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Robert Hook Hollandd ean : Dutch influenc architecturs hi n eo e Alison Stoesser-Johnston The use of these publications by English architects and arti- Introductie)!! sans and the design of Wollaton Hall were not based on any Dutch classicism was a recent arrival in England when first-hand personal impressio f classicisno Italymn i . Thid ha s Robert Hooke made his first architectural designs in the late emergence th waio t r fo t f Inigeo o Jone s architectsa visis Hi . t 1660s. 'e constructioPrioth o t r f Hugo n h May's Eltham to Italy in 1613-'14 in the entourage of Thomas Howard, 2nd Lodg 1663-'64n i e e firsth , t exampl f Dutceo h classicisn mi Earl of Arundel, his close interest in Roman antiquities and England, classical elements straight from Italy and via Flan- intimate knowledge of Palladio's drawings are most ders had been used in English architecture for nearly a hund- dramatically exemplifie Banquetins hi n di g Hous f 1619-22eo . red years. Initially these had been mainly of a decorative na- Not only, however, has Jones here used Palladian "vocabulary" ture but vvith the construction of Inigo Jones' Banqueting 7 but hè has combined it with the application of Scamozzian House (1619-'21) there was a dramatic change in the way orders, the Composite being superimposed on the lonic. This classicism was adapted to English architecture. Jones drew combination of Palladian elements with Scamozzian also on the examples of Palladio and Scamozzi in his architecture influence beginninge th d f Dutcso h classicism.8 Jones' design using both Palladio's treatise, / quattro libri, personal know- was not only a major innovation in England but it also inspired ledge of his architecture and, in the case of Scamozzi, per- Jaco n Campe s va bfirs hi tn i narchitectura l commission i n sonal contact e applieH . -
The Design of the English Domestic Library in the Seventeenth Century: Readers and Their Book Rooms
The Design of the English Domestic Library in the Seventeenth Century: Readers and Their Book Rooms Lucy Gwynn Abstract The seventeenth century saw the increase in size of book collec- tions in private hands. Domestic library collections were becoming more visible as important adjuncts to the lives of their socially and culturally engaged owners. This article explores the ways in which the practical and intellectual problems of storing books were ad- dressed in the English home, through inventories and buildings accounts as well as contemporary literature. The changes in library furniture design over the course of the century are traced, together with the emergence of formal organizing systems such as catalogues and subject classification. Finally, the adoption of a different stylistic approach is examined. From Renaissance paintings of scholar saints like Jerome and Augustine to modern cinema’s portrayals of wizards and academics, the image of the private library has remained surprisingly consistent. The rooms belonging to Gandalf, Dumbledore, and John Dee (in Shekhar Kapur’s Elizabeth: the Golden Age), cluttered as they are with scientific instruments, taxidermy, and tottering piles of books, are striking in their resemblance to the humanist models represented by Carpaccio and Antonello da Messina. Bonnie Mak and Dora Thornton have demonstrated that the libraries of Renaissance Italy were as deliberately and artificially designed as their cinematic copies (Mak, 2002; Thornton, 1998). The books themselves be- came representative of their contents through their display, and the pres- ence of trompe l’oeil effects exaggerated the use of the study as a “theatri- cal space for self-exhibition” (Mak, 2002, p. -
Sir Roger Pratt's Library
Reading as a Gentleman and an Architect: Sir Roger Pratt’s Library by KIMBERLEY SKELTON This article illuminates the changes in English seventeenth-century architectural practice when members of the gentry educated themselves as architectural professionals and as a result several became noted practitioners. The author analyses the rarely examined notes and library of Sir Roger Pratt to explore how a seventeenth-century gentleman both studied and practised architecture literally as both gentleman and architect. Also she considers Pratt’s notes chronologically, rather than according to their previous thematic reorganisation by R. T. Gunther (1928), and offers a full reconstruction of Pratt’s library beyond Gunther’s catalogue of surviving volumes. Mid-seventeenth-century England experienced a sharp change in architectural practice and education. For the first time, members of the gentry began to design buildings and to educate themselves as professionals in architecture. From the late 1650s, Sir Roger Pratt designed country houses, and several members of the landed and educated classes became prominent architects: Sir Christopher Wren, Robert Hooke, Hugh May, William Winde, William Samwell, and William Talman. These gentleman architects brought new techniques to the study of architecture since they were more highly trained in analysing text than image. Scholars have yet to consider the seventeenth-century emergence of the gentleman architect in detail; they have focused more on monographic studies of architects, patronage, and building types than on shifts in the architectural profession.1 This article explores how a seventeenth-century gentleman would both study and practise architecture; it considers the rarely examined library and manuscript notes of Sir Roger Pratt.2 I argue that Pratt practised and read as literally patron and architect – using the techniques of a patron to answer the questions of an architect designing for English geographical and social particularities. -
