DOCSLIB.ORG

Regency Design Precepts

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Regency Design Precepts REGENCY DESIGN PRECEPTS A guide to design in the context of Cheltenham’s Regency buildings 1 CONTENTS Scope and Purpose of the Guide 3 ORIE General Principles Duality 4 Additions and Extensions 4 Principles for Regency Buildings Local Characteristics 4 Windows 4 Cornices and Entablatures 8 Stonework 9 Render and Stucco 9 Railings and Garden Walls 10 Chimneys 12 Front Doors 13 Painting 13 Balconies 15 Garages and Outhouses 15 Index 16 Cover: Oriel Terrace 2 A GUIDE TO DESIGN IN THE CONTEXT OF CHELTENHAM’S REGENCY BUILDINGS Fig.1a Illustrating architectural terms (cf Precept 23) and the avoidance of duality owing to an odd number of windows, the middle one with an architrave, central above the front door and porch. Also showing the appropriate use of different paint tones (Precept 47) SCOPE AND PURPOSE OF THE GUIDE quite ‘right’ or ‘comfortable’ a check to see if it Most Georgian buildings embrace such consistent conforms to the precepts may point to an design characteristics that some can be identified appropriate solution. It should in any case prove a as norms. By continuing to observe these norms good starting point in an area of design where there when altering a Regency building, or when is debate or uncertainty. Of course not all the designing anew in this Georgian idiom, one is more precepts are always followed in Cheltenham’s likely to produce works which are appropriate and original Regency buildings, nor do they need to be. are pleasing to the eye, or which at least do not For example many attractive buildings have even debase our architectural inheritance nor detract numbers of window (contrary to Precept 1 on from a Regency context. Approval under planning duality, below) because they only have room for two legislation, where required, would therefore be more windows. likely to be forthcoming. The advice given here relates only to the exterior of This guide uses these norms to set out 50 the building, the area over which there are normal numbered precepts (in bold italics) which can be planning controls. Alterations and other works to used on building projects in a Regency context, not the interior, although important, are not subject to only in a Regency style, but on traditional building control under planning legislation unless the forms in a nineteenth-century setting and for repairs building is listed. Nor does this advice cover details and alterations to existing buildings. If a design or of technical or structural considerations such as use alteration in these circumstances does not seem of lime mortars or double glazing. 3 The Regency Period covers the last nineteen years, consistent period or style. The principle applies from 1811–1830, of the Georgian Period which had normally, and indeed particularly in the case of a started in 1714. Stylistically, however, and for the prominent site, such as at a corner. purpose of this Cheltenham guide, ‘Regency’ is taken to include the subsequent reign of William IV and the first twenty years or so of Queen Victoria’s PRINCIPLES FOR REGENCY BUILDINGS. reign, which started in 1830. So ‘Regency Style’ is relevant to Cheltenham from about 1800–1850. LOCAL CHARACTERISTICS 4 Consider the particular nature of GENERAL PRINCIPLES. Cheltenham’s Regency architecture before There are some principles which apply to most undertaking an alteration or addition to an buildings. existing building or designing a reproduction Regency building. DUALITY Although the Regency style of building is 1 Group features together horizontally in odd recognisable throughout the country there are numbers. variations from one place to another. There are The eye naturally seeks a satisfactory resting place differences even between Cheltenham and or focus. ‘Duality’ occurs where an elevation Gloucester in this period. There may be a trend for consists of two approximately even and equal architects, used to Nash’s heavier and grander halves – two mirror images – the eye does not know London buildings, to propose designs here lacking on which to settle. The effect is a restless and the light, Greek-revival touch of Regency unsatisfactory duality. A focus is required to join the Cheltenham: a genteel country resort, where villas two at the centre. A central porch might be a simple were known as ‘cottages’. solution or, on a grander building, a central pediment. WINDOWS 5 The windows of Regency Cheltenham are A building’s pervasive features are usually its vertically sliding timber sashes divided into windows. Where they are aligned vertically, and in smaller panes. an odd number of vertical rows, then the central row This is a defining characteristic which needs to be will provide the required focus for the eye. In retained in any replacement or reproduction, as set Cheltenham’s more imposing buildings this central out below. row could be emphasised by a window with a bolder ‘architrave’ (Fig.1); sometimes the front door was 6 Windows should not only be vertical in placed in line with central windows. Even if there is proportion, but each pane of glass needs to be no extra emphasis provided by a central feature, still vertical too. (Fig.1) the odd number will reduce any awkward duality. Top floors can prove the exception, where square windows may be found, especially on four-storey This norm of odd numbers applies to all vertical houses and on attic floors, above the main cornice; features on a building with the exception of columns even there, however, each pane will still probably and pilasters. In these cases it is the spaces be a vertical rectangle, using just three panes per between the columns (usually occupied by sash. windows) which need to be in odd numbers between an even number of columns. ADDITIONS & EXTENSIONS 2 Extensions to existing