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89-524: The façade got its current look by application of the Tudor and English Neogothic styles. The manor house is surrounded by an English park . The premises cover 24 km on both banks of the Danube river. In the twentieth century, mansion and premises have been owned by Hungarian Prince Elemer Lonyay , husband to Princess Stéphanie of Belgium , widow of Crown Prince Rudolph of Austria-Hungary. The couple lived in

178-463: A discreet distance. Glass was then an expensive material, and its use on a large scale a demonstration of wealth. The large windows required mullions , normally in stone even in houses mainly in brick. For the main structure, stone is preferred, often as a facing over brick, but some buildings use mostly brick, for example Hatfield House , following the precedent of Hampton Court Palace and other earlier houses. Though there were often reminiscences of

267-661: A dynastic threat." Others see the original Somerset House in the Strand, London as the first prodigy house, or at least the first English attempt at a thoroughly and consistently classical style. With some other Châteaux of the Loire Valley , the Château de Chambord of François I of France (built 1519–1547) had many features of the English houses, and certainly influenced Henry VIII's Nonsuch Palace . Important political families such as

356-596: A few short months ago, they looked so old and crooked". A very well-known example of the idealised half-timbered style is Liberty & Co. department store in London , which was built in the style of a vast half-timbered Tudor mansion. The store specialised, among other goods, in fabrics and furnishings by the leading designers of the Arts and Crafts movement. The interiors of the Tudor style building have evolved considerably along with

445-635: A general English vernacular style. When the style was revived, the emphasis was typically on the simple, rustic, and the less impressive aspects of Tudor architecture, imitating in this way medieval houses and rural cottages. Although the style follows these more modest characteristics, items such as steeply pitched-roofs , half-timbering often infilled with herringbone brickwork , tall mullioned windows , high chimneys , jettied (overhanging) first floors above pillared porches , dormer windows supported by consoles , and even at times thatched roofs , gave Tudor Revival its more striking effects. Although

534-413: A much wider range of styles than the modernism associated with the mid-20th century, few architects are known for buildings which could be called "Tudorbethan". In modern structures, usually on estates of private houses, a half-timbered appearance is obtained by applied decorative features over the "real" structure, typically wood stud framing or concrete block masonry. A combination of boards and stucco

623-599: A row Of polished pillars, or a roof of gold; Thou hast no lantern, whereof tales are told, Or stair, or courts; but stand’st an ancient pile, ... And though thy walls be of the country stone, They’re reared with no man’s ruin, no man’s groan; There’s none that dwell about them wish them down; But all come in, the farmer and the clown, ... Now, Penshurst, they that will proportion thee With other edifices, when they see Those proud, ambitious heaps, and nothing else, May say their lords have built, but thy lord dwells. As new fashions in architecture took over,

712-517: A similar vein, Henry Hutchinson & Thomas Rickman contributed the New Court and Bridge of Sighs at St. John’s College, Cambridge (1826–31). St. Luke's, Chelsea by James Savage (1824) is one of the finest early revivalist church buildings in England and shows the influence of Perpendicular Gothic design. In the early part of the 20th century, one of the exponents who developed the style further

801-523: A slightly incongruous mixture of the Elizabethan and Palladian in a single facade. The houses attracted criticism from the first, surprisingly often from their owners. The flattering poem To Penshurst by Ben Jonson (1616), contrasts Penshurst Place , a large and important late medieval house that was extended in a similar style under Elizabeth, with prodigy houses: Thou art not, Penshurst, built to envious show, Of touch or marble; nor canst boast

890-419: A total of 7 courtyards), and many Oxbridge colleges, was giving way to more compact high-rising structures with a coherent and dramatic structural plan, making the whole form of the building visible from outside the house. Hardwick Hall , Burghley House , and on a smaller scale Wollaton Hall , exemplify this trend. The outer exteriors of the house are more decorated than internal exteriors such as courtyards,

979-455: A trip to Shrewsbury (where she planned on watching plays staged by Thomas Ashton ), but this leg was cancelled because of illness. The hosts were expected to house the monarch in style, and provide sufficient accommodation for about 150 travelling members of the court , for whom temporary buildings might need to be erected. Elizabeth was not slow to complain if she felt her accommodation had not been appropriate, and did so even about two of

