Editing Palladian architecture (section)

=== English Palladian architecture ===
[[File:Wanstead - intended design.jpg|thumb|right|upright=1.3|[[Wanstead House]] (1722) – among the first, and largest, of the Neo-Palladian houses; the image is from Colen Campbell's ''Vitruvius Britannicus''.|alt=See caption]]
The Baroque style proved highly popular in continental Europe, but was often viewed with suspicion in England, where it was considered "theatrical, exuberant and Catholic."{{sfn|Curl|2016|p=63}}<ref>{{cite web|url=https://www.theguardian.com/artanddesign/2011/sep/10/baroque-british-architecture|first=Simon|last=Jenkins|title=English baroque architecture: seventy years of excess|work=[[The Guardian]]|date=10 September 2011|access-date=2 July 2022|archive-date=1 July 2022|archive-url=https://web.archive.org/web/20220701164521/https://www.theguardian.com/artanddesign/2011/sep/10/baroque-british-architecture|url-status=live}}</ref> It was superseded in Britain in the first quarter of the 18th century when four books highlighted the simplicity and purity of classical architecture.{{sfn|Summerson|1953|pp=295–297}}{{sfn|Cruikshank|1985|pp=6–7}} These were:
* ''[[Vitruvius Britannicus]]'' ''(The British Architect)'', published by [[Colen Campbell]] in 1715 (of which supplemental volumes appeared through the century);{{sfn|Summerson|1953|p=188}}
* ''[[I quattro libri dell'architettura]]'' ''(The Four Books of Architecture)'', by Palladio himself, translated by [[Giacomo Leoni]] and published from 1715 onwards;{{sfn|Summerson|1953|p=188}}
* {{Lang|la|[[De re aedificatoria]]}} ''(On the Art of Building)'', by [[Leon Battista Alberti]], translated by Giacomo Leoni and published in 1726;{{sfn|Summerson|1953|p=208}} and
* ''The Designs of Inigo Jones... with Some Additional Designs'', published by [[William Kent]] in two volumes in 1727. A further volume, ''Some Designs of Mr. Inigo Jones and Mr. William Kent'' was published in 1744 by the architect [[John Vardy]], an associate of Kent.{{sfn|Summerson|1953|p=208}}

The most favoured among patrons was the four-volume ''Vitruvius Britannicus'' by Campbell,{{sfn|Summerson|1953|pp=297–308}}{{sfn|Curl|2016|p=140}}{{refn|Modern scholarship suggests that Campbell's talents as a copyist and self-publicist exceeded his architectural ability. [[John Harris (curator)|John Harris]], in his 1995 catalogue ''The Palladian Revival'', accuses Campbell of "outrageous plagiari[sm]".{{sfn|Harris|1995|p=15}}|group=n}} The series contains architectural prints of British buildings inspired by the great architects from Vitruvius to Palladio; at first mainly those of Inigo Jones, but the later works contained drawings and plans by Campbell and other 18th-century architects.<ref>{{cite web|url=https://www.vam.ac.uk/articles/palladianism-an-introduction#slideshow=877499804&slide=0|title=Palladianism – an introduction|publisher=[[Victoria and Albert Museum]]|access-date=26 June 2022|archive-date=26 June 2022|archive-url=https://web.archive.org/web/20220626071002/https://www.vam.ac.uk/articles/palladianism-an-introduction#slideshow=877499804&slide=0|url-status=live}}</ref>{{refn|[[Howard Colvin]] writes; "It was a book with a message, the superiority of ‘antique simplicity’ over the ‘affected and licentious’ forms of the Baroque".{{sfn|Colvin|1978|p=182}}|group=n}} These four books greatly contributed to Palladian architecture becoming established in 18th-century Britain.