The Soanean Abstraction of
Neo-Classical Architecture: Multiple Interpretations of Antiquity
Emma Lau Si Ying
Thank you to Prof. Constance Lau, for her guidance through unfamiliar ways of learning, thinking and re-processing knowledge and through London’s foreign lands. My module mates, for sharing knowledge, ideas, ice creams and an AirBnb bathroom.
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In the beginning God created the five orders: Tuscan, Doric, Ionic, Corinthian, Composite. And God saw that it was good.
FIG 1. Compilation of images of Five Orders of Classical Architecture from historical and modern publications (Source: Compiled by author) (From left to right) Sebastiano Serlio, ‘I sette libri dell'architettura’ (1537) Giacomo Barozzi da Vignola, ‘Regola delle cinque ordini d'architettura’ (1563) Scamozzi, L’Idea dell’architettura universale (1616) Claude Perrault, ‘Ordonnance des cinq espèces de colonnes.’ (1683) Sir William Chambers, A treatise on the decorative part of civil architecture. (1759) Banister Fletcher, A History of Architecture. (1896) The Penguin Dictionary of Architecture: Fourth Edition (1991). Sources Unknown, from the Internet, search: Five Orders of Architecture.
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Banqueting House, Whitehall Originally built for James I by King’s surveyor Inigo Jones, the Banqueting House is the first building designed in the neo-classical Palladian style in England, introducing the masses to a style that would transform English architecture. Charles I would later commission Peter Paul Reubens to paint a lavish ceiling, glorifying the birth of his father and his accession to kingship, alluding to his belief in the divine right of kings. The Banqueting House would ultimately serve as the backdrop for the execution of Charles I following the defeat of the royalists in the English Civil War. The first English Neo-classical building became a symbol of both the glory and demise of the English monarchy.3
FIG 3. The Apotheosis of James I, Paul Peter Reubens (1634) (Source:
History will always be reinterpreted through an ideological lens: certain events or information are emphasised, often with meanings or associations attached in attempt to reconcile the past with the present, while others are forgotten.1 This selective handling of the past is fundamental to the formalised style of English Neo-classical architecture, which civic buildings and grand villas heavily referenced or were influenced by Classical Antiquity and Palladian (and by extension Vitruvian) Classicism, borrowing and reinterpreting architectural elements from existing buildings or drawings. In this parallel, architecture was a physical medium through which the English’s reinterpretation of history could manifest itself and shape the present in a very real and immediate way, attaching new meanings to old architectures, in attempt to create a built environment within which their desired reality could take place.2
FIG 2. Collage of the symbolism of Banqueting House (Source: Author’s own)
1 Hill, Jonathan. "Architects of fact and fiction." arq, Volume 19.3 (2015): pp. 249 – 258. (pp. 250) 2Anderson, Stanford. "The Fiction of Function." Assemblage, Volume 2 (1987): pp. 18 – 31. (pp. 29) 3Filet, Jérémy, "Representations of Inigo Jones's Banqueting House: Development of Sketches and Architectural Symbolism", XVII-XVIII [Online], 72 | 2015: pp. 173-196. (pp. 183) <http://journals.openedition.org/1718/367> [Accessed 12 July 2019.]
Visting Dates: 1 Leighton House, 26 June 2019. 2 Sir John Soane’s House Musuem, 27 June 2019. 3 Burlington House, 27 June 2019. 4 Banqueting House, 28 June 2019. 5 National Portrait Gallery, 28 June 2019. 6 National Gallery, 28 June 2019. 7 Somerset House, 29 June 2019. 8 Chiswick House and Gardens, 1 July 2019. 9 Pitzhanger Manor, 2 July 2019. FIG. 4 Satellite map from Google Maps. (Source: Author’s own)
2
9
7
6 3
5
4
1
8
m 0
400
800
1600
3200
Banqueting Hall // Inigo Jones approx.1608 17th c. Pitzhanger Manor // George Dance T.Y. John Soane
1619
1622 1768
Burlington House
1664
1668
Chiswick House // Richard Boyle
1627
Somerset House/ I. Jones, William C.
1709
1719
1714
1719 1726
1800
1804
1810
1874 1872
1815 1819 1729
1764 1775
1637
1779
1786 1788
Sir J.S. House Musuem // John Soane
1792
1801
1849 1807
1812
1856
1864
1952 1950
1870
1823
National Gallery London
1826
1831
1838
1869
1876
1881 1889/ Leighton House// Frederic Leighton 1864 18661869/ 1890 1870 1877 National Portrait Gallery 1889
1974 1894/ 1895 1896
1933
1975
1985
1991 2000
2018
FIG 5. Timeline of My Grand Tour’s buildings: Design, Construction and Modifications. (Source: Author’s own)
Structure stands without intervention Design Construction
All Neo-classical buildings visited in my Grand Tour of London were built with intention to be consumed by the masses, with desire to establish a fiction centred on self and empire. From as early as 1715, Cohen Campbell had set the stage for the formalisation of Neoclassicism as a style, by declaring that due to the general moral decline of the continent, Italy was no longer a viable model of architectural perfection, and that it was England who would continue the legacy of humanism.3 This declaration was made when Neoclassicism was on the verge of becoming an aesthetic norm in English Architecture, and it is clear that by this time, Palladian Neoclassical architecture was wholly associated with the narrative of the great English Empire that the upper echelons of society wanted to achieve.
On an individual level, influential and well-read architects – who were members of the upper-class as well, were keen to express their status and refined taste, and sometimes characterised their architectures as manifestos of architectural theories, their own or otherwise, legitimised by the years of first-hand exposure and studying of the original Classical models. Both narratives were to be realised in the creation of retrospective architecture.
Architecture as Manifestos Portrait of James I and VI (1566-1625) and Portrait of Richard Boyle, 3rd Earl of Burlington and 4th Earl of Cork (1566-1625) These two portraits feature architecture in the backgrounds of their patrons, specifically injected to cast the sitters as active patrons of the arts and architecture. The presence of these buildings in such significant portraits indicate that they were built with political intention and personal ideology. The portrait of King James I has clear iconographic elements that aligned him with the regalia - the sceptre in his right hand and the orb in his left hand, with the king’s motto over his head. The Banqueting House is featured through the open window, positioning him as a key figure in the establishment of a new grand architecture in England, as well as a patron of the innovative arts.4 The portrait of Richard Boyle does not feature the Chiswick House, but instead features a monument in Chiswick gardens, the Bagnio or ‘bath-house’.
