history report 2

8/4/2019 History Report 2

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Renaissance Architecture in England

The term Renaissance is a French term meaning Rebirth. Collectively, the Renaissance is accepted is a time period whenclassical culture was reintroduced into Europe after the Middle Ages. It was a time when increased trade and culturediffusion shed a light upon the medieval European society. As a result the Middle Ages are also referred to as the DarkAges. Chronologically the period lasted from the late 14th century into the early 17th century.

English Renaissance- Influences

Geographical.

Through-out the nineteenth century a rapid shrinkage of distance was brought about by railways andsteamships, while electricity, photography, and other processes of reproduction also contributed in some measure to thegradual reduction of geographical influence.

Geological.This influence has been considered in the Mediaeval period and, as one of the natural influences, it iscontinuous, and still gives a special character to the architecture of various districts ; though other elements have modifiedits operation. Timber, for instance, gradually fell into disuse for building purposes, partly on account of its liability to fire,and also because it was no longer so easy to obtain, as the growth of towns and the cultivation of land for the needs of anincreasing population had involved the clearing of forests

Climatic.The influence of climate was operative in the Renaissance as in former periods. When the new style wasintroduced from Italy, the dull English climate at once began to adapt it to our northern use. In order to admit abundant

light, large windows still continued, especially in the early period, in striking contrast to those of Italy. A growing desire forcomfort, coinciding also with the more general use of coal as fuel in the reign of Charles I, brought about the introductionof a fireplace in each room ; while chimneys continued, as in the Tudor period, to be prominent symmetrical features ofthe external design, instead of being disguised as in Italy.

Religious.Early in the sixteenth century religious controversy was astir in the land, and the Reformation in religioncoincided in England with the commencement of Renaissance in architecture. Abuses had crept into the church, and thePopes had failed to deal with them. During this period men's minds were turned rather to Church reform than to churchbuilding. Moreover, the great church-building area of the Middle Ages had left an ample supply of churches, and not untilthe latter part of the seventeenth century was there a renewal of church building.

Social.At the time when the Renaissance came to England, not only had new social conditions been created, butnational life was rich in every variety of social, artistic, and literary movement. The Renaissance, with its recognition of the

inherent human right to the enjoyment of life, appealed strongly to a community which had thrown off ecclesiasticaldomination and was rapidly developing a free national and domestic life along secular lines.

Historical.Henry VIII had been firmly established on the English throne, and the security of his position at homeenabled him to interest himself in affairs on the. Continent, and his famous meeting with Francis on the Field of the Clothof Gold in A.D. 1520, with all its. resplendent accessories, resulted in attracting foreign artists to his court, and they largelydetermined the manner of the adoption of the Renaissance style in England, alike in architecture, sculpture, and painting.

Jacobean style

Jacobean style (jk"ub'un) [key], an early phase of English Renaissance architecture and decoration. It formed atransition between the Elizabethan and the pure Renaissance style later introduced by Inigo Jones. The reign of James I(160325), a disciple of the new scholarship, saw the first decisive adoption of Renaissance motifs in a free form

communicated to England through German and Flemish carvers rather than directly from Italy. Although the general linesof Elizabethan design remained, there was a more consistent and unified application of formal design, both in plan andelevation. Much use was made of columns and pilasters, round-arch arcades, and flat roofs with openwork parapets.These and other classical elements appeared in a free and fanciful vernacular rather than with any true classical purity.With them were mixed the prismatic rustications and ornamental detail of scrolls, straps, and lozenges also characteristicof Elizabethan design. The style influenced furniture design and other decorative arts. Jacobean buildings of note areHatfield House, Hertford; Knole House, Kent; and Holland House by John Thorpe.

See M. Whiffen, An Introduction to Elizabethan and Jacobean Architecture(1952) and J. Summerson, Architecture inBritain, 15301830(rev. ed. 1963).Read more: Jacobean style Infoplease.com http://www.infoplease.com/ce6/world/A0825832.html#ixzz1UKp2bDPH
http://www.infoplease.com/encyclopedia/ce6pron.htmlhttp://www.infoplease.com/ce6/people/A0826565.htmlhttp://www.infoplease.com/ce6/world/A0823978.htmlhttp://www.infoplease.com/ce6/world/A0825832.html#ixzz1UKp2bDPHhttp://www.infoplease.com/ce6/world/A0825832.html#ixzz1UKp2bDPHhttp://www.infoplease.com/ce6/world/A0825832.html#ixzz1UKp2bDPHhttp://www.infoplease.com/ce6/world/A0825832.html#ixzz1UKp2bDPHhttp://www.infoplease.com/ce6/world/A0825832.html#ixzz1UKp2bDPHhttp://www.infoplease.com/ce6/world/A0823978.htmlhttp://www.infoplease.com/ce6/people/A0826565.htmlhttp://www.infoplease.com/encyclopedia/ce6pron.html


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http://www.infoplease.com/ce6/world/A0825832.html

English Renaissance Architecture:

In England the Renaissance was potent force in England during the 16th century. During this period two distinctive stylesemerged:

Elizabethan style Jacobean style

blended Medieval and Renaissance styles

characteristic of large noble houses

transition from Medieval to Renaissance

Predominant during Queen Elizabeth's reign from1558-1603

blended medieval and renaissance styles

characteristic of formal structures

transition from Elizabethan to Pure Renaissance

Predominant after Queen Elizabeth's reign

Tends to be more unified and consistent

http://library.thinkquest.org/C005594/renaissance.htm

Renaissance Architecture In England

( Originally Published 1915 )

During the sixteenth century most of the building in England was of great country houses for the aristocracy. A form grewup, which was more Gothic than Renaissance, and it was called Tudor. The big houses and universities in this style arevery handsome, and seem to suit the country where they are built. Two very famous buildings of this time are HamptonCourt near London, and Haddon Hall in Derbyshire, the scene of Dorothy Vernon's romance. There are no moreinteresting buildings of their kind in the world.

