CHAPTER XIV._The Growth of the English House A short history of its architectural development from 1100 to 1800

LATE SEVENTEENTH AND EIGHTEENTH

CENTURIES--INTERIORS--DETAILS

AND FEATURES.

The gradual change in character which has been traced in the external

treatment of houses of the later part of the seventeenth century and

of the eighteenth is also to be found in the internal decoration. The

exuberant and vivacious detail of Elizabethan and Jacobean work gave

way to the more sober and scholarly rendering of Inigo Jones, Webb,

Wren, and their successors. The walls, the doors, the windows, the

chimney-pieces, the ceilings, and the staircases were alike affected.

Throughout the seventeenth century and well into the eighteenth the

ancient methods of covering the walls prevailed; either with hangings

or with panelling. The panels, however, became much larger; instead

of being 12 or 15 in. wide, they were 3 ft. or more, and high in

proportion. Hitherto they had usually been made in one sheet from floor

to cornice; sometimes, however, a dado had been introduced; that is a

range of panels near the floor, surmounted by a horizontal moulding

which made the circuit of the room at the height of about 3 ft. from

the floor, thus dividing the panelling into two unequal ranges, a

low one below, and a lofty one above. This arrangement, instead of

being the exception, now became the rule. The pilasters and cornices

were more carefully and correctly designed--both those of the walls

and those which embellished the doorways. The broken pediment was

introduced, and not infrequently the blank space left where the apex of

the completed pediment would have been was filled with a cartouche of

arms surrounded by foliage, and linked to the adjacent work by heavy

swags of fruit and leaves (Fig. 195). All the detail was carefully

designed, both as to its proportion, its purity of outline, and its

suitable decoration with carving. Yet withal there was a freedom and

variety of treatment, a charming absence of too formal restraint,

which were a legacy from the lighthearted and irresponsible methods of

earlier days. At Thorney Hall in Cambridgeshire there is some excellent

panelling of this kind (Fig. 181). It has been attributed to Inigo

Jones, but from its close resemblance to the work at Thorpe Hall (Fig.

194), it may be more safely assigned to his pupil and successor, John

Webb.

[Illustration: 181. Panelling in the Dining-room at Thorney Hall,

Cambridgeshire.]

[Illustration: 182. Typical Panel Mouldings of the Eighteenth Century.]

The mouldings of the panels became bolder; instead of being narrow and

kept within the face of the surrounding woodwork, they grew to 3 in.

or more in width and projected considerably beyond the face; the panel

itself, instead of being recessed from the framing, not infrequently

stood out in front of it (Fig. 182). The carving followed the same

tendency; instead of being flat in section, delicately modelled in

conventional designs, and kept in subordination, adding an unobtrusive

interest to the surrounding work, it asserted its independence, grew

high in relief, assumed naturalistic forms, and challenged admiration

on its own account. This is particularly noticeable in Grinling

Gibbons’ carving, which excites admiration by its life-like modelling

and wonderful execution, yet often induces the feeling that it has

been too eager to throw off the wholesome restraints of architectural

treatment.

[Illustration: 183. Boughton House, Northants (_cir._ 1700).

View in State Apartments.]

[Illustration: 184. House in Buckingham Street, Strand, London (1675).]

[Illustration: 185. Wilton House, Wiltshire.

Chimney-piece in the Single Cube Room (_cir._ 1648).]

[Illustration: 186. House in Hatton Garden, London. (Now destroyed.)]

The large panels, the dado, the bold bolection mouldings are everywhere

in evidence at Boughton House, where suites of rooms, opening one

from the other, afford long vistas through lofty doors (Fig. 183).

There is an excellent example in a house (now rebuilt) in Buckingham

Street, near the Strand (Fig. 184), built about 1675; a house which was

the residence of Peter the Great while he was studying at Deptford.

By the middle of the seventeenth century pilasters, as a means of

dividing wall-panelling into bays, had gone out of fashion; their

place was sometimes taken, as at Wilton, by carved drapery or

flowers apparently hung on the wall (Fig. 185); but even this attempt

at grouping the panels was subsequently relinquished, and the walls

became covered with nothing but the large panels, crowned with a good

cornice and relieved by the dado, the windows, the doors, and the

chimney-piece. This simple but satisfactory treatment may be seen in

numberless houses of the time of Queen Anne and the early Georges,

where the panelling consists of nothing more than slightly raised

panels, surrounded by the plainest of mouldings (Fig. 186). Later in

the century the wood panelling disappeared, and its place was taken

by panels sunk in the plaster of the walls, such as Abraham Swan

shows in his “Designs of Architecture” (Fig. 187), or by the more

elaborate plaster panels of the old War Office (Fig. 188) attributed to

Brettingham; or yet again by wallpaper, such as is familiar to every

one in the present day.

[Illustration: 187. Treatment of One Side of a Room.

_From Abraham Swan’s “Designs in Architecture”_ (1757).]

[Illustration: 188. Room in Old War Office, formerly Cumberland House,

Pall Mall (1760–67).

(Now destroyed.)

_Matthew Brettingham, Architect._]

[Illustration: 189. Doorway at Cark Hall, Lancashire (_cir._

1623).]

A considerable amount of attention was bestowed upon doors and

doorways, both external and internal. In Jacobean times external

doorways were tolerably simple in themselves, and they were generally

set back inside a porch, which was entered through a semicircular

archway flanked by pilasters or columns carrying a frieze and cornice.

Typical examples may be seen at Felbrigge Hall (Fig. 118) and Gayhurst

(Fig. 126). This method was carried on during the first quarter of

the seventeenth century. A later treatment occurs at Cark Hall,

Lancashire, where almost detached columns support a bold semicircular

pediment which encloses a heavy wreath surrounding a coat of arms (Fig.

189).

[Illustration: 190. Doorway formerly in Sherborne Lane, London.]

[Illustration: At Petworth. At Godalming.

191. External Doorways.]

[Illustration: 192. Manor House at Rothwell, Northamptonshire

(_cir._ 1720).

Entrance Doorway.]

[Illustration: 193. Raynham Hall, Norfolk (_cir._ 1636).

A Doorway.]

In the eighteenth century a pediment over external doors became the

established fashion, as a reference to the illustrations of the

smaller houses (Figs. 171–173) will show. It rested either on a bold

architrave, or on pilasters. If not a pediment, then there would be a

bold hood generally fashioned internally in the similitude of a huge

shell, such as may be seen at Burwash (Fig. 170), or, more at large,

in a doorway which once stood in Sherborne Lane, London (Fig. 190).

At first the pilasters and pediment were of stone, but later on they

were made of wood protected from the weather by a covering of lead.

Very charming features of this kind may be seen in almost any old

country town; two illustrations, from Petworth and Godalming, are given

in Fig. 191. It will be seen that each of them has an arrangement

characteristic of the age in the shape of a fanlight over the door,

a simple but really ingenious device for obtaining light where the

entrance hall was not wide enough to allow of a window. The fanlight

was always divided into comparatively small spaces by bars gracefully

curved; and it is surprising to what a variety of pleasing designs this

fashion led. Much fancy was displayed in the embellishment of doorways

long after windows had become mere oblong apertures relieved only by

stout cross-bars. Even when the bulk of the windows were thus plain, a

central feature was sometimes contrived by adopting a special treatment

of the window over the door, as in the case of the manor house at

Rothwell (Fig. 192).

[Illustration: 194. Thorpe Hall, Northamptonshire (_cir._ 1656).

Doorway and Panelling.]

Internal doorways in Jacobean times had frequently been lavishly

ornamented, and the desire to achieve a handsome result had

occasionally led to an extraordinary elaboration. In this respect, as

in others, the cultivated taste of trained architects, such as Inigo

Jones and Webb, led to a more sober and carefully calculated result.

This may be seen at Raynham Park (Fig. 193) by Jones, and at Thorpe

Hall (Fig. 194) by Webb, where there is a delightful mixture of freedom

and austerity. Then came Wren with his massive and masculine hand, of

which the influence, although probably not immediate and direct, is

visible in the doorways at Combe Abbey (Fig. 195) and Love Lane (Fig.

210).

A type of general treatment became firmly established. The very large

panels of the end of the seventeenth century, such as those adopted at

Love Lane, gave place to smaller. Instead of two, doors had six or even

more panels. They were surrounded by a bold architrave, and surmounted

by an overdoor consisting of frieze and cornice, as may be seen in

the example from Hatton Garden (Fig. 186); from the book of Abraham

Swan (Fig. 187); from the old War Office (Fig. 188); or from the later

houses shown in Fig. 196. All the component parts of the design--the

architrave, the frieze, the cornice--lent themselves to enrichment by

carving. But this was generally applied with discretion, and with a

well-regulated wish to heighten the effect without overdoing it. The

carving changed in character with the lapse of years. In the early part

of the century it retained the boldness imparted by Wren and Vanbrugh,

but gradually its vigour gave way to the delicacy and refinement

associated with the names of the brothers Adam, of which type an

excellent example is shown from Sheen House (Fig. 196, _b_).

[Illustration: 195. Doorway at Combe Abbey (1686).

Probably designed by Captain Wynne.]

[Illustration: 196. Three Internal Doorways.

_a._ From a House in Whitehall Gardens (before 1727).

_b._ From Sheen House, Richmond.

_c._ From Cumberland House (Old War Office, 1760–67).]

[Illustration: 197. Chimney-piece from Raynham Hall.]

The same gradual changes which took place in the design of doorways

also characterise the treatment of chimney-pieces. The small detail

and elaborate ornament of the Jacobean style gave way to a simpler and

larger handling. Already towards the close of the Jacobean period

much of the exuberant carving and fretwork of earlier times had been

dropped, and in its place simple columns and moulded panels had been

adopted. The obvious division of a chimney-piece into two stages, one

surrounding the fireplace, and the other filling the wall space above

it--a division which is most easily described by the rather hackneyed

terms mantel and overmantel--became more emphasised than it had been.

Many of the chimney-pieces of the time of Elizabeth and James are so

largely designed, both in size and scale, that they strike the beholder

as one composition rather than as two halves. With the simplification

of the detail, the two-fold character became more apparent. The space

above the fireplace was often panelled after the same general fashion

as the rest of the room, but with some special treatment to emphasise

its important position. The chimney-piece consequently became a

one-storey feature. This is the case in the room at Wilton (Fig. 185),

and also in a minor degree at Raynham Hall (Fig. 197). But concurrently

with this treatment went another, which, while adopting the division of

mantel and overmantel, kept them both in complete harmony, and made one

feature of them. Good examples of this were to be found in the house

in Hatton Garden, now destroyed (Figs. 186, 198). The blank space in

the overmantel in Fig. 186 was probably occupied by a picture, for it

was a frequent custom to insert in the panel over the fireplace some

agreeable but unexciting subject, such as a flowerpiece or a landscape

diversified with architectural ruins; something which should inspire

a mild interest by its harmonious colour and peaceful rendering. A

typical chimney-piece of the early eighteenth century is reproduced

from an original drawing by the architect James Gibbs in Fig. 199. This

was clearly meant to be completed by a picture. Another example of a

similar kind is that from a house in Whitehall Gardens (Fig. 200),

which closely resembles one of Kent’s designs. Sometimes instead of a

picture a mirror was introduced in this position; but as large sheets

of glass were not yet procurable, the mirrors were made long and low,

and not infrequently in three divisions of which the middle one was

circular headed.