3 Ruhl, Carsten, ‘Palladianism: From the Italian Villa to International Architecture’, European History Online <http://ieg-ego.eu/en/threads/europe-on-the-road/educational-journey-grand-tour/carsten-ruhl-palladianism#InigoJonesandEarlyPalladianismin England> [accessed 12 July 2017]
FIG. 6 Portrait of James I and VI (1566-1625) (c. 1620), Paul Van Somer (Source:
4Filet, Jérémy, "Representations of Inigo Jones's Banqueting House: Development of Sketches and Architectural Symbolism", XVII-XVIII [Online], 72 | 2015: pp. 173-196. (pp. 181) <http://journals.openedition.org/1718/367> [Accessed 12 July 2019.]
FIG. 7 Portrait of Richard Boyle, 3rd Earl of Burlington and 4th Earl of Cork (1566-1625) (c.1717-1719), Jonathan Richardson
FIG 8. Compilation of photographs of My Grand Tour as it currently stands. (Source: Compiled by author) (From left to right) Inigo Jones, Banqueting House (1622) Inigo Jones, William Chambers, Somerset House (South Elevation facing courtyard) (1563) (Source: Author’s own) James Gibbs, Colen Campbell, Samuel Ware, Sydney Smirke, Burlington House (South Elevation) (1616) Richard Boyle, William Kent, Chiswick House (1729) George Dance the Younger, Sir John Soane, Pitzhanger Manor (1804) Sir John Soane, Sir John Soane’s House-Musuem (1807-23) (Source: Author’s own) William Wilkins, National Gallery, London (1832-38). George Aitchison, Leighton House (1866-95) Ewan Christian, National Portrait Gallery (1889-96)
(1707) Chiswick House before Lord Burlington’s work
(1725 by Colen Campbell, engraved by Henry Hulsbergh) Burlington House in Pickadilly, London [elevation of south front], in Vitruvius Britannicus, vol.III, London (1727 after Kent) Garden Front, Chiswick House, in Designs of Inigo Jones
(c. 1812 by Samuel Ware) Survey and design drawing for Burlington House, Piccadilly, Westminster, London: elevation of south front and added sketch profile of a cornice
(1733) Chiswick house in 1733, by Jacques Rigaud.
Pitzhanger Manor
(c. 1776, by Sir William Chambers) Elevation of Somerset House to the River
(1812 by Samuel Ware) South elevation, as remodelled 1717–20, in Survey of London: Volumes 31 and 32, St James Westminster, Part 2 (1963)
Sir John Soane’s House Museum
(1813, by Joseph Michael Gandy) Design for an extended elevation for 13-15 Lincoln's Inn Fields. 1813 (Oct 1812, by John Soane) Façade from the street; an iron railing and gate in foreground; illustration to the European Magazine.
National Gallery, London
(1816 by Samuel Ware) North elevation, as remodelled in 1816. in Survey of London: Volumes 31 and 32, St James Westminster, Part 2 (1963)
(c. 1776, by Sir William Chambers) The Strand front of the Somerset House, London (1854) Burlington House as remodelled c. 1713–20: Piccadilly front in 1854.
(c. 1780?, engraved by John Royce, original artist unknown) Front View of the Public Offices in the Strand, where Somerset House formerly stood.
(Aug 1802, by John Soane) Drawing of the main façade of Pitzhanger Manor
(Date Unknown) 13 Lincoln's Inn Fields. Perspective studies of the loggia (Ref: SM 32/3/5)
(Published 1819, by William Westall) Carlton House, North Front
personal villa/palace
civic buildings
royal palaces
FIG 9. Legend of image references for FIG 8. (Source: Author’s own) FIG. 10. Archive of images of My Grand Tour, exhibiting the modifications of elevations over time (Source: Author’s own)
(1875) Engraving of elevation facing Picadilly
(1870 - 75) Burlington House, site plan. Based on the Ordinance Survey, 1870–5
(1802, by John Soane) Plate 1, from Plans, Elevations and Perspective Views of Pitzhanger Manor-House (published 1833)
(2013, by Julian Harrap Architects ) Drawings by conservation architect
(1992, by Anthony Jackson) 12-15 Lincoln's Inn Fields. Reconstruction of the elevation c. 1813 (author, based on an illustration from A Short Description of SirJohn Soane's Museum)
(Oct 1817, by John Soane) Preliminary design of front elevation, plan of front wall and wall section (design A) with minor pencil additions
(c. 1838) Front elevation and frontal contour plan
(published 1798, print by J Pass, published by J. Wilkes) Elevation of the Front of Somerset Place, towards the Strand
(1867 by Sydney Smirke) Design for alterations and additions to Burlington House, Piccadilly, Westminster, London: ground plan of loggia and porte-cochère and elevation of south front
(published 1940) 'Plate 5: National Gallery, Trafalgar Square, elevation', Survey of London: Volume 20, St Martin-in-The-Fields, Pt III: Trafalgar Square and Neighbourhood. Published by London County Council
(published 1973) ‘Plate 77: Leighton House, Holland Park Road, elevations and section, interior details, plans.” Survey of London: Volume 37, Northern Kensington. Originally published by London County Council, London.
Archive of drawings and images of the Grand London Tour (1600 - 1900)
Perspective rendering and plan of the vestibule of the Somerset House, London
(c. 1823) Chiswick House, seat of the Duke of Devonshire, Garden front
(1753) The two Chiswick houses in 1753, by J Donowell.
(Jan 1801, by John Soane) Perspective of the entrance front and Dance wing set in a landscape, design and presentation drawing for the exterior
(c. 1776, by Sir William Chambers) Somerset House, London: detail of one bay of the façade facing the Strand, © Sir John Soane’s Museum North Elevation
(Dated 1638, architect:Inigo Jones, drawn by John Webb) Two composite groupings (A and B) of doors and windows from the second design.
(Dated 1638, architect:Inigo Jones, drawn by John Webb) Plan and elevation of the Strand wing of Somerset House. Second design. With scale.
