ENGLISH

ARCHITECTURE
From saxons to industrial architecture

PERIODS
ANGLO-SAXON 450s-1066
PRE-ROMANESQUE c.700-1000
ROMANESQUE
1050
NORMAN 1066 XI-XII Most important features: circular
arch, semicircular arch
GOTHIC
1180 late XII- XV th Century. Most important feature: Pointed arch
Subperiods of the Gothic
Early English or Lancet Gothic (c. 11801275) XII- XIII th (characterized by
lancet windows without tracery)
Decorated Period (c. 12751380) XIII -XIV th
Perpendicular Period (c. 13801530 +) XIV -XV th
TUDOR 14851603
ELIZABETHAN 1 15581603 & JACOBEAN 160325
BAROQUE 1690-1730
BAROQUE XVIII 1666- 1713
NEO-CLASSICAL 1715-1820
GEORGIAN 1720 -1840
GOTHIC REVIVAL 1760
REGENCY 1810
EMPIRE STYLE

VICTORIAN 1837 -1901

Industrial architecture
Queen Ann (stick-eastlake) 18701910s England & USA
Second empire architecture 1865 and1880
Jacobethan (precursor of Queen Ann style)
Gothic revival 1760 victorian gothic
Neo-Grec
Renaissance revival
Romanesque revival 18401900 USA
EDWARDIAN 1901 -1914
NEO-BAROQUE

Medieval
architectur
Renaissance
e
Approx.1040 XVI-XVII 14251600
and 1540

PRE-CONQUEST OR SAXON
Parish church
Small and simple doors and
windows.
Usually single windows with
round arches over them, or a
triangle of stones.
In large openings, pillars
were used
Hall-mark: crudeness, and
smallness
Earls Barton, West tower
Old Saxon church

(600-1066)

Doors and window openings are extremely simple,

with very few decorative elements. Though some
windows are low triangles (see drawing), more often
they are narrow slit openings with a simple rounded
top. When the openings were larger they were often

Churches

Its tall, narrow proportions, tiny windows,

and narrow, round-headed doorways are all
typical of Anglo-Saxon buildings. So is the
way the walls are decorated with narrow
strips of stone, called pilaster strips,
forming a series of arch-shaped panels.

Small porches or chapels were built onto

simple rectangular churches, such as the
small and jewel-like Bradford-on-Avon in
Wiltshire. The lower part of this church
may date from as early as 705, and the
arcades from the end of the 10th century.

Chancel and nave seemed to be separated.

The chancel arch was so small and heavy,

that it was cut off from the body of the
church.

One characteristic of Anglo-Saxon

stonework should be noted; they often
used long strips of vertical stone, called
"pilaster strips", in the exterior walls of
their churches. Often these stones form a
simple criss-cross pattern.

St Andrew, Dowlish Wake, Somerset

was largely rebuilt in the C19, but reusing old

bits and setting a few puzzles for us. However
much of interest inside and some excellent
stained glass. Nave, central tower and chancel,
with north aisle to the nave, and north
aisle/chapel to the tower and chancel. Odd
blocked north tower arch with a huge lancet
opening into the north chapel. Between
chancel and chapel a large tomb chest with
effigies to John Speke and wife, all terribly
recut, as the the C14 effigy of a lady in a
cusped recess in the chapel. Also here is the
man that found the source of the Nile, John
Henning Speke d1864, a rather pompous black
sarcophagus, back plate with inscription under
an arch and a bust of the explorer who
carelessly shot himself in the hip whilst out
with his cousin in Wiltshire and died aged 37 15
minutes later. Some classy C19 fittings, also a
much worn second font from West Dowlish
church which was demolished c1700, Norman
(although the church guide says Early Saxon)
with remains of blank arcading around the
bowl.

In 664 asynodwas held atWhitby, Yorkshire,

and leaders of both theCelticand
Roman Churchdecided to follow theRoman
form ofChristianity, resulting in uniting the
church throughoutEngland. Larger churches
developed in the form ofbasilicas, for
example at Brixworth.

There are two regions where the earliest

Saxon work is concentrated; in the southeast
around the county of Kent and in
Northumbria. In Kent the best surviving
churches are those of St. Peter and St. Paul,
Canterbury(c. 600), and St. Peter-on-the-Wall,
Bradwell (c. 660). These churches are heavily
influenced by the Roman basilcan tradition,
with a rounded chancel in the east and plain
walls.

One other early Saxon building of note is the

church at Brixworth, Northamptonshire
(c.676). Interestingly, it was built re-using old
Roman bricks. It is also unusual for its length;
at nearly 100 feet long Brixworth is large
compared to other early Saxon churches.

The Old Minster in Winchester,

precursor of the modern Cathedral
there, had when built in the 7th
century a rectangular nave, square
chancel and two small side chapels.
Sometimes these buildings became
incorporated into later larger
churches which still stand: The
present day parish church at Jarrow
has as its chancel such an early
church.

Only a few Saxon churches featured

the classical "basilica" plan with apse
(half round wall at one or either
end). The impressive All Saints
Church atBrixworth,
Northamptonshire, parts of which
date to the 7th century, is one which
demonstrates this feature.

All Saints Church, Brixworth. Interior

looking toward apse. The (modern)
plaster on the interior would have
been richly overpainted with images
of saints, parables, object lessons
and Bible scenes.

Brixworth: An upper room in the

narthex has a three-light window with
a pair of late Saxon baluster shafts

Remarks: towers, stone crosses

Alternate vertical and horizontal stones at the

corners.

timber and thatch were the traditional

materials.

Anglo saxons roof

TheRhenish Helmsurmounting the

tower of St. Mary's Church in
Sompting has long been believed to
be an original Anglo-Saxon spire: the
only one in the country. The style is
identical to that displayed on AngloSaxon censer covers, notably those
from Pershore and Canterbury; and
the church tower itself is clearly of
Late Saxon/Early Romanesque style.
The only remaining roof.

St Mary the Blessed Virgin, Sompting

St. Marys Church, which dates back

over 1000 years, is famous all over
the world for its Saxon tower. Not
only is the church of great
architectural significance, its also
the home of an active Christian
community.
Theres been a church at Sompting
since before the Norman conquest of
the 11th century. The oldest part of
the building is the Saxon Tower,
which has stonework that has been
dated as pre-1000AD. The spire is the
earliest example of a Rhenish helm
in England.

Greensted Church,Essex(1013
with oak palisade walls)

Oxford was first occupied inSaxontimes, and

was initially known as "Oxanforda , it began
with the foundations of St Frideswide's
nunneryin the8th century, and was first
mentioned in written records in the
Anglo-Saxon Chroniclesof the year912. In the
10th centuryOxford became an important
millitary frontier town between the kingdoms
ofMerciaandWessexand was on several
occasions raided byDanes.

St Michael at the Northgate, Oxford The Saxon

Tower at the city church St Michael at the
Northgate. The tower is one of the oldest
structures in the city.

St. Michael's Church was built c.1000-50 in a

late Anglo-Saxon style. St. Michael's Tower, the
only part of the church that survives from this
date, served as part of the defensive wall at
the North Gate, which was demolished in 1771
to make room for a road. The tower's original
use as a defensive structure is evident in its
rough appearance. It is made of a stone called
coral rag, which is tough and resistant to
weathering but cannot be decoratively carved
or even cut into neat blocks.

St Peter's Church, Barton-upon-Humb

er

St Peter's is one of the most studied

parish churches in England. The
church features a remarkably
complete Anglo-Saxon tower and
baptistry, dating mainly from the
10th century. There is also a large
medieval nave and chancel that
displays a range of architectural
styles.

St Andrew and Bartholomew

church, Ashleworth. Saxon
herringbone stonework in the

Anglo saxon characteristics:

long-and-shortquoins;

double triangular windows;

narrow, round-arched windows (often

using Roman tile);

herringbone stone work

west porch (narthex).

in early
Christian churches, a
porch or portico at the
west end for penitents
and others not admitted
to the church itself. any
church vestibule leading
to the nave

Cathedral floorplan

Many of the cathedrals in Britain are orientated east

to west. Thenaveis situated in the west end of the
cathedral where people would come to pray. For that
reason, it is the long hall of the cathedral. (The nave is
5 on the diagram below.)

Thechoir(11) is at the east end of the cathedral. It is

here that thehigh altar(13) is generally found. The
clergy traditionally prayed here and an elaborately
carved screen was often built to separate them from
the general public in the nave. This part of the
cathedral is often called the 'quire' - the 19th century
spelling of 'choir'. St Paul's in London still uses this
spelling.

The north and southtransepts(7, 9) separate the

choir from the nave. This means that the layout of
cathedrals usually forms the shape of a cross. Side
altars are found in the transepts as well as the tombs
of important people. The central tower ordome(8) of
the cathedral is found at the centre of this 'cross'.
These high towers are supported by piers or pillars. At
Salisbury Cathedral, it is possible to see that the piers
have been slightly bent out of shape by the weight of
the tower.

The tombs of past bishops and famous saints are

often found in sidechapels(2, 3). In the later Middle
Ages, the wealthy would pay for private chapels to be
built where their families could say mass in private.

Domestic architecture

As mentioned above, most domestic structures in the Saxon period

were built in wood. Even the halls of nobles were simple affairs,
with a central fire and a hole in the roof to let the smoke escape.
Even the largest buildings rarely had more than one floor, and one
room. Even the best archaeological remains of domestic buildings
from the Anglo-Saxon period offer little more than post holes to
view, which indicate the size of the hall, but little more.

Buildings vary widely in size, from 10 x 12 ft to as much as 75 x

260 feet. Most are square or rectangular, though some round
houses have been found. Frequently these buildings have sunken
floors; a shallow pit over which a plank floor was suspended. The
pit may have been used for storage, but more likely was filled with
straw for winter insulation. A variation on the sunken floor design is
found in towns, where the "basement" may be as deep as 9 feet,
suggesting a storage or work area below a suspended floor.

Another common design was simple post framing, with heavy

posts set directly into the ground, supporting the roof. The space
between the posts was filled in with wattle and daub, or
occasionally, planks. The floors were generally packed earth,
though planks were sometimes used. Cruck framing, where two
large timbers are bent together to form a peak, was also used,
though this technique became much more common in the Norman
period.

Roofing materials varied, with thatch being the most common,

though turf and even wooden shingles were also used.

NORMAN GOTHIC
OR ROMANESQUE

(1066-1200)

Mountfitchet Castle is a Norman

stone ringwork and bailey
fortress
In 1066 the site was attacked
by the Normans and Robert
Gernon, the Duke of Boulogne,
built his castle here, making it
his chief seat and the head of
his Barony. There is some
evidence that Robert Gernon
was a close relative of William
the Conqueror.

Norman characteristics

Square and circle, the most important shapes

Use of small stones

Early walls and pillars were crudely built.

massiveness quality, thick walls, round arches,

sturdy piers, groin vaults (= cross vault), large
towers and decorative arcading.

Use of few shallow buttresses, mere thickening

of the walls

Hereford cathedral buttresses (XII C)

Characteristics of norman
work:

massiveness and roundness: round arches,,

thick flat walls, and sometimes round buildings.

Norman round church

The circle was found in roofs (vaults) and archs.

When stones came into use for roofs, the Barrel
vault was introduced, and when two Barrel vaults
were joined, the Cross vault (= groin vault)
emerged

The square was found in columns. Colonnettes

and attached shafts are also used structurally and
for decoration

No sense of structure. Use of very simple

structures

Very simple shafts, massive cylindrical columns

no carving, sometimes low relief, capitals had not
relief at all (no undercutting).

Norman round buildings

Temple church: The Church was built by the Knights

Templar, the order of crusading monks founded to
protect pilgrims on their way to and from Jerusalem in
the 12th century. The Church is in two parts: the
Round and the Chancel. The Round Church was
consecrated in 1185 by the patriarch of Jerusalem. It
was designed to recall the holiest place in the
Crusaders' world: the circular Church of the Holy
Sepulchre in Jerusalem

Ludlow chapel: The earliest parts of Ludlow Castle;

the curtain wall of the inner bailey, four flanking
towers and parts of the gatehouse keep have been
dated to the 11th century. An interesting Norman
chapel dating from the early 12th century has
survived at Ludlow Castle. The Chapel of St. Mary
Magdalene has a circular nave with an extending
rectangular chancel.

Norman columns

Gloucester cathedral

The great nave is an impressive survival

of heavy Norman architecture whose
erection was begun in 1089. The
columns are massive and one of those
in the south aisle has a definite lean to
it. The Norman style dominates
throughout much of the cathedral
interior, though it is not obvious from
the outside

Norman columns in the ambulatory of St

Bartholomew's (1123), London

Columns

On very thick columns the abacus was

sometimes made in the form of an octagon.
As in Durham cathedral. , Romanesque
columns were massive, as they supported
thick upper walls with small windows, and
sometimes heavy vaults. The most common
method of construction was to build them
out of stone cylinders called drums

Durham Cathedral , England, has decorated

masonry columns and the earliest pointed
high ribs.

Hollow core columns: Where really

massive columns were called for, such as
those atDurham Cathedral , they were
constructed of ashlar masonry and the
hollow core was filled with rubble. These
huge untapered columns are sometimes
ornamented with incised decorations

In more highly decorated buildings the

shafts of the columns were carved with
zigzags and spirals. As in Durham cathedral

The feet of the column were normally very

simply treated.

Normans walls and pillars

Normans cut as few stones as they could, making their

walls and pillars of two skins of cut stones and filling in
the space inside with rubble.

As this method was not strong, they had to make their

walls and piers much thicker.

Example:The towers atWinchester cathedral

Norman pillars

ST. MARYS CHURCH, WEST HORSLEY

Thechurch towerwas built in 1120.

The foundations of the present church were laid in

1030.Built of chalk clunch and flint, it was the same
size as the present nave, with an apse at the east end
and a narrow chancel arch.There still remains some
Saxon work in the east and west walls of the nave.

Alternation: A common
characteristic of Romanesque
buildings, occurring both in churches
and in the arcades which separate
large interior spaces of castles, is the
alternation of piers and columns.

The most simple form that this takes

is to have a column between each
adjoining pier. Sometimes the
columns are in multiples of two or
three. AtSt. Michael's, Hildesheim,
an ABBA alternation occurs in the
nave while an ABA alternation can be
seen in the transepts.

Carved pillars

The Norman arches and pillars at St.

Mary church.

Carved capital in the crypt, possibly

depicting Odin. At Gloucester
cathedral-

Clerestories

The towers at winchester cathedral were squat and square,

lending to all Norman churches and cathedrals a stocky
appearance.

In bigger churches and cathedrals, the pillars, round and

thick, supported semicircular arches to hold the high walls of
the clerestory above.

Clerestory wall passages at winchester cathedral.

Gloucester cathedral, pillars

Buttresses: Because of the massive nature of Romanesque walls, buttresses are not a highly
significant feature, as they are in Gothic architecture. Romanesque buttresses are generally of
flat square profile and do not project a great deal beyond the wall. In the case of aisled
churches, barrel vaults, or half-barrel vaults over the aisles helped to buttress the nave, if it
was vaulted.

In the cases where half-barrel vaults were used, they effectively became likeflying buttresses.
Often aisles extended through two storeys, rather than the one usual in Gothic architecture,
so as to better support the weight of a vaulted nave. In the case of Durham Cathedral, flying
buttresses have been employed, but are hidden inside the triforium gallery

Triforium

The space made by the aisle of roofs was sometimes used for
another small archade of arches, the triforium, which made a
passage-way round the building at a high level and helped to
lighten the heavy wall.

Most interesting Norman feature: the roof

Roofs were usually made of timber, the roof-trusses

boarded in to make a tunnel-shape ceiling, but
stone-vaulted roofs were used for the underground
crypts. Later, stone roofs were also used for main
parts of the building (except in Ireland)

A so-called "Norman truss" in the 18th-century

Bolduc House inSte.Genevive, Missouri

St Mary's Church, Nave Roof Trusses

Gloucester cathedral crypt, stone-vaulted roof

Stone-vaulted ceiling

Columns Battle Abbey Novicehouse

crypt. To the rightof thedormitory,
at the southern end of the east
range, is theNovices Chamber, a
lofty, vaulted room, and one of the
finest mediaeval chambers in the
abbey, its height not so much a
reflection of its own importance but
necessary to give a level of first floor
to the dormitory above, which runs
the full length of the building.

Vaulted Ceiling Battle Abbey

Novicehouse. The ceiling is fairly
typical of the Norman style. In its
delicacy, it never cease to amaze me
that it can support a floor above it,
let alone stand for nearly 1000 years.

Peterboro
ugh
Cathedral
painted
wood
ceiling,
nave(c12
30,
cleaned
early
2000s)

Ely cathedral nave roof

Ely aisle vaulted roof

Peterborough Cathedral
Vaulting in the South Aisle

Vaults and roofs: The majority of

buildings have wooden roofs,
generally of a simpletruss,tie
beamorking postform. In the case
of trussed rafter roofs, they are
sometimes lined with wooden
ceilings in three sections like those
which survive atElyand
Peterboroughcathedrals in England.

In churches, typically the aisles are

vaulted, but the nave is roofed with
timber, as is the case at both
Peterborough and Ely

Vaults of stone or brick took on

several different forms and showed
marked development during the
period, evolving into the pointed
ribbed arch which is characteristic of
Gothic architecture

Vaults

The simplest type of vaulted roof is thebarrel vault

in which a single arched surface extends from wall
to wall, the length of the space to be vaulted,
However, the barrel vault generally required the
support of solid walls, or walls in which the
windows were very small.

The most elementary sort of vault known to the

Normans was the barrel vault: which was simply a
tunnel, by making two barrel vaults intersect at
right-angles, a groined cross-vault was achieved,
usually built of thick masonry requiring a very
strong wooden frame to hold the stones in place
while it was being built, and makes a roof to the
square intersection of two equally wide
passageways.

Groined-vaulting

Groin vaults occur in early Romanesque

buildings. In later buildings employing
ribbed vaultings, groin vaults are most
frequently used for the less visible and
smaller vaults, particularly in crypts and
aisles. A groin vault is almost always square
in plan and is constructed of two barrel
vaults intersecting at right angles. Unlike a
ribbed vault, the entire arch is a structural
member. Groin vaults are frequently
separated by transverse arched ribs of low
profile

But the groined vault was not very strong.

The junction between the two original
barrels along the groins was always weak.
To overcome this problem, first, diagonal
arches were made as self supporting
members, and filling in between the
diagonal and side arches with thin panels of
stone work. Normans at last, adopted a
much flatter arch for the diagonal. (i.e.
segmental, not semi-circular)

Peterborough cathedral aisles are an

example of this.

these vaults were suitable only for roofing

over squares. The pointed arch was the
final solution. First invented and used in
Durrham cathedral (1130) and came to
general use at the end of the XII Century.

Ribbed vault: In ribbed vaults, not

only are there ribs spanning the
vaulted area transversely, but each
vaulted bay has diagonal ribs. In a
ribbed vault, the ribs are the structural
members, and the spaces between
them can be filled with lighter, nonstructural material. Because
Romanesque arches are nearly always
semi-circular, the structural and
design problem inherent in the ribbed
vault is that the diagonal span is
larger and therefore higher than the
transverse span. The Romanesque
builders used a number of solutions to
this problem. One was to have the
centre point where the diagonal ribs
met as the highest point, with the infil
of all the surfaces sloping upwards
towards it, in a domical manner.

Pointed arched vault: Late in the

Romanesque period another solution
came into use for regulating the
height of diagonal and transverse
ribs. This was to use arches of the
same diameter for both horizontal
and transverse ribs, causing the
transverse ribs to meet at a point.
This is seen most notably at
Durham Cathedral in northern
England, dating from 1128. Durham is
a cathedral of massive Romanesque
proportions and appearance, yet its
builders introduced several structural
features which were new to
architectural design and were to later
to be hallmark features of the Gothic.
Another Gothic structural feature
employed at Durham is the
flying buttress. However, these are
hidden beneath the roofs of the aisles

Plans and sections

The simplest Romanesque churches are

aisless halls with a projecting apse at the
chancel end, or sometimes, particularly in
England, a projecting rectangular chancel
with a chancel arch that might be decorated
with mouldings. More ambitious churches
have aisles separated from the nave by
arcades.
Abbey and cathedral churches generally
follow theLatin Crossplan. In England, the
extension eastward may be long, while in
Italy it is often short or non-existent, the
church being of T plan, sometimes with apses
on the transept ends as well as to the east.
In section, the typical aisled church or
cathedral has a nave with a single aisle on
either side. The nave and aisles are
separated by an arcade carried on piers or on
columns. The roof of the aisle and the outer
walls help to buttress the upper walls and
vault of the nave, if present. Above the aisle
roof are a row of windows known as the
clerestory, which give light to the nave.

During the Romanesque period there was a

development from this two-stage elevation
to a three-stage elevation in which there is a
gallery, known as atriforium, between the
arcade and the clerestory. This varies from a
simple blind arcade decorating the walls, to
a narrow arcaded passage, to a fullydeveloped second story with a row of
windows lighting the gallery

The eastern end of a Romanesque church is

almost always semi-circular, with either a
high chancel surrounded by an ambulatory
as in France, or a square end from which an
apse projects as in Germany and Italy.
Where square ends exist in English
churches, they are probably influenced
byAnglo Saxon churches. Peterborough and
Norwich Cathedrals have retained round
east ends in the French style. However, in
France, simple churches without apses and
with no decorative features were built by
theCistercianswho also founded many
houses in England, frequently in remote
areas

Normans tympanums

Norman windows and doors were

small, round-headed openings in thick
walls. In a simple rectangular door,
the arch was filled with a large, semicircular stone called a tympanum. The
tympanum was decorated with
spirited carvings which were of a
character easily recognized.

Church
Hanborough,
Oxfordshire,
Church of St Peter
& St Paul 12
Norman tympanum

Archs

The arches over the windows and

doors, especially doors, consisted in
a series of concentric rings of arches,
receding into the thickness of the
wall. These were normaly carved,
each ring of stone with a different
pattern, and each stone being carved
as one whole section of a repeating
motif.