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1068-574: Is a stub . You can help Misplaced Pages by expanding it . This article about a Slovak building or structure is a stub . You can help Misplaced Pages by expanding it . Tudor Revival architecture Tudor Revival architecture , also known as mock Tudor in the UK, first manifested in domestic architecture in the United Kingdom in the latter half of the 19th century. Based on revival of aspects that were perceived as Tudor architecture , in reality it usually took

1157-405: Is a feature rarely found in subsequent large houses for two centuries or more. At Hardwick the windows increase in size as the storeys rise up, reflecting the increasing status of the rooms. In several houses the mostly flat roof itself was part of the reception spaces, with banqueting houses in the towers that were only accessible from "the leads", and a layout that allowed walking around to admire

1246-413: Is also used synonymously with Tudor Revival and mock Tudor . From the 1880s onward, Tudor Revival concentrated more on the simple but quaintly picturesque Elizabethan cottage, rather than the brick and battlemented splendours of Hampton Court or Compton Wynyates . Large and small houses alike with half-timbering in their upper storeys and gables were completed with tall ornamental chimneys, in what

1335-457: Is an enormous revival of a Smythson-type style, and like Westonbirt House ( Lewis Vulliamy , 1860s) and Highclere Castle (by Sir Charles Barry 1839–42, used for filming Downton Abbey ), is something of an inflated Wollaton. The royal Sandringham House in Norfolk includes prodigy elements in its mixed styles. Apart from private houses, elements of the prodigy style were popular for at least

1424-484: Is applied to obtain the desired appearance, here seen in the image to the right. To minimise maintenance, the "boards" are now commonly made of uPVC faux wood, plastic or fibre reinforced cement siding with a dark brown or wood effect finish. In the United States, the style is often further modified by painting the timbers colors such as blue or green. The Tudor Revival style was most popular for new American homes in

1513-428: Is at once pretentious and grotesquely ugly." In particular "few are more tasteless and pretentious than Woolaton Hall", which he analyses. Though the style became dominant for very large houses from around 1570, there were alternatives. At Kenilworth Castle , Robert Dudley, 1st Earl of Leicester did not want to lose the historic royal associations of his building, and from 1563 modernised and extended it to harmonize

1602-416: Is evident from surviving letters that courtiers took a keen and competitive interest in architectural matters. Inside, most houses still had a large hall in the medieval style, often with a stone or wood screen at one end. But this was only used for eating in by the servants, except on special occasions. The main room for the family to eat and live in was the great chamber , usually on the first floor (above

1691-709: Is managed by the Slovak Republic Government Office and closed to the public. The government has refused to return the estate to the Benedictine Order, who after unsuccessfully calling to the Slovak Constitutional Court is said to seek a decision at the European Court of Justice in 2009. 48°03′09″N 17°09′04″E  /  48.05250°N 17.15111°E  / 48.05250; 17.15111 This Bratislava location article

1780-409: Is only superficial. Artificially aged and blackened beams are constructed from light wood, bear no loads, and are attached to ceilings and walls purely for decoration, while artificial flames leap from wrought iron fire-dogs in an inglenook often a third of the size of the room in which they are situated. Occasionally, owners sought to replicate more closely the conditions of Tudor living; an example were

1869-642: Is recorded in the libraries of many important clients of buildings, along with Sebastiano Serlio 's Architettura , initially in Italian or another language until 1611, when Robert Peake published four of the volumes in English. The heavily illustrated books on ornament by the Netherlander Hans Vredeman de Vries (1560s onwards) and German Wendel Dietterlin (1598) supplied much of the Northern Mannerist decorative detail such as strapwork . It

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1958-401: Is this mingling of styles that has led to the term Jacobethan which resulted in houses such as Harlaxton Manor which bore little if any resemblance to a building from either period. Hall notes the influence of Burghley House and Wollaton Hall , "fused with ideas drawn from Continental architecture of the seventeenth and eighteenth centuries". More often it is in the Tudor style houses of

