European Baroque Powerpoint

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Architecture and Interior Design: An Integrated History to the Present

First Edition

Chapter 19

English Restoration

1660-1702

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

Copyright © 2012 Pearson Education, Inc. All Rights Reserved

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1

English Restoration

Restoration of monarchy brings major changes

Foreign influences replace Elizabethan & Jacobean styles in architecture, interiors, & furnishings

Architecture wholeheartedly adopts classicism

Influenced by Italian Renaissance, French or Italian Baroque, Dutch Palladianism, or Inigo Jones

Interiors—exuberantly Baroque or subdued classical with three-dimensional wood carving or plasterwork

Furniture—Baroque design elements & principles

French influence or Dutch curving silhouettes

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2

Concepts

Eclectic, dominated by foreign influences

Baroque comes with Italian craftsmen; English architects &

designers visiting Italy; Charles

& his nobles; Huguenot

craftsmen

Stimulate some elaboration or exuberance

Conditions not conducive to a Baroque—no Catholic Church or absolute monarchy

Most common—subdued, restrained, conservative Baroque

Dutch-like character from trade or craftsmen who emigrate with William & Mary

Sir Christopher Wren creates more elaborate Baroque

Conservative & elaborate used to express power & wealth

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3

Architecture

Form & details defined by rational classicism with some Baroque elements

Classical elements, large scale, symmetry, center emphasis, advancing & receding planes, some curves

Never as plastic as Italy or as grand as France

Sir Christopher Wren introduces Baroque concepts & motifs

Most Baroque work for royal family

Most creative—city churches, London

Sir John Vanbrugh & Nicholas Hawksmoor create most obvious Baroque in country houses, city churches

Sir Roger Pratt introduces rectangular block house

Becomes standard Georgian house in England& America

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19.1

Architectural Detail: Carved panel detail, c. 1670; England. English Restoration.

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19.2a

S. Mary-le-Bow, Cheapside and floor plan, 1670-1677; London, England; Sir Christopher Wren. English Restoration.

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19.2b

S. Mary-le-Bow, Cheapside, nave, 1670-1677; London, England; Sir Christopher Wren. English Restoration.

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7

19.3a

S. Paul’s Cathedral, 1675-1710; London, England; Sir Christopher Wren. English Restoration.

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L

Saint Paul’s Cathedral has a steeple with classical details, a large dome, clerestory windows, Balustrade, classical figure, medallion shape typical of Wren, pediment, plasters define bays, classical portico with temple emphasizes center, columns spanning two stories, classical arch, large-scale building, and symmetrical composition with the layering of architectural features to achieve depth.

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19.3b

S. Paul’s Cathedral, floor plan, 1675-1710; London, England; Sir Christopher Wren. English Restoration.

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9

19.3c

S. Paul’s Cathedral, nave 1675-1710; London, England; Sir Christopher Wren. English Restoration.

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10

19.4

Coleshill and floor plan, c. 1650 (destroyed by fire 1952); Oxfordshire, England; Sir Roger Pratt. English Restoration.

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19.5

Belton House, 1684-1686; Lincolnshire, England; house by William Stanton. English Restoration.

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12

19.5b

19-5. Belton House, floor plan, 1684-1686; Lincolnshire, England; house by William Stanton. English Restoration.

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Long Description:

It shows rooms like a Kitchen, Chapel room, withdrawing room, Parlor room, Marble hall, Saloon, school room bed chamber, great staircase, chapel drawing room, and closet.

13

19.5c

Belton House, drawing room, 1684-1686; Lincolnshire, England; carving by Grinling Gibbons. English Restoration.

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Long Description:

The drawing room of the Belton house has a beautiful compartment ceiling with heavy molding. Belton house drawing room is decorated with Walnut paneling with beveled edges and it has wood carving by Grinling Gibbons. Belton's house drawing room has a portrait over the mantel with a display of Oriental porcelain. Bolection molding surrounds fireplace opening to create mantel; major emphasis in chimneypiece. Drawing room flooring is heavily scaled with a rugged pattern.

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19.6a (1 of 2)

Blenheim Palace, 1705-1724; Oxfordshire, England; Sir John Vanbrugh and Nicholas Hawksmoor. English Restoration.

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15

19.6a (2 of 2)

Blenheim Palace, saloon, 1705-1724; Oxfordshire, England; Sir John Vanbrugh and Nicholas Hawksmoor. English Restoration.

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16

Interiors

Conservative & extravagant interiors

Conservative—somber, unostentatious classicism

Human scale, restraint, repose

Classical details, wall paneling, compartmentalized plaster ceilings, wood floors

Wood carving most common decoration—staircases, paneling, windows, doors, chimneypieces

Extravagant—express power & wealth

Large scale, wall & ceiling paintings in vivid colors, complexity, plasterwork & woodcarving with gilding

Executed by foreign craftsmen

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19.8

Queen’s Antechamber (Blue Drawing Room), Ham House, 1673-1683; Surrey England. English Restoration.

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The Queen’s Antechamber drawing room has paintings displayed on the wall and a few decorative items around the paintings. Apart from that, it has a table, chair, and a door. The ceiling has a pleasant floral pattern and unique design on all sides of the ceilings.

18

19.9a

Stair hall, Sudbury Hall, c. 1676; Derbyshire, England; carving by Edward Pierce; plasterwork by Robert Bradbury. English Restoration.

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L

Stair hall, Sudbury Hall staircase is decorated with beautiful carvings with paintings, and the wall is painted different shapes of photo frames. The ceiling has a pleasant floral pattern and unique design on all sides of the ceilings.

19

19.9b

Stair hall, Sudbury Hall, c. 1676; Derbyshire, England; carving by Edward Pierce; plasterwork by Robert Bradbury; ceiling painting by Louis Laguerre. English Restoration.

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L

Stair hall, Sudbury hall is a big hall decorated with beautiful carvings and the ceiling has two lanterns. The ceiling is oval shaped painting with carvings around the painting.

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Furnishings and Decorative Arts

Furniture transforms during period

Nobles’ desire for luxury, refinement, new forms, fi