ARCHITECTURAL CHARACTER

English renaissance architecture may be divided into the following periods:

The Elizabethan Style

Elizabeth ( A.D. 1558-1603)

Elizabethan Architecture was a transition style, which followed the Tudor style of the reigns of Henry VII and Henry VIII for many Gothic features were at the first and ornamented with Renaissance details which were at first applied only in tentative manner. The style bears the same relation to Anglo-Classic, or fully-developed English Renaissance, as the Francis I, style does to fully-developed French Renaissance.

As during the Middle Ages a sufficient number of churches had been erected for the wants of the people, few were built in this period. This was also the case in France and Germany; whereas in Italy churches of this period were many and important.

The examples of Elizabethan architecture, like those of the French Renaissance, were country houses erected by powerful statesmen, successful merchants, and newly-enriched gentry; contrasting with the palaces and churches of the Italian Renaissance, principally erected in cities. The influence of landscape gardening is important, for in designing the house with forecourt, formal garden, arcades, fountains and terraces, a special and finished character was given to the buildings themselves.

Many Gothic features, such as the tower, oriel, large mullioned “bay,” and other windows, gable, pierced parapet, and large chimney stacks were retained.

The Elizabethan style represents the attempt to apply Italian architectural features to buildings, but it did not confine itself to architecture only, as it pervaded the whole of the ornamental arts in furniture, decoration, and fittings, and is in this respect a style complete in every aspect.

The alliance of James IV of Scotland with France caused French architectural features to be introduced, as at George Heriot’s Hospital, Edinburgh.

SECULAR ARCHITECTURE

As in other countries, the earliest examples of the style consist of small works such as tombs, monuments, doorways and other features, the tomb of Henry VII, in Westminster Abbey, designed by Torrigiano, an Italian, in 1512, being generally regarded as one of the earliest examples.

Examples

Holland house, Kensington

Stockton house, Wiltshire ( side of the drawing room )

Blickling hall ,Norfolk staircase

Hardwick hall plan

Castle Ashby Floorplan

Elizabethan mansions

As already mentioned domestic architecture received more attention than any other class of building.

Two general types of house plan were in use at the beginning of the sixteenth century. Of these the smaller type consisted of a hall placed centrally, with kitchen and offices at one end and with drawing and living rooms at the other, internal courts for lighting being sometimes employed, as at Chastleton in Oxfordshire. The larger type of house was evolved from the quadrangular plan of the Middle Ages, Which the later architects renounce by omitting the side forming the entrance, admitting sunlight and allowing free circulation of air about the building.

The E-shaped plan thus came into existence, as at Hatfield house. The gatehouse on the centre off the side forming the entrance, which was typical of the Tudor period, as at Oxburgh Hall, became a detached building, as at Burtons Agnes, Yorkshire (A.D. 1610); Cranbourne, Dorsetshire; Stanway, Gloucestershire, and elsewhere.

The H-shaped plan was evolved by extending the wing s on both fronts, as at Holland House, London. Other fanciful plan showing extreme originality were erected, as Longford Castle, a triangular house attributed to John Thorpe.

The Following features occur in the principal example:

The great hall, retained from the medieval period was lined to a height of 8 or 10 feet with oak paneling, while above were arranged the trophies of the chase, armour, portraits of ancestors, family relics and heirlooms. At one end of the hall, by the entrance, is the carved oak screen, over which is the minstrels’ gallery, while at the other end is the raise dais with tall bay-window, the sill of which is almost at the floor level. The hall fireplace was much elaborated (No. 250 K), and richly carved with the coat-of-arms of the owner, and the roof (No. 113) either with the timbers showing or formed with plaster panels (No. 241), was elaborately ornamented. The hall in the later period became of less importance as a living room, and was used more as a means of communication.
The broad staircase of oak (Nos. 242 and 244 E) is a special feature, with its heavily carved newels, pierced balustrading, and rich carving. It was generally placed in connection with the hall, and gives to the interior an air of spaciousness and dignity, its importance being due to the fact that the chief living rooms were often placed on the first floor and therefore demanded and important means approach.
The long gallery on the upper floor (Nos. 131 E and 245 C) often extends the whole length of the house, the proportions varying considerably from the hall in being comparatively low and narrow in proportion to the length. There is no feature of an old English mansion more characteristic than these galleries. It served as a means of communication between the wings of the house, the hall being often two stories in height. The length is frequently relieved by room-like projecting bays – those at Haddon Hall being about 15 feet by 12 feet, with stone mullioned windows, glazed with leaded panes (No. 243). The walls have usually oak paneling the full height, the ceiling being richly modeled in plaster.The term “picture gallery” is supposed to be derived from these apartments and below to the Jacobbean period.