Under Queen Elizabeth foreign architects were employed and much building was done. Gradually the classic forms beganto supplant the Gothic, and, tinder Inigo Jones(1572-1652), a number of large and dignified edifices arose, such as thepalace of Whitehall.

Sir Christopher Wren, the designer of St. Paul's cathedral in London, did the most notable work in English Renaissance.

Renaissance Architecture Elsewhere in Europe

In England the Renaissance flowered in the middle of the 16th cent. The Elizabethan style and the Jacobean style appliedclassical motifs while retaining medieval forms. The move toward a pure and monumental classical style was largely thework of Inigo Jones, whose royal banqueting hall (1619) in London decisively established Palladian design in Englisharchitecture.

In Germany, about the middle of the 16th cent., the medieval love for picturesque forms still dominated, althoughtransferred to classical motifs. Freely interpreted and resembling the Elizabethan work in England, these gave full play tooriginality and craftsmanship. The style, however, lacking truly great architects, failed to achieve full development as inFrance and England. Nuremberg and Rothenburg ob der Tauber are rich in works of the early period.

In the first period of the Renaissance in Spain, Gothic and Moorish forms (see Mudjar) intermingled with the newclassical ones. Under the leadership of Francisco de Herrera the younger, who imported strictly classical principles fromItaly, the second period was one of correctness and formality. The palace of Charles V at Granada (1527) is its finestproduct.Read more: Renaissance art and architecture: Architecture of the Renaissance Infoplease.comhttp://www.infoplease.com/ce6/ent/A0860693.html#ixzz1UKqCrjF3

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Westminster Banqueting Hall. Photograph taken c. 1920.

Taking their cue from the simple lines of the architecture of ancient Greece and Rome, the architects of the Renaissancedesigned buildings with the flat, wide windows that new engineering techniques made possible, but used simple arches,pediments, and columns.

The style thus created is usually known as Palladian, from the name of its most original practitioner*.

Pictured here is the Banqueting Hall at Westminster, designed by one of the few great Renaissance English architects,Inigo Jones*. Ironically, by the time he was creating the elegant simplicity of this building and others like it, architects inEurope were moving towards a more ornate style, the Baroque, where the detail, while still classical in inspiration,became more elaborate. Click here* for an example.

http://internetshakespeare.uvic.ca/Library/SLT/literature/architecture/renaissancegeneral.html#window

Elizabethan style

Elizabethan style (iliz"ub'thun) [key], in architecture and the decorative arts, a transitional style of the English

Renaissance, which took its name from Queen Elizabeth's reign (15581603). During this period many large manorhouses were erected by the court nobility. The plans and facades tended more toward symmetry, although thereremained many of the characteristics of the Tudor style. The great hall of medieval manors was retained, and featureswere added that increased the occupants' comforta broad staircase, a long gallery connecting the wings of the houseon the upper floors, withdrawing rooms, and bedrooms of greater size and importance. Examples of the great manors ofthe period are Longleat, Wiltshire; Wollaton Hall, Nottinghamshire; Kirby Hall, Northamptonshire; Montacute House,Somerset; and Hardwick Hall, Derbyshire. The houses were often designed by the owners themselves, who furnishedideas that were amplified by their mason or carpenter. The freemason Robert Smythson is one of the earliest namesassociated with English architecture. From Flemish and Italian books the planners haphazardly adapted Renaissance,mannerist, and Flemish motifs, including columns, pilasters, lozenges, festoons, scrolls, and grotesque figures. Noattempt was made to achieve the unified classical style of architecture that had already appeared in Italy and France. Agreater unity was achieved in the subsequent Jacobean style. In landscape design, formal gardens were developed withclipped boxwood and yews along balustraded terraces, which formed a finished setting for the great manors. In the

houses of lesser gentry and yeomen, construction in the Gothic style continued, with the use of half-timber construction,leaded windows, and hammer-beam roofs.

See J. Buxton, Elizabethan Taste(1963).Read more: Elizabethan style Infoplease.com http://www.infoplease.com/ce6/world/A0817118.html#ixzz1UKr8h8xT

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Tudor style
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Tudor style, descriptive of the English architecture and decoration of the first half of the 16th cent., prevailing during thereigns (14851558) of Henry VII, Henry VIII, Edward VI, and Mary I. It is the first of the transitional styles between GothicPerpendicular and Palladian architecture, the other two being Elizabethan and Jacobean. The rise of new trading familiesto wealth and the enrichment of court favorites by Henry VIII with lands and riches derived from his suppression ofmonasteries resulted in the building of many manor houses. In these the fortified character of earlier times gave way toincreased domesticity and privacy. Although the great hall still remained the focus of the establishment, its importancenow decreased with the introduction of other rooms such as parlors, studies, bedrooms in greater number, and quartersfor dining. Rooms frequently were fitted with oak paneling, often of linen-fold type; walls and ceilings received rich plasterrelief ornament; and articles of furniture came into greater use. Domestic exteriors exhibited Perpendicular features inmodified form, notably square-headed, mullioned windows and arched openings of the four-centered or so-called Tudortype. Other characteristics were the use of brickwork combined with half-timber, high pinnacled gables, bay or orielwindows, and numerous chimneys of decorative form. Principal Tudor examples are parts of Hampton Court Palace,begun in 1515, and many colleges of Oxford and Cambridge. Noted country manors include Sutton Place, Surrey; LayerMarney, Essex; and the splendid Compton Wynyates, Warwick.

