An Introduction to 18th Century Architecture from Rococo to Neo Classicism

this is a lecture on the architecture of the 18th century and as abroad over the view of the whole period it goes from the end of the Baroque which evolves into the Rococo and then you have a reaction to the over abundant character of the baroque with neoclassicism which is a return to the architecture of the Romans and Greeks this image here is a painting by hang of the crowning of Homer and he paints all the great figures of the ancient world he got Plato Aristotle and Alexander the Great mixed in with some of the great figures the Renaissance like Rafael and Michelangelo as well as Mozart and a few people from his generation but he's missed out Bernini and burro Meany and all the great figures of the Baroque because they viewed this as as a sort of blind alley effectively and they wanted to return to the architecture of ancient Greece and Rome and effectively that was the same thing that they were doing the Renaissance so some Renaissance architects were also seen as acceptable the basic gist of the whole period is it moves from the Baroque which this is a baroque capsule by Bernini and this is a Roman one so the perfect capitals are Roman as far as the neo-classicists were concerned and during the Baroque period they twisted them and turned them into something with a bit more expression and personalized them and you ended up with the Rococo where they became asymmetrical and very over-the-top and artistic and during the neoclassical period they return to the simplicity and purity of the Roman capsules and just to recap the last lecture I did was about the Baroque which was the dominant period of the 17th century this is the interior of st. Peter's and it's very powerful elaborate often used on religious buildings and this is a bar emini building where the the buildings have an emotional impact through the use of forms and twisting and turning and there was also louis xiv who was another major figure of the Baroque and he similarly liked to kind of impress and and shock but he did it really through kind of repetition and like using columns are sort of lines of soldiers and having a big degree of sculpture and ornamentation the transition in the 18th century was really from louis xiv here to louise of the way the 15th louis xiv a chateau at versailles was very powerful impressive and his successor Louis the 15th wanted a more gentle less bombastic style and this was the Rococo and they took some of the small-scale elements of the Baroque and then used them as little pieces of decoration sometimes on quite square rooms and these pieces of decoration are made out of or generally made from plaster or stone but they are representations of leaves of rocks of shells and the word Rococo comes from the word rocaille which were the decorations that architects used for grottoes where they had shells and other ornaments and this is a typical Rococo room actually a square room but you have these interestingly shaped mirrors and frames all with the this framing of Rococo ornament and here this is a door panel and you can see you have parts of shells parts of flowers leaves little bits of baroque molding coming in and there was a feeling that the the outsides of buildings they didn't have sort of straight pediments or bade there didn't obey the classical rules particularly they do things like this this pediment which kind of goes up and there's a flat bit and then it does another curve so they're very free with their ornament this is some actually the residents at verts Berg which was is the one of the great Rococo period buildings and if there's one Rococo building you should see it's definitely this one partly because it was painted by T Apollo and had this fantastic staircase designed by Balthazar Newman and T Apollo came from Italy and did this incredible ceiling which has the four continents of the earth as they saw it on each wall and here they're taking traditional ideas about the the world being essentially flat although they probably don't believe it at this time because because the scientific movement already started there's still a kind of love of myth and an ability to retain myth I likewise you have Apollo in the mid with the Sun they sort of don't believe it but they enjoy the myth for the sake of it and so anyway the four corners of the earth are represented by parts of the world which were unknown when the the biblical idea of the well of having four corners was written its incredible painting incredible credibly over the top this one I believe is Asia Apple hasn't probably seen an elephant but maybe seen illustrations of them and there's also this room which is the main focus of the whole building it also has a chapel and you can see these crazy forms that the Rococo enjoyed and very lavish very colorful the Rococo movement really was successful in southern Germany and Bavaria you can see the the strange capitals they had and all of the ornament and color and some these are actually painted marble rather than real marble there isn't a feeling that material should be what they are they're just it's a sort of enjoyment of theater and Colour and in little asymmetrical elements like this you see all the time and cherubs and there's a way that it's just so over the top that it's almost humorous in its the the being so lavish yeah here is a kind of Keystone normal classical Keystone would just be a simple square shape and this one is asymmetrical with color and so on simultaneously with and this is in the beginning of the 18th century same time at the same time as the Rococo movement you were getting architects who were starting in a Jew enjoy other styles there was a way that the the Baroque and the Renaissance they had one style of doing things and even if you go back further you have the medieval they have one style that just slowly develops but in this period it