2047-466: The Black and White House . The earliest examples of the style originate with the works of such eminent architects as Norman Shaw and George Devey , in what at the time was considered Neo-Tudor design. Tudorbethan is a subset of Tudor Revival architecture that eliminated some of the more complex aspects of Jacobethan in favour of more domestic styles of " Merrie England ", which were cosier and quaint. It

2136-548: The Church of England and at the Universities of Oxford and Cambridge ) building additions and annexes were often designed to blend or harmonize rather than contrast with the archaic style of the older work. Christopher Wren 's steeple of St Dunstan-in-the-East (London,1668–71) and Tom Tower at Christ Church, Oxford (1681–82), and Nicholas Hawksmoor 's Codrington Library and Front Quad at All Souls College, Oxford (1751) are

2225-400: The inglenook fireplaces and heavy oak panelling. the large airy rooms are in fact more redolent of the 18th century than the 16th. Cragside is slightly more true to its theme, although the rooms are very large, some contain Tudor style panelling , and the dining room contains are monumental inglenook, but this is more in the style of Italian Renaissance meets Camelot than Tudor. While in

2314-799: The vernacular tradition of the North-East of England, but the architectural historian Mark Girouard explained Shaw's picturesque motivation; desiring it for "romantic effect, he reached out for it like an artist reaching out for a tube of colour". At approximately the same time, Shaw also designed Leyswood near Withyham in East Sussex , which was a large mansion around a courtyard, complete with mock battlements, towers, half-timbered upper facades and tall chimneys – all features quite readily associated with Tudor architecture; in Shaw's hands, this less fantastical style achieved immediate maturity. Confusingly, it

2403-728: The 1970s and 1980s. Today, it is rarely considered for residential construction in that country as Italian , Mediterranean , and French villa style homes have superseded them in popularity. The Tudor Revival style was a reaction to the ornate Victorian Gothic Revival of the second half of the 19th century. Rejecting mass production that was introduced by industry at that time, the Arts and Crafts movement , closely related to Tudorbethan, drew on simple design inherent in aspects of its more ancient styles, Tudor , Elizabethan and Jacobean . The Tudor style made one of its first appearances in Britain in

2492-558: The Broadway Centre in the London borough of Ealing , "dressed out with brick and tile, arches, gables and small window panes, all to put a smile on a friendly face - the mask of tradition". Many British builders include variations on Tudorbethan in the range of styles they draw on, and the style tends to be associated with pastiche . Architects are rarely requested to work in the style, and though current postmodern architecture includes

2581-561: The Cecils and Bacons were serial builders of houses. These newly-risen families were typically the most frenetic builders. Sites were chosen for their potential convenience for royal progresses, rather than being the centre of landholdings, which were looked after by agents, or any local political powerbase. The term prodigy house ceases to be used for houses built after about 1620. Despite some features of more strictly classical houses like Wilton House (rebuilding begun 1630) continuing those of

2670-644: The Gothic style remained popular in Britain well into the Renaissance and Baroque periods, by the end of the 16th century, it had subsided completely in the wake of classicism . While domestic and palace architecture changed rapidly according to contemporary taste, few notable churches were constructed after the Reformation ; instead, old gothic buildings were retained and adapted to Protestant use. In contexts where conservatism and traditionalism had great value (e.g., within

2759-502: The Moynes at Baliffscourt in West Sussex , a house which Clive Aslet describes as "the most extreme - and most successful - of all Tudor taste country houses". Lord Moyne's wife, Evelyn, a society hostess, employed the amateur architect Amyas Philips to create a house inspired by the medieval Baliffscourt Chapel which stood on the site. The cloister -like design required visitors to leave

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2848-464: The Tudor Revival style such as "hung tiles and patterned brickwork". At St Alban's he also made use of rag-stone footings to create the impression of a Tudor mansion built "on the stone of medieval foundations". Some more enlightened landlords at this time became more aware of the needs for proper sanitation and housing for their employees, and some estate villages were rebuilt to resemble what

2937-448: The Tudor or Perpendicular Gothic period also influenced new institutional buildings beginning in the 1820s. The architect of Dalmeny, William Wilkins , followed the precedent of Wren and Hawksmoor in designing new quads for various Cambridge colleges in a historic mode including New Court , Corpus Christi College, Cambridge (1822–27); Front Court , King’s College, Cambridge (1824–28); and New Court , Trinity College, Cambridge (1825). In

