THE WOODS AND BATH

only response to his vast semi-elliptical palace frontage of thirty
houses with giant Ionic columns a spacious, gently sloping lawn.
Here the extreme opposite of Versailles had been reached. Nature is
no longer the servant of architecture. The two are equals. The
Romantic Movement is at hand.

In London die principle of the palace facade for a whole row of
houses was introduced by Robert Adam in his Adelphi (that magni-
ficent composition of streets with its Thames front known aU over
Europe, which was destroyed, not by bombs, but by mercenary
Londoners just before the war) and then taken up at Fitzroy Square
and Finsbury Square. But Adam's work, which won international
fame in the sixties and seventies—at the same moment when the
English garden also began to influence Europe—should not be
discussed so close to the Palladianism of the Burlington group.
It is of a fundamentally different kind. As a rule this difference is
expressed by placing Adam at the beginning of the so-called Classical
Revival. But that is not the whole answer, for the Classical Revival
is really only a part of a much, wider process, the Romantic Move-
ment. So from the renewed direct approach to Greek and Roman
antiquities as well as from the English creation of landscape garden-
ing we are led into a consideration of the central European problem
of 1760-1830: the Romantic Movement.

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