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Three Periods of English Architecture MBMTRAND SMITHS BOOK STORE M# PACIFIC A VENUS LONG BEACH. CALTP. THREE PERIODS OF <$> ENGLISH ARCHITECTURE. IMPORTED BY CHARLES SCRIBNER'S SONS, NEW YORK. THREE PERIODS^ OF ENGLISH ARC HITECTURE BY THOMAS HARRIS F R I B A- FSANI«$> B-T-BATSFORDf LONDON f 1 894 CHISWICK PRESS : —CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON. PREFACE. the following pages much is advanced which may- INjustify the charge of lack of novelty. It is, however, the author's intention to be little more than " a gatherer and disposer of other men's stuff," his object being to advance the cause of architectural progress, not so much by enunciating his own views, as by showing how much has been said on the subject by others. This will explain the apparent abruptness of some of the quotations, they being, for the most part, introduced with little attempt at constructive arrangement, where they appeared to best elucidate the text, or to lend the authority of some well- known name to the proposition under consideration ; but they will be found to form a kind of thought mosaic, each one either helping to strengthen, or in some cases to tone down, the others with which it is connected. The progress herein alluded to has found many advo- cates at the Royal Institute of British Architects, and names of the highest repute are associated with it. Archi- tectural publications, both here and in America, have frequently given expression to the longing for relief from the bondage to which the profession has been so long subject, and from the delusions which have militated against the clear apprehension of the destiny of their art. vi Preface, The author is not actuated by any desire to assume a position in advance of that taken by many of his profes- sional brethren, but rather to point out to them how far they are committed to a progressive policy in their art, and to invite them, as a body, in the words of many of their leading members, to consider the principles which, as shown in the following pages, have been on all hands so generally expressed, but which few, if any, have en- deavoured to carry into practice. It is doubtful whether the fact, that so little progress has been made in this direction, is to any great extent attribu- table to the opposition of the public, since they have in kindred matters gradually cast aside their prejudices, and become educated to accept the great changes necessitated by scientific progress. It therefore appears but little likely that they would long oppose that development of architecture, which has for some time been the subject of so much thought and anxious solicitude, and which, if architecture is ever again to become a reality, must sooner or later be attempted in earnest by the profession. The engineer has adopted new materials and new constructive methods to meet the new requirements of his time ; and though these at first met with considerable opposition, sentimental or otherwise, his perseverance has finally overcome every obstacle, and that engineering works should mainly be constructed in metal is now unquestioned. He has fought the battle for him- self, and by his success has made comparatively easy, the task which the architect likewise, must nerve himself to accomplish. Preface. vii The true awaking of architecture from the state of lethargy in which it has so long remained may probably be a slow process ; but when fully attained, will conse- quently be the more enduring. I take this opportunity of thanking numerous friends for their kind assistance, especially in suggesting works for reference ; also Mr. J. A. Gotch for permission to reproduce part of the Entrance Front to Bramshill from his work, " The Architecture of the Renaissance in England." Thomas Harris, F.R.I.B.A. 6, Southampton Street, Bloomsbury, W.C. June 3Qt/i, 1894. — AUTHORITIES CONSULTED. " E. M. Barry . Lectures on Architecture." " The Architectural Antiquities of Great Britton J. Britain." "Art Applied to Industry." W. Burges " External Architectural Decoration." T. H. Clarke and W "The History and Description of East- H. Black bury House." Lewis F. Day . Cantor Lectures, 1893. "The Nature and Functions of Art, L. Eidlitz more especially of Architecture." " The Application of Cast and Wrought- W. Fairbairn . iron to Building Purposes." "An Historical Enquiry." " J. Fergusson . Handbook of Architecture." " History of Architecture." E. A. Freeman " History of Architecture." " W. Harrison . Hollinghead Chronicle." "Annals of an Old Manor House F. Harrison . Sutton Place, Guilford." J. Hakewell . " Elizabethan Architecture." T. G. Jackson, M.A. " Modern Gothic Architecture." " Gleanings from the Great Exhibition O. Jones . of 1851." " Lectures on Architecture." " Newleafe Discourses." Editorial Remarks