Tudor Revival architecture

Tudor Revival architecture,also known asmock Tudorin 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 asTudor architecture,in reality it usually took the style of Englishvernacular architectureof the Middle Ages that had survived into theTudor period.^[1]

The style later became an influence elsewhere, especially the British colonies. For example, inNew Zealand,the architectFrancis Petreadapted the style for the local climate. InSingapore,then a British colony, architects such asRegent Alfred John Bidwellpioneered what became known as theBlack and White House.The earliest examples of the style originate with the works of such eminent architects asNorman ShawandGeorge Devey,in what at the time was considered Neo-Tudor design.

Tudorbethanis a subset of Tudor Revival architecture that eliminated some of the more complex aspects ofJacobethanin favour of more domestic styles of "Merrie England",which were cosier and quaint. It was associated with theArts and Crafts movement.

Identification

Today, the term 'Tudor architecture' usually refers to buildings constructed during the reigns of the first fourTudor monarchs,between about 1485 and 1560, perhaps best exemplified by the oldest parts ofHampton Court Palace.The historianMalcolm Airs,in his studyThe Tudor and Jacobean Country House: A Building History,considers 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".^[2]Subsequent changes in court fashion saw the emergence ofElizabethan architectureamong the elite, who built what are now calledprodigy housesin a distinctive version ofRenaissance architecture.^[3]Elizabeth I herself built almost nothing,^[4]her father having left over 50 palaces and houses.^[5]Outside court circles styles were much more slow-moving, and essentially "Tudor" buildings continued to be built, eventually merging into 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 steeplypitched-roofs,half-timberingoften infilled withherringbone brickwork,tallmullioned windows,highchimneys,jettied(overhanging) first floors abovepillared porches,dormer windowssupported byconsoles,and even at timesthatched roofs,gave Tudor Revival its more striking effects.^[6]

History

Although the Gothic style remained popular in Britain well into theRenaissanceandBaroqueperiods, by the end of the 16th century, it had subsided completely in the wake ofclassicism.While domestic and palace architecture changed rapidly according to contemporary taste, few notable churches were constructed after theReformation;instead, old gothic buildings were retained and adapted to Protestant use. In contexts where conservatism and traditionalism had great value (e.g., within theChurch of Englandand at the Universities ofOxfordandCambridge) 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 ofSt Dunstan-in-the-East(London,1668–71) andTom ToweratChrist Church, Oxford(1681–82), andNicholas Hawksmoor'sCodrington Libraryand Front Quad atAll Souls College, Oxford(1751) are the most notable examples of "Gothic survival" in the Baroque period.^[a]^[8]

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 theGeorgiansof their medieval past. Before the various phases of medieval architecture had been well identified and studied, and designers such asA.W.N. PuginandGeorge Gilbert Scotthad advocated for the use of theDecorated gothicrather than the perpendicular, Tudor elements figured heavily in the early examples of theGothic Revival.^[9]Horace Walpole'sStrawberry Hill Houseat Twickenham (1749–76; designed in collaboration withRichard Bentley,John Chute, andJames Essex) features elements derived from late gothic precedents.

In the group of nine cottages atBlaise Hamlet,built around 1810–1811 by aBristolbanker for his retired employees,John Nashdemonstrated a remarkably forward-looking selective appropriation of Tudorvernacular architecturesuch as fancy twisted brick chimney-stacks to make picturesque and comfortable middle-class homes.^[10]Several have thatched roofs, some at two levels in a completely unnecessary but very picturesque way. Nash published an illustrated book on the group;^[b]this was a formula with a future.^[12]In contrast with Nash'sBlaise Hamlet,Dalmeny Housenear Edinburgh, built in 1817 forArchibald Primrose, 4th Earl of Rosebery,is a largestately homein a revival of the early Tudor palace style, drawing in particular fromEast Barsham ManorinNorfolk,builtc. 1520.^[c]^[14]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 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",^[15]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.^[16]

Examples of the Tudor orPerpendicular Gothicperiod 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 includingNew Court,Corpus Christi College, Cambridge (1822–27);Front Court,King’s College, Cambridge (1824–28); andNew Court,Trinity College, Cambridge (1825). In a similar vein,Henry Hutchinson&Thomas Rickmancontributed theNew CourtandBridge of Sighsat St. John’s College, Cambridge (1826–31).St. Luke's, ChelseabyJames Savage(1824) is one of the finest early revivalist church buildings in England and shows the influence ofPerpendicular Gothicdesign.

