See also:English 18th-century architect and designer . The
See also:dates of
See also:birth and
See also:death of this distinguished contemporary and
See also:rival of the
See also:Adam are not ascertained, but he is conjectured to have been
See also:born about 1736and to have died in 1817 .
See also:Richardson spent three years—from 176o to 1763-travelling in Dalmatia and
See also:Istria, in the south of France and in Italy . During that
See also:period he imbibed the inspiration of a lifetime, and acquired the material for its
See also:practical application . He soon began to show remarkable skill in adapting classical ideals to the uses of his
See also:time, and in 1765 he won a premium offered by the Society of Arts for a design of a street in the classical manner . Richardson's
See also:work is so closely allied to that of the brothers Adam that it is often difficult to distinguish between them, and if it possessed less freedom and variety, and
See also:bore to a smaller extent the impress of an
See also:original mind, it was in the
See also:main exceedingly admirable and satisfying . Richardson was an especially successful designer of ceilings and chimneypieces . He published in 1776 a
See also:Book of Ceilings in the
See also:Style of the
See also:Grotesque . Many of its drawings are of exquisite taste . Nor is his fireplace work, as represented by his Collection of Chimneypieces Ornamented in the Style of the
See also:Etruscan, Greek and
See also:Roman Architecture (1781), less attractive . Richardson's chimneypieces are still to be found in considerable numbers in
See also:town and
See also:country houses . They are mostly of marble, but examples in
See also:wood are not uncommon .
He made extensive use of coloured
See also:marbles, and the effect is constantly that of the sumptuous balancing the austere . Like the
See also:Adams, Richardson often worked with composition enrichments, and his New Designs in Architecture (1792) contains many drawings of interior friezes and columns to be executed either in this
See also:medium or painted to suit the
See also:wall hangings . His versatility ,was considerable, as the titles of his
See also:works, a dozen in number, suggest . For many years he exhibited at the Royal Academy as well as in the Galleries of the Society of Arts . Why such a man should have fallen into penury in his old age we have no means of ascertaining, but we know that his necessities were relieved by Nollekens . His
See also:principal works in addition to those already mentioned were, in
See also:order: Aedes Pembrochianae (1774); Iconology (2 vols.), with plates by
See also:Bartolozzi and other engravers (1778-1779) ; New Designs sn Architecture (1792); Original Designs for Country Seats or Villas (1795) ; The New
See also:Britannicus, a sequel to
See also:Campbell's Vitruvius Britannicus, 2 vols . (1802) ; Ornaments in the Grecian, Roman and Etruscan Tastes (1816) . He also published volumes dealing with vases and tripods, antique friezes and other architectural and decorative details .
WILLIAM TROST RICHARDS (1833-1905)
HENRY HOBSON RICHARDSON (1838-1886)
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