Tudor Revival architecture

Source: Wikipedia, the free encyclopedia.
"Mock Tudor" redirects here. For the Richard Thompson album, see Mock Tudor (album).
This simple cottage, Ascott House in Buckinghamshire designed c. 1876 by George Devey, is an early example of Tudorbethan influence
Gothic Revival tracery and Jacobean carved porch brackets combine in the Tudor Revival Beaney Institute, Canterbury
, built in 1899

Tudor Revival architecture, also known as mock Tudor in the UK, first manifested in domestic architecture in the United Kingdom in the latter half of the 19th century. Based on revival of aspects that were perceived as Tudor architecture, in reality it usually took the style of English vernacular architecture of the Middle Ages that had survived into the Tudor period.[1]

The style later became an influence elsewhere, especially the British colonies. For example, in

Norman Shaw and George Devey
, in what at the time was considered Neo-Tudor design.

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

Identification

Today, the term '

Tudor monarchs, between about 1485 and 1560, perhaps best exemplified by the oldest parts of Hampton Court Palace. The historian Malcolm Airs, in his study The Tudor and Jacobean Country House: A Building History, considers 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 of Elizabethan architecture among the elite, who built what are now called prodigy houses in a distinctive version of Renaissance 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 steeply

thatched roofs, gave Tudor Revival its more striking effects.[6]

History

Vine Cottage, Blaise Hamlet, John Nash, 1812
Dalmeny House near Edinburgh, 1817, by William Wilkins

Although the Gothic style remained popular in Britain well into the

Codrington Library and Front Quad at All 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 the

Gothic Revival.[9] Horace Walpole's Strawberry Hill House at Twickenham (1749–76; designed in collaboration with Richard Bentley, John Chute, and James Essex
) features elements derived from late gothic precedents.

In the group of nine cottages at

stately home in a revival of the early Tudor palace style, drawing in particular from East Barsham Manor in Norfolk, built c. 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 or

Bridge of Sighs at St. John’s College, Cambridge (1826–31). St. Luke's, Chelsea by James Savage (1824) is one of the finest early revivalist church buildings in England and shows the influence of Perpendicular Gothic
design.

20th century

See also: Stockbroker's Tudor
Lutyens' houses, here quite conventional in 1899, were to evolve still further from their Tudor roots
Minneapolis, Minnesota
, built 1928–1930
Dyker Heights, Brooklyn, New York[17]

In the early part of the 20th century, one of the exponents who developed the style further was Edwin Lutyens (1864–1944). At The Deanery in Berkshire, 1899, (right), where the client was the editor of the influential magazine Country Life,[18] details like the openwork brick balustrade, the many-paned oriel window and facetted staircase tower, the shadowed windows under the eaves, or the prominent clustered chimneys were conventional Tudor Revival borrowings, some of which Lutyens was to remake in his own style, that already predominates in the dark recessed entryway, the confident massing, and his signature semi-circular terrace steps. This is Tudorbethan at its best, free in ground plan, stripped of cuteness, yet warmly vernacular in effect, familiar though new, eminently liveable. The Deanery was another example of the "naturalistic" approach; an anonymous reviewer for Country Life in 1903 wrote; "So naturally has the house been planned that it seems to have grown out of the landscape rather than to have been fitted into it".[19] An example of Tudorbethan architecture was that seen at Greaves Hall, which was built in 1900 as a mansion house for the Scarisbrick family. Many of the features of the original building could still be seen until it was demolished in 2009.[20]

Later came

1914-18 war".[22]

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 writer Olive Cook had this debased approach firmly in her sights when she attacked, "the rash of semi-detached villas, bedizened with Tudor gables, mock half-timber work, rough cast and bay windows of every shape which disfigures 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 as Westchester County, New York and Englewood and Teaneck, 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 in John Betjeman's 1937 poem Slough, where "bald young clerks" gather:

And talk of sport and makes of cars
In various bogus-Tudor bars
And daren't look up and see the stars.[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 the

Western US), Tudor Revival may be placed directly next to an unrelated style such as French or Italian Provincial, resulting in an eclectic mix. The style has also been deployed for commercial developments; the architectural historian Anthony Quiney describes the Broadway Centre in the London borough of Ealing, "dressed out with brick and tile, arches, gables and small window panes, all to put a smile on a friendly face - the mask of tradition".[29]

21st century

Mock Tudor house in Greenock, Scotland

Many British builders include variations on Tudorbethan in the range of styles they draw on, and the style tends to be associated with

modernism
associated with the mid-20th century, few architects are known for buildings which could be called "Tudorbethan".

