Compass and Rule: Architecture as Mathematical Practice in England 1500-1750

by Anthony Gerbino, Stephen Johnston

The spread of Renaissance culture in England coincided with the birth of the profession of architecture, whose practitioners soon became superior to simple builders in social standing and perceived intellectual prowess. This stimulating book, which focuses in particular on the scientist, mathematician, and architect Sir Christopher Wren, explores the extent to which this new professional identity was based on expertise in the mathematical arts and sciences. Featuring drawings, instruments, paintings, and other examples of the material culture of English architecture, the book discusses the role of mathematics in architectural design and building technology. It begins with architectural drawing in the 16th century, moves to large-scale technical drawing under Henry VIII, considers Inigo Jones and his royal buildings and Christopher Wren and the dome of  St. Paul’s, and concludes with the architectural education of George III.  Interweaving text and visual image, the book investigates the boundaries between art and science in architecture―the most artistic of the sciences and the most scientific of the arts. 




Exhibition

Yale Center for British Art (opens February 2010)

Genres: British Literature, Architecture

192 pages, Hardcover

First published January 1, 2009

Reviews

[Brian Page · Rating 3 out of 5]

The subtitle of COMPASS & RULE is “Architecture as Mathematical Practice in England.” Well, not really. The authors, Anthony Gerbino and Stephen Johnston do put forth their perspective on mathematical practice; but the book as a whole is a smorgasbord of topics all loosely related to the practice of architecture in England; and the book as a whole is quite enjoyable and is especially a visual treat. The illustrations are outstanding. It does cover a bit about innovative compasses & rules, but it doesn’t really touch on how they were used. Perhaps the intended audience for this book could be assumed to know such details. Then it wanders into what is essentially an extended aside on the architectural training of King George III, and wraps up with a thorough yet concise description of the architectural development of St. Paul’s Cathedral in London, staring Sir Christopher Wren. In the end, it’s hard to categorize this book, like the smorgasbord.