Doorways

Some doors have as many as six or

seven columns each side, supporting
six or seven arches.

Peterborough Cathedral, Norman

door in South wall

Peterborough Cathedral, Norman

door in North wall

cathedral facades and external

decoration

Romanesque church facades, generally

to the west end of the building, are
usually symmetrical, have a large
central portal made significant by its
mouldings or porch and an
arrangement of arched-topped
windows. In Italy there is often a single
central ocular window. The common
decorative feature is arcading.

Smaller churches often have a single

tower which is usually placed to the
western end, in France or England,
either centrally or to one side, while
larger churches and cathedrals often
have two

In England,Southwell Cathedralhas
maintained this form, despite the
insertion of a huge Gothic window
between the towers.Lincolnand
Durhammust once have looked like
this.

Towers

Towers were an important feature of

Romanesque churches and a great
number of them are still standing.
They take a variety of forms, square,
circular and octagonal, and are
positioned differently in relation to
the church in different countries.

In England, for large abbeys and

cathedral buildings, three towers
were favoured, with the central tower
being the tallest. This was often not
achieved, through the slow process
of the building stages, and in many
cases the upper parts of the tower
were not completed until centuries
later as at Durham and Lincoln. Large
Norman towers exist at the
cathedrals of
Durham,Exeter,SouthwellandNorwi
ch

Lincoln
Cathedr
al

Durham
Cathedral

Norwich Cathedral

Decoration

The "blind arcade" beneath this

window at Canterbury
Cathedralhas overlapping arches
forming points, a common
decorative feature of
Romanesque architecture in
England.

Arcading is the single most significant decorative

feature of Romanesque architecture. It occurs in a
variety of forms, from theLombard band which is a
row of small arches that appear to support a
roofline or course, to shallow blind arcading often
a feature of English architecture and seen in great
variety atEly Cathedral, to the open dwarf gallery

Decorative elements were few in the 11th century;

the most distinctive being the Norman chevron
(zigzag) pattern, most frequently found on the
recessed orders framing doors and windows. Other
decoration also relies on simple geometric
patterns. In the 12th century you see more
elaborate decoration appearing, such as fourpointed stars, lozenges, and scallop shapes.

These decorative elements were carved in shallow

relief; it is only as the 13th century nears that you
see deeply cut carvings appear. Subject matter for
carvings covered Biblical scenes, but also human,
animal, and floral shapes. These carvings are most
common oncapitals.

Architectural sculpture

On these much-restored mouldings

around the portal of Lincoln
Cathedralare formal chevron
ornament, tongue-poking monsters,
vines and figures, and symmetrical
motifs in theByzantine style

The Romanesque period produced a profusion of

sculptural ornamentation. This most frequently
took a purely geometric form and was
particularly applied to mouldings, both straight
courses and the curved moldings of arches

In England, such decoration could be discrete,

as atHerefordand Peterborough cathedrals, or
have a sense of massive energy as at Durham
where the diagonal ribs of the vaults are all
outlined withchevrons, the mouldings of the
nave arcade are carved with several layers of
the same and the huge columns are deeply
incised with a variety of geometric patterns
creating an impression of directional movement.
These features combine to create one of the
richest and most dynamic interiors of the
Romanesque period

Although much sculptural ornament was

sometimes applied to the interiors of churches,
the focus of such decoration was generally the
west front, and in particular, the portals

Stylized foliage often appears, sometimes

deeply carved and curling outward after the
manner of the acanthus leaves onCorinthian
capitals, but also carved in shallow relief and
spiral patterns, imitating the intricacies of
manuscript illuminations

The purpose of the sculptural schemes was to convey a

message that the Christian believer should recognize
their wrong-doings, repent and be redeemed. Thelast
judgmentreminds the believer to repent. The carved or
painted Crucifix, displayed prominently within the
church, reminded the sinner of their redemption. The
sculpture which reminded the sinners of their sins often
took alarming forms. These sculptures, not being of
Christ, were usually not large and are rarely magnificent,
but are often fearsome or simply entertaining in nature.
These are the works that frequently decorate the smaller
architectural features. They are found on capitals,
corbels and bosses, or entwined in the foliage on door
mouldings. They represent theSeven deadly sinsbut
often take forms that are not easily recognizable today.
Lust, gluttony and avarice are probably the most
frequently represented. The appearance of many figures
with oversized genitals can clearly be equated with
carnal sin, but so also can the numerous figures shown
with protruding tongues, which are a feature of the
doorway of Lincoln Cathedral. Pulling ones beard was a
symbol of masturbation, and pulling ones mouth wide
open was also a sign of lewdity. A common theme found
on capitals of this period is a tongue poker or beard
stroker being beaten by his wife or seized by demons.
Demons fighting over the soul of a wrongdoer such as a
miser is another popular subject

Stained glass: The oldest-known fragments of

medieval pictorial stained glass appear to date from
the 10th century. The earliest intact figures are five
prophet windows at Augsburg, dating from the late
11th century. The figures, though stiff and
formalized, demonstrate considerable proficiency in
design, both pictorially and in the functional use of
the glass, indicating that their maker was well
accustomed to the medium. At Canterbury and
Chartres Cathedrals, a number of panels of the 12th
century have survived, including, at Canterbury, a
figure of Adam digging, and another of his son Seth
from a series ofAncestors of Christ. Adam
represents a highly naturalistic and lively portrayal,
while in the figure of Seth, the robes have been
used to great decorative effect, similar to the best
stone carving of the period.

In England, the Romanesque ground plan, which in

that country commonly had a very long nave,
continued to affect the style of building of
cathedrals and those large abbey churches which
were also to become cathedrals in the 16th century.
Despite the fact that English cathedrals were rebuilt
in many stages, substantial areas of Norman
building can be seen in many of them, particularly
in the nave arcades. In the case of Winchester
Cathedral, the Gothic arches were literally carved
out of the existent Norman piers.

Staircase

The Norman staircase used in both

churches and castles was of ordinary
spiral sort.

The tower staircase is still intact. The

Priory is built around a 14th century
Norman Tower-House.

Castles

All the details and constructional

features that apply to churches and
cathedrals apply to castles also.

A high square tower with immense

thick walls and narrow round-headed
windows is the essence of Norman
castles. This is the keep, and it
stands isolated from the other castle
walls by a strip of open ground. A
curtain wall surrounds this bailey, or
open court, and often round the
whole work flows a river or a dich
was dug.

Castles had no glass in the windows,

only oak shutters.

The white tower

The white tower is the oldest building

(the earliest form of a castle). It was
built by William the conqueror in
1066 and finished in 1087.

Of non-ecclesiastical work, the best

surviving example of Romanesque
architecture is probably the White
Tower at the Tower of London. This
stone keep at the core of the
complex of buildings we know as the
Tower of London was begun in 1078.
In particular, the Chapel of St. John in
the Tower shows in superb simplicity
the rounded Romanesque arch.

Portchester Castle

The great tower was part of

Christchurch Castle, a large Norman
castle that once dominated the town
of Christchurch.

Castles

Ludlow castle, in the town of Ludlow

inShropshire,England, late 11th
century

The Priory, Castle Acre: bailey gate.

Norfolk, 1089

Norwich Castle

Inside Norwich Castle

Norwich castle, Norwich, England,

1067

Rochester castle

Rochester Castle,
Rochester, Kent,
1127

Warwick castle

medievalcastleinWarwick,
thecounty townofWarwickshire,
England. It sits on a bend on theriver
Avon. The castle was built byWilliam
the Conquerorin 1068 within or
adjacent to theAnglo-Saxon buhrof
Warwick. It was used as a fortification
until the early 17th century, whenSir
Fulke Grevilleconverted it to
acountry house

The main accomodation block as

seen from Guy's Tower. It is in the
south-east part of the castle and
overlooks the River Avon.

GOTHIC
Early English- DecoratedPerpendicular

Early English period 1201-1300

The Early English Style, also
known asLancet,First
Pointed,Early Plantagenet,
orThirteen Century Style. The style
of this period is magnificent and
rich, strong in its dependence upon
proportion, well-defined outline, and
simplicity in decoration.
The main points of Early English
are: quadripartite ribbing in vaults,
slender towers topped with spires,
lancet windows - both single and
grouped - and piers with narrow,
clustered shafts. The finest example
of Early English is to be found at
Salisbury Cathedral.
Early English style:window
Early English style:base
Early English style:Westminster
Abbey

Early English architecture is typical of

manyCistercian abbeys(both in
Britain and France), such asWhitby
abbeyandRievaulx abbeyin
Yorkshire.Salisbury cathedralis a
superb example of the style; because
it was built over a relatively short
period (between c.12001275), it is
relatively unpolluted by other styles
(except for its facade and famous
tower and spire, which date from the
14th century). Other good examples
are the Galileeporch atEly
cathedral; the nave and transept
ofWells cathedral (12251240); the
west front ofPeterborough cathedral;
andBeverley Minsterand the south
transept at York.

Early English Style

the nave1 and transept2 ofWells

cathedral (12251240); the west
front ofPeterborough cathedral3;
andBeverley Minsterand the south
transept4 at York.

Through the employment of the

pointed arch, walls too could become
less massive and window openings
could be larger and grouped more
closely together, so architects could
achieve a more open, airy and
graceful building. The high walls
andvaulted stone roofs were often
supported by flying buttresses: half
arches which transmit the outward
thrust of the superstructure to
supports or buttresses, often visible
on the exterior of the building

Lincoln Cathedral Chapter House

flying buttresses

Characteristic features

Main buildings: cathedrals

Flying buttresses as in Westminster

Abbey and Lincoln Cathedral,
Chapter House.

Timber roof developed

The most significant and characteristic

development of the Early English
period was the pointed archknown
as thelancet. Pointed arches were
used almost universally, not only in
arches of wide span such as those of
thenave arcade, but also for doorways
andlancet windows. The arched
windows are usually narrow by
comparison to their height and are
without tracery. For this reason Early
English Gothic is sometimes known as
the "Lancet" or "First Pointed" style.
Although arches
ofequilateralproportion are most often
employed, lancet arches of very acute
proportions are frequently found and
are a highly characteristic of the style.
A notable example of steeply-pointed
lancets being used structurally is the
apsidal arcade of Westminster Abbey.

The Lancet
openings of
windows and
decorative
arcading are often
grouped in twos or
threes. Salisbury
cathedral

At York Minster there are, in the north

transept, a cluster of five lancet
windows known as the Five Sisters,
each fifty feet high and still retaining
ancient glass.

Columns and pillars

Instead of being massive, solid

pillars, the columns were often
composed of clusters of slender,
detached shafts (often made of dark,
polishedPurbeck marble)
surrounding a central pillar, orpier,
to which they are attached by
circular moulded shaft-rings.
Characteristic of Early Gothic in
England is the great depth given to
the hollows of themouldinaswith
alternating fillets and rolls, by the
decoration of the hollows with the
dog-toothornamentand by the
circularabaciof thecapitals.

Salisbury cathedral columns

long trails of dog-tooth

foliaged capitals and bosses upon the

mouldings and hollows

knots of pierced and hanging leaves,

like some petrified garland or bower
round the arch

tall and narrow lancet openings give

an upward tendency to the design

boldly projecting buttresses and

pinnacles, and steeply pitched roofs,
mark the exteriors. Lincoln
Cathedral, the chapter house

Internally, slender groups of shafts

occur connected by bands to the
piers. The pointed arch vaults are
bolder, more elegant.

The entirety of Salisbury Cathedral

(excluding the tower and spire) is in
the Early English style. Lancet
windows are used throughout, and a
"pure" image is underlined by the
relative lack of tracery which would
be used in later buildings.

Stiff leaf capital, blind arcade above

entrance Salisbury cathedral

Spires

PLANS: The vaulting as it advanced modified the

planning, as, when pointed arches were finally
adopted, nave compartments were made oblong in
place of the former square divisions.Flying
buttresseswere introduced.The broach spire, in
which the upper portion rises from the square tower
without a parapet, is characteristic.

Buttresses

WALLS: These retain the massiveness

characteristic of Norman work, but more
cut stonework was employed, and less
rubble filling, the concentration of the
weight of the roof and vaulting on the
buttresses leading to the gradual
treatment of the walling between as a
mere screen. The proportion of opening
to the piers adjoining is often excellent,
as in the transept of Salisbury Cathedral.

Buttresses are more pronounced than in

the Norman period, being generally equal
in projection to their width, in order to
resist the lateral outward pressure of the
pointed vaults, and were formed into
stages by weathered set-offs.Their arrises
were often chamfered, and the different
stages were frequently gabled. Flying or
arched buttresses were first utilized in
this period, but were not of common
occurrence till a later period.

In the interiors the nave arcade

usually occupies the lower half of the
height, the upper half being divided
equally between triforium and
clerestory, as at the choir of Ely, the
naves of Lichfield and Lincoln

but sometimes, the triforium was

diminished in order to provide a
larger display of glass, as at
Westminster and Salisbury

North
Transept
Window
Lincoln
Cathedral

The arches of decorative wall arcades

and galleries are sometimescusped.
Circles withtrefoils,quatrefoils, etc,
are introduced into thetraceryof
galleries and largerose windows in
the transeptor nave, as atLincoln
Cathedral(1220).

Roof boss,
Durham
Cathedral

Diaper work/pattern

The conventional foliagedecorating

the capitals is of great beauty and
variety, and extends
tospandrels,roof bosses, etc. In the
spandrels of the arches of the nave,
transept or choirarcades,diaper
workis occasionally found, as in the
transept ofWestminster Abbey,
which is one of the best examples of
the period.

The most important wall paintings in

the Westminster Abbey are from the
late 13th century i.e. the figure of St
Faith in her chapel and the figures of
Christ with St Thomas and St
Christopher in the south transept.

Archs

The arch was now pointed.

Exclusively used in the vaulting.

Tall thin windows

Accent on height and verticality

Great North Door and side portals,

Westminster Abbey.

York Minster

Openings evolution

Proportions, generally, are more slender than

in Norman work, and pointed arches came
into general use for constructive reasons, at
first in connection with vaulting, then
gradually throughout the whole building. The
doorwaysare often richly treated, and
ornamented with carved foliage.

Windowsare of lancet form, and tracery was

developed, especially the early form known
as "plate" tracery, so-called because the
openings were cut through a flat plate of
stone.

Cuspsor projecting points of Gothic tracery

were introduced in the latter part of the Early
English style, being let into the soffit of the
arches in separate small pieces and entirely
independent of the mouldings. This form of
detached cusping is found generally in the
circular lights, the heads of windows having
cusps forming part of the tracery itself. The
spaces between the cusps are known
asfoils(Lat. folium = "a leaf") being trefoil,
quatrefoil or cinquefoil when having three,
four or five openings.

Windows

Typical early window: tall thin, with

pointed arch at its head like a lancet.

Later, groups of lancets were

aranged together between pairs of
buttresses.

Finally, builders added plate tracery:

a hole punched through the blank
spaces left between the hood
moulding and the lancets.

In later stages of this period, the

plate tracery was further elaborted
into trefoils and quatrefoils.

Salisbury cathedral: door

Heslington church: lancet window

Stained-glass windows

Stained glassrapidly increased in

importance, the pieces being small
and leaded up in patterns to suggest
the cubic formation of mosaic. A
general tone of color pervades the
windows, and an unrivalled deep and
violet-like blue was a favourite tint,
as in the fine thirteenth century glass
at Canterbury Cathedral.

Adam delving. The oldest (c.1174)

and most famous of the 43 panels

An angel warns the cozily sleeping

Magi not to return to Herod in the

Ornaments

The most characteristic ornament is the

dog-tooth, which was generally placed in
hollow mouldings, and was used in great
profusion. Thechiselwas generally used,
taking the place of the axe in the Early
Norman period. Carved foliage is
conventional, and crisp and fine in
treatment, typical examples consisting
of convex curling masses, known as "
stiff leaf foliage." Flat surfaces are often
richly diapered, as in Westminster
Abbey.

Sculptured figures of large size were

used, and placed in niches with canopies
over them. The west front of Wells
(1206-1242) has 300 statues, being a
grand composition where sculpture is
fully combined with architecture.

York Minster Carvings

Ribbed vaulting

Rib vault was bettered, additional

ribs added between the main cross
and the diagonals. Ribbed
construction was then seized upon
and given a new application. By
springing a large number of ribs from
each point of support, the vaultingsurfaces were divided into long,
narrow, triangles, the filling of which
was comparatively easy. The ridge
was itself furnished with a straight
rib, decorated with carved rosettes
orbossesat each intersection with a
vaulting-rib. The naves and choirs of
Lincoln, Lichfield, Exeter, and the
nave of Westminsterillustrate this
method.

Capitals and columns

Capitals deeply undercut, very

formalised pattern of leaves.

Column Capital, Lincoln Cathedral

Columns

Roofs

These are steeper than in the last period,

approaching the shape of an equilateral triangle,
i.e. sixty degrees. The framing was exposed where
there was no vaulted ceiling. The braces were used
to form a waggon shape, or semicircular ribs were
employed, when the close setting of the flat rafters
produces the effect of barrel vaulting.

Columns

Piers consist of a central circular, or octagonal

shaft, surrounded by smaller detached columns,
often of polished Purbeck marble, held in place by
bands at intervals, as at Salisbury and Westminster
Abbey. Capitals were frequently moulded, so as to
produce fine bold shadows), or carved with
conventional foliage), placed on the bell or lower
portion of the capital. The normal abacus is circular
on plan.

Mouldings

These are bold, deeply undercut, and often of pearshaped section, following the outline of the
rectangular recesses. The chiselled dog-tooth
succeeded the axed nailhead decoration of the
Norman period.

Early English foliage

Pillars, piers

In Gothic architecture, also, the pillars or

piers are of different forms at the various
epochs of that style. In the Norman period
we have plain massive pillars, square,
circular, and octagonal, frequently
ornamented with zigzag ornaments, spiral
bands, etc, on the surface.

As vaulting progressed, the system of

breaking the plain surface of the pier, and
giving to each portion of the vaulting a
separate little column or shaft to support it
was introduced. This was done either by
attaching shafts to the pillars, or by cutting
nooks in the pillars and setting little shafts
in them (seea,b). In the Early Pointed style
a plain circular or octagonal pillar, with a
number of small shafts attached around it, is
a favorite arrangement (seec,d). In this
style the attached shafts are very frequently
banded to the main pillar at different
heights, and they are sometimes made of a
finer material, such as Purbeck marble.

Castles: Conwy castle

Conwy castle, Wales 12th C.

Hever Castle, Kent,1270

Llawhaden Castle, Pembrokeshire, 12th c

Rothsay Castle, Argyll & Bute,12th century

Aerial photograph of Caerphilly

Castle

Caerphilly Gatehouse

Decorated period 1301-1400

Also called

Flamboyant

Period of development rather

than invention.
The simplicity of Early English
building gave place to a more
highly decorated style.
Pinnacles or spires decorated
with knobs and crockets of stone.
Spire with Parapet Angle Turrets
& Crockets: Salisbury cathedral
Spire on Octagonal Tower;
Diagonal Buttresses: St Mary
Bloxam
The best example: Exeter
Cathedral

The west front ofYork Minsteris a

fine example of Decorated
architecture, in particular the
elaboratetraceryon the main
window. This period saw detailed
carving reach its peak, with
elaborately carved windows
andcapitals, often with floral
patterns.

Decorated architecture is characterized

by its window tracery. Elaborate
windows are subdivided by closelyspaced parallelmullions (vertical bars of
stone), usually up to the level at which
the arched top of the window begins.
The mullions then branch out and cross,
intersecting to fill the top part of the
window with a mesh of elaborate
patterns calledtracery, typically
includingtrefoilsandquatrefoils. The
style wasgeometricalat first and
flowing in the later period, owing to the
omission of the circles in the window
tracery. This flowing or flamboyant
tracery was introduced in the first
quarter of the 14th century and lasted
about fifty years. This evolution of
decorated tracery is often used to
subdivide the period into an earlier
"Geometric(1250-90) and later
"Curvilinear" period (1290-1350).

Windows

Windows: colorful and with curved

tracery. Cusped Panel with Oak
Grisaille, stained glass panel, about
1325.

Accent on gaiety and elaboration as

in Tintern Abbey

Parish churches were enlarged in this

period, as in St. Edith's church,
Anwick, Lincs: grand early and
decorated parish church with broach
spire

Domestic building and manor houses

became common and important.

Interiors of this period often feature

tallcolumns(often more slender and
elegant than in previous periods)
which may support elaborately
vaultedroofs.Archesare
generallyequilateral, and
themouldingsbolder than in the
Early English Period, with less depth
in the hollows and with the fillet (a
narrow flat band) largely used.
Theballflowerand a four-leaved
flower motif take the place of the
earlierdog-tooth. The foliage in
thecapitalsis less conventional than
in Early English and more flowing,
and thediaperpatterns in walls are
more varied.

Examples of the Decorated style can

be found in many British churches
and cathedrals. Principal examples
are: the east ends of Lincoln
Cathedral and ofCarlisle Cathedral

the west fronts of York

MinsterandLichfield Cathedral. Much
ofExeter cathedralis built in this
style

thecrossingofEly Cathedral,
(including the famous octagonal
lantern, built between 13221328 to
replace the fallen central tower),
three west bays of the choir and
theLady Chapel.

InScotland,Melrose Abbeywas a
noteworthy example, though much of
it is now in ruins.

Carvings

Decorated-Gothic-carving

Exeter Cathedral - The longest

uninterrupted vaulted ceiling in
England

Carlisle Cathedral nave

Perpendicular Period 14011500

Major Perpendicular
Gothic buildings:
Westminster Hall,
London
King's College Chapel,
Cambridge
it is characterized by an
emphasis on vertical
lines; it is also known
asInternational Gothic,
theRectilinearstyle,
orLate Gothic.