In modern structures, usually on estates of private houses, a half-timbered appearance is obtained by applied decorative features over the "real" structure, typically wood stud framing or concrete block masonry. A combination of boards and

Mediterranean, and French villa style homes have superseded them in popularity.[32]

Evolution

Leyswood, after the architect's drawings

The Tudor Revival style was a reaction to the ornate

Gothic Revival of the second half of the 19th century. Rejecting mass production that was introduced by industry at that time, the Arts and Crafts movement, closely related to Tudorbethan, drew on simple design inherent in aspects of its more ancient styles, Tudor, Elizabethan and Jacobean.[33]

The Tudor style made one of its first appearances in Britain in the late 1860s at

Norman Shaw. Shaw sketched out the whole design for the "future fairy palace" in a single afternoon, while his client Lord Armstrong and his guests were out on a shooting party.[34] Pevsner noted 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 the vernacular tradition of the North-East of England,[35] but the architectural historian Mark Girouard explained Shaw's picturesque motivation; desiring it for "romantic effect, he reached out for it like an artist reaching out for a tube of colour".[36]

At approximately the same time, Shaw also designed Leyswood near Withyham in East 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 only commonly 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 the Great Hall and Library at Lincoln's Inn in central London, built in the late 1840s.[40][41] The architect was Philip Hardwick, better known for the classical Euston 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 on

Elizabeth I and James VI. "Tudorbethan" took it a step further, eliminated the hexagonal or many-faceted towers and mock battlements of Jacobethan, and applied the more domestic styles of "Merrie England", which were cosier and quaint. It was associated with the Arts and Crafts movement. Outside North America, Tudorbethan is also used synonymously with Tudor Revival and mock Tudor.[44]

Half-timbering

Two semi-detached cottages at Mentmore appear as one Tudor-style house, built circa 1870
Built circa 1934, the J. Deryl Hart House includes half-timbering on the second and third floors.
The Liberty & Co. department store in London, built in 1924 to emulate a half-timbered mansion.

From the 1880s onward, Tudor Revival concentrated more on the simple but quaintly

Hampton Court or Compton Wynyates. Large and small houses alike with half-timbering in their upper storeys and gables were completed with tall ornamental chimneys, in what was originally a simple cottage style. It was here that the influences of the arts and crafts movement
became apparent.

Tudor Revival houses are dissimilar to the

timber-framed structures of the originals, in which the frame supported the whole weight of the house. Their modern counterparts consist of bricks or blocks of various materials, stucco, or even simple studwall framing, with a lookalike "frame" of thin boards added on the outside to mimic the earlier functional and structural weight-bearing heavy timbers. An example of this is the "simple cottage" style of Ascott House in Buckinghamshire. This was designed by Devey for the Rothschild family, who were among the earliest patrons and promoters of this style.[45] Simon Jenkins suggests 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 of rag-stone footings to 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 some

estate villages were rebuilt to resemble what was thought to be an idyllic Elizabethan village, often grouped around a village green and pond; Mentmore in Buckinghamshire is an example of this, Pevsner noting the "Arts-and-Crafts (and) cottage orné" building styles.[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 historian James Stevens Curl considered "one of the most significant of English contributions to architecture".[50] An example is the "Tudor Village" constructed by Frank Loughborough Pearson for his client William Waldorf Astor at Hever Castle in Kent. Pearson went to considerable lengths to source genuine Elizabethan building materials for the cottages, including stone, tiles and bricks,[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 is Liberty & Co. department store in London, which was built in the style of a vast half-timbered Tudor mansion. The store specialised, among other goods, in fabrics and furnishings by the leading designers of the Arts and Crafts movement.[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".

middle-class Victorian small household. An example of a Tudor Revival house where the exterior and interior were treated with equal care is Old Place, Lindfield, West Sussex. The property, comprising an original house of c.1590, was developed by the stained glass designer Charles Eamer Kempe from the 1870s. The architect George Frederick Bodley described the rooms as "a series of pictures" and an article in Country Life asking whether "anything could be more English in character than Old Place", was written when much of the house was barely 10 years old.[61]

In some of the larger Tudor style houses the Tudor great hall would be suggested by the reception hall, often furnished as a sitting or dining room. Large wooden staircases of several flights were often prominently positioned, based on Jacobean prototypes. It is this mingling of styles that has led to the term Jacobethan which resulted in houses such as Harlaxton Manor which bore little if any resemblance to a building from either period. Hall notes the influence of Burghley House and Wollaton Hall, "fused with ideas drawn from Continental architecture of the seventeenth and eighteenth centuries".[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 were

pansy' monk".[64] The novelist E. F. Benson satirised the style in his book Queen Lucia; "the famous smoking-parlour, with rushes on the floor, a dresser ranged with pewter tankards, and leaded lattice-windows of glass so antique that it was practically impossible to see out of them...sconces on the walls held dim iron lamps, so that only those of the most acute vision were able to read".[65]

Gallery

Europe

North America

Australia and New Zealand

Explanatory footnotes

  1. ^ Wren consciously set out to imitate Cardinal Wolsey's architectural style. Writing to Dean Fell in 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". Pevsner suggests that he succeeded "to the extent that innocent visitors never notice the difference".[7]
  2. ^ Nash also undertook the design of a number of larger mansions in the Tudor style, of which Longner Hall in Shropshire is the only surviving example.[11]
  3. ^ Pevsner describes Wilkins' Dalmeny as "the finest of his houses in (the Tudor Gothic) style". The Roseberys originally lived at Barnbougle 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]
  4. ^ Pevsner records that the timbers used on Liberty's Great Marlborough Street frontage were the "real article (sourced) from genuine men-of-war, the Hindustan and the Impregnable" and that, unusually for Tudor Revival buildings, they were "pegged and mortised, not just stuck on".[53]
  5. Dawpool Hall on the Wirral.[56] One of these now forms the porch of The Pantheon at Portmeirion[57] and the other went unsold on eBay in 2012.[58] Shaw's biographer, Andrew Saint writes, "inglenooks are the decorative pièce de résistance of the Shaw country house".[59]