'X'marks the Spot: the History and Historiography of Coleshill House
UNIVERSITY OF SOUTHAMPTON FACULTY OF HUMANITIES Department of History ‘X’ Marks the Spot: The History and Historiography of Coleshill House, Berkshire by Karen Fielder Thesis for the degree of Doctor of Philosophy June 2012 UNIVERSITY OF SOUTHAMPTON ABSTRACT FACULTY OF HUMANITIES DEPARTMENT OF HISTORY Doctor of Philosophy ‘X’ MARKS THE SPOT: THE HISTORY AND HISTORIOGRAPHY OF COLESHILL HOUSE, BERKSHIRE by Karen Fielder Coleshill House was a much admired seventeenth-century country house which the architectural historian John Summerson referred to as ‘a statement of the utmost value to British architecture’. Following a disastrous fire in September 1952 the remains of the house were demolished amidst much controversy shortly before the Coleshill estate including the house were due to pass to the National Trust. The editor of The Connoisseur, L.G.G. Ramsey, published a piece in the magazine in 1953 lamenting the loss of what he described as ‘the most important and significant single house in England’. ‘Now’, he wrote, ‘only X marks the spot where Coleshill once stood’. Visiting the site of the house today on the Trust’s Coleshill estate there remains a palpable sense of the absent building. This thesis engages with the house that continues to exist in the realm of the imagination, and asks how Coleshill is brought to mind not simply through the visual signals that remain on the estate, but also through the mental reckoning resulting from what we know and understand of the house. In particular, this project explores the complexities of how the idea of Coleshill as a canonical work in British architectural histories was created and sustained over time. -
Alex Echlin, 'Like Father Like Son: the Architectural Patronage of Andrew Fountaine Sr.', the Georgian Group Journal, Vol. X
Alex Echlin, ‘Like father like son: The architectural patronage of Andrew Fountaine Sr.’, The Georgian Group Journal, Vol. XXV, 2017, pp. 37–52 TEXT © THE AUTHORS 2017 LIKE FATHER LIKE SON: THE ARCHITECTURAL PATRONAGE OF ANDREW FOUNTAINE SR. ALEXANDER ECHLIN Narford Hall, Norfolk, is at once one of England’s destroyed in 1891, has received scant attention from most architecturally significant houses, yet also one of architectural historians. Yet the design of Brookmans its most mysterious. Chief amongst these mysteries is casts an interesting light on that of Narford. Here the identity of the architect of the house commissioned I outline the evidence relating to the building of at the start of the eighteenth century by Andrew Brookmans Park and argue that it shows that Andrew Fountaine Sr. (1634 – 1707). In this article I show that Fountaine Sr. was a man with a close interest in Narford Hall was not the only house to have been built architecture and, more speculatively, that he may by Fountaine. Brookmans Park, Hertfordshire, was have been an amateur architect. erected to his commission in the 1680s. This house, Fig. 1: Narford Hall, Norfolk, engraving by E. Roberts, from T. Cromwell, Excursions through Norfolk, volume II, (London, 1819); the house built by Andrew Fountaine Sr. from 1702, surrounded by later alterations, consists of the central, pedimented three bays and the two bays on either side. (© Alec Barr) THE GEORGIAN GROUP JOURNAL VOLUME XXV LIKE FATHER LIKE SON : THE ARCHITECTURAL PATRONAGE OF ANDREW FOUNTAINE SR . n last year’s Georgian Group Journal, William have been built by Andrew Fountaine Sr., who had IKelley and I presented a new attribution to Sir commissioned Brookmans Park, Hertfordshire, Andrew Fountaine (1676–1753) of Narford Hall.1 The in the 1680s.3 Architectural historians have largely purpose of the present article is to draw attention ignored Brookmans ever since its destruction by to the architectural patronage of Sir Andrew fire in 1891. -
Giles Worsley, 'The “Best Turned” House of the Duke of Bedford', the Georgian Group Jounal, Vol. VI, 1996, Pp. 63–73