Aston Hall (A.D. 1618-35) is 136 feet by 16 feet and 16 feet high,
Montacute House ( A.D. 1580) is 170 feet long by 20 feet 6 inches wide
Hardwick Hall (A.D. 1576-1597) (No. 254 C) is 166 feet long, 22 feet 5 inches wide and 26 feet high.
Chartlon House (Wilts) (A.D. 1607) is 130 feet by 22 feet wide
Moreton Hall (A.D. 1559) is 75 feet by 12 feet 6 inches wide.

The withdrawing room, or “solar” of Gothic times, a chapel (sometimes), and the bedrooms , were other apartments, the latter increasing considerably in number and importance during this period.An example of an apartment treated with paneling its whole height and with elaborate carved chimneypiece is shown in No. 244 D, from Stockton House, Wiltshire.

Kirby Hall, Northants

Little Moreton Hall, Cheshire

Tower of the Old Schools (Bodleian Library)

Hatfield House

Example of Some Famous Elizabethan Mansions

Name Date Architect

Charlecote, Warwickshire, A.D. 1558,

Kirby, Northbants (No. 246) A.D. 1570-1575. John Thorpe

Penshurst, Kent (No. 132). A.D. 1570-1585,

Burghley, Northants, A.D. 1575-1589, John Thorpe,

Longleat, Wilts, A.D. 1567, John of Padua

Montacute House, Somerset, A.D. 1580-1601

Wollaton, Notts, A.D. 1580 R. Smithson.

Longford Castle, Wilts, A.D. 1580 John Thorpe

Westwood, Worcester, A.D. 1590

Longford Castle was originally triangular in plan (No.131 F), with circular towers at each angle, and central open triangular courtyard. It was added to in the eighteenth century, and now forms an irregular pentagon on plan.

Moreton Hall, Cheshire (A.D. 1550-1559) (No. 247), is an example of many of the timbered houses, erected in the period, for which Cheshire and Shropshire are specially famous.

Elizabethan Colleges

Many of the colleges at Oxford and Cambridge (cf. list, page 324). Were erected during this period, and these buildings, situated within the seats of revived learning, naturally gave a great impetus to the new style, as object lessons to the rising generation.

Cambridge

Name Date Architect

The Gate of Honour, Caius College A.D. 1565-1574. Theodore Haveus of Cleves (?)

Emmanuel College, A.D. 1584

Sidney Sussex College (Court) A.D. 1595 Ralph Simons.

The Quadrangle, Clare College A.D. 1634 Westley.

S. John’s College (Court) Ralph Simons.

Nevill Court, Trinity College. A.D.1593-1615 Ralph Simons.

Oxford

Jesus College, A.D. 1517,

Gateway of the Schools A.D. 1612 Thomas Hol

Merton College (Library) A.D. 1600-1624 Thomas Holt

Wadham College. A.D. 1612 Thomas Holt

Oriel and Jesus Colleges A.D. 1612 Thomas Holt

Pembroke College, A.D. 1624

Architects of Elizabethan Theatre

James Burbage had many ideas about creating the first Elizabethan theatre. He started his career as a joiner and was therefore experience in carpentry. But he did not have the knowledge required to create the similarity to the classical Greek and Roman theatres. But he knew a man who did. James Burbage consulted Dr. John Dee (1527-1606) on the design and construction of ‘The Theatre’. The notorious Dr. Dee, renowned as an Elizabethan magician and alchemist, was also extremely knowledgeable about architecture. James Burbage relied on Dee’s extensive architectural library to design the plans for the construction of ‘The Theatre.

Elizabethan Theatre

Elizabethan Houses

Many interesting specimens of these exist, and among them are several houses of half-timber construction, as for example, in London, Staple Inn, Holborn, the Hall of Charterhouse, Sir Paul Pindar’s House, Bishopsgate (now in the Victoria and Albert Museum), and many examples in Chester, and other of the country towns throughout England. The Architecture of Elizabethan Houses was highly distinctive and many examples of Tudor and Elizabethan houses can still be seen in England today. This proves how good the architects and builders of Elizabethan houses were. Elizabethan houses were built to last.