South Elevation
North Elevation
(1729) Original Neo-Palladian drawing of Chiswick House
(c. 1700, by Sir William Chambers) 1st/2nd design for Somerset House, Strand, London: elevation of doorway to the pavilion of the Strand block, south facade facing the courtyard
(1715, ed. Colen Campbell ) The Banqueting Hall, Whitehall (Facade and Detail), in Vitruvius Britannicus
(20 Sept 1800, by John Soane) Preliminary design for the entrance façade
Leighton House National Portrait Gallery, London
(18th century, Unsigned, possibly by Colen Campbell) Engraving of the Banqueting House at Whitehall, London.
(Dated 1638, architect:Inigo Jones, drawn by John Webb) Elevation of half the Strand wing of Somerset House. First design.
South Elevation (facing Picadilly)
South Elevation
Banqueting Hall Somerset House
(1715, ed. Colen (Drawn in 1700 of (c. 1775, by Sir (about 1720, published (1756) The South prospect (1707, drawn by L. Campbell ) South 1808?) The Southern Front of Somerset House in the 1663 elevation) William Knyff) of Somerset House, with its Strand Elevation facing Somerset House, Chambers) The Southern Front of extensive gardens. Drawn Benjamin Cole, published river, Strand, London: Elevation of Somerset House, with by L. Knyff, engraved by for Maitland's History of in Vitruvius measured elevation of Somerset House to Sawyer Jun. London (2nd ed.) its extensive gardens. Britannicus the Great Gallery the River (Between 1697-1699) Reconstructions of (1710, for Colen (1715 by Colen J. Kip's engraving of L. Knyff's bird's eye drawings based on plans Campbell’s Campbell) South view from the south, bestowed to the second done in 1665–8, S. Ware’s engraving) South Elevation, Earl’s succession. survey drawing (North Elevation, in Vitruvius in Vitruvius Britannicus front) and Kip’s engraving Britannicus (South front)
Chiswick House
Burlington House
(London, 1930), 'Plate 16: The Banqueting House in 1713', in Survey of London: Volume 13, St Margaret, Westminster, Part II: Whitehall I
(London, 1930) Plates 18, 23-25 in Survey of London: Volume 13, St Margaret, Westminster, Part II: Whitehall I, ed. Montagu H Cox and Philip Norman
(Published in 1880) A feature in The Building News
(1896) Ewan Christian’s original design for the north front of the Gallery, in National Portrait Gallery, London
(2019) Proposed East Wing Elevation, by Jamie Fobert Architects
National Portrait Gallery, London
personal villa/palace civic buildings royal palaces Ewan Christian, for a civic musuem, affected by proximity to NGL
1889 - 1896
Archive of drawings and images of the Grand London Tour (1600 - 1900) George Aitchison, for a purpose-built studio for Frederic Leighton
1866 - 1895
Leighton House
William Wilkins, civic art gallery for the government
1832 - 1838
Carlton House is demolished, and four of its orders are used in the facade of one wing of NGL.
1826
National Gallery, London
Soane purchases and reconstructs No.14.
1823
John Soane, draft of elevations of Nos. 12, 13, 14
1817
John Soane, for his own house, to be a musuem post-humous
1812 - 1823
Sir John Soane’s House Museum
Soane sells Pittzhanger Manor with little faith in his children’s sucess.
1810
John Soane, for his own country villa
1800 - 1804
George Dance the Younger, for a country vila, assisted by John Soane
1768
Pitzhanger Manor
Extension built for Duke of Devonshire and his wife, as a countryside villa.
1770s
Richard Boyle, for his own personal country villa
1726 - 1729
Chiswick House
Sdyney Smirke, alterations made for the Royal Academy to move into the building.
1867
Samuel Ware, for Lord George Cavendish’s personal house.
1812
Colen Campbell, for Richard Boyle.
1717 - 1719
Richard Boyle goes on his second Grand Tour, studying Palladian architecture.
1719
Richard Boyle goes on his first Grand Tour.
1714
James Gibb, for Richard Boyle
1709 - 1717
South Elevation (facing Pica
Unfinished house for John Denham, by Denham and Hugh May. Exterior work done. Sold to Richard Boyle, for his own personal mansion
1668 - 1669
Great Fire of Britain
1666
Burlington House
North Elevation
South Elevation
William Chambers, for the expansion of Somserset House as government complex
1776 - 1795
North Elevation (facing the Strand)
South Elevation
Inigo Jones, palace for 1Queen Henrietta Maria, wife of Charles I, son of James IV
1627 - 1637
Somerset House
Banqueting Hall was covered completely with white Portland stone, although the details were kept in tact.
1830s
Charles I is beheaded in front of the Banqueting Hall.
1649
Inigo Jones, for King James VI
1619 - 1622
Banqueting Hall
Royal Academy of Arts at Burlington House: Dorfman Architecture Court In addition to being historic records of architectural details that have eroded away due to weathering or vandalism, these architectural plaster casts serve as references for students of the RAA, for measured drawings of classical works or as inspiration for competition designs. The students were able to observe these details in exact scale, and study how classical masters combined ornamentations and their proportions in relation to each other. Although the school no longer accepts architecture students since the 1950s, the RAA continues to maintain approximately 500 architectural fragments, each one carefully archived with detailed information, paying tribute to the pedagogy of architectural education in the heyday of English Neo-classical architecture. https://m.theepochtimes.com/curators-notes-architectural-plaster-casts_2829681.html
As an architecture that harks from antiquity and commands a reverence that comes only with time, classical architecture carries a system of prescribed rules and meanings to both the individual architectural element and the manner in which they relate to each other, or the “grammar of antiquity” as termed by Summerson, laden with implications on the essential aims of architecture.5 Over the many centuries it has propagated and captured the imagination of people and architects as a model of the origins of architecture, the system of classical architecture has transformed from a code of practice of a Roman architect in antiquity, to a canonised system of architectural authority and symbolism.
