Blenheim Palace by Greenwich architect Sir John Vanbrugh
The 17th century advances in geometry in particular led to the construction of some of the world's most magnificent buildings. Architects such as Sir Christopher Wren were competent mathematicians, and used that knowledge in the design of their buildings. Mathematics and architecture have always been close, not only because architecture depends on developments in mathematics, but also their shared search for order and beauty, the former in nature and the latter in construction. Mathematics is indispensable to the understanding of structural concepts and calculations. It is also employed as visual ordering element or as a means to achieve harmony with the universe.
The Peter's Basillica in the Vatican
The Baroque did not enjoy a long run in England, with a life spanning only a few decades. Yet in that time the new style produced several of England's most important architectural treasures, notably Castle Howard and Blenheim Palace and of course at Greenwich. Baroque architects had been schooled in the classical Renaissance tradition, emphasizing symmetry and harmonious proportions, but their designs revealed a new sense of dynamism and grandeur. Renaissance architects had sought to engage the intellect, with their focus on divine sources of geometry, while their successors aimed to overwhelm the senses and emotions. Baroque architects also mastered the unification of the visual arts -- painting, sculpture, architecture, garden design, and urban planning -- to a remarkable degree, producing buildings and structures with a heightened sense of drama and power.
Les Invalides, The new model for Greenwich under Queen Mary II
The baroque in art and architecture emerged in Rome and Paris shortly after 1600 and soon spread throughout Europe. During this period new social and political systems resulted in the concentration of power in the hands of individuals with absolute authority. Architecture affirmed this through the structures and decorative programs of palaces, churches, public and government buildings, scientific and commercial buildings, and military installations. Magnificent churches, fountains, and palaces attested to the renewed strength of the popes in Rome and Russian Orthodox liturgies.
Charles II planned a palace at Greenwich to rival Versailles
Influneced by his time in France, Charles II had plans for a grandiose palace in the baroque style. However, William III decided not to live at Greenwich, preferring to build a new palace in red brick at Kensington and a to rebuild Hampton Court. While architects also gave baroque forms to Protestant churches, perhaps the Dutch Prince of Orange was felt that Greenwich was being built in a style of architecture too closely associated with the Vatican and the absolute monarchies of Europe.
Indeed, it would seem that building site at Greenwich was a bit of a political 'hot-potato as it was location on the Thames river which meant that a symbol of national presige. Eventually Queen Mary II, decided to continue the building project at Greenwich as a naval hospital. No doubt this was a more sympathetic use for a building built by a recently restored monarchy whose power was based on their religous affiliations with Protestantism. Perhaps it was deemed expedient to distance the monarchy from this association with Catholic Europe, and the absolutism of European monarchs. Instead, the British Monarchy decide to create a naval hospital to rival the military hospital, Les Invalides in Paris, which was being built by 'The Sun King' Louis XIV and in the style of a magnificent baroque Palace.
Palace Square at The Winter Palace
Though a worthy cause, to modern eyes it may still seem strange to buid a hospital as an architectural masterpiece. However, this was certainly not the first time a Baroque building was put to military use. The military at this time was an extension of the crown. The desire of the monarchy to create a monument concerned with those wounded in battle was perhaps more in line with the sentiments of the time. For example, The project of Les Invalides was a custom built hospital for aged and unwell soldiers by an order dated 1670. The name is a shortened form of hôpital des invalides, the hospital or invalids. And Les Invalides is arguably even more magnificant than Greenwich. In October 1915 the baroque masterpiece, The Winter Palace which had been a home to the Russian Tzars in St. Petersburg was rechristened the Tsarevich Alexey Nikolayevich Hospital. The palace became a fully equipped hospital, its staterooms transformed into hospital wards. The Fieldmarshals' Hall became a dressing station, the Armorial Hall an operating theatre. The small throne room became a doctor's mess room, while more lowly staff were accommodated in the Nicholas Hall and the Anteroom. Nurses were housed in the more intimate apartments once reserved for members of the extended Romanov family. The 1812 Gallery became a store room, the vestibule of the Jordan staircase the hospital's canteen, and its landings offices.