<ref>{{cite web|url=https://www.theguardian.com/artanddesign/architecture-design-blog/2015/sep/11/andrea-palladio-worlds-favourite-16c-architect-palladian-design-riba|first=Oliver|last=Wainright|title=Why Palladio is the world's favourite 16th-century architect|work=[[The Guardian]]|date=11 September 2015|access-date=2 July 2022|archive-date=26 June 2022|archive-url=https://web.archive.org/web/20220626065117/https://www.theguardian.com/artanddesign/architecture-design-blog/2015/sep/11/andrea-palladio-worlds-favourite-16c-architect-palladian-design-riba|url-status=live}}</ref> Campbell and Kent became the most fashionable and sought-after architects of the era. Campbell had placed his 1715 designs for the colossal [[Wanstead House]] near to the front of ''Vitruvius Britannicus'', immediately following the engravings of buildings by Jones and Webb, "as an exemplar of what new architecture should be".<ref>{{cite web|url=https://collections.vam.ac.uk/item/O1038653/vitruvius-britannicus-or-the-british-print-colen-campbell/|title=''Vitruvius Britannicus, or The British Architect'', Volume I|publisher=[[Victoria and Albert Museum]]|access-date=19 July 2022|archive-date=19 July 2022|archive-url=https://web.archive.org/web/20220719093947/https://collections.vam.ac.uk/item/O1038653/vitruvius-britannicus-or-the-british-print-colen-campbell/|url-status=live}}</ref> On the strength of the book, Campbell was chosen as the architect for [[Henry Hoare (banker)|Henry Hoare I]]'s [[Stourhead]] house.<ref>{{cite web|url= https://historicengland.org.uk/listing/the-list/list-entry/1131104|publisher= [[Historic England]]|work= [[National Heritage List for England]]|title= Stourhead House|access-date= 25 June 2022|archive-date= 25 June 2022|archive-url= https://web.archive.org/web/20220625131822/https://historicengland.org.uk/listing/the-list/list-entry/1131104|url-status= live}}</ref> Hoare's brother-in-law, [[William Benson (architect)|William Benson]], had designed [[Wilbury House]], the earliest 18th-century Palladian house in Wiltshire, which Campbell had also illustrated in ''Vitruvius Britannicus''.{{sfn|Orbach|Pevsner|Cherry|2021|p=784}}{{refn|In 1718 [[William Benson (architect)|William Benson]] manoeuvred [[Sir Christopher Wren]] out of his post of [[Surveyor of the King's Works]], but held the job for less than a year; [[John Summerson]] notes, "Benson proved his incompetence with surprising promptitude and resigned in 1719".{{sfn|Summerson|1953|p=170}}|group=n}}
[[File:Holkham-Hall-South-Facafe.jpg|thumb|right|upright=1.4|[[Holkham Hall]], South front (1734) – the four flanking wings are elevated, in height and importance, almost to the status of the central block.|alt=See caption]]

At the forefront of the new school of design was the "architect earl", [[Richard Boyle, 3rd Earl of Burlington]], according to [[Dan Cruikshank]] the "man responsible for this curious elevation of Palladianism to the rank of a quasi-religion".{{sfn|Cruikshank|1985|p=8}}{{sfn|Summerson|1953|pp=308–309}}{{refn|[[James Stevens Curl]] considers Burlington, "one of the most potent influences on the development of English architecture in its entire history".{{sfn|Curl|2016|p=128}}|group=n}} In 1729 he and Kent designed [[Chiswick House]].<ref>{{cite web|url=https://www.english-heritage.org.uk/visit/places/chiswick-house/history/|title=History of Chiswick House and Gardens|publisher=[[English Heritage]]|access-date=19 June 2022|archive-date=19 June 2022|archive-url=https://web.archive.org/web/20220619205455/https://www.english-heritage.org.uk/visit/places/chiswick-house/history/|url-status=live}}</ref>{{sfn|Summerson|1953|pp=309–313}} This house was a reinterpretation of Palladio's Villa Capra, but purified of 16th century elements and ornament.{{sfn|Yarwood|1970|p=104}} This severe lack of ornamentation was to be a feature of English Palladianism.<ref>{{cite web|url=https://www.vam.ac.uk/articles/palladianism-an-introduction#slideshow=877499804&slide=0|title=Palladianism – An Introduction|publisher=[[Victoria and Albert Museum]]|access-date=2 July 2022|archive-date=2 July 2022|archive-url=https://web.archive.org/web/20220702082544/https://www.vam.ac.uk/articles/palladianism-an-introduction#slideshow=877499804&slide=0|url-status=live}}</ref>