Giles Worsley, ‘The “Best Turned” House of The Duke of Bedford’, The Georgian Group Jounal, Vol. VI, 1996, pp. 63–73 TEXT © THE AUTHORS 1996 THE ‘BEST TURNED’ HOUSE OF THE DUKE OF BEDFORD Giles Worsley outhampton or Bedford House, as it later came to be known, was one of London’s great aristocratic houses, but it has largely been ignored by architectural historians, perhaps because it was demolished as long ago as 1800. Few accounts of mid-17th-century British Sarchitecture refer to it more than tangentially, and those that do assume that it was built after the Restoration.1 Careful examination of the documentary sources, however, shows that Southampton House was begun between 1638 and 1640 and built, although probably not fitted out, before the Civil War. This makes it one of the most substantial new houses to be built in England during the reign of Charles I and raises intriguing questions of authorship, for the sophistication of the design compares well with the works of Inigo Jones and John Webb.2 The house stood on what was then the northern edge of London, in the parish of St Giles- in-the-Fields, to the north west of Lincoln’s Inn Fields. It was a detached hotel particulier with rustic, piano nobile and attic storeys, hipped roof and dormers. Sir Roger Pratt noted that the whole building was of brick.3 Its south front, facing a forecourt and (from the 1660s) Bloomsbury Fig. 1. John Dunstall, Southampton House from the south, before 1693. British Library. 63 Square beyond, was eleven bays wide, the central seven bays slightly projecting. -
Courtly Stables and Their Implications for Seventeenth-Century English Architecture’, the Georgian Group Journal, Vol
Giles Worsley, ‘Courtly stables and their implications for seventeenth-century English architecture’, The Georgian Group Journal, Vol. XIII, 2003, pp. 114–140 TEXT © THE AUTHORS 2003 COURTLY STABLES AND THEIR IMPLICATIONS FOR SEVENTEENTH-CENTURY ENGLISH ARCHITECTURE GILES WORSLEY ne of the more hotly contested areas of The stables are described in the Office of Works Oarchitectural history is the classical revolution accounts as “two newe double stables of Brickes by in taste that took place under the early Stuarts. Did the highway with a new coatche house saddle house the simple astylar classicism prevalent after the a smiths forge house a shoeinge horse and new Restoration establish itself in the s and s, as grayners adioyninge to the same stable”. These I suggested in Classical Architecture in Britain: details are fleshed out by the Parliamentary survey of The Heroic Age , or was it the product of the the King’s properties, made after the Civil War. Its Commonwealth – a ‘Puritan Minimalism’ – as Tim description confirms the essential accuracy of Mowl has argued? Every example that marks the Smythson’s drawing and demonstrates that the arrival of this classical revolution tends to be seized Theobalds stables were of unparalleled grandeur. upon, but one of the most productive areas to They were probably the most substantial new examine has passed almost unnoticed, the stable. At building commissioned by James I before the least ten important stables built before the Civil War Queen’s House at Greenwich. The survey notes in the new astylar classical manner can be identified. that the building took the form of a great quadrangle That makes them perhaps the single most important ft. -
Hendrik Van Paesschen, Architect of the Northern European Renaissance
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1981 Hendrik van Paesschen, architect of the Northern European Renaissance John Fitzhugh Millar College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the Architecture Commons, European History Commons, and the United States History Commons Recommended Citation Millar, John Fitzhugh, "Hendrik van Paesschen, architect of the Northern European Renaissance" (1981). Dissertations, Theses, and Masters Projects. Paper 1539625149. https://dx.doi.org/doi:10.21220/s2-8z3e-jw35 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. HENDRIK VAN PAESSCHEN 11 ARCHITECT OF THE NORTHERN EUROPEAN RENAISSANCE A Thesis Presented to The Faculty of the Department of History The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by John Fitzhugh Millar 1981 ProQuest Number: 10626342 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest, ProQuest 10626342 Published by ProQuest LLC (2017). Copyright of the Dissertation is held by the Author. -
Literature and Architecture in Early Modern England Myers, Anne M
Literature and Architecture in Early Modern England Myers, Anne M. Published by Johns Hopkins University Press Myers, Anne M. Literature and Architecture in Early Modern England. Johns Hopkins University Press, 2012. Project MUSE. doi:10.1353/book.20565. https://muse.jhu.edu/. For additional information about this book https://muse.jhu.edu/book/20565 [ Access provided at 26 Sep 2021 14:14 GMT with no institutional affiliation ] This work is licensed under a Creative Commons Attribution 4.0 International License. Literature and Architecture in Early Modern England This page intentionally left blank Literature and Architecture in Early Modern England anne m. myers The Johns Hopkins University Press Baltimore © 2013 The Johns Hopkins University Press All rights reserved. Published 2013 Printed in the United States of America on acid-free paper 2 4 6 8 9 7 5 3 1 The Johns Hopkins University Press 2715 North Charles Street Baltimore, Maryland 21218-4363 www.press.jhu.edu Library of Congress Cataloging-in-Publication Data Myers, Anne M. Literature and architecture in early modern England / Anne M. Myers. p. cm. Includes bibliographical references and index. ISBN 978-1-4214-0722-7 (hdbk. : acid-free paper) — ISBN 978-1-4214-0800-2 (electronic) — ISBN 1-4214-0722-1 (hdbk. : acid-free paper) — ISBN 1-4214-0800-7 (electronic) 1. English literature—Early modern, 1500–1700—History and criticism. 2. Architecture and literature—History—16th century. 3. Architecture and literature—History—17th century. I. Title. PR408.A66M94 2013 820.9'357—dc23 2012012207 A catalog record for this book is available from the British Library. -