fragments and architects are looking back at history and go well why don't we try doing a gothic building and this is the Gothic folly by Gibbs at Stowe and it isn't it isn't religious building and it isn't medieval either it's just kind of the enjoyment of shape and color and it all becomes very whimsical this is a strawberry hill another gothic building of the 18th century and they they just enjoy the shapes the colors the stories very sort of whimsical likewise in this period the whole world's opening up people are starting to go to China and this is a Chinese Pavilion in Potsdam near Berlin it's almost sort of crazy and it's sort of decadence and really looks nothing like anything Chinese but there's an enjoyment of the fun of different periods different styles from different parts of the world and this one is in Sweden also done in Chinese style and the Chinese style are the wonders known as chinoiserie really took off and was used in interiors wallpaper china everything while all this is going on you have the Scientific Revolution is is well underway and you've got the beginning of the Age of Enlightenment and Newton who wrote his Principia in 1687 was saying that he worked out there was a whole load of principles which underlie day everything in the universe gravity or ever every imaginable force and it will be consistent whether you're on earth or Mars or wherever you are in the world and I think at this period that architects were feeling insecure that all of their work seemed in a way a bit silly they could just have a style they chose there's nothing really inherent if you think of say the gothic buildings of the medieval period they had a narrative which they were subscribing to but now they're just doing it for fun and I this the way that science was working which was seems so rational and with principles as interesting that Newton's book is called Principia you know did the idea of principles and architects were hungry for principles that they could they could work with in order to get back to try and find principles they looked to the Classical Age as as a place to sort of get rid of the influence of Rococo barak and and just win essentially this is David by Bernini who I talked about in the last lecture and David is curving and he's in a state of throwing the the stone at Goliath and this sculpture bike Canova is a classic new classical sculpture done in the 18th century and you have David here he's at rest rather than in action and he's very closely follows the belvedere apollo in the vatican likewise Canova his Three Graces very much taken from from classical forms rather than what the current baroque painters would have done like this is Rubens and these women are very obviously Flemish of at a certain period and Canova is trying to do something inherently beautiful beyond time and so he looks at Roman sculptures and and takes an influence from them and there's this idea that if you go far enough back you'll come closer to to the truth of what art should be also as part of the aging enlightenment you have figures like Rousseau who had a huge influence or on culture and probably still does his idea was that essentially culture is not the wonderful thing we think it is and he had a phrase a quote which is something on the lines of the man who who managed to put a fence around a piece of land and say that's mine and found people gullible enough to believe him he was that he was the true father of civilization and I I imagine particularly with he's sort of more environmental times its whole idea of people owning land saying this is mine and so on he's obviously back on the radar but people were asking these very fundamental questions at these times and Rousseau had this idea that we've been effectively corrupted by civilization and before we had all our investments and ways to behave and everything that comes with that we were we were in a way a sort of perfect perfect person and he calls this the the noble savage and people applied this to architecture lachey a French priest wrote this book where he he looks back to what the No Savage would have had pre civilization so again this was seen as a kind of reaction for to the Baroque if you need the the noble savage wandering around would would have a post for a column he wouldn't put a little plaster next to it or have pretend post because it looked nice everything would be very essential and so you have here you have these trees looking like columns and then a roof which looks like the gable end of a pediment so the idea is that if you use a pediment or a column it should carry load or reflect a roof rather than just being your own artistic whim that for doing it and you have people like chambers who is one of the great English neoclassical architects who tries to speculate about what the earliest houses looked like and how these would reflect classical architecture the feeling that baroque wasn't wasn't the only way wasn't the best way of doing architecture had early periods of in a way earlier earlier problems last time I talked about how Bernini came to Paris in 1665 and showed his scheme of the Louvre to louis xiv which was this curved building and it was dismissed and this building was built which could be seen as the first neoclassical building and I think when you're studying a period like this it's quite important to see that it wasn't a matter of just one day it neo-classical it was this almost like little islands of neoclassicism among bits of baroque it's it's a kind of very complex period also in France but obviously much later the neoclassical period had a huge influence on people like Gabriele and his pretty tree in all is a very good example here you don't see unnecessary curves in fact pretty much any curves there's no arches hardly any diagonal lines us all very linear the columns are all holding weight there's no pretend columns they're highly neoclassical building