LATER GEORGIAN (1760-1811)
BY 1760, English architecture was ready for a change. Since the publication of Leoni's edition of Palladio, Kent Designs of Inigo Jones, and Gibbs Book of Architecture, a new generation of architects had grown up. Some sort of revolt against the accepted authorities of the reigns of the first two Georges was in the nature of things inevitable, and increased knowledge of classical antiquity provided its leaders with the necessary weapons. The general characteristics of the style which resulted, its elegance and refinement, are well known. Its essential differences from what had gone before were described by its most celebrated practitioner as "a remarkable improvement in the form, convenience, arrangement, and relief of apartments; a greater movement and variety in the outside composition, and in the decoration of its inside, an almost total change".
Robert Adam, when he wrote the preface to his Works in Architecture, was not thinking of churches. But many of the churches of the age do, nevertheless, exhibit the same characteristics--the same use of curved and concave shapes in internal planning, similar picturesque groupings externally, and, needless to say, the same kind of ornament. We may feel that, in the case of churches at any rate, the new tendencies were