Giles Worsley notes that architectural styles do not always supersede one another but can co-exist, although one style may be dominant. Focusing on the Palladian classical tradition, introduced by Inigo Jones in the 1610s, he shows that this tradition did not die out with Jones's death and revive only during the first half of the eighteenth century, as is commonly assumed, but remained viable until the end of the eighteenth century, rivalling the baroque and rococo styles. Worsley argues that neo-classicism, generally seen as a generic description of architecture in the late eighteenth century, was actually prevalent in British architecture in varying degrees of strength as early as 1615. He examines the architecture of Scotland, Ireland and North America in the seventeenth and eighteenth centuries and shows how styles were influenced by English Palladianism. He also places Palladianism in a European context, pointing out that it was not an isolated phenomenon but was an important feature of Italian, French, Dutch and German architecture during this time. The book thus not only sheds fresh light on British architecture but also provides a new outlook on European and American architecture as a whole.

Detailed text and illustrations examine the buildings of the great neoclassical period, 1730–1875. The roster of masterpieces pictured and described include The Customs House, Dublin; The Bank of England, Liverpool; Newgate Prison, London; The British Museum, London; The National Gallery, Edinburgh; The Fitzwilliam Museum, Cambridge; and many more. 176 black-and-white illustrations.

This study of the Greek revival opens with the rediscovery of Greece, involving the figures like Hell Fire Dashwood, Twitcher Sandwich and the Dilettanti Society. Their propagation of the Neo-Classical theory is explained and the expression of that theory in Greek Revival architecture covered.

Acclaimed British architect Quinlan Terry's guide to more than 2,000 years of classicism in architecture In this beautiful illustrated survey, British architect Quinlan Terry (born 1937) presents his ultimate guide to classical architecture. With intricate and lively sketches, he explains the classical orders of architecture that were created by Vitruvius around 100 AD. The tradition of building using these orders was maintained well into the 20th century, until modernism began to dominate architecture. With this book, Terry, a strong proponent of classical architecture, aims to place focus on the kind of architecture that dominated the field for almost 2,000 years in the West--the vocabulary and heritage of which is known by few today. The book contains a large number of Terry's drawings and sketches from travels, as well as linocuts. Also included are his drawings of such quintessential examples of the use of classical orders as St. Mark's Square and San Giorgio Maggiore in Venice and Inigo Jones' St. Paul's Cathedral in London, alongside drawings of Terry's own structures, such as Brentwood Cathedral in Essex, England. In addition, Terry compares his own studies with those of Andrea Palladio and Vincenzo Scamozzi. Prince Charles, another advocate for classical architecture, who holds Quinlan Terry as his favorite among contemporary architects, provides the preface.

This is the first comprehensive study of the reception of classical architecture in different regions of the world. Exploring the impact of colonialism, trade, slavery, religious missions, political ideology and intellectual/artistic exchange, the authors demonstrate how classical principles and ideas were disseminated and received across the globe. By addressing a number of contentious or unresolved issues highlighted in some historical surveys of architecture, the chapters presented in this volume question long-held assumptions about the notion of a universally accepted ‘classical tradition’ and its broadly Euro-centric perspective. Featuring thirty-two chapters written by international scholars from China, Europe, Turkey, North America, Mexico, Australia and New Zealand, the book is divided into four sections: 1) Transmission and re-conceptualisation of classical architecture; 2) Classical influence through colonialism, political ideology and religious conversion; 3) Historiographical surveys of geographical regions; and 4) Visual and textual discourses. This fourfold arrangement of chapters provides a coherent structure to accommodate different perspectives of classical reception across the world, and their geographical, ethnographic, ideological, symbolic, social and cultural contexts. Essays cover a wide geography and include studies in Italy, France, England, Scotland, the Nordic countries, Greece, Austria, Portugal, Romania, Germany, Poland, India, Singapore, China, the USA, Mexico, Brazil, New Zealand and Australia. Other essays in the volume focus on thematic issues or topics pertaining to classical architecture, such as ornament, spolia, humanism, nature, moderation, decorum, heresy and taste. An essential reference guide, The Routledge Handbook on the Reception of Classical Architecture makes a major contribution to the study of architectural history in a new global context.

From awe-inspiring Norman castles, to the skyscrapers of today, Simon Thurley explores how the architecture of this small island influenced the world.

An examination of Inigo Jones's work within the context of the European early seventeenth century classicist movement. Includes a broad survey of contemporary architecture in Italy, Germany, France and the Netherlands, as well as a close examination of Jones's buildings.

English architecture. With 200 illustrations.

RICE'S ARCHITECTURAL PRIMER covers the grammar and vocabulary of British buildings, explaining the evolution of styles from Norman castles to Norman Foster. Its aim is to enable the reader to recognise, understand and date any British building. As Matthew Rice says, ‘Once you can speak any language, conversation can begin, but without it communications can only be brief and brutish. The same is the case with Architecture: an inability to describe the component parts of a building leaves one tongue-tied and unable to begin to discuss what is or is not exciting, dull or peculiar about it.' RICE'S ARCHITECTURAL PRIMER will explain the language of architecture. With it in your hand, pocket or car, buildings will break down beguilingly into their component parts, ready for inspection and discussion. There will be no more references to that curly bit on top of the thing with the square protrusions. Ungainly and inept descriptions will be a thing of the past and, fluent in the world of volutes, hood moulds, lobed architraves and bucrania, you will be able to leave a cathedral or country house with as much to talk about as a film or play. RICE'S ARCHITECTURAL PRIMER starts with an explanation of the basic ‘Grammar' of buildings: elevation, plan, roof, gable and eave. This will enable the reader to better make use of what is to follow. It will also cover the Orders of Architecture – Doric, Tuscan, Ionic, Corinthian and Composite – so that the vital basics of Classicism are covered. Following this is the ‘Vocabulary'. This will be a chronological reference section covering, period by period, the windows, doors and doorcases, columns, chimneys, arches, balustrades and pediments that make up the built environment.