See J. Harvey, Introduction to Tudor Architecture(1949) and J. Lees-Milne, Tudor Renaissance(1951)

Read more: Tudor style Infoplease.com http://www.infoplease.com/ce6/world/A0849635.html#ixzz1UKrFDv6fhttp://www.infoplease.com/ce6/world/A0849635.html

Jacobean architecture

Castle Bromwich Hall

The Jacobean style is the second phase of Renaissance architecture in England, following the Elizabethan style. It isnamed after King James I of England, with whose reign it is associated.

Characteristics

The reign of James VI of Scotland (or James I of England) (16031625), a disciple of the new scholarship, saw the firstdecisive adoption of Renaissance motifs in a free form communicated to England through German and Flemish carversrather than directly from Italy. Although the general lines of Elizabethan design remained, there was a more consistent

and unified application of formal design, both in plan and elevation. Much use was made of columns and pilasters, round-arch arcades, and flat roofs with openwork parapets. These and other classical elements appeared in a free and fancifulvernacular rather than with any true classical purity. With them were mixed the prismatic rustications and ornamentaldetail of scrolls, straps, and lozenges also characteristic of Elizabethan design. The style influenced furniture design andother decorative arts.
http://www.infoplease.com/ce6/world/A0849635.html#ixzz1UKrFDv6fhttp://www.infoplease.com/ce6/world/A0849635.html#ixzz1UKrFDv6fhttp://www.infoplease.com/ce6/world/A0849635.html#ixzz1UKrFDv6fhttp://www.infoplease.com/ce6/world/A0849635.htmlhttp://en.wikipedia.org/wiki/Castle_Bromwich_Hallhttp://en.wikipedia.org/wiki/Renaissancehttp://en.wikipedia.org/wiki/Architecturehttp://en.wikipedia.org/wiki/Englandhttp://en.wikipedia.org/wiki/Elizabethan_stylehttp://en.wikipedia.org/wiki/James_I_of_Englandhttp://en.wikipedia.org/wiki/Germanyhttp://en.wikipedia.org/wiki/Italyhttp://en.wikipedia.org/wiki/Pilasterhttp://en.wikipedia.org/wiki/Arcade_%28architecture%29http://en.wikipedia.org/wiki/Parapethttp://en.wikipedia.org/wiki/Lozengehttp://en.wikipedia.org/wiki/File:Castle_Bromwich_Hall1.jpghttp://en.wikipedia.org/wiki/Lozengehttp://en.wikipedia.org/wiki/Parapethttp://en.wikipedia.org/wiki/Arcade_%28architecture%29http://en.wikipedia.org/wiki/Pilasterhttp://en.wikipedia.org/wiki/Italyhttp://en.wikipedia.org/wiki/Germanyhttp://en.wikipedia.org/wiki/James_I_of_Englandhttp://en.wikipedia.org/wiki/Elizabethan_stylehttp://en.wikipedia.org/wiki/Englandhttp://en.wikipedia.org/wiki/Architecturehttp://en.wikipedia.org/wiki/Renaissancehttp://en.wikipedia.org/wiki/Castle_Bromwich_Hallhttp://www.infoplease.com/ce6/world/A0849635.htmlhttp://www.infoplease.com/ce6/world/A0849635.html#ixzz1UKrFDv6fhttp://www.infoplease.com/ce6/world/A0849635.html#ixzz1UKrFDv6f


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History and examples

Bank Hall, Bretherton

Already during Queen Elizabeth I's reign reproductions of the classic orders had found their way into English architecture,based frequently upon John Shute's The First and Chief Grounds of Architecture, published in 1563, with two othereditions in 1579 and 1584. In 1577, three years before the commencement of Wollaton Hall, a copybook of the orders wasbrought out in Antwerp by Hans Vredeman de Vries. Though nominally based on the description of the orders byVitruvius, the author indulged freely not only in his rendering of them, but in suggestions of his own, showing how theorders might be employed in various buildings. Those suggestions were of a most decadent type, so that even the authordeemed it advisable to publish a letter from a canon of the Church, stating that there was nothing in his architectural

designs which was contrary to religion. It is to publications of this kind that Jacobean architecture owes the perversion ofits forms and the introduction of strap work and pierced crestings, which appear for the first time at Wollaton (1580); atBramshill, Hampshire (16071612), and in Holland House, Kensington (1624), it receives its fullest development.

Other Jacobean buildings of note are Hatfield House, Hertfordshire; Knole House, near Sevenoaks in Kent; HollandHouse by John Thorpe, Plas Teg near Pontblyddyn between Wrexham, Mold, Bank Hall in Bretherton, Castle BromwichHall near Solihul and Lilford Hall in Northamptonshire.

Although the term is generally employed of the style which prevailed in England during the first quarter of the 17thcentury, its peculiar decadent detail will be found nearly twenty years earlier at Wollaton Hall, Nottinghamshire, and inOxford and Cambridge examples exist up to 1660, notwithstanding the introduction of the purer Italian style by InigoJones in 1619 at Whitehall.

www.wikipedia.com

Jacobean furniture was very sturdy, massive in size, notoriously uncomfortable,however, made to last.

