1. The Story of Architecture
Chapter 16 Romantic Classicism
“Modern architecture is a product of Western Civilization. It began to take shape during the later eighteenth century with the democratic and industrial revolutions.… .”

2. Romantic Classicism
Baroque and Rococo came to an abrupt end. Normally an artistic phase dies out over several decades. With more sober and ponderous empires, Europe turned to a matching classical architecture.
The artificiality of Rococo art and architecture was seen as symptomatic of the corruption of the ancien régime

3. The Philosophes
“…believed it was imperative to strip away the corrupting influence of the culture of the ancien régime to arrive at the natural condition of humankind
“…to create a new, purer more functionally and structurally expressive architecture from the deliberate and rational design of a new social order…”

4. Frontispiece of Marc-Antoine Laugier, Essai sur l’architecture (Paris, 1753) “…the purest architecture (is) that most suited to fundamental human needs and to basic human society … architecture had to get back to basics”

5. 18th Century A multiplicity of architectural options
A growing yearning for a return to clear forms and proportional relation ships with the revival of Palladian architecture in England by the publishing of Palladio’s Four Books

6. Vitruvius Britannicus, (3 volumes) by Colen Campbell
It was not a treatise but a catalogue of design; engravings of buildings by Inigo Jones, Sir Christopher Wren and other prominent architects, as well as Campbell himself; it was instrumental in popularising neo-Palladian Architecture in Great Britain and America as well as being self-promoting.

7. Houghton Hall Colen Campbell 1722
An Inigo Jones-type house with a 40-foot double cube room

8. Houghton Hall Colen Campbell

9. Mereworth Castle Colen Campbell
Palladio’s Villa Rotunda
“... was built in the 1720s as an almost exact copy of Palladio's Villa Rotunda.”
Rotunda
Long Hall

10. Chiswick House 1725, outside London
Richard Boyle, Third Earl of Burlington, with William Kent, architect.
The English developed an appreciation of the proportional clarity of Palladio. Variation on the Rotonda theme. This is based on Villa Capri.

11. Charles Cameron Cameron Gallery Tsarskoe Selo, Russia 1787
Palladian-style wing to the imperial palace
with an Ionic colonnade facing the park.
Invited by Catherine the Great to St. Petersburg

12. James Gibbs, St Martin-in-the-Fields, London 1721-26
Gibbs studied the Baroque under Fontana in Rome. Here he combines a classical portico with a spire.
The spire is taller than it looks – a typical Baroque feature

13. James Gibbs, Senate House, Cambridge University 1722-30
- dignified symmetry

14. William Kent and Lord Burlington, Holkham Hall, Norfolk 1734
England was going through an agricultural revolution that transformed the appearance of the rural landscape. The surface of the house was local yellow brick fashioned after Roman brick.
Central rectangular block plan with a Palladian portico entrance

15. Holkham Hall, Norfolk 1734
Brown-on-white alabaster pillars (based on the Temple of Fortuna) support the coved ceiling

16. John Wood the elder and John Wood the younger, Queen Square, Bath 1729
The elevations of the streets are conceived as a continuous Palladian frontage
A pediment gives emphasis to the centre of the North side of Queen Square

17. Royal Crescent Bath
- dramatic Palladian frontage

18. English Landscape Movement
“Where there were straight lines and geometry, the new English landscape design would use serpentine curves and irregular shapes. Under the influence of designers such as William Kent and Capability Brown, there was a dismantling of formal gardens in favor of natural gardens. As much as these designers fought against the forced control provided in formal gardens, they also strong-armed nature into their own ideal.”
This led to a total reversal of the Baroque relationship between inside and outside. p221

19. Andre le Nôtre Château of Vaux-le-Vicomte, France 1657

20. Sir Henry Hoare, Garden, Stourhead, England 1841-81

21. View of the Pantheon, Stourhead

22. Bridgeman
Stowe is a landscape garden with political meaning. it represents opposition politics through allegorical monuments
Stowe is a landscape garden with political meaning.  On the one hand, it celebrates the solid classical foundations of eighteenth cenury society, as embodied in the Neo-Palladian building and the numerous Neo-Palladian garden monuments and follies.  On the other hand, in its free and open treatment of garden space, Stowe also embodies the freedom which eighteenth century theorists associated with ancient British (Saxon) principles.

23. Hagley Park
Sanderson Miller, sham Gothic ruin Hagley Park, Worcestershire, England 1747

24. Church of Sainte Genevieve, (Pantheon)

25. Church of Sainte Genevieve, (Pantheon) Paris 1755-90

26. Church of Sainte Genevieve, (Pantheon)

27. Stuart and Revett Restoration drawing of the Parthenon, Athens c. 1785

28. Robert Adam

29. Horace Walpole, Strawberry Hill, Twickenham, begun 1748

30. Hameau (Hamlet) Versailles, France 1778-82

32. Claude-Nicholas Ledoux, Barriere de la Villette, Paris 1784-89

33. Boullée, Newton Cenotaph 1784

34. Boullée, Newton Cenotaph interior

35. Claude-Nicholas Ledoux, Fabrication des Cercles

36. Claude-Nicholas Ledoux, poster

37. Claude-Nicholas Ledoux, Royal Saltworks, Chaux, Arc-et-Senans, near Besançon, France c. 1775

38. Leo von Klenze, Glyptothek (Sculpture Gallery) Munich, Germany 1816-30

39. Schinkel Altes Museum, Berlin

40. Schinkel Altes Museum, Berlin (1822-30)

41. Altes Museum Plan Main Floor

42. Schinkel, Altes Museum, Berlin 1822-30

44. Robert Adam, Library, Kenwood House London 1767-68

45. Urban Squares - Nancy, France

46. Place des Vosges, Paris

47. Piranesi, Plates from the Carceri 1745-61

48. Thomas Jefferson, Virginia State Capitol, Richmond, Virginia 1785-89

49. Early Iron Engineering

50. Coalbrookdale Bridge, England 1777-79

51. The Age of Enlightenment: An Architecture of Rationality
By the mid-eighteenth century, architects began to reject the visual excesses of Rococo architecture in favour of a structural discipline shorn of extraneous ornament
In France, the evolving bourgeois middle class brought with it a new secular culture and architecture inspired by egalitarian ideals and industrial enterprise