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Despite the destructive tendencies of later centuries, Georgian buildings survive in a considerable number in Britain and Ireland. Countless Georgian exteriors and interiors can be appreciated for their fine craftsmanship and elegant proportions. What’s more, unlike earlier centuries, the Georgian townscape and landscape can be directly experienced: we can march up and down the complete streets of Bath, Edinburgh and Dublin, just like our Georgian predecessors; we can still contemplate the Arcadian landscapes of Blenheim, Stourhead and Prior’s Park.

Just as the Georgian built environment is easier to access, so information about the architects, their patrons and their working methods survive in greater depth. Architecture was taken seriously by the moneyed classes in this period: architecture was at the heart of the Grand Tour, an essential stage in the education of the privileged. Often they were accompanied by talented protégés, who would draw extensively as they travelled, and draw on their experience in their later careers. The amateur architect still features in this period. Increasingly, however, there was money in architecture, and the successful architect could claim professional status, even become a household name. In comparison, the construction worker and craftsman remained anonymous, and as architects became more educated, they moved away from the workers: divisions in the building world began to become apparent.

 

Sources 

Books

It is in the Georgian period that books on architecture began to be produced in some quantity. Many books were published describing the delights of the Grand Tour, making European architecture accessible as never before. Equivalent surveys of British architecture were also produced, most notably the many volumes of ‘Vitruvius Britannicus’. Appearing now much like coffee table books, actually these were created with intent: architecture was now contentious, different groups favouring different styles. There was an audience waiting to be persuaded.  

Many architects came to prominence as much through their writings and illustrations as buildings, men such as Sir William Chambers, the Adam Brothers and Athenian Stuart. Books therefore, were a vital component in the production of Georgian architecture, and the British Architectural Library’s unrivalled collections of early works enable this to be fully understood.

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Drawings

A considerable volume of drawings survives from the Georgian period. In part this is due to the new-found status of drawings, and the art of drawing at this time. Students of architecture were expected to be able to draw to a high standard. They were taught using large scale lecture drawings, some of which survive. They also learned by executing countless topographical studies during their Grand Tour of Europe. Surveys and details of ruined Roman temples, baths and basilicas predominated. These were avidly collected, and often later engraved; over time they found their way into the Library.

For many projects fine presentation drawings were produced. Deftly drawn and coloured, despite being some two centuries old, their quality remains obvious. Contrasting to this, working drawings also survive in some number. Dealing with the rudiments of construction, they reveal the technical developments during the period, and the limitations faced by the craftsmen. In realising the dreams of architects and patrons, many types of drawings were needed.

Browse the RIBA British Architectural Library catalogue| (opens in a new window)

Photographs

Of course, photography only developed just after the Georgian era ended. However, there is an extensive collection of photographs of Georgian buildings in the Library. Many date from the time when Georgian buildings were unfashionable. These, then, are excellent source material for the many lost monuments, houses, and landscapes, such as the Nelson Pillar, Dublin.

Browse the RIBA British Architectural Library catalogue| (opens in a new window)