[Illustration: 198. Chimney-piece from a House in Hatton Garden,

London. (Now destroyed.)]

The treatment adopted about the middle of the century may be gathered

from the illustration taken from Swan’s book (Fig. 187); while that of

a few years later is shown in the specimen from Lansdowne House by the

brothers Adam (Fig. 201). Here it will be seen that the chimney-piece

is an isolated feature, not part of a general scheme of architectural

decoration, for the walls are papered, and the only reminiscence

of the more monumental treatment of past times is the dado-rail. It

was before some such fireplace as this, but simpler and less ornate,

that Cowper sat on a winter evening when he heard the post-boy’s horn

sounding along the “wearisome but needful length” of the country

bridge, and called upon his companion to

“Stir the fire, and close the shutters fast,

Let fall the curtains, wheel the sofa round,

And while the bubbling and loud hissing urn

Throws up a steamy column, and the cups

Which cheer but not inebriate, wait on each,

So let us welcome peaceful evening in.”

Except that the urn and the shutters have gone out of fashion, the

picture might have been drawn in the present day, so far have we

travelled from the central hearth of the Gothic hall. The stirring of

the fire is a touch that reminds us of the disappearance of the open

hearth, and the adoption of the fire-grate in its stead--a change

which had occurred some sixty or seventy years before Cowper published

his “Winter Evening” in 1785. No exact date can be assigned to the

alteration, just as no exact date can be given to the practice of

papering walls instead of panelling them or hanging them with tapestry.

But in an inventory of two country houses belonging to a director of

the South Sea Company, made in 1720, it is obvious that although grates

were already in use the open hearth was still prevalent. Many of the

rooms had fire-dogs, shovels, and tongs, but no poker; while others had

a grate, shovel, tongs, and poker, but no fire-dogs. It is the dogs

which were essential to the open hearth in order to keep the logs of

wood in position, for wood was the fuel of the ancient fire; and it is

the poker which was essential to the grate in order to break the coal,

and coal was the fuel of the modern fire. The intermediate step was

the dog-grate, which was in its essence a firebasket holding coal, and

placed in the old, large, open recesses. This expedient, however, was

not entirely successful. The huge flues of the old days did not draw

away the smoke from the small coal fires adequately; coal smoke is far

more pungent and disagreeable than wood smoke; and therefore the next

step was to increase the draught by combining with the grate a shield

which should close the large opening of the open hearth, or by building

it up with brickwork. The result was the first ancestor of the modern

grate.

[Illustration: 199. Chimney-piece designed by James Gibbs.

_From an Original Drawing by the Architect._]

[Illustration: 200. Chimney-piece in a House in Whitehall Gardens,

London (before 1727).

This chimney-piece closely resembles one in Kent’s “Designs of Inigo

Jones,” plate 63.]

[Illustration: 201. Chimney-piece from Lansdowne House, London

(_cir._ 1765).]

[Illustration: 202. Plaster Frieze at Coles Farm, Box, Wiltshire

(1649).]

[Illustration: 203. Plaster Frieze at Coles Farm, Box.]

Just as the small panels of Jacobean woodwork gave way to the large

panels of Wilton House and Boughton, so were the busy ceilings of

the early seventeenth century gradually superseded by a more massive

treatment. The older treatment survived in remote places till half-way

through the century, and a plaster frieze of 1649, from Coles Farm,

near Box in Wiltshire (Figs. 202, 203), shows how the old forms

lingered on, although losing some of their vitality. The pattern in

these busy ceilings covered the whole area, and the ground of the area

was unbroken except by the pattern; any constructional beams that were

required were concealed. But in course of time the beams asserted

themselves, and were so arranged, with the addition of heavy ribs

forming circular, oval, or octagonal panels, as to divide the area

into several large spaces, thus breaking it up into deeply recessed

divisions. The ornament, instead of being spread over the whole ceiling

equally, was concentrated on and near the beams and ribs. The whole

character of the ceiling was altered: instead of being a large, evenly

fretted surface, it was broken up into several massive bays, which gave

it a heavier and more monumental appearance. As in the wood-carving so

in the plasterwork, much greater relief was aimed at, and in some of

the finest ceilings of the time of William and Mary much of the work

is so detached as to require a framework of wire for its foundation.

This large way of handling the ceiling prevailed throughout the latter

half of the seventeenth century, and is exemplified by the work at

Thorpe Hall (Fig. 204), designed by Webb, the house in Buckingham

Street (Fig. 184), and a house in Warwick Square in the city, once

the home of a wealthy merchant (Fig. 206). It survived in occasional

examples till towards the close of the eighteenth century. Ware held

it to be sufficiently in vogue to justify him in giving instructions

as to the treatment of ceilings, and the design in Fig. 205 gives an

excellent idea of the system and of the contrast it presents to

Jacobean methods. An example of yet later date is in a room at the old

War Office (Fig. 188), but here the main lines are unconstructional in

their shape: the subsidiary ornament is of the delicate type associated

with the last quarter of the eighteenth century.

[Illustration: 204. Ceiling from Thorpe Hall, Northamptonshire

(_cir._ 1656).]

[Illustration: 205. Ceiling designed by Isaac Ware.]

[Illustration: 206. Ceiling from a House in Warwick Square in the City

of London (_cir._ 1707).]

[Illustration: 207. Room in a House in Whitehall Gardens, London,

showing Flat Treatment of Ceiling (late 18th cent.).]

Concurrently with the massive treatment just described, the eighteenth

century saw a reversion to the old idea of treating the ceiling as

one large flat surface and covering it with ornament in low relief. A

specimen of this type is seen in the house in Whitehall Gardens (Fig.

207). The relief is very low, and the ornament is of the discursive

rococo type, wanting in an easily intelligible _motif_. In equally

low relief were the ceilings designed by the brothers Adam, but their

forms were intelligible, and the modelling was full of delicacy and

refinement. A characteristic example of their work is that from a house

in Mansfield Street, London (Fig. 208). In a great number of houses,

especially the ordinary unimportant house, the ceilings throughout

the eighteenth century were quite plain. The rooms depended for their

interest upon the panelling, the chimney-piece, and the well-moulded

cornice, which not infrequently was carried along the ceiling beams,

introduced in order to lessen the depth of the floor joists by

shortening their bearings to 7 or 8 ft.

An entirely different kind of ceiling, which had a vogue of some fifty

years, must not be overlooked. It belongs perhaps less to the domain

of architecture than to that of painting, namely the painted ceilings

associated with the names of Verrio and Laguerre. Verrio was brought

over to England by Charles II., and he died in 1707. Laguerre, whom

he employed, and who carried on the style after Verrio’s death, lived

till 1721. With him the interest ceased, although Sir James Thornhill

went on painting ceilings for another dozen years. It is only in

great houses or public buildings that this phase of decoration is to

be found. The ceiling was regarded as a vast canvas, and certainly

no previous painter had enjoyed so wide a field for the display of

his conceptions. As a rule both Verrio and Laguerre succeeded in

avoiding the weighting of their ceilings with too ponderous matter.

Their favourite subjects were gods and goddesses seated upon clouds,

and some very clever drawing and painting they produced. Their work

cannot well be compared with that of masters working under the ordinary

conditions of a movable canvas, controllable light, and a vertical

position for manual execution. Were their masterpieces more easily

studied than by looking upwards at a ceiling, they would probably

be held in higher esteem. Some idea of the effect of this method of

decoration may be gathered from Fig. 209, which gives part of a ceiling

in Boughton House, attributed to Verrio. The dark cornice on the left

is actually the soffit of the modelled plasterwork; everything else,

including the shallow balustrade, is painted on the flat ceiling.

[Illustration: 208. A Drawing-room in Mansfield Street, London.

_R. & J. Adam, Architect._]

[Illustration: 209. Painted Ceiling from Boughton House,

Northamptonshire (attributed to Verrio, _cir._ 1700).]

Staircases seem to have been an exception to that general tendency to

increase the scale of detail which is apparent in work of the late

seventeenth and eighteenth centuries. One of the characteristics of

Jacobean staircases is the massiveness of their component parts,

the newels, the balusters, the handrail, the string; even the steps

themselves were sometimes made of solid blocks of wood. The newels

were carried up well above the handrail, and fashioned into finials,

sometimes heavily moulded, sometimes made into a pedestal for a

figure--a heraldic animal, a boy playing an instrument, a warrior

or what not. The “string” which supported the ends of the steps was

always stout and solid. Much of this early treatment was carried on

till the end of the seventeenth century, as may be seen by referring

to the illustration from a house in Love Lane (Fig. 210) traditionally

associated with Wren. Here all the parts are as massive as of old,

although the turned portions of the balusters are inclined to be thin.

The most significant change is to be found in the newels, which are

not carried up into a finial, but are furnished with a cap by mitring

the mouldings of the handrail round them. Once this fashion was

established, it held the field until newels were dispensed with in the

later part of the eighteenth century, and the handrail wound in one

continuous length from the bottom to the top of the staircase.

A passing phase of treatment, associated with the later half of the

seventeenth century, is the carved floriated balustrade, such as is to

be seen at Sudbury House in Derbyshire (Fig. 211). This is generally

combined with massive newels, handrail, and string; indeed, it could

hardly be otherwise, for the carved foliage required a fair thickness

of wood, and as the carving was almost necessarily made in straight

lengths, there had to be newels to receive it. It is not a very

common form of treatment, and is usually confined to large houses where

expense was not a primary consideration. The same illustration affords

good examples of plasterwork in the ceiling, and of woodwork in the

doors. It will be seen how much larger in scale is this work than the

work of the beginning of the seventeenth century.

[Illustration: 210. Staircase in a House in Love Lane, London (now

destroyed).

(Late 17th cent.)]

With the eighteenth century the treatment of staircases grew more

dainty. The handrail, newels, and balusters lessened in size; the outer

string disappeared, and the balusters rested on the ends of the steps

themselves. The whole effect became lighter. In Austin Friars, London,

there was a house of the date of 1704 (now destroyed) which had a fine

staircase, illustrated in Fig. 212, where these changes are apparent.

It will be seen also that the handrail is ramped, that is, curved

upwards at each turn in the staircase in order to attain the proper

level for being mitred round the top of the newel. In earlier work, it

would have been carried in a straight line till it stopped against the

newel, but as the newels are here twisted, there is no plain surface to

receive it, and accordingly ramping becomes a necessity. The twisting

of the balusters was a common device, more common than that of twisting

the newels.

[Illustration: 211. Staircase from Sudbury Hall, Derbyshire.]

[Illustration: 212. Staircase from a House in Austin Friars, London,

1704.

(Now destroyed.)]

Occasionally the treads and risers were themselves ornamented, the

treads being inlaid with various patterns, and the risers being

panelled. There is a fine example of this treatment at the Hall at

Glastonbury in Somerset,[5] of the date of 1726 (Fig. 213). The inlay

is of mahogany and a light wood let into the oak of the treads. The

first quarter-landing contains a panel with a monogram and date. It is

obvious that no carpets were contemplated for such staircases as

these. The newels and balusters in this instance are slightly carved as

well as turned; and the bracket at the end of each step is also carved,

thus helping considerably towards the general richness of effect.

Later in the eighteenth century skill in the construction of staircases

developed still further. It seems a comparatively simple matter to

build one in short straight flights with a stout string to carry the

steps at either end of them. It is rather less simple to cut away the

outer string so as to let the ends of the steps project as in Figs.