FIG. 11. Photograph of displayed architectural plaster casts at Dorfman Architecture Court at Royal Academy of Arts at Burlington House. (Source: Author’s own) FIG. 12. Accompanying wall descriptions of displayed plaster casts in Fig. 4. (Source: Author’s own) FIG. 13. Photograph of displayed architectural plaster casts at Dorfman Architecture Court at Royal Academy of Arts at Burlington House. (Source: Author’s own) FIG. 14. Accompanying wall descriptions of displayed plaster casts in Fig. 6. (Source: Author’s own) FIG. 15. and 16. Inigo Jones’ annotated copy of Andrea Palladio's I Quattri libri dell'architettura (1601) (Source:
By the time British noblemen were traveling across Europe in search for cultural enlightenment in the 17th and 18th centuries – an extensive and exclusive production known as the ‘Grand Tour’, classical architecture had gone through two major interpretations that were immortalised in published texts: the first by Vitruvius in his treatise De Architectura, and the second by a wave of architects in the Italian High Renaissnace, spanning from Serlio’s first publication in 1537 to Scamozzi’s L’Idea dell’Architettura Universale in 1615.6 It is this combination of text, drawing and architecture that the English men were exposed to in order to equip themselves with the knowledge of the history of the cultural capital of Europe at the time. The British were no different from the previous generations of architects: they studied the repertoire of classical architecture extensively, from touring the ancient sites first-hand and purchasing numerous drawings and etchings of these monumental artefacts, to collecting the publications and drawings of Renaissance architects, most notably Palladio, whose works and theories would later develop into Palladianism, a genre that characterises the surge of Classical architecture built in 17th to 18th century Britain. These learned men would then return to their homeland, and propagate new interpretations of old architecture, through built works and published treaties, cementing their versions as a new generation in the family tree of Classical architecture. 5 Summerson, John, The Classical Language of Architecture, (Cambridge: The MIT Press, 1996), p. 8. 6Summerson, p. 13.
FIG. 11
FIG. 15
FIG. 12
FIG. 16 FIG. 13
FIG. 14
In the case of my Grand Tour, the architectural style (what we termed “English Neo-classical” retrospectively) and its treatment of the classical elements can be thought of as the fourth generation of a family line in the reinvention of the architecture from Antiquity.
The first interpretation is Vitruvian classicism, a Roman interpretation of Greek temple and civic architecture. The second is the interpretations by a wave of High Renaissance Italian architects, spanning from 16th to 17th century. A key shift in this generation of interpretations is that while Vitruvius and Leon Battista Alberti had provided a largely objective system of design that allowed some variability of design, the Renaissance interpretation canonised the orders and awarded their authority, prescribing not ideal proportions, but ideal dimensions and ornamentations, losing its objectiveness in that many architect-theorists based their treatises on their own personal experience of existing Roman ruins.7
The third interpretation is by the English, occurring mainly in the 17th to 18th centuries, resulting in all the buildings listed in my Grand Tour. The English studied prior interpretations of Classical architecture through the personal, albeit brief, experiences as a Grand Tourist, from the extensive collection of drawings from both architects and artists, of artefacts - sculpture and fragments, and from existing treatises. It is not unusual that the English would create new logic and new motifs in their interpretation of architecture from antiquity, and even more so when the design methodology is one that copies classical precedents by combination and adaptation of motifs.
FIG. 17 (1506/7) Antonio da Sangallo the elder, Santa Maria delle Grazie, Arezzo.
FIG. 18 (1537) Sebastiano Serlio, Palace facade. Published in his fourth book of Architecture in Venice.
FIG. 19 (1546-1619) A drawing of Andrea Palladio’s constructed facade for Basilica Palladiana.
As classical architecture underwent its multiple transformations, the emphasis on visual harmony remained constant. This harmony was achieved through proportion of the element in itself and in relation to each other, symmetry and proper deployment of suitable ornamentation and appropriate orders. Even up to the third interpretation (English Neo-classical), Jones had approached Vitruvian and Palladian architecture in a manner that championed the visual, with focus on proportions, ornaments and visual characteristics.9
The Evolution of the Venetian Window, from Renaissance to Palladianism from Pseudo-Palladian Elements in English Neo-Classical Architecture, Rudolf Wittkower An example of how Palladianism as we know it evolved from past precedent is through the development of the Venetian window. Wittkower proposes its founding author to be Donato Bramante, who may have introduced it to Raphael’s circle, as the window began to feature there after he went to Italy. The window appears in many built and published facades, first in publications of High Italian Renaissance, followed by those by the English. Wittkower claims that the English had developed the window into a decorative element without regard for the fundmental rules governing the use of the window.8
FIG. 20 (1615) Vincenzo Scamozzi, Palace Facade. Published in Idea della Architettura universale in Venice.
This gives rise to the notion of the building structure as a metaphorical empty canvas, with these architectural motifs being applied onto it to create a carefully considered composition of motifs and ornamentations. The following collage (FIG. 25) depicts the multiple interpretations of architecture from Antiquity over the centuries, focussing on how past precedence had influence on the Classical facades of My Grand Tour. It can be considered in four layers - the English interpretation in the utmost foreground, the Italian Renaissance interpretation followed by the surviving artefacts from Antiquity in the mid ground, in increasing scale, with a compilation of paintings displayed in the English buildings as a backdrop to the emerging architectural landscape.
FIG. 21 (1715) Colen Campbell, South Elevation of Burlington House. Published in Vitruvius Britannicus.
7 Summerson, p. 10-12. 8 Wittkower, Rudolf. “Pseudo-Palladian Elements in English Architecture”. Journal of the Warburg and Courtauld Institutes, Vol. 6 (1943), pp. 154-164. (pp.154-160) < https://www.jstor.org/stable/75430> [accessed 10 July 2019]
FIG. 22 (1727) Richard Boyle and William Kent, Back elevation of Chiswick House. Published in Designs of Ingo Jones, William Kent, 1727.
FIG. 23 (after 1750) William Kent and John Vardy, Horse Guards, Parade Side. (Source: )
9 Higgott, Gordon. ‘Varying with Reason': Inigo Jones's Theory of Design”. Architectural History, Vol. 35 (1992), pp. 51-77.
