English Styles in 17 th & 18 th Century BAROQUE William & Mary –1680s – 1700 Queen Anne –1700 – 1730s ROCOCO George I – IV –1730s – 1820s Corresponds to American Colonial ENGLISH GEORGIAN

Queen Anne Style (English version of Baroque) Georgian c

Queen Anne Chair, c , walnut cupid’s bow obvious division between leg & seat walnut made it difficult to carve details sometimes called the parrot chair English generally leave back legs square— Marlboro leg

Mechanical Wingback c Baroque features with Georgian features—hodge podge put in front of fireplace to hold heat in Fringe distinctly English

Highboy c , walnut swan neck finial cabriole leg— English make them short and squat escutcheons

English late Baroque Chest, c moving to neo-classical though still big and heavy classical details--lions head, arch, greek key motifs shells more baroque & rococo

Georgian

no more Tudors or Stuarts House of Hanover from Germany— distant cousins George I - IV Hanoverian Dynasty

The Whig Party George I not interested in Arts Whigs become influential in defining “good taste” power and prestige of upper class based on: –ownership of land –construction of country houses as evidence of wealth

English Georgian Country House (nobles have a city home and a retreat) PURPOSE or FUNCTION retreat for nobility keep government officials near London recreational lodging used for persuasion—“help” you change your views on political items

Coleshill (country home) Berkshire, England, architect Sir Roger Pratt, 1650s

Cupola Longleat Hall/Italian Renaissance Balustrade Italian renaissance Hipped Roof distinctly English battle between vertical & horizontal 3 floors shown with string courses—basement service story quoining Dormer Windows (French)

encouragement of social mingling (partly because party home) caused a new flow between rooms Double Pile House two rooms deep central corridor meant for servants enfilade public Hall—most ornamented and expensive room in the space parlor, antechamber & chamber sequence nonexistent in England Communal Planning

interior characteristics modeled figures classical orders delicate motifs asymmetry undulating line natural forms exterior details The Hall mish-mash of everything— distinctly English

The Parlour—scale? one base color for wall—everything else is white

all about architectural detailing

Late Georgian broken scroll pediment central cartouche or coat of arms attenuated caryatids classical order very sculptural

The Gentleman's and Cabinet- Maker’s Director (English version of Rococo) Thomas Chippendale, London, 1754 first book to deal with furniture relative to interiors starts to do interior decoration as well eventually grew to 120 people working for him

Modern Chairs or In the French Style, 1754 like French Rococo

Gothic / Classical Chairs, 1754 gothic revival classical revival seems to be a frieze with triglyphs/ metopes

Chinese Chippendale Chairs, 1754 lattice backs romanticism

Ribbon-back Chair, 1754 rococo motif

Pie Crust Side Table need more surfaces/table tops for tea drinking squatty leg claw and ball foot—Chinese inspiration—dragon claw holding a pearl

Rococo inspired ornamentation lighter, more delicate, cabriole leg, female figure

INFLUENCES travel –return with souvenirs Grand Tour (finish training of architects) –admiration of landscape painting beginning of study of history of architecture romanticism—transporting yourself to a different place & time

Claydon House Luke Lightfoot 1750s all done in plaster references Chinese architecture using Asian people bells become popular

Chinoiserie close up of plaster work—looks almost as if it is dripping

detail of a niche—dragons & herons

Chippendale bed became popular showed wealth, education, and that you were well traveled

gilded bamboo lattice work

J. M. W. Turner, The Passage of the St. Gothard (1804). Watercolor. Edmund Burke Treatise on the Origin of Our Ideas of the Sublime and the Beautiful 1753 “Pleasurable fear” picturesque fascinated by storms & shadows huge impact on landscape design

Chiswick near London, (Neo-Palladian villa) by Lord Burlington, 1720s gardens are classic English Baroque—very romantic ideal small Roman temple, English cottage, Sphinx, Pagoda—never encounter more than one at a time

Chiswick House renewed interest in Palladio and his works exterior is classical (Villa Rotunda)

Green Velvet Room Red Velvet Room Blue Velvet Room Gallery Saloon interior is picturesque room shapes change

picturesque interiors—color scheme changes dramatically more Baroque

Gallery delicate, cream and gold color palette— more Rococo new version of Long Gallery—still linear but taking you through different shaped rooms

compartmentalized ceiling so little of the Long Gallery walls used for pictures now

Strawberry Hill Gothic Revival Villa, Twickenham, England, by Horace Walpole, et. al., s (based on their own ruins)

Strawberry Hill (Gothic Revival Villa), Twickenham, England, by Horace Walpole, et. al., s straddles movement into Neo-classicism Gothic design details?

picturesque planning rooms are all different shapes circulation is unclear

Sitting Room Gothic inspired fan vaulting

Great Cloister Georgian coloration—color on white; Rococo tone on tone pattern on wall; Gothic Revival detailing