212 and 213; the difficulty, however, is minimised by keeping the

flights straight. But it required greater skill, both in setting out

and in construction, to depart from straight flights altogether, and to

contrive a staircase in one continuous elliptical sweep from floor to

floor. One of the earliest examples of this method of design, of about

1700, is at Drayton House in Northamptonshire, but it became quite

fashionable in the middle of the eighteenth century, and many specimens

still survive in large houses in the Bloomsbury district of London,

some in stone and some in wood.

[Illustration: 213. Staircase at the Hall, Glastonbury, Somerset (1726).

The dated inlaid panel is seen in the plan in the centre of the square

landing at the top of the first flight.]

[Illustration: 214. Staircase in Baddow House, Essex.]

The changes that took place in the length of the flights of staircases

are not without interest. In mediæval times, when staircases were

of the corkscrew type, landings were sparsely provided, and in the

nature of things they were small at the best--anything large would not

only have interrupted the continuous spiral of ascent, but would have

interfered with the already scanty headroom. With the introduction

of the wood staircases of the late sixteenth century, a complete

change took place. They were made of ample width, and in straight,

short flights, seldom of more than six or eight steps; then came a

quarter-landing, then another flight at right angles. These short

flights remained in fashion nearly down to the eighteenth century.

Occasionally winders had been employed, but not in the finest examples.

With the eighteenth century the flights increased in length, containing

twelve, sixteen, or even more steps: winders were more frequently used.

Finally came the elliptical staircase, sweeping from floor to floor

in one flight without any landings, and consisting wholly of winders,

although as the radius of the sweep was longer, they none of them

were narrowed to an actual point. The general effect, which is not

altogether happy, may be gathered from Fig. 214. The balustrade here

is of iron, rather meagre in design, as such things had now become; the

early years of the century had produced some excellent specimens of

iron stair-balustrades; but they were not of frequent occurrence, the

usual material being wood.

* * * * *

By the end of the eighteenth century the ordinary methods of house

design had become almost devoid of interest; the story of the growth of

the English house must therefore perforce end on a low note. The stream

of development had been fairly continuous up to then, thenceforward

it was to be diffused in various channels, all of which derived their

character from the past. The Italian Renaissance had been the main

source of inspiration, but soon the buildings of Greece were to furnish

ideas. After them came the Gothic revival; the battle of the styles;

the eclecticism of the nineteenth century; the negation of all style

adopted by the speculative builder, only one degree better than his

vulgarisation of all styles as he became aware of their existence. From

this Slough of Despond we seem now to be happily emerging, and we shall

do so the more certainly in proportion as we add to knowledge, thought,

and common-sense.

From the foregoing pages it is hoped that some slight knowledge may

be obtained; but the dry bones of the facts recorded must be clothed

by the imagination of the reader with their covering of flesh. “The

cloud-capp’d towers” of feudalism may, perhaps to his ear, resound with

the clash of armour; “the gorgeous palaces” of the Renaissance may echo

with the melodious notes of the Elizabethan singers or the stately

cadence of a later age. Through the cross-bars of the portcullis his

eye must detect the glint of steel and the glow of heraldry; across the

latticed panes of the mullioned window he must watch for the passing

of ruff, and cloak, and slashed hose; behind the glazed sashes he must

picture the flowing wig, the patches, and the skirted coat. As the

panorama of architecture unfolds itself before him he must people it

with the forms of the savage Front-de-Bœuf, the valiant Hotspur, the

courtly Sidney, glorious John, sententious Shandy, and the rest of

the great band of immortals; and from the “worm-eaten holds of ragged

stone,” upon which his eye has lingered, he must for himself construct

the homes that once they were.

CHRONOLOGICAL LIST OF CASTLES AND HOUSES.

The list includes those mentioned in the text, together with a

few others of note. It is not always possible to date houses

accurately; a margin of a few years must usually be allowed.

Where dates are given they either appear on the houses, or can

be approximately ascertained. The Index to Illustrations shows

which buildings are illustrated or referred to.

WILLIAM I.--1066–1087.

The White Tower, Tower of London

WILLIAM II.--1087–1100.

Colchester Castle, Essex

Westminster Hall, early parts

HENRY I.--1100–1135.

Rochester Castle, Kent, 1130 (_cir._)

Castle Hedingham, Essex, 1130 (_cir._)

Norham Castle, Northumberland

Ludlow Castle, Shropshire, parts

STEPHEN--1135–1154.

Many castles subsequently destroyed

HENRY II.--1154–1189.

Dover Castle, Kent

Guildford Castle, Surrey

Jew’s House, Lincoln

Castle Rising, Norfolk

Norham Castle, Northumberland, parts

Kenilworth Castle, Warwickshire, keep

Peak Castle, Derbyshire, keep, 1176

Oakham Castle, Rutland, 1180 (_cir._)

RICHARD I.--1189–1199.

Haddon Hall, Derbyshire, early parts

Chacombe Priory, Northamptonshire, window

JOHN--1199–1216.

Conisborough Castle, Yorkshire

HENRY III.--1216–1272.

Stokesay, Shropshire, parts

Ludlow Castle, Shropshire, parts

Prebendal House, Nassington, Northamptonshire

Many additions and repairs to royal houses

EDWARD I.--1272–1397.

Little Wenham Hall, Suffolk

Longthorpe Tower, Northamptonshire

Acton Burnell, Shropshire, 1284 (_cir._)

Stokesay Castle, Shropshire, parts; licence to crenellate, 19 Edw.

I., 1291

Aydon Castle, Northumberland, licence, 33 Edw. I., 1305

Woodcroft Castle, Northamptonshire

Broughton Castle, Oxfordshire

Abingdon Abbey, Berkshire, parts

EDWARD II.--1307–1327.

Prudhoe Castle, Northumberland, oriel

Markenfield, Yorkshire, licence, 3 Edw. II., 1309

Yanwath, Westmorland, soon after 1322

Ightham Mote, Kent, parts

Leeds Castle, Kent

EDWARD III.--1327–1377.

Stanton Harcourt, Oxfordshire, licence, 1 Edw. III., 1327; early

parts destroyed

Drayton House, Northamptonshire, licence, 2 Edw. III., 1328

Abingdon Abbey, Berkshire, parts; licence, 4 Edw. III., 1330

Lyddington, Rutland, licence, 10 Edw. III., 1336; existing parts,

Henry VII.

Penshurst, Kent, licence, 15 Edw. III., 1341

Alnwick Castle, Northumberland

Haddon Hall, parts

Maxstoke Castle, Warwickshire, licence, 19 Edw. III., 1345

Northborough, Northamptonshire, licence, 20 Edw. III., 1346

Mayfield, Sussex, Bishop’s Palace, 1349–66

Warwick Castle, licence, 45 Edw. III., 1371

RICHARD II.--1377–1399.

Amberley Castle, Sussex, licence, 1 Rich. II., 1377

Bodiam Castle, Sussex, licence, 9 Rich. II., 1386

Raby Castle, Durham

Baguley Hall, Cheshire

Kenilworth Castle, hall, &c., 1392 (_cir._)

Westminster Hall, roof, &c.

Glastonbury Abbey, Somersetshire, kitchen

HENRY IV.--1399–1413.

HENRY V.--1413–1422.

HENRY VI.--1422–1461.

Hurstmonceux, Sussex, licence, 1 Henry VI., 1423

South Wingfield Manor House, Derbyshire, 1435–40 (_cir._)

Tattershall Castle, Lincolnshire, 1440 (_cir._)

Warkworth Castle, Northumberland, keep, 1435–40 (_cir._)

Ewelme, Oxfordshire, almshouse and school, between 1437–48

Great Chalfield, Wiltshire

Norrington, Wiltshire

Little Sodbury, Gloucestershire

Sherborne Abbey, Dorset, fireplace

Church House, Salisbury, fireplace

Harringworth, Northamptonshire, chimney

EDWARD IV.--1461–1483.

Eltham Palace, Kent

Kirby Muxloe, Leicestershire, 1460 (_cir._)

Hurstmonceux, parts

Crosby Hall, London

Stanton Harcourt, kitchen

Oxburgh Hall, Norfolk, 1482

EDWARD V.--1483.

RICHARD III.--1483–85.

HENRY VII.--1485–1509.

Cothele, Cornwall

Athelhampton, Dorsetshire

Lytes Carey, Somerset, Manor House

Lyddington, Bede House

Stanton Harcourt, parts

Cowdray House, Sussex

Ightham Mote, Kent, parts

Fawsley, Northamptonshire

Horham Hall, Essex, between 1502–20

East Barsham Hall, Norfolk

Brympton d’Evercy, Somerset

Eastington, Worcestershire

Abingdon Abbey, Guest-house

Crowhurst Place, Surrey

Lenham, Kent, doorway

Harrietsham, Kent, doorway

Glastonbury, doorway and windows

HENRY VIII.--1509–1547.

Layer Marney, Essex, 1500–25

Thornbury Castle, Gloucestershire, 1511–21

Bramhall Hall, Cheshire, parts, 1521 (_cir._)

Hengrave Hall, Suffolk, 1525–38

Compton Winyates, Warwickshire, 1525 (_cir._)

Sutton Place, Surrey, 1523–25

Clifton Maybank, Dorsetshire

Kirtling, Cambridgeshire, between 1530 and 1564

Lacock Abbey, Wiltshire, parts

Lacock, Angel Inn

Haddon Hall, parts, 1542

Moyns Park, Essex, early parts

Hampton Court, great hall

Cocklaw Tower, Northumberland

Sir Paul Pindar’s House, London

EDWARD VI.--1547–1553.

Deene Park, Northamptonshire, parts

Longleat House, Wiltshire, early parts

Old Somerset House, London, 1546–56

MARY--1553–1558.

Burghley House, Northamptonshire, kitchen, great hall, &c., 1553

(_cir._)

Park Hall, Oswestry, Shropshire, 1553–58

Dingley Hall, Northamptonshire, parts, 1558

ELIZABETH--1558–1603.

Moreton Old Hall, Cheshire, 1559

Buckhurst House, Sussex, 1560–65

Loseley, Surrey, 1562–68

Theobalds, Hertfordshire, 1564–88

Longleat House, Wiltshire, 1566–78

Gorhambury, Hertfordshire, 1568

Kirby, Northamptonshire, 1570–75

Deene Park, Northamptonshire, chimney-piece, 1571

Hardwick Hall, Derbyshire, 1576

Burghley House, courtyard, 1577–87

Montacute, Somerset (entrance porch earlier), 1580

Wollaton Hall, Nottinghamshire, 1580–88

Longford Castle, Wiltshire, 1580

Moyns Park, brick part, 1580 (_cir._)

Holdenby, Northamptonshire, 1580–85

Corsham Court, Wiltshire, 1582

Barlborough Hall, Derbyshire, 1583

Cobham Hall, Kent, 1584–95

Wimbledon, Surrey, 1588

Beaufort House, Chelsea, 1590 (_cir._)

Wakehurst Place, Sussex, 1590

Westwood Park, Worcestershire, 1590

Astley Hall, Lancashire

Powis Castle, Wales

Bramhall Hall, Cheshire, parts, 1592

Brome Hall, Suffolk

Herringstone, Dorsetshire

Wolveton, Dorsetshire

Parham, Sussex, 1593

Rushton Hall, Northamptonshire, 1595, parts

Doddington, Lincolnshire, 1595

Gayhurst, Buckinghamshire, 1597, parts

Condover Hall, Shropshire, 1598

Marton Hall, Cheshire

Burton Agnes, Yorkshire, 1602–10

JAMES I.--1603–1625.