The interior of Gloucester Cathedral

conveys an impression of a "cage" of
stone and glass, typical of
Perpendicular architecture. Elaborate
Decorated style traceryis no longer
in evidence, and the lines on both
walls and windows have become
sharper and less flamboyant

Finely decorated two-storey

Perpendicular south porch of 1480 at
Northleach,Gloucestershire

the earliest example of a fully-formed

Perpendicular style at theChapter
House ofOld St. Pauls cathedral,
built byWilliam Ramseyin 1332. It
was a development of the Decorated
style of the late13th centuryand
early14th century, and lasted into the
mid16th century. It began under the
royal architectsWilliam Ramsey
andJohn Sponlee, and fully
developed in the prolific works
ofHenry Yevele andWilliam Wynford

West window, two west towers of York Minster, heartshape: flamboyant tracery

In the later examples of the

Decorated Period the omission of the
circles in thetraceryof windows had
led to the employment of curves of
double curvature which developed
into flamboyant tracery: the
introduction of
theperpendicularlines was a
reaction in the contrary direction.

The depressed arch supported by fan vaulting at

King's College Chapel, England.

This perpendicular linearity is

particularly obvious in the design of
windows, which became very large,
sometimes of immense size, with
slimmer stonemullionsthan in
earlier periods, allowing greater
scope forstained glasscraftsmen.
The mullions of the windows are
carried vertically up into
thearchmoulding of the windows,
and the upper portion is subdivided
by additional mullions
(supermullions) andtransoms,
forming rectangular compartments,
decorated inside.Buttressesand wall
surfaces are likewise divided up into
vertical panels. Another major
development of this period wasfan
vaulting.

Doorways are frequently enclosed

within a square head over the arch
mouldings, thespandrelsbeing filled
withquatrefoilsor tracery. Pointed
arches were still used throughout the
period, butogeeand fourcentredTudor archeswere also
introduced.

Inside the church

thetriforiumdisappears, or its place
is filled with panelling, and greater
importance is given to
theclerestorywindows, which are
often the finest features in
thechurchesof this period. The
mouldings are flatter and less
effective than those of the earlier
periods, and one of the chief
characteristics is the introduction of
largeellipticalhollows.

Some of the finest features of this period

are the magnificenttimberroofs;
hammerbeam roofs, such as those
ofWestminster Hall(1395),Christ Church
Hall, Oxford, andCrosby Hall, appeared
for the first time. In areas ofSouthern
Englandusingflint architecture,
elaborateflushwork (Decorative patterns
in flint flat against limestone, brick or
carrstone, used to decorate the outside
of some churches )
decoration in flint andashlar (Thin slabs
offreestoneused as facing)was used,
especially in thewool church ofEast
Anglia.

The church building at Brightlingsea is

characterised by the use of flushwork, a
technique that involves the use of
knapped flint and ashlar stone to create
patterns in the fabric of the wall. It is a
typically East Anglian type of decoration

All Saints, East Tuddenham,

flushwork

The Ceiling of the Great Cloister,

Canterbury Cathedral

Some of the earliest examples of the

Perpendicular Period, dating from
1360, are found atGloucester
Cathedral, where themasonsof
thecathedralwould seem to have
been far in advance of those in other
towns; the fan-vaulting in
thecloistersis particularly fine

York minster

Among other buildings of note are:

the Quire (or choir) and tower ofYork

Minster(13891407);

Canterbury cathedral

thenaveand westerntranseptsof

Canterbury Cathedral(13781411),

the tower, towards the end of

the15th century;New College,
Oxford(13801386,Henry Yevele);
New College is one of the oldest of
the Oxford colleges, having originally
been founded in 1379. The second
college in Oxford to be dedicated to
the Blessed Virgin Mary, it was
founded byWilliam of
Wykeham,Bishop of Winchesteras
"The College of St Mary of
Winchester in Oxford".

theBeauchamp Chapel (or the

Chapel of Our Lady), Warwick(1381
1391);

Nave

North
aisle

the remodeling of the nave and aisles

ofWinchester Cathedral(1399
1419);

Merton college

the transept and tower ofMerton

College, Oxford (14241450);

ManchesterCathedral ,

Manchester Cathedral(1422);

the central tower ofGloucester

Cathedral(14541457),

the central tower of Magdalen

College, Oxford(14751480).

theDivinity School, Oxford.

Sherborne Abbey(1475c. 1580),

particularly noted for its vast fanvaulted roof,Bath abbey(although
restored in the 1860s) andHenry
VII'sLady ChapelatWestminster
Abbey (15031519) are notable later
examples of this style.

To those examples should be added

the towers atSt. Giles Church,
Wrexham, of such exceptional
magnificence that it is known as one
of the Seven wonders of
Wales";Coventry ,Evesham, andSt.
Mary Magdalene, Taunton. All of a
kind,Eton College Chapel,
Eton,Kings College Chapel,
Cambridge(14461515) andSyon
Abbeymay also be put under this
heading.

The Perpendicular style was less

often used in theGothic revivalthan
the Decorated style, but major
examples include theHouses of
Parliament,Bristol university'sWills
memorial building(19151925)
andSt. Andrews Cathedral, Sydney.

Naves and fan-vaultings

Cathedral, London
Bath Abbey(nave)

Henry VII's Chapel at Westminster

(fan vaulting)

Naves

Winchester Cathedral nave and

Gothic nave decoration of the vault

Tracery

The interior of Gloucester Cathedral

conveys an impression of a "cage" of
stone and glass, as is typical of
Perpendicular architecture. The
elaborate tracery of the Decorated
style is no longer in evidence, and
the lines on both walls and windows
have become sharper and less
flamboyant in manner.

Church of Holy Trinity

Features

Large windows, as in
Kings college,
Cambrideg, The
chapel. Late 15th C.
Simplicity and
austerity in design

Doorways and openings

Lower and flatter arch

Simplification of window tracery

The four-centered arch was evolved

Openings

Simple, rectangular shapes

The hood mould over doorways

square, filling in the triangular space
between the hood mould and the
arch with simple cusping or other
plain patterns (occasionally a coat-ofarms)

Doorway of Kings college chapel,

exterior stonework with coats of arms

Walls and vaults

Walls fine finished, seemed
infinitely thin, decorated
with a delicate relief
pattern, a repetition of the
motifs that made up the
tracery of the windows,
making of the whole wall a
pattern into which the
window fit as an integral
part, rising to the roof.
Fan-vaulting in the cloister:
Gloucester cathedral
Kings college, mouldings
on walls

Ribbed vaulting

Rib-vaulting developed into fanvaulting.

Kings college, fan-vaulting roof

St. George Abbey, Windsor

Churches

Large windows filling the entire wall

Windows subdivided into similar

rectangular shapes and each panel in
stained glass.

Roofs

Roofs in both stone and timber

developed.

Stone vault: fan-like springing of

many ribs assumed the form of an
inverted curved cone. The ribs
curved up and out to the semicircular top of the cone forming
between them a series of flat
diamond-shaped panels in the
ceiling.

Bath Abbey, nave fan vaulting

Kings college, the chapel

Timber roofs

Timber roofs developed into the

double-tiered hammer-beam roof.

Westminster Hall

Pillars, capitals & bases

Made up of several shafts that were

merged together to such an extent
as virtually to become mere
mouldings on one shaft.

Capitals and bases tended towards

straight-sided polygons, curves no
longer used

Exester cathedral

Pillars, piers and capitals

Cathedral Architecture Perpendicular

Base

Cathedral Architecture Perpendicular

Capital

Mouldings around archs: thin, flat

and mean

Salisbury Cathedral

Gothic ornaments

Carvings

Where it occurs, is of highly

formalised nature. Folliage is made to
conform to set geometrical design,
and it is frequently so changed and
stylised as to be hardly recognisable
as leaves, flowers, etc., at all.

Kings college, the chapel, exterior

stonework with coats of arms
(doorway)

Mock battlements

Mock battlements are a very usual

feature of this style of building.

Battlement

Typical internal bay in the

Perpendicular style (Church of Holy
Trinity, Long Melford, Suffolk)

Typical external and internal bay in the Perpendicular style (Church of Holy Trinity, Long
Melford, Suffolk)

Parapet-walls

Parapet-walls round roofs and towers

are almost always ambattled, in a
light hearted way.

Parapet, St. Martin at Palace

Parapet at central tower of Magdalen

College, Oxford (14751480)

Parapets carved with quatrefoils,

lozenges, and circles, excecuted in
bas-relief or inlaid with some
contrasting material as aplit flint on
stonework or dressed stone on
brickwork.

Perpendicular building is wholly

English, for example the large scale
alteration work at Winchester
Cathedral, university colleges.

Battlements and screens

The linking for battlements, were

used in miniature as decorations to
horizontal members of window
tracery, carved screens, tombs, and
so on, in either stone or wood.

This form of decoration with the

custom of using rectangular panels
as the basis for the decoration.

The great screen, Winchester

Cathedral

RENAISSANCE
OTHER PARTS OF THE WORLD

1500-1625

RENAISSANCE PERIOD 1501-1625

IN OTHER COUNTRIES

Rebirth of Greek and

roman ideas.
This movement affected
English architecture in
the 16th century.
Greek columns of three
orders (order: the entire
unit of construction and
decoration)
Doric
Ionic
Corinthian

Orders

The Romans took from the

Greeksthe three ordes architecture,
Doric, Ionic, and Corinthian, based on
different forms of column and the
capital which surmounted it, and
added a hybrid of their own, known
as Composite. That they could
indulge their architectural ambitions
was due to the indubitably Roman
invention of concrete. Its basis was
pozzolana, a chocolate-coloured
volcanic earth originally found near
the Greek settlement of Puteoli, and
subsequently discovered in vast
quantities around Rome.

The Romans took from the Greeks

the beam-and-pillar building motifs
and incorporated them into arch-anddome constructed buildings.

Features: semi-circular arch, the

pediment, or Greek gable-end that
they had adopted, and the three
Orders now used decoratively, often
imposed one on top of another in the
various stages of a multi-storey
building.

Dome

dome (also called cupola after

the same Italian word) means the
rounded vault of a temple
(Pantheon) and later on of
churches and palaces.
It can be distinguished in three
parts:
a) drum (A) often having a
polygonal shape and with thick
walls to support the weight of
the
b)calotta(B) the curved section
of the dome which is often
composed of an inner and an
outercalotta;
c) lantern (C) a small and
decorated structure with
windows.
The image shows the dome of S.
Maria del Fiore in Florence
designed

Domes

The dome permitted construction of

vaulted ceilings and provided large
covered public spaces such as the
public baths and basilicas. The
Romans based much of their
architecture on the dome, such as
Hadrian's Pantheon in the city of
Rome, the Baths of Diocletian and
the Baths of Caracalla.

Remains of the baths of Diocletian,

Rome.

Pantheon

Their command of materials and

techniques enabled the Romans to
construct circular temples, the most
spectacular of which is the Pantheon,
rebuilt between AD 120 and 124 in
the reign of the emperor Hadrian.

When reinassance building forms reached England,

english builders did not understand them,
misapplied most of them, and were unaware of the
exact proportions that the Greeks had worked out.
Inigo Jones was the first Englishman to build
according to the correct rules.
By the time of Jones death in 1625, the period of
transition from medieval to classic building was at
an end.
This transition has been divided into two main
parts:

RENAISSANC
E
IN ENGLAND

TUDOR

: largely medieval in

detail, but emerges thatnks to the Reinassance

movement

ELIZABETHAN and JACOBEAN: which is classic

in detail, although at first very inaccurate in
application and proportion.
1500-1575

Henry VIIIs palace Nonsuch began

in 1538, its decoration, nearly all
by foreign crafstmen, introduced a
wealth of Renaissance motifs. Its
structure was an undisciplined
amalgam of traditional elements.
With large circular corner towers,
a crenellated cornice and conical
roofs, Nonsuch was the first
Renaissance building in England.
No trace of it remains.
The upper part was timber-framed
and decorated with a complex
series of high-relief stucco panels,
separated by carved and gilded
slate.

During the Renaissance, there wasnt many

building construction in England, the exception
was a group of buildings initiated during the
reign of Edward VI by the Protector Somerset
and his circle. Somersets own London palace,
Old Somerset House, now completely
disappeared, marks the beginning of true
Renaissance architecture in England. It had a
symmetrical facade using the three orders, a
triumphal arch motif for the entrance,
pedimented windows and a crowning balustrade.
Inside was a courtyard of semi-circular arches on
Tuscan columns. it does have Tudor chimneys,
projecting bay windows that do not reach the
edge of the building (English), mullioned
windows, an elevated part above the balustrade
that looks ornamental. Overall it could be
regarded as a Tudor gatehouse with towers
either side.
It was built in 1547-1552

Longleat House: begun in 1553. it

abandoned the use of the orders,
but it is symmetrical on both
axes. Although built around a
large court the important rooms
all look outwards upon the park,
and indeed the house is a
composition of square bay
windows. It is more Italian than
French; as it stands, it suppresses
the roof. It has leaded flats.
Longleat belongs to a period of
transition, the uneasy years of
Mary Tudor and the early part of
the reign of Elizabeth.

TUDOR 1485-1560
Tudor buildings are
wholly Gothic in form,
but they are nearly all
secular.
The accent is on
domestic rather than
ecclesiastical building,
and so the scale is
much more intimate.
Windows and doors
become smaller,
buildings become more
complicated, chimneys
and fireplaces become
common.

The Tudor Style in English architecture

is the final development of medieval
architecture during the Tudor period
(14851603) and even beyond, for
conservative college patrons. It
followed the Perpendicular style and,
although superseded by the English
Renaissance in domestic building of any
pretensions to fashion, the Tudor style
still retained its hold on English taste,
portions of the additions to the various
colleges of Oxford and Cambridge being
still carried out in the Tudor style which
overlaps with the first stirrings of the
Gothic Revival.

Church architecture: principal examples

Henry VIIs Chapel

atWestminster(1503)

Kings College Chapel,Cambridge

St. Georges Chapel,Windsor Castle

Tudor Houses
Tudor Houses
As in modern architecture Tudor Houses were
built according to the wealth of the owners.
There were Tudor houses for the rich which
were the palaces and mansions and Tudor
houses for the middle classes and the poor.
The most distinctive style of the majority of
Tudor houses were built in the black and
white half-timbered style of Tudor
architecture.
Features of Tudor Houses
The main features of Tudor Houses were as
follows:
Vertical and diagonal blackened timbers
Thatched roofs
Overhanging first floors called galleries
Some of the lower stories were built in stone
Arches were smaller and flattened as
opposed to the pointed Gothic arches
Pillared porches
Dormer windows and Leaded windows with
small window panes
High, spiralled chimneys

Material used for Tudor Houses

Tudor Houses were framed with massive upright,
vertical timbers which were usually made of oak
and occasionally elm. These vertical timbers were
often supported by diagonal timbers. The timbers
were blackened and used to create a skeleton
which was filled in with brick, plaster or most
commonly wattle and daub. Tudor houses of the
poor therefore consisted of wattle walls which
were daubed with mortar and then whitewash
was applied. This building process resulted in the
highly distinctive black and white half-timbered
Tudor Houses.

Wattle and Daub used for Tudor Houses

Wattle and daub were used for the infill panels
between the timber posts. Small branches or
twigs of hazel, willow or oak were woven together
and daubed on both sides with a moist mixture of
earth, chopped straw and dung.

Bricks used for Tudor Houses

Bricks were a new innovation and expensive and
often only used for the mansions and palaces of
the rich Tudors. Initially bricks were only used for
the construction of chimneys. A regulation was
passed in 1467 to prevent fires from spreading
demanded that either bricks or stone were used
to build chimneys: "No Chimneys of tre be
suffered buyt that the owners make hem of bryke
or stone".

Tudor Houses with Thatched Roofs

Many Tudor houses had thatched roofs and
these were especially popular in the countryside
where the potential fire risk was not as serious
as in the towns . The materials used to make a
thatched roof was either straw or reeds.
Bundles of straw or reeds were piled on to the
frame of the roof. The bundles had a
circumference of between 24 to 27 inches and
could range from 3 to 7 feet long.
Windows of Tudor Houses
The windows of the Tudor houses of the poor
were covered by horn or wooden shutters. Glass
was expensive to make so only included in the
houses , mansions and palaces of the rich
Tudors. The use of glass made the interiors of
the more expensive houses lighter and airier. To
make a pane of glass was a time consuming and
painstaking process. A blob of glass was blown
into a cylinder-shaped bubble which was placed
on a cooling table and then cut in half. A small
piece of glass was thereby produced. The small
pieces of glass for the windows were joined
together with lead. The leaded window panes
were constructed in a in a criss-cross , or
lattice, pattern. The design was a casement
windows. Casement windows were attached to
a hinge which opened outwards.

Overhanging Windows, or Galleries of

Tudor Houses
The overhanging windows in the upper
storeys of the houses were an important
feature especially in the Tudor towns
where space was at a premium. The
building of such overhangs enabled
additional floor and living space which
was not subject to ground rent imposed
during the Tudor period. This led to the
houses in cities, such as London, where
land was expensive to be built in close
proximity to each other forming streets
where the overhang windows almost
met. This style resulted in extremely
dark streets where little sunlight was
allowed through.

Tudor Houses
Each section of this Tudors website
addresses all topics and provides
interesting facts and information about
Tudor Houses. The Sitemap provides full
details of all of the information and facts
provided about the fascinating subject of
the Tudors!

The four-centred arch, now known as

theTudor arch, was a defining
feature; some of the most
remarkableoriel windowsbelong to
this period; the mouldings are more
spread out and the foliage becomes
more naturalistic.

During this period the arrival of the

chimney stack, and enclosed hearths
resulted in the decline of thegreat
hallbased around an open hearth
which was typical of earlier medieval
architecture. Instead, fireplaces could
now be placed upstairs and it
became possible to have a second
storey that ran the whole length of
the house. Tudor chimney-pieces
were made large and elaborate to
draw attention to the owner's
adoption of this new technology, and
the jetty appeared, as a way to show
off the modernity of having a
complete, full-length upper floor

The style of large houses moved

away from the defensive architecture
of earliermoated manor houses, and
started to be built more for
aesthetics. For example,
quadrangular, 'H' or 'E' shaped plans
became more common. It was also
fashionable for these larger buildings
to incorporate "devices", or riddles,
designed into the building, which
served to demonstrate the owner's
wit and to delight visitors.
Occasionally these
wereCatholicsymbols, for example,
subtle or not so subtle references to
the trinity, seen in three sided,
triangular, or 'Y' shaped plans,
designs or motifs

The houses and buildings of ordinary

people were typicallytimber framed,
the frame usually filled withwattle
and daubbut occasionally withbrick.
These houses were also slower to
adopt latest trends and thegreat
hallcontinued to prevail.
TheDissolution of the
Monasteriesprovided surplus land,
resulting in a small building boom, as
well as a source of stone.

Domestic examples

Eltham Palace, Kent

Tudor Barn Eltham, Greenwich

Oxburg Hall, Norfolk

Owlpen Manor, Gloucestershire

Kings College, Aberdeen

Layer Marney Tower, Essex

East Barsham Manor, Norfolk

Fords Hospital, Coventry

Compton Wynyates

Hampton Court Palace

Montacute House(late Tudor)

Wollaton Hall, Nottinghamshire(late

Tudor)

Old Market Hall, Shrewsbury

Hunsdon House, Hertfordshire

Sutton House,London Borough of

Hackney

Tudor style buildings have six distinctive

features

Decorativehalf-timbering common in
gables (D)

Steeply pitched roof, Prominent

crossgables (A)

Tall, narrow doors and windows

commonly in multiple groups with
multipane glazing (C)

Small window panes

Largechimneys, often topped with

decorative chimney pots (B)

Mix of materials may include stone

(rough or cut), brick, wood or stucco
(E)

The four-centred arch was a defining

feature; some of the most
remarkable oriel windows belong to
this period; the mouldings are more
spread out and the foliage becomes
more naturalistic.

The typical Tudor Great House was

built in red brick, it most noticeable
feature was the gate-house. This
often consisted of a broad low arch
flanked on either hand by tall
octagonal towers, crowned with
mock fortifications. Steep roofs and
fantastic brick chimneys like
cockscrews, many gables and turrets,
provided a variegated skyline. Above
the door a coat-of-arms carved in
brick or stone proclaimed the nobility
of the owner.

ELIZABETHAN
15581603
1550-1625 ????

In the Elizabethan area, England became not only a European power but also with the
circumnavigation of the globe, the defeat of Spain and the founding of Virginia- a world
power of a new kind, mercantile, secular, cultured, ebullient and self-confident. This
found its expression in architecture.
The basis of Elizabethan architecture lay in patriotism and splendour. Elizabeth herself
built very little.
Huge mansions, owned by merchants and noblemen, were built between 1580 and 1620.
They have all the spaciousness, glitter and novelty. In their craftsmanship- their leaded
lights, mullions and panelling-they are a last chapter of medievalism; in the columns and
entablature around a door or fireplace they are Italianete; in thier grotesque strpwork
and curved glabes they are Flemish; in actual fact they are unique. They are very
English, very splendid and rather vulgar. It was only in detail that these houses really
owed much to Italy
Apart from the scale and richness of decoration displayed by these houses, significant
changes were also taking place in planning. A desire for symmetry, impressive rooms and
ordered sequences led to the transformation of the hall, which, with its screens passage,
high table and oriel window, had been the centre of the house where all its inhabitants
could gather for meals and warmth, into something more like a grand vestibule.

Wollaton Hall: built

between 1580 and 1588.
has a huge central hall,
towering up like a turrered
fairy castle from the
middle of the house, to be
brillianty lit by windows
above the surrounding
roof level. There are also
fantastic square corner
towers, almost detached
from the main building.

Hardwick Hall: built betweem 15901597. The phrase Hardwick Hall,

more glass than wall expalins the
excitement it must have caused in a
world where still- at least for the
peasants- glass was an
extravagance. The plan, compared
with Longleat and Wollaton, has
contracted; the whole house is more
compact. In compensation the six big
bay windows-rooms in themselvesare carried up above roof level so
that there is a silhouette of square
towers romantic and beautiful, an
English vversion of the idealized
castle of a dream-like Middle Ages.