Architecture of Elizabethan Houses, The Black and White Half Timbered Style

The actual architecture of middle class houses was similar to traditional to traditional medieval styles. But Elizabethan House were framed with massive upright, vertical timbers were often supported by diagonal timbers. The wattle walls were daubed with mortar and whitewash was then applied. This process resulted in the highly distinctive black and white half-timbered Elizabethan Houses.

Architectural Features

Elizabethan houses included the following features:

Vertical and diagonal timbers
High Chimney
Overhanging first floors-galleries
Pillared porches
Dormer windows
Thatched roofs
Leaded windows

The tall thin chimneys of Elizabethan houses were often topped with decorative chimney pots with symmetrical patterns.

THE JACOBEAN STYLE

JAMES I. (A.D 1603-1625)

ARCHITECTURAL CHARACTERS

The Jacobean style was a development of the Elizabethan, gradually diverging from gothic Picturesqueness as classic literatures and models became better known, and the use of the columns with their entablatures became more general.

The buildings of this style were most suitable to the wants of the people in whose era they were erected. Some of the detail and ornamentation may be questionable, but they were at least the outcome of the social conditions of that age, and an examination of the mansion erected during the Elizabethan and Jacobean periods, most of which are easily accessible. Jacobean furniture design continued on the same lines as the architecture.

EXAMPLES

Examples of some famous Jacobean mansions

Holland House, Kengniston (No. 244) A.D. 1607. John Torpe.

Charlton House, Wilts. A.D. 1607.

Bramshill, Hants (No. 250) A.D. 1607-1612.

Hatfield House, Herts A.D. 1611.

Cranbourne Manor House, Dorsetshire A.D. 1612.

Audley End, Essex A.D 1603-1616. Bernard Jansen.

Aston Hall, Warwickshire. A.D. 1618-1635.

Loseley Park, near Guildford.

Bolsover Castle, Derbyshire. A.D. 1613. H. Smithson.

Brickling Hall, Norfolk A.D. 1620

COMPARATIVE

The Elizabethan and Jacobean Style

Plans - These are often E or H-shape (No. 24 B), the entrance being in the middle of the center, and the two ends forming wings, while many are irregular in plans, as Knole, Penshurt and Haddon (ballroom wings), such grouping being often brought about through the work being an addition to a previous Gothic house. Characteristics features are: The great hall, the broad straircase, the long gallery and very often a chapel. Broad terraces, with balustrades, raised above the garden level, and wide flights of steps, are charming features in the styles. Garden ere often laid outin formal manner, with yews, and other trees cut in fantastic patterns.
Walls. Elevations have the character of picturesqueness, the classic order being used in a very free manner, only placed one above the other in the facades.The gables are often of scroll-work, following in the general way the slope of the roof.Parapets are pierced with various characteristic design.
Openings. Bay windows were largely used, and form important features of the style. Large heavily mullioned windows filled in with leaded glass, and crossed by horizontal transoms are special features adopted from the Gothic periods and oriel windows are common.
Roofs. High, flat, or low roofs with balustrades, occur both separately and in the same design. Lead and tiles were both used, and also stone slabs in certain districts.
Columns. The orders were employed rarely with purity, a characteristic treatment being the reduction downwards, more especially in pilasters, accompanied by bulbous swellings. Square columns were used, banded with straps ornamentations, and pilasters were similarly threated or paneled.
Mouldings. A typical cornice consist of a large cyma and small ogee moulding above the corona of a little depths, and the used of the convex mouldings, often banded or carved at intervals.
Ornaments. “Straps” ornamentation was formed by raised bands, of about the width and thickness of the leather strap, interlaced in grotesque patterns, and attached as if by nails or rivets, as in the ceilings.

Grotesquely carved figures as terminals occurs, and in carving generally, ribbons, scrolls, and festoons were preferred to Gothic foliage types.

Prismatic rustication, or the projection of blocks of the stone of prismatic form, occurs in pilasters and pedestals, and in later times colored stones were inserted in their stead.

Plaster was used for ceilings with great skill in design and adaptability to the materials, and broad friezes were sometimes modeled with much quaintness and grotesque feeling.

Tapestries continued to be used for walls, color decoration making little or no progress.

The screens, mantelpieces, entrance porches, monuments and tombs, such as the monuments to Elizabeth and Mary Queen of Scott in Westminister Abbey, and the tomb of Lord Burghley, are very numerous and characteristics, a large number being found in churches throughout the country, and many being richly colored