10 Wittkower, pp. 154. 11 Wellesley College Omeka Server. “Piranesi in Rome: The Grand Tour”. <http://omeka.wellesley.edu/piranesi-rome/exhibits/show/giovanni-battista-piranesi/grand-tour> [Accessed 6 August 2019] 12 Chiswick House and Gardens, RED VELVET ROOM (2019) <http://chiswickhouseandgardens.org.uk/house-gardens/the-house/explore-the-state-rooms/#red-velvet-room> [Accessed 4 August 2019]
The Creation of Adam,
Design,
The Apotheosis of James I,
Ceiling of Red Velvet Room,
Ceiling of Blue Velvet Room,
(1508-1512) Copy in Leighton House Fresco painting by Michealangelo
(1778-1780) Burlington House Ceiling painting by Angelica Kauffman RA
(1629-1634) Banqueting House Ceiling painting by Paul Peter Reubens
(1726-1729) Chiswick House Ceiling painting by William Kent
(1726-1729) Chiswick House Ceiling painting by William Kent
Trajan’s Column, Rome 113 AD Etching by G.B. Piranesi
Temple of Vesta,
Temple of Castor and Pollux,
Tivoli Early 1st c. BC Etching by G.B. Piranesi
Roman Forum, Rome 495 BC Etching by G.B. Piranesi
Colosseum, Rome 72-80 AD Etching by G.B. Piranesi
Pantheon, Rome 126 AD Etching by G.B. Piranesi
Palazzo Valmarana,
Temple of Hercules Victor, Rome 1st c. BCE Etching by G.B. Piranesi
1565 Andrea Palladio
Villa Rotonda,
Design for a palace: facade (1540)
(1566-1590s), Andrea Palladio
Andrea Palladio
Basilica Palladiana,
House of Raphael,
(1549-1614) Andrea Palladio
(approx. 1510) Donato Bramante Etching by Anonymous (1549)
San Giorgio Maggiore (1566-1610) Andrea Palladio
Tempietto in San Pietro, (approx. 1502) Donato Bramante
Somserset House,
Chiswick House,
(1627-1795) Inigo Jones, William Chambers
(1726-1729) Richard Boyle, William Kent
Banqueting House, (1619-1622) Inigo Jones
Pitzhanger Manor, (1768-1804) Unknown, George Dance the Younger, Sir John Soane
Burlington House, South Elevation (1668-1867) James Gibbs, Colen Campbell, Samuel Ware, Sydney Smirke
FIG. 24 Legend for Figure 11. (Source: Author’s own) (fold out) FIG. 25 Collage of interpretations of architure from antiquity (Source: Author’s own)
The first layer shows five buildings from My Grand Tour, split into structure and facade. The classical elements of the facade are exploded forward, separated from the essential structure of the building, and exploded further into distinct entities - domes, cornices, friezes, columns, pilasters, windows with triangular or semicircular pediments, windows with straight lintels, balustrades, pedestals, rusticated walls or arches and other unique ornamentations.
The second layer is composed of a series of drawings of buildings by architects from the Italian High Renaissance. Flat elevation drawings were often the type of drawings that architects of the time would collect during their Grand Tours and refer to when wanting to design Classical facades. All the buildings chosen have influenced the facades of My Grand Tour, usually by informing a certain architectural motif or composition. For example, Basilica Palladiana was a key reference for the creation of the Venetian window in English Neo-classical vocabulary.10
The third layer comprises of much more dramatic etchings of ancient Roman ruins by Giovanni Battista Piranesi, whose works from Antichità Romane were popular amongst Grand Tourists.11 The depicted ruins are the physical remains of the grand architecture of Antiquity, and were observed and recorded by both Renaissance and English Neo-classical architects. Many of the motifs from these artefacts have influenced the architecture of both generations as well.
The backdrop is a compilation of paintings and ceiling paintings that are prominently displayed in the buildings of My Grand Tour. These paintings are often allegorical, and were visual manifestations of the ideologies that the English hoped to enforce through their grand architecture. For instance, the Ceiling of Red Velvet Room in Chiswick House is a visual declaration of Lord Burlington as an important patron of the arts, by personifying the visual arts (Painting, Sculpture and Architecture) as women provided by the god Mercury.12
The interaction between the longevity of architecture from antiquity and its constant reinterpretations produces a duality in classical architecture: it is both an immutable canon of the origins of architecture, embalmed in time, and the invention of multiple architect-theorists building up on prior readings of the genre and personal perceptions of surviving architectural artefacts, ultimately subjecting their versions of classicism to the arbitrary whims of taste and personal selections.13 This is particularly true for the English, who had politicised classical architecture in both its education and its construction. Despite the Grand Tour being widely characterised as an “educational rite of passage”, credited with the introduction of Antiquity and Classicalism to English architecture, it did not strive to educate the English gentlemen in the way that formal education does today. Instead of purposing to teach technical skills and knowledge, the Tour was primarily a political status symbol, an opportunity for England to prime their upper-class youth to be worthy diplomatic servants of the nation, by ensuring that they were well-connected and well-versed in foreign languages and customs.14 Given the ultimate purpose of political networking and cultural grooming, it begs the question of to what extent these architects were informed about the architecture they set out to emulate for English consumption. That the body of knowledge of classical architecture was brought into England by the upper-class also meant that the power to weld it laid in the hands of the societally powerful, who were associated with political parties. It is the same class that constructed many a grand villa and civic building that made up the prominent sections of the London city fabric. Lastly, it is also pertinent to remember that English Neo-classicism had over two centuries to propagate and mature, and may have deviated from its reference model to form its own normative rules, evident in the treatment of façade and its constituent elements.15
13 Summerson, pp.13. 14 Wittkower, pp.154. 15 Brodsky-Porges, Edward. “The Grand Tour: Travel as education device 1600 – 1800”. Volume 8, Issue 2. (1981): pp. 171-186. (pp. 178).
Enter Sir John Soane (1752 – 1837), an architect active in the midst of the gradual construction of my Grand Tour, by which time Neo-classicism was well-established and highly thought of as an architectural genre. Sir John Soane was a prolific architect, with works in both public and private domains. However, his house-museum at 13 Lincoln’s Inn Fields was an anomaly in his repertoire, a curious deviation from the typical Neo-classical architecture. From my personal reading of his house-museum, I position John Soane as an architect who created a new interpretation of architecture from Antiquity, using the same motifs and elements, but not the same methodology that his contemporaries or English and Renaissance predecessors had employed.
