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C H A P T E R III E N D - N O T E S

Christiane Crasemann Collins, New York, Dover Publications, INC, 1986, p. 197.

36 Geoffrey Scott, Architecture of Humanism, Nabu Press, 2010, 227.

37 John Macarthur, The Picturesque. Architecture, disgust and other irregularities, Abingdon, Routledge, 2007, p. 234.

38 Walter Benjamin, ‘On the Mimetic Faculty’, in Reflections: Essays, Aphorisms, Autobiographical Writings, New York: Harcourt Brace Jovanovich, 1978, 333.

39 Mallgrave and Ikonomou , Empathy, form, and space : problems in German aesthetics, 1873-1893 Getty Center for the History of Art and the Humanities, Chicago, Illinois, 1994.

40 Lionel Bailly, Lacan A Beginners Guide, London, Oneworld Publications, 2009, p. 42-45.

41 John Macarthur, The Picturesque. Architecture, disgust and other irregularities, Abingdon, Routledge, 2007, p. 251.

42 Sydney R. Jones, London triumphant, London, Studio Publications, 1942, p.137.

43 Sydney R. Jones , London triumphant, London, Studio Publications, 1942, p.199.

44 Gordon Cullen, Concise Townscape, Oxford, Architectural Press, 1961, p. 26

C H A P T E R III M O V E M E N T

Figure 24: Chaper III Location Map by Author, 2022 Figure 25: Lloyds Leadenhall street Historical Map by Author, (1924-1951), 2022. Figure 26: Lloyds Leadenhall street by Sydney R. Jones, 1928. Figure 30: London Triumphant, Pictures, Irregularity, Movement, by Author, 2022. Figure 27: Bush House, Strand by Sydney R. Jone, 1931. Figure 28: Bush House, Strand Historical Map by Author(1924-1951), 2022. Figure 29: The Institution of Civil Engineers, Great George Street, Westminster by Sydney R. Jones, 1936. Figure 30: London Triumphant, Pictures, Irregularity, Movement, by Author, 2022.

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This dissertation sets out to ascertain if the drawings within Sydney R. Jones’ book are picturesque according to a selected set of rules defined by picturesque theory and how he uses The Picturesque to encourage the nation to feel inspired in their capital. The selected principles as defined by the chapter headings are, firstly, Pictures, that the drawings present a picture of the overarching narrative, (the success of London) through the use of a balance between light and dark and whether this creates a unity of the entire object. Secondly, Irregularity, the drawings illustrate the irregularity that is present in the real context and how these irregularities are manifest within the drawings. Thirdly Movement, that the drawings convey movement or the opportunity for movement in the place being conveyed.

Right away it is clear that S.R.J has the task of conveying place in a believable way in order to capture that which is picturesque within the city. This requires not only recording the likeness of the place but also the actual essence of it. S.R.J conveys his narrative through pictures through the use of clair-obscur, to create a balance of light and dark within the drawing. This technique is widely used throughout all of his drawings, giving each illustration a sense of contrast, however, it is not always successful in creating an exact likeness as it is a tool that is required to be used consistently within the drawing and not partially. Instances where S.R.J creates faster or less detailed drawings are sometimes seen to lack the verisimilitude that is evident in drawings that have clair-obscur throughout.

Coup d’œil is another component that is instrumental within picturesque theory and key to creating drawings that reflect The Picturesque. S.R.J creates drawings that have an even distribution of detail of light and dark that is immediately attractive at a glance. Throughout LT there is a clear variety in the level of detail, time and attention paid to each drawing, however, they mostly convey coup d’œil, whether they appear to be an etching, a detailed pencil drawing or a fast pencil sketch. All of these tools used by S.R.J contribute to creating a united object (l’unite d’objet), meaning a picture that appears whole and is not lacking anything. Paradoxically, the book as a whole has the quality of a united object because there are instances where this is lacking.