Jacobean is a term used to cover all English style furniturefrom the reign of King James,to King James II. However,throughout this span of time Jacobean furniture showedmarkedly different influences. The earliest Jacobean furniturewas influenced mainly by Elizabethan (1603 -1688) styled

furniture. Commonwealth Style (1649-1660) marks the middleof the Jacobean Period, when the furniture was of simplerdesign and undecorated. The late Jacobean Period is that ofthe Carolean period, named for King Charles II. In this period, the furniture was influencedby Flemish Baroque design.

Early English Jacobean furniture was widely copied by the colonial Americans, althoughthe furniture was more primitive, because there were fewer skilled furniture makers livingin America at the time. In true patriotic form, American colonists renamed their Jacobeanreproductions to that of "Early American" furniture.

Jacobean furniture was very sturdy, massive in size, notoriously uncomfortable, and madeto last. The furniture pieces that were produced consisted mainly of chests, cupboards,
http://en.wikipedia.org/wiki/Bank_Hallhttp://en.wikipedia.org/wiki/Elizabeth_I_of_Englandhttp://en.wikipedia.org/wiki/John_Shutehttp://en.wikipedia.org/wiki/Wollaton_Hallhttp://en.wikipedia.org/wiki/Antwerphttp://en.wikipedia.org/wiki/Hans_Vredeman_de_Vrieshttp://en.wikipedia.org/wiki/Vitruviushttp://en.wikipedia.org/wiki/Wollatonhttp://en.wikipedia.org/wiki/Bramshillhttp://en.wikipedia.org/wiki/Hampshirehttp://en.wikipedia.org/wiki/Holland_House,_Londonhttp://en.wikipedia.org/wiki/Kensingtonhttp://en.wikipedia.org/wiki/Hatfield_Househttp://en.wikipedia.org/wiki/Hertfordshirehttp://en.wikipedia.org/wiki/Knole_Househttp://en.wikipedia.org/wiki/Sevenoakshttp://en.wikipedia.org/wiki/Kenthttp://en.wikipedia.org/wiki/Holland_House,_Londonhttp://en.wikipedia.org/wiki/Holland_House,_Londonhttp://en.wikipedia.org/wiki/John_Thorpehttp://en.wikipedia.org/wiki/Plas_Teghttp://en.wikipedia.org/wiki/Pontblyddynhttp://en.wikipedia.org/wiki/Wrexhamhttp://en.wikipedia.org/wiki/Moldhttp://en.wikipedia.org/wiki/Bank_Hallhttp://en.wikipedia.org/wiki/Castle_Bromwich_Hallhttp://en.wikipedia.org/wiki/Castle_Bromwich_Hallhttp://en.wikipedia.org/wiki/Lilford_Hallhttp://en.wikipedia.org/wiki/Nottinghamshirehttp://en.wikipedia.org/wiki/Oxfordhttp://en.wikipedia.org/wiki/Cambridgehttp://en.wikipedia.org/wiki/Inigo_Joneshttp://en.wikipedia.org/wiki/Inigo_Joneshttp://en.wikipedia.org/wiki/Whitehallhttp://www.wikipedia.com/http://en.wikipedia.org/wiki/File:Bank_Hall_Daffodils.jpeghttp://www.wikipedia.com/http://en.wikipedia.org/wiki/Whitehallhttp://en.wikipedia.org/wiki/Inigo_Joneshttp://en.wikipedia.org/wiki/Inigo_Joneshttp://en.wikipedia.org/wiki/Cambridgehttp://en.wikipedia.org/wiki/Oxfordhttp://en.wikipedia.org/wiki/Nottinghamshirehttp://en.wikipedia.org/wiki/Lilford_Hallhttp://en.wikipedia.org/wiki/Castle_Bromwich_Hallhttp://en.wikipedia.org/wiki/Castle_Bromwich_Hallhttp://en.wikipedia.org/wiki/Bank_Hallhttp://en.wikipedia.org/wiki/Moldhttp://en.wikipedia.org/wiki/Wrexhamhttp://en.wikipedia.org/wiki/Pontblyddynhttp://en.wikipedia.org/wiki/Plas_Teghttp://en.wikipedia.org/wiki/John_Thorpehttp://en.wikipedia.org/wiki/Holland_House,_Londonhttp://en.wikipedia.org/wiki/Holland_House,_Londonhttp://en.wikipedia.org/wiki/Kenthttp://en.wikipedia.org/wiki/Sevenoakshttp://en.wikipedia.org/wiki/Knole_Househttp://en.wikipedia.org/wiki/Hertfordshirehttp://en.wikipedia.org/wiki/Hatfield_Househttp://en.wikipedia.org/wiki/Kensingtonhttp://en.wikipedia.org/wiki/Holland_House,_Londonhttp://en.wikipedia.org/wiki/Hampshirehttp://en.wikipedia.org/wiki/Bramshillhttp://en.wikipedia.org/wiki/Wollatonhttp://en.wikipedia.org/wiki/Vitruviushttp://en.wikipedia.org/wiki/Hans_Vredeman_de_Vrieshttp://en.wikipedia.org/wiki/Antwerphttp://en.wikipedia.org/wiki/Wollaton_Hallhttp://en.wikipedia.org/wiki/John_Shutehttp://en.wikipedia.org/wiki/Elizabeth_I_of_Englandhttp://en.wikipedia.org/wiki/Bank_Hallhttp://en.wikipedia.org/wiki/File:Bank_Hall_Daffodils.jpeghttp://en.wikipedia.org/wiki/File:Bank_Hall_Daffodils.jpeg


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trestle tables, wainscot chairs, and gate legged circular tables. Brewster and Carver chairs (made with numerous spindlesfilling their straight frames) were also produced, their names taken from two distinguished American Colonists of theperiod.