buildings should not normally project above or in front of the original building. Where it is neither desirable nor practicable for an addition to be designed simply as a continuation of the main building in the same form and with equivalent details, it is usually appropriate for the extension to be designed as architecturally subservient, often with a lower roof line and the main facade set further back. 3 New buildings inserted into a street should similarly pay respect both to their neighbours and to the predominant pattern of development, not extending beyond the height nor the building-line of either their neighbours or of the street norm. Fig.2 Square window with three panes per sash, This is especially important where the street is of a Montpellier Retreat 4 In a rear basement the kitchen window was 8 Windows should normally be aligned sometimes widened to a horizontal proportion to vertically and evenly spaced laterally. increase light penetration under a low ceiling. There is, however, often an exception on the ground floor of those terrace houses which are two windows wide. This is because the internal symmetry of a window in a room was generally considered even more important than the external symmetry of the facade. A central door in a hall of normal width, close to the side of a house, could not normally line up with a window central to a wider room above. Furthermore the space left by the entrance hall for the adjoining, ground floor front room differed from the rooms above, being neither the full width nor half the width of the facade. The window central to this ground floor room consequently did not align with the windows above. Fig.3 Unusually wide, horizontal window in a basement kitchen, Montpellier Retreat 7 Windows will normally have the same width within a single facade, but on each floor the windows, while consistent in height on the, individual floor, should be of a different height from the windows of the floors above and below. (Fig. 5) This variation reflected the relative importance of the rooms on each floor; it also enlivened the overall Fig.5 Off-centre ground floor windows, London design. In a two-storey house the taller windows terrace by J.B. Papworth, c 1825. were on the ground floor. In a three- storey house the tallest windows were on the first floor (or ‘piano In pairs of semi-detached houses this problem was nobile’), the second tallest on the ground floor and often avoided by locating front doors in a porch at the shortest on the second floor. On the ground the side of the building. The windows to all floors floor of some houses (normally of two storeys) there could then line through, but duality was not can be an exception to window widths since on that resolved. floor marginal lights were sometimes added on each side, beyond the main sash frame (Figs.1 & 4). Fig.6 Doors to the sides of semi-detached houses allow windows to line through, but at the risk of duality, Montpellier Villas 9 Windows at the side of a building should not be close to the corner. They should preferably be at least a window’s width Fig.4 Marginal sashes, Suffolk Parade from the corner (Fig.6, above), although a space of two thirds of a window’s width can suffice. Windows 5 too close to the edge of the building make the whole and at basement or third floor levels, occupied edifice appear weak. mainly by servants and children (Fig.18). 10 The limited sash window dimensions 12 Glazing bars in a replacement Regency available from some modern catalogues, can window or in a new building in a Regency style prove inappropriately small for a typical should not exceed 18mm width. Alternatively it Regency building. may sometimes be acceptable to form each There is no rule on the overall size of windows, but sash of a single double glazed unit with if included in a new building of Regency aspirations appropriate, cut-down glazing bars bonded to undersized windows look weak and incongruous, both sides of the glass.
Load more

Recommended publications
  • Toronto Arch.CDR
    The Architectural Fashion of Toronto Residential Neighbourhoods Compiled By: RASEK ARCHITECTS LTD RASE K a r c h i t e c t s www.rasekarchitects.com f in 02 | The Architectural Fashion of Toronto Residential Neighbourhoods RASEK ARCHITECTS LTD Introduction Toronto Architectural Styles The majority of styled houses in the United States and Canada are The architecture of residential houses in Toronto is mainly influenced by its history and its culture. modeled on one of four principal architectural traditions: Ancient Classical, Renaissance Classical, Medieval or Modern. The majority of Toronto's older buildings are loosely modeled on architectural traditions of the British Empire, such as Georgian, Victorian, and Edwardian architecture. Toronto was traditionally a peripheral city in the The earliest, the Ancient Classical Tradition, is based upon the monuments architectural world, embracing styles and ideas developed in Europe and the United States with only limited of early Greece and Rome. local variation. A few unique styles of architecture have emerged in Toronto, such as the bay and gable style house and the Annex style house. The closely related Renaissance Classical Tradition stems from a revival of interest in classicism during the Renaissance, which began in Italy in the The late nineteenth century Torontonians embraced Victorian architecture and all of its diverse revival styles. 15th century. The two classical traditions, Ancient and Renaissance, share Victorian refers to the reign of Queen Victoria (1837-1901), called the Victorian era, during which period the many of the same architectural details. styles known as Victorian were used in construction. The styles often included interpretations and eclectic revivals of historic styles mixed with the introduction of Middle Eastern and Asian influences.
