Reading Comp. No. 4, question 1

While examining 18^th century artifacts, I found that they all spoke a language of repetition. This can be found in the Chinoiserie on the Palladian/Georgian desk and bookcase, the intricate carvings on the tall clock, the repetition of the circular shapes on the canopy of the state bed at Osterly Park, and even in the steady rhythm created by the evenly spaced posts in the Windsor chairs. Although there is great contrast in the styles of these repeated elements, most of them being very intricate and naturalistic while others are very simple, they all help to establish a rhythm within the object they are a part of.

While examining the interiors as a whole there appeared to be an emphasis on surface decoration. Whether it is on the walls, the ceilings, the floors, fabrics, or all the above these interiors seek an embellishment of surface. Some are more modest in their use of such decoration (parlor of Gardner-Pingree house, stair hall at Gunston Hall), while others take the opportunity to cover absolutely every surface (bedroom of Marie Antoinette). Perhaps this explosion of pattern was to help dematerialize the form of the space, but nonetheless it can’t help but draw your attention.

Through my observation of the exteriors of the 18^th century buildings we have studied, I have found that a harmony of the parts is achieved through their use of classical precedence. “The purest architecture, that most suited to fundamental human needs and basic human society was what had appeared at the dawn of civilization,” (Roth pg.443). Proportion is on of the key mechanisms used in this pure architecture to achieve a harmonious composition in which all the parts relate. This can be seen in the size and placement of the windows on the front façade of the Nathaniel Russell House. Especially at the top level you can see that the windows are spaced about a windows width apart, the cornice at the top has ribs placed above each window, and even the keystones if the arches above the 2^nd story windows match up with the middle of the 3^rd story windows. This matching up and stacking of architectural elements can also be seen at Drayton Hall. Because all of the elements are perfectly proportioned in accordance to the façade you see that the windows and columns line up vertically and horizontally creating a symmetrical design.

In observing the architectures of England, America, and France as a whole, I can establish that they are all derived from classical Roman and Greek architecture. Although for different reasons and in different ways, all of these places are using classical architecture in order to convey social ideas. Other that the general display of power, and establishing a cultural identity, here are the agendas: England is using it because it is a symbol of education, and that there are nationalistic ties to this architecture; America is using classical architecture as a way of legitimizing its emancipation; France has a classicism derived from nature because they are tired of Rococo but just can’t seem to let go of realistic natural detail completely. Kind of like a back to the basics moment, a revised, but none the less a return to the dawn of civilization

Harwood pgs. 404-526