Oak and pine were the most popular woods of choice. Chairs would often have splitspindles, bulbous Spanish carved feet, and rush seats. Chests, large cupboards,

and trestle tables were embellished with Flemish scrolls, ornately carved panels, andornamental twists. These design elements made the massive Jacobean piecesappear very formal and stately.As a rule, Jacobean furniture construction was simple. It was assembled with mortise

and tenon joints, held together with pegs. The majority oflines are square and rectangular, most with flat-frontedsurfaces. The art of inlay and veneering added a wonderfuornate look, especially in cupboards and cabinets.Many pieces were painted, which further added to the style ofthe piece.Upholstering materials used for Jacobean chairs and setteeswere of fine quality, and very ornate. Materials such assilk, tapestries, crewelwork, linen, velvet, and even leatherwere used on various types of chairs.

Jacobean period furniturecan mainly be found in the auction houses of England. Being built to last, many pieces have notonly survived, but are still in good condition.

Jacobean Period

( Originally Published Early 1900's )

SOVEREIGNS, JAMES I, CHARLES I, CROMWELL, CHARLES II, JAMES II

And now having proceeded with our studies A in chronological order, we reach the second period of the Renaissance inEngland, a period essentially native. The shackles of the Italian masters were slipped off, and with hands free to expressthought actually the decorative artists produced something peculiarly their own. As was the custom, the style was notnamed for its originators, but for the house that occupied the throne during its growth. So we call this decorative periodStuart or Jacobean.

The end of the Tudor period is placed at 1603. Inigo Jones lived and worked for forty years after that arbitrary boundary.His ideas were not changed at the death of the sovereign, but continued to work in the style called Palladian - after thegreat Italian architect of the Renaissance. For this reason it is not possible to make clear division between styles Tudorand styles Jacobean, according to the calendar.

In architecture and in interiors the grandiose classic adaptation prevailed in Jacobean times, as in Tudor, with aninclination toward repression as time went on, and, also, certain exaggerations. But even into the Queen Anne period

these general principles prevailed in all large houses and interiors. Homes had not grown quietly comfortable, but weretemplelike in grandeur, their halls an echo of the ancient porticoes where the Greeks discussed philosophy. A liberal useof fluted columns and pilasters enriched every stair and hall and large chamber. An elegant heaviness was sought, givenby the lavish use of oak, in architectural effect. Unspeakably imposing are these interiors now, these magnificentreminders of England's Renaissance, but all impossible to imitate, for time gives a touch which is available, to no otherartist.

In these superb rooms, amid the columns and carvings and set against the panelled wainscots, was the Jacobeanfurniture. No other style can be of such great interest to Americans, for the first furniture that came to our colonies wasthis, and the first that was copied by our own struggling cabinet-makers was this, which fact alone makes it worth ourwhile to study it carefully.


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Furniture and architecture are correlated, the same men designing both interiors and their fittings, yet the Jacobeanfurniture strays further from the Italian inspiration than does the larger work. It faintly echoes the Italian furniture, but isdone with a less certain touch, and finally wanders away on its own devices.

The chests of oak, the square cupboards which hid unhonoured under farmhouse rafters of New England for perhaps twohundred years, are now recognised as Jacobean, and with this proud title are dragged into conspicuousness, and lovedfor their power to speak of, the men of other days. For years we scarce knew what they were, these box-like pieces of oakfurniture so unlike the mahogany-and-haircloth, the black-walnut-and-reps, through whose presumptuous usurpation theybanished. " A strange carved chest in the attic - I consider it very handsome," I remember hearing a lady say with tasteand daring in the days when all old furniture was hopelessly out of the mode, and was universally condemned to attic

darkness. Where would we be now, speaking as collectors, if houses had been constructed without attics!

That we may never pass over unrecognised a bit of Jacobean stuff brought over in the early days, we must study it in itsEnglish purity before colonial joiners locally altered it.

First let us look at construction, an ever important matter. Carpenter-built is the description that comes involuntarily to themind. Joiners were young in art, and safety lay in simplicity, so subtleties were left to decoration and not outline. In chairsand tables the legs were straight, and took the weight squarely.

The backs of chairs, too, rose straight from the fiat seat in an uncompromising directness, which must have tortured allspines but the strongest.

Chests had a natural right to rectangular construction, but these seemed to emphasise the box-like drawing, and evendisdained playing a few tricks with decorative feet, like claws, etc. Tables were like shallow boxes set on legs, andcupboards were like large ones. It was a time when the worker evidently started with an oaken plank and was loath todestroy its original aspect. Strange, that the effect should so please the eye of to-day, the eye that seeks not only beautyfor itself, but comfort for the body that supports it.

When we come to the enrichment, that is another matter. What the makers lacked in curves when constructing, theyatoned for in decoration, and for that we bless them - although no one can find fault with the good taste of the forms.

In general the work was carved, and it i's by this carving that we can best learn to recognise the Jacobean pieces. Theshape is not the only thing, as was shown by a lady who prides herself on her knowledge of American antiques and whoowns many. When calling on a friend who has nested in an abandoned farm she fell with enthusiasm upon a beautifulcarved oak chest, and worshipped as appropriately as the extreme importance of a Jacobean piece demanded. Thearticle was a chest, a square box supported on stiles or legs of one piece with the sides, and the whole was renderedelegant with flat carving.