In 1734 Kent and Burlington designed [[Holkham Hall]] in [[Norfolk]].{{sfn|Bold|1988|p=141}}<ref name= NHLEHolkham>{{cite web|url= https://historicengland.org.uk/listing/the-list/list-entry/1373659|publisher= [[Historic England]]|work= [[National Heritage List for England]]|title= Holkham Hall|access-date= 25 June 2022|archive-date= 25 June 2022|archive-url= https://web.archive.org/web/20220625090508/https://historicengland.org.uk/listing/the-list/list-entry/1373659|url-status= live}}</ref> [[James Stevens Curl]] considers it "the most splendid Palladian house in England".{{sfn|Curl|2016|p=409}} The main block of the house followed Palladio's dictates, but his low, often detached, wings of farm buildings were elevated in significance. Kent attached them to the design, banished the farm animals, and elevated the wings to almost the same importance as the house itself.{{sfn|Summerson|1953|p=194}} It was the development of the flanking wings that was to cause English Palladianism to evolve from being a pastiche of Palladio's original work. Wings were frequently adorned with porticos and pediments, often resembling, as at the much later [[Kedleston Hall]], small [[country houses]] in their own right.<ref>{{cite web|url= https://historicengland.org.uk/listing/the-list/list-entry/1311507|publisher= [[Historic England]]|work= [[National Heritage List for England]]|title= Kedleston Hall|access-date= 25 June 2022|archive-date= 2 July 2022|archive-url= https://web.archive.org/web/20220702200544/https://historicengland.org.uk/listing/the-list/list-entry/1311507|url-status= live}}</ref>{{refn|At Holkham, the four wings contain a chapel, a kitchen, a guest wing and a private family wing.<ref name= NHLEHolkham/>|group=n}}

[[File:Woburn Abbey.jpg|thumb|left|upright=1.2|[[Woburn Abbey]] (1746) – designed by Burlington's student [[Henry Flitcroft]] and showing further development of the wings|alt=See caption]]
Architectural styles evolve and change to suit the requirements of each individual client. When in 1746 the [[John Russell, 4th Duke of Bedford|Duke of Bedford]] decided to rebuild [[Woburn Abbey]], he chose the fashionable Palladian style, and selected the architect [[Henry Flitcroft]], a protégé of Burlington.<ref name=NHLEWoburn>{{cite web|url= https://historicengland.org.uk/listing/the-list/list-entry/1114006?section=official-list-entry|publisher= [[Historic England]]|work= [[National Heritage List for England]]|title= Woburn Abbey: Official list entry|access-date= 25 June 2022|archive-date= 2 July 2022|archive-url= https://web.archive.org/web/20220702200717/https://historicengland.org.uk/listing/the-list/list-entry/1114006?section=official-list-entry|url-status= live}}</ref><ref>{{cite web|url=http://www.twickenham-museum.org.uk/detail.php?aid=64&ctid=1&cid=13|title=Henry Flitcroft – 'Burlington Harry'|publisher=Twickenham Museum|access-date=10 July 2022|archive-date=24 May 2022|archive-url=https://web.archive.org/web/20220524025147/http://www.twickenham-museum.org.uk/detail.php?aid=64&cid=13&ctid=1|url-status=live}}</ref> Flitcroft's designs, while Palladian in nature, had to comply with the Duke's determination that the plan and footprint of the earlier house, originally a [[Cistercians|Cistercian]] monastery, be retained.