Soane was highly knowledgeable about Classical architecture and Antiquity, familiar with its historical development from Vitruvian to his Renaissance disciples, and had developed his own opinions on how Classical architecture, from its orders, to its pediments and ornamentations, should be constructed and applied to create an architecture that was harmonious and true to its roots in Antiquity.16
The three images were plates featured in John Soane’s lectures on architecture at the Royal Academy of Art. FIG. 26 Doric Composition: Comparision of Orders from the Antique FIG. 27 Ionic Composition: Comparision of Orders by Renaissance Masters FIG. 28 Corinthian Composition: Comparision of Orders
16 David Watkin, Sir John Soane: The Royal Academy Lectures (Cambridge: Cambridge University Press, 2000)
Despite his knowledge of the rules of Classicism, Soane seemed to treat his house-museum as a site for complete exploration and circumvention of the rules he was so aware and reverential of.
This is particularly obvious in the Dome Area and the adjacent Colonnade on the ground floor, where Soane’s collection of fragments are congregated on the plain walls and arches of the building, bathed in a climax of natural light as the viewer emerges from the shadows.
This is observed through his unusual processes of fragmentation and recomposition that characterises his house-musuem.
There is a clear distinction between the ruined fragments of antiquity and the plain walls and arches that they rest on, enforcing themselves as separate entities from one another.
He did not rely on a cohesive whole in the traditional sense of Classical Antiquity and Neo-classical English architecture, where separate parts were placed in relation to each other to create a harmonious whole.
Yet when one considers the entire composition of fragments, artefacts, structure and space, it is possible to discern a visual illusion to motifs on an architectural façade, whether it was Soane’s intention, or merely an unavoidable result of Soane’s familiarity with the arrangement of motifs on a Neo-classical façade.
Instead, he displayed fragments of Antiquity (or plaster casts of fragments) as separate objects, without redesign or intervention except through methods of display and curation.
This process blurs the relationships between object and architecture, and between exterior and interior.
FIG. 29 View at the Dome Area, facing the statue of Apollo
FIG. 30 View at the Dome Area, facing the statue of Apollo, superimposed with classical motifs. (Source: Author’s own)
The motifs usually employed on Neo-classical facades to form coherent wholes, are decomposed into incomplete fragments, which are then handled in different ways to form multiple interpretations of the motifs that Soane is so familiar with.
His familiarity with the existing Neoclassical models can be observed in the curation of his fragments within the space of 13 Lincoln Inn’s Fields.
In every interpretation, the single architectural motif is transformed in a different way, fragmented and recomposed to varying degrees.
The choice of fragments – their origins, forms and visual associations, and the manner in which they are positioned in relation to the building’s structure, space and each other draw great visual resemblance to how architectural motifs were typically placed on a Neo-classical façade.
DOME AREA
COLONNADE
MONUMENT COURT
FIG. 32 (MR2) Model of the Roman circular Temple of Vesta at Tivoli, near Rome, by Giovanni Altieri (signed and dated 177?) Cork
FIG. 31 Ground Floor of the dwelling house, Museum, Gallery of John Soane.
FIG. 33 View of the wall from the Colonnade (Source: Author’s own)
An element that underwent this fragmentation and recomposition process is the Corinthian Column. In my personal study of the house-musuem, specfically the Dome Area and neighbouring colonnade, the column is transformed into five stages, each stage with a different degree of fragmentation and composition. (Stage I) It is known that Soane had great respect for the Temple of Vesta at Tivoli, evidenced by his collection of plaster cast fragments of the temple, the many drawings of it, either executed or collected by him, and the multiple models of the temple in different materials. The Corinthian column starts there, in its complete totality, an ideal whole.
(Stage IV) We then travel away from the Colonnade to the Monument Court containing the pasticcio. The pasticcio is a large sculptural column created by Soane, comprising of seven architectural fragments stacked up on top of each other. The fragments that were once distinctly separate, are now recomposed into a new whole, relaying a new kind of coherency that is hardly discernable by classical sensibility. The column is more sculpture than order, and yet the Corinthian capital (modeled after those found in the Temple of Vesta, Tivoli) is the most distinct of all the fragments, wedged in between a neo-classical fragment from a house by Henry Holland and an Ionic pedestal.17 The Corinthian column has been pieced together again, although in a new composition with unfamiliar fragments.
(Stage II) We then proceed to the Colonnade, where truncated Corinthian columns stand at a measly height of 2.5 metres above the floor, supporting an unseen workspace above. The columns do not have the air of lightness that characterise a Corinthian column, and are shrouded in darkness that removes its typical grandeur.
(Stage V) The final stage is the most abstract of all, and begins to question the boundaries between object (fragment), building and architecture. As previously described, the curation of fragments on the plain arches and walls of the building give rise to a visual resemblance to the ornamentation and composition of motifs in a Classical facade.
(Stage III) Immediately flanking the Colonnade is a full-height structural wall, its entire surface covered with fragments. In the mix of panel reliefs and pieces of chariots and sarcophagi are fragments of Corinthian capitals and mouldings from column’s bases. The column is further fragmented, now displayed as an incoherent object, a synedoche of the Corinthian column.
The fragments are clearly distinct from the surfaces on which they are displayed, and yet when you consider the entire composition in the Dome area, the interaction between the fragments hung on the columns, the bare columns and arches of No.13 Lincoln’s Inn Field (which are typical structural components of Classical buildings), and the other objects positioned nearby create visual associations with many common motifs on English neo-classical facades. The fragments are now composed into the visual association of a Corithian column in a harmonious Classical facade, topped with an entablature with an ornamented frieze, an arch with a decorated keystone over a statue, with a row of balustrades lining the edge of the void. 17 Giles Worsley, Viewfinder: Soane's pasticcio (2004), <https://www.telegraph.co.uk/culture/tvandradio/3632182/Viewfinder-Soanes-pasticcio.html> [accessed 10 August 2019]
FIG. XX View of the Colonnade
FIG. 34 (MC26) The 'pasticcio', a column of fragments including marble, stone and cast iron elements, erected by Soane at the heart of his Museum in the Monument Court.