Audley End, Essex, 1603–16

Chastleton, Oxfordshire, 1603 (_cir._)

Knole, Kent, 1605

Bramshill, Hampshire, 1605–12

Charlton House, Wiltshire, 1607

Fountains Hall, Yorkshire, 1611

Hatfield House, Hertfordshire, 1612

Cranborne Manor House, Dorsetshire, parts, 1612

Bolsover Castle, Derbyshire, 1613

Crewe Hall, Cheshire, 1615–36

Aston Hall, Warwickshire, 1618–35

Blickling, Norfolk, 1619–20

Houghton Conquest, Bedfordshire, 1620 (_cir._)

Quenby Hall, Leicestershire, 1602 (_cir._)

Banqueting Hall, Whitehall, 1622

Apethorpe, Northamptonshire, parts, 1623–24

King’s Lynn, chimney-piece at, 1623

Cark Hall, Lancashire, 1623 (_cir._)

Stibbington Hall, Huntingdonshire, 1625

Felbrigge Hall, Norfolk

Heath Hall, Yorkshire

Derwent Hall, Derbyshire

Gayhurst, Buckinghamshire

Calgarth Old Hall, Cumberland

Pilton Manor House, Northamptonshire

Lyveden Old Building, Northamptonshire

Hall of Butchers’ Guild, Hereford

CHARLES I.--1625–1649.

Rushton Hall, parts, 1627

Raynham Park, Norfolk, 1630–36

Stoke Park, Northamptonshire, 1630–36

Stanway, Gloucestershire, 1630 (_cir._)

Kenyon Peel Old Hall, Lancashire, 1631

Wilton, Wiltshire

Swakeleys, Middlesex

COMMONWEALTH--1649–1660.

Sudbury Hall, Derbyshire

Coles Farm, Box, Wiltshire, 1649

Coleshill, Berkshire, 1650

Ashburnham House, Westminster, 1650–60

Thorney Hall, Cambridgeshire

Amesbury House, Wiltshire, 1654

Tyttenhanger, Hertfordshire, 1654

Thorpe Hall, Northamptonshire, 1656 (_cir._)

Cold Overton, Leicestershire

CHARLES II.--1660–1684.

Hampstead Marshall, Berkshire, 1662

Ashdown House, Berkshire, 1665–66 (_cir._)

The Vicarage, Burford, Oxfordshire, 1672

House in Buckingham Street, Strand, 1675

Groombridge Place, Kent

Chatsworth, Derbyshire, 1681

JAMES II.--1684–1688.

Newcastle House, Lincoln’s Inn Fields, 1686

Combe Abbey, Warwickshire, 1686

Melton Constable, Norfolk, 1687

WILLIAM AND MARY--1688–1702.

Belton House, Lincolnshire, 1689

Hampton Court, parts

“Roppynden,” Burwash, Sussex, 1699

Boughton House, Northamptonshire, 1700 (_cir._)

Drayton House, parts and ironwork, 1700 (_cir._)

House in Love Lane, London

ANNE--1702–1714.

House in Austin Friars, London, 1704

House in Warwick Square, London, 1707 (_cir._)

Apple Dorecombe, Isle of Wight (“Vitruvius Britannicus”), 1710

Easton Neston, Northamptonshire, 1713

Kings Weston, Gloucestershire (“Vit. Brit.”), 1713

Duncomb Park, Yorkshire (“Vit. Brit.”), 1715

Fenton House, Hampstead

Castle Howard, Yorkshire, 1714

GEORGE I.--1714–1727.

Blenheim, Oxfordshire, 1715

Wanstead, Essex, 1719 (_cir._)

Seaton Delaval, Northumberland, 1720

Moor Park, Hertfordshire, 1720

Stoneleigh Abbey, Warwickshire, 1720 (_cir._)

Mereworth, Kent, 1722

Houghton, Norfolk, 1723

Glastonbury Hall, 1726

Villa at Chiswick, 1729

Rothwell Manor House, Northamptonshire

Rectory, Burford

House in Whitehall Gardens

Heale House, Middle Woodford, Wiltshire

House at Horsham, Sussex

Ironwork at Carshalton House, Surrey

Ironwork at Eaton Hall, Cheshire

GEORGE II.--1727–1760.

House in Hatton Garden

Woburn Abbey, Bedfordshire, 1747

Prior Park, Bath, 1750 (_cir._)

Holkham Hall, Norfolk, 1754 (_cir._)

GEORGE III.--1760–1820.

Harewood House, Yorkshire, 1760

Cumberland House, 1760–67

Kedlestone, Derbyshire, 1761

Lansdowne House, 1765 (_cir._)

House in Mansfield Street, London, 1770 (_cir._)

House in St James’s Square, London, 1772

Somerset House, Strand, 1776

Baddow House, Essex

House at Faversham, Kent

House at Colchester

GLOSSARY.

AISLE.--The wing of a church, at the side of the nave or choir.

ARABESQUE.--Ornamentation enriching flat surfaces.

ASHLAR.--Hewn or squared stone, as distinguished from that which

is rough or unhewn.

BALL-FLOWER.--A mediæval ornament resembling a ball placed within

a globular flower.

BASE.--- The lower part of a pillar or column.

BATTLEMENT.--An indented parapet, often pierced for the discharge

of arrows.

BOLECTION MOULDING.--A moulding (in joinery) which projects

beyond the surface of the framework round a panel.

BOSS.--A projecting ornament placed at the intersection of the

ribs of a ceiling or of vaulting.

BUTTRESS.--A projection from a wall to create additional strength

or support.

CAP., abbrev. for CAPITAL.--The upper part or head of a pillar or

column.

CHIMNEY-PIECE.--The architectural decoration surrounding a

fireplace.

COPING.--The covering course of a wall or parapet to protect it

from the weather.

CORBEL.--A projecting stone to carry a weight.

CORNICE.--The horizontal moulded projection encircling a

building, or the upper part of the walls of a room below the

ceiling.

COUNTER-HAURIANT.--A heraldic term. Counter = reversed:

hauriant = swimming vertically. Two fishes swimming vertically,

facing each other, are counter-hauriant.

CRENELLATE.--To fortify with battlements.

CROCKET.--Projecting leaves or flowers placed on pinnacles,

gables, or the mouldings of doors and windows, &c.

CROSS-BRACE.--An oblique wooden tie or support.

CUSP.--A projecting point in the arches of tracery.

DADO.--The architectural treatment of the lower part of the walls

of a room.

DAÏS.--The raised part of the floor at the upper end of a hall.

DOG-GATE.--A gate placed across a staircase to prevent dogs from

going into the upper rooms of a house.

DORMER.--A window in a roof.

ENTABLATURE.--A series of horizontal mouldings at the summit of a

wall, or surmounting a row of columns. An entablature consists

of three members. The lowest is a series of mouldings of

slight projection, called the architrave. Above this is a

vertical face, called the frieze; above this a series of

widely projecting mouldings, called the cornice.

FINIAL.--The ornamental finish at the apex of a gable.

FIREPLACE.--A recess in a wall for the reception of a fire,

furnished with a flue or vent for the escape of smoke.

FRIEZE.--The middle member of an entablature, _q.v._

GABLE.--The pointed wall at the end of a roof.

GARDE-ROBE.--A latrine or privy.

GATEHOUSE.--A building surrounding the gate to the courtyard of a

house.

HIPPED ROOF.--A roof of which all the sides are sloped, one of

which does not abut against a gable.

JAMB.--The side of a doorway, window, or other aperture.

LABEL.--The outer projecting moulding, or drip-stone, over a

door, window, or arch.

LANTERN.--A turret raised above a roof for the admission of

light.

LOUVRE.--A turret raised above a roof for the escape of smoke.

MACHICOLATION.--The corbelling out of the parapet of a building,

forming openings through which missiles could be discharged on

the heads of an attacking force.

MAUNCH.--The heraldic term for a sleeve.

MINSTRELS’ GALLERY.--The gallery formed above the screen of a

hall, sometimes occupied by minstrels.

MITRE (in Joinery).--The line formed by a sharp change (at right

angles or otherwise) in the direction of a moulding.

MOULDING.--The term applied to the contour, wrought into long

hollows and projections, of the angles or edges of an

architectural feature, such as a door, window, arch, panel,

&c.

MULLION.--The vertical shaft or division between the lights of a

window.

NAVE.--The central portion of a church westward of the choir or

chancel.

NEWEL.--In a circular stone staircase, the central column round

which the steps wind. In a wooden staircase, the stout posts

which carry the handrail and the string supporting the stairs.

OGEE.--A compound curve, partly concave and partly convex.

OILLET.--A loophole for the discharge of arrows.

ORIEL.--A bay window on an upper floor, corbelled out from the

wall below.

PANELLING.--A series of panels formed of boards whose edges are

held in the groove of a thicker surrounding frame.

PARAPET.--The upper part of a wall carried above the springing of

the roof. Where the roof was flat it formed a protection to

those who used the roof for defence or other purposes.

PEDESTAL.--A substructure carrying a column or pilaster.

PEDIMENT.--The triangular or segmental space formed by the

carrying up of a cornice over a door or window or in a gable,

&c.

PEEL or PELE.--A fortified tower or stronghold forming a

dwelling; a term principally applied to the fortified houses

of the North.

PIER.--A pillar or column; also sometimes a flat buttress.

PILASTER.--A square pillar or column attached to a wall, usually

of slight projection.

PITCH (of a Roof).--The slope.

PORTCULLIS.--A strong grating of timber which slid up and down in

a groove, to protect the entrance of a castle or fortified

house.

PRINCIPAL (Rafter).--A massive framing of wood which spans a

building from wall to wall and carries the purlins.

PURLIN.--A stout piece of timber resting on the principals and

carrying the common rafters.

QUATREFOIL (in Tracery).--A form composed of four segments of

circles.

QUOINS.--The external angles of a building; also the stones which

form the angles.

RESPOND.--A half-column attached to a wall.

RIBS (Stone).--Narrow projecting stones which form the framework

of vaulting.

SASH-WINDOW.--A window in two halves, one over the other, which

slide up and down.

SCANTLING.--The dimensions of a piece of timber in breadth and

thickness.

SCREENS.--The entrance passage formed at the end of a hall by the

screen.

SHAFT.--A small column.

SOLAR.--The retiring or private room of the lord in early houses.

SPAN.--The width between the supports of an arch or roof.

SPANDREL.--The space between an arch and the horizontal feature

above it.

SQUINCH.--An arch carried across the internal angle of a tower or

building.

STOREY.--A horizontal division of a building containing rooms at

one level.

STRING (of a Staircase).--The inclined piece of wood which

carries the steps.

STRING-COURSE.--A narrow projecting horizontal line of stone or

brickwork.

TRACERY.--The ornamental stonework of a Gothic window formed by

ramifications of the mullions; also decorations of a

corresponding character applied to panels, &c.

TRANSOME.--The horizontal cross-bar of a casement window (as

distinguished from a sash window).

TRIFORIUM.--An upper storey over the aisle of a church, with

arches opening into the nave or choir.

TYMPANUM.--The space enclosed between the flat head of a door or

window and the surmounting arch.