The Rise and Fall of the Use of Bond Timbers in Brick Buildings in England
The Rise and Fall of the Use of Bond Timbers in Brick Buildings in England Lawrance Hurst INTRODUCTION Most dictionaries define bond timber as “timber worked into a wall to tie or strengthen it longitudinally”. Bond timbers can be found in buildings world wide, usually to provide against particular distortions or risks such as earthquakes, but were a feature of virtually all brick buildings in England throughout the eighteenth century and until about the middle of the nineteenth century. Initially they were inserted in the inner skin of external and party walls, but latterly were moved to the centre of walls, where they were known as chain bond, and were incorporated in internal walls too. HISTORICAL USE Longitudinal timbers have been built into walls as reinforcement since time immemorial. Wilcox (1981) cites instances back to the ninth century BC, in the ramparts of hill forts, and many other examples through the ages. The invariable problem with identifying the use of intra-mural timbers, as Wilcox terms them, is all that usually remains is a square or rectangular void, left when the timber has rotted away and the debris has been removed by insects. This tendency to rot was one of the factors that lead to their eventual abandonment in England. Many of the examples of these bond timbers do not run all round the building, and hence were probably introduced to reinforce potentially weak areas, such as openings or a suspect foundation. Some are huge timbers, seeming far larger that can have been needed, as the 20 inches x 16 inches empty chases left in the 14th century Threave Castle in Kirkcudbrightshire (Wilcox 1981, p.21), continuing either side of window openings in the same line. -
WRAP THESIS Knott 2012.Pdf
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/57063 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. GEORGE VERNON AND THE BUILDING OF SUDBURY HALL, DERBYSHIRE Punching above his weight? Covering document submitted as part of the requirement for the degree of PhD by published work Cherry Ann Knott Department of History University of Warwick December 2012 GEORGE VERNON AND THE BUILDING OF SUDBURY HALL, DERBYSHIRE Punching above his Weight? CONTENTS Introduction 3 1. Redating Sudbury Hall 4 2. Revising approaches to seventeenth-century architectural history 6 3. Influences and choices 10 4. Implementation 17 5. The plan – public and private spheres 21 6. Conspicuous consumption 26 7. Vernon marriage strategies 34 8. Gender, management and family dynamics 40 Conclusions 49 Bibliography 51 Appendices i. Publications 58 ii. Background 59 iii. Declaration 60 2 GEORGE VERNON AND THE BUILDING OF SUDBURY HALL, DERBYSHIRE Punching above his Weight? Introduction My case study of the building of Sudbury Hall, Derbyshire, is a landmark volume within the fields of architectural and social history in the context of the development of houses of English landed gentry in the seventeenth century. 1 It is based on extensive research involving close examination of primary archival data hitherto largely unexplored. -
The Rise of Consensus, 1650 to 1760 Transcript
The Rise of Consensus, 1650 to 1760 Transcript Date: Wednesday, 2 November 2011 - 6:00PM Location: Museum of London 2 November 2011 The Rise of Consensus 1650 to 1760 Professor Simon Thurley Against the political and dynastic instability of the civil war and restoration, the subsequent crisis of the Glorious revolution of 188 England’s economy was transformed. By 1700, the country was a great power in a way it had never been before. England’s success was underpinned by a host of factors that I just haven’t time to cover in detail tonight, but they were: agricultural productivity, urbanisation, overseas trade, a credit revolution and war. These changes stimulated and were stimulated by building construction of all sorts. This was cultural shift of huge importance for building in England. Before the civil war the court was the centre of high culture and architectural impetus. By the 1660s the initiative had shifted markedly towards the middle classes, merchants, the gentry, and the middling sort of Englishmen. This is where innovation came from, these people made taste. In the 1630s the exotic cocktail of traditional forms blended with ornament from prints and sourcebooks that had dominated English architecture began to seem stale and a generation of plainer buildings, reacting against the excesses of the first thirty years of the century began to be built. So look at Forty Hall, Enfield, completed in 1629 for Sir Nicholas Raynton a rich merchant and Lord Mayor of London. Its elevations are very simple only enlivened by corner quoins, two string courses and a simple modillion cornice.