The glamour of Elizabeths reign is such that it is

sometimes forgotten how much that is called
Elizabethan actually belongs to the time of
James I. This is also true of architecture. In the
sphere of the great house, and of a hundred
smaller houses, there is a whole Jacobean sequel
to the prodigy houses. Renaissance grandeur,
for instance, had already spread to simpler
dwellings such as Montacute in Somerset and
Condover Hall in Shropshire, both finshed in the
last years of the Queens reign.

Country
Country
Mansions
Mansions
The
The period
period is
is
specially
specially
remarkable for
the erection of a
large number of
country
country
residences
residences in
in
which
many
which many
Gothic features,
such as
mullioned
windows, towers,
oriels
oriels and
and large
large
chimney
stacks,
chimney stacks,
were
were retained,
retained,
but were
ornamented with
Renaissance
detail.
detail.

The walls usually had oak panelling

for their full height, and the plaster
ceilings were richly modelled.

Two general types of plan were in

use. The smaller type, derived
from the simple mediaeval
manor house, consisted as
before of a Hall placed centrally
with kitchen and offices at one
end and family apartments at
the other.

The larger type was evolved from the

quadrangular mediaeval plan, which
the Elizabethan and Jacobean
architects modified by omitting one
side. This resulted in an E shaped
plan, securing sunlight and a freer
circulation of air into the Court, as at
Hatfield House.

The H shaped plan was evolved by

extending the wings as at Holland
House, London. Other fanciful plans
showing extreme originality were
also employed, as, e.g., Longford
Castle, a triangular house attributed
to John Thorpe

Typical half-timbered Elizabethan

house

Elizabethan chimneys, parapets and

domes1560

JACOBEAN
1603 -1630

Although the general lines of Elizabethan design remained, there was a more consistent and unified application
of formal design, both in plan and elevation. Much use was made of columns andpilasters, round-archarcades,
and flat roofs with openwork parapets. These and other classical elements appeared in a free and fanciful
vernacular rather than with any true classical purity. With them were mixed the prismatic rustications and
ornamental detail of scrolls, straps, andlozenges also characteristic of Elizabethan design. The style influenced
furniture design and other decorative arts. Jacobean buildings of note areHatfield House,Hertfordshire;Knole
House, nearSevenoaksinKent;Holland HousebyJohn Thorpe,Plas TegnearPontblyddynbetweenWrexham
andMold, andLilford Hallin Northamptonshire.
Although the term is generally employed of the style which prevailed in England during the first quarter of the
17th century, its peculiar decadent detail will be found nearly twenty years earlier at Wollaton Hall,
Nottinghamshire, and inOxfordand Cambridgeexamples exist up to 1660, notwithstanding the introduction of
the purer Italian style byInigo Jonesin 1619 atWhitehall.
Already duringQueen Elizabeth I's reign reproductions of the classic orders had found their way into English
architecture, based frequently uponJohn Shute'sThe First and Chief Grounds of Architecture, published in
1563, with two other editions in 1579 and 1584. In 1577, three years before the commencement ofWollaton
Hall, a copybook of the orders was brought out in AntwerpbyHans Vredeman de Vries. Though nominally
based on the description of the orders byVitruvius, the author indulged freely not only in his rendering of
them, but in suggestions of his own, showing how the orders might be employed in various buildings. Those
suggestions were of a most decadent type, so that even the author deemed it advisable to publish a letter
from a canon of the Church, stating that there was nothing in his architectural designs which was contrary to
religion. It is to publications of this kind that Jacobean architecture owes the perversion of its forms and the
introduction of strap work and pierced crestings, which appear for the first time atWollaton(1580); at
Bramshill,Hampshire(16071612), and inHolland House,Kensington(1624), it receives its fullest
development.

In the relly big house, such as Hatfield or

Bolsover, there was an increasing
richness, a grotesque ornamentation. It
is linked with Italian Mannerism- via
Flanders- but is altogether more
outrageous, with banded columns,
marble inlay, carved tassels,
arabesques, bulbous balusters, masks
and eroticism.

Hatfield house

Built by Robert Cecil, Ist Earl of

Salisbury and Chief Minister to
King James I from 1607 to 1611.

Bolsover castle

Bolsover Castle was originally built by the Peverel family in the 12th century but after years of neglect was
purchased by Sir George Talbot in 1553. Talbot, later becoming the 6th Earl of Shrewsbury is noted for his
marriage to 'Bess of Hardwick', probably the most astute business woman of the 16th century, who owned
the vast Chatsworth estates.
Bolsover Castle was sold on to Charles Cavendish in 1608, who employing Robert Smythson as his architect,
set about re-building the castle. which, despite its embattled appearance, was designed for elegant living
rather than for defence. The tower, known today as the little castle, was completed around 1621, and
building work continued with their sons adding the terrace and riding school ranges. Used as extra
accommodation, the Terrace Range originally consisted of apartments and kitchens, but with a Royal visit
imminent this range was extended to include a long gallery and an external staircase. At completion, the
school had every facility required, including a forge, a tack and harness room, a large arena, and an upper

We can detect the beginnings a generation

earlier in houses like Kirby Hall and Burghley,
both in Northamptonshire- the later with a
roof-scape. At Bramshill in Hampshire
(1605-12) the grotesque entrance and oriel
are set between severely plian wings, but the
full Jacobean flavour is to be found in the
great staircase at Hartfield (1611). This stair
is notable both because it was one of the first
grand staircases in England and also as a
display of the ornate Jacobean style.

Kirby Hall (Elizabethan)

Kirby Hallis anElizabethancountry house, located nearGretton,

Northamptonshire,England. (Nearest town beingCorby).
Construction on the building began in 1570 based on the designs in
French architectural pattern books and expanded in the classical
style over the course of the decades. The house is now in a semiruined state with many parts roof-less.

Burghley house
(Elizabethan)

Burghley was built forSir William Cecil, later 1st Baron

Burghley, who wasLord High TreasurertoQueen Elizabeth I,
between 1555 and 1587 and modelled on the privy lodgings
ofRichmond Palace.

Bramshill House

Bramshill Houseis aJacobeanmansionstanding on 269acres (1.09km2) of land

in thecivil parishofBramshillin north-eastHampshireinEngland. It has been
the location of thePolice Staff Collegesince 1955.

Hartfield house

BAROQUE
1690-1730
Stuart architecture

TheCivil War164249 proved to be the last time in

British history that houses had to survive asiege.
Corfe Castlewas destroyed following an attack by
Oliver Cromwell's army, butCompton Wynyates
survived a similar event. After this date houses were
built purely for living, and design and appearance were
for ever more important than defence.
Just prior to the Civil War,Inigo Jones, who is regarded
as the first significant Britisharchitect, came to
prominence. He was responsible for importing the
Palladianmanner of architecture fromItaly; the
Queen's HouseatGreenwichis perhaps his best
surviving work.

Following therestorationof the monarchy in 1660 and the

Great Fire of Londonin 1666 an opportunity was missed inLondonto create
a newmetropolitancity, featuring modern architectural styles. Although one
of the best known British architects, SirChristopher Wren, was employed to
design and rebuild many of the ruined ancient churches of London, his
master plan for rebuilding London as a whole was rejected. It was in this
period that he designed the building that he is perhaps best known for,
St Paul's Cathedral.
In the early 18th centurybaroquearchitecture, a style exemplified by heavy
embellishment and mass, popular in Europe, was introduced, the first
baroque house in England wasChatsworth HousebyWilliam Talmanin the
1690. However, it is usually SirJohn VanbrughandNicholas Hawksmoorwho
are considered the masters ofEnglish Baroque.Castle Howardof 1699 is
arguably first truly baroque house in England, dominated by it cylindrical
domed drum tower it would not be in out of place inDresdenorWrzburg.
Vanbrugh and Hawksmoor then evolved the style to suit the more solid
English taste atBlenheim Palace,Seaton Delaval HallandEaston Neston.

Chatsworth House
across theRiver
Derwent, with the
Hunting Tower
visible above

South (garden) Face

of Castle Howard

Thedomeof St. Paul's

cathedral designed by
SirChristopher Wren

Montacute
House, near
Yeovil,
Somerset.
Built 1598
One of the
first
unfortified
houses to be
built
completely
from new

Early baroque styles.

The roots of baroque styles are found in the art of Italy, and especially in
that of Rome in the late 16th century. A desire for greater clarity and
simplification inspired a number of artists in their reaction against the
anticlassical Mannerist style, with its subjective emphasis on distortion,
asymmetry, bizarre juxtapositions, and biting colors. Annibale Carracci and
Michelangelo Merisi, called Caravaggio, were the two artists in the forefront
of the early baroque reforms, which they accomplished in two ways.
Caravaggio's art is one of strict naturalism; his paintings often include types
drawn from everyday life engaged in completely believable activities. The
school that developed around Carracci, on the other hand, attempted to rid
art of its mannered complications by returning to the High Renaissance
principles of clarity, monumentality, and balance. This baroque classicism
remained important throughout the century. Meanwhile, a third baroque
style developed in Rome about 1630, the so-called high baroque; it is
generally considered the most characteristic mode of 17th-century art, with
its exuberance, emotionalism, theatricality, and unrestrained energy.

Baroque characteristics:
Large scale , bold details
Interpenetration of oval spaces
Sweeping, curved surfaces
Conspicuous use of decoration, sculpture, and color
C and Sscrolls,
Shellmotifs (including door hoods and niche hoods)
Cartouches
Segmental arch window pediment(rounded pediment)
Acanthus leaves
Art: The Baroque movement is by no means exclusively associated with religious art.
Mirrors: Mirrors began to appear in the this century, e.g., the Hall of Mirrors at Versailles.
Architects: Gianlorenzo Bernini, Carlo Moderno, Francesco Borromini, Franois Mansart, Jules
Hardouin, Charles LeBrun. Christopher Wren
England's introduction to the Baroque style occurred after the Great Fire in 1666 destroyed most of
London. Charles II set out to rebuild London in grand style and appointed Christopher Wren (16321723) as surveyor to his court. Wren had traveled to Paris in 1665 and returned to England with
countless engravings depicting the ornate French Baroque style. The grandiose nature of the
French Baroque style had impressed the king; however, it was ill-suited for London.
Through Wren's achievements, an English national style was established, and he was knighted for
his architectural accomplishments. Wren's interpretation of the high Baroque style supplanted
excessive ornamentalizing with classicPalladianism.

Baroque characteristics.
Among the general characteristics of baroque art are a sense of movement,
energy, and tension (whether real or implied). Strong contrasts of light and
shadow enhance the dramatic effects of many paintings and sculptures.
Even baroque buildings, with their undulating walls and decorative surface
elements, imply motion with contrasts in light and color. Intense spirituality
is often present in works of baroque art; in the Roman Catholic countries, for
example, scenes of ecstasies, martyrdoms, or miraculous apparitions are
common. Infinite space is often suggested in baroque paintings or
sculptures, no longer the contained units they were in the Renaissance.
Realism is another integral feature of baroque art; the figures in paintings
are not types but individuals with their own personalities. Artists of this time
were concerned with the inner workings of the mind and attempted to
portray the passions of the soul on the faces they painted and sculpted. The
intensity and immediacy of baroque art and its individualism and detail
observed in such things as the convincing rendering of cloth and skin
texturesmake it one of the most compelling periods of Western art.

Baroque painting in England was dominated by the

presence of Rubens and van Dyck, who inspired an entire
generation of portraitists. British sculpture was influenced
equally by Italian and Flemish styles. The architect Inigo
Jones studied Palladian classicism in Italy, as is evident in
his Banqueting House (161922, London), with a
spectacular ceiling painting,Allegory of Peace and
War(1629), by Rubens. Sir Christopher Wren also journeyed
to Italy, and his plans for Saint Paul's Cathedral (begun
1675, London) reveal his study of Bramante, Borromini, and
other Italian Renaissance architects. Wren, who was in
charge of the rebuilding of London after the fire of 1666,
influenced the course of architecture in England and its
North American colonies for over a century.

The current
Cathedral - the
fourth to occupy
this site - was
designed by the
court architect Sir
Christopher Wren
and built between
1675 and 1710
after its
predecessor was
destroyed inthe
Great Fire of
London.

It was Wren who presided over the

genesis of the English Baroque
manner, which differed from the
continental models by clarity of
design and subtle taste for
classicism. Following theGreat fire of
London, Wren rebuilt fifty-three
churches, where Baroque aesthetics
are apparent primarily in dynamic
structure and multiple changing
views. His most ambitious work was
St. Pauls Cathedral, which bears
comparison with the most effulgent
domed churches of Italy and France.
In this majestically proportioned
edifice, thePalladian tradition of
Inigo Jones is fused with
contemporary continental
sensibilities in masterly equilibrium.

Castle Howard,North Yorkshire

Although Wren was also active in

secular architecture, the first truly
Baroquecountry housein England
was built to a design byWilliam
Talmanat Chatsworth, starting in
1687. The culmination of Baroque
architectural forms comes with
SirJohn VanbrughandNicholas
Hawksmoor. Each was capable of a
fully developed architectural
statement, yet they preferred to work
in tandem, most notably atCastle
Howard (1699) andBlenheim Palace,
Oxfordshire (1705).

Castle Howard is a flamboyant

assembly of restless masses
dominated by a cylindrical domed
tower

Blenheim is a more solid

construction, where the massed
stone of the arched gates and the
huge solid portico becomes the main
ornament.

Vanbrugh's final work wasSeaton

Delaval Hall(1718), a comparatively
modest mansion yet unique in the
structural audacity of its style. It was
at Seaton Delaval that Vanbrugh, a
skillful playwright, achieved the peak
of Restoration drama, once again
highlighting a parallel between
Baroque architecture and
contemporary theatre. Despite his
efforts, Baroque was never truly to
the English taste and well before his
death in 1724 the style had lost
currency in Britain.

the seventeenth-century
architectsInigo Jones
andChristopher Wrenfirmly
established classicism inEngland.

QUEEN ANN STYLE

1702-1714

English architecture during the reign

of Queen Anne, from 1702 to 1714;
primarily country houses and many
houses in the suburbs of London,
often of red brick. Characterized by a
dignified simplicity and
moderateness in scale; avoidance of
the appearance of massiveness;
hipped roofs hidden behind parapets;
sash windows.

Bluecoat Chambers inLiverpool, of

1717, in a version of the original
Queen Anne style

GEORGIAN
17141830
1720 and 1840????

English architecture during the reigns of the first four Georges (1714
1830), which saw the rise ofPalladianism, the varied and elegant styles
of RobertAdam, and the fashions forRococo, Chinoiserie ,Gothick ,
andHindoo. It also embraced the earlyGothicandGreek revivals, the
Picturesque,eclecticism,Neo-classicism, and the taste
forEtruscanandPompeiandesign, as well as the new, unadorned,
powerful architecture of the canals, railways, and industry, so it
included much that wassublime. Georgian often describes a type of
C18 and early C19 domestic architecture with unadorned windowapertures,double-hungsashes, anddoor-cases, the latter often
withfanlights, and sometimes given ambitious architectural features
such as columns, pilasters,entablatures,pediments, andconsoles.
It includes several trends in English architecture that were predominant
during the reigns (1714-1830) of George I, George II, George III, and
George IV. The first half of the period (c.1710-c.1760) was dominated
by Neo-Palladianism.

The Palladian tradition exerted an obvious and powerful influence throughout the Georgian
period both in England and America. During the first half of the 18th cent. there was a
countercurrent of baroque architecture stemming from buildings by Sir Christopher Wren and
carried on by Sir John Vanbrugh, Nicholas Hawksmoor, and James Gibbs. From the second
half of the 18th cent. new archaeological discoveries in Greece and Italy led architects to
draw freely from antiquity and other sources. Neoclassicism had for its principal exponents
Sir William Chambers, Robert Adam, George Dance II, and Sir John Soane. A vast increase in
population and the birth of industrialism brought an increasing demand for formal mansions
for the aristocracy and for dwelling houses for the middle classes. A purely English type of
dwelling, somewhat standardized as to plan and materials, was produced for the needs of
town and country. The use of brick had become common under William of Orange (William
III), as an element of Dutch influence. The red brick house, with courses and cornices of white
stone and trimmings of white painted woodwork, is what is popularly termed the Georgian
style. New types of public, commercial, civic, and governmental architecture arose, examples
of which are Queensberry House by Giacomo Leoni; the Old Admiralty, Whitehall, by Thomas
Ripley; the treasury and Horse Guards buildings, by William Kent; Somerset House, by Sir
William Chambers; the Bank of England, by Sir John Soane; and monumental street
groupings, such as those by John Wood and his son at Bath and by the Adam brothers in
London. Among notable churches are St. Martin-in-the-Fields and St. Mary-le-Strand, both by
James Gibbs; other important architects of the period were James Gandon and Henry Holland.
American buildings and arts of the period, which closely resemble their English prototypes,
are also usually designated as Georgian.

Georgian succeeded theEnglish baroqueof SirChristopher Wren, Sir John Vanbrugh

andNicholas Hawksmoor. Major architectsto promote the change in direction from
baroque were Colen Campbell, Richard Boyle, and his protg William Kent;Thomas
Archer; and theVenetianGiacomo Leoni, who spent most of his career in England.
Thestylesthat resulted fall within several categories. In the mainstream ofGeorgian
stylewere bothPalladian architecture and its whimsical
alternatives,GothicandChinoiserie, which were theEnglish-speaking world's equivalent
ofEuropean Rococo. From the mid-1760s a range ofNeoclassicalmodes were
fashionable, associated with the British architectsRobert Adam ,James Gibbs, SirWilliam
Chambers,James Wyatt,Henry Holand and Sir John Soane. Greek revivalwas added to
the design repertory, after Georgianarchitectureis characterized by its proportion and
balance; simple mathematical ratios were used to determine the height of a window in
relation to its width or the shape of a room as a double cube. "Regular" was a term of
approval, implying symmetry and adherence to classical rules: the lack of symmetry,
where Georgian additions were added to earlier structures, was deeply felt as a flaw.
Regularity of house fronts along a street was a desirable feature of Georgian town
planning. Georgian designs usually lay within theClassical orders of architectureand
employed a decorative vocabulary derived from ancient Rome or Greece. The most
common building materials used arebrickor stone. Commonly used colors were red, tan,
or white. However, modern day Georgian style homes use a variety of colors.

The period of we call Georgian is very roughly equivalent to the 18th century.
Although the reign of George III extended into the 19th century, and George IV did
not die until 1830, the style(s) of architecture most commonly associated with the
Georgian England is at its most strongly identifiable in the period 1730-1800.
With all those disclaimers established, what characterized Georgian design? More
than any other period of English historic architecture, Georgian style is linked with
the classical period of Greece and Rome.
Classical influence.The Georgian period was highly - at times almost exclusively influenced by the classical architecture. An entire generation of aristocratic youth
traveled throughout Europe on the "Grand Tour", which was supposed to put a polish
on their education. These Grand Tours exposed the most influential class in Britain to
the classical traditions of style and architecture. These young men (only very
occasionally did women undertake a Grand Tour), came home to Britain fired by an
enthusiasm for classical architecture and design.
Georgian style - major themes
Influenced by Greece and Rome
Terraces and Town Houses
Palladianism
Country Houses

Palladian door

Country Houses.During the 18th century wealth was accumulating in the

hands of fewer and fewer people. Basically, the rich were getting richer, and
they put money into their homes. Wealthy landowners enclosed vast tracts of
land to create huge landscaped parks, and those parks acted as a setting for
grand houses we call "country houses".
These country house estates were dotted with copies of classical temples
and other allegorical architectural elements such as grottoes, bridges, and
that group of oddments we call "follies". These elements were aligned and
joined by sinuous avenues or subtle openings in carefully planted trees and
shrubs. The houses which dominated these parks carried on the classical
philosophy.
Baroque vs. Classicism.At the beginning of the century, the Baroque
movement produced architecture which employed classical elements in a
willy-nilly free-for-all profusion. The opulent cascades of ornamental elements
of Baroque gave way in the Georgian period to careful - and in some
casesrigid- adherence to a sense of classical proportion. If Baroque is "overthe-top", Georgian classicism is understated elegance.
Palladianism.Georgian classicism was most heavily influence by
Palladianism, a philosophy of design based on the writings and work of
Andreas Palladio, an Italian architect of the 16th century who tried to
recreate the style and proportions of the buildings of ancient Rome.
What characterizes Palladian architecture? In a nutshell, grace, understated
decorative elements, and use of classical "orders". (Orders:a formalized
system of proportions. The major Greek classical orders were Ionic, Doric,
and Corinthian)

A Georgian terrace

Also, a great deal of attention was paid to the alliterative, or

symbolic nature of architectural elements. Thus, a mock temple
of Apollo (the Greek god of War) was not simply a building, but
might symbolize war in the English world. The relationship of that
temple to other architectural elements, made a statement of the
builder's philosophy. Nothing was "just" a decorative element.
The first popularizer of Palladian style wasInigo Jones, SurveyorGeneral under James I. Jones was responsible for several early
Palladian buildings, notably Queen's House, Greenwich, and the
Banqueting House at Whitehall. Later, the torch of Palladianism
was taken up by Richard Boyle, Lord Burlington, the foremost
patron of the arts during the mid-18th century.
Terraces.The type of building which most characterized the
Georgian period was the Town House, often, though not always,
joined end to end to create "terraces".
The 18th century was a time of great urban growth. At the same
time, the density of settlement in towns meant that there was a
need to pack a lot of houses into a small space. This need gave
birth to the terrace, which allowed a whole street to be given a
sense of architectural wholeness, while keeping the size of
houses small. Most terraces were made of brick, with sloping
slate roofs hidden behind stone parapets. In fashionable Bath,
where local stone was plentiful, brick was used less frequently.

