Robert Adams Revolution In Architecture.pdf

University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Robert Adam's Revolution In Architecture Miranda Jane Routh Hausberg University of Pennsylvania, miranda.hausberg@gmail.com Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Hausberg, Miranda Jane Routh, "Robert Adam's Revolution In Architecture" (2019) Publicly Accessible Penn Dissertations 3339 https://repository.upenn.edu/edissertations/3339 This paper is posted at ScholarlyCommons https://repository.upenn.edu/edissertations/3339 For more information, please contact repository@pobox.upenn.edu Robert Adam's Revolution In Architecture Abstract ABSTRACT ROBERT ADAM’S REVOLUTION IN ARCHITECTURE Robert Adam (1728-92) was a revolutionary artist and, unusually, he possessed the insight and bravado to self-identify as one publicly In the first fascicle of his three-volume Works in Architecture of Robert and James Adam (published in installments between 1773 and 1822), he proclaimed that he had started a “revolution” in the art of architecture Adam’s “revolution” was expansive: it comprised the introduction of avant-garde, light, and elegant architectural decoration; mastery in the design of picturesque and scenographic interiors; and a revision of Renaissance traditions, including the relegation of architectural orders, the rejection of most Palladian forms, and the embrace of the concept of taste as a foundation of architecture In his own time, he became the second architect in European history (after Andrea Palladio 1508-80) to be associated with an eponymous style —today known as the “Adam Style,” and, in the eighteenth-century, the “Adamitic mode.” Adam further distinguished himself as one of the first professional architects in modern Britain, within an era that had only recently adopted widespread use of the term “architect.” To elevate his professional status, he freshly and sharply differentiated between the architect and builder, and undertook considerable selfpromotional efforts With his two pioneering publications (Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia of 1764 and his Works), he established himself as an erudite, scientific antiquarian and as a connoisseur of buildings Moreover, the architect-cum-marketer deftly and innovatively composed his books to address a modern, critical, reading public (especially the emergent architectural connoisseur) and made robust arguments for the leading roles of domestic architecture and architectural decoration in shaping British identity Drawing on a wide-range of sources, this project argues for a more comprehensive vision of the nature of Adam’s revolution and new consideration of his significance as an architect, writer, and public figure It also builds on scholarship that seeks to contextualize Adam as a product of the Enlightenment, the Romantic era, and a rapidly-changing, modern Britain Degree Type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group History of Art First Advisor David B Brownlee Keywords Adam, Britain, Eighteenth-Century, Picturesque, Revolution, Scenographic This dissertation is available at ScholarlyCommons: https://repository.upenn.edu/edissertations/3339 Subject Categories History of Art, Architecture, and Archaeology This dissertation is available at ScholarlyCommons: https://repository.upenn.edu/edissertations/3339 ROBERT ADAM’S REVOLUTION IN ARCHITECTURE Miranda Hausberg A DISSERTATION in History of Art Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2019 Supervisor of Dissertation David Brownlee Frances Shapiro-Weitzenhoffer Professor of Nineteenth-Century European Art Graduate Group Chairperson Holly Pittman Bok Family Professor in the Humanities Dissertation Committee Members: Michael Leja, James and Nan Wagner Farquhar Professor of the History of Art André Dombrowski, Associate Professor of History of Art For my mother, my husband, and my adorable children, Gus and Marian ii ACKNOWLEDGMENTS Foremost, I extend deep gratitude to my advisor and mentor, Professor David Brownlee Professor Brownlee has fundamentally shaped my identity as a scholar and as a student of art, and has inspired me to improve each day I have had the great pleasure and privilege to learn from his command of modern European architecture and intellectual history, from his gifts for effortlessly pinpointing salient points and crafting sharp-witted and