Citations

  1. ^ "Tudor Revival". Oxford Reference. Retrieved 2024-01-18.
  2. ^ Airs 1995, Introduction.
  3. ^ Summerson, Chapter 1 to 4 cover this period; this brief summary is rather over-simplified.
  4. ^ Airs 1995, Foreword.
  5. ^ Summerson, 23
  6. ^ Curl 1990, p. 83.
  7. ^ Sherwood & Pevsner 2002, pp. 110–111.
  8. ^ Summerson, 235-236
  9. ^ Summerson, 366-376, 447-452
  10. ^ Davis 1960, p. 72.
  11. ^ Davis 1960, p. 28.
  12. ^ Aslet and Power, 151-152; Summerson, 451
  13. ^ McWilliam 1978, pp. 170–172.
  14. ^ Historic Environment Scotland. "Dalmeny House, including Terrace, Garden Walls, Railings, Gates and Gatepiers (Category A Listed Building) (LB82)". Retrieved 14 July 2019.
  15. ^ Aslet and Power, 152-153 (153 quoted), 158-159, 162
  16. ^ Aslet and Power, 162-163
  17. ^ "Saitta House – Report Part 1 Archived 2008-12-16 at the Wayback Machine",DykerHeightsCivicAssociation.com
  18. ^ Hussey 1989, p. 95.
  19. ^ Hall 1994, p. 178.
  20. ^ Bona-SOU, Emilia (July 6, 2016). "133 homes planned for former Greaves Hall site". southportvisiter.
  21. ^ Aslet & Powers 1985, p. 248.
  22. ^ a b Nairn, Pevsner & Cherry 1971, p. 177.
  23. ^ Tinniswood 2016, pp. 62–64.
  24. ^ Tinniswood 2016, p. 63.
  25. ^ a b Cook 1984, p. 307.
  26. ^ "5 Sweet Southern Westchester Neighborhoods To Explore". Westchester Magazine. 21 January 2015. Retrieved December 22, 2018.
  27. ^ "Brewery History: 119, pp. 2-9". www.breweryhistory.com.
  28. ^ "Slough - John Betjeman". www-cdr.stanford.edu.
  29. ^ Quiney 1990, p. 214.
  30. ^ Ryan 2018, p. 146.
  31. ^ "Tudor Style Homes with Faux Planks". Faux Wood Workshop.
  32. ^ "What is Tudor Revival style?- Elizabethan - Tudorbethan - Mock Tudor - Architecture". www.antiquehomestyle.com.
  33. ^ Dean, p250-251
  34. ^ Saint 2010, p. 80.
  35. ^ a b Pevsner & Richmond 2002, p. 244.
  36. ^ Girouard 1979, p. 312.
  37. ^ Turnor 1950, p. 101.
  38. ^ Aslet and Power, 162-164
  39. ^ "Queen Anne". Architecture Styles of America and Europe. October 17, 2011.
  40. ^ Historic England. "New Hall (Grade II*) (1379298)". National Heritage List for England. Retrieved 3 July 2019.
  41. ^ Historic England. "New Hall Library (Grade II*) (1379299)". National Heritage List for England. Retrieved 3 July 2019.
  42. ^ Physick & Darby 1973, p. 153.
  43. ^ Hall 2009, p. 98.
  44. ^ "Modern era buildings: a spotters' guide". The Guardian. September 10, 2011 – via www.theguardian.com.
  45. ^ Robinson, P8
  46. ^ Jenkins 2003, p. 21.
  47. ^ Davey 1995, p. 90.
  48. ^ Allibone 1991, p. 101.
  49. ^ Pevsner & Williamson 2003, p. 475.
  50. ^ Curl 1990, p. 80.
  51. ^ Aslet 2013, p. 53.
  52. ^ de Moubray 2013, p. 50.
  53. ^ a b Bradley & Pevsner 2003, p. 456.
  54. ^ Aslet and Power, 248
  55. ^ Saint 2010, p. 45.
  56. ^ Saint 2010, p. 290.
  57. ^ "The Pantheon, Portmeirion". www.coflein.gov.uk. RCAHMW. Retrieved 18 September 2018.
  58. ^ Wainwright, Martin (19 January 2012). "Titanic owner's massive white elephant lumbers on to eBay". The Guardian. Retrieved 18 September 2018.
  59. ^ Saint 2010, p. 137.
  60. ^ Robinson, p9
  61. ^ Hall 2009, p. 164.
  62. ^ Hall 2009, p. 26.
  63. ^ Aslet 1982, p. 173.
  64. ^ Aslet 1982, p. 179.
  65. ^ Aslet 1982, p. 174.

General and cited references

External links

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