With regard to irregularity, S.R.J’s choice of drawing locations is reflective of places that are picturesque due to their irregularity in the plan. Meaning that the plan is not even or linear but instead inconsistent. There is a clear pattern

where archetypal techniques that are representative of picturesque spaces, specifically looked at within this dissertation, the concave plan that creates winding paths or punctures in an elevation creating disjointed angles that frame the scene, are drawn in a way that emphasizes the most irregular parts of the plan, which in turn creates irregularity within his drawings. In this respect, the way that he portrays the city can be related more to Townscape with its rules that suggest that the picturesque is achieved through the variety encountered when progressing through the city. There is also irregularity in the level of finish across the drawings within LT that makes the book very engaging, having a variety of visual stimuli.

When it comes to movement being the third focus of this dissertation, S.R.J uses archetypal figures that signify movement such as people and vehicles that appear in motion. He expresses movement through a variety of media such as; signifiers of buildings that are not merely static but express their functionality which is to facilitate the experiential activity that takes place within or around them. Movement is also expressed through the use of perspective in relation to the vantage point that the drawing was taken from. By drawing key horizontal lines that recede in perspective to a vanishing point, S.R.J is able to suggest movement or motion, in some instances giving the impression that there is actual activity within the picture. As figures are sometimes drawn in an obscured way, it is not easy to locate them, this in addition to striations that follow perspective is indicative of a scene that has movement. Finally, he uses tools that were presented within the townscape movement, whereby buildings in the foreground and distance are drawn with equal detail in order to suggest places of departure and destination within a drawing. This successfully creates a picturesque place where there is a variety of possibilities that are suggested through the use of these tools.

Concluding, S.R.J is successful in presenting London as a picturesque city according to pictures, irregularity and movement, the three principles of the picturesque analysed within this dissertation. Presenting a variety of places in a unified way individually but also collectively, he is able to convey different places of London aestheticizing the city’s irregularities, creating the impression that the reader is moving throughout these dynamic scenes whilst progressing through the book.

Ackroyd, Peter, (2000) London: The Biography, London : Chatto & Windus

Anon , ‘ A Programm e for th e Cit y o f London’ , The Architectural Review 97, no. 582, June (1945); Nikolaus Pevsner, ‘Visual Planning and the City of London’, The Architectural Association Journal LXI, no. 699 (1945); Nikolaus Pevsner, ‘Visua l Planning and the Cit y o f London’, The Architects’ Journal 102 , no. 265 5 (1945).

Bailly, L. Lacan A Beginners Guide, London, Oneworld Publications, 2009

Benjamin, W, ‘On the Mimetic Faculty’, in Reflections: Essays, Aphorisms, Autobiographical Writings New York: Harcourt Brace Jovanovich, 1978.

Cullen, G, Concise Townscape, Oxford, Architectural Press, 1961.

E. H. Gombrich, ‘The Renaissance Theory of Art and the Rise of Landscape’, in Norm and Form, London, Phaidon, 1966

Jones. Sydney R, London triumphant, London, Studio Publications, 1942.

Macarthur, J, The Picturesque. Architecture, disgust and other irregularities, Abingdon, Routledge, 2007.

Mallgrave and Ikonomou , Empathy, form, and space : problems in German aesthetics, 1873-1893 Getty Center for the History of Art and the Humanities, Chicago, Illinois, 1994.

Marc Auge, non-places introduction to an anthropology of supermodernity, John Howe, London, Verso,

Price, U, An Essay on the Picturesque as compared with The Sublime and The Beautiful and on the use of studying Pictures for the purpose of improving real landscape, J.Robson, London, 1794.

Repton, H, The Landscape Gardening and Landscape Architecture of the Late Humphry Repton Esq., ed. John Claudius Loudon (London: 1840)

Gilpin, W, Three Essays: on Picturesque Beauty; on Picturesque Travel; and on Sketching Landscape, London, Printed for R. Blamire, 1792.

Scott, G, Architecture of Humanism, Nabu Press, 2010.

Sitte, C, City Planning According to Artistic Principles, George R. Collins and Christiane Crasemann Collins, New York, Dover Publications, INC, 1986

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