    [Show full text]
  • City of Wauwatosa, Wisconsin
    City of Wauwatosa, Wisconsin Architectural and Historical Intensive Survey Report of Residential Properties Phase 2 By Rowan Davidson, Associate AIA & Jennifer L. Lehrke, AIA, NCARB Legacy Architecture, Inc. 605 Erie Avenue, Suite 101 Sheboygan, Wisconsin 53081 Project Director Joseph R. DeRose, Survey & Registration Historian Wisconsin Historical Society Division of Historic Preservation – Public History 816 State Street Madison, Wisconsin 53706 Sponsoring Agency Wisconsin Historical Society Division of Historic Preservation – Public History 816 State Street Madison, Wisconsin 53706 2019-2020 Acknowledgments This program receives Federal financial assistance for identification and protection of historic properties. Under Title VI of the Civil Rights Act of 1964, Section 504 of the Rehabilitation Act of 1973, and the Age Discrimination Act of 1975, as amended, the U.S. Department of the Interior prohibits discrimination on the basis of race, color, national origin, or disability or age in its federally assisted programs. If you believe you have been discriminated against in any program, activity, or facility as described above, or if you desire further information, please write to Office of the Equal Opportunity, National Park Service, 1849 C Street NW, Washington, DC 20240. The activity that is the subject of this intensive survey report has been financed entirely with Federal Funds from the National Park Service, U.S. Department of the Interior, and administered by the Wisconsin Historical Society. However, the contents and opinions do not necessarily reflect the views or policies of the Department of the Interior or the Wisconsin Historical Society, nor does the mention of trade names or commercial products constitute endorsement or recommendation by the Department of the Interior or the Wisconsin Historical Society.
    [Show full text]
  • Mid-Twentieth Century Architecture in Alaska Historic Context (1945-1968)
    Mid-Twentieth Century Architecture in Alaska Historic Context (1945-1968) Prepared by Amy Ramirez . Jeanne Lambin . Robert L. Meinhardt . and Casey Woster 2016 The Cultural Resource Programs of the National Park Service have responsibilities that include stewardship of historic buildings, museum collections, archeological sites, cultural landscapes, oral and written histories, and ethnographic resources. The material is based upon work assisted by funding from the National Park Service. Any opinions, findings, and conclusions or recommendations expressed in this material are those of the author and do not necessarily reflect the views of the Department of the Interior. Printed 2018 Cover: Atwood Center, Alaska Pacific University, Anchorage, 2017, NPS photograph MID-TWENTIETH CENTURY ARCHITECTURE IN ALASKA HISTORIC CONTEXT (1945 – 1968) Prepared for National Park Service, Alaska Regional Office Prepared by Amy Ramirez, B.A. Jeanne Lambin, M.S. Robert L. Meinhardt, M.A. and Casey Woster, M.A. July 2016 Table of Contents LIST OF ACRONYMS/ABBREVIATIONS ............................................................................................... 5 EXECUTIVE SUMMARY ........................................................................................................................... 8 1.0 PROJECT DESCRIPTION ..................................................................................................................... 9 1.1 Historic Context as a Planning & Evaluation Tool ............................................................................
    [Show full text]
  • An Introduction to Regency Chitectu
    ’ Desi ns f THE N M N L M L W O RKER S D IR EC TO RY Cottin ham 1 824 g rom O R A E TA ETA by L . N . g , AN INTR O D U CTIO N TO R E GE N CY C H I TE C TU PA U L R EI LLY P E L L E G R I N I C U D A H Y N EW Y O R K Pr inted in Great Br itain by S H E N VA L PR E SS LTD and p ublis hed in the U S A . by I N I A Y I N C PE LL E G R C U D H , PREFACE THIS SHORT ES SAY does not pretend to be more than an elementary survey of Regency architecture . Its purpose is to draw attention , by of l way generalization rather than close examination , to the high ights of a brief but beautiful period of English building . I hope that the lay reader will learn enough from the text and the plates to value this fast-vanishin g beauty and to protest energetically when he sees an example of Regency architecture threatened with destruction . of c t I must , course , a knowledge my deb to Mr John Summerson for his Geor ian London his of John Nash g (Pleiades Books) and life , Ar chitec t to Kin Geor e I V U g g (George Allen and nwin Ltd) , both of i re- wh ch I read before starting this present essay .