he was a favorite of Livy the fifteenth and he did this building in Bordeaux again this does have Pearl asters and this is very much this this idea that there are fragments of neoclassicism which are intermixed with the Baroque but the pediment is a straight one unlike the earlier one we saw which was has several unnecessary curves on it as time went on the French got more and more neoclassical and they abandoned the plasters so you just have columns which are load-bearing the pediment reflects the the roof pitch this is the Pantheon in Paris and you can see how there's a deliberate attempt to make all the columns load-bearing they're carrying loads down from the roof down from the vaulting and that's what they perceive as making beautiful architecture here a complete string of columns holding the weight very rational very simple with a heavy dose of classical inspiration for the ornaments the neoclassical period was very long for the French all the way from halfway through Louis the fifteenth train all the way through the Revolution and to Napoleon and there are many great neoclassical monuments in Paris and throughout France and this one the Madeleine it's a classic example looks like a reproduction of a Roman temple effectively if there was a switch when the baroque ended and new classicism started it would be in about 1714 1715 a whole lot of events happened around that time in England and France which made that the tipping point so louis xiv died in 1715 and george the first was crowned in 1714 he succeeded Queen Anne and there was a feeling that all of Queen Anne was effectively the last of the Stuart monarchy and obviously with the with Bloody Mary and everything else there's a feeling that they had to have a prosthetic so George was by no means that the closest closest heir of Queen Anne but he was probably the closest prostate and the Whig party in England were the Progressive Party and they were very keen to see George on the throne to avoid a Catholic monarch with all the kind of baroque tendencies that that entailed this is a George the first and george ii who sort of dominated the the first half of the 18th century also in 1715 there was a book published called Vitruvius Britannicus which was a book of all the significant houses or of the time drawn out in engravings and circulated and this was very much a manifesto written by Colin Campbell he disliked the brach immensely and in his introduction to this book he talks about how the baroque is a all the works of Bora Meany and Bernini were able to corrupt mankind and saw them as licensures and abortion and he wanted a more rational more Protestant masculine type architecture in the same year you have an Italian architect called Leone who came over and he did a translation of Palladio's for books Palladio the great Renaissance architect wrote his four books which was a very rarefied book and very few people who would see it but getting it trans into translated to English allowed it to be seen by a bigger audience and you can see here this illustration shows that sort of divine light shone on Palladio and then you have this little cherub here whose drawing and this is old man whose revealing Palladio so this is these very much saw Palladio as as the way to go the way back to the ancients as in contrast to the Baroque this administration from calling candle Gamble's Vitruvius Britannicus interesting to note that colin campbell trained as a lawyer and I very much see this as a as a neoclassical approach because he's he's going on what's been done in the past how can I you can justify things by past decisions in the same way that a with case law you can say this was done in this case so we can do this and I think he's exactly what he did applying to architecture so the two the two figures that the the Whig party who are in ascendancy were advocating were Palladio and Inigo Jones Inigo Jones was Charles the First's and James the first architect he was a follower follower of Palladio he met Palladio's pupil Scott C in in Rome so it was these two figures who they felt would make English architecture a new English architecture for a new royal family a new age here's Palladio's most celebrated Avella the rotunda and I think the the Whig party found this attractive because it's simple there aren't too many curves it's bold and they just felt it was politically the right sort of architecture for the time here's another one of Palladio's Villa at Villa Bader our very simple rational looking buildings Inigo Jones likewise his buildings are not over ornate they take on a lot of Pilate whose rules there's a strong reliance on proportion and people like Colin Campbell are here at Meredith castle copied Palladio's villas and made them their own made a very English take on them this is chidduck house where our Lord Burlington took Palladio's example again from the rotunda but also other other villas and made these very Palladian buildings which were popular in the first half of the 18th century one of the largest Palladian period buildings is hokum Hall in Norfolk and there's a certain look to these Palladium buildings this one's by William Kent which is very recognizable you get these very simple pediments you get finished in windows you get windows with pediments above them it's not really Palladio it's an english-style all of its own and highly recognizable often with this piano nobile a a raised ground for all of rustic ation this one as well where you have the raised rustic ation a four column portico with a pediment what is interesting about the Pelagians is the Rococo movement was was was going full steam ahead during this period and what what they did is they often had very simple exteriors and then the interiors were full of Rococo ornament and decoration and England and Ireland were particularly strong on Rococo we had some amazing craftsmen so who could do these hoho burrs mythical