3026-455: The architectural historian Sir John Summerson , and has been generally adopted. He called them "... the most daring of all English buildings." The houses fall within the broad style of Renaissance architecture , but represent a distinctive English take on the style, mainly reliant on books for their knowledge of developments on the Continent. Andrea Palladio (1508–1580) was already dead before

3115-549: The centuries, which the architectural historian James Stevens Curl considered "one of the most significant of English contributions to architecture". An example is the "Tudor Village" constructed by Frank Loughborough Pearson for his client William Waldorf Astor at Hever Castle in Kent. Pearson went to considerable lengths to source genuine Elizabethan building materials for the cottages, including stone, tiles and bricks, leading Astor to comment; "I could not believe they had been built

3204-518: The church, which was likely to be Gothic, and because the larger windows patrons wanted were easier to work into the style than into a "pointed" Gothic. At this stage it was essentially a style for the country rather than houses in towns. Tudor style was "almost infinitely adaptable, particularly to low, spreading houses", After about 1850 "Old English" came to mean a rather different style based on vernacular architecture, although some Tudor features such as tall brick chimneys often remained. Examples of

3293-451: The classical Euston Arch . The historian Michael Hall considers the hall and library among "the finest Tudor Revival buildings (of) the nineteenth century. Tudorbethan represents a subset of Tudor Revival architecture; the word is modelled on John Betjeman 's 1933 coinage of the " Jacobethan " style, which he used to describe the grand mixed revival style of circa 1835–1885 that had been called things like "Free English Renaissance". This

3382-446: The cottages at Mentmore the interiors are no different from those of any lower middle-class Victorian small household. An example of a Tudor Revival house where the exterior and interior were treated with equal care is Old Place, Lindfield, West Sussex . The property, comprising an original house of c.1590, was developed by the stained glass designer Charles Eamer Kempe from the 1870s. The architect George Frederick Bodley described

3471-479: The exterior in rooflines and setbacks to provide a visual variety to the street view. Owing to the smaller lots employed in modern developments (especially in the Western US ), Tudor Revival may be placed directly next to an unrelated style such as French or Italian Provincial, resulting in an eclectic mix. The style has also been deployed for commercial developments; the architectural historian Anthony Quiney describes

3560-498: The exteriors of all other types of public buildings, and office buildings designed to impress. Many of the houses were later demolished, in the English Civil War or other times, and many smothered by later rebuilding. But the period retained a prestige, especially for families who rose to prominence during it, and in many the exteriors at least were largely retained. The north fronts of The Vyne and Lyme Park are examples of

3649-403: The first modern corridor in England was probably built in this period, in 1579, they remained rare, and houses continued to have most rooms only accessible through other rooms, with the most intimate spaces of the family at the end of a suite. Staircases became wide and elaborate, and normally made of oak; Burghley and Hardwick are exceptions using stone. The new concept of a large long gallery

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3738-443: The ground floor), a continuation of late medieval developments. In the 16th century a withdrawing room was usually added between the great chamber and the principal bedroom, as well as the long gallery. The parlour was another name for a more private room, and increasingly there were a number of these in larger houses, where the immediate family would now usually eat, and where they might retreat entirely in cold weather. Although

3827-472: The group of nine cottages at Blaise Hamlet , built around 1810–1811 by a Bristol banker for his retired employees, John Nash demonstrated a remarkably forward-looking selective appropriation of Tudor vernacular architecture such as fancy twisted brick chimney-stacks to make picturesque and comfortable middle-class homes. Several have thatched roofs, some at two levels in a completely unnecessary but very picturesque way. Nash published an illustrated book on

3916-552: The group; this was a formula with a future. In contrast with Nash's Blaise Hamlet , Dalmeny House near Edinburgh, built in 1817 for Archibald Primrose, 4th Earl of Rosebery , is a large stately home in a revival of the early Tudor palace style, drawing in particular from East Barsham Manor in Norfolk , built c.  1520 . At this time the style was known as "Old English", and considered especially appropriate for vicarages and rectories, partly because they were usually next to