sparkling historical narratives, and from conversations, particularly during the dissertation phase, in which he broadened my ambition and imagination, compassionately and wisely advised me, and focused me on the task at hand I am humbled and honored to be his student I also offer tremendous thanks to Professor Michael Leja, Professor André Dombrowski, and Professor Conor Lucey I feel unduly spoiled that they are my readers More significantly, each has deeply enriched my intellectual life My admiration and respect for these scholars is matched only by my desire to be more like them Professor Lucey’s expertise in eighteenth-century architecture in Ireland and Britain is a constant source of inspiration, as are the masterful teaching and scholarship of Professor Leja and Professor Dombrowski I must also note that Professor Leja’s book, Looking Askance, inspired me to become an academic both because of its fascinating content and the sheer power, beauty, and clarity of the expository writing Thanks are also due to Professor Michael Cole, Professor Dalibor Vesely, and Professor David Leatherbarrow Particularly during my coursework at Penn, each of these scholars greatly helped me to become a stronger writer and thinker and played large roles in teaching me the craft of art history I have fond memories of listening to their iii lectures and having conversations with them about a remarkably wide-range of topics Working with Professor Cole on a Master’s thesis was a turning point in my academic career and gave me the confidence to develop topics that are both meaningful to me and contribute to the field I will never forget the laughter of Professor Vesely at the moment he learned (after a twenty-minute impromptu discourse, delivered in a kind effort to guide me in a paper topic) that I had not wanted to write about “Zeus,” but rather “zoos.” Professor Leatherbarrow’s artful synthesis of architectural history, form, and theory in his lecture courses, his insatiable intellectual curiosity, and his extensive reading and knowledge of the field motivated me and shaped many of my intellectual activities and goals during my early years at Penn While writing this thesis, I was fortunate to have participated in a Georgian Group conference in London on the Adam brothers in September 2015, organized by Dr Geoffrey Tyack and Dr Colin Thom It was my delight to speak on Robert Adam’s scenographic interiors in a session that was chaired by Jeremy Musson and also featured papers by Conor Lucey and Richard Ireland on Robert’s decorative work I am thankful for the encouragement of the conference members, especially Colin Thom, Alistair Rowan, and Jeremy Musson, in pursuing my work on Adam I must also thank the institutions, librarians, and administrators, who have helped me to complete this project Darlene Jackson, the administrative and graduate student coordinator in the Department of Art History at Penn, in particular, has provided immediate and strong support in all of the various needs that have arisen during my time as a student, and particularly during the last stages of the dissertation I would also like to extend special thanks to the librarians at Fisher Fine Arts and Ven Pelt Libraries at the iv University of Pennsylvania, and at the Library of the Paul Mellon Centre for Studies in British Art in London The generous financial assistance from the University of Pennsylvania, the Paul Mellon and Kress Foundations was indispensable to completing the degree and I also extend to them my deepest thanks The support of my family and friends has allowed me to complete this thesis despite events that slowed me during its creation My husband and especially my mother provided me with unconditional love and encouragement and for that I am eternally grateful I must also thank Professor Brownlee and the art history department at Penn for their unfailing support and patience while I weathered health issues that waylaid me, initially for months and then years, and a change in the topic of the thesis At various moments while writing the dissertation, I greatly enjoyed the warm company and encouragement of friends, including Olivia Oldridge, Carolyn Brunelle, Monika BhagatKennedy, John Hagood, Emily Gerstell, and Andrea Kauffman-Berry My in-laws, Margaret and Mark Hausberg, have also been a tremendous source of joy and support The childcare provided by Deborah