creatures and so on with real beauty and grace this is also in the same house clayton hall where they're using chinese ornament with Rococo yet the exterior is very plain in Ireland you have buildings like Russborough which are very played in on the outside with the portico double square windows these little curved colonnades but inside you have highly decorative rococo plasterwork this plus work was done by some brothers called the la Franchini brothers who came from what is now switzerland came to Ireland and did these fantastic examples of Rococo also at Castle Town which has a very simple exterior inside is full of this highly ornate plasterwork done in a Rococo style also by the laughs Ranjini brothers that is some of the best rococo plasterwork in the world over in America Thomas Jetson was also very taken by Palladio slightly later than the English movement were moving more into the mid 18th century but in the same way that pelagianism appealed to the the Whigs as this sort of rational sensible form of classicism it also appealed to Thomas Jessen for the same reason and he did buildings like the University of Virginia in this highly classical style I did a reproduction of the Pantheon and also his own house where he's using the Doric order and he had a copy of Palladio and just took elements from it very undiluted with not much from his own thing moving on to the second half of the 18th century there was a real excitement about the ancient monuments people were starting to dig up more and more things you had Pompeii was discovered and there was a real cult of going to see these things and the Grand Tour which was a trip which gentlemen did during this period and they visited the great cities of Italy was was seen as a sort of essential part of a gentleman's education and a lot of stuff was was was brought back and various they're very societies in London where they exchanged images and prints of it was very much a status symbol to go on a grand tour and knowing about classical sculpture and classical architecture was was sort of a way of saying how educated and tasteful and in one you were a lot of paintings of this period were often fanciful paintings of ruins of ancient Rome and in fact they were ruined was was all part of the romance and the enjoyment of that period painters like Purcell and Claude Lorrain would would paint scenes where there were temples just sporadically dotted around the the painting we're not talking about the kind of typical Renaissance or painting where there's something in the middle and two symmetrical things either side it's the enjoyment of what's known as picturesque placement of temples this enjoyment of positioning temples in asymmetrical places to make a picturesque composition was taken up by architects like William Kent and later capability Brown when designing stone they would place temples not symmetrically but just what would look like a painting by Claude Lorrain or Purcell or anyone of that school and this was a very important movement probably the biggest contribution that England has had to our history is the picturesque movement has been taken for everything every Park every regardin of any scale has been influenced by the picturesque movement it really was the first time that a symmetry was deliberately people tried to make things asymmetrical for the first time rather than always trying to make things symmetrical and this is star head where you get a bridge composition with with the temple you're effectively making compositions with real trees water monuments rather than painted ones and likewise here at Ralston you have a temple and earn a river the landscape and they all make a real 3d Claude Lorrain painting after the initial picturesque movement you had people like Pyrenees a who loved doing first of all drawings edging rather of ancient Rome and he he became a big influence he was he was an architect in his own right and he one of his projects prodigies was Robert Adam Robert Adam became the dominant architect of George the Third's reign and really the first Internet architect of international standing in England he's you know he to architecture he also did furniture and even though you can talk about things being a damask and that can be anything from China to furniture to architecture to carpet design and so he was he had a huge influence but really came out of Piran Aizaz stable he started his life influenced by pyramid Bernays a measuring Roman monuments and in a way he was a reaction to the Pelagians who came just before him he didn't the Palladio didn't really measure things very well he measured the bottoms of temples but he never climbed up at the top and checked in other dimensions and it was also quite limited pool and of monuments that he measured and he probably didn't see all of them with his own eyes and atom by measuring things like diocletian's palace in split was trying to expand the repertoire of what a classical object architect could use things like this arch here which the Palladian would never use was used by the Romans so suddenly you have a kind of imprimatur to do something crazy like that likewise these columns that bounce off the top of the arch rather that bounce off the top of columns rather than having in posts and all of that gave the architects something else to play with so he he took lots of measurements and made these engravings of his measurements and came back to London with hundreds of drawings and ideas effectively to say Pelagianism Sauveur there's a lot a lot more to ancient Rome than meets the eye and here you go this is what I'll do and this is one of his buildings I think consciously I'm Palladian so he's getting rid of things like the pediment of the center this is a rather strange structure which is actually based on the arch of Constantine in in Rome again he's showing off his knowledge that he's been on the Grand Tour he's seen the arch of