on the third edition R. Kerr . of Fergusson's "History of Architec- ture." " E. Law History of Hampton Court Palace in Tudor Times." Sir F. Leighton . "Royal Academy Discourse, 1879. " W. J. Loftie . Inigo Jones and Wren." William Morris . " Gothic Architecture." "The Mansions of England in the J. Nash . Olden Time." " J. H. Parker . Glossary of Architecture." "The Renaissance and Italian Styles of W. Papworth . Architecture in Great Britain," etc. " J. W. Richards, M.A. Aluminium." " C. J. Richardson . Studies from Old English Mansions." X A uthorities consulted. " Poetry of Architecture." " J. Ruskin. Stones of Venice." " Lectures on Art." " Gothic Architecture, Secular and Do- Sir G. G. Scott . mestic." " Montgomery Schuyler American Architecture : Studies." " J. W. Root Homes in City and Country." " J. D. Sedding . Art and Handicraft." " Brick and Marble Architecture in the G. E. Street . Middle Ages." " Gothic Architecture in Spain." H. Taylor " Old Halls in Lancashire and Cheshire." " Some Account of Domestic Architec- J. H. Turner . ture in England." R. R. Tighe and J. " Annals of Windsor." Davis . f " Lectures on Architecture." " E. VlOLLET-LE-DUC Dictionnaire Raisonne de l'Architec- ture." " The Habitations of Man in all Ages." "What are the Prospects of Good Cardinal Wiseman " Architecture in London ? Bernard Whelan . "An Architect in Exile." THE JOURNAL AND TRANSACTIONS OF THE ROYAL INSTITUTE OF BRITISH ARCHITECTS. Papers and Discussions by the following : G. AlTCHISON. Gambier Parry. E. Ingress Bell. J. Reade. Professor Baldwin Brown. M. Reade. Professor Donaldson. P. Seddon. C. H. Driver. Sedille. W. Emerson. Phene Spiers. Starkie Gardner. J. Tarver. J. B. Gass. Waterhouse. A. Graham. H. White. F. Grainger. Sir M. Digby Wyatt. " The Ecclesiologist." " Instrumenta Ecclesiastica," Second Series. " The Builder." " The Building News." " The Journal of the Clerk of Works Association." " The Architectural Association Sketch Book." " The Studio." " The Engineer." " The Morning Post." " The Pall Mall Gazette." LIST OF ILLUSTRATIONS IN THE TEXT. FIG. PAGE 1. Pooley Hall, Warwickshire 4 2. South Aisle, Dunkeld Cathedral 7 3. Window Tracery, Layer Marney, Essex . .17 4. Quadrangle, Sutton Place, Surrey . .18 5. Bareham Church, Suffolk 20 6. Wollas Hall, Worcestershire 22 7. Tracery, Lavenham Church, Suffolk . .25 8. Main Cornice, Layer Marney, Essex . .27 9. Nonsuch Palace, Surrey 28 10. Figures, Canonbury Towers and Waltham Cross . 33 11. Battlements, Montacute House, Somersetshire, and Charlton House, Wilts 36 12. Old Farm-house, Duston, Northamptonshire . 47 PLATES. NO. I. Plans 4 II. King's College Chapel, Cambridge .... 6 III. Bramshill, Hants 15 IV. Longleat, Wilts 15 V. Gate-house, Stokesay Castle, Salop . .35 VI. Gate-house, Oxborough Hall, Norfolk . .37 VII. Holland House, Kensington 40 ERRATA. Page 15, line 16 from top, for " Longleats," read " Longleat." Page 28, line 3 from bottom, for " Sheen," read " Cheam, Surrey." u Page 43, footnote, for "dadoes," read hangings thus used." Page 80, line 2 from top, for " of the Classic periods," read " without exception." Page no, line 9 from bottom, omit "the discovery of." Page 174, line 15 from top, omit "although." THREE PERIODS OF ENGLISH ARCHITECTURE. FIRST PERIOD—AT WORK. B " If antique and Renaissance architecture fail to supply the needs of the nineteenth century because of imperfect construction and imperfect aesthetic development, mediaeval styles do not supply modern needs because of a failure to express modern ideas, although their facilities of construction and their aesthetic possibilities would not make it very difficult, under the system as it exists, to reach a perfect representation of later ideas in those styles. Yet when the work is done, the resulting monuments would bear but little resemblance to mediaeval monuments —at least not to the eye of the mere connoisseur in forms."—LEOPOLD Eidlitz, The Nature and Functions of Art\ etc., p. 375. ; AT WORK. must have often been remarked, by those interested ITin the subject of the architecture of our country, by what regular steps the domestic plan was evolved ; how gradually it was developed from the earliest type and had adapted itself to the progressive requirements of each period, one phase almost imperceptibly gliding into its successor its onward course but slightly interrupted even by the troublous and stirring times which have made the sixteenth century famous in our annals. But whilst the plan con- tinued to preserve its characteristics with but few modifica- tions, allied to the style with which, up to the Renaissance, it was so closely associated, the alien style ultimately over- came the indigenous Tudor, and the anomalous adaptation of foreign features to the English plan was introduced. So familiar
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