4005-431: The house and access their bedrooms via external staircases. Chips Channon , the diarist and politician described the bedrooms themselves as "decorated to resemble the cell of a rather ' pansy ' monk". The novelist E. F. Benson satirised the style in his book Queen Lucia ; "the famous smoking-parlour, with rushes on the floor, a dresser ranged with pewter tankards, and leaded lattice-windows of glass so antique that it

4094-552: The house been planned that it seems to have grown out of the landscape rather than to have been fitted into it". An example of Tudorbethan architecture was that seen at Greaves Hall , which was built in 1900 as a mansion house for the Scarisbrick family. Many of the features of the original building could still be seen until it was demolished in 2009. Later came Mackay Hugh Baillie Scott (1865–1945) and Blair Imrie who made their names as Tudor style architects. Lutyens though took

4183-416: The king on his fall, is certainly an example. The trend continued through the reigns of Henry VIII , Elizabeth, and into the reign of James I, when it reached its height. Henry was a prolific builder himself, though little of his work survives, but the prudent Elizabeth (like her siblings) built nothing herself, instead encouraging her courtiers to "...build on a scale which in the past would have been seen as

4272-402: The largest houses, they appear to have been usually given a great deal of freedom in deciding the actual design by their mainly absentee clients. The first "prodigy house" might be said to be Henry VII 's Richmond Palace , completed in 1501 but now destroyed, although as a royal palace it does not strictly fit the definition. Hampton Court Palace , built by Cardinal Wolsey but taken over by

4361-405: The largest prodigy houses, Theobalds House and Old Gorhambury House (the former destroyed, the latter ruined). Partly as a result of this imperative, but also general increasing wealth, there was an Elizabethan building boom, with large houses built in the most modern styles by courtiers, wealthy from acquired monastic estates, who wished to display their wealth and status. A characteristic

4450-508: The late 1860s at Cragside , a hilltop mansion of eclectic architectural styles that incorporated certain Tudor features; Cragside was designed by the architect Norman Shaw . Shaw sketched out the whole design for the "future fairy palace" in a single afternoon, while his client Lord Armstrong and his guests were out on a shooting party. Pevsner noted its derivation from "the Tudor style, both in its stone and its black-and-white versions". The half-timbering has been criticised as unfaithful to

4539-630: The main entrance. But, with a few exceptions such as Kirby Hall , columns were restricted to such individual features; in other buildings, such as the Bodleian Library , similar "Towers of the Five Orders" sit at the centre of frankly Gothic facades. At Longleat and Wollaton shallow pilasters are used across the facades. A crib-book, The First and Chief Grounds of Architecture by John Shute (1563) had been commissioned or sponsored by "Protector Somerset", John Dudley, 1st Duke of Northumberland , and

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4628-569: The mansion until early in 1945. Lonyay, who died in Budapest in 1946, left the estate to the Benedictine Order , who had given refuge to him and his wife during the last weeks of World War II at Pannonhalma Archabbey . In 1947, due to the Paris Peace Treaty , Hungary had to cede the area to Czechoslovakia . The then communist government seized the premises in 1948. Currently, the building

4717-420: The medieval castle, the houses were exceptionally without defences, compared to contemporary Italian and French equivalents. To have two internal courtyards, requiring a very large building, was a status symbol, found at Audley End , Blickling Hall , and others. By the end of the Elizabethan period this sprawling style, essentially developing the form of late medieval buildings like Knole in Kent (which has

4806-537: The most notable examples of "Gothic survival" in the Baroque period. As the last and most recent phase of the Gothic period, the Tudor style had the most secular survivals in 17th and 18th-century England; many older buildings were rebuilt, added to, or redecorated with ornament in the Tudor period. As such, the Tudor style had perhaps an over-sized influence on the image formed by the Georgians of their medieval past. Before

4895-508: The old and new, though the expanses of glass still impressed Midlanders. Bolsover Castle , Broughton Castle , Haddon Hall and Carew Castle in Wales were other sympathetic expansions of a medieval castle. The vernacular half-timbered style retained some popularity for gentry houses like Speke Hall and Little Moreton Hall , mostly in areas short of good building stone. Earlier, Compton Wynyates (begun c. 1481, greatly extended 1515–1525)

