenced in 1776 (No. 259), which is grand, dignified, and simple in its parts. A single order runs through two stories, and rustication is largely employed. The character of his work in general is correct and refined, but lacking somewhat in originality and strenght.

Somerset house, London from the Embankment

James Gandon

(1742-1823)

A. pupil of Sir W. Chambers, erected the Custom House and the Law Courts at Dublin.

Sir John Soane

(1750-1837)

A pupil of George Dance, junior, studied in Italy (1788). He was appointed architect to the Bank of England. This important building occupied many years of his life and constitutes his masterpiece, the Corinthian order of the Temple at Tivoli being closely followed. Comparing this design with Newgate it fails in the quality of apparent suitability of purpose. His early designs are Palladian, and his later ones are those of an original mind, but he was unable to clothe them with suitable details, and there is a consequent taint of eccentricity. The Dulwich picture gallery is by

English Renaissance Ornament

Doorway Rustica Architrave Type

Doorway Rustica with Ionic Columns

Archway at Wilton

Circular Window by J. Gibbs

Monument to the Duke of New castle

COMPARATIVE

ANGLO-CLASSICS, QUEEN ANNE, AND GEORGIAN STYLES

• Plans – These are marked by regularity and symmetry, sometimes showing signs of being dictated by a preconceived elevation. The Italian use of a piano while above a storage basement, affected the planning of many country houses (No. 258). Excessive cellarage, or kitched offices, occupy the ground floor, and the best rooms are reached by a great external staircase and portico (No. 258 D), or by a mean approach from a side door through the basement. Octagonal circular, and elliptical-shaped apartments, often cubical in proportion, are usual (No. 258 C), and suites of such saloons are arranged in various combinations. Staircases receive much attention, ingenious domical, or ther top lights, being introuduced. Corridors gradually supersede the hall and en suite or thouroughfare systems of planning (Nos. 131 G, H, J, K, 238 F, 252 E and 258 C,f)

• Walls – These are sually thick, and filled in solid between the varied shapes of the rooms, on plan. Brick was used most commonly for walling, and often for the facing, but in later work it was usually stuccoed. Stone was used as an ashlar facing and for dressings. Unbroken surfaces contrasted with the porticos, pilasters, or window dressings of the composition (No. 258), and blank walls, to mask undesirable necessities, are not uncommon. Chimneys are often concealed. Pediments are the only form of gable, and are used with and without balustrades.

• Openings. – Windows were reduced in number as much as possible, but infrequency of openings was compensated for by large and unobstructed window areas (No. 260 B), sometimes of a special Venetian Character (No. 261 C). Porticos, arcades, and doorways (No. 261), were regulated by the proportions of the Classic orders, and the minimum condition of having to pass through them (No. 260 A, C, E) ; the maximum condition of having to pass through them (No. 260 G). Vertical grouping of window was effectively developed, as in houses in Hanover Square, and the large compositions of windows to more than one room or story were not affected by party-wall or floor divisions, as in the houses of the Brothers Adam in Fitzroy Square, and elsewhere.​

Pedimented Gateway

• Roofs. – “No roof but a spherical on being sufficiently dignified “for this style, balustrades or attics conceal the small amount of low-pitched roof covering the building (No. 258). In the smaller works, tiled roofs having a wooden eaves cornice, were often effectively used. Domes, cupolas, and turrets were well designed, those on a large scale being lead covered, while small examples were sometimes entirely of wood. The splendid steeples of the period, in stone and wood, covered with lead, rival medieval spires in fanciful and skillful outlines (No. 255).

• Columns – The orders were used whatever funds permitted (No. 260). Single order porticos of large scale were not possible owing to the small size of stone obtainable, but on the introduction of stucco and iron these could be ereceted. Pilasters, however, were most often of two or more stories in height (Nos. 258 A and d259). Columns, often purely decorative in function, were employed in interioirs with considerable effect. The canons of proportion first laid down by Vitrivius were still further insisted on by Sir W, Chambers (Nos 261, 262), who took various Renaissance architects as his guide.

Classical Orders

Superimposed orders without pedestal

• Mouldings – The standard mouldings of the Classic orders became the stock- in trade of every workman, being applied in every material with small modification (Nos. 260, 262), and design is thus found of equal standard in very varied classes of building. The large employment of wood, in which material smallness of scale was rendered possible, admitted of material smallness of scale was rendered possible, admitted of much elaboration and refinement in such features as the main external cornices and doorways.

Stuccoed Stone

• Ornament – Wall tablets (No. 260 D), tombs (No. 260 J), and chimney-pieces (No. 260 H, K) are among the most pleasing decorative features in the style. Whitewash was usual, but sometimes fresco decorations were employed, artists such as Verrio and Sir James Thornill being engaged. The orders were executed with facility in wood or plaster, or both, and small buildings resembling Roman Temples (No. 261 E) were most effectively grouped in parks and gardens. Decoration, founded on Roman, or in the later period, on Greek examples, was modelled in stucco with great skill and effect, and French work of the style of Luis XIV, and his successors was also followed, while the Brothers Adam and others imported Italian workmen, who carried the art to a high pitch of technical excellence.