Constantine and there's also more sort of freedom in his work where his work is a lot more thin and attenuated these columns here it's an ionic order which cording in Palladio should only be nine times its width these look this looks looks like ten or eleven times it's its width there is an idea that Adam was quite a shrewd businessman and he knew that a thinner column would cost less than a fat column but I think also at that period he wanted things to be more and elegant more and more slender more and more delicate he also a lot of color in his his work which and a lot of this very thin scale all in the ornament which he also would have seen in Rome [Music] this is cyan house highly decorative highly ornamental but classical in that it's it's the next stage on from Palladio with forms that you would never none of these moldings you would see in Palladio they're all from measurements that he had himself or moldings he's made up these ones are at kettle stone hall and you see here they're very kind of Roman space with these very thin ornament and this is this in a way is a reaction to the baroque and Rococo where will the ornament is quite heavy and it's very light sometimes these are just done in relief of a matter of millimeters he also did a lot of buildings in Edinburgh he was a massive figure we worked with his brother James and his father William was a palladium architect so in this I'm distinguishing from Palladio you've got arches that aren't actually proper arches because that isn't a full half circle you've got column capitals that nothing like Palladio would have done although there is quite a lot of Palladio here with a raised piano nobilis so again it's a mix of Palladio but taken on to the next level and here are some light fittings and tables that adam designed urns as well another figure of the second half of the 18th century was James Wyatt he had a brother Samuel who was also an architect and they were all part of this movement of getting away from Palladio and trying something new so no pediment on the center and pediments on the sides strange arrangements of coupled columns why it was very free with his style he like Adam did these very thin columns very thin entablatures and he also had very thin ornament as well so it's a reaction to the the heaviness the barack and also to a lesser extent the heaviness of Palladio this is handing him Hall and you can see the relief is all very thin the Palast is hardly stick out from the wall at all Wyatt also did gothic buildings this is font Hill Abbey which fell down shortly after it was was built so although architects like war Adam and Wyatt were essentially neo-classicists they also had an interest in gothic which wasn't their main part of their practice but it was it was there it was there on the side and I think it's all too easy to say that there was this whimsical period where they tried you know Rococo Chinese whatever style and then that all stopped and they were neoclassical there was this undercurrent of I've got it going throughout the period this is another wire building it has the classic thing of not a full circle a full half circle for an arch or an ellipse but just like an arc which is very very popular and second half of the 18th century very thin ornament very big windows very thin entablature the pediments are are very shallow as opposed to the much more steep ones of the Pelagians also as we're getting to the the late 18th century Greece gets opened up it had been out of bounds during the Ottoman Empire but slowly little by little people started seeing ancient Greece and taking the argument that the further you go back through history the closer you are to the truth Greece was in a way the the top of the pile this is where all the great philosophers were from and a lot of people saw Greece as this is the ultimate form of classicism and what would have been copying in Rome is just a crude representation it isn't it's a it's a shadow of what we should be doing - archeologists called Stuart a vet measured the buildings of the Acropolis and measured them and made a book over a very long period of time slowly disseminated these these moldings which were which were copied so I mean the principal monuments were the Eric thin and the Parthenon and while this is the temple of nyquil actually knocked down but there was another temple which is now destroyed which is called the temple of Issus which they measured and that was the first one which they actually reproduced as a measure drawing and that is probably honest one here it has had a huge huge influence virtually every Greek Revival is this Capitol in England and you see it in every town you'll see it in Colchester several times it seems to be the capital they or they all used very kind of user friendly as well as part of this movement people would take back to England pieces of the Parthenon this is the Elgin marbles as we get to the late 18th century early 19th century architects started to reproduce parts of the Acropolis in London this is some Pancras Church and you can hear you've got the Eric thean I think that's the temple of winds or a version of the temple of winds there the Eric thean has this porch with Cary attics which is reproduced at some pancreas Church the way that Greek Revival architects worked was that they showed off their scholarship by copying the elements exactly they didn't really play with them settling in in England and here in Scotland as well although this architect Greek Thompson enjoyed sort of giving it an extra twist of his own his work most of it most of which is around Glasgow is very inventive using these forms of Greek architecture in a very creative way the love of Greek architecture was not popular with everyone Pyrenees a who made his life's work measuring Roman architecture in illustrations like this which are sort of polemical in a way was just saying you look around Rome you