{{sfn|O'Brien|Pevsner|2014|p=331}} The central block is small, has only three bays, while the temple-like portico is merely suggested, and is closed. Two great flanking wings containing a vast suite of [[state room]]s{{sfn|Jenkins|2003|pp=5–6}} replace the walls or colonnades which should have connected to the farm buildings;{{refn|The architectural historian [[Mark Girouard]], in his work, ''Life In The English Country House'', notes that the arrangement developed by Palladio with the wings of the villa containing farm buildings was never followed in England. Although there are examples in Ireland and in North America, such "a close connection between house and farm was entirely at variance with the English tradition".{{sfn|Girouard|1980|p=151}}|group=n}} the farm buildings terminating the structure are elevated in height to match the central block and given [[Palladian window]]s, to ensure they are seen as of Palladian design.{{sfn|O'Brien|Pevsner|2014|p=332}} This development of the style was to be repeated in many houses and town halls in Britain over one hundred years. Often the terminating blocks would have blind porticos and pilasters themselves, competing for attention with, or complementing the central block. This was all very far removed from the designs of Palladio two hundred years earlier. Falling from favour during the [[Victorian era]], the approach was revived by Sir [[Aston Webb]] for his refacing of [[Buckingham Palace]] in 1913.{{sfn|Sutcliffe|2006|p=94}}{{refn|[[Aston Webb|Sir Aston Webb]] drew inspiration for his Buckingham Palace east frontage from the south front of [[Lyme Park]], [[Cheshire]] by [[Giacomo Leoni]] (1686–1746).<ref>{{cite web|url=https://www.rct.uk/collection/2303717-c|title=Lyme Park, Cheshire|publisher=Royal Collection Trust|access-date=11 July 2022|archive-date=11 July 2022|archive-url=https://web.archive.org/web/20220711062706/https://www.rct.uk/collection/2303717-c|url-status=live}}</ref><ref>{{cite web|url=https://www.thedicamillo.com/house/lyme-park-lyme-hall/|title=Lyme Park (Lyme Hall)|publisher=DiCamillo|access-date=11 July 2022|archive-date=17 May 2022|archive-url=https://web.archive.org/web/20220517021239/https://www.thedicamillo.com/house/lyme-park-lyme-hall/|url-status=live}}</ref>|group=n}}

The villa tradition continued throughout the late 18th century, particularly in the suburbs around London. [[William Chambers (architect)|Sir William Chambers]] built many examples, such as [[Parkstead House]].{{sfn|Worsley|1996|p=82}} But the grander English Palladian houses were no longer the small but exquisite weekend retreats that their Italian counterparts were intended as. They had become "power houses", in Sir John Summerson's words, the symbolic centres of the triumph and dominance of the [[Whigs (British political party)|Whig Oligarchy]] who ruled Britain unchallenged for some fifty years after the death of [[Anne, Queen of Great Britain|Queen Anne]].{{sfn|Ruhl|2011|p=2}}<ref>{{cite web|url=https://www.studiointernational.com/index.php/review-andrea-palladio-his-life-and-legacy|first=Michael|last=Spens|title=Andrea Palladio and the New Spirit in Architecture|publisher=Studio International Foundation|date=14 February 2009|access-date=2 July 2022|archive-date=5 July 2022|archive-url=https://web.archive.org/web/20220705134113/https://www.studiointernational.com/index.php/review-andrea-palladio-his-life-and-legacy|url-status=live}}</ref> Summerson thought Kent's [[Horse Guards (building)|Horse Guards]] on Whitehall epitomised "the establishment of Palladianism as the official style of Great Britain".{{sfn|Summerson|1953|p=208}} As the style peaked, thoughts of mathematical proportion were swept away. Rather than square houses with supporting wings, these buildings had the length of the façade as their major consideration: long houses often only one room deep were deliberately deceitful in giving a false impression of size.{{sfn|Guinness|Sadler|1976|p=70}}