But alas, for her discernment, she had neglected to learn by heart the designs of the Jacobean carver, and the ancientoak before which she was swinging the censor of her appreciation was none other than a piece of Brittany handiwork,carved last year after the old fashion of that interesting corner of France and stained to the semblance of age. Perhaps itmay help some one to observe just here that many of these attractive carvings of Brittany smack strongly of Gothic detailwhich, as we have seen, was unpopular in England at the inception of the Renaissance. As the Jacobean carvings werenot descended or evolved from these Gothic models they were entirely distinct from the pointed style with its endlesscombinations of the significant trefoil and quatrefoil. In Breton figure carving the sabots prevent confusion with the English

To begin with, the Jacobean furniture-maker started with a wide flat surface for his carving, and as much as possibleretained this level, cutting and gouging not too deeply, and rarely rounding his surfaces as in Elizabethan work. Thisapplies to panels, chair-backs, and wide surfaces, but rarely to legs of pieces, as these were usually turned. The reliefwas low and, therefore, missed somewhat of the elegance seen at that time on the Continent. It was conservative, self-restrained, perhaps a little cold, but it pleased the people for whom it was made, for it had a Northern asceticism moreadmired than the voluptuous fulness of the South. Perhaps temperament regulated and stiffened the hand, but more thanthat crudeness was a sign of the times. The people of England knew little then of the finer side of life, and in manners andmorals were not such people as the Englishman of to-day would care to welcome to his hearth or drawing-room. And theconsolation for all such reflections is that it is better to belong to a nation that can see itself improving than to one whoseglory lies dead these many hundreds of years.

The details of the Jacobean carvings that we must learn -what are they? Two or three are actual hall-marks, and areeasily learned. One is a series of circles forming a running pattern adaptable to almost any piece of furniture. Thesecircles are made detached, or tied together with a straight bar, or formed by a graceful serpentine meander. The latter ismost interesting because it enables one to recognise the species -it is a copy of the Roman guilloche, revived by theItalian Renaissance, imported to England, and suffering variations under the tools of local carvers.


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This design outlines many a panel, and when enlarged and broken into sections, is made to do duty as the centralornament of smaller panels. In this case it sometimes appears arranged in a quatrefoil, sometimes like twins side by side.

Another form of which liberal and varied use is made is the semicircle filled with leafage or with long petals, which leadsone to liken it to half a daisy sunk within a protecting encircling line. It bears a close resemblance to the laterdevelopments which we call shells and rising suns. It is among the most ambitious of the running patterns and takesspace to execute, so is found on chests, cupboards and tables, but rarely on chairs. Small designs were a repetition ofslanting gouges which roughly indicated a spiral, or little crescent-shaped digs of the tool, which broke up a longunornamented space or a moulding.

The double scroll, foliated and plain is so oft repeated that its carvers must have been enamoured of this adaptabledevice. We know what it was in the hands of inspired artists - but we must also admire its interpretation as given by thesemen of practicality. Tied together it makes a " repeat " adaptable to any length to be ornamented; and used singly, thefoliations elaborated, it fills a panel. In the Northern land it lost in softness, in succulence, but it took on an aspect ofinterest to the student; it developed a neat hardness which is characteristic of designs of all Northern peoples. If it lackedsparkling piquancy, at least it retained grace, and this quality endears it. If it loses in richness, it gains the beauty ofattenuation.

A simple, almost childish design is doubtless an inartistic use of the curling acanthus, but is at best a weak, flat attempt.Still, it is not to condemn that we examine it, only to regard it as a help in knowing the designs of that time.

It remains to mention a design which is a favourite where square panels are to be ornamented, a design enormouslyinteresting to those who like the fun of running a fox to his hole. It is not my purpose to do this, but to call attention to the

design as England liked it in these days. In general it resembles an arched entrance to an edifice. Two uprights resting ona pedestal support an arch. Most happily is this used on a cupboard door, for then architecture seems to come to thepleasant assistance of the smaller trade as when a lion graciously helps a mouse. And just as happily is the designapplied to the head board of a great temple of an oaken bedstead, for here it is like the reredos of an altar, most fit for thereception of mighty petitions and promising divine protection throughout the hours of darkness.

But without appropriateness the backs of armchairs are treated in this way. It must have been to the utter discomfiture ofthose who for fear of rheumatism never turn the back to an open doorway.

Of inlaying I have not yet spoken, for low relief was the leading characteristic of this period, but this design of columns andarch (how can one refrain from speaking of their Roman and Lombardy origin?) is found in inlay as well as in carving,executed in holly and other light woods. This treatment admitted of an elaboration too recondite for the carver, an effect offar perspection given by repeating the design in even smaller size, one within the other.

In its purity this is one of the subtlest of both Elizabethan and Jacobean motifs, for it partakes of the qualities of theintellect; but, alas for the taste for novelty, which has ever been the fell destroyer of perfection. The pranks which wereplayed with the uprights robbed them of strength, and dispelled the illusion of firm and capable columns. They lost theirlook of solidity and became mere flat surfaces on which to lay a floral or scroll design. The arch loses less inmaltreatment, for it still retains its wide, full sweep like the top of a dignified doorway, although it suffers by means of adouble scroll decoration continued from the uprights.

To see this design in the full of its forceful value, it must be found on a piece of furniture or a mantel where it is used withlogical intent, the purpose of the pillars being really to support something. This is seen on tables, the columns forming thelegs, and the arches carrying the weight of the table top. It is also seen on open chair-backs, and on court cupboards.

Characteristic of this time as well as of the Elizabethan is the carving known as strap-work, to which allusion has beenmade before. It comes entirely within the manner of the English worker of those days, their practice of keeping surfacesflat and low, a practice which is one of the distinguishing marks. The Jacobean and Elizabethan have much in common,but are perfectly distinguishable by this flattening and we might say cheapening of all carved surfaces.