can find far more than there is to be seen in in Athens and here's a whole example of Roman capitals either side that he's measured from various churches which there are hundreds and there's limited things in in ancient Greece so that there was this rivalry between whether you follow Rome or you follow Greece we're now into sort of George the fourth reign and you've now got architects like Nash who is the one of the dominant architects of this of George the fourth or the Regency period and you can see he's got Greek style capsules Greek moldings done on a vast scale to sort of house people on Regents Park and using curves and he's sort of making Greek architecture his own in very much as a sort of stage set he was very good friends with George the fourth and it's the back of Buckingham Palace he also did Brighton Pavilion which is done in a mogul style with sort of elements from all over the place they're sort of gothic chinoiserie all sorts mix mixed in and this is again part of this movement like the chinoiserie earlier on in the century where as they explore more more parts of the world they took these ideas back so again he isn't a Wow he really was not a pure neo-classicists he enjoyed doing architecture of all styles he also experimented with picturesque compositions of plans we talked about the the picturesque landscape which were done by capability Brown and Kent but people like Nash would do picturesque compositions or for houses so this period they're drifting into doing asymmetrical houses which make virtues of the best views and allowing clients to have rooms where they wanted not have rooms because the symmetry of the plan determines certain size rooms in certain places also at this period was the architect John Soane and he he took a Greek Revival in a very personal direction almost a sort of a kind of modernist approach although he actually he he was in love with the architecture of the ancient world he did make a style that was very clipped sort of minimal style yet using classical details and he was fairly free about what details he used sometimes Romans sometimes Greek sometimes gothic you get things like no cornice on the top of a building which has really unheard of in the period and these very strange kind of arch structures this is in his house that the last two were as is housed in Lincoln's Inn Fields which is an amazing collection and some defines his his work and his interest was these sort of quirky things like domes he often did these domes that look like sort of almost like kind of balloons or something just just canopies where light would come down he'd used mirrors it's all terribly clever little restless for my taste but clever nonetheless and he had a huge collection of casts and fragments from ancient Greek and Roman buildings and also Egyptian buildings as well this is a pit hangar Abbey which was his house in the country a very personal take on classism with with a Greek strongly bond this one sort of strongly Greek element all quite pared down he was the architect for the Bank of England most of what a lot of it has been destroyed and built on top of and he used as his crib for that the Temple of Vesta at Tivoli which he took the latest measurements which had a very Greek quality sewn like the other octants the period would happily do gothic and these these last two drawings were by his employee pupil Gandhi he needed his fantastic of apocalyptic watercolors of his schemes and they were as ruins which was very much a kind of neoclassical enjoyment to see things as ruins or half builds because it looks much the same another dominant neoclassical figure at the time was William Wilkins this is down in college and we're now into kind of 1800 to 1820 sort of period this is a direct copy of the Erechtheion Wilkins was a student at Cambridge University and built a lot in Cambridge and East Anglia generally he was he was involved in theater a lot of towns in East Anglia here at the Grange he designed a version of the Parthenon a sort of classic Greek Doric building but he also did gothic as well so this is the screen at King's College which is done in a Gothic style to go with the chapel moving into Europe you have architects like Schinkel in a way that this is the ultimate work of neoclassicism and it is a gallery to store and display neoclassical sculpture and it has all the neoclassical elements no arches hasn't got a pediment in the middle it doesn't have the rusticated base strongly Greek feel to it with all the elements coming from directly from Greek sources and this is a guard house Doric guard house he did again he's he's quite free he takes away the Triglav and puts a sculpture in its place and then uses instead of having the car seat just where the trigger is he zips the agassi the way along the molding but he also did gothic buildings this is one of his gothic works and I never very much if if the brief demands gothic will do gothic if the brief demands classes and we'll do classicism over time gothic was becoming more and more popular particularly in the north of the Alps where people were questioning why why are we doing classical well I mean in a way it said logical that the the wigs decided that Pelagianism was the English style because it comes from Italy and they felt it wasn't indigenous so with northern European architects and English architects they liked Gothic because they felt that's ours and this little current of Gothic was was becoming more and more more and more dominant the interest in the enjoyment of Gothic grew in the early nineteenth century and became the dominant style and when they decided to rebuild the palaces of Westminster it was decided that should be done in Gothic style and that will be the the next lecture which is next chapter in architectural history you

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Length: 53min 54sec (3234 seconds)

Published: Tue Nov 12 2019