Wren, like Inigo Jones, has left behind him a great unexecuted design which in many respects is more noble than anything that he actually built. This is his earlier design for St. Paul’s Cathedral, which he planned as a Greek cross, with an ampler dome than the present cathedral possesses, but not so lofty. A large model of this design exists. Had it been carried out the exterior of the building would probably not have appeared so commanding, perhaps not so graceful, as it actually is; but the interior would have surpassed all the churches of the style in Europe, both by the grandeur of the vast arched space under the dome and by the intricacy and beauty of the various vistas and combinations of features, for which its admirably-designed plan makes provision.
Wren had retired from practice before his death in 1723. His immediate successors were Hawksmoor, whose works were heavy and uninteresting, and Sir James Vanbrugh. Vanbrugh was a man of genius and has a style of his own, “bold, original, and pictorial.” His greatest and best work is Blenheim, in Oxfordshire, built for the Duke of Marlborough. This fine mansion, equal to any French château in extent and magnificence, is planned with much dignity. The entrance front looks towards a large space, inclosed right and left by low buildings, which prolong the wings of the main block. The angles of the wings and the centre are masked by two colonnades of quadrant shape, and the central entrance with lofty columns which form a grand portico, is a noble composition.
The three garden fronts of Blenheim are all fine, and there is a magnificent entrance hall, but the most successful part of the interior is the library, a long and lofty gallery, occupying the entire flank of the house and treated with the most picturesque variety both of plan and ornament.
Vanbrugh also built Castle Howard, Grimesthorpe, Wentworth, King’s Weston, as well as many other country mansions of more moderate size.
Campbell, Kent, and Gibbs are the best known names next in succession. Of these Campbell is most famous as an author, but Gibbs (1674-1754) is the architect of two prominent London churches—St. Martin’s and St. Mary le Strand, in which the general traditions of Wren’s manner are ably followed. He was the architect of the Radcliffe Library at Oxford. Kent (1684-1748) was the architect of Holkham, the Treasury Buildings, and the Horse Guards. He was associated with the Earl of Burlington, who acquired a high reputation as an amateur architect, which the design of Burlington House (now remodelled for the Royal Academy), went far to justify. Probably the technical part of this and other designs was supplied by Kent.
Sir William Chambers (1726-1796) was the architect of Somerset House, a building of no small merit, notwithstanding that it is tame and very bare of sculpture. This building is remarkable as one of the few in London in which the Italian feature of an interior quadrangle is attempted to be reproduced. Chambers wrote a treatise which has become a general text-book of revived classical architecture for English students. Contemporary with him were the brothers John and Robert Adam, who built much, and began to introduce a severity of treatment and a fineness of detail which correspond to some extent to the French style of Louis XVI. The interior decorations in plaster by these architects are of great elegance and often found in old houses in London, as in Hanover Square, on the Adelphi Terrace, and elsewhere. The list of the eighteenth century architects closes with the names of Sir Robert Taylor and the two Dances, one of whom built the Mansion House and the other Newgate; and Stuart, who built several country mansions, but who is best known for the magnificent work on the antiquities of Athens, which he and Revett published together in 1762, and which went far to create a revolution in public taste; for before the close of the century there was a general cry for making every building and every ornamental detail purely and solely Greek.
The architects above named, and others of less note were much employed during the eighteenth century in the erection of large country houses of Italian, usually Palladian design, many of them extremely incongruous and unsatisfactory. Here and there a design better than the average was obtained, but as a rule these stately but cold buildings are very far inferior to the picturesque and home-like manors and mansions built during the reigns of Elizabeth and James I.
Fig. 83.—Houses at Chester. (16th Century.)