20th century

Lutyens' houses, here quite conventional in 1899, were to evolve still further from their Tudor roots

In the early part of the 20th century, one of the exponents who developed the style further wasEdwin Lutyens(1864–1944). At The Deanery in Berkshire, 1899, (right), where the client was the editor of the influential magazineCountry Life,^[17]details like theopenworkbrick balustrade, the many-panedoriel windowand facetted staircase tower, the shadowed windows under the eaves, or the prominent clustered chimneys were conventional Tudor Revival borrowings, some of which Lutyens 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 forCountry Lifein 1903 wrote; "So naturally has the house been planned that it seems to have grown out of the landscape rather than to have been fitted into it".^[18]An example of Tudorbethan architecture was that seen atGreaves 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.^[19]

Later cameMackay Hugh Baillie Scott(1865–1945) andBlair Imriewho made their names as Tudor style architects. Lutyens though took 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 byGertrude Jekyll,while in a style thought of as "olde world" would not be recognisable to inhabitants of the 16th century. Another noted practitioner wasGeorge A. Crawley.A decorator and designer, rather than an architect, Crawley greatly expanded the original medievalhall house,Crowhurst PlaceinSurrey,firstly for himself and latterly forConsuelo Vanderbilt.^[20]The result, "remarkable in its own right",^[21]saw Crawley add extensions, chimneys, gables,linenfoldpanelling and large amounts of half-timbering.^[22]Martin Conway,writing inCountry Life,considered Crawley's reconstruction gave the remains of the original manor, "a beauty far greater than was ever theirs in the days of its newness".^[23]Ian Nairn,Nikolaus PevsnerandBridget Cherry,in the 1971 revisedSurreyPevsner Buildings of England,note the sense ofescapismwhich inspired much of the Tudor Revival, calling Crowhurst, "an extreme example of the English flight from reality around the1914–18 war".^[21]

Following the First World War many London outer suburbs had developments of houses in the style, all reflecting the taste for nostalgia for rural values.^[25]In the first half of the 20th century, increasingly minimal "Tudor" references for "instant" atmosphere in speculative construction cheapened the style. The writerOlive Cookhad 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 the outskirts of all our towns".^[25]It was also copied in many areas of the world, including the United States and Canada. New York City suburbs such asWestchester County,New York andEnglewoodandTeaneck,New Jersey feature particularly dense concentrations of Tudor Revival construction from this period.^[26]

Brewery companies designed "improved"pubs,some in a mock Tudor style called Brewer's Tudor.^[27]The style was captured inJohn Betjeman's 1937 poemSlough,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.^[28]

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 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 theWestern 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 historianAnthony Quineydescribes the Broadway Centre in the London borough ofEaling,"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".^[29]

21st century

Many British builders include variations on Tudorbethan in the range of styles they draw on, and the style tends to be associated withpastiche.Architectsare rarely requested to work in the style, and though currentpostmodern architectureincludes a much wider range of styles than themodernismassociated 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 andstuccois applied to obtain the desired appearance, here seen in the image to the right.^[30]To minimise maintenance, the "boards" are now commonly made ofuPVCfaux wood, plastic orfibre reinforced cement sidingwith a dark brown or wood effect finish.^[31]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 the 1970s and 1980s. Today, it is rarely considered for residential construction in that country asItalian,Mediterranean,andFrench villastyle homes have superseded them in popularity.^[32]

Evolution

The Tudor Revival style was a reaction to the ornateVictorian Gothic Revivalof the second half of the 19th century. Rejecting mass production that was introduced by industry at that time, theArts and Crafts movement,closely related to Tudorbethan, drew on simple design inherent in aspects of its more ancient styles,Tudor,ElizabethanandJacobean.^[33]

The Tudor style made one of its first appearances in Britain in the late 1860s atCragside,a hilltop mansion of eclectic architectural styles that incorporated certain Tudor features; Cragside was designed by the architectNorman Shaw.Shaw sketched out the whole design for the "future fairy palace" in a single afternoon, while his clientLord Armstrongand his guests were out on a shooting party.^[34]Pevsnernoted its derivation from "the Tudor style, both in its stone and its black-and-white versions".^[35]The half-timbering has been criticised as unfaithful to thevernaculartradition of the North-East of England,^[35]but the architectural historianMark Girouardexplained Shaw's picturesque motivation; desiring it for "romantic effect, he reached out for it like an artist reaching out for a tube of colour".^[36]