Walls between houses were built thick to prevent the spread of fire. These dividing walls
carried the weight of the chimney stacks. Most terraces were four stories high, and the front
door was accessed by a short flight of stairs. The most important rooms were on the first
floor. [North Americans take note: the "first floor" is not the ground floor, but the first floor up
beyond that].
Windows were almost exclusively sash-windows, made of standardized panes of glass divided
by thin, delicate wooden glazing bars. The pattern of windowing was the same everywhere;
on the ground floor windows were kept short, for stability of the house structure. First floor
windows were tall and elegantly expansive, second floor windows shorter, and top floor
windows almost square. Front doors are paneled, with a semi-circular fanlight above.
Terraces took several forms; often laid out in straight lines, but also in squares around a
central garden space, or in crescents or oval "circuses". These last two curvilinear designs
were often augmented with vistas and avenues in brick or masonry, punctuated with stands
of trees or gardens.
Building developers.The widespread use of the terrace plan was made possible by the
growth of speculative building. Landowners would build rows of terraced houses with an eye
to renting the houses to the upper and newly-wealthy middle class. Although many of these
land developers hired architects to carry out their plans, some successful architects were
developers themselves, notably the father-son teams of Woods and Dance, and theAdams
brothers. Many great terraces in Bath are the work of the Woods, while the Dances were
responsible for developing terraces in Dublin, and the Adams team held sway in London.

General characteristics
Identifying Features
(1700 - c.1780):

A simple 1-2 story box, 2 rooms

deep, using strict symmetry
arrangements

Panel front door centered, topped

with rectangular windows (in door or
as a transom) and capped with an
elaborate crown/entablature
supported by decorative pilasters

Cornice embellished with decorative

moldings, usually dentilwork

Multi-pane windows are never paired,

and fenestrations are arranged
symmetrically (whether vertical or
horizontal), usually 5 across

Other features of
Georgian style houses
can include - roof to
ground-level:

Roof: 40% are Side-gabled; 25%

Gambrel; 25% Hipped

Chimneys on both sides of the home

A portico in the middle of the roof with a

window in the middle is more common
with post-Georgian styles, e.g. "Adam"

Small 6-panedsash windowsand/or

dormer windows in the upper floors,
primarily used for servant's quarters.
This was also a way of reducingwindow
tax.

Larger windows with 9 or 12 panes on

the main floors

Georgian Architecture was widely disseminated in the English

colonies of the time. In theAmerican colonies, colonial Georgian
blended with theneo-Palladianstyle to become known more
broadly as Federal Style architecture'. Georgian buildings were
also constructed of wood with clapboards; even columns were
made of timber, framed up and turned on an over-sized lathe.
The College of William and MaryinWilliamsburg, Virginia, is an
excellent example of Georgian architecture in the Americas.

Unlike theBaroquestyle that it replaced, which was generated

almost solely in the context of palaces and churches, Georgian
had wide currency in the upper and middle classes. Within the
residential context, the best remaining example is the pristine
Hammond-Hardwood House(1774) in Annapolis, Maryland

The establishment of Georgian architecture, and the

Georgian styles ofdesignmore generally, were to a
large degree aided by the fact that, unlike earlier
styles which were primarily disseminated among
craftsmen through the direct experience of the
apprenticeship system, Georgian was also spread
through the new medium of inexpensive suites
ofengravings. From the mid-18th century, Georgian
styles were assimilated into anarchitectural
vernacularthat became part and parcel of the training
of everyarchitect,designer,builder,carpenter,mason
and plasterer, fromEdinburghtoMaryland

Regency Architecture
1800-1830

Entry to a
terrace through
a triumphal arch

The period of architecture we can loosely term Regency

spans the first thirty years of the 19th century. In many
respects it is a natural continuation of the Georgian style
which preceeded it, with several important differences
which we will get to in a moment.
Although it is, of course, impossible to generalize about
popular styles, we'll do it anyway. There were two major
streams of architectural styles popular in the Regency
period. The first, which lived on far into the Victorian
period, was one of medieval revival. This is often termed
Victorian Gothic, or more accurately,Gothic Revival.
This style was based on medieval architecture, in
particular the Gothic churches of the late 13th and early
14th century. Architects like James Watt, emulated the
Gothic tracery and other decorative elements of the
Gothic period, but used more modern methods of
construction and substituted cheaper materials. Thus,
many Gothic Revival buildings used stucco in place of
medieval stone, and braced fanciful Gothic curves with
hidden iron struts.

Nash terrace
frontage

Regency villa

Later in the Victorian period a purist school of design gained

popularity, based on writings byAW Pugin, John Ruskin, and
William Morris. These "philosophers of design" viewed the
work of men like Watt with horror, and called for a more
rigid adherence to medieval materials, structure, and
craftsmanship.
The second, and more popular style of Regency
architecture, wasclassicalin nature. That is, it used the
philosophy and traditional designs of Greek and Roman
architecture. The typical Regency upper or middle-class
house was built in brick and covered in stucco or painted
plaster. Fluted Greek columns, painted and carefully
moulded cornices and other decorative touches, were all
reproduced in cheap stucco. The key words to describe the
overall effect are "refined elegance".
The Regency period saw a great surge of interest in classical
Greece, popularized by men like Lord Byron and his
outspoken advocacy of greek nationalism. A whole
generation of aristocratic amateur archaeologists from
Britain scoured the Greek world - and occassionally
absconded with classical Greek remains. The resulting
popularity of Greek style reached beyond architecture to
include painting, furniture, interior decoration, and even
dress design.

Regency
terrace doors

Regency Terraces.First a mundane definition: a terrace is

a fanciful term for row housing, that is, a string of houses,
each sharing a wall with the house beside it. The most
characteristic Regency designs survive today in terrace
housing.
Many of the more upper class terraces, such as those
designed by John Nash surrounding Regents Park in London,
are entered through triumphal arches reminiscent of ancient
Rome, These arches, generally in stucco, lead to grand rows
of houses, with carefully balanced pediments fronted by
massive pilaster columns. The best remaining terraces built
in this grand style are in London, Cheltenham, and Brighton.
Characteristics.Windows are tall and thin, with very small
glazing bars separating the panes of glass. Balconies are of
extremely fine ironwork, made of such delicate curves as to
seem almost too frail to support the structure. Proportions
are kept simple, relying on clean, classical lines for effect
rather than decorative touches.
Windows and doors, particularly those on the ground floors,
are often round-headed. Curved bow windows are popular,
and detached villas often featured garden windows
extending right down to the ground.

GOTHIC REVIVAL
ARCHITECTURE
1850

The term "Gothic Revival" (sometimes called Victorian Gothic)

usually refers to the period of mock-Gothic architecture practised in
the second half of the 19th century. That time frame can be a little
deceiving, however, for the Gothic style never really died in England
after the end of the medieval period. Throughout the 17th and 18th
centuries, when classical themes ruled the fashion-conscious world
of architecture, Gothic style can be seen, if intermittently. This is
because many architects were asked to remodel medieval buildings
in a way that blended in with the older styles.
Christopher Wren, the master of classical style, for example, added
Gothic elements to several of his London churches (St. Michael,
Cornhill, andSt. Dunstan-in-the-East).William Kent's gatehouse at
Hampton Court Palace (1723) fit in flawlessly withCardinal Wolsey's
original Tudor Gothic. When Nicholas Hawksmoor remodeled the west
towers at Westminster Abbey (from 1723) he did so in a sympathetic
Gothic style.

A Gothic Revival
church

In the late 18th century, running in parallel, as it were, with raging

classicism, was a school of romanticized Gothic architecture,
popularized by Batty Langley's pattern books of medieval details.
This medieval style was most common in domestic building, where
the classical style overwhelmingly prevailed in public buildings.
One of the prime movers of a new interest in Gothic style was
Horace Walpole. Walpole's country house atStrawberry Hill,
Twickenham (1750), was a fancifully romantic Gothic cottage. The
style adopted by Walpole (termed, not surprisingly, "Strawberry
Hill Gothic"), took many of the decorative elements of exterior
medieval Gothic and moved them to the interior of the house.
Thus, Walpole's rooms are adorned - some might say over-adorned
- with touches like cusped ceilings and crocketed arches.
Little of Walpole's style is what you could call "authentic"; he
merely took decorative touches and strewed them about with
abandon. The controversial result is very much open to criticism;
you either love it or hate it, but few people are ambivalent about
it.
Other architects tried their hand at Gothic style. EvenRobert Adam
, the master of neo-classical country house architecture, used
Gothic elements, for example atCulzean Castle, where the exterior
crenellation recalls a medieval fortress.

Gothic Revival
cottage

James Wyatt was the most prominent 18th century architect employing
Gothic style in many of his buildings. HisAshridge Park(Hertfordshire),
begun in 1806, is the best surviving example of his work. At Ashridge, Wyatt
employed a huge central hall, open to the roof, in conscious imitation of a
medieval great hall.
Into the early years of the 19th century many architects dabbled in Gothic
style, but as with Walpole, it was more the decorative touches that appealed
to them; little bits of carving here, a dab of pointed arch there. Most paid
scant heed to authentic proportion, which is one of the most powerful
moving forces of "real" Gothic style. Even when the shapes used by builders
were Gothic, the structure was not. Columns and piers were made with iron
cores covered over with plaster.
In the early 19th century Gothic was considered more suitable for church
and university buildings, where classical style was thought more appropriate
for public and commercial buildings. Good examples of university Gothic can
be seen at Cambridge, for example, theBridge of SighsatSt. John's
College(1826) and the gateway atKing's College(1822-24).
It is really only after 1840 the the Gothic Revival began to gather steam, and
when it did the prime movers were not architects at all, but philosophers and
social critics. This is the really curious aspect of the Victorian Gothic revival;
it intertwined with deep moral and philosophical ideals in a way that may
seem hard to comprehend in today's world. Men likeA.W. Puginand writer
John Ruskin (The Seven Lamps of Architecture, 1849) sincerely believed that
the Middle Ages was a watershed in human achievement and that Gothic
architecture represented the perfect marriage of spiritual and artistic values.

Gothic Revival
window

Westminster Palace

Ruskin allied himself with the Pre-Raphaelites and vocally

advocated a return to the values of craftsmanship, artistic, and
spiritual beauty in architecture and the arts in general. Ruskin and
his brethren declared that only those materials which had been
available for use in the Middle Ages should be employed in Gothic
Revival buildings.
Even more narrow-minded than Ruskin were followers of the
"ecclesiological movement", which began in the universities of
Oxford and Cambridge. Adherents of the ecclesiological movement
believed that only the Gothic style was suitable for church
architecture, but not just any Gothic style! To them, the "Middle
Pointed" orDecoratedstyle prevalent in the late 13th to mid 14th
century was the only true Gothic. The bible of the movement was
the monthly publication,The Ecclesiologist, which was published
from 1841-1868. The publication was in essence a style-guide to
proper Gothic architecture and design.
But all this theory needed some practical buildings to illustrate the
ideals. The greatest example of authentic Gothic Revival is the
Palace of Westminster (The Houses of Parliament). The Palace of
Westminster was rebuilt by Sir Charles Barry and A.W. Pugin after a
disastrous fire destroyed the old buildings in 1834. While Barry
oversaw the construction, much of the design is Pugin's, a design
he carried out in exacting Perpendicular Gothic style inside and out.

The period from 1855-1885 is known asHigh Victorian Gothic. In this period
architects like William Butterfield (Keble College Chapel, Oxford) and Sir George
Gilbert Scott (The Albert Memorial, London) created a profusion of buildings in
varying degrees of adherence to strict Gothic style. High Victorian Gothic was
applied to a dizzying variety of architectural projects, from hotels to railroad
stations, schools to civic centres. Despite the strident voice of the Ecclesiological
Society, buildings were not limited to the Decorated period style, but embraced
Early English,Perpendicular, and evenRomanesquestyles.
Were the Gothic Revivalists successful? Certainly the Victorian Gothic style is easy
to pick out from the original medieval. One of the reasons for this was a lack of
trained craftsmen to carry out the necessary work. Original medieval building was
time-consuming and labour-intensive. Yet there was a large pool of labourer's
skilled in the necessary techniques; techniques which were handed down through
the generations that it might take to finish a large architectural project.
Victorian Gothic builders lacked that pool of skilled labourers to draw upon, so
they were eventually forced to evolve methods of mass-producing decorative
elements. These mass-produced touches, no matter how well made, were too
polished, too perfect, and lacked the organic roughness of original medieval work.

VICTORIAN
1837-1901

Gothic Revival architecture became

increasingly significant in the period,
leading to theBattle of the Styles
between Gothic andClassicalideals.
Charles Barry's architecture for the new
Palace of Westminster , which had been
badly damaged in an1834 fire, built in
themedieval styleof Westminster Hall,
the surviving part of the building.

The middle of the 19th century saw

The Great Exhibition of 1851, the first
World's Fair, and showcased the
greatest innovations of the century. At
its centre wasthe Crystal Palace, an
enormous, modular glass and iron
structure - the first of its kind. It was
condemned by Ruskin as the very
model of mechanical dehumanisation in
design, but later came to be presented
as the prototype ofModern architecture.

The Victorian era dates from about 1840 to 1900.

During this time, industrialization brought many
innovations in architecture. There are a variety
of Victorian styles, each with its own distinctive
features.The most popular Victorian styles
spread quickly through widely published pattern
books. Builders often borrowed characteristics
from several different styles, creating unique,
and sometimes quirky, mixes. Buildings
constructed during the Victorian times usually
have characteristics of one or more these styles:

Gothic Revival Architecture

Victorian Gothic buildings feature arches, pointed windows, and other details borrowed from the middle ages.
Masonry Gothic Revival buildings were often close replicas of Medieval cathedrals.
Wood-frame Gothic Revival buildings often had lacy "gingerbread" trim and other playful details.
Victorian Italianate Architecture
Rebelling against formal, classical architecture, Italianate became the one of the most popular styles in the
United States. With low roofs, wide eaves, and ornamental brackets, Italianate is sometimes called thebracketed
style.
Second Empire or Mansard Style
Characterized by their boxy mansard roofs, these buildings were inspired by the architecture in Paris during the
reign of Napoleon III.
Victorian Stick Architecture
Trusses and stickwork suggest medieval building techniques on these relatively plain Victorian buildings.
Folk Victorian
Just plain folk could afford these no-fuss homes, using trimwork made possible by mass production.
Shingle Style Architecture
Often built in costal areas, these shingle-sided homes are rambling and austere. But, the simplicity of the style is
deceptive. The Shingle Style was adopted by the wealthy for grand estates.
Richardsonian Romanesque Architecture
Architect Henry Hobson Richardson is often credited with popularizing these romantic buildings. Constructed of
stone, they resemble small castles. Romanesque was used more often for large public buildings, but some private
homes were also built in the imposing Romanesque style.
Victorian Queen Anne Architecture
Queen Anne is the most elaborate of the Victorian styles. Buildings are ornamented with towers, turrets, wrap
around porches, and other fanciful details.

Victorian Gothic House Styles

Strawberry Hill, Gothic

Revival Home of Sir
Horace Walpole

The First Gothic RevivalHomes

In the mid-1700s, the English author Sir
Horace Walpole decided to redo his country
home with details inspired by medieval
churches and cathedrals. Walpole's house,
located at Strawberry Hill near Twickenham,
became a model for Gothic Revival
architecture .Gothic Revival architecture
has many of these features:
Pointed windows with decorative tracery
Grouped chimneys
Pinnacles
Battlementsand shapedparapets
Leaded glass
Quatrefoiland clover-shaped windows
Orielwindows
Asymmetrical floor plan

Gothic Revival Home in Bath,

England

Romantic GothicRevival
Most Gothic Revival homes were romantic
adaptations of medieval architecture.
Delicate wooden ornaments and other
decorative details suggested the
architecture of medieval England. These
homes did not try to replicate authentic
Gothic styles.However, the great Victorian
philosopher and art criticJohn Ruskin
believed that man's highest spiritual values
and artistic achievements were expressed in
the elaborate, heavy masonry architecture
of medieval Europe. His books outlined
principles for design that used European
Gothic architecture as the standard.
The ideas of John Ruskin and other thinkers
lead to a more complex Gothic Revival style
often calledHigh Victorian Gothic, orNeoGothic.

Palace of Westminster,
Victoria Tower - Sir Charles
Barry and A.W. Pugin,

High Victorian GothicRevival

Between 1855 and 1885,John Ruskinand other critics and
philosophers stirred interest in authentic recreations of Gothic
architecture. These buildings, calledHigh Gothic Revival,High
Victorian Gothic, orNeo-Gothic, were closely modeled after the
great architecture of medieval Europe.Perhaps the most famous
example of High Victorian Gothic architecture is Victoria Tower at
the royalPalace of Westminsterin London, England. A fire
destroyed most of the original palace in 1834. After lengthy
debate, it was decided that architects Sir Charles Barry and A.W.
Pugin would rebuild Westminster Palace in a High Gothic Revival
style that immitated 15th century Perpendicular Gothic styling.
Victoria Tower was named after the reigning Queen Victoria who
took delight in Gothic Revival architecture.
High Victorian Gothic Revival architecture has many of
these features:
Masonry construction
Patterned brick and multi-colored stone
Stone carvings of leaves, birds, and gargoyles
Strong vertical lines and a sense of great height
Realistic recreation of authentic medieval styles
Not surprisingly, Victorian High Gothic Revival architecture was
usually reserved for churches, museums, rail stations, and grand
public buildings. Private homes were considerably more
restrained. Meanwhile in the United States, builders put a new
spin on the Gothic Revival style.

Victorian Gothic House in

Fredericksburg, Virginia

Brick GothicRevival
The earliest Victorian Gothic
Revival homes were built of
stone. Suggesting the
cathedrals of medieval Europe,
these homes had pinnacles
andparapets.Later, more
modest Victorian Revival homes
were sometimes constructed of
brick with wooden trimwork.
The timely invention of the
steam-powered scroll saw
meant that builders could add
lacy wooden bargeboards and
other factory-made ornaments.

Victorian Gothic House

Gothic RevivalFarmhouses
A series of pattern books by another popular
designer - Andrew Jackson Downing - captured
the imagination of a country already swept up
in the romantic movement. Timber-framed
houses across North America, especially in
rural areas, began to sport Gothic details.On
America's modest wooden farmhouses, Gothic
Revival ideas were suggested in the shape of
the roof and window moldings. On the house
shown here, slightly pointed window moldings
and a steep center gable reflect the Gothic
Revival influence.
In towns, homes were often more highly
decorated. Industrialization and the
availability of machine-made architectural trim
allowed builders to create a frivolous version
of Gothic Revival known asCarpenter Gothic.

Carpenter Gothic Shaw House

in California

CarpenterGothic
The fanciful Gothic Revival style spread across
North America via pattern books such as Andrew
Jackson Downing's popularVictorian Cottage
Residences(1842) andThe Architecture of Country
Houses(1850). Some builders lavished the
fashionable Gothic details on otherwise modest
wooden cottages.Characterized by scrolled
ornaments and lacy "gingerbread" trim, these small
cottages are often calledCarpenter Gothic.
Homes in the Carpenter Gothic style usually
have these features:
Steeply pitched roof
Lacybargeboards
Windows with pointed arches
One story porch
Asymmetrical floor plan
Some Carpenter Gothic homes have:
Steepcross gables
Bay andorielwindows
Verticalboard and battentrim

Carpenter Gothic House

GothicCottages
In the United States, the Gothic Revival styles
were seen as most suitable for rural areas.
Architects of the day believed that the stately
ecclesiastical homes and austere Gothic Revival
farmhouses should be set in a natural landscape
of rolling green lawns and profuse
foliage.However, smaller and more ornate Gothic
Revival homes were often built in populated
areas. A few religious revival groups in the
American Northeast built densely clustered
groupings cottages with lavish gingerbread trim.
Religious camps in Round Lake, New York and on
Martha's Vineyard in Massachusetts became
miniature villages in the Carpenter Gothic style.
Meanwhile, builders in towns and urban areas
began to apply the fashionable Gothic details to
traditional homes that were not, strictly speaking,
Gothic at all. Possibly the most lavish example of
a Gothic pretender is the Wedding Cake House in
Kenneport, Maine.

A Gothic Pretender: The Wedding CakeHouse

The "Wedding Cake House" in Kennebunk, Maine

is one of the most photographed Gothic Revival
buildings in the United States. And yet, it is not
technically Gothic at all.At first glance, the house
may look Gothic. It is lavished with carved
buttresses, spires, and lacy spandrels. However,
these details are merely frosting, applied to the
facade of a refined brick home in theFederal style
. Paired chimneys flank a low,hipped roof. Five
windows form an orderly row along the second
story. At the center (behind the buttress) is a
traditionalPalladian window.
The austere brick house was originally built in
1826 by a local shipbuilder. In 1852, after a fire,
he got creative and fancied up the house with
Gothic frills. He added a carriage house and barn
to match. So it happened that in a single home
two very different philosophies merged:
Orderly, classical ideals - Appealing to the intellect
Fanciful, romantic ideals - Appealing to the
emotions

The Wedding Cake House,

105 Summer Street,
Kennebunk, Maine

This Queen Anne Style home

has a pointed window in the
gable

Gothic Gives Way to QueenAnne

By the late 1800s, the fanciful details of
Gothic Revival architecture had waned in
popularity. Gothic Revival ideas did not die
out, but they they were most frequently
reserved for churches and large public
buildings.GracefulQueen Anne architecture
became the popular new style, and houses
built after 1880 often had rounded porches,
bay windows, and other delicate details.
Still, hints of Gothic Revival styling can
often be found on Queen Anne houses. For
example, notice the gable window on this
Queen Anne home from our
House Helpline Gallery. The pointed
molding suggests the shape of a classic
Gothic arch.

1840 - 1885:Italianate

Old World ideals are transplanted

to the United States in this
Italianate style home, located in
Cape May, New Jersey.

Italianate became the most popular housing style in

Victorian America. Italianate is also known as theTuscan,
theLombard, or simply, thebracketedstyle.