So far we have taken no note of the introduction of Flemish styles, which are so markedly different as to seem to belongto another era. From Flanders came another infusion of the warm blood of the Renaissance. It seemed to preserve itsvitality better than in England, and so came over again in Flemish form.

In chairs the change was very marked. The appearance of being made f rom decorated planks was destroyed by the freeintroduction of pierced carved work of a rich and artistic order, and by turning. The beauty of these chairs it is hard tooverpraise, notwithstanding the fact that they are not regarded as comfortable asylum for those addicted to naps in theirhours of ease. That being true, and yet one being able to own an original and several copies, these chairs make the idealfurnishing for a modern dining-room.


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Earlier Jacobean chairs were of the variety known as wainscot chairs, the name coming obviously from the shape of theback, which might have been a panel lifted from a decorated wall of those days, so like is it to a section of the wondrousshadowy walls which made rich shelter to the folk of those days who are to us glorified by the light of romance. Theornamented back standing with uncompromising rigidity, ready to impress its carved elaborations upon the tender, tiredflesh that sought repose upon it, this back was given further decorative value by the simplicity of the seat, a mere polishedflat plank, at right angles to the perpendicular back. Arms were straight and vigorous, legs preserved unerring honesty ofdirection, and altogether the chair was frank, honest and well-balanced, showing without shame its ancestry of oakenplank and stick.

Altogether different was the later Jacobean chair copied from the Lowlands, which got it from Spain, when those two

countries were associated under Emperor Charles V and his descendants. This latter chair showed often the slender,twisted column -but not by that alone can its origin be rightly traced, for Italy and France were also building this gracefulspiral support into the furniture of their Renaissance. Just what determines it is so fine a matter that even the most astuteof collectors have been known to miscall a piece or else to fall back upon the ipse dixit of a dealer.

It is the indefinite something which forms the personality of the chair just as indefinable charm envelops certainindividuals. In general the designs of Italian, Flemish and English chairs of the type we are considering are closelyanalogous, but a careful study of many pieces will produce a keenness in recognition. You cannot associate yourself withthem without learning to know them, just as by contact one learns to know individuals, and it is needless to say each hasa charm peculiar to itself. The Italian chair shows the best workmanship, as though its maker had been loath to let it gofrom his caressing hand, adding daily some greater perfection, until the wood seems sentient and the colour underrunwith life. The design, too, is more complete, rounding itself into a perfect whole as symmetric as a sonnet. There is noabruptness, no expediency, but all is carefully planned with a poetic mind and finished with the hand of grace

The Flemish plays a close second, only losing when running into over-elaboration. A revel of enrichment always suggestsweakness, and lack of symmetry, as though a fundamental fault in proportion were covered by rich draping. Rich scrollscarved with a high surface rising almost to an angle played many parts in the chairs, and in time were used in a way thatscrolls had never before been used, that is, as legs. Previous to this time a rigid perpendicularity had prevailed, but nowbegan the new order. But as we have already seen, all things of the Renaissance turn back to the antiquity of Rome andGreece, which in turn had succeeded in art the Egyptian. So we cannot claim for Flanders, nor for any other moderncountry, the original adoption of the scroll as a support, but we may see in it the beginnings of those later styles whichdeveloped in each country according to its kind.

The English chair, the later Jacobean, is as true in its artistic development as that of the other countries. Like themespecially in grace and a lightness that contrasted agreeably with the solid immovability of the earlier chairs.

This effect of lightness was mainly given by the open backs, which were composed of a panel of carving framed with two

distant columns of turned work. Besides this, cane and rush took the place of wood in both seat and back, and this wasoften upholstered with cushions of tapestry. But as the rigidity of the Reformation was the paramount feeling at this periodof history, an indefinable effect of inflexibility is given to the product of the hand; and even in a carving of scroll, someangles are shown, just enough to protest against too voluptuous an art.

Before leaving the wonderful richness of Jacobean carvings and old black oak, consider for a moment the gate-leggedtable, for a specimen is occasionally to be found, to delight the eye and to accommodate the hand. It is round or oblong,having around the top a border of the half-circle ornamentation, lightly cut, and its distinguishing feature of two dropleaves supported on moveable gates. The eight legs are symmetrically turned and under-framed. Another style of gate-legged table has but one drop leaf, and employs the Spanish foot.

The so-called wing chair, Shakespeare chair, and Stuart chair, all belong to this period, but as they belong more distinctlyto other styles, from which they were borrowed, they are considered elsewhere. Let it be sufficient here to say that the

Shakespeare chair with its wide seat, narrow back, and wide, semi-circular arms, came to England through Flanders, andthe Stuart chair came from France, a product of the Renaissance in that country.

And why did these things come, these waifs from other countries? The answer is found in that part of history that tells ofElizabeth's interference in Spain's tyrannous subjugation of the Netherlands, and in Marie Stuart's desire to surroundherself with the familiar household gods of the country she left for Scotland's turbulence and Elizabeth's surveillanthospitality. It is not out of place here to say again, that the charm of old furniture is doubled if it is allowed to speak to themit now delights of those shadowy folks who called it into being and whose doings are far enough away to be called history.

The Jacobean period is hard to leave. Its riches are infinite, it speaks eloquently of more things than wood and carver'stools, for the man are always more than his work. If in the time of the Tudors England awoke, in the time of the Stuarts it


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most assuredly remained alive. But as the Renaissance in the Northern countries included a religious awakening, and therigidity of Calvin was welcomed by the sturdy races, so the decorative art of England, and more particularly under theCommonwealth, showed a moral formality which was a protest against the indulgence of the senses.