Cast of a section of entablature based on the Temple of Vesta at Tivoli Plaster cast
M88
Cast of part of the frieze of the Roman Temple of Vesta, Tivoli, near Rome Plaster cast
M963
Cast of a section of the entablature of the Roman Temple of Vesta, at Tivoli Plaster cast and wood
M595
M1027
M859
Fragment of the frame of a coffer from the soffit of a Roman cornice Early Empire (end of 1st century BC) Pentelic marble Cast of part of a capital from the Temple of Vesta at Tivoli Plaster cast Cast of a leaf from one of the capitals of the Temple of Vesta at Tivoli, restored Plaster cast
M958
Cast of part of a capital from the Temple of Vesta, Rome Plaster cast
THES83828
Ref. no. Vol 115/24a Codex Coner: Plan of the Temple of Vesta near the Ponte Rotto on the Tiber
THES67700
Ref. no. 19/7/4 Geometrical elevation, Insc: A GEOMETRICAL ELEVATION OF THE REMAINS OF A TEMPLE AT TIVOLI, d: 20th Sept. 1819
THES67701 THES67699
Ref. no. 19/7/5 Temple of Vesta: Elevation (restored)
B colonnade wall
tivoli
M1327
Ref. no. 19/7/3 Temple of Vesta: Perspective
M15
Fragment of an ionic capital Early 2nd century AD Pentelic marble
M1137
Cast of ornament from the Arch of Titus, Rome Plaster cast
M16
Relief, ‘Morning’, terracotta, after the Roman roundel of 'Sol' on the Arch of Constantine, Rome.
M1295
Arabesque, plaster, 16th Century Plaster cast
M17
Cast of the side panel of a Roman chariot or biga (Vatican Museum?) Plaster cast
M1124
M1243
Cast of the side panel of a Roman chariot or biga (Vatican Museum?) Plaster cast
Base centre section of a carved Roman relief panel, perhaps from the Ara Pietatis Augustae in Rome Mid-Julio-Claudian Luna marble
M1243-a
M1229
Cast of the side panel of a Roman chariot or biga (Vatican Museum?) Plaster cast
M1128
M1129
M1130
Pediment from a funerary monument, perhaps the end of the gabled roof of a 'Greek'-type sarcophagus Pentelic marble Fragment of a cyma recta profile moulding Post 14 AD Italian marble Keystone with the head of ?Neptune in relief, Coade Stone, perhaps after a model by John Bacon, c.1775
M1125
Large flat mask from a Roman fountain or bath Hadrianic (117-138 A.D.) or later Luna marble
M1131
LEFT SIDE OF A COMPOSITE PILASTER CAPITAL (?) Not antique Luna marble
M1127
Fragment of a Roman Corinthian pilaster capital 98-117 AD (Trajanic) Luna marble
M1132
Fragmentary section of a relief panel(?): facing figure of Hermes Early 2nd century Pentelic marble
Cast of a section of mouldnig from the base of Trajan's Column, Rome Plaster cast
M560
END OF A SARCOPHAGUS: GRIFFIN AND RAM'S HEAD Late Antonine Pentelic marble
VIEW FROM THE TOP
M1327
M88 GROUND FLOOR PLAN
M963
M800 S71
DOME AREA COLONNADE COURTYARD
M801 M802
M595
M798 M953 M834 M835
M804 M797 M796
M1027
M875
M978 S85
M1233 M471 SC37
M859
M862 M857
M856 a self-referential ‘cabinet of curiosities’ M1128
M958
M861
M1132 M1129
M1295 M1127
M15
THES83828
M1124 M16
M1131
M1292
M1130 M560
M1125 M1243 M1243-a THES67700 THES67701
THES67699
M17 M1229
MC26
M1137
THES83159 Ref. no. Vol 83/4
An Ionic pedestal
Elevation of Pasticcio, d: 30 July 1819
MC26
The 'pasticcio', a column of fragments including marble, stone and cast iron elements, erected by Soane at the heart of his Museum in the Monument Court. A circular altar-like base from Lord Burlington's villa at Chiswick “A marble Capital of Hindu architecture...” A neo-classical fragment probably from a house by Henry Holland
“another Capital of Gothic invension”
Cast of part of a capital from the Temple of Vesta at Tivoli Plaster cast “...the whole terminated with a Pine Apple ”
D dome area
pasticcio
C
M1233
Cast of an acanthus leaf from one of the capitals of the Temple of Antoninus and Faustina in the Forum Romanum, Rome Plaster cast
M800
Cylindrical funerary (cinerary) urn with stylised lid and handles. Probably stone
S71
M801
Quotes from John Soane’s Descriptions, in ascending order.
M802 “...a Capital in stone, like those of the Temple at Tivoli, and of the same dimensions... ”
Enriched console Carved marble Fragment of the bottom of a decorative support for a Roman chair or small table with two clawed feet set together on a heavy base. Pentelic marble Fragment of the front of a portaled, foliate cinerarium Undated Greek marble, probably island marble
M804
A BACCHIC STAGE MASK Moulded terracotta
M798
A fragment of drapery Carved alabaster
M953
Cast of a Roman capital from the garden of the Villa Poniatowsky, Rome Plaster cast
M834
Fragment from the volute of a Roman Corinthian capital 117-138 AD (Probably Hadrianic) Luna marble
M835
Fragment of the side volute from the top of an altar(?). Only the end rosette, the encasing fillet line, and the last row of palm leaves about the cylinder remain. Luna marble Cast of a section of entablature based on the Temple of Vesta at Tivoli Plaster cast
M797
FIG. 35 Legend for Figure XX. (Source: Author’s own) (fold out) FIG. 36 Multiple Interpretations of the Corinthian Column (Source: Author’s own)
M796
Cast of a rosette from one of the coffers on the soffit of the cornice of the Temple of Castor and Pollux, Rome Plaster cast
SC37
Cast of a rosette from the Piazza del Campidoglio, Rome Plaster cast
M875
M471
M978
S85
M862
A fragment from the lid of a sarcophagus or from a large basin(?) Pentelic marble
M857
Cast of the celebrated statue of the Apollo Belvedere in the Vatican Plaster cast
FOLIAGE FRAGMENT FROM A LARGE CORINTHIAN (OR COMPOSITE) CAPITAL Mid 2nd century Luna marble
M856
The front of a Roman sarcophagus depicting 'The Rape (or carrying off) of Persephone (Proserpina)' Marble, probably Greek mainland marble
Upper section of a Roman table leg or furniture support. Greek island marble, possibly Parian type
M861
Fragmentary top section of a piece of Roman furniture consisting of the head of lion behind which rises an unusually high, heavy rectangular support, probably in this case part of a table leg Egyptian granite
M1292
Cast of an unidentified antique rosette Plaster cast
Cinerary urn in the shape of a hydria [a type of ancient Greek water-carrying vase] Probably stone An enriched console, probably ancient Roman
Whether or not it was intended, Soane had taken a new step forward in the interpretation of architecture from Antiquity, processing familiar classical architectural motifs into a unified whole that could no longer be read in the same way that all other Neo-classical buildings could be at the time. In the mind of the viewer, the fragments were both synecdoche and asyndeton – single objects that represented whole buildings, yet lone fragments that were disjointed from the surrounding objects and the buildings they represent. Its dual identity also enforces itself. As the fragments are disjointed from each other, therefore their associations with history and other buildings is not erased or hidden but amplified. Simultaneously, because the fragments can be read as representations of other buildings, and therefore are not neutral, the dissonance between fragments is made more jarring. With other classical facades, architectural motifs could be copied from precedents, but the intention to create a new harmonious whole plays down these associations and announces the new creation as its own entity, rather than a combination of fragments from other buildings.