Italianate houses have many of these

features:Low-pitched or flat roof

Balanced, symmetrical rectangular shape

Tall appearance, with 2, 3, or 4 stories

Wide, overhangingeaveswith brackets andcornices

Squarecupola

Porch topped withbalustradedbalconies

Tall, narrow, double-paned windows with hood moldings

Side bay window

Heavily molded double doors

Roman or segmented arches above windows and doors

About the Italianate Style:The Italianate style began in England with the
picturesque movement of the 1840s. For the previous 200 years, English homes
tended to be formal and classical in style. With the picturesque, movement,
however, builders began to design fanciful recreations of Italian Renaissance villas.
When the Italianate style moved to the United States, it was reinterpreted again to
create a uniquely American style.
By the late 1860s, Italianate was the most popular house style in the United States.
Historians say that Italianate became the favored style for two reasons:
Italianate homes could be constructed with many different building materials, and
the style could be adapted to modest budgets.
New technologies of the Victorian era made it possible to quickly and affordably
produce cast-iron and press-metal decorations.
Italianate remained the most popular house style in the USA until the 1870s.
Italianate was also a common style for barns, town halls, and libraries. You will find
Italianate buildings in nearly every part of the United States except for the deep
South. There are fewer Italianate buildings in the southern states because the style
reached its peak during the Civil War, a time when the south was economically
devastated.After the 1870s, architectural fashion turned toward late Victorian styles
such asQueen Anne

1840 - 1915: Renaissance RevivalStyle

A fascination for the architecture of Renaissance Europe and the villas of

Andrea Palladio inspired elegant Renaissance Revival homes.
Renaissance Revival houses have many of these features:
Cube-shaped
Balanced, symmetrical faade
Smooth stone walls, made from finely-cut ashlar, or smooth stucco finish
Low-pitchedhiporMansardroof
Roof topped withbalustrade
Wide eaves with large brackets
Horizontal stone banding between floors
Segmentalpediments
Ornately-carved stone window trim varying in design at each story
Smaller square windows on top floor
Quoins (large stone blocks at the corners)

Designed by Richard Morris Hunt, Breakers Mansion is a

Renaissance Revival mansion in Newport, Rhode Island

"Second" Renaissance Revival Houses are larger and usually have:

Arched, recessed openings
Full entablatures between floors
Columns
Ground floor made of rusticated stone with beveled edges and deeply-recessed joints
About the Renaissance Revival Style
Renaissance (French for "rebirth") refers to the artistic, architectural, and literary
movement in Europe between the 14th and 16th centuries. The Renaissance Revival
style is based on the architecture of 16th-centuryRenaissance Italy and France, with
additional elements borrowed from Ancient Greek and Roman architecture.
Renaissance Revival is a general term which encompasses the various Italian
Renaissance Revival and French Renaissance Revival styles, includingSecond Empire.
The Renaissance Revival style was popular during two separate phases. The first
phase, or the First Renaissance Revival, was from about 1840 to 1885, and the
Second Renaissance Revival, which was characterized by larger and more elaborately
decorated buildings, was from 1890 to 1915. Due to the expensive materials required
and the elaborate style, Renaissance Revival was best suited for public and
commercial buildings, and very grand homes for the wealthy.

1855 - 1885: Second Empire

(Mansard)Style

With tall mansard roofs and wrought iron cresting, Second Empire homes
create a sense of height.
Second Empire homes usually have these features:
Mansardroof
Dormerwindows project like eyebrows from roof
Roundedcornicesat top and base of roof
Brackets beneath theeaves, balconies, and bay windows
Many Second Empire homes also have these features:
Cupola
Patterned slate on roof
Wrought iron cresting above uppercornice
Classicalpediments
Paired columns
Tall windows on first story
Small entry porch

Second Empire buildings with tall mansard roofs were modeled

after the the opulent architecture of Paris during the reign of
Napoleon III. French architects used the termhorror vacui- the
fear of unadorned surfaces - to describe the highly ornamented
Second Empire style. Second Empire buildings were also
practical: their height allowed for additional living space on
narrow city lots.
In the United States, government buildings in the Second Empire
style resemble the elaborate French designs. Private homes,
however, often have anItalianateflavor. Both Italianate and
Second Empire houses tend to be square in shape, and both can
have U-shaped window crowns, decorative brackets, and single
story porches. But, Italianate houses have much wider eaves...
and they do not have the distinctive mansard roof characteristic
of the Second Empire style.

With their high mansard roofs, Second Empire houses suggested European
majesty.

1860 - 1890: StickStyle

Stick Style Victorian

houses have exposed
trusses, "stickwork,"
and other details
borrowed from
medieval times.
The Physick House in
Cape May, New
Jersey is a hallmark
example of the Stick
Style. Brackets and
stickwork suggest
medieval building
techniques.

The house shown above is an early and especially fine example of

Victorian Stick architecture. The exterior walls are ornamented with
"stickwork," or decorativehalf-timbering. The house also has brackets,
rafters, and braces. These details are not necessary structurally. They are
decorations that imitated architecture from the medieval past.On first
glance, you might confuse Stick houses with the laterTudor RevivalStyle.
However, most Tudor Revival houses are sided with stucco, stone, or brick.
Stick Style houses are almost always made with wood.
Victorian Stick Style homes have these features:
Rectangular shape
Wood siding
Steep, gabled roof
Overhangingeaves
Ornamental trusses (gable braces)
Decorative braces and brackets
Decorativehalf-timbering

About the Stick Style:The most important features of Stick

Style houses are on the exterior wall surfaces. Instead of threedimensional ornamentation, the emphasis is on patterns and
lines. Because the decorative details are flat, they are often lost
when homeowners remodel. If the decorative stickwork is
covered up with vinyl siding or painted a single solid color, a
Stick Style Victorian may appear plain and rather ordinary.
The Palliser Company, which published many plan books during
the Victorian era, called stick architectureplain yet
neat,modern, andcomfortable.However, Stick was a shortlived fashion. The angular and austere style couldn't compete
with the fancyQueen Annesthat took America by storm. Some
Stick architecture did dress up in fancyEastlakespindles and
Queen Anne flourishes. But very few authentic Stick Style
homes remain intact.

1861 - 1930: ShotgunHouse

Long and narrow, shotgun houses are made to fit small city building lots.
Shotgun houses have been built since the time of the Civil War. The economical
style became popular in many southern towns, especially New Orleans.Shotgun
houses have many of these features:
The entire house is no wider than 12 feet (3.5 meters)
Rooms are arranged in a single row, without hallways
The living room is at the front, with bedrooms and kitchen behind
The house has two doors, one at the front and one at the rear
A long pitched roof provides natural ventilation
The house may rest on stilts to prevent flood damage
Why Are These Houses CalledShotgun?A few theories:
If you fire a shotgun through the front door, the bullets will fly straight out
through the back door.
Some shotgun houses were constructed from packing crates that once held
shotgun shells.
The wordshotgunmight come fromto-gun, which meansplace of assemblyin an
African dialect.

Brightly painted shotgun house in New Orleans, Louisiana

1870 - 1910: FolkVictorian

Just plain folk could afford these simple North

American homes, built between 1870 and 1910.
Folk Victorian houses usually have these
features:
Square, symmetrical shape
Brackets under theeaves
Porches with spindlework or flat, jigsaw cut trim
Some Folk Victorian homes have:
Carpenter Gothicdetails
Low-pitched, pyramid shaped roof
Frontgableand side wings

About the Folk Victorian House Style

Life was simple before the age of railroads. In the vast, remote stretches of
North America, families built no-fuss, square or L-shaped houses in the
National or Folk style. But the rise of industrialization made it easier and more
affordable to add decorative details to otherwise simple homes. Decorative
architectural trim could be mass produced. As the railroads expanded, factorymade building parts could be sent to far corners of the continent.Also, small
towns could now obtain sophisticated woodworking machinery. A crate of
scrolled brackets might find its way to Kansas or Wyoming, where carpenters
could mix and match the pieces according to personal whim... Or, according to
what happened to be in the latest shipment.
Many Folk Victorian houses were adorned with flat, jigsaw cut trim in a variety
of patterns. Others had spindles, gingerbread and details borrowed from the
Carpenter Gothicstyle. With their spindles and porches, some Folk Victorian
homes may suggestQueen Annearchitecture. But unlike Queen Annes, Folk
Victorian houses are orderly and symmetrical houses. They do not have
towers, bay windows, or elaborate moldings.

Folk Victorian House in Sandwich, New Hampshire

1880 - 1910: QueenAnne

America's fanciful Queen Anne architecture takes on many shapes.

Read below for features of the style.
America's Queen Anne houses have many of these features:
Steep roof
Complicated, asymmetrical shape
Front-facing gable
One-story porch that extends across one or two sides of the house
Round or square towers
Wall surfaces textured with decorative shingles, patterned
masonry, orhalf-timbering
Ornamental spindles and brackets
Bay windows

About the Queen Anne style:

The romantic style known asQueen Annebecame an architectural
fashion in the USA during the 1880s and 1890s, when the industrial
revolution brought new technologies. Builders began to use massproduced pre-cut architectural trim to create fanciful and sometimes
flamboyant houses.Not all Queen Anne houses are lavishly decorated,
however. Some builders showed restraint in their use of
embellishments. Still, the flashy "painted ladies" of San Francisco and
the refined brownstones of Brooklyn share many of the same features.
About the name "Queen Anne":
Queen Anne architecture in the USA is very different from the slightly
earlier English versions of the style. Moreover, in both the USA and
England, Victorian Queen Anne architecture has little do with the British
queen who ruled during the 1700s. To learn how the Queen Anne style
got its name, see
Queen Anne: Reigning Style of the Industrial Age .

America's Victorian Queen Anne Homes often have towers,

turrets, wrap-around porches, and other fanciful details.
This Queen Anne house is in Saratoga, New York.

1860 - 1880s: EastlakeVictorian

Fanciful Victorian home with

Eastlake details

These fanciful Victorian houses are

lavished with Eastlake style
spindlework.
This colorful Victorian home is a
Queen Anne, but the lacy,
ornamental details are
calledEastlake. The ornamental style
is named after the famous English
designer, Charles Eastlake, who was
famous for making furniture
decorated with fancy
spindles.Eastlake details can be
found on a variety of Victorian house
styles. Some of the more fanciful
Stick StyleVictorians have Eastlake
buttons and knobs combined with
the angular stickwork.

1880 - 1900: RichardsonianRomanesque

Richardsonian Romanesque, orRomanesque

Revival, houses have broad Roman arches and
massive stone walls.
Romanesque houses have many of these
features:
Constructed of rough-faced, square stones
Round towers with cone-shaped roofs
Columns and pilasters with spirals and leaf designs
Low, broad "Roman" arches over arcades and
doorways
Patterned masonry arches over windows

About the Romanesque style:

During the 1870s, Boston architect Henry Hobson
Richardson captured the American imagination with rugged,
forceful buildings like Allegheny Courthouse in Pittsburgh
and Trinity Church in Boston. These buildings were called
"Romanesque" because they had wide, rounded arches like
buildings in ancient Rome. Henry Hobson Richardson
became so famous for his Romanesque designs that the
style is often calledRichardsonian Romanesque.The heavy
Romanesque style was especially suited for grand public
buildings. However, Romanesque buildings, with massive
stone walls, were expensive to construct. Only the wealthy
adopted the Richardsonian Romanesque style for private
homes.

The Castle Marne Bed and Breakfast in Denver, Colorado is a classic

example of Richardsonian Romanesque styling. Made of roughfaced stone, it has arches, parapets, and a tower.

1874 - 1910: ShingleStyle

Rustic Shingle Style houses shunned Victorian fussiness. Read below for features
of the style.
Shingle Style homes usually have these features:
Continuous wood shingles on siding and roof
Irregular roof line
Cross gables
Eaveson several levels
Porches
Asymmetrical floor plan
Some Shingle Style homes also have these features:
Wavy wall surface
Patterned shingles
Squat half-towers
Palladian windows
Rough hewn stone on lower stories
Stone arches over windows and porches

About the Shingle Style:

Shingle Style houses can take on many forms. Some have
tall turrets, suggestive ofQueen Annearchitecture. Some
have gambrel roofs, Palladian windows, and otherColonial
Revivaldetails. Some Shingle houses have features
borrowed fromTudor,GothicandStickstyles. But, unlike
those styles, Shingle architecture is relaxed and informal.
Shingle houses do not have the lavish decorations that
were popular during the Victorian era.The architectural
historian Vincent Scully coined the term "Shingle Style"
because these homes are usually sided in rustic cedar
shingles. However, not all Shingle Style houses are shinglesided. You will recognize them by their complicated shapes
and rambling, informal floor plans.

Home designers rejected fussy Queen Anne ornamentation in rustic, Shingle

Style homes.

1876 - 1955: ColonialRevival

Expressing American patriotism and a return to classical architectural styles, Colonial

Revival became a standard style in the 20th century.
Colonial Revival houses have many of these features:
Symmetrical faade
Rectangular
2 to 3 stories
Brick or wood siding
Simple, classical detailing
Gableroof
Pillars andcolumns
Multi-pane, double-hung windows with shutters
Dormers
Temple-like entrance: porticos topped bypediment
Paneled doors with sidelights and topped with rectangular transoms orfanlights
Center entry-hall floor plan
Living areas on the first floor and bedrooms on the upper floors
Fireplaces

About the Colonial Revival Style

Colonial Revival became a popular American house style after it appeared at the 1876 the US
Centennial Exposition. Reflecting American patriotism and a desire for simplicity, the Colonial Revival
house style remained popular until the mid-1950's. Between World War I and II, Colonial Revival was
the most popular historic revival house style in the United States.
Some architectural historians say that Colonial Revival is a Victorian style; others believe that the
Colonial Revival style marked the end of the Victorian period in architecture. The Colonial Revival style
is based loosely onFederalandGeorgianhouse styles, and a clear reaction against excessively
elaborate VictorianQueen Annearchitecture. Eventually, the simple, symmetrical Colonial Revival
style became incorporated into theFoursquareand Bungalow house styles of the early 20th century.
Subtypes of the Colonial Revival House Style
Dutch Colonial
Two-story house made of clapboard or shingles with a gambrel roof, flaredeaves, and a side-entry
floor plan.
Garrison Colonial
The second story protrudes; the first story is slightly recessed.
Saltbox Colonial
Like the original saltbox homes from colonial times, a Saltbox Style Colonial Revival has two stories at
the front and one story at the rear. The gable roof covers both levels, sloping sharply down in the rear.
Spanish Colonial Revival
Low-pitched ceramic tile roof,stuccowalls, eaves with little or no overhang, wrought iron, and
windows and doorways with round arches.

Builders in the late 1800s and early 1900s

romanticized colonial architecture.

1885 - 1925:Neoclassical

Neoclassical, or "new" classical, architecture describes

buildings that are inspired by the classical architecture of
ancient Greece and Rome.
The wordNeoclassicalis often used to describe an architectural
style, but Neoclassicism is not actually any one distinct style.
Neoclassicism is a trend, or approach to design, that can
describe several very different styles.
A Neoclassical house may resemble any of these historic
styles:
Federal
Greek Revival
Georgian
Antebellumhouses are often Neoclassical.Beaux Artsis also a
Neoclassical style.

Neoclassical homes romanticize the architecture of ancient

Greece and Rome.

1885 - 1925: BeauxArts

Combining classical Greek and
Roman architecture with
Renaissance ideas, Beaux Arts was
a favored style for grand public
buildings and opulent mansions.
Beaux Arts buildings have
many of these features:
Massive and grandiose
Constructed with stone
Balustrades
Balconies
Columns
Cornices
Pilasters
Triangularpediments
Lavish decorations: swags,
medallions, flowers, and shields
Grand stairway
Large arches

Some famous
Beaux Arts
buildings:
Vanderbilt Marble H
ouse, Rhode Island
Grand Central Termi
nal, New York
New York Public Libr
ary
Palace of Fine Arts,
San Francisco

About the Beaux Arts Style

The Beaux Arts (French for "fine art") style originated in the cole des Beaux
Arts in Paris. Many American architects studied at this legendary
architectural school, where they learned about the aesthetic principles of
classical design and brought them to the United States.
Also known as Beaux Arts Classicism, Academic Classicism, or Classical
Revival, Beaux Arts is a late and eclectic form of Neoclassicism. It combines
classical architecture from ancient Greece and Rome with Renaissance ideas.
Beaux Arts is characterized by order, symmetry, formal design, grandiosity,
and elaborate ornamentation. In the United States, the Beaux Arts style led
to planned neighborhoods with large, showy houses, wide boulevards, and
vast parks. Due to the size and grandiosity of the buildings, the Beaux Arts
style is most commonly used for public buildings like museums, railway
stations, libraries, banks, courthouses, and government buildings.
The popularity of the Beaux Arts style waned in the 1920's, and within 25
years the buildings were considered ostentatious. Later in the 20th century,
postmodernists rediscovered an appreciation of the Beaux Arts ideals.

The Beaux Arts Vanderbilt Marble House in Newport, Rhode Island

1890 - Present: TudorRevival

Heavy chimneys and decorative half-timbering

give Tudor style houses a Medieval flavor. The
Tudor style is sometimes calledMedieval Revival.
Tudor style homes have many of these
features:Decorativehalf-timbering
Steeply pitched roof
Prominentcross gables
Tall, narrow windows
Small window panes
Massive chimneys, often topped with decorative
chimney pots

About the Tudor Style:The nameTudorsuggests that these houses were built in the 1500s,
during the Tudor Dynasty in England. But of course, Tudor houses in the United States are
modern-day re-inventions and are more accurately called TudorRevivalorMedieval Revival.
Some Tudor Revival houses mimic humble Medieval cottages - They may even include a false
thatched roof. Other Tudor Revival homes suggest Medieval palaces. They may have overlapping
gables,parapets, and beautifully patterned brick or stonework. These historic details combine
with Victorian or Craftsman flourishes.
As in manyQueen AnneandStick stylehomes, Tudor style houses often feature striking
decorative timbers. These timbers hint at - but do not reproduce - Medieval construction
techniques. In Medieval houses, the timber framing was integral with the structure. Tudor Revival
houses, however, merely suggest the structural framework withfalsehalf-timbering. This
decorative woodwork comes in many different designs, with stucco or patterned brick between
the timbers.
Handsome examples of Tudor Revival architecture may be found throughout Great Britain,
northern Europe, and the United States. The main square in Chester, England is surrounded by
lavish Victorian Tudorsthat stand unapologetically alongside authentic medieval buildings.
In the United States, Tudor styling takes on a variety of forms ranging from elaborate mansions to
modest suburban homes with mock masonry veneers. The style became enormously popular in
the 1920s and 1930s, and modified versions became fashionable in the 1970s and 1980s.
One popular housing type inspired by inspired by Tudor ideas is theCotswold Cottage. These
quaint homes have an imitation thatched roof, massive chimneys, an uneven sloping roof, small
window panes, and low doors.

Decorative half-timbering give Tudor Revival houses the appearance of a

medieval building.

1890-1940: CotswoldCottage

With roots in the pastoral Cotswold region of England, the picturesque Cotswold Cottage style
may remind you of a cozy storybook house.
Other names for the Cotswold Cottage style:
Storybook Style
Hansel and Gretel Cottage
Tudor Cottage
English Country Cottage
Ann Hathaway Cottage
Cotswold Cottage houses have many of these features:
Sloping, uneven roof, sometimes made of pseudo-thatch
Brick, stone, or stucco siding
Very steepcross gables
Prominent brick or stone chimney, often at the front near the door
Casement windows with small panes
Small dormer windows
Asymmetrical design
Low doors and arched doors
Small, irregularly-shaped rooms
Sloping walls in rooms on upper floor

About the Cotswold Cottage house style:

The small, fanciful Cotswold Cottage is a popular subtype of
theTudor Revivalhouse style. This quaint English country style
is based on the cottages built since medieval times in the
Cotswold region of southwestern England. A fascination for
medieval styles inspired American architects create modern
versions of the rustic homes. The Cotswold Cottage style
became especially popular in the United States during the
1920s and 1930s.The picturesque Cotswold Cottage is usually
asymmetrical with a steep, complex roof line. The floor plan
tends to include small, irregularly-shaped rooms, and the upper
rooms have sloping walls with dormers. The home may have a
sloping slate or cedar roof that mimics the look of thatch. A
massive chimney often dominates either the front or one side
of the house.

Cotswold Cottage: This subtype of the Tudor Revival style may remind you of a
picturesque storybook cottage.

1890 - 1920: Mission Revival HouseStyle

Historic mission churches built by Spanish colonists

inspired the turn-of-the-century house style known as
Mission, Spanish Mission, or California Mission.
Spanish Mission style houses have many of these
features:
Smoothstuccosiding
Roofparapets
Large square pillars
Twisted columns
Arcaded entry porch
Round orquatrefoil window
Red tile roof

Shown here is the Owls Club Mansion,

an especially elaborate example of
Mission Revival architecture in
Tucson, Arizona. Architect Henry
Trost modeled the home after a
design byLouis Sullivan. Completed
in 1902, the house is decorated with
geometric patterns, parapets with
ornamental drainpipes, and other
details inspired by historic Spanish
mission churches.
Owls Club Mansion is an especially
elaborate example of Mission
Revival architecture in Tucson,
Arizona

About the Mission Revival Style:

Celebrating the architecture of Hispanic settlers, Mission Revival style
houses usually have arched dormers and roof parapets. Some resemble
old Spanish mission churches with bell towers and elaborate arches.The
earliest Mission style homes were built in California, USA. The style
spread eastward, but most Spanish Mission homes are located in the
southwestern states. Deeply shaded porches and dark interiors make
these homes particularly suited for warmer climates.
By the 1920s, architects were combining Mission styling with features
from other movements. Mission houses often have details from these
popular styles:
Prairie
Pueblo
Arts & Crafts
The termMissionstyle may also describe the Arts & Crafts furniture by
Gustav Stickley.