At approximately the same time, Shaw also designedLeyswoodnearWithyhaminEast Sussex,^[37]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.^[38]Confusingly, it 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 onlycommonly used in the USA.While in Britain 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.^[39]

The style was also utilised for public buildings; an early example was theGreat HallandLibraryatLincoln's Innin central London, built in the late 1840s.^[40]^[41]The architect wasPhilip Hardwick,better known for the classicalEuston Arch.^[42]The historian Michael Hall considers the hall and library among "the finest Tudor Revival buildings (of) the nineteenth century.^[43]

Tudorbethan

Tudorbethan represents a subset of Tudor Revival architecture; the word is modelled onJohn Betjeman's 1933 coinage of the "Jacobethan"style, which he used to describe the grand mixed revival style ofcirca1835–1885 that had been called things like "Free English Renaissance". This was generally modelled on the grandprodigy housesbuilt by the courtiers ofElizabeth Iand 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 theArts and Crafts movement.Outside North America,Tudorbethanis also used synonymously withTudor Revivalandmock Tudor.^[44]

Half-timbering

From the 1880s onward, Tudor Revival concentrated more on the simple but quaintlypicturesqueElizabethan cottage, rather than the brick and battlemented splendours ofHampton CourtorCompton Wynyates.Large and small houses alike with half-timbering in their upper storeys and gables were completed with tall ornamental chimneys, in what was originally a simple cottage style. It was here that the influences of thearts and crafts movementbecame apparent.

Tudor Revival houses are dissimilar to thetimber-framedstructures of the originals, in which the frame supported the whole weight of the house. Their modern counterparts consist ofbricksor blocks of various materials, stucco, or even simple studwall framing, with a lookalike "frame" of thin boards added on the outside to mimic the earlier functional and structural weight-bearing heavy timbers. An example of this is the "simple cottage" style ofAscott Housein Buckinghamshire. This was designed by Devey for theRothschild family,who were among the earliest patrons and promoters of this style.^[45]Simon Jenkinssuggests that Ascott, "a half-timbered, heavily gabled, overgrown cottage, proves the appeal of Tudor to every era and condition of England".^[46]Devey's work at St Alban's Court and elsewhere incorporated other features of the Tudor Revival style such as "hung tiles and patterned brickwork".^[47]At St Alban's he also made use ofrag-stone footingsto create the impression of a Tudor mansion built "on the stone of medieval foundations".^[48]

Some more enlightened landlords at this time became more aware of the needs for proper sanitation and housing for their employees, and someestatevillages were rebuilt to resemble what was thought to be an idyllic Elizabethan village, often grouped around avillage greenand pond;MentmoreinBuckinghamshireis an example of this, Pevsner noting the "Arts-and-Crafts (and)cottage orné"building styles.^[49]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 the centuries, which the architectural historianJames Stevens Curlconsidered "one of the most significant of English contributions to architecture".^[50]An example is the "Tudor Village" constructed by Frank Loughborough Pearson for his clientWilliam Waldorf AstoratHever Castlein Kent. Pearson went to considerable lengths to source genuine Elizabethan building materials for the cottages, including stone, tiles and bricks,^[51]leading Astor to comment; "I could not believe they had been built a few short months ago, they looked so old and crooked".^[52]

A very well-known example of the idealised half-timbered style isLiberty & Co.department store inLondon,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.^[d]^[53]

Interiors

The interiors of the Tudor style building have evolved considerably along with 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".^[54]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 fashionableCurzon Street Baroquesweeping away theinglenookfireplaces and heavy oak panelling.^[e]^[60]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 stylepanelling,and the dining room contains are monumental inglenook, but this is more in the style ofItalian RenaissancemeetsCamelotthan Tudor. While in the cottages atMentmorethe interiors are no different from those of any lowermiddle-classVictorian 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 designerCharles Eamer Kempefrom the 1870s. The architectGeorge Frederick Bodleydescribed the rooms as "a series of pictures" and an article inCountry Lifeasking whether "anything could be more English in character than Old Place", was written when much of the house was barely 10 years old.^[61]