UNDERCROFT.--A vaulted chamber underground.

VAULTING.--An arched roof or ceiling of stone or brick.

WINDERS (of a Staircase).--The steps sometimes formed where a

staircase changes direction; they are wide against the wall

and are narrowed almost to a point against the newel or

string.

A Brief List of Books recommended for the Study of The History

of English Domestic Architecture.

ADDY (S. O.)--THE EVOLUTION OF THE ENGLISH HOUSE. Small 8vo.

1905.

TURNER (T. H.) AND PARKER (J. H.)--SOME ACCOUNT OF DOMESTIC

ARCHITECTURE IN ENGLAND DURING THE MIDDLE AGES. 3 vols. in 4.

8vo. 1859–1877.

GARNER (T.) AND STRATTON (A.)--THE DOMESTIC ARCHITECTURE OF

ENGLAND DURING THE TUDOR PERIOD. 3 parts. Folio. 1908–1909.

GOTCH (J. A.)--ARCHITECTURE OF THE RENAISSANCE IN ENGLAND. 2

vols. Folio. 1891–1894.

GOTCH (J. A.)--EARLY RENAISSANCE ARCHITECTURE IN ENGLAND. 8vo.

1901.

NASH (J.)--MANSIONS OF ENGLAND IN THE OLDEN TIME. 4 vols. Folio.

1839–1849; or Small Edition. 4 vols. 4to. 1869.

BELCHER (J.) AND MACARTNEY (M. E.)--LATER RENAISSANCE

ARCHITECTURE IN ENGLAND. 2 vols. Folio. 1901.

BLOMFIELD (R. T.)--A HISTORY OF RENAISSANCE ARCHITECTURE IN

ENGLAND. 2 vols. Imp. 8vo. 1897; and Abridged Edition. Small

8vo. 1900.

INDEX TO ILLUSTRATIONS.

_NOTE.--J. A. G. stands for J. Alfred Gotch; W. T. for William

Twopeny; p.= photograph; d.= drawing._

+----------------------+------------------------+-----+-------------------+

+----------------------+------------------------+-----+-------------------+

| Do. |Orifice of chimney-vent | 108 |J. A. G., _d._ |

| Do. |Fireplace | 109 | do. |

| Do. |Window in guest-house | 101 | do. |

|ALNWICK CASTLE, |Interior of window | 99 |W. T., _d._ |

|AYDON CASTLE, |Chimney-shaft | 111 |W. T., _d._ |

| Do. |Doorway to hall | 91 |J. A. G., _p._ |

| Do. |Fireplace | 112 |W. T., _d._ |

| Do. | do. | 112 | do. |

| | | | |

| Do. |Painted ceiling | 292 | do. |

| Do. |View in State apartments| 262 | do. |

| Farm | | | _d._ |

| Do. | do. | 285 | do. |

|BRAMHALL HALL, | | 172 | |

| Do., The Vicarage | | 219 | do. |

|BURWASH, Sussex, | | 252 | do. |

| | | | |

| Do. |Entrance doorway | 90 | do. |

| Do. |A fireplace | 12 | do. |

| Do. |The keep | 8 | |

| Do. |Plans of the keep | 9 |Cecil C. Brewer, |

| | | | _d._ |

| Do. |Section of the keep | 11 | do. |

| Do. |Window in fourth floor | 97 |C. Hadfield. |

| Do. |Window of gallery in | 10 | do. |

| Do. |Plan of principal floor | 245 | do. |

| Do. |The garden façade | 247 |Alan Potter, _p._ |

| Do. |Window | 98 |W. T., _d._ |

| Do. | | 22 |J. P. Gibson, |

| Do. |Staircase with dog-gate | 201 | do. |

| Do. |Plan | 210 | H. Tanner, _d._ |

|COTHELE HOUSE, |The great hall | 34 |_p._ |

|CREWE HALL, Cheshire |Staircase | 200 |W. T., _d._ |

| | | | |

|DERWENT HALL, | | 168 |_p._ |

| Do. |Gates in the side of | 255 |J. A. G., _p._ |

| Do. |Gates at the end of | 255 | do. |

| Do. |Roof of the great hall | 117 |L. M. Gotch, _d._ |

|ELTHAM PALACE, Kent |Doorway | 93 |W. T., _d._ |

| Do. |Roof of great hall | 119 |G. H. Lovegrove, |

| | | | _p._ |

| | | | |

| Do. |Chimney-piece in | 116 | do. |

| Do. |View of kitchen | 62 | do. |

| Somerset | | | _d._ |

| Do. |Front of wood house, | 105 |W. T., _d._ |

| | | | |

| Do. |View in lower courtyard | 52 |J. C. Buckler, _d._|

|HARRIETSHAM, Kent |Doorway | 94 |W. T., _d._ |

|HARRINGWORTH, |Chimney | 114 | do. |

| | | | |

| | | | _d._ |

| Do. |View of principal front | 129 |Garner and Strat- |

| at | | | |

| | | | |

|IPSWICH, Sparrow’s | | 217 | do. |

| | | | |

| Do. |Ground plan | 54 |From various |

| Do. |View from north-west | 59 |_p._ |

| Do. |Window of great hall | 57 |A. W. Pugin. |

| Do. |Entrance gateway | 85 |J. A. G., _p._ |

| Do. |Plans of remaining | 84 | do., _d._ |

| | | | |

|LACOCK, Wiltshire |Doorway from the Angel | 93 |W. T., _d._ |

| | Inn | | |

| Do. |Part of panelled cei- | 122 | do. |

|LAYER MARNEY, Essex |Carved wood panel | 189 | do. |

| Do. |Windows | 133 |W. G. Davie, _p._ |

|LENHAM, Kent |Doorway | 93 |W. T., _d._ |

|LITTLE WENHAM HALL, |Window on upper floor | 100 |W. T., _d._ |

| Do. |Window between hall | 100 | do. |

| Do. |Internal doorway | 276 | do. |

| House | | | _d._ |

| Do. |Side elevation | 251 | do. |

| Street, Strand | | | _p._ |

| | | | |

| House in Whitehall |Internal doorway | 276 | do. |

| Do. |Interior, showing flat | 289 | do. |

| Do. |Chimney-piece | 283 | do. |

| LANSDOWNE HOUSE |Chimney-piece | 284 | do. |

| MANSFIELD STREET |A drawing-room | 291 | do. |

| NEWCASTLE HOUSE, | | 224 | do. |

| Do. |Traceried cornice in | 123 |F. T. Dollman, _p._|

| | | | |

|MAYFIELD, Sussex, |Doorway to hall | 92 |W. T., _d._ |

|MIDDLE WOODFORD, near | | 253 |_p._ |

|MOYNS PARK, Essex | | 166 |_p._ |

| | | | |

|NASSINGTON, |Doorway | 89 |W. T., _d._ |

|NORRINGTON, Wiltshire |Doorway | 93 |W. T., _d._ |

|NORTHBOROUGH MANOR |Chimney | 113 | do. |

| Do. |Doorways in the | 92 | do. |

| Palace | | | _p._ |

| | | | |

|OAKHAM CASTLE, Rutland|The hall | 31 |W. T., _d._ |

| Do. |Interior of the hall | 28 |Turner and Parker. |

| Do. |Plan of the hall | 30 | do. |

| Do. |Pier cap | 33 |W. T., _d._ |

| | | | |

| | and Albert Museum | | _p._ |

| Do. |Plans of the keep | 16 |J. A. G., _d._, |

| Do. |Plan (ground) | 16 | do. |

| Do. |Section | 16 | do. |

| Do. |South-west face | 19 |J. A. G., _p._ |

| |PLAN (unnamed) | 146 | do. |

| | do. | 148 | do. |

| |PLAN AND ELEVATION of a | 150 | do. |

|POWIS CASTLE, Wales | | 184 |W. T., _d._ |

| | | | |

| | | | |

| Do. |A doorway | 272 | do. |

| Do. |Plan | 208 |H. Inigo Triggs, |

| | | | _d._ |

| Do. |West front | 209 |Triggs and Tanner, |

| | St. | | |

| | | | _p._ |

|ROCHESTER CASTLE, Kent|Doorway and window | 89 |W. T., _a._ |

| | | | |

|SALISBURY, Church |Fireplace | 112 |W. T., _d._ |

|SHELDONS MANOR | _Frontispiece_|Montague Cooper, |

|SHERBORNE, Dorset |Oriel window | 104 |W. T., _d._ |

| Do. Abbey, Dorset |Fireplace | 112 | do. |

|SOUTH WINGFIELD |BAY WINDOW OF HALL | 71 |_P._ |

| Do. |Interior of bay window | 74 |Col. Gale, _p._ |

| Do. |Doorway of porch | 96 |J. A. G., _p._ |

| Do. |Doorway from hall to | 96 | do. |

| Do. |Fireplaces in the | 66 | do. |

| Do. |Ground plan | 69 | do., _d._ |

| Do. |Porch of Great Hall | 72 |_p._ |

| Do. |Undercroft beneath Great| 73 |_p._ |

| Do. |Window in porch | 100 |J. A. G., _p._ |

|STANTON HARCOURT, |Door in “Pope’s Tower” | 96 | do. |

| Do. |Plans, elevations, and | 64 |Sydney G. Follett, |

| | sections of kitchen | | _d._ |

| Do. |Sketch of kitchen | 65 | do. |

| Do. |General view | 39 |J. Gale, Wolver- |

| Do. |Ground plan | 37 |J. H. Cook, _d._ |

| Do. |Section of Great Hall | 38 | do. |

| Do. |Window and doorway of | 40 | do. |

| Do. |Window in south tower | 41 |J. A. G., _p._ |

| | | | |

| Do. |Chimney-piece on ground | 115 |J. A. G., _p._ |

| Do. |Plans of second and | 79 |F. H. Reed. |

| Do. |The staircase | 80 |J. A. G., _p._ |

| Do. |The stone handrail | 81 |A. Stratton, _d._ |

| Do. |View | 78 |J. A. G., _p._ |

| Do. |Doorway and panelling | 273 | do. |

| | | | |

| Do. |The keep | 82 |J. Pattison |

| | | | _p._ |

| Do. |Plan of the keep | 83 |J. A. G., _d._, |

|WELLS, Vicars’ Close |Chimney | 113 |W. T., _d._ |

INDEX TO TEXT.