    [Show full text]
  • Outline of Classical Architecture
    Outline of Classical Architecture The following outline is provided as an overview of and • Form of classicism – high regard in the arts for clas- topical guide to classical architecture: sical antiquity, as setting standards for taste which the classicists seek to emulate. Classical architecture – architecture of classical an- tiquity, that is, ancient Greek architecture and the • architecture of ancient Rome. It also refers to the style or Classicism in architecture – places emphasis styles of architecture influenced by those. For example, on symmetry, proportion, geometry and the most of the styles originating in post-renaissance Europe regularity of parts as they are demonstrated in can be described as classical architecture. This broad use the architecture of Classical antiquity and in of the term is employed by Sir John Summerson in The particular, the architecture of Ancient Rome, Classical Language of Architecture. of which many examples remained. 1 What type of thing is classical ar- 2 Classical architectural structures chitecture? • List of ancient architectural records Classical architecture can be described as all of the fol- lowing: 2.1 Ancient Greek architectural structures • Architecture – both the process and product of planning, designing and construction. Architectural • Ancient Greek architecture – architecture produced works, in the material form of buildings, are of- by the Greek-speaking people (Hellenic people) ten perceived as cultural and political symbols and whose culture flourished on the Greek mainland and as works of art. Historical civilizations are often Peloponnesus, the Aegean Islands, and in colonies in identified with their surviving architectural achieve- Asia Minor and Italy for a period from about 900 BC ments.
    [Show full text]
  • Download (19Mb)
    University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/34810 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. THE ROLE OF THE ARCHITECT IN POST—WAR STATE HOUSING: A case study of the housing work of the London County Council 1939 - 1956 THE ARCHITECT OF TO-DAY lk plans in a world of social cconomic and cultural • transition NICHOLAS MERTHYR DAY PhD Thesis UNIVERSITY OF WARWICK Department of the History of Art June 1988 List of plates V List of figures xvi List of abbreviations xvii Summary xviii Preface xix INTRODUCTION 1 PART I : GENERAL ISSUES 1.1 DEBATES CONCERNING ARCHITECTURAL PRACTICE AND THEORY 6 The Status and function of the architect 6 i The private versus public architect debate 6 ii AST and trade unionism 14 iii Architects and leftwing activity 19 Architectural theory 22 Definitions of style 22 ii Post-war architectural groups 31 The development of architectural paradigms for reconstruction 34 i Paradigm I Le Corbusier 35 ii Paradigm 11 Sweden: 43 iii Paradigm III : Russia 50 1.2 CENTRAL GOVERNMENT POLICY 1939 - 1956 61 The inter-war years 1918-39 61 The war years 1939-45 65 i The Dudley Report 65 ii The Housing Manual 1944 68 iii The coalition Government Housing Programme 69
    [Show full text]
  • Better by Design? Also by Paul L
    Better by Design? Also by Paul L. Knox Atlas of Cities Palimpsests: Biographies of 50 City Districts Cities and Design Metroburbia: The Anatomy of Greater London London: Architecture, Building, and Social Change Strong Island: Portsmouth’s History in Brick and Stone Metroburbia USA Small Town Sustainability (with Heike Mayer) World Cities in a World-System (with Peter Taylor) Design Professionals and the Built Environment (with Peter Ozolins) The Restless Urban Landscape The Geography of Western Europe Public Service Provision and Urban Development (with Andrew Kirby and Steven Pinch) Geography and Inequality (with Bryan Coates and Ron Johnston) Social Well-Being: A Spatial Perspective World Regional Geography: Peoples, Places, and Environments (with Sallie Marston, Diana Liverman, Paul Robbins and Vincent Del Casino) Urbanization (with Linda McCarthy) Human Geography: Places and Regions in Global Context (with Sallie Marston) Urban Social Geography (with Steven Pinch) The Geography of the World-Economy (with John Agnew and Linda McCarthy) The United States: A Contemporary Human Geography (with Jim Bohland, Briavel Holcomb and Ron Johnston) i Better by Design? Architecture, Urban Planning, and the Good City Paul L. Knox Blacksburg, Virginia ii Text, design, and layout copyright © 2020 Paul L. Knox Photographs copyright © 2020 Paul L. Knox, except as noted on page 302 First published 2020 by Virginia Tech Publishing Virginia Tech Publishing University Libraries at Virginia Tech 560 Drillfield Drive Blacksburg, VA 24061 This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. Note to users: This work may contain components (e.g., photographs, illustrations, or quotations) not covered by the license.