In some of the larger Tudor style houses the Tudorgreat hallwould be suggested by the reception hall, often furnished as a sitting or dining room. Large woodenstaircasesof several flights were often prominently positioned, based on Jacobean prototypes. It is this mingling of styles that has led to the termJacobethanwhich resulted in houses such asHarlaxton Manorwhich bore little if any resemblance to a building from either period. Hall notes the influence ofBurghley HouseandWollaton Hall,"fused with ideas drawn from Continental architecture of the seventeenth and eighteenth centuries".^[62]

More often it is in the Tudor style houses of 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 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 werethe MoynesatBaliffscourtinWest Sussex,a house whichClive Asletdescribes as "the most extreme - and most successful - of all Tudor taste country houses".^[63]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. Thecloister-like design required visitors to leave 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 ".^[64]The novelistE. F. Bensonsatirised the style in his bookQueen Lucia;"the famous smoking-parlour, with rushes on the floor, a dresser ranged withpewtertankards, and leaded lattice-windows of glass so antique that it was practically impossible to see out of them...sconceson the walls held dim iron lamps, so that only those of the most acute vision were able to read ".^[65]

Gallery

Europe

CecilienhofinPotsdam,Germany 1913–1917
Petwood Hotel, Woodall Spa, England (1905)
Bray Town Hall,Bray, County Wicklow,Ireland

North America

Edward C. Cressett House (left) and the Parke T. Burrows House inDavenport, Iowa
Leonie Pray House(1927),Long Beach, California
The BakkenMuseum inMinneapolis, Minnesota,built 1928–1930
J. Deryl Hart House,built c.1934
Cammack HouseinHuntington, West Virginia,built 1923

Australia and New Zealand

House inMosman, New South Wales
House inKillara, New South Wales
Tudor Revival house inUnley Park, South Australia
House inAdelaide, South Australia
Pinner House,Dunedin,New Zealand

Explanatory footnotes

^Wren consciously set out to imitateCardinal Wolsey'sarchitectural style. Writing toDean Fellin 1681, he noted; "I resolved it ought to be Gothic to agree with the Founder's work", adding that to do otherwise would lead to "an unhandsome medley".Pevsnersuggests that he succeeded "to the extent that innocent visitors never notice the difference".^[7]
^Nash also undertook the design of a number of larger mansions in the Tudor style, of whichLongner Hallin Shropshire is the only surviving example.^[11]
^Pevsnerdescribes Wilkins' Dalmeny as "the finest of his houses in (the Tudor Gothic) style". The Roseberys originally lived atBarnbougle Castle,directly on the shoreline of the Firth of Forth. They built Dalmeny further inland, reputedly after the third earl was "drenched by a huge wave" while at dinner.^[13]
^Pevsnerrecords that the timbers used on Liberty'sGreat Marlborough Streetfrontage were the "real article (sourced) from genuinemen-of-war,theHindustanand theImpregnable"and that, unusually for Tudor Revival buildings, they were"pegged and mortised,not just stuck on ".^[53]
^Inglenook fireplaces were a regular feature of Tudor Revival interiors and a particular speciality ofRichard Norman Shaw.He built his first atCranbrookfor John Calcott Horsley, who later introduced Shaw to Lord Armstrong.^[55]As well as those at Cragside, two notable examples were created for the now-demolishedDawpool Hallon the Wirral.^[56]One of these now forms the porch ofThe PantheonatPortmeirion^[57]and the other went unsold oneBayin 2012.^[58]Shaw's biographer,Andrew Saintwrites, "inglenooks are the decorative pièce de résistance of the Shawcountry house".^[59]