ABINGDON ABBEY, 41, 42, 103, 110;

chimney-shaft, 110;

fireplace, 42, 110;

guest-house, 42;

prior’s room, 41;

treatment of walls, 42;

windows, 42, 103

ADAM, THE BROTHERS, 238, 274, 278, 290

ADAM, ROBERT, 238

ALDRICH, Dean, 234

ALIGNMENT, 70

ALNWICK CASTLE, 44, 100, 102;

windows, 100, 102

AMATEUR ARCHITECTS, 223–229, 233, 234

AMATEUR SPIRIT among professional architects, 235

AMORINI, 134, 137, 197

ANNE, QUEEN, 266

APARTMENTS named by Chaucer, 45–47, 140;

by Spenser, 139, 140;

in Thorpe’s plans, 141, 142;

in Smithson’s plans, 152

APETHORPE HALL, 194, 203;

plaster panel from ceiling, 194;

long gallery, 203, 204

ARABESQUE on mullions, 133, 134;

on panelling, 187

“ARCHITECTURE OF A. PALLADIO,” by G. Leoni, 235

ARRAS, 125, 139, 191

ASTLEY HALL, long gallery, 204

ASTON HALL, 151, 210;

planning, 151, 210;

vestibule, 151, 210

AUDLEY END, extent of, 154

AYDON CASTLE, 36, 91, 111, 114;

chimney-shaft, 111;

doorway, 91;

fireplaces, 111, 114;

precautions for defence, 36

BAGULEY HALL, timber hall, 45

BALL-FLOWERS, 94

BANQUETING HALL, WHITEHALL, 210, 222

BARLBOROUGH HALL, 179

BASING HOUSE, fall of, 221

BAY WINDOWS, Elizabethan and Jacobean, 145, 157–159, 179, 182, 213;

mediæval, 58, 103–105;

Tudor, 128, 130, 132

BEAUCHAMP, THOMAS, Earl of Warwick, 44

BEAUFORT HOUSE, CHELSEA, 147

BEDROOMS, 142, 204, 212, 246

BELSAY CASTLE, 22

BITCHFIELD TOWER, 22

BLENHEIM PALACE, 154, 234, 237, 244;

extent of, 154, 244;

Pope’s criticism on, 237

BODIAM CASTLE, 35, 36

BOLECTION MOULDINGS, at Boughton House, 262

BOLT, Wood, at Stanton Harcourt, 97

BOUGHTON HOUSE, 239, 242, 262, 282, 292;

ceilings, 239, 292;

French feeling, 239;

furniture, 239;

lay-out, 239;

panelling, 239, 262, 282;

staircases, 239

BOWER, 45, 47

BRAD STREET, house at, 175

BRAMHALL HALL, 173

BRETTINGHAM, MATTHEW, 266

BRICKWORK, 79, 80, 81, 86, 124, 134, 169;

diaper in, 86, 134

BRITTON, J., 223

BROME HALL, 182;

chimney-stacks, 182;

dormers, 182;

gardens, 182;

porch, 182;

symmetrical arrangement, 182

BROUGHTON CASTLE, 44

BRYMPTON D’EVERCY, bay window, 104

BUCKHURST HOUSE, 154

BUCKINGHAM STREET, Strand, house in, 264, 285;

ceiling, 285;

panelling, 262, 264;

residence of Peter the Great, 264

BURFORD, Vicarage at, 220;

roof and windows, 220

BURGHLEY HOUSE, 60, 65, 66, 154;

kitchen, 60, 65, 66

BURGHLEY, Lord, 66, 154, 185

BURLINGTON, Earl of, 233, 235, 237, 244

BURLINGTON STREET, house in, 233;

Lord Chesterfield’s advice concerning, 233

BURROUGHS, Sir JAMES, 234

BURTON AGNES, 155

BURWASH, SUSSEX, house at, 250, 251, 272;

chimneys and windows, 251;

door, 272

BUTCHERS’ GUILD, HEREFORD, hall of, chimney-piece, 198

CALGARTH OLD HALL, panelling, 189

CAMPBELL, COLIN, 232, 235, 246, 249

CANONS ASHBY, coved ceiling, 193

CARDIGAN, Lord, 27

CARK HALL, doorway, 268, 272

CARSHALTON HOUSE, 258;

gates, 258;

railings, 258

CARTER, J., 223

CARTOUCHE of arms, 261

CARVING, stone, at Oakham Castle, 33;

wood, 198, 262, 266, 274–277, 282

CASTLE ASHBY, lettered parapet, 179

CASTLE HEDINGHAM, 5, 6, 7–13, 91, 100, 106, 109, 114;

doorway, 91;

fireplace, 8, 10, 12, 106;

floors, 114;

gallery, 7, 10;

orifice, 109;

windows, 10, 13, 100;

wooden shutters, 13;

roof, 8, 114;

staircase, 8, 10

CASTLE HOWARD, 154, 234, 244;

extent of, 154, 244

CASTLES, NORMAN, 1–6

CASTLE RISING, 5, 6

CECIL, ROBERT, Earl of Salisbury, 147

CEILINGS, coved, 192, 193, 241;

Elizabethan and Jacobean, 191–194, 196, 197, 203, 204, 282;

late seventeenth century and eighteenth century, 241, 282, 292;

mediæval, 87, 88, 114, 116, 119, 122, 123;

painted, 239, 290–292

CENTRAL HEARTH, 27, 32, 70, 106–109, 280

CHACOMBE PRIORY, windows, 100, 101

CHAPEL, 6, 30, 49, 82, 145, 146, 152, 241, 244

CHARLES I., 203

CHARLES II. encourages architecture, 221;

arms of, in plaster, 220;

Sir John Denham, Surveyor of Works to, 234;

brings Verrio to England, 290

CHAUCER, GEOFFREY, description of fourteenth-century house, 45–47;

compared with Spenser’s, 140

CHESTERFIELD, Lord, 233

CHIMNEYS, Elizabethan and Jacobean (1603), 169, 179, 182, 210, 213,

249;

mediæval, 109–112;

late seventeenth and eighteenth centuries, 214, 249, 251;

Tudor, 164

CHIMNEY-PIECE, eighteenth century, 275–278;

Elizabethan and Jacobean, 195–198, 277;

mediæval, 40, 80, 81, 114

CHIPCHASE CASTLE, 22

CHISWICK, villa at, by Lord Burlington, 233

CHUTE, Mr, 234

CIVIL WARS, effect of, on South Wingfield, 76;

on house-building, 221

CLARKE, Dr, 234

COCKLAW TOWER, colour decoration at, 21

COLCHESTER CASTLE, fireplace, 109

COLD ASHTON MANOR HOUSE, walled garden, 179

COLD OVERTON, 201, 220;

dog-gate, 201, 220;

porch, 220;

staircase, 220;

windows, 220

COLES FARM, BOX, plaster frieze, 282

COLESHILL, 212–215;

chimneys, 214;

roof, 214;

windows, 213, 214

COLOUR DECORATION, 21, 42, 43, 187, 290–292

COMBE ABBEY, doorway, 274

“COMPLETE BODY OF ARCHITECTURE,” by Isaac Ware, 225, 226, 227

CONISBOROUGH CASTLE, chapel, 6

CONWAY, General, 234

“COOK’S TALE OF GAMELYN,” 45

CORNICE, classic, 127, 159–163, 165, 169, 193, 195, 216, 219, 220,

224, 239, 266, 268, 274, 290, 292;

projecting, 214, 249;

wood, at Lyddington, 121, 123

CORRIDOR, beginnings of, 145, 146;

becomes general, 152;

lack of at Boughton, 239

COTHELE HOUSE, great hall, 35

COTSWOLDS, manor houses of, 155

“COUNTER-HAURIANT,” 132–134

COWDRAY HOUSE, tendency towards symmetry, 67;

gatehouse at, 131

COWPER, WILLIAM, 280

CRENELLATE, licence to, 44

CREWE HALL, staircase, 201

CROCKETS, 94

CROMWELL, RALPH, Lord Treasurer, 68, 78, 81

DADO, 259, 262, 266

DAÏS, 26, 33, 35, 58, 141, 145, 151

DEENE PARK, central hearth, 27, 106;

chimney-piece, 197

DEFENCE, precautions for, in fortified manor houses, 29, 30, 35,

36, 88–91, 92;

keeps, 3, 10, 14, 88–91;

mediæval manor houses, 47, 51, 76, 84–86, 88–91;

Tudor manor houses, 131, 139;

at Kenilworth, 53;

less need for, 86, 113;

treatment of windows, 98, 103;

abandonment of, 143;

reminiscence of, 145

DENHAM, Sir JOHN, 234

DERWENT HALL, 169

“DESIGNS OF ARCHITECTURE,” by Abraham Swan, 266, 278

“DESIGNS OF INIGO JONES,” by William Kent, 229–231

DE VERES, Earls of Oxford, 12

DIAPER--See under “Brickwork”

DOG-GATE, 201, 220

DOG-GRATE, 282

DOG-TOOTH, 33

DOLPHINS, FLORIATED, 132, 133

DOORWAYS, external, at Drayton, 241;

eighteenth century, 272–274;

Jacobean, 268–272;

mediæval, 88–98

DOORWAYS, internal, eighteenth century, 274, 275;

Elizabethan and Jacobean, 195, 274

DORMERS, 182, 214, 219, 220, 249

DOVER CASTLE, keep, 5

DRAYTON HOUSE, 44, 119, 239–242, 255, 298;

alterations, 241, 242;

boudoir, 241;

ceiling, 241;

gardens, 241, 242;

ironwork, 241, 242, 255;

long gallery, 241;

roof, 119, 241;

staircases, 241, 298;

windows, 241

DRAYTON, SIMON DE, 44

EAST BARSHAM, 134, 137

EASTBURY, DORSET, 242

EASTINGTON, doorway, 97

EASTON HALL, ironwork, 255, 256

ECCLESIASTICAL ARCHITECTURE, compared with domestic, 28, 29, 33,

87, 100, 103, 118

EDWARD VI., 27, 108

EGG-AND-TONGUE ORNAMENT, 133, 134

“ELEMENTS OF ARCHITECTURE,” by Sir Henry Wotton, 204, 222

ELIZABETH, QUEEN, sanitation in days of, 75;

the staircase, 76, 124, 198, 202;

house builders in reign of, 78, 154;

increase of comfort under, 127

ELIZABETHAN DESIGNER, 58, 103, 114

ELIZABETHAN HOUSE--See under “Manor House”

ELIZABETHAN PLANNING--See under “Planning”

ELTHAM PALACE, doorway, 95;

roof, 119, 121

ENTABLATURE, 164, 165, 229

EVELYN, JOHN, 221, 222

EWELME, SCHOOL AT, doorway, 97

EXETER, Earl of, 185

EXTINGUISHER, 258

EYAM HALL, walled garden, 179

“FAERIE QUEENE,” 138, 139

FANLIGHT, 272, 273

FAN TRACERY, 123

FAWSLEY, NORTHANTS, 104, 114;

bay window, 104;

chimney-piece, 114;

staircase, 104

FELBRIGGE HALL, 169, 176, 179;

parapet, 179;

porch, 268

FENTON HOUSE, HAMPSTEAD, sensible planning at, 250

FIREPLACE, mediæval, 10, 12, 21, 27, 35, 38, 40, 42, 58, 61, 70,

74, 80, 83, 87, 88, 105–114;

sixteenth century, 130, 148, 186;

absence of, 27, 32

FITZOSBORNE, Sir THOMAS, letter of, 236, 237

FITZWILLIAM, Earl, 234

FRENCH INFLUENCE at Boughton House, 239

FRIEZE, 165, 229, 231, 274, 282

FURNITURE, 140, 239, 241

GALLERY, 7, 10, 50;

long, 49, 50, 138–140, 142, 145, 152, 202, 203, 204, 210, 241;

minstrels’, 26

GARDENS, 49, 179–182, 184, 185, 239, 241, 242, 255

GARDEN DESIGN, 184, 185

GARDEN, orange, 185;

sunk, 185, 239;

walled, 179–182

GARDE-ROBE, 7, 18, 42, 68, 75, 80, 86;

pit, 21;

tower, 58

GASCELYN FAMILY, builders of Sheldons, 154

GATEHOUSE, 3, 35, 36, 37, 46, 75, 81, 84–86, 90, 94, 131, 139

GATE PIERS, 155, 255, 258

GATES, iron, 241, 251, 255, 256, 258

GAYHURST, 179, 268;

gables, 179;

parapet, 179;

porch, 268;

roof, 179

GEORGE I., 237

GEORGE II., 255

GEORGIAN HOUSES, 108, 223, 266

GIBBONS, GRINLING, 262

GIBBS, JAMES, 229, 231, 234, 278

GLASTONBURY, Abbot’s kitchen, 60, 61–63;

the Hall, staircase, 295, 298;

street front at, 105

GODALMING, doorway, 272

GRATE, FIRE, 111, 280, 282

GREAT CHALFIELD, oriel, 104

GREAT CHAMBER, 82, 142, 145, 152, 210

GREAT QUEEN STREET, street front, 218

HADDON HALL, 44, 47–53, 70;

chapel, 49;

chimney-stack, 51;

dining-room, 51;