Rowe and Megan Hawtree gave me the time and support needed to complete this project, knowing that my children were in excellent hands Thank you all Finally, profound thanks are also owed to my undergraduate advisor and mentor, Professor Eugene J Johnson Professor Johnson unknowingly converted me to an art historian during his first lecture of Art History 101, which I heard as a freshman at Williams College He began the lecture with a comparison of a version of the Romanian Modernist sculptor Constantin Brâncuşi’s “The Kiss” (1913) and the Italian Neoclassical sculptor Antonio Canova’s “Cupid and Psyche” (1787) — one comparison among many v others that I would never forget Professor Johnson’s lectures instilled in me a kind of joy I did not know was possible and that I continued to experience in subsequent art history courses at Williams, especially those of Professor Michael Lewis and Professor Zirka Filipczak, and beyond Thank you, E J., for making the world seem infinitely beautiful, and for being a constant source of strength, inspiration, and support vi ABSTRACT ROBERT ADAM’S REVOLUTION IN ARCHITECTURE Miranda Hausberg David Brownlee Robert Adam (1728-92) was a revolutionary artist and, unusually, he possessed the insight and bravado to self-identify as one publicly In the first fascicle of his threevolume Works in Architecture of Robert and James Adam (published in installments between 1773 and 1822), he proclaimed that he had started a “revolution” in the art of architecture Adam’s “revolution” was expansive: it comprised the introduction of avantgarde, light, and elegant architectural decoration; mastery in the design of picturesque and scenographic interiors; and a revision of Renaissance traditions, including the relegation of architectural orders, the rejection of most Palladian forms, and the embrace of the concept of taste as a foundation of architecture In his own time, he became the second architect in European history (after Andrea Palladio 1508-80) to be associated with an eponymous style —today known as the “Adam Style,” and, in the eighteenthcentury, the “Adamitic mode.” Adam further distinguished himself as one of the first professional architects in modern Britain, within an era that had only recently adopted widespread use of the term “architect.” To elevate his professional status, he freshly and sharply differentiated between the architect and builder, and undertook considerable selfpromotional efforts With his two pioneering publications (Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia of 1764 and his Works), he established himself as an erudite, scientific antiquarian and as a connoisseur of buildings Moreover, the architect-cum-marketer deftly and innovatively composed his books to address a vii C.vT.Bg.Jy.Lj.Tai lieu Luan vT.Bg.Jy.Lj van Luan an.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj Do an.Tai lieu Luan van Luan an Do an.Tai lieu Luan van Luan an Do an Figure 6.25 Robert Adam, Inside view of Drury Lane Theater, 1775, as it appears from the stage (1776); engraved by Benedetto Pastorini The Works in Architecture of Robert and James Adam, Volume II, No (June 1778), Plate VII Figure 6.26 David Garrick’s Villa at Hampton & Shakespeare Temple (left mid-ground) (Print from J Cooke’s The Modern Universal British Traveller; or A New Complete, and Accurate Tour through England, Wales, Scotland, and the Neighbouring Islands, London, 1779.) 456 Stt.010.Mssv.BKD002ac.email.ninhd.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj.dtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn.Stt.010.Mssv.BKD002ac.email.ninhddtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn C.vT.Bg.Jy.Lj.Tai lieu Luan vT.Bg.Jy.Lj van Luan an.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj Do an.Tai lieu Luan van Luan an Do an.Tai lieu Luan van Luan an Do an Figure 6.27 Robert Adam, Plan of Syon House, engraved by Peter Mazell, The Works in Architecture of Robert and James Adam, Volume I, No (July 1773), Plate V Figure 6.28 Robert Adam, Dining Room, Kedleston Hall, Derbyshire, 1759-65 457 Stt.010.Mssv.BKD002ac.email.ninhd.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj.dtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn.Stt.010.Mssv.BKD002ac.email.ninhddtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn C.vT.Bg.Jy.Lj.Tai lieu Luan vT.Bg.Jy.Lj van Luan an.