1930 - 1945: ArtModerne

With the sleek appearance of a modern machine, Art Moderne houses expressed the spirit
of a technological age. The style may also be called Streamline Moderne.
Art Moderne, or Streamline Moderne, houses have many of these features:
Asymmetrical
Horizontal orientation
Flat roof
Nocornicesoreaves
Cube-like shape
Smooth, white walls
Sleek, streamlined appearance
Rounded corners highlighted by wraparound windows
Glass block windows
Aluminum and stainless steel window and door trim
Mirrored panels
Steelbalustrades
Suggestion of speed and movement: Horizontal rows of windows or stripes
Little or no ornamentation
Open floor plans

About the Art Moderne Style

It's easy to confuse Art Moderne withArt Deco, but they are two distinctly different styles. While
both have stripped-down forms and geometric designs, the Art Moderne style will appear sleek
and plain, while the slightly earlier Art Deco style can be quite showy. Art Moderne buildings are
often white, while Art Deco buildings may be brightly colored. The Art Deco style is most often
used for public buildings like theaters, while the Art Moderne style is most often found in private
homes.Origins of Art Moderne
The sleek, rounded Art Moderne style originated in theBauhausmovement, which began in
Germany. Bauhaus architects wanted to use the principles of classical architecture in their purest
form, designing simple, useful structures without ornamentation or excess. Building shapes were
based on curves, triangles, and cones. Bauhaus ideas spread worldwide and led to the Moderne
or International Style in the United States. Art Moderne art, architecture, and fashion became
popular just as Art Deco was losing appeal. Many products produced during the 1930s, from
architecture to jewelry to kitchen appliances, expressed the new Art Moderne ideals.Art Moderne
truly reflected the spirit of the early twentieth century. Expressing excitement over technological
advancements, high speed transportation, and innovative new construction techniques, Art
Modern design was highlighted at the 1933 World Fair Chicago. For homeowners, Art Moderne
also proved to be a pragmatic style because these simple dwellings were so easy and economical
to build. However, the Art Moderne or Streamline Moderne style was also favored for chic homes
of the very wealthy.
See a more elaborate example of the Streamline Moderne style:Ship of the Desert, Palm Springs,
California.

Art Moderne Home

1965 - Present:Neoeclectic

If your home was built recently, chances are it incorporates

many styles. Architects and designers call this new stylistic
mixNeoeclectic, orNeo-eclectic.
A Neoeclectic home can be difficult to describe because it
combines many styles. The shape of the roof, the design of the
windows, and decorative details may be inspired by several
different periods and cultures.Features of Neoeclectic
Homes:
Constructed in the 1960s or later
Historic styles imitated using modern materials like vinyl or
imitation stone
Details from several historic styles combined
Details from several cultures combined
Brick, stone, vinyl, and composite materials combined

About Neoeclectic Houses

During the late 1960s, a rebellion against modernism and a longing
for more traditional styles influenced the design of modest tract
housing in North America. Builders began to borrow freely from a
variety of historic traditions, offering Neoeclectic (or, Neo-eclectic)
houses that were "customized" using a mixture of features selected
from construction catalogs. These homes are sometimes called
Postmodernbecause they borrow from a variety of styles without
consideration for continuity or context. However, Neoeclectic homes
are not usually experimental and do not reflect the artistic vision you
would find in a truly original, architect-designed postmodern
home.Critics use the termMcMansionto describe a Neoeclectic
home that is over-sized and pretentious. Coined from the McDonald's
fast food restaurant, the name McMansion implies that these homes
are hastily assembled using cheaply-made materials and a menu of
mix-and-match decorative details.

Colonial windows, a Queen Anne turret, and a hint of classical

columns combine in this Neoeclectic home.

THE REVIVAL IN
ENGLAND XIX
1850
VICTORIAN GOTHIC

The XIXth C. revival was interested in the past.

There was classical revival, gothic revival, etc.
At the beginning of the XIX there was a Greek
revival
Examples inculde:
Buckingham Palace
The Royal Exchange
Bank of England
Trafalgar Square: National Gallery

Buckingham Palace

Buckingham Palaceis the officialLondonresidence of theBritish monarch.[1]Located in

theCity of Westminster, thepalaceis a setting for state occasions and royal hospitality. It has
been a rallying point for the British people at times of national rejoicing and crisis.
Originally known asBuckingham House, the building which forms the core of today's
palace was a largetownhousebuilt for theDuke of Buckinghamin 1703 on a site which had
been in private ownership for at least 150 years. It was subsequently acquired byGeorge III
in 1761[2]as a privateresidenceforQueen Charlotte, and known as "The Queen's House".
During the 19th century it was enlarged, principally byarchitectsJohn NashandEdward
Blore, forming three wings around a central courtyard. Buckingham Palace finally became the
official royal palace of the British monarch on the accession ofQueen Victoriain 1837. The
last major structural additions were made in the late 19th and early 20th centuries, including
the East front which contains the well-known balcony on which the Royal Family traditionally
congregate to greet crowds outside. However, the palace chapel was destroyed by a German
bomb in World War II; theQueen's Gallerywas built on the site and opened to the public in
1962 to exhibit works of art from theRoyal Collection.
The original early 19th-century interior designs, many of which still survive, included
widespread use of brightly colouredscagliolaand blue and pinklapis, on the advice of Sir
Charles Long.King Edward VIIoversaw a partial redecoration in aBelle epoquecream and
gold colour scheme. Many smaller reception rooms are furnished in theChineseregency
style with furniture and fittings brought from theRoyal PavilionatBrightonand from
Carlton House. TheBuckingham Palace Gardenis the largest private garden in London.

Classical Greek
Language:
Pilasters
Corinthian capitel
Triangular pediments

Buckingham Palace. This is the principalfaade, the East Front; originally constructed by
Edward Bloreand completed in 1850, it was redesigned in 1913 by SirAston Webb.

Royal Exchange

TheRoyal Exchangein theCity of Londonwas founded in 1565 bySir Thomas Greshamto

act as a centre ofcommercefor the city. The site was provided by the
City of London Corporationand theWorshipful Company of Mercers, and is roughly
triangular, formed by the converging streets ofCornhillandThreadneedle Street. The design
was inspired by abourseGresham had seen inAntwerp.
The Royal Exchange was officially opened byQueen Elizabeth Iwho awarded the building its
Royal title, on 23 January 1571.
Gresham's original building was destroyed in theGreat Fire of Londonin 1666. A second
exchange was built on the site, designed byEdward Jerman, which opened in 1669, and
which was also destroyed by fire in January 1838.
During the 17th century,stockbrokerswere not allowed in the Royal Exchange due to their
rude manners, hence they had to operate from other establishments in the vicinity, like
Jonathan's Coffee-House.
The third Royal Exchange building still stands on the site and adheres to the original layout consisting of a four-sided structure surrounding a central courtyard where merchants and
tradesmen could do business. This building was designed by SirWilliam Tite, features
pediment sculptures byRichard Westmacott (the younger), and was opened by
Queen Victoriaon 28 October 1844, though trading did not commence until 1 January 1845.
The Royal Exchange ceased to act as a centre of commerce in 1939, although it was for a
few years in the 1980s, home to theLondon International Financial Futures Exchange,LIFFE.
It is now a luxurious shopping centre.

Built in 1834, this is the 3rd Royal Exchange building

on this site.The Royal Exchange is now a luxury
shopping center.

Bank of England

The Bank's original home was in Walbrook in the City of

London, (during the buildings reconstruction in 1954,
archaeologists found the remains of a Roman
temple to Mithras(Mithras was rather fittingly worshipped
as being the God of Contracts), the Mithraeum ruins are
perhaps the most famous of all twentieth-century Roman
discoveries in the City of London and can now be viewed by
the public). In 1734 the Bank of England moved to its current
location on Threadneedle Street, and thereafter slowly
acquired neighbouring land to create the edifice seen today.
SirHerbert Baker's rebuilding of the Bank of England,
demolishing most of SirJohn Soane's earlier building was
described by architectural historianNikolaus Pevsneras "the
greatest architectural crime, in the City of London, of the
twentieth century".

It is situated at the left of The Royal

Exchange building.

Trafalgar Square

Trafalgar Squareis a square in centralLondon,England. With its position in the heart

of London, it is a tourist attraction; and one of the most famous squares in the
United Kingdomand the world. At its centre isNelson's Column, which is guarded by four
lion statues at its base. Statues and sculptures are on display in the square, including a
fourth plinth displaying changing pieces of contemporary art, and it is a site of political
demonstrations.
The name commemorates theBattle of Trafalgar(1805), aBritish navalvictory of the
Napoleonic Wars. The original name was to have been "King William the Fourth's
Square", butGeorge Ledwell Taylorsuggested the name "Trafalgar Square".
The northern area of the square had been the site of theKing's Mewssince the time of
Edward I, while the southern end was the originalCharing Cross, where theStrandfrom
the CitymetWhitehall, coming north fromWestminster. As the midpoint between these
twin cities, Charing Cross is to this day considered the heart of London, from which all
distances are measured.
In the 1820s thePrince Regentengaged the landscape architectJohn Nashto redevelop
the area. Nash cleared the square as part of his Charing Cross Improvement Scheme. The
present architecture of the square is due to SirCharles Barryand was completed in 1845.
Trafalgar Square is owned by the Queen in Right of the Crown, and managed by the
Greater London Authority.[

The square consists of a large

central area surrounded by
roadways on three sides, and stairs
leading to theNational Galleryon
the other. The roads which cross
the square form part of theA4 road
, and prior to 2003, the square was
surrounded by a one-way traffic
system. Underpasses attached to
Charing Cross tube stationallow
pedestrians to avoid traffic. Recent
have
reduced the
width of
Nelson's Column is in the centre of theworks
square,
surrounded
byfountains
the
roads and
closed
thefountains
northern
designed by SirEdwin Lutyensin 1939
(replacing
two
earlier
side CentreandConfederation
of the square to traffic.
ofPeterhead granite, now at theWascana
Park
in Canada) and four huge bronze lions sculpted by SirEdwin Landseer;
the metal used is said to have been recycled from the cannon of the
French fleet. The column is topped by a statue ofHoratio Nelson, the
admiral who commanded the British Fleet atTrafalgar.

The fountains are memorials toLord Jellicoe(western side) andLord Beatty(eastern side), Jellicoe being
the Senior Officer.[2]
On the north side of the square is theNational Galleryand to its eastSt Martin-in-the-Fieldschurch. The
square adjoinsThe MallviaAdmiralty Archto the southwest. To the south isWhitehall, to the eastStrand
andSouth Africa House, to the northCharing Cross Roadand on the west sideCanada House.
At the corners of the square are fourplinths; the two northern ones were intended forequestrian statues,
and thus are wider than the two southern. Three of them hold statues:George IV(northeast, 1840s),
Henry Havelock(southeast, 1861, byWilliam Behnes), and SirCharles James Napier(southwest, 1855).
FormerMayor of LondonKen Livingstonecontroversially expressed a desire to see the two generals
replaced with statues "ordinary Londoners would know". [3]
On the lawn in front of the National Gallery are two statues,James IIto the west of the entrance portico
andGeorge Washingtonto the east. The latter statue, a gift from the state ofVirginia, stands on soil
imported from the United States. This was done in order to honour Washington's declaration he would
never again set foot on British soil.[4]
In 1888 the statue of GeneralCharles George Gordonwas erected. In 1943 the statue was removed and,
in 1953, re-sited on theVictoria Embankment. A bust of theSecond World WarFirst Sea Lord
Admiral CunninghambyFranta Belskywas unveiled in Trafalgar Square on 2 April 1967 by
Prince Philip, Duke of Edinburgh.[5]
The square has become a social and political location for visitors and Londoners alike, developing over its
history from "anesplanadepeopled with figures of national heroes, into the countrys foremostplace
politique", as historian Rodney Mace has written. Its symbolic importance was demonstrated in 1940
when theNaziSSdeveloped secret plans to transfer Nelson's Column toBerlinfollowing an expected
German invasion, as related byNorman LongmateinIf Britain Had Fallen(1972).

Trafalgar square: The National Gallery

TheNational GalleryinLondon, founded in 1824, houses a rich collection of over 2,300

paintings dating from the mid-13th century to 1900[a]in its home onTrafalgar Square. The gallery
is anon-departmental public body; its collection belongs to the public of theUnited Kingdomand
entry to the main collection (though not some special exhibitions) is free of charge.
Unlike comparableart museumssuch as theLouvreinParisor theMuseo del PradoinMadrid, the
National Gallery was not formed by nationalising an existing royal or princely art collection. It
came into being when theBritish governmentbought 36 paintings from the bankerJohn Julius
Angersteinin 1824. After that initial purchase the Gallery was shaped mainly by its early
directors, notably SirCharles Lock Eastlake, and by private donations, which comprise two thirds
of the collection.[2]The resulting collection is small in size, compared with many European
national galleries, but encyclopaedic in scope; most major developments in Western painting
"fromGiottotoCzanne"[3]are represented with important works. It used to be claimed that this
was one of the few national galleries that had all its works on permanent exhibition, [4]but this is
no longer the case.
The present building, the third to house the National Gallery, was designed byWilliam Wilkins
from 18328. Only the faade ontoTrafalgar Squareremains essentially unchanged from this
time, as the building has been expanded piecemeal throughout its history. The building often
came under fire for its perceived aesthetic deficiencies and lack of space; the latter problem led
to the establishment of theTate Galleryfor British art in 1897. The Sainsbury Wing, an extension
to the west byRobert VenturiandDenise Scott Brown, is a notable example ofPostmodernist
architecture in Britain. The current Director of the National Gallery isNicholas Penny.

National Gallery

The dome: Roman

Steal and glass roofs
New technology present, esp. In the
roofs.
National Gallery, Barry
Rooms

Gothic revival
The English considered the Gothic in
the XIX very important.
1st half of the XIX gothic revival:
Kings College Chapel
Houses of Parliament: the Main Hall, H.
of the Lords, H. of the Commomns, the
Old Hall, Victoria tower.
Henry VIIs Chapel (Westminster)

King's College Chapel

King's College Chapelis the chapel to

King's Collegeof the
University of Cambridge, and is one of
the finest examples of lateGothic(
Perpendicular)English architecture.
he first stone of the Chapel was laid on
St James' Day, July 25, 1446, the College
having been begun in1441. By the end
of the reign ofRichard III(1485), despite
theWars of the Roses, five bays had
been completed and a timber roof
erected.Henry VIIvisited in1506, paying
for the work to resume and even leaving
money so that the work could continue
after his death. In1515, underHenry VIII
, the building was complete but the great
windows had yet to be made.
The one modern window is that in the
west wall, which is by the
Clayton and Bellcompany and dates
from1879.

Houses of Parliament

ThePalace of Westminster,
also known as theHouses of
ParliamentorWestminster
Palace

The Palace of Westminster, here

viewed from theLondon Eye, sits
on the north bank of the
River Thames, nearWestminster
Bridge. Its principal towers are,
from left to right, the
Victoria Tower, the Central Tower
and the Clock Tower, also known
as "Big Ben".

On 16October 1834,a fire broke out in the Palace[1]after an overheated stove used to destroy theExchequer's stockpile
oftally sticksset fire to the House of Lords Chamber. In the resulting conflagration both houses of Parliament were
destroyed along with most of the other buildings in the palace complex. Westminster Hall was saved largely due to
heroic firefighting efforts. The Jewel Tower, the crypt of St Stephen's Chapel and thecloisterswere the only other parts
of the palace to survive.
Immediately after the fire,King WilliamIVconsidered convertingBuckingham Palace, which was almost completed at
the time but disliked by the King, into the new Houses of Parliament. [4]The King proposed the idea to the Prime
Minister,Lord Melbourne, who dismissed it as he believed the political and historical character of Parliament could only
be preserved if it remained at Westminster. To that end, the Painted Chamber and White Chamber were hastily repaired
for temporary use by the Houses of Lords and Commons respectively, until a design for a replacement palace could be
decided upon and built.
ARoyal Commissionwas appointed to study the rebuilding of the Palace and a heated public debate over the proposed
styles ensued. Theneo-Classicalapproach, similar to that of theWhite Houseand thefederal Capitolin the United
States, was popular at the time and had already been used by Soane in his additions to the old palace, but had
connotations of revolution andrepublicanism, whereasGothicdesign embodied conservative values. The Commission
announced in June 1835 that "the style of the buildings would be either Gothic orElizabethan".[5]The Royal Commission
decided to allow architects to submit proposals following these basic criteria. It is said [by whom?]that they took this
approach in order to preventSir Robert Smirke, the only architect appointed to theOffice of Worksat that time, from
landing the commission to design a new palace as his classical designs were unpopular during that period.
In 1836, after studying 97 rival proposals, the Royal Commission chose Charles Barry's plan for a Gothic-style palace.
Thefoundation stonewas laid in 1840;[6]the Lords Chamber was completed in 1847, and the Commons Chamber in
1852 (at which point Barry received aknighthood). Although most of the work had been carried out by 1860,
construction was not finished until a decade afterwards. Barry, whose own architectural style was more classical than
Gothic, built the new palace upon the neo-classical principle of symmetry. He relied heavily on Augustus Pugin for the
sumptuous and distinctive Gothic interiors, including wallpapers, carvings, stained glass and furnishings, like the royal
thrones and canopies.

Sir Charles Barry's collaborative design

for the Palace of Westminster uses the
Perpendicular Gothicstyle, which was
popular during the 15th century and
returned during theGothic revivalof
the 19th century. Barry was a
classical architect, but he was aided by
the Gothic architect Augustus Pugin.
Westminster Hall, which was built in the
11th century and survived the fire of
1834, was incorporated in Barry's
design. Pugin was displeased with the
result of the work, especially with the
symmetrical layout designed by Barry;
he famously remarked, "All Grecian, sir;
Tudor details on a classic body".[1

Thestoneworkof the building was originally Anston, a sand-coloured

magnesianlimestonequarried in the village ofAnstoninSouth
Yorkshire.[15]The stone, however, soon began to decay due to
pollutionand the poor quality of some of the stone used. Although
such defects were clear as early as 1849, nothing was done for the
remainder of the 19th century. During the 1910s, however, it became
clear that some of the stonework had to be replaced.
In 1928 it was deemed necessary to use Clipsham Stone, a honeycoloured limestone fromRutland, to replace the decayed Anston. The
project began in the 1930s but was halted due to the Second World
War, and completed only during the 1950s. By the 1960s pollution
had once again begun to take its toll. A stone conservation and
restoration programme to the external elevations and towers began
in 1981, and ended in 1994.[16]The House Authorities have since
been undertaking the external restoration of the many inner
courtyards, a task due to continue until approximately 2011

Sir Charles Barry's Palace of Westminster includes several towers. The tallest is the 98.5-metre (323ft) [15]
Victoria Tower, a square tower at the south-western end of the Palace. It was named after the reigning monarch at
the time of the reconstruction of the Palace,Queen Victoria; today, it is home to theParliamentary Archives. Atop the
Victoria Tower is an iron flagstaff, from which flies either theUnion Flag(when either House is sitting and on royal or
other special days) or theRoyal Standard(if the Sovereign is present in the Palace). At the base of the tower is the
Sovereign's Entrance, used by the monarch whenever entering the Palace of Westminster for the
State Opening of Parliamentor for any other official ceremony.
Over the middle of the Palace, immediately above the Central Lobby, stands the octagonal Central Tower. At
91.4metres (300ft),[15]it is the shortest of the Palace's three principal towers. Unlike the other towers, the Central
Tower culminates in aspire, and was designed as a high-level air intake.
At the north end of the Palace is the most famous of the towers, the Clock Tower, commonly known asBig Benafter
its main bell. The Clock Tower is 96.3metres (316ft) [15]tall. Pugin's drawings for the tower were the last work he did
for Barry. The Clock Tower houses a large, four-faced clockthe Great Clock of Westminsteralso designed by Pugin.
The tower also houses five bells, which strike theWestminster Chimesevery quarter hour. The largest and most
famous of the bells isBig Ben(officiallyThe Great Bell of Westminster), which strikes the hour. This is the thirdheaviest bell in England, weighing 13.8tonnes (13.6 long tons). [15]AlthoughBig Benproperly refers only to the bell, it
is colloquially applied to the whole tower. A light, called the Ayrton Light, is located at the top of the Clock Tower. The
Ayrton Light is lit when either the House of Commons or the House of Lords is sitting after dark. The light takes its
name from Thomas Ayrton, the first Commissioner of Works who installed a gas lamp in the tower soon after it was
built in 1885. It was installed at the request of Queen Victoria, so she could see from Buckingham Palace whether the
members were "at work".
A small tower, St. Stephen's Tower, is positioned at the front of the Palace, between Westminster Hall and Old Palace
Yard, and contains the main entrance to the House of Commons at its base, known asSt. Stephen's Entrance.[18]
Other towers include Speaker's and Chancellor's Towers, at the north and south ends of the building's river front
respectively.[16]They are named after the presiding officers of the two Houses of Parliament at the time of the
Palace's reconstruction, theSpeaker of the House of Commonsand theLord High Chancellor.

At the time of its completion, the Victoria Tower was

the tallest and largest square tower in the world.

There are a number of small gardens surrounding the Palace

of Westminster.Victoria Tower Gardensis open as a public
park along the side of the river south of the palace. Black
Rod's Garden (named after the office of
Gentleman Usher of the Black Rod) is closed to the public and
is used as a private entrance.Old Palace Yard, in front of the
Palace, is paved over and covered in concrete security blocks
(seesecuritybelow). Cromwell Green (also on the frontage,
and in 2006 enclosed by hoardings for the construction of a
new visitor centre),New Palace Yard(on the north side) and
Speaker's Green (directly north of the Palace) are all private
and closed to the public.College Green, opposite the House
of Lords, is a small triangular green commonly used for
television interviews with politicians.