4984-576: The original medieval hall house , Crowhurst Place in Surrey , firstly for himself and latterly for Consuelo Vanderbilt . The result, "remarkable in its own right", saw Crawley add extensions, chimneys, gables, linenfold panelling and large amounts of half-timbering. Martin Conway , writing in Country Life , considered Crawley's reconstruction gave the remains of the original manor, "a beauty far greater than

5073-645: The outside to mimic the earlier functional and structural weight-bearing heavy timbers. An example of this is the "simple cottage" style of Ascott House in Buckinghamshire. This was designed by Devey for the Rothschild family , who were among the earliest patrons and promoters of this style. Simon Jenkins suggests that Ascott, "a half-timbered, heavily gabled, overgrown cottage, proves the appeal of Tudor to every era and condition of England". Devey's work at St Alban's Court and elsewhere incorporated other features of

5162-423: The outskirts of all our towns". It was also copied in many areas of the world, including the United States and Canada. New York City suburbs such as Westchester County , New York and Englewood and Teaneck , New Jersey feature particularly dense concentrations of Tudor Revival construction from this period. Brewery companies designed "improved" pubs , some in a mock Tudor style called Brewer's Tudor. The style

5251-457: The periods of Tudor , Elizabethan , and Jacobean architecture , though the term may be restricted to a core period of roughly 1570 to 1620. Many of the grandest were built with a view to housing Elizabeth I and her large retinue as they made their annual royal progress around her realm. Many are therefore close to major roads, often in the English Midlands . The term originates with

5340-496: The prodigy house, the term is not used of them. Much later houses like Houghton Hall and Blenheim Palace show a lingering fondness for elements of the 16th-century prodigy style. In the 19th century Jacobethan revivals began, most spectacularly at Harlaxton Manor , which Anthony Salvin began in 1837. This manages to impart a Baroque swagger to the Northern Mannerist vocabulary. Mentmore Towers , by Joseph Paxton ,

5429-528: The prodigy houses came to seem old-fashioned, and by the standards of Palladian architecture often over-fussy and over-decorated. Even though the style was being revived in his time, in 1905 the American architectural historian Charles Herbert Moore held that: "While one great house of the period differs from another in unimportant ways, those in which ornaments are extensively applied are without exception disfigured by them. The Elizabethan architectural ornamention

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5518-487: The prodigy houses reached their peak, but it has conveniently been said that his more restrained classical style did not reach England until the work of Inigo Jones in the 1620s, and that as regards ornament, French and Flemish Northern Mannerist decoration was more influential than Italian. Elizabeth I travelled through southern England in annual summer "progresses", staying at the houses of wealthy courtiers, on these trips she went as far north as Coventry , and planned

5607-607: The replacement of the private castle by the country house as "the seat of power and the centre of hospitality" to be "one of the great achievements of the Tudor age". Subsequent changes in court fashion saw the emergence of Elizabethan architecture among the elite, who built what are now called prodigy houses in a distinctive version of Renaissance architecture . Elizabeth I herself built almost nothing, her father having left over 50 palaces and houses. Outside court circles styles were much more slow-moving, and essentially "Tudor" buildings continued to be built, eventually merging into

5696-407: The reverse of the usual priority in medieval houses. The common E- and H-shaped plans, and in effect incorporating an imposing gatehouse into the main facade, rather than placing it on the far side of an initial courtyard, increased the visibility of the most grandly decorated parts of the exterior. The classical orders were often used as decoration, piled up one above the other on the storeys over

5785-526: The rooms as "a series of pictures" and an article in Country Life asking whether "anything could be more English in character than Old Place", was written when much of the house was barely 10 years old. In some of the larger Tudor style houses the Tudor great hall would be suggested by the reception hall, often furnished as a sitting or dining room. Large wooden staircases of several flights were often prominently positioned, based on Jacobean prototypes. It

5874-440: The style away from what is generally understood as Tudor Revival creating a further highly personalised style of his own. His buildings coupled with their often accompanying gardens by Gertrude Jekyll , while in a style thought of as "olde world" would not be recognisable to inhabitants of the 16th century. Another noted practitioner was George A. Crawley . A decorator and designer, rather than an architect, Crawley greatly expanded