Citations

^"Tudor Revival".Oxford Reference.Retrieved2024-01-18.
^Airs 1995,Introduction.
^Summerson, Chapter 1 to 4 cover this period; this brief summary is rather over-simplified.
^Airs 1995,Foreword.
^Summerson, 23
^Curl 1990,p. 83.
^Sherwood & Pevsner 2002,pp. 110–111.
^Summerson, 235–236
^Summerson, 366–376, 447–452
^Davis 1960,p. 72.
^Davis 1960,p. 28.
^Aslet and Power, 151–152; Summerson, 451
^McWilliam 1978,pp. 170–172.
^Historic Environment Scotland."Dalmeny House, including Terrace, Garden Walls, Railings, Gates and Gatepiers (Category A Listed Building) (LB82)".Retrieved14 July2019.
^Aslet and Power, 152–153 (153 quoted), 158–159, 162
^Aslet and Power, 162–163
^Hussey 1989,p. 95.
^Hall 1994,p. 178.
^Bona-SOU, Emilia (July 6, 2016)."133 homes planned for former Greaves Hall site".southportvisiter.
^Aslet & Powers 1985,p. 248.
^^a ^bNairn, Pevsner & Cherry 1971,p. 177.
^Tinniswood 2016,pp. 62–64.
^Tinniswood 2016,p. 63.
^"Saitta House – Report Part 1 Archived2008-12-16 at theWayback Machine",DykerHeightsCivicAssociation
^^a ^bCook 1984,p. 307.
^"5 Sweet Southern Westchester Neighborhoods To Explore".Westchester Magazine.21 January 2015.RetrievedDecember 22,2018.
^"Brewery History: 119, pp. 2–9".breweryhistory.
^"Slough - John Betjeman".www-cdr.stanford.edu.
^Quiney 1990,p. 214.
^Ryan 2018,p. 146.
^"Tudor Style Homes with Faux Planks".Faux Wood Workshop.
^"What is Tudor Revival style?- Elizabethan - Tudorbethan - Mock Tudor - Architecture".antiquehomestyle.
^Dean, pp. 250–251
^Saint 2010,p. 80.
^^a ^bPevsner & Richmond 2002,p. 244.
^Girouard 1979,p. 312.
^Turnor 1950,p. 101.
^Aslet and Power, 162–164
^"Queen Anne".Architecture Styles of America and Europe.October 17, 2011.
^Historic England."New Hall (Grade II*) (1379298)".National Heritage List for England.Retrieved3 July2019.
^Historic England."New Hall Library (Grade II*) (1379299)".National Heritage List for England.Retrieved3 July2019.
^Physick & Darby 1973,p. 153.
^Hall 2009,p. 98.
^"Modern era buildings: a spotters' guide".The Guardian.September 10, 2011.
^Robinson, p. 8
^Jenkins 2003,p. 21.
^Davey 1995,p. 90.
^Allibone 1991,p. 101.
^Pevsner & Williamson 2003,p. 475.
^Curl 1990,p. 80.
^Aslet 2013,p. 53.
^de Moubray 2013,p. 50.
^^a ^bBradley & Pevsner 2003,p. 456.
^Aslet and Power, 248
^Saint 2010,p. 45.
^Saint 2010,p. 290.
^"The Pantheon, Portmeirion".coflein.gov.uk.RCAHMW.Retrieved18 September2018.
^Wainwright, Martin (19 January 2012)."Titanic owner's massive white elephant lumbers on to eBay".The Guardian.Retrieved18 September2018.
^Saint 2010,p. 137.
^Robinson, p9
^Hall 2009,p. 164.
^Hall 2009,p. 26.
^Aslet 1982,p. 173.
^Aslet 1982,p. 179.
^Aslet 1982,p. 174.

