Stourhead (1721-1725) Palladian Mansion and Landscape Gardens
The numerous private commissions of Henry Flitcroft (1687-1769) included country houses, town houses, churches and garden buildings. Flitcroft followed an early training under Burlington and his acquaintance with the designs of Inigo Jones and Andrea Palladio effected all of his work. He is the architect who designed the classical eyecatchers in the garden. He was the only professional employed in its creation and Coleen Campbell created the famous bridge there too.
Newby Hall (1762-1765) The Home of the Compton Family
The home of Richard and Lucinda Compton is one of England's renowned Adam houses. In the 1760s, William Weddell acquired a magnificent collection of Roman sculptures and wonderful Gobelins tapestries. He commissioned Robert Adam to alter the original Wren-designed house and Thomas Chippendale to make the furniture. The result is a perfect example of the Georgian Age of Elegance with the atmosphere and ambience of a family home ; 25 acres of stunning gardens contain rare and beautiful shubs and plants. Besides formal gardens such as the Water, Autumn and Rose Garden, the tranquility of Sylvia's Garden and a Tropical Garden make Newby an inspiring and exciting place to explore, with lots of curved pergolas : overall, an enchanting, exciting, and magical space for all ages...
Croome Court (1754-1760) A « Capability » Brown / Robert Adam Cooperation
The house and parkland of Croome Court was Lancelot « Capability » Brown's first landscape design, and his first major architectural project. Capability Brown started work at Croome in 1751 for George Coventry, 6th Earl of Coventry. The mansion house was yet designed by Brown and is his first flight into the realms of architecture. Robert Adam designed parts of Croome Court's interior along with James Wyatt, who designed temples and follies for the park.
Inigo Jones (1573-1652) The Greatest Vitruvian Architect of Modern Britain
Inigo Jones is the first significant British architect of the early modern period, and the first to employ Vitruvian rules of proportion and symmetry in his buildings. He left his mark on London by single buildings, such as the Banqueting House at Whitehall, the Queen's House at Greenwich as well as the Wilton House, but also in area design with his reconfiguration of Covent Garden square which became a model for future developments in the West End. He made major contributions to stage design by his work as theatrical designer for several dozen masques, most by royal command and many in collaboration with Ben Jonson.
Syon House (1762-1769) Another Robert Adam Masterpiece
Robert Adam (1728-1792) was particularly known for his interiors based on classical decoration. Robert Adam was responsible for much Georgian development in London, including the layout of Portland Place, Apsley House, the remodel of Kenwood House on Hampstead Heath, Lansdowne House, and the facade of the Admiralty in Whitehall. He also designed a significant number of country seats throughout Britain including Syon House, Kedleston Hall, Harewood House, Osterley Park, Bowood, Croome Court and Newby Hall.
Osterley Park (1761-1763) The Triomphe of English Neoclassical Architecture
The house is of red brick with white stone details and is approximately square, with turrets in the four corners. Adam's design, which incorporates some of the earlier structure, is highly unusual, and differs greatly in style from the original construction. One side is left almost open and is spanned by an Ionic pedimented screen which is approached by a broad flight of steps and leads to a central courtyard, which is at piano nobile level. Adam's neoclassical interiors are among his most notable sequences of rooms, which are characterised by elaborate plasterwork, rich, highly varied colour schemes, and a degree of coordination between decor and furnishings unusual in English neoclassical interiors. Notable rooms include the entrance hall, which has large semi-circular alcoves at each end, and the Etruscan dressing room, which Adam said was inspired by the Etruscan vases in Sir William Hamilton's collection. Adam also designed the opulent domed state bed, still in the house.
Harewood House (1759-1771) The Filming Location of Brideshead Revisited
The house was built between 1759 and 1771 for Edwin Lascelles, whose family had bought the estate after making its fortune in the West Indies. The house was conjointly designed by architects John Carr and Robert Adam. Much of the furniture is by the 18th century English designer Thomas Chippendale, who came from nearby Otley. Lancelot Brown designed the grounds to which Sir Charles Barry added a grand terrace in 1844. Artists Thomas Girtin and J. M. W. Turner stayed at the house many times, painting it and the surrounding countryside and landmarks, such as Plumpton Rocks which at the time was owned by the Harewood Estate.
Le Style Troubadour en France Beauregard (1864) / Franconville (1876-1890) et Trévarez (1893)
An equivalent to the Gothic Revival of the Germanic and Anglophone countries, the Troubadour Style was a somewhat derisive term for French historical painting of the early 19th century with idealised depictions of the Middle Ages. It can be seen as an aspect of royalist Romanticism and a reaction against Neoclassicism, which became particularly associated with the Bonaparte family.
The Château de Trévarez is a stately home in the commune of Saint-Goazec in Finistère, France. It was commissioned by James Kerjégu, Chairman of the General Council of Finistère, and built at the end of the 19th century by the French architect Walter-André Destailleur. Trévarez is one of the most recent châteaux built in France. Construction was completed around the beginning of the twentieth century. In 1941, the château was taken over by German occupying forces. Unfortunately it was bombed on 30 July 1944 by the Royal Air Force...
