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History of Architecture (AP313) | Term Paper | 2013

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swags of laurel or ribbon, with slender arabesques against backgrounds, perhaps, of Pompeiian red

or pale tints, or stone colors.

Pompeian style of architecture started becoming

evident in the works of English architect Robert

Adam. His interior designs were inspired by the slim,

straight-lined, elegant frescoes of the Third and

early Fourth Roman mural paintings. Robert Adams

Etruscan room from the Osterley Park House, England

was inspired by the recent discoveries in Pompeii

and Herculaneum. He incorporated classical

decorative motifs such as medallions, urns, vine

scrolls, sphinxes, and tripods derived from Roman art

are sparsely arranged within broad, neutral spaces

and slender margins, which he based on the Roman

mural paintings.

Design for a chimney in the Pompeian style by Robert Adam

Ref: http://creadm.solent.ac.uk/custom/rwpainting/ch2/ch2.6.html

Atles Museum, 1823-30,by Karl Friedrich Schinkel

Ref: http://www.all-art.org/history356.html

Robert Adams Etruscan room from the Osterley Park

Ref:http://167.206.67.164/resources/humanities/review/ArtHistory/Gardner%20Art%20History%20Chapters%20Study%20Guide/..%5CG28.b/default.htm


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The Forum, Plat 51, Sir William Gell, Pompeiana: The Topography, Edifices, and Ornaments of Pompeii,published 1817

Ref: http://creadm.solent.ac.uk/custom/rwpainting/ch2/ch2.7.html

In 1762, architect Ange-Jacques Gabriel (1698-1782) started work on his great masterpiece, the Petit

Trianon, set in a garden on the estate at Versailles. It was a perfectly balanced building of simple

uniformity, with a facade that was symmetrically articulated at right angles to form a closed,

independent rectangle. It demonstrates many typical traits of Neoclassical architecture, not least in its

clarity of structure.

Ange-Jacques Gabriel, Palacio de Versalles, Ange-Jacques Gabriel, the Petit Trianon,

Verailles, 1762-68 Verailles, 1762-68

Ref: http://www.all-art.org/history356-1.html Ref: http://www.all-art.org/history356-1.html


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Thus we can observe a deep influence of the excavations in Pompeii and Herculaneum on the

architectural style of the mid 18th century. The rich Rococo style gave way to a more austere and

serious artistic-sensibility with a preference for straight lines, a limited range of floral iconography and

pattern as was seen in the recreated buildings of Pompeii and Herculaneum. We can, thus conclude,

the architecture of that time was based on the pursuit of beauty through the imitation of models drawn

from antiquity.


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Bibliography

Watkin, David.1996. A History of Western Architecture.

Fletcher, Banister and Cruickshank, Dan.1996. Sir Banister Fletchers :A History ofArchitecture.

CliftonMogg , Caroline.The Neoclassical Sourcebook

Watkin, David.1996. A History of Western Architecture.

Fletcher, Banister and Cruickshank, Dan.1996. Sir Banister Fletchers :A History of

Architecture.

The False Door-The Dissolution And Becoming In Roman Wall Painting,2010.Availablefrom: http://creadm.solent.ac.uk/custom/rwpainting/cover/contentspage.html

Gardner's Art Through the Ages: A Global History, Volume ,. by Fred S. Kleiner.

Available from:http://books.google.co.in/books?id=kDNobJFWygcC&pg=PA766&lpg=PA766&dq=relating

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The 18th And 19th Century-Neoclassism and Romanticism. Available from: http://www.all-art.org/history356-1.html

The 18th And 19th Century-From Rococo to Neoclassicism. Available from: http://www.all-art.org/history356-1.html

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