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Aslet, Clive(2013).An Exuberant Catalogue of Dreams: The Americans Who Revived the Country House in Britain.London:Aurum Press.ISBN 978-1-78131-0946.OCLC 840477309.
Aslet, Clive;Powers, Alan(1985).The National Trust Book of the English House.Penguin/Viking.ISBN 0670801755.
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Davey, Peter (1995).Arts and Crafts Architecture.London:Phaidon Press.ISBN 978-07148-2874-9.
Davis, Terence (1960).The Architecture of John Nash.London: Longacre Press Ltd.OCLC 559524050.
Dean, Ptolemy,Architectural Britain, 2007. National Trust Books,ISBN 9781905400492
Girouard, Mark(1979).The Victorian Country House.New Haven, US and London:Yale University Press.ISBN 978-0-30002-3909.
Hall, Michael (1994).The English Country House: From the Archives of Country Life 1897–1939.London:Reed International Books.ISBN 978-1-85732-5300.OCLC 832426788.
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Hussey, Christopher(1989) [1950].The Life of Sir Edwin Lutyens.Woodbridge:Antique Collectors Club.ISBN 978-0-90746-2590.
Jenkins, Simon(2003).England's Thousand Best Houses.London, UK:Penguin Books.ISBN 978-0-71399-5961.
de Moubray, Amicia (2013).Twentieth Century Castles In Britain.London, UK:Frances Lincoln Publishers.ISBN 978-0-71123-1788.
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Physick, John; Darby, Michael (1973).Marble Halls - Drawings and Models of Victorian Secular Buildings.Margate, Kent: Eyre and Spottiswoode Ltd.ISBN 978-0-90148-6684.
Quiney, Anthony(1990).The Traditional Buildings of England.London:Thames and Hudson.ISBN 978-0-50034-1100.OCLC 473283902.
Robinson, John Martin, Ascott, 2008, Scala Publishers Ltd,ISBN 1857595041
Ryan, Deborah Sugg (2018).Ideal homes, 1918-39: Domestic design and suburban modernism.Manchester, UK:Manchester University Press.ISBN 978-0-71906-8850.
Saint, Andrew(2010).Richard Norman Shaw.New Haven, US and London:Yale University Press.ISBN 978-0-30015-5266.
Sherwood, Jennifer;Pevsner, Nikolaus(1996).Oxfordshire.The Buildings of England. New Haven, US and London:Yale University Press.ISBN 978-0-30009-6392.
Summerson, John,Architecture in Britain, 1530-1830,1991 (8th edn., revised), Penguin, Pelican history of art,ISBN 0140560033
Turnor, Reginald (1950).Nineteenth Century Architecture in Britain.London, UK:Batsford.OCLC 520344.
Tinniswood, Adrian (2016).The Long Weekend: Life in the English Country House Between the Wars.London:Jonathan Cape.ISBN 978-1-448-19124-6.OCLC 951261677.

External links

[8] Wren consciously set out to imitateCardinal Wolsey'sarchitectural style. Writing toDean Fellin 1681, he noted; "I resolved it ought to be Gothic to agree with the Founder's work", adding that to do otherwise would lead to "an unhandsome medley".Pevsnersuggests that he succeeded "to the extent that innocent visitors never notice the difference".^[7]

[13] Nash also undertook the design of a number of larger mansions in the Tudor style, of whichLongner Hallin Shropshire is the only surviving example.^[11]

[16] Pevsnerdescribes Wilkins' Dalmeny as "the finest of his houses in (the Tudor Gothic) style". The Roseberys originally lived atBarnbougle Castle,directly on the shoreline of the Firth of Forth. They built Dalmeny further inland, reputedly after the third earl was "drenched by a huge wave" while at dinner.^[13]

[57] Pevsnerrecords that the timbers used on Liberty'sGreat Marlborough Streetfrontage were the "real article (sourced) from genuinemen-of-war,theHindustanand theImpregnable"and that, unusually for Tudor Revival buildings, they were"pegged and mortised,not just stuck on ".^[53]

[64] Inglenook fireplaces were a regular feature of Tudor Revival interiors and a particular speciality ofRichard Norman Shaw.He built his first atCranbrookfor John Calcott Horsley, who later introduced Shaw to Lord Armstrong.^[55]As well as those at Cragside, two notable examples were created for the now-demolishedDawpool Hallon the Wirral.^[56]One of these now forms the porch ofThe PantheonatPortmeirion^[57]and the other went unsold oneBayin 2012.^[58]Shaw's biographer,Andrew Saintwrites, "inglenooks are the decorative pièce de résistance of the Shawcountry house".^[59]

[1] "Tudor Revival".Oxford Reference.Retrieved2024-01-18.

[FOOTNOTEAirs1995Introduction-2] Airs 1995,Introduction.

[3] Summerson, Chapter 1 to 4 cover this period; this brief summary is rather over-simplified.

[FOOTNOTEAirs1995Foreword-4] Airs 1995,Foreword.

[5] Summerson, 23

[FOOTNOTECurl199083-6] Curl 1990,p. 83.

[FOOTNOTESherwoodPevsner2002110–111-7] Sherwood & Pevsner 2002,pp. 110–111.

[9] Summerson, 235–236

[10] Summerson, 366–376, 447–452

[FOOTNOTEDavis196072-11] Davis 1960,p. 72.

[FOOTNOTEDavis196028-12] Davis 1960,p. 28.