Eagle Tower, 47, 51;

gallery, 50, 51;

gallery, long, 49, 50;

hall, 41, 50, 51, 70;

kitchen, 47, 50;

windows, 47, 50, 51

HALF-TIMBER WORK, 36, 38, 97, 151, 171–175, 218

HALL, dominance of, 24, 45, 137, 141;

loss of importance of, 142, 152;

altered treatment, 143, 149–151;

becomes a vestibule, 151, 210;

Spenser’s description of, 139

HALL of fourteenth-century manor house, 45–60;

of Norman keep, 7, 8;

of thirteenth century, 24–27, 31–34

HALTON CASTLE, 22

HAMPTON COURT, 138, 154, 191, 203, 239;

character of plan, 138;

long gallery, 203;

tapestry, 191

HANDRAIL, 81, 124, 201, 293, 295

HARDWICK HALL, staircase, 199, 200

HARRIETSHAM, doorway, 95, 98

HARRISON, WILLIAM, 186

HASTINGS, Sir WILLIAM, 67, 86;

heraldic maunch of, 86

HATFIELD HOUSE, 166, 179, 201;

dog-gate, 201

HATTON, Sir CHRISTOPHER, 154

HATTON GARDEN, house in, chimney-piece, 278

HAWKSMOOR, NICHOLAS, 234

HEATH HALL, 176, 179, 185;

garden flight of steps, 185

HENGRAVE HALL, character of plan, 137

HENRY II., 4, 17, 33

HENRY III., 42, 55;

influence on architecture of, 42, 43

HENRY VI., 241

HENRY VII., 106, 130, 134, 136, 187;

domestic work in reign of, 130, 134;

tomb of, 136

HENRY VII.’S CHAPEL, 222, 223

HENRY VIII. and the Renaissance, 126, 136, 137;

domestic architecture under, 128–140;

chimneys, 164;

panelling, 187

“HENRY VIII.’S LODGINGS” at Kenilworth, 60

HERALDRY IN DECORATION, 43, 80, 86, 194, 195–198, 201, 204, 272

HEREFORD, BUTCHER’S GUILD, hall of, chimney-piece, 198

HERRINGSTONE, ceiling, 192, 193

HIPPED ROOF--See under “Roof”

HOLDENBY, extent of, 154

“HOLLINGSHED’S CHRONICLES,” 186

HORHAM HALL, 128, 130;

fireplace, 130;

hall, 128, 130;

windows, 128

HORN, as material for glazing, 42, 98

HURSTMONCEUX CASTLE, 85

HOUGHTON CONQUEST, 215

IGHTHAM MOTE, roof, 116, 118

IRONWORK, 241, 242, 255, 258;

gates, 241, 255, 256, 258;

railings, 242, 255, 256, 258;

staircase balustrades, 301

ITALIAN INFLUENCE in England, 67, 127, 128, 132–138, 160–166, 187,

196, 206–208, 235–238

JAMES I., 95, 194, 208, 210

JOHN, KING, 49, 55

JOHN OF GAUNT, 44, 55

JONES, INIGO, 205, 207, 221, 229–232, 234, 237;

banqueting hall, 210, 222;

works attributed to, 215, 216, 261;

Stoke Bruerne, 225

KEEP, its origin, 3;

relation to castle, 3;

described, 4–6;

late survival of, 20, 23, 35;

compared with fortified manor house, 20, 24;

fireplaces in, 106;

roofs or ceilings, 114

KEEP, at Castle Hedingham, 7–13;

at Kenilworth, 53, 60;

at Longthorpe, 35, 114;

at Peak Castle, 17–20;

at Stokesay Castle, 35, 40, 41;

at Tattershall, 21, 79–81;

at Warkworth, 23, 81

KENILWORTH CASTLE, 5, 44, 53–60, 185;

fireplaces, 58;

hall, 55, 58;

keep, 53, 60;

kitchen, 56, 58;

undercroft, 55;

windows, 58

KENT, WILLIAM, 229, 231, 235, 278

KING’S LYNN, house at, chimney-piece, 198

KIP, views by, 145, 147, 157, 182, 184

KIRBY HALL, 152, 154, 163

KIRBY MUXLOE, 67, 84–86;

gatehouse, 86;

hall, 86

KIRTLING HALL, 131, 132

KITCHEN, importance of, 60;

Abbot’s, at Durham, 60;

Abbot’s, at Glastonbury, 60, 61–63;

at Burleigh House, 60, 65;

at Colleges of Oxford and Cambridge, 65, 66;

at Haddon Hall, 47, 50, 65;

at Kenilworth Castle, 56, 58;

at Oakham Castle, 31, 32;

at Raby Castle, 60;

at South Wingfield, 61, 65, 73, 74;

at Stokesay Castle, 38;

at Warkworth Castle, 82, 83

KNOCKER, 97

KNOLE, 154

KNYFF, views by, 182, 184

LACOCK, ANGEL INN, doorway, 95, 97;

knocker on, 97

LAGUERRE, 290

LANCASTER, EDMUND, Earl of, 55

LANDSDOWNE HOUSE, chimney-piece, 278

LANTERN LIGHT, 108

LANTERN, octagonal, 63

LAYER MARNEY, 131, 132, 133, 187;

gatehouse, 131;

windows, 132, 133;

panel from, 187

LAY-OUT OF HOUSES, 179–185, 239

LAVENHAM, ceilings, 122, 123

LEADWORK, urns at Drayton, 242;

figures at Carshalton, 258;

roofs, 179;

used on doorway pediments, 272

LEICESTER, DUDLEY, Earl of, work at Kenilworth, 55, 59, 60

LENHAM, doorway, 97, 98

LEONI, GIACOMO, 235, 258

LIBERATE ROLLS, of Henry III.’s time, 42

LINCOLN, Bishops of, 123

LINEN PATTERN, 187

LITTLE MORETON HALL, 173

LITTLE SODBURY, roof, 119, 121

LITTLE WENHAM HALL, windows, 100–102

LOGGIA, 145

LONG GALLERY, 49, 50, 138–140, 142, 145, 152;

object of, 203, 204;

goes out of fashion, 210, 241

LONGLEAT, 157, 179, 182, 206;

bay windows, 157, 182;

lay-out, 182;

roofs, 179

LONGTHORPE, 35, 114

LOUVRE, 27, 32, 106, 108, 130

LOVE LANE, house in, staircase, 293

LYDDINGTON BEDE HOUSE, ceiling, 123;

cornice, 123

LYTES CAREY MANOR HOUSE, 137

MACHICOLATIONS, 81, 89, 90

MANNERS, Sir JOHN, 49

MANOR HOUSE, Elizabethan and Jacobean, 1, 25, 70, 157–179;

fortified, 20, 24–43;

mediæval, 45–61, 67–86;

Tudor, 128–139

MARKENFIELD HALL, 45

MARTIN MARPRELATE TRACTS, 105

MARTON HALL, 173

MARY, QUEEN OF SCOTS, at South Wingfield, 74, 75

MARY, WILLIAM AND, 239, 285

MAUNCH, heraldic, at Kirby Muxloe, 86

MAYFIELD, BISHOP’S PALACE, doorway, 92–94;

roof, 116–118;

window, 103

MELTON CONSTABLE, 215

MEREWORTH “CASTLE,” 235

MINSTER LOVEL, hall, 26

MOAT, 35, 36, 53, 76, 84, 131

MONTACUTE HOUSE, 155

MONTAGU, GEORGE, letter from Walpole to, 234

MONTAGU, RALPH, Duke of, 239

MONTFORT, SIMON DE, 55

MORE, Sir THOMAS, 148

MORTEIGNE, Earl of, afterwards King John, 49

MOULDINGS, 86, 91, 123, 259, 262;

bolection, 262;

of panels, 262

MOYNS PARK, 166, 169

MULLION, 29, 100, 101, 102, 154, 163, 165, 166, 210, 251;

origin of, 101, 102;

ornamented with arabesques, 133, 134;

replaced by sash windows, 213–220, 241;

survival of, 220

NASSINGTON, PREBENDAL HOUSE, doorway, 91

NAWORTH, 45

NEVILLS, Earls of Westmorland, 44

NEWCASTLE HOUSE, 223

NEWEL STAIRCASE--See under “Staircase”

NONESUCH PALACE, 137

NORFOLK, Duchess of, work for, at Drayton, 241, 255;

monogram of, 255

NORRINGTON, doorway, 95

NORTHBOROUGH MANOR HOUSE, described, 45, 94;

chimney, 112

NUNNEY, CASTLE OF, 45

OAKHAM CASTLE, 27, 28, 29–33, 45, 55, 101;

hall, 27, 31–33, 55;

kitchen, 31, 32;

window tracery, 101

OGEE ARCH, 94

OILLETS, 85, 89

OLD WAR OFFICE, plaster panels, 266;

ceiling, 288

OOLITE STONE, 169

OPEN HEARTH--See “Central Hearth”

ORDERS, use of the, 162, 163

ORIEL, 104, 105, 132, 137

ORIFICE, 109, 110, 111

OXBURGH, gatehouse, 131

OXFORD AND CAMBRIDGE, halls of, 108, 134;

kitchens, 65, 66

OXFORD, Earls of, 12

PALLADIO, ANDREA, 233, 235;

“Architecture of,” by G. Leoni, 235

PANELLING, wood, 124, 125, 187–191, 194;

late seventeenth century and eighteenth century, 259–266;

plaster, 266

PARAPET, 165, 179

PARHAM, ceiling, 191

PARLOUR, 139, 140, 142, 145, 146, 152;

winter, 148

PARQUETRY, at Drayton, 241

PEAK CASTLE, 5, 6, 13–20, 49, 108;

keep, 15–20;

staircase, 18

PEDESTAL, stone, at Drayton, 242

PEDIMENT, 127, 216;

broken, 261;

semicircular over doorway, 272

PELE or PELE-TOWER, descent of Elizabethan house from, 1;

similarity between keep and, 17;

late examples, 21, 22;

stone vaulting at, 114;

Belsay Castle, 22;

Bitchfield Tower, 22;

Chipchase Castle, 22;

Cocklaw Tower, 21;

Halton Castle, 22;

Longthorpe, 35, 114

PEMBROKE, HENRY, Earl of, 234

PENSHURST PLACE, licence to crenellate, 44;

central hearth, 108;

roof, 119;

window, 103

PERCY, HENRY, son of Hotspur, 81

PETER THE GREAT, 264

PETWORTH, doorway, 272

PIERS, GATE--See under “Gate”