William & Mary favored the simplicity of Hampton Court
Sir Christopher Wren was engaged as surveyor, assisted by Nicholas Hawksmoor.John Webb’s existing wing of the new baroque palace, 'the King’s House’ of 1664-69 (now part of the King Charles building) became the cornerstone of Sir Christopher Wren’s grand design. His first plan was for a great three-sided court facing the river, with a grand Chapel as its focal point. However, just before her death Queen Mary forbade it: the ‘vista’ from the Queen’s House to the river (created only by demolition of the old Palace) must be preserved and so this masterpiece of the English Baroque came about almost accidentally, with the Queen’s House as the focal point.
The Banqueting House by Inigo Jones
As one of the principal surviving works of Inigo Jones, the elegant simplicity of the Queen's House is a wonderful example of English palladianism, and deemed to be a most important building in terms of British architectural history. The design of the US White House uses the same style of architecture as that of the Queen's House in Greenwich - it is based on the Palladian style derived from the buildings by Palladio in Renaissance Italy. Much has been written about the mathematical qualites of Palladian architure, including Palladio's own 'I quattro libri dell'architettura' . Often this has been analyzed within the context of a larter collection of architectural treatises, including Vitruvius' 'De architectura' and Alberti's De re aedificatoria as wellas works by contemporaries of Palladio such as Daniele Barbaro, Cesare Cesariano, Sebastiano Serlio and Giacomo Barozzi da Vignola. These Cinquecento writings underscore the importance of proportion, symmetry and geometry in Renaissance Italy: for example, Barbaro maontains that " some arts have more science and others less", and the "more worthy (are) those wherein the art of numeracy, geometry and mathematics is required". Lionello Puppi concludes " Architecture obviously came into this category... Palladio brings to the concrete stage of his planning operation a single-minded scientific approach, arrived at through 'lofty speculation' into number and proportion"
View of Greenwich
As the architect of the layout for Greenwich, Sir Christopher Wren had the foresight to lay out all the foundations early on, so that the basic design would not be compromised. He finally retired in 1716 and was succeeded first by the flamboyant Sir John Vanbrugh, then briefly by Colen Campbell, and he in turn by the more workmanlike Thomas Ripley in late 1729. As Clerk of Works, Nicholas Hawksmoor was always diligent and always overlooked. Building continued in four main phases until 1752: 1696–1710 Whole site was laid out and all foundations dug. King Charles Court remodelled and completed. Queen Anne ‘base’ Court and all ranges of King William Court erected. 1712–1721 North and south pavilions of King Charles Court and north pavilion of Queen Anne Court erected. King William colonnade and steps between King William Court and Queen Mary Court built. In 1725–1733 South pavilion of Queen Anne Court erected and the frontage onto Grand Square faced in stone. 1735–1751 Queen Mary Court completed.The temporary chapel within Queen Anne was removed. The Ripley tunnel connecting Queen Mary Court and King William Court was built.
Charles II hoped to create a rival to Versailles on the Thames
The Painted Hall, probably the finest dining hall in the Western world, is decorated with stunning paintings by James Thornhill, and is part of the King William Court. Wren submitted the designs in 1698, and the roof and the dome above were already in place five years later. Thornhill's decoration, by contrast, took nineteen years to complete. The allegorical theme of the huge and exuberant Lower Hall ceiling is the triumph of Peace and Liberty over Tyrany, and pays due tribute to William and Mary. Beyond the arch in the Upper Hall Queen Anne surveys the continents of the world (America reputedly represented by an image of Pocahontas who was of course in London at that time.
The Painted Hall at Greenwich
The Chapel of St Peter and St Paul was the last major element in constructed and was completed to Thomas Ripley’s design in 1752. In 1779 it was redesigned and rebuilt under the Surveyorship of James ‘Athenian’ Stuart, in the ‘Greek revival’ style for which he was famous, though the detailing was done by his Clerk of Works, William Newton, and it reopened in 1789. Unlike many churches which are a mixture of styles through the ages, the Chapel is a complete and unaltered neoclassical period piece. When it was fully restored in the 1950s, various later wall tablets were relocated to the vestry and it is now almost as it was when opened on 20 September 1789.
The Chapel at Greenwich
Check out this link for 360 degree view of the Chapel!
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