London: Printed for Robt. Sayer, 1755.
Third edition, enlarged "with the Addition of Four Plates in Quarto" (first published in 1752). Engraved general title-page and 64 engraved plates (4 folding) by Parr and B. Cole. Four parts in one volume, with separate title-pages. Part I (New Designs for Chinese Temples): plates 1-14 (including engraved sectional title), 8 pp. text. Part II (New Designs for Chinese Bridges): plates 15-28, 8 pp. text. Part III (New Designs for Chinese Doors): plates 29-44, 4 pp. text. Part IV (New Designs for Chinese Gates): plates 45-64; 8 pp text. 8vo. When Chinoiserie was all the Rage. Later half calf and marbled boards (somewhat rubbed and scuffed); title-page soiled, both plates and text spotted, mostly at outer margins. Harris 302. Item #244192
The fashion for the Chinese style was initiated, according to Harris, by Frederick, the Prince of Wales, who in 1749 had a "House of Confucius" built for him at Kew, as well as a Chinese barge with oarsman in Oriental costume to row him up and down the Thames. William Halfpenny was never a designer to miss his opportunity to exploit the latest fashion: "Halfpenny's role had never been to reform taste but to reduce it to practicable terms and disseminate it, as he said of his Chinese designs. 'to workmen at a distance from the Metropolis'. ... The fact that these exotic [i.e., Chinese and Moorish] styles had no established rules must have made them especially attractive to the inventive, non-conforming William Halfpenny. The liberties he was able to take in altering , combining, and adapting them to British requirements were greater in degree but the same in principle as those he had taken with the Palladian idiom" (Harris, p. 221).
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