PILASTER, 162, 163, 169, 195, 196, 219, 259, 264, 272

PILTON MANOR HOUSE, 166

PINDAR, Sir PAUL, house of, 157, 159

PLANNING--courtyard type, 143–145, 152;

eighteenth century, 233–236, 242–250;

of Elizabethan and Jacobean house, 25, 58, 140, 143–154;

of fortified manor house, 20, 24–42;

=H= type, 148–152;

of mediæval manor house, 47–60, 67–86;

of Norman keep, 20–23;

of seventeenth century, 210–213;

of Tudor house, 128–139;

under the influence of the amateurs, 224–232

PLASTERWORK, 123, 194, 218, 220;

ceilings, 191–194, 204, 282–290, 295;

details in, to imitate stone, 171;

frieze, 282;

panelling, 266

POORE, Bishop, 246

POPE, ALEXANDER, criticisms on Palladian architecture, 237;

letter to Burlington, 244

PORCH, 42;

central, 149, 175;

at Brome Hall, 182;

projecting, 220

PORTCULLIS, 85, 89, 139, 143

POWIS CASTLE, 185

POWYS, Lord, 223

PRUDHOE CASTLE, oriel, 105

PULTENEY, JOHN DE, licence to crenellate granted to, 44

PURLINS, 116, 121

QUENBY HALL, parapet, 179;

roof, 179

QUOINS, 169, 249

RABY CASTLE, 44, 60;

kitchen, 60

RAIL, HAND--See “Handrail”

RAILINGS, iron, 242, 254, 255, 258

RAWDON HOUSE, staircase, 201;

doorway, 202

RAYNHAM HALL, 212–215;

chimney-piece, 278;

doorway, 274

RENAISSANCE, the, 86, 87;

advent into England, 126–128, 136;

Inigo Jones and, 207

RICHMOND PALACE, central hearth, 106

RIPLEY, THOMAS, 235

ROCHESTER CASTLE, 5, 6, 7, 91, 100, 114;

doorway, 91;

keep, 5, 6, 7;

roofs, 114;

windows, 100

ROLL OF THE PIPE, 17

ROOFS, flat, 179;

hammer-beam, 121, 122;

hipped, 214, 249;

lead, 179;

octagonal, 63;

open-timber, 33, 37, 58, 116–122;

stone-vaulted, 114

ROTHWELL MANOR HOUSE, described, 249;

entrance doorway, 249, 274

ROTHWELL MARKET HOUSE, circular stair, 199

ST JAMES’S SQUARE, house in, 238;

ceiling, 290

ST JOHN’S COLLEGE, OXFORD, 215

ST PAUL’S, 222, 232

SALISBURY, house in Close, 246;

Bishop’s palace, drawing-room, 246

SALLYPORT, 15

SANITATION, 42, 74, 75, 80, 86, 142

SCAWEN, Sir THOMAS, 258

SCREENS, 33, 50, 56, 94, 145, 146, 151, 210

SEATON DELAVAL, 242–244

SEDLESCOMBE MANOR HOUSE, 175

SESQUIALTERA, 246

SESQUITERTIA, 246

SHAKESPEARE, WILLIAM, 152;

depicts Elizabethan room, 196

SHAKESPEARE’S “HENRY IV.,” 83, 84

SHEEN HOUSE, doorway, 275

SHELDONS MANOR HOUSE, described, 154, 155

SHELL FARM, 174

SHERBORNE, oriel, 105

SHUTE, JOHN, 206

SHUTTERS, wooden, 13, 40, 41, 98–103;

to be painted, 43

SMITHSON DRAWINGS, 152, 156, 184, 206, 223

SMITHSON, HUNTINGDON, 152

SMITHSON, JOHN, 151, 152;

notes on Wimbledon House, 185;

Italian influence, 206;

plans, 210;

Henry VII.’s chapel, 222, 223

SOANE MUSEUM, 141

SOLAR, 24, 25, 27, 32, 34, 38, 40, 46

SOMERSET HOUSE, OLD, 149

SOUTHWARK, HIGH STREET, house in, 218, 220

SOUTH WINGFIELD MANOR HOUSE, 21, 61, 68–78, 80, 97, 103, 104;

doorways, 97;

gatehouses, 75;

hall, 70, 76, 78;

kitchen, 61, 65, 73, 74;

staircase, 75, 76;

undercroft, 71–73;

windows, 76, 103, 104

SPARROW’S HOUSE, IPSWICH, 219

SPENSER, EDMUND, 125;

describes sixteenth-century palace, 138–140

SQUERRIES, WESTERHAM, 215

SQUINCH, 63

STAIRCASES, at Boughton, 239;

at Drayton, 241, 298;

brick, 81, 124;

eighteenth century, 293–301;

Elizabethan and Jacobean, 198–203, 293;

elliptical, 298, 300;

external, 38;

newel, 8, 10, 18, 21, 51, 63, 71, 73, 75, 76, 80, 82, 104, 124;

wood, 38, 76, 200, 298

STANTON HARCOURT, 60, 63, 97;

doorways, 97;

kitchen, 60, 63

STATUARY in lay-out at Boughton, 239

STEPHEN, KING, castles during reign of, 6

STOKE BRUERNE, awkward planning, 225

STOKESAY CASTLE, 35, 36–41, 42, 102, 106, 110, 119;

fireplace, 38, 110;

gatehouse, 36;

hall, 37, 38, 41;

keep, 35, 40;

roof, 37, 119;

solar, 38–40;

stairs, 38;

windows, 40, 41, 102

STRING-COURSE, 159, 160–162, 166

SUDBURY HALL, 293, 295;

ceiling, 295;

doors, 295;

staircase, 293, 295

SURVEYOR, 205, 206

SUTTON COURTNEY, 45

SUTTON PLACE, Italian influence on ornament, 134

SWAGS, 261

SWAKELEYS, 216

SWAN, ABRAHAM, 266, 278

SYDENHAM HOUSE, 166

SYMMETRY, tendency towards in mediæval houses, 58, 59, 67, 68, 70,

81, 85, 86;

in disposition of plan, 127;

in Tudor houses, 137, 138;

becomes universal, 140, 142, 145, 148, 175;

effect of house depends on, 182;

growing demands of, 186;

in Palladian houses, 249

TAPESTRY, 125, 191, 196, 280

TATTERSHALL CASTLE, 21, 78–81, 114, 124;

chimney-pieces, 80, 81, 114;

staircase, 80, 81, 124;

windows, 80

TEMPLE NEWSAM, 179

TERRA-COTTA, 134

THEOBALDS, 154

THORNBURY CASTLE, 137, 157;

bay window, 157

THORNEY HALL, panelling, 261

THORNHILL, Sir JAMES, 290

THORPE HALL, 261, 285;

ceiling, 285

THORPE, JOHN, 141, 143, 147, 151, 152, 156, 157, 207, 210;

attitude to Henry VII.’s chapel, 222, 223

THORPE’S drawings, 141–151, 156;

plans, 141–151, 157, 210

THYNNE, Sir JOHN, 206

TILES, use of in half-timber work, 175

TOWER OF LONDON, 5, 6, 57;

keep, 57

TRACERY, fan, 123;

window, 26, 29, 51, 81, 94, 103;

common to ecclesiastical and domestic architecture, 29;

sparing use of, 100, 132;

elaborate, 103;

Italian influence on, 134

TRANSOME, 29, 132

TRIFORIUM, 7, 8

TYMPANUM, 255

UNDERCROFT, 55, 70, 71–73

UP PARK, 215

URNS, lead, 242, 255

VANBRUGH, Sir JOHN, 205, 234, 242–244, 274

VERNACULAR WORK, influenced by Wren, 232

VERNON, Sir GEORGE, “King of the Peak,” 49

VERRIO, 290, 292

VERSAILLES, 239

VESTIBULE, 151, 210

VICENZA, villa near, 235

VICTORIA AND ALBERT MUSEUM, wood panel, 188

VITRUVIUS, 221, 222

“VITRUVIUS BRITANNICUS,” 232, 246

VYNE, THE, Hampshire, 234

WADE, General, 233

WAINSCOT, 124, 187

WALLS, methods of covering internally, 42, 124, 125, 187–191,

259–266, 280

WALPOLE, HORACE 233–235

WANSTEAD, ESSEX, 246–249

WARE, ISAAC, 225–231, 285

WARKWORTH CASTLE, 23, 67, 81–84;

gatehouse, 81;

hall, 82, 83;

kitchen, 82, 83;

staircases, 82;

windows, 83, 84

WARWICK CASTLE, 44

WARWICK, Earl of--See “Beauchamp”

WARWICK SQUARE, house in, ceiling, 285

WEBB, JOHN, 218, 234, 259, 261, 274, 285

WELLS, Deanery at, bay window, 104;

Vicars’ Close, chimney, 112

WENTWORTH CASTLE, 234

WEST BURTON, 180

WHITEHALL GARDENS, house at, ceiling, 288–290;

chimney-piece, 278

WILLIAM III., 239, 255, 285

WILLIAMS, CHARLES, 206

WILTON HOUSE, double cube room, 246;

chimney-piece, 264, 266, 278;

panelling, 282

WIMBLEDON HOUSE, 185;

lay-out, 185

WINDOWS, bay, 34, 58, 70, 73, 103–105, 128, 130, 132, 145, 157–159,

179, 182, 213;

dormer, 182, 214, 219, 220, 249;

glazing of, 13, 40–43, 98–100, 102, 103;

in attic storey, 229, 231;

“Italyan,” 152, 206;

mediæval, 13, 21, 29, 32, 47, 49, 50, 76, 80, 84, 98–105;

mullioned, 154, 163, 165, 166, 210, 251;

oriel, 104, 105, 132, 137;

round-headed, 216;

sash, 213–219, 241, 249, 251;

sham, 227;

square-headed, 127, 154, 157, 165, 166;

traceried, 26, 29, 51, 81, 94, 132, 134;

Tudor, 132–134

WOLSEY, Cardinal, 138, 191

WOTTON, Sir HENRY, 204, 221, 222, 225

WREN, Sir CHRISTOPHER, 205, 208, 220, 222, 232, 234, 238, 259, 274,

293

WYNNE, Captain, 224

YANWATH, 45

YORK, Assembly Rooms at, 233

_Printed at_ THE DARIEN PRESS, _Edinburgh_.

FOOTNOTES:

[1] Remains of this are visible in the plastered spaces of one of the

principals.

[2] See an engraving made after a drawing of 1716 from the original

painting in fresco at Newnham Padox, published by Henry Merridew,

Coventry.

[3] See the _Transactions of the Royal Institute of British

Architects_, vol. v., New Series, for an interesting conjectural

restoration of the Mayfield roof by Mr G. E. Street, R.A.

[4] They are in the possession of Colonel Coke of Brookhill Hall,

Alfreton. See also pp. 183, 185.

[5] The residence of the Misses Baily, who have kindly allowed the

staircase to be drawn.

Transcriber’s Notes:

1. Obvious printers’, punctuation and spelling errors have been

corrected silently.

2. Where appropriate, the original spelling has been retained.

3. Some hyphenated and non-hyphenated versions of the same words have

been retained as in the original.

4. Superscripts are represented using the caret character, e.g. D^r.

or X^{xx}.

5. Italics are shown as _xxx_.

6. Bold text is shown as =xxx=.

The Growth of the English House A short history of its architectural development from 1100 to 1800 · 第 14 / 14 章