Central Lobby
Originally named "Octagon Hall" because of its shape, the Central Lobby is the heart of the Palace of Westminster. It lies
directly below the Central Tower and forms a busy crossroads between the House of Lords to the south, the House of
Commons to the north, St Stephen's Hall and the public entrance to the west, and the Lower Waiting Hall and the
libraries to the east. Its location halfway between the two debating chambers has madeErskine Maydescribe the Lobby
as "the political centre of the British Empire", [47]and allows a person standing under the great chandelier to see both the
Royal Throne and the Speaker's Chair, provided that all the intervening doors are open. Constituents may meet their
Members of Parliament here, even without an appointment, [48]and this practice is one of the possible origins of the term
lobbying.[49]The hall is also the theatre of the Speaker's Procession, which passes from here on its way to the Commons
Chamber before every sitting of the House.
The Central Lobby measures 18.3metres (60ft) across and 22.9metres (75ft) from the floor to the centre of the
vaulted ceiling.[15]The panels between the vault's ribs are covered with Venetian glassmosaicdisplaying floral emblems
and heraldic badges, and the bosses in the intersections of the ribs are also carved into heraldic symbols. [50]Each wall of
the Lobby is contained in an arch ornamented with statues of English and Scottish monarchs; on four sides there are
doorways, and thetympanaabove them are adorned with mosaics representing the patron saints of the United
Kingdom's constituent nations:St Georgefor England,St Andrewfor Scotland,St Davidfor Wales andSt Patrickfor
Ireland.[note 3]The other four arches are occupied by high windows, under which there are stone screensthe hall's post
office, one of two in the Palace, is located behind one of these screens. In front of them stand four bigger-than-life
statues of 19th-century statesmen, including one of four-time Prime MinisterWilliam Ewart Gladstone.[44]The floor on
which they stand is tiled with Minton encaustic tiles in intricate patterns and includes a passage from Psalm 127 written
in Latin, which translates as follows: "Except the Lord build the House their labour is but lost that build it". [51]
The East Corridor leads from the Central Lobby to the Lower Waiting Hall, and its six panels remained blank until 1910,
when they were filled with scenes from Tudor history.[52]They were all paid for byLiberalpeers and each was the work of
a different artist, but uniformity was achieved between the frescoes thanks to a common colour palette of red, black and
gold and a uniform height for the depicted characters. One of the scenes is probably not historical:Plucking the Red and
White Roses in the Old Temple Gardens, depicting the origin of the white and red rose as emblems of theHouses of York
andLancasterrespectively, was taken from Shakespeare'sHenry VI, Part 1

Saints Patrick and David watch over the Central

Lobby from above the doors towards St Stephen's
Hall and the Commons Corridor respectively.

Lords Chamber
The Chamber of theHouse of Lordsis located in the southern part of the Palace of Westminster. The lavishly
decorated room measures 13.7 by 24.4 metres (45 by 80 ft). [15]The benches in the Chamber, as well as
other furnishings in the Lords' side of the Palace, are coloured red. The upper part of the Chamber is
decorated by stained glass windows and by six allegorical frescoes representing religion, chivalry and law.
At the south end of the Chamber are the ornate gold Canopy and Throne; although the Sovereign may
theoretically occupy the Throne during any sitting, he or she attends only the State Opening of Parliament.
Other members of the Royal Family who attend the State Opening use Chairs of State next to the Throne,
and peers' sons are always entitled to sit on the steps of the Throne. In front of the Throne is theWoolsack,
a backless and armless red cushion stuffed withwool, representing the historical importance of the wool
trade, and used by the officer presiding over the House (theLord Speakersince 2006, but historically the
Lord Chancelloror a deputy). The House'smace, which represents royal authority, is placed on the back of
the Woolsack. In front of the Woolsack is the Judges' Woolsack, a larger red cushion formerly occupied
during the State Opening by theLaw Lords(who were members of the House of Lords), and prospectively
by the Supreme Court Justices and other Judges (whether or not members), to represent the Judicial Branch
of Government. The Table of the House, at which the clerks sit, is in front.
Members of the House occupy red benches on three sides of the Chamber. The benches on the Lord
Speaker's right form the Spiritual Side and those to his left form the Temporal Side. TheLords Spiritual
(archbishops and bishops of the establishedChurch of England) all occupy the Spiritual Side. The
Lords Temporal(nobles) sit according to party affiliation: members of the Government party sit on the
Spiritual Side, while those of the Opposition sit on the Temporal Side. Some peers, who have no party
affiliation, sit on the benches in the middle of the House opposite the Woolsack; they are accordingly known
ascross-benchers.

The Sovereign's Throne and

its gilded Canopy dominate
the ornate Lords Chamber.

The Lords Chamber is the site of nationally televised

ceremonies, the most important of which is the
State Opening of Parliament, which is held formally to open
each annual parliamentary session, either after a General
Election or in the autumn. At this occasion every
constitutional element of the government is represented:
the Crown (both literally, and figuratively in the person of
the Sovereign), The Lords Spiritual and Temporal, and The
Commons, (who together form the Legislature), the
Judiciary (although most judges are not members of either
house of parliament), and the Executive (both
Government Ministers, and ceremonial military units in
attendance on the Sovereign); and a large number of
guests are invited to attend in the large Royal Gallery
immediately outside the Chamber. The Sovereign, seated
on the Throne, delivers theSpeech from the Throne,
outlining the Government's programme for the year and
legislative agenda for the forthcoming parliamentary
session. The Commons may not enter the Lords' debating
floor; instead, they watch the proceedings from beyond the
Bar of the House, just inside the door. A small purely formal
ceremony is held to end each parliamentary session, when
the Sovereign is merely represented by a group of
Lords Commissioners.

Commons Chamber
The Chamber of theHouse of Commonsis at the northern end of the Palace of Westminster; it was opened in 1950 after
the Victorian chamber had been destroyed in 1941 and re-built under the architectGiles Gilbert Scott. The Chamber
measures 14 by 20.7 metres (46 by 68 ft)[15]and is far more austere than the Lords Chamber; the benches, as well as
other furnishings in the Commons side of the Palace, are coloured green. Members of the public are forbidden to sit on
the red benches, which are reserved for members of the House of Lords. Other parliaments inCommonwealthnations,
including those ofIndia,CanadaandAustralia, have copied the colour scheme under which the Lower House is
associated with green, and the Upper House with red.
At the north end of the Chamber is theSpeaker's Chair, a present to Parliament from the Commonwealth ofAustralia.
The current British Speaker's Chair is an exact copy of the Speaker's Chair given to Australia, by the House of Commons,
on the celebration of Australia's Parliamentary opening. In front of the Speaker's Chair is the Table of the House, at
which the clerks sit, and on which is placed the Commons' ceremonial mace. Thedispatch boxes, which front-bench
Members of Parliament(MPs) often lean on or rest notes on during Questions and speeches, are a gift fromNew Zealand
. There are green benches on either side of the House; members of the Government party occupy benches on the
Speaker's right, while those of the Opposition occupy benches on the Speaker's left. There are no cross-benches as in
the House of Lords. The Chamber is relatively small, and can accommodate only 427 of the 646 Members of Parliament
[56]duringPrime Minister's Questionsand in major debates MPs stand at either end of the House.
By tradition, the British Sovereign does not enter the Chamber of the House of Commons. The last monarch to do so
wasKing Charles I, in 1642. The King sought to arrest five Members of Parliament on charges ofhigh treason, but when
he asked the Speaker,William Lenthall, if he had any knowledge of the whereabouts of these individuals, Lenthall
famously replied: "May it please your Majesty, I have neither eyes to see nor tongue to speak in this place but as the
House is pleased to direct me, whose servant I am here."[57]
The two red lines on the floor of the House of Commons are 2.5metres (8ft2in) [15]apart, which, by (probably
apocryphal) tradition, is intended to be just over two sword-lengths. Protocol dictates that MPs may not cross these lines
when speaking. Historically, this was to prevent disputes in the House from devolving into duels. If a Member of
Parliament steps over this line while giving a speech he or she will be lambasted by opposition Members. This is a
possible origin for the expression "totoe the line".

Like its predecessor, the post-war chamber of the

House of Commons can seat on its green benches
only about two-thirds of all Members of Parliament.

Henry VII Lady Chapel

TheHenry VII Lady Chapel, now more often known

just as theHenry VII Chapel, is a largeLady chapel
at the far eastern end ofWestminster Abbey, paid for
by the will ofHenry VII. It is separated from the rest
of the abbey by brass gates and a flight of stairs. [1]
The structure of the chapel is a three-aisled nave
composed of four bays. The apse of the chapel
contains the altar, and behind that, the tombs of
Henry VII and his wife as well as ofJames I. There are
five apsidal chapels.[1]
The chapel is noted for itspendantfan vaultceiling.
The chapel is built in a very latePerpendicular Gothic
style, the magnificence of which causedJohn Leland
to call it theorbis miraculum[2]. The tombs of several
monarchs includingHenry VII,Elizabeth I,Mary I,
James I,Charles IIandMary, Queen of Scotsare
found in the chapel.[3]
SeePeople Buried Within Henry VII Chapelfor a more
complete list of burials within the chapel.
The chapel has also been themother churchof the
Order of the Bathsince 1725, and the banners of
members hang above the stalls.

2nd half of the XIX Gothic revival: Forms became slander

Liverpool Cathedral
Guilford Cathedral
Albert memorial
Tower Bridge

Liverpool Cathedral: 19041978

Architect(s)Giles Gilbert Scott

Architectural style Gothic Revival

Guilford Cathedral: 1936-1961

Architect(s)Edward Maufe
Architectural style Gothic/Art Deco
Towers1

Albert Memorial: 1872

TheAlbert Memorialis
situated in
Kensington Gardens,London,
England, directly to the north
of theRoyal Albert Hall. It was
commissioned by
Queen Victoriain memory of
her beloved husband,
Prince Albertwho died of
typhoidin 1861. The memorial
was designed by Sir
George Gilbert Scottin the
Gothic revivalstyle. Opened in
1872, with the statue of Albert
ceremonially "seated" in 1875,
the memorial consists of an
ornate canopy or pavilion
containing a statue of Prince
Albert facing south

Tower Bridge
1886 to 1894
openable bascule bridge
stone bearing masonry and
iron
Style Victorian
A great symbol of London,
crossing the Thames.

Italianet revival
Use of:
Ionic columns
Proportion
Roof made of glass ( presence of technology)
In Kensington:
Renaissance from the North of Italy
Roman elements
Athmosphere Italianet and at the same time Medieval.
Semicircular arch
Example: Natural History Museum
The Victoria & Albert Museum
The Albert Hall

Natural History Museum:

1860 to 1880

iron frame, concrete

vaults, terra cotta cladding
Victorian German
Romanesque,
Romanesque Revival
Romanesque symmetrical
facade.

The Victoria & Albert

Museum

TheVictoria and Albert

Museum(often abbreviated
as theV&A) inLondonis the
world's largest museum of
decorative arts and design,
housing a permanent
collection of over 4.5 million
objects. Named after
Prince Albertand
Queen Victoria, it was
founded in 1852, and has
since grown to now cover
some 12.5acres (0.05km2)[2]
and 145 galleries.

Royal Albert Hall

TheRoyal Albert Hallis anartsvenue situated in theKnightsbridgearea of the

City of Westminster,London,England, best known for holding the annual summerProms
concerts since 1941.
The Royal Albert Hall is one of theUK's most treasured and distinctive buildings, recognisable
the world over. Since its opening byQueen Victoriain 1871, the world's leading artists from
every kind of performance genre have appeared on its stage. Each year it hosts more than
350 performances including classical concerts, rock and pop, ballet and opera, tennis, award
ceremonies, school and community events, charity performances and lavish banquets.
The Hall was originally supposed to have been calledThe Central Hall of Arts and
Sciences, but the name was changed by Queen Victoria toRoyal Albert Hall of Arts and
Scienceswhen laying the foundation stone as a dedication to her deceased husband and
consortPrince Albert. It forms the practical part of a national memorial to the Prince Consort
- the decorative part is theAlbert Memorialdirectly to the north inKensington Gardens, now
separated from the Hall by the heavy traffic alongKensington Gore.
As the best known building within the cultural complex known asAlbertopolis, the Hall is
commonly and erroneously thought to lie within the
Royal Borough of Kensington and Chelsea. The Hall is actually within the area of the
City of Westminster, although the postal address is Kensington Gore. The site was part of the
former Kensington Gore estate which was historically part ofKnightsbridge. However it is in
the Westminster borough.

Eclepticism, round hall and a gothic

spire on top. By the arch. Nash

The hall, a Grade Ilisted building,[4]is anellipsein plan,

with major and minor axes of 83m(272feet) and 72m
(238ft). The great glass and wrought-irondomeroofing
the hall is 41m (135ft) high. It was originally designed
with a capacity for 8,000 people and has
accommodated as many as 9,000 (although modern
safety restrictions mean that the maximum permitted
capacity is now 5,544 including standing in the
Gallery).

Around the outside of the hall is a greatmosaicfrieze,

depicting "The Triumph of Arts and Sciences", in
reference to the Hall's dedication. Proceeding anticlockwise from the north side the sixteen subjects of
the frieze are:(1) Various Countries of the World
bringing in their Offerings to the Exhibition of 1851; (2)
Music; (3) Sculpture; (4) Painting; (5) Princes, Art
Patrons and Artists; (6) Workers in Stone; (7) Workers
in Wood and Brick; (8) Architecture; (9) The Infancy of
the Arts and Sciences; (10) Agriculture; (11)
Horticulture and Land Surveying; (12) Astronomy and
Navigation; (13) A Group of Philosophers, Sages and
Students; (14) Engineering; (15) The Mechanical
Powers; and (16) Pottery and Glassmaking.

Above the frieze is an inscription in one-foot high

terracottaletters. This combines historical fact and
Biblical quotations: "This hall was erected for the
advancement of the arts and sciences and works of
industry of all nations in fulfilment of the intention of
Albert Prince Consort. The site was purchased with the
proceeds of the Great Exhibition of the year MDCCCLI.
The first stone of the Hall was laid by Her Majesty
Queen Victoria on the twentieth day of May

Revival of Georgian
architecture
End of the XIX C.
Picturesque architecture (Norman Shaw),
important traits were incorporated, Typical
country house:
Brick as main material
Chimneys
Typical of the Medieval
Gables
period.
Steep roofs

Modern Style XX
Against the revivals. Form follows
functions and not historical
associations at all.
Traits incorporated:
Gables
Bricks
White Windows

QUEEN ANN STYLE(2)

1870S AND 1880S

An eclectic style of domestic architecture primarily of the 1870s and 1880s in

England and the United States; misnamed after Queen Anne; actually based on
country-house and cottage Elizabethan architecture. A blending of Tudor Gothic,
English Renaissance, Flemish, (and in the United States on Colonial elements),
houses in this style usually are characterized by an asymmetrical faade with
emphasis on verticality; often, a front-facing gable; commonly, timber-framed and
irregular in plan and elevation; decorative trusses, bracketed posts,gingerbreadin
the form of spindlework, finials, and cast-iron cresting; textured shingles, masonry
with variations in wall surface treatment and color; carved ornamentation, and
patterned horizontal siding; contrasting wall materials used in combination with the
various stories decorated differently;one or more conspicuous porches often set
within the main structure of the house; typically, an irregularly shaped, steeply
pitched roof, ornamented gables and ridges, overhanging eaves, bargeboards,
second-story projections, various-shaped ornamental dormers, cresting, finials,
pendants, and/or pinnacles; shingles laid in decorative patterns; tall ornamented
chimneys; frequently, a tower; a paneled main entry door typically located off the
central axis of the faade. Occasionally calledVictorian Queen Anne styleto avoid
confusion with the 18th-centuryQueen Anne style, 1from which it differs
markedly.

TheQueen Anne Stylein Britain means either the

English Baroquearchitectural style roughly of the
reign ofQueen Anne(1702-14), or a revived form that
was popular in the last quarter of the 19th century
and the early decades of the 20th century. [1]The
historic reference in the name should not be taken too
literally, as buildings in the Queen Anne style can bear
as little resemblance to English buildings of the 1700s
as those of any revival style to the original. What is
called the "Queen Anne style" in other parts of the
English-speaking world, especially the United States
and Australia, is completely different.

19th Century Queen Anne

County Hall, Wakefield, designed by

architects James Glen Sivewright
Gibsonand Samuel Russell in 1894.

TheQueen Anne Styleof Britisharchitecturein the 1870s (the

industrial age) was popularized byGeorge Deveyand the betterknownRichard Norman Shaw(1831-1912). Norman Shaw published
a book of architectural sketches as early as 1858, and his evocative
pen-and-ink drawings began to appear in trade journals and artistic
magazines in the 1870s. American commercial builders were quick to
pick up the style.
Shaw's eclectic designs often included Tudor elements, and this "Old
English" style became popular in the United States, where it became
known as the Queen Anne style (although this was not historically
accurate). (Confusion between buildings constructed during the reign
of Queen Anne and the "Queen Anne" Style still persists, especially
in England. The well known architectural commentator and author
Marcus Binney, writing in the LondonTimesin 2006, describes
"Poulton House" built in 1706, during the reign of Queen Anne, as
"...Queen Anne at its most delightful"

Binney lists what he describes as the typical features

of the style: a sweep of steps leading to a carved
stone door-case; rows of painted sash windows in
boxes set flush with the brickwork; stonequoins
emphasising corners; a central triangular pediment
set against a hipped roof with dormers; typically boxlike "double pile" plans, two rooms deep.) In the late
1850s, the name "Queen Anne" was in the air,
following publication in 1852 of
William Makepeace Thackeray's novel,
The History of Henry Esmond
, Esq., A Colonel in the Service of Her Majesty Queen
Anne
.

When, in the early 1870s, Chinese-inspired Early Georgian furniture on

cabriole legs, featuring smooth expanses of walnut, and chairs with flowing
lines and slat backs began to be looked for in out-of-the-way curio shops
(Macquoid 1904), the style was mis-attributed to the reign of Queen Anne, and
the "Queen Anne" misnomer has stuck to this day, in American as well as
English furniture style designations. (Even the most stylish and up-to-date
furnishings of the historical reign of Queen Anne, as inventories reveal, was in
a style that would be immediately identified now as "William and Mary.")
The British Victorian version of the style is closer in empathy to the
Arts and Crafts movementthan its American counterpart. A good example is
Severalls Hospitalin Colchester, Essex (1913-1997), now defunct. The historic
precedents of the Queen Anne style were broad: fine brickwork, often in a
warmer, softer finish than the Victorians were characteristically using, varied
with terracotta panels, or tile-hung upper stories, with crisply painted white
woodwork, or blond limestone detailing;oriel windows, often stacked one
above another, corner towers, asymmetrical fronts and picturesque massing,
Flemishmanneristsunken panels ofstrapwork, deeply shadowed entrances,
broad porches: a domesticated free Renaissance style.

When an open architectural competition was announced in

1892, for a County Hall (see photo, right) to be built in
Wakefield, in the West Riding of Yorkshire, the instructions
to competitors noted that "the style of architecture will be
left to the competitors but the Queen Anne or Renaissance
School of Architecture appears suited to an old town like
Wakefield" (ref. Wakefield). The executed design, by James
Gibson and Samuel Russell, architects of London, combines
a corner turret, grandly domed and withgargoylesat the
angles, freely combined with Flemish Renaissance stepped
gables.
In the 20th century an elegant version of the style was used
byEdwin Lutyensand others, usually with red brick walls
contrasting with pale stone details.

EDWARDIAN
BAROQUE
19011910

The termEdwardian Baroquerefers to theNeo-Baroquearchitectural style of

many public buildings built in theBritish Empireduring theEdwardian era
(19011910).
The characteristic features of the Edwardian Baroque style were drawn from two
main sources: the architecture of France in the 18th century and that of Sir
Christopher WreninEnglandin the 17th. Some of the architecture that borrowed
more heavily from theEnglish Baroquearchitects was known by the
termWrenaissance. This period of British architectural history is considered a
particularly backward-looking one, since it is contemporary withArt Nouveau.
Typical details of Edwardian Baroque architecture include heavilyrusticated
basements, sometimes pierced by round arches (derived from French models);
mansardroofs; a profusion ofdormerwindows;colonnadesof (sometimes
paired) columns in theIonic orderand domes modelled closely on Wren's for the
Royal Naval CollegeinGreenwich. Some Edwardian buildings derive their details
from different sources, such as theDutch gablesofNorman Shaw's Piccadilly
Hotel inLondonor the influence of the contemporaryGrand PalaisinParison
Cardiff City Hallby the architects Lanchester, Stewart and Rickards.

Port of Liverpool Building (built

1907).

TheWar OfficeinWhitehall,London
(built 1906).

Flinders Street StationinMelbourne,

Australia(built in 1910).

TheAuckland Ferry Terminal in

Auckland,New Zealand(built 1912).

ROMANESQUE REVIVAL
ORNEO-ROMANESQUE
LATE 19TH

Romanesque Revival(orNeo-Romanesque) is a style of

building employed in the late 19th century inspired by the 11th
and 12th centuryRomanesquestyleofarchitecture. Popular
features of these revival buildings are roundarches, semicircular arches on windows, andbelt courses. Unlike the historic
Romanesque style, however, Romanesque Revival buildings
tended to feature more simplified arches and windows than
their historic counterparts. The style was quite popular for
university campuses in the late nineteenth and early twentieth
century, especially in the United States; well known examples
can be found at theUniversity of California, Los Angelesand
University of Southern California. The style was widely used for
churches, and occasionally for synagogues such as the
Congregation Emanu-El of New YorkonFifth Avenuebuilt in
1929.

Neo-Romanesque details in a neoRenaissance structure:New

York State Capitol,Albany, New York

By far the most prominent and influential American architect

working in a free "Romanesque" manner was
Henry Hobson Richardson. In the United States the style
derived from examples set by him are termedRichardsonian
Romanesque.
An early variety of Romanesque revival style known as
Rundbogenstil(Round-arched style) was popular in German
lands and in the German diaspora beginning in the 1830s.
During the 19th Century the architecture selected for Anglican
churches depended on the churchmanship of particular
congregations. Whereas high churches andAnglo-Catholic,
which were influenced by theOxford Movement, were built in
Gothic Revival architecture, low churches and broad churches
of the period were often built in the Romanesque Revival style.

Industrial architecture
New technology. Queen gardens, the
tube???
Examples:
Crystal Palace (pax tone architect)
Pilis (Argenitne architect, considered this
palace the instance to modern architecture.

The Crystal Palace was

built to house the Great
Exhibition of the Industry
of All Nations in Hyde
Park, London,in 1851.
After the Exhibition, it
was moved and expanded
and rebuilt on Sydenham
Hill overlookingLondon,
where it enjoyed a second
life from 1854 until its
destruction in a horrific
fire in 1936.