    [Show full text]
  • NATION BUILDING: GOTHIC REVIVAL HOUSES in UPPER CANADA and CANADA WEST, C.1830–1867
    NATION BUILDING: GOTHIC REVIVAL HOUSES IN UPPER CANADA AND CANADA WEST, c.1830–1867 JESSICA MACE A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN VISUAL ART AND ART HISTORY YORK UNIVERSITY TORONTO, ONTARIO MARCH 2015 © JESSICA MACE, 2015 ABSTRACT The Gothic Revival is, without question, the most influential architectural movement to have ever come out of England. Its effects on houses, and colonial houses, in particular, however, have been little studied. Nation building: Gothic Revival houses in Upper Canada and Canada West, c.1830–67 examines the Gothic Revival houses built in the English colony of Upper Canada and Canada West prior to Confederation in 1867 in order to contextualize them and to give this category of housing the academic attention it merits. Using the buildings themselves as well as architectural drawings, plans, and archival photographs, this dissertation reveals and contextualizes the houses of pre–Confederation Canada within the broader scope of Western architectural history. The houses are divided into temporal and theoretical categories, examining the chronological spread of the style as well the means by which it was employed; namely, through architects and publications. Beyond formal analysis of the objects themselves, then, the influence of British and American precedents is examined from the mid–eighteenth century through to the late 1860s, as well as the dissemination of these ideas to the colony through a variety of conduits such as architects, publications and popular aesthetic theories. This study also explores the rise of the architectural practice in the colony and the resulting eventual spread of the architectural vocabulary of the Gothic style into vernacular housing.
    [Show full text]
  • Architecture of the Picturesque in Canada
    ARCHITECTURE OF THE PICTURESQUE IN CANADA Janet Wright ©Parks Canada Agency,1984. Electronic edition, August, 2011. Catalogue No.: R61-2/9-17E ISBN: 0-660-11641-3, ISSN: 0821-1027 Originally submitted for publication by Janet Wright in 1982. The opinions expressed in this report are those of the author and not necessarily those of Parks Canada Agency. 2 CONTENTS 5 Introduction to the Electronic Edition, Preface 6 Acknowledgements and Introduction Part I The Picturesque in Britain 9 Origins of the Picturesque 13 The Picturesque in Theory 18 The Theory of Practice Part II The Picturesque in Canada 31 Introduction 31 Patrons of the Picturesque Regional Studies of the Picturesque 38 Ontario, 1790-1830 52 Ontario, Post-1830 97 Québec, 1780-1830 106 Québec, Post-1830 125 Atlantic Provinces 139 Conclusion 144 Appendix: List of Illustrations 146 Legend Sources 156 Bibliography 3 INTRODUCTION TO THE ELECTRONIC EDITION Parks Canada published a series of books on Canada’s architectural history in the 1970s and 1980s. Limited editions meant that these popular publications were soon out of print. Since then, these books have been con- sulted by generations of Canadians. They have been used by heritage organizations, university students and avid appreciators of Canada’s diverse architectural history. The books were soon unavailable for purchase, how- ever with the advent of new technology, Parks Canada has updated these publications and are now available in electronic format. These studies provide useful information and analysis for anyone interested in the field of Canadian architec- ture and perhaps will add to the general awareness and appreciation of this important part of Canada's heri- tage.