Le château de Franconville est une copie du château de Maisons-Laffitte, chef-d'œuvre architectural dû à François Mansart. L'élévation s'organise sur deux étages, ainsi que d'un étage d'attique sous les hauts combles à la française. Le château se compose d'un corps principal de logis de sept travées, précédé d'avant-corps légèrement saillant devant les trois travées centrales, côté cour d'honneur et côté jardin, et flanqué de deux pavillons d'angle en saillie. L'ornementation des façades est très abondante. Selon les préceptes de Vitruve, l'ordre ionique règne au rez-de-chaussée, l'ordre dorique à l'étage et l'ordre corinthien en hauteur. N'y est concernée que la travée centrale des deux façades principales, dont les murs à gauche et à droite de la seule fenêtre sont cantonnés de pilastres : celle-ci est rectangulaire et sommée d'une frise de cannelures fines et d'une corniche qui est supportée de part et autre par deux consoles sculptées à la façon d'ailerons. Les élévations latérales ne comportent que des frontons au niveau des combles ; également triangulaires, ils sont ajourés d'un œil-de-bœuf et garnis de bas-reliefs aux motifs empruntés de la mythologie grecque. Les deux travées centrales font légèrement saillie, et au niveau du premier étage, sont agrémentées d'une niche cintrée. Toujours au niveau du premier étage, des niches du même type sont également ménagées dans le trumeau des pavillons d'angle, du côté des façades principales. Comme au niveau de l'attique, la travée centrale des façades principale fait l'objet d'un traitement particulier : elle est flanquée de deux colonnes cannelées qui supportent des architraves, décorées de frises d'entablement et portant des pot-à-feu élancés. Un cartouche décorée de la même frise est placé au-dessus de la fenêtre. En ce qui concerne le rez-de-chaussée, la partie inférieure de la travée centrale ne présente que des pilastres. Par contre, les avant-corps sont précédés de péristyles côté cour et côté jardin, reposant sur des colonnes ioniques cannelées. Contrairement au premier étage, une frise d'entablement avec répétition du motif du biglyphe fait le tour du rez-de-chaussée au-dessus des portes-fenêtres.
France Vendeuvre (1750-1755), Asnières (1750) and Bénouville (1770-1780)
Vendeuvre was built between 1750 and 1752 from the plans of Jacques-François Blondel and is a great example of a 18th century countryhouse. Its owner, Alexandre Le Forestier, seigneur of Vendeuvre, coming from a Cotentin family that claimed descent from the Counts of Flanders, wanted a modern summer retreat built in the style of the day. The old manor was demolished, as it was damp and rebuilt partially into the hillside slope. The chateau’s plan shows that it is twice as wide as it is deep, with a suite of state rooms distributed around a central hall supported by Ionic columns. The furniture and quality of wood panelling are a comprehensive example of 18th century craftsmanship. There are many curiosities too : a chandelier with real goldfish in a bowl, a travelling enema kit, a chair with a padded elbow-rest upon which elegant ladies would kneel or sit whilst playing indoor games, so as not to crumple the arrangement of their dresses over wide panniers.
The Splendours of Louis XIV Masterpiece The Works of Le Vau / Mansart / De Cotte and Charles Lebrun
The first building campaign (1664–1668) commenced with the Plaisirs de l'Île enchantée of 1664, a fête that was held between 7 and 13 May 1664. The campaign involved alterations in the château and gardens to accommodate the 600 guests invited to the party. The second building campaign (1669–1672) was inaugurated with the modification of Louis XIII's hunting lodge by Le Vau. The decoration of the rooms, which was conducted under Le Brun's direction, depicted the heroic actions of the king and were represented under the allegorical form of Alexander the Great, Augustus, Cyrus, etc. With the signing of the Treaty of Nijmegen in 1678, which ended the Dutch War, the third building campaign at Versailles began (1678–1684) under the direction of the architect Jules Hardouin-Mansart. In addition to the Hall of Mirrors, he designed the north and south wings and the Orangerie, but also collaborated with Le Nôtre's in landscaping the palace gardens. Soon after the defeat of the War of the League of Augsburg (1688–1697), Louis XIV undertook his last building campaign at Versailles. The fourth building campaign (1699–1710) concentrated almost exclusively on construction of the royal chapel designed by Mansart and finished by Robert de Cottebetween 1689 and 1710.
Rare Architectural Drawings and Paintings
Versailles became the home of the French nobility and the location of the royal court — thus becoming the centre of French government. Louis XIV himself lived there, and symbolically the central room of the long extensive symmetrical range of buildings was the King's Bedchamber, which itself was centred on the lavish and symbolic bed, set behind a rich railing not unlike a communion rail. Indeed, even the principal axis of the gardens themselves was conceived to radiate from this fulcrum. All the power of France emanated from this centre : there were government offices here as well as the homes of thousands of courtiers, their retinues and all the attendant functionaries. By requiring that nobles of a certain rank spend time each year at Versailles, Louis also prevented them from developing their own regional power at the expense of his own, and kept them from countering his efforts to centralize the French government in an absolute monarchy.
Palais et Villas Romaines et Vénitiennes Les Palais Canossa et Grimani / la Ca d'Oro et Autres Merveilles
Admirez le Palais Farnèse ; la Villa Chigi et sa célèbre Loggia de Psyché ; la Villa Borghèse et ses belles sculptures du Bernin ; la splendide Villa Borghèse ; la Villa Valmarana dite « Rotonda » de Palladio, ou encore la Domus Aureus...