5963-569: The style of English vernacular architecture of the Middle Ages that had survived into the Tudor period . The style later became an influence elsewhere, especially the British colonies. For example, in New Zealand , the architect Francis Petre adapted the style for the local climate. In Singapore , then a British colony, architects such as Regent Alfred John Bidwell pioneered what became known as

6052-493: The style of the houses varies greatly, but consistent features are a love of glass, a high elevation, symmetrical exteriors, consistency between all sides of the building, a rather square plan, often with tower pavilions at the corners that rise above the main roofline, and a decorated skyline. Altogether "...a strange amalgam of exuberant pinnacles and turrets, native Gothic mullioned windows, and Renaissance decoration." Many houses stand alone, with stables and other outbuildings at

6141-507: The style remained closer to its Tudor roots, in the USA it evolved into a form of architecture not instantly recognisable as that constructed in either the Tudor or Queen Anne period. The style was also utilised for public buildings; an early example was the Great Hall and Library at Lincoln's Inn in central London, built in the late 1840s. The architect was Philip Hardwick , better known for

6230-458: The style, all reflecting the taste for nostalgia for rural values. In the first half of the 20th century, increasingly minimal "Tudor" references for "instant" atmosphere in speculative construction cheapened the style. The writer Olive Cook had this debased approach firmly in her sights when she attacked, "the rash of semi-detached villas, bedizened with Tudor gables, mock half-timber work, rough cast and bay windows of every shape which disfigures

6319-424: The style, often becoming truer to the replicated era than were the first examples of the revival style, where the style "rarely went far indoors". At Ascott House, Devey's great masterpiece constructed throughout the last twenty years of the 19th century, the interior was remodelled thirty years later. The Tudor Revival style was considered passé and was replaced by the fashionable Curzon Street Baroque sweeping away

6408-622: The various phases of medieval architecture had been well identified and studied, and designers such as A.W.N. Pugin and George Gilbert Scott had advocated for the use of the Decorated gothic rather than the perpendicular, Tudor elements figured heavily in the early examples of the Gothic Revival . Horace Walpole 's Strawberry Hill House at Twickenham (1749–76; designed in collaboration with Richard Bentley , John Chute, and James Essex ) features elements derived from late gothic precedents. In

6497-447: The very early 20th century that a greater devotion to the Tudor period is found, with appropriate interior layout, albeit coupled with modern-day comforts. This can be seen in older upscale neighbourhoods where the lots are sufficiently large to allow the house to have an individual presence, despite variations in the style of neighboring houses. Whether of older or recent origin, the appearance of solid beams and half-timbered exterior walls

6586-444: The views. The designers are often unclear, and the leading figures had a background in one of the specialisms of building. Sometimes owners played a part in the detailed design, though the age of the gentleman amateur architect mostly came later. Few original drawings survive, though there are some by the architect-mason Robert Smythson (1535–1614) who was an important figure; many houses at least show his influence. Robert Lyminge

6675-506: Was Edwin Lutyens (1864–1944). At The Deanery in Berkshire, 1899, ( right ), where the client was the editor of the influential magazine Country Life , details like the openwork brick balustrade, the many-paned oriel window and facetted staircase tower, the shadowed windows under the eaves, or the prominent clustered chimneys were conventional Tudor Revival borrowings, some of which Lutyens

6764-463: Was a resolutely unsymmetrical jumble of essentially medieval styles, including prominent half-timbering on the gables of the facade. It also nestles in a hollow, as medieval houses often did, avoiding the worst of the wind. In contrast, prodigy houses, like castles before them, often deliberately chose exposed sites where they could command the landscape (Wollaton, Hardwick); their owners mostly did not anticipate being there in winter. (especially on

6853-414: Was an important space, and many houses had spaces for entertaining on the top floor, whether small rooms in towers on the roof, or the very large top-floor rooms at Hardwick and Wollaton. Meanwhile, the servants lived on the ground floor. This might be seen as a lingering memory of the medieval castle, where domestic spaces were often placed high above the soldiery, and viewpoints were highly functional, and

6942-400: Was associated with the Arts and Crafts movement . Today, the term ' Tudor architecture ' usually refers to buildings constructed during the reigns of the first four Tudor monarchs , between about 1485 and 1560, perhaps best exemplified by the oldest parts of Hampton Court Palace . The historian Malcolm Airs , in his study The Tudor and Jacobean Country House: A Building History , considers