    [Show full text]
  • INFLUENCES THROUGH the AGES the Egyptians the British Archaeologist Howard Carter Found the Tomb of Tutankhamen in 1922. When It
    INFLUENCES THROUGH THE AGES The Egyptians The British archaeologist Howard Carter found the tomb of Tutankhamen in 1922. When it was opened, it was not the boy pharaoh that stimulated so much interest but the other contents that the tomb contained. The solid gold mask and the intricate jewellery that lay next to his body encased within the tomb gave the greatest insight of all as to how the Egyptians lived. Their love of ornament and design was the start of the search which was to typify the magnificence of early Egyptian style. Early digging revealed that basic every day household items were adorned with decoration that by today’s standards would be considered remarkable. The Egyptians have never given up their secrets easily so we still are not sure where their passion or inspiration for design originated. The Romans The Romans were the masters of design and still are in many ways especially in regard to classic ideals. They loved to show off their wealth and status and would not tolerate anything less than luxurious living and lavish style. Their passion for beautiful things and comfortable style was paramount. Their designs are as remarkable today as they were then, simply because what they were able to achieve in terms of interior decoration, remains unsurpassed even by today’s standards. Their beautiful painted interiors incorporating murals and mosaic floors were the most amazing design achievement for that period. They designed and built furniture, claw footed tables, chairs, occasional furniture and even soft furnishings with all the trims and embellishments their imagination could conjure up.
    [Show full text]
  • Marilyn Braiterman Rare Books Catalogue 36
    Marilyn Braiterman Rare Books Catalogue 36 1 ∫ CatalogueMarilyn Braiterman 36 Rare Books 970 Park Avenue · New York, NY 10028 212-585-4373 · www.BraitermanBooks.com [email protected] no. 62 member: Antiquarian Booksellers’ Association of America and International League of Antiquarian Booksellers Front cover: no. 38 Back cover: no. 55 Photography by Nicole Neenan [email protected] Design and typography by Jerry Kelly 1 (ADVERTISING) BISCUITS LEFÈVRE-UTILE. NOUVELLES BOITES SPÈCIALES & ILLUSTRÉES. 1898. Paris: F. Chamonois, 1898. Charming chromolithograph sheet promoting the company’s latest products in packaging which included cookie tins, platters, a tramway toy, and a coin purse, some designed by Alphonse Mucha. The sheet is 9¼ x 12½ inches and is in a modern gilt frame mea- suring 11½ x 15 inches. Fine. Lefèvre-Utile is a biscuit company founded in 1846 in Nantes, still producing cookies and biscuits. They are known for their striking posters and advertisements, including Art Nouveau pub- licity albums, packaging and tins, mostly notably designed by Mucha. $750 CHAUVE-SOURIS CABARET THEATER 2 (BALIEFF, NIKITA) EFROS, N. E. TEATR LETUCHAYA MYSH/ N. F. BALIEFF’S THEATER OF “THE BAT”. Petrograd: Solntse Rossii, 1918. 4to, decorated wrappers, decora- tions and vignettes by Sergei Chekhonin. Spine neatly replaced. Fine. Tipped in photographic plates. First edition marking the first ten years of the theater-cabaret founded by the Jewish Russian impresario and former member of Stanislavsky’s Moscow Art Theater. After the Revolution the the- ater continued in Paris and New York. WITH program from the New York engagement of 1923-1924 at the Shubert-Alvin Theatre.
    [Show full text]
  • Revival Memories, Identities, Utopias
    REVIVAL MEMORIES, IDENTITIES, UTOPIAS EDITED BY AY L A LE PINE MATT LODDER ROSALIND MCKEVER Revival. Memories, Identities, Utopias Edited by Ayla Lepine, Matt Lodder, and Rosalind McKever With contributions by: Deborah Cherry Whitney Davis John Harvey Alison Hokanson Martin Horácek Phil Jacks Michelle Jackson Ayla Lepine Matt Lodder Jonathan Mekinda Alan Powers Nathaniel Walker Alyson Wharton Series Editor: Alixe Bovey Courtauld Books Online is published by the Research Forum of The Courtauld Institute of Art Somerset House, Strand, London WC2R 0RN © 2015, The Courtauld Institute of Art, London. ISBN: 978-1-907485-04-6 Courtauld Books Online Advisory Board: Paul Binski (University of Cambridge) Thomas Crow (Institute of Fine Arts) Michael Ann Holly (Sterling and Francine Clark Art Institute) Courtauld Books Online is a series of scholarly books published by The Courtauld Institute of Art. The series includes research publications that emerge from Courtauld Research Forum events and Courtauld projects involving an array of outstanding scholars from art history and conservation across the world. It is an open-access series, freely available to readers to read online and to download without charge. The series has been developed in the context of research priorities of The Courtauld which emphasise the extension of knowledge in the fields of art history and conservation, and the development of new patterns of explanation. For more information contact [email protected] All chapters of this book are available for download at courtauld.ac.uk/research/courtauld-books-online Every effort has been made to contact the copyright holders of images reproduced in this publication.
    [Show full text]