Soane’s display of both fragments and their origins creates multiple associations in the mind of his learned contemporary guests. His viewers were likely to be taught in Classical education, and hence would be familiar with the architecture that the displayed fragments were from or the significance of the displayed architectural motif. In displaying these familiar fragments with a method that retains their identities as parts of other buildings, Soane’s house-museum becomes a self-referential ‘cabinet of curiosities’, with associations created internally within the house-museum and externally with the other Neo-classical buildings which had references to architecture from antiquity, and even further still, with the architecture that were precedents to English Neo-classicism.
In the time after his death, John Soane’s work has been evaluated retrospectively on the primary basis of his deviance from the Classical norms of his time. In his conjuring of themes like mortality and the Sublime18, which work in tandem with the dramatic control of light and shadows, it is understandable how John Soane could be described as a Romantic19, while his wholly unclassical treatment of space deems him as a possible origin of architectural Modernism20. In my study of Soane’s treatment of the Corinthian column in various stages of fragmentation and re-composition, ultimately culminating in the Dome Area with an abstraction of what the Corinthian column is, the step away from his predecessors’ methods of design thinking is clear.
Whether Soane was consciously challenging the relationship between a whole and its parts or had intention to move into the realm of the abstraction of Classical architecture cannot be concluded from his house-museum. Soane had similar intentions for his house as his contemporaries did for their private villas: he wanted his house to be a testament to his architectural prowess, and to align his works with the grandeur of Rome by bathing his vast collection of antiquity-related paraphernalia in the “light of Rome”.21 This method of house as manifesto is not unusual, and is present in the other private residences visited on my Grand London Tour (Chiswick House, Leighton House and Pitzhanger Manor). However, it is undeniable that Soane’s house-museum has an unusual timelessness that resonates with today’s audience, one that other buildings visited on my Grand Tour does not have.
18 Furján, Helene. Glorious Visions: John Soane's Spectacular Theater (London and New York: Routledge, 2011) 19 Gillian Darley. John Soane: An Accidental Romantic. (New Haven, Conneticut: Yale University Press, 1987.) 20 Robin Middleton. “Soane’s Spaces and the Matter of Fragmentation,” in John Soane, Architect: Master of Space and Light, edited by Margaret Richardson, Mary Anne Stevens. (London: Royal Academy of Arts, 1999.) 21 Furján, Helene. Glorious Visions: John Soane's Spectacular Theater (London and New York: Routledge, 2011)
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cont.
Figure. 32-34
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London & Partners, Photograph of National Gallery [online] <https://cdn.londonandpartners.com/asset/national-gallery_the-national-gallery-trafalgar-square-image-courtesy-of-the-national-gallery_6f4aadb5504ea5d216bd00c8e62 14995.jpg> [accessed 3 August 2019]. Wikipedia user: Spudgun67, Photograph of Leighton House [online] <https://upload.wikimedia.org/wikipedia/commons/4/46/Lord_LEIGHTON_-_Leighton_House_12_Holland_Park_Road_Holland_Park_London_W14_8LZ_-_ 1.jpg> [accessed 3 August 2019]. National Portrait Gallery, Photograph of National Portrait Gallery [online] <https://www.npg.org.uk/assets/images/visit/1600_NPG_Entrance.jpg> [accessed 3 August 2019]. Figure 15 and 16. Inigo Jones’ annotated copy of Andrea Palladio's I Quattri libri dell'architettura (1601) [online] <https://www.khanacademy.org/humanities/monarchy-enlightenment/baroque-art1/baroque-england/a/the-banqueting-house-whitehall-palace-edit> [accessed 4 August 2019]. Figure 17. Ilbelcasentino.it, Photograph of Santa Maria delle Grazie, Arezzo. [online] <https://www.ilbelcasentino.it/arezzo-seq.php?idcat=&pag=78&idimg=> [accessed 5 August 2019] Figure 18, 20-23. Images from Wittkower, Rudolf. “Pseudo-Palladian Elements in English Architecture” in Journal of the Warburg and Courtauld Institutes, Vol. 6 (1943), pp. 154-164. < https://www.jstor.org/stable/750430> [accessed 12 July 2019] Figure 19. Elevation drawing of Basilica Palladiana [online] <https://www.alamy.com/stock-photo-basilica-palladiana-renaissance-central-piazza-dei-signori-vicenza-39784575.html> [accessed 5 August 2019] Figure 26, 27, 28. David Watkin, Sir John Soane: The Royal Academy Lectures (Cambridge: Cambridge University Press, 2000), plates 7, 9, 12. Figure 29. reidsengland.com: travel beyond vacations, Image of Dome Area in Soane Museum [online] <http://www.reidsengland.com/places/london/see/sir-john-soanes-museum/> [accessed 5 August 2019]
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