[14] Aslet and Power, 151–152; Summerson, 451

[FOOTNOTEMcWilliam1978170–172-15] McWilliam 1978,pp. 170–172.

[17] Historic Environment Scotland."Dalmeny House, including Terrace, Garden Walls, Railings, Gates and Gatepiers (Category A Listed Building) (LB82)".Retrieved14 July2019.

[18] Aslet and Power, 152–153 (153 quoted), 158–159, 162

[19] Aslet and Power, 162–163

[FOOTNOTEHussey198995-20] Hussey 1989,p. 95.

[FOOTNOTEHall1994178-21] Hall 1994,p. 178.

[22] Bona-SOU, Emilia (July 6, 2016)."133 homes planned for former Greaves Hall site".southportvisiter.

[FOOTNOTEAsletPowers1985248-23] Aslet & Powers 1985,p. 248.

[FOOTNOTENairnPevsnerCherry1971177-24] Nairn, Pevsner & Cherry 1971,p. 177.

[FOOTNOTETinniswood201662–64-25] Tinniswood 2016,pp. 62–64.

[FOOTNOTETinniswood201663-26] Tinniswood 2016,p. 63.

[27] "Saitta House – Report Part 1 Archived2008-12-16 at theWayback Machine",DykerHeightsCivicAssociation

[FOOTNOTECook1984307-28] Cook 1984,p. 307.

[29] "5 Sweet Southern Westchester Neighborhoods To Explore".Westchester Magazine.21 January 2015.RetrievedDecember 22,2018.

[30] "Brewery History: 119, pp. 2–9".breweryhistory.

[31] "Slough - John Betjeman".www-cdr.stanford.edu.

[FOOTNOTEQuiney1990214-32] Quiney 1990,p. 214.

[FOOTNOTERyan2018146-33] Ryan 2018,p. 146.

[34] "Tudor Style Homes with Faux Planks".Faux Wood Workshop.

[35] "What is Tudor Revival style?- Elizabethan - Tudorbethan - Mock Tudor - Architecture".antiquehomestyle.

[36] Dean, pp. 250–251

[FOOTNOTESaint201080-37] Saint 2010,p. 80.

[FOOTNOTEPevsnerRichmond2002244-38] Pevsner & Richmond 2002,p. 244.

[FOOTNOTEGirouard1979312-39] Girouard 1979,p. 312.

[FOOTNOTETurnor1950101-40] Turnor 1950,p. 101.

[41] Aslet and Power, 162–164

[42] "Queen Anne".Architecture Styles of America and Europe.October 17, 2011.

[43] Historic England."New Hall (Grade II*) (1379298)".National Heritage List for England.Retrieved3 July2019.

[44] Historic England."New Hall Library (Grade II*) (1379299)".National Heritage List for England.Retrieved3 July2019.

[FOOTNOTEPhysickDarby1973153-45] Physick & Darby 1973,p. 153.

[FOOTNOTEHall200998-46] Hall 2009,p. 98.

[47] "Modern era buildings: a spotters' guide".The Guardian.September 10, 2011.

[48] Robinson, p. 8

[FOOTNOTEJenkins200321-49] Jenkins 2003,p. 21.

[FOOTNOTEDavey199590-50] Davey 1995,p. 90.

[FOOTNOTEAllibone1991101-51] Allibone 1991,p. 101.

[FOOTNOTEPevsnerWilliamson2003475-52] Pevsner & Williamson 2003,p. 475.

[FOOTNOTECurl199080-53] Curl 1990,p. 80.

[FOOTNOTEAslet201353-54] Aslet 2013,p. 53.

[FOOTNOTEde_Moubray201350-55] Moubray 2013,p. 50.

[FOOTNOTEBradleyPevsner2003456-56] Bradley & Pevsner 2003,p. 456.

[58] Aslet and Power, 248

[FOOTNOTESaint201045-59] Saint 2010,p. 45.

[FOOTNOTESaint2010290-60] Saint 2010,p. 290.

[61] "The Pantheon, Portmeirion".coflein.gov.uk.RCAHMW.Retrieved18 September2018.

[62] Wainwright, Martin (19 January 2012)."Titanic owner's massive white elephant lumbers on to eBay".The Guardian.Retrieved18 September2018.

[FOOTNOTESaint2010137-63] Saint 2010,p. 137.