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj Do an.Tai lieu Luan van Luan an Do an.Tai lieu Luan van Luan an Do an Figure 6.29 Robert Adam, faux marble foyer of Home House, No 20 Portman Square, London, 1772-3 458 Stt.010.Mssv.BKD002ac.email.ninhd.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj.dtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn.Stt.010.Mssv.BKD002ac.email.ninhddtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn C.vT.Bg.Jy.Lj.Tai lieu Luan vT.Bg.Jy.Lj van Luan an.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj Do an.Tai lieu Luan van Luan an Do an.Tai lieu Luan van Luan an Do an Figure 6.30 Robert Adam, imitation bronze plaque above the fireplace in the anteroom at Syon Brentford (West London), 1762-9 459 Stt.010.Mssv.BKD002ac.email.ninhd.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj.dtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn.Stt.010.Mssv.BKD002ac.email.ninhddtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn C.vT.Bg.Jy.Lj.Tai lieu Luan vT.Bg.Jy.Lj van Luan an.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj Do an.Tai lieu Luan van Luan an Do an.Tai lieu Luan van Luan an Do an Figure 6.31 Apollo, Roman copy (ca 120-140) of a lost bronze original (350-325 BC) Greek sculptor Leochares, Vatican Museums Figure 6.32 Laocoön, copy after a Hellenistic original from ca 200 BC., Vatican Museums 460 Stt.010.Mssv.BKD002ac.email.ninhd.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj.dtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn.Stt.010.Mssv.BKD002ac.email.ninhddtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn C.vT.Bg.Jy.Lj.Tai lieu Luan vT.Bg.Jy.Lj van Luan an.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj Do an.Tai lieu Luan van Luan an Do an.Tai lieu Luan van Luan an Do an Figure 6.33 Mrs Sarah Siddons (1755–1831) as Euphrasia (from 'Grecian Daughter' by Arthur Murphy), painted by William Hamilton, 1784 (Stratford-upon-Avon Town Hall) Figure 6.34 Sir Thomas Lawrence, P.R.A (Bristol 1769-1830 London), Portrait of John Philip Kemble (1757-1823), full-length, as Rolla from Sheridan's Pizarro 461 Stt.010.Mssv.BKD002ac.email.ninhd.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj.dtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn.Stt.010.Mssv.BKD002ac.email.ninhddtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn C.vT.Bg.Jy.Lj.Tai lieu Luan vT.Bg.Jy.Lj van Luan an.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj Do an.Tai lieu Luan van Luan an Do an.Tai lieu Luan van Luan an Do an Figure 6.35 Thrust Stage in Christopher Wren’s Drury Lane Theater, London, 1674 Figure 6.36 Proscenium Stage, Interior Drury Lane Theater, London, 1808; Architect: Henry Holland (1791-4), Print: Thomas Rowlandson (1756–1827) and Augustus Charles Pugin (1762–1832) (after) John Bluck (fl 1791–1819) Aquatint engravers: Joseph Constantine Stadler (fl 1780–1812), Thomas Sutherland (1785–1838), J Hill, and Harraden 462 Stt.010.Mssv.BKD002ac.email.ninhd.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj.dtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn.Stt.010.Mssv.BKD002ac.email.ninhddtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn C.vT.Bg.Jy.Lj.Tai lieu Luan vT.Bg.Jy.Lj van Luan an.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj Do an.Tai lieu Luan van Luan an Do an.Tai lieu Luan van Luan an Do an Figure 6.37 Antonio Zucchi, Painted Panels in the Music Room, Harewood House, Yorkshire, 1759-71 Figure 6.38 Antonio Zucchi, Landscape Panels with Ruins, Dining Room, Osterley House, Isleworth (West London), mid-1770s 463 Stt.010.Mssv.BKD002ac.email.ninhd.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj.dtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn.Stt.010.Mssv.BKD002ac.email.ninhddtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn C.vT.Bg.Jy.Lj.Tai lieu Luan vT.Bg.Jy.Lj van Luan an.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj Do an.Tai lieu Luan van Luan an Do an.Tai lieu Luan van Luan an Do an Figure 6.39 Antonio Zucchi, Landscape Panels with Ruins, Dining Room, Osterley House, Isleworth (West London), mid-1770s Figure 6.40 Robert Adam, Gosford House (a panorama of the city of Edinburgh and the Firth of Forth, as seen from the triplet Venetian windows on the west elevation of the main block), Longniddry, East Lothian, Scotland, built to Adam’s plans by the 7th Earl of Wemyss, 1790 – 1800 464 Stt.010.Mssv.BKD002ac.email.ninhd.