7031-528: Was built between 1593 and 1600 by Robert Smythson for Thomas Tailor, who was the recorder to the Bishop of Lincoln ; "Tailor was a lawyer and therefore rich", says Simon Jenkins . Some recent uses of the term extend the meaning to describe large ostentatious houses in the United States of later periods, such as colonial mansions in Virginia , first so described by the American writer Cary Carson. In many respects

7120-506: Was captured in John Betjeman 's 1937 poem Slough , where "bald young clerks" gather: And talk of sport and makes of cars In various bogus-Tudor bars And daren't look up and see the stars. The late 20th century has seen a change in the faithfulness of emulation of the style, since in a modern development it is common to have only a few basic floor plans for buildings, these combined with variations in interior surface treatment and in

7209-479: Was ever theirs in the days of its newness". Ian Nairn , Nikolaus Pevsner and Bridget Cherry , in the 1971 revised Surrey Pevsner Buildings of England , note the sense of escapism which inspired much of the Tudor Revival, calling Crowhurst, "an extreme example of the English flight from reality around the 1914–18 war ". Following the First World War many London outer suburbs had developments of houses in

7298-410: Was generally modelled on the grand prodigy houses built by the courtiers of Elizabeth I and James VI. "Tudorbethan" took it a step further, eliminated the hexagonal or many-faceted towers and mock battlements of Jacobethan, and applied the more domestic styles of " Merrie England ", which were cosier and quaint. It was associated with the Arts and Crafts movement . Outside North America, Tudorbethan

7387-481: Was in charge of Hatfield and Blickling. John Thorpe laid the foundation stone of Kirby Hall as a five-year old (his father was chief mason, and children were often asked to perform this ritual) and is associated with Charlton House , Longford Castle , Condover Hall and the original Holland House , and perhaps Rushton Hall and Audley End . The demand for skilled senior builders, able to design and manage projects or parts of them, exceeded supply, and, at least in

7476-440: Was originally a simple cottage style. It was here that the influences of the arts and crafts movement became apparent. Tudor Revival houses are dissimilar to the timber-framed structures of the originals, in which the frame supported the whole weight of the house. Their modern counterparts consist of bricks or blocks of various materials, stucco, or even simple studwall framing, with a lookalike "frame" of thin boards added on

7565-416: Was practically impossible to see out of them... sconces on the walls held dim iron lamps, so that only those of the most acute vision were able to read". Prodigy house Prodigy houses are large and showy English country houses built by courtiers and other wealthy families, either "noble palaces of an awesome scale" or "proud, ambitious heaps" according to taste. The prodigy houses stretch over

7654-428: Was the large area of glass – a new feature that superseded the need for easily defended external walls and announced the owners' wealth. Hardwick Hall , for example, was proverbially described as "Hardwick Hall, more glass than wall." Many other smaller prodigy houses were built by businessmen and administrators, as well as long-established families of the peerage and gentry . The large Doddington Hall, Lincolnshire ,

7743-415: Was then promptly named "Queen Anne style", when in reality it combined a revival of Elizabethan and Jacobean design details including mullioned and oriel windows. The style later began to incorporate the classic pre-Georgian features that are generally understood to represent "Queen Anne" in Britain . The term "Queen Anne" for this style of architecture is now only commonly used in the USA . While in Britain

7832-480: Was thought to be an idyllic Elizabethan village, often grouped around a village green and pond; Mentmore in Buckinghamshire is an example of this, Pevsner noting the "Arts-and-Crafts (and) cottage orné " building styles. The Tudor Revival, though, now concentrated on the picturesque. This combined with a desire for "naturalness", an intention to make buildings appear as if they had developed organically over

7921-446: Was to remake in his own style, that already predominates in the dark recessed entryway, the confident massing, and his signature semi-circular terrace steps. This is Tudorbethan at its best, free in ground plan, stripped of cuteness, yet warmly vernacular in effect, familiar though new, eminently liveable. The Deanery was another example of the "naturalistic" approach; an anonymous reviewer for Country Life in 1903 wrote; "So naturally has

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