[65] Robinson, p9

[FOOTNOTEHall2009164-66] Hall 2009,p. 164.

[FOOTNOTEHall200926-67] Hall 2009,p. 26.

[FOOTNOTEAslet1982173-68] Aslet 1982,p. 173.

[FOOTNOTEAslet1982179-69] Aslet 1982,p. 179.

[FOOTNOTEAslet1982174-70] Aslet 1982,p. 174.

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v t e HistoricismandRevivalismin architecture and decorative arts
International	Art Deco Art Nouveau Arts and Crafts Baroque Revival Beaux-Arts Neo-Byzantine Carpenter Gothic Egyptian Revival French Provincial Gothic Revival Greek Revival/Neo-Grec Mayan Revival Moorish Revival Neoclassical New Classical Renaissance Revival Châteauesque Italianate Palazzo style Rococo Revival Romanesque Revival Second Empire French European North American Spanish Colonial Revival Swiss chalet style Vernacular
France	Henry II style Henry IV style Louis XIII style Louis XIV style Louis XV style Louis XVI style Neoclassicism Directoire style Empire style Louis Philippe style Second Empire style Belle Époque
Germany, Austria-Hungary	Biedermeier Gründerzeit Jugendstil Nazi architecture Resort style Rundbogenstil
Great Britain	Adamesque Bristol Byzantine Edwardian Baroque Egyptian Revival Georgian Revival Indo-Saracenic Revival British India Jacobethan Neo-Palladian Queen Anne Revival Regency Romanesque Revival Scottish Baronial Tudor Revival/Black-and-white Revival
Greece	Mycenaean Revival
Italy	Stile Umbertino Milan
Netherlands	Traditionalist School
Nordic countries	Dragon style National Romantic style Gustavian style Nordic Classicism
Portugal	Neo-Manueline Neo-Mudéjar Soft Portuguese style
Poland	Zakopane Style
Romania	Romanian Revival
Russian Empire and USSR	Neo-Byzantine Neoclassical Revival Russian Revival Stalinist
Serbia	Serbo-Byzantine Revival
Spain	Neo-Mudéjar
United States	American Renaissance Collegiate Gothic Colonial Revival Dutch Colonial Revival Federal style Greco Deco Jeffersonian Mediterranean Revival Mission Revival Pueblo Revival Polish cathedral style Queen Anne style Richardsonian Romanesque Territorial Revival

v t e Architecture of the United States
Native and indigenous	Mound Builders Pueblo
Colonial and post-colonial	Creole First Period Colonial Georgian Dutch Colonial French Colonial German Colonial Spanish Colonial Territorial
Early Republic	Adam Federal Jeffersonian Neoclassical Antebellum
Mid-19th century	Greek Revival Italianate Gothic Revival
Victorian	Richardsonian Romanesque Second Empire American Renaissance Folk Stick style Queen Anne Shingle
Late-19th to mid-20th century	Art Deco(Streamline Moderne) Pre-war American Craftsman American Foursquare Beaux-Arts California bungalow Chicago School Colonial Revival Dutch Colonial Revival Georgian Revival Googie International style Mayan Revival Mediterranean Revival Mission Revival Pueblo Revival Deco Prairie School PWA Moderne Sarasota School of Architecture Rustic Spanish Colonial Revival Territorial Revival Tudor Revival
Post–World War II	Blobitecture Brutalist Deconstructivism Dingbat Earthship High-tech Mid-century modern Modern Neo-eclectic Neo-futurism Neomodern New Classical architecture Postmodern Ranch Shed style Tiny-house Usonian
Building types and vernacular	Adobe Barabara Cape Cod Central-passage house Chickee Corn crib Cowboy church Critical regionalism Dogtrot house Earth lodge Hogan Hall and parlor house I-house Igloo Jacal Kiva Log cabin Longhouses Moki steps Plank house Platform mound Qargi Quiggly hole Ramada Saltbox Shotgun house Sipapu Skyscraper Sod house Sweat lodge Temples Tipi Town square Tupiq Wigwam
Cities	Atlanta Boston Buffalo Chicago Columbus Detroit Houston Jacksonville Kansas City Las Vegas Los Angeles Miami New Orleans New York City Omaha Philadelphia Portland San Antonio San Francisco Seattle Spokane St. Louis Washington, D.C.
States	California Hawaii Texas