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj.dtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn.Stt.010.Mssv.BKD002ac.email.ninhddtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn C.vT.Bg.Jy.Lj.Tai lieu Luan vT.Bg.Jy.Lj van Luan an.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj Do an.Tai lieu Luan van Luan an Do an.Tai lieu Luan van Luan an Do an Figure 6.41 Robert Adam, sculpture gallery at Newby Hall, Skelton-on-Ure (North Yorkshire), 1767–76 Figure 6.42 Edward Francis Burney, A view of Philip James de Loutherbourg’s Eidophusikon c.1782 (Pen and grey ink and grey wash, with watercolor) Visitors watching “Satan Arraying his Troops on the Banks of a Fiery Lake, with the Raising of the Palace of Pandemonium” during a performance of Milton’s “Paradise Lost.” 465 Stt.010.Mssv.BKD002ac.email.ninhd.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj.dtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn.Stt.010.Mssv.BKD002ac.email.ninhddtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn C.vT.Bg.Jy.Lj.Tai lieu Luan vT.Bg.Jy.Lj van Luan an.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj Do an.Tai lieu Luan van Luan an Do an.Tai lieu Luan van Luan an Do an Figure 6.43 Robert Adam, Design of a Bridge Illuminated in Honour of His Majesty's Birth Day, The 4th June 1763 By Order of Her Majesty 1763, Pencil, pen and ink and watercolor | 48.0 x 63.5 cm (sheet of paper) | RCIN 917643.c Figure 6.44 Plan of the pavilion for the Earl of Derby’s fête champêtre at The Oaks, Surrey, designed by Robert Adam, 1774; published in Works in Architecture of Robert and James Adam, Vol III (1822), Plate XX 466 Stt.010.Mssv.BKD002ac.email.ninhd.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj.dtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn.Stt.010.Mssv.BKD002ac.email.ninhddtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn C.vT.Bg.Jy.Lj.Tai lieu Luan vT.Bg.Jy.Lj van Luan an.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj Do an.Tai lieu Luan van Luan an Do an.Tai lieu Luan van Luan an Do an Figure 6.45 Antonio Zucchi, the ball-room in the pavilion erected for the Early of Derby’s fête champêtre at the Oaks, Surrey, designed by Robert Adam, 1774 (In the collection of the Earl and Countess of Derby) Figure 6.46 Antonio Zucchi, the supper-room in the pavilion erected for the Early of Derby’s fête champêtre at the Oaks, Surrey, designed by Robert Adam, 1774 467 Stt.010.Mssv.BKD002ac.email.ninhd.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj.dtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn.Stt.010.Mssv.BKD002ac.email.ninhddtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn C.vT.Bg.Jy.Lj.Tai lieu Luan vT.Bg.Jy.Lj van Luan an.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj Do an.Tai lieu Luan van Luan an Do an.Tai lieu Luan van Luan an Do an Figure 6.47 Charles-Louis Clérisseau, Sketch of Painting of the Western Wall of the “Ruined Room” in the Trinita dei Monti, Rome, c 1760; from the series Views of Father Leseur's Cell in the Trinita dei Monti Figure 6.48 Photograph of Clerisseau’s “Ruined Room” in Trinita dei Monti, Rome 468 Stt.010.Mssv.BKD002ac.email.ninhd.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj.dtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn.Stt.010.Mssv.BKD002ac.email.ninhddtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn C.vT.Bg.Jy.Lj.Tai lieu Luan vT.Bg.Jy.Lj van Luan an.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj Do an.Tai lieu Luan van Luan an Do an.Tai lieu Luan van Luan an Do an Figure 6.49 Exterior of Robert Barker’s Panorama in Leicester Square, London, 1789 Figure 6.50 Interior Cross-Section, Robert Barker’s Panorama, Leicester Square, London, 1789 469 Stt.010.Mssv.BKD002ac.email.ninhd.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj.dtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn.Stt.010.Mssv.BKD002ac.email.ninhddtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn C.vT.Bg.Jy.Lj.Tai lieu Luan vT.Bg.Jy.Lj van Luan an.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj Do an.Tai lieu Luan van Luan an Do an.Tai lieu Luan van Luan an Do an Stt.010.Mssv.BKD002ac.email.ninhd.vT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.LjvT.Bg.Jy.Lj.dtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn.Stt.010.Mssv.BKD002ac.email.ninhddtt@edu.gmail.com.vn.bkc19134.hmu.edu.vn