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English architecture of the period from around 1485 to 1630.

The first stage of the change from Gothic to Renaissance is sometimes called Tudor, the period 15581603 is commonlyknown as Elizabethan, and that from 1603 to about 1630 asJacobean.

TheRenaissancemovement in Italy began to influence English architecture early in the 16th century, but at first wasconfined to small ornamental details imported from Italy (for example the terracotta busts of Roman emperors at HamptonCourt, about 1520) or carried out by imported Italian artisans (for example Torrigiano's tomb for Henry VII in WestminsterAbbey, 1512). Italian ornamental features soon came to be copied by English craftsworkers, and books of engravings ofthe Orders of Architecture and other Roman architectural details were produced, mainly in Germany and theNetherlands, and were studied by architects in England; their contents soon came to dominate English architecture.

Church-building had virtually come to a stop in England from about 1540 to around 1660, owing to religious turmoil and tothe existence of a surplus of medieval churches, the latter being partly the result of over-building during the Age of Faith.The most important example is St John's Church, Leeds (1634), which is entirely Gothic in structure and general design,

but contains magnificent Jacobean (strictly Carolean) interior woodwork fittings.

The Tudor, Elizabethan, and Jacobean periods, however, saw a great boom and revolution in the building of houses andof grammar schools and colleges. An extreme example of the application of Roman features is the Tower of the FiveOrders (161318) at the Bodleian Library, Oxford, where the classical Orders are applied as mere decoration to abuilding with mullioned windows, battlements and pinnacles.

The Jacobean was a transitional period, with Renaissance influence becoming more pronounced. Hatfield House (160712) in Hertfordshire is Jacobean, so also is Blickling Hall in Norfolk, redesigned around a medieval moated house andcompleted in 1628. Both were designed by the architect Robert Lyminge.

http://www.talktalk.co.uk/reference/encyclopaedia/hutchinson/m0061924.html

English Renaissance - Jacobean Architecture

( Originally Published 1921 )

JACOBEAN MANSIONS

The great era of mansion building, which had commenced under Elizabeth, continued in the reign of James I.

Hatfield House, Herts (A.D. 1607-11), (pp. 693 A, 696 F, 706 A), built for Robert, first Earl of Salisbury, stands pre-eminent amongst the many noble piles of this period in displaying the special characteristics and elaboration of treatmentconsidered suitable for the country mansion of a nobleman. The house is E-shaped in plan (p. 696 F), with central halland projecting symmetrical wings, and is set off by formal gardens, designed with the same care as is displayed in theplanning of the house itself (p. 695 B). The entrance front, 225 ft. long, is of daringly plain brickwork with stone mullioned

windows, relieved by a projecting central entrance ; while the bay-windows of the wings are taken up as small lateraltowers, and the building is finished by a flat roof and balustrade and dominated by a central clock-turret. The south front(p. 706 A) is much more ornate in treatment, with Doric, Ionic, and Corinthian Orders superimposed to form a centre-pieceflanked by an arcaded ground storey with mullioned windows and pierced parapet. The two-storeyed hall (p. 693 A), withits large mullioned windows, minstrels' gallery, and modelled plaster ceiling, is a fully developed Renaissance edition ofthe traditional Mediaeval hall ; while the long gallery, chapel, grand staircase, and suites of private rooms all contribute tothe completeness of this Jacobean house.

Holland House, Kensington (A.D. 1607) (p. 705), by John Thorpe, erected for Sir William Cope and afterwards inheritedby the Earl of Holland, has been the residence of many famous men. The plan (p. 705 B, c) is H-shaped, with entrance atone end, as at Bramshill (p. 696 G), and arcades on the south bordering a fine terrace (p. 705 A). The central porch,carried up as a tower with ogee roof, is flanked by bay-windows and by curved gables, while right and left are the later
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arcades and wings (A.D. 1622). The interior has been altered so that the grand staircase encroaches on one of thearcades. The doorway (p. 705 D) and the chimney-piece in the White Parlour (p. 705 E) are noticeable features.

Bramshill House, Hants (A.D. 160512) (pp. 696 G, 752 A, D, J), was designed for Lord Zouche, probably by JohnThorpe. The plan (p. 696 G) is of the H-type, with the entrance through an arcaded porch direct into the hall, which thusloses its feudal character, but still retains the dais. An unusual feature is the internal area for light. The long gallery (130 ft.long), the terrace with its arcades (p. 752 J), and the oriel window (p. 752 A) are among many beautiful features of thisbuilding.

Blickling Hall, Norfolk (A.D. 1620) (pp. 696 J, 752 G, 755 B, C, F), is in brick and stone, as usual in Norfolk, and the plan is

not unlike that of Bramshill. It has two internal courts, the outer court giving entrance to the hall, which is a thoroughfareroom, as at Aston Hall (p. 696 H) ; at the external angles of the building are square towers. The principal entrance (p. 752G), reached across the moat, has an arched opening with carved spandrels, framed with Doric columns and entablature,surmounted by the arms of Sir Henry Hobart. The staircase (p. 755 B, c) is a majestic feature, with the upper part in twoopposite flightsunusual in this periodand it has boldly carved newels surmounted by figures, and an archedbalustrade. The chimney-piece (p. 755 F) has flanking pilasters diminishing towards the base and surmounted by Hermesfigures which frame heraldic devices.

Some other well-known Jacobean mansions are : Chastleton House, Oxford (A.D. 160314) ; Audley End, Essex (A.D160916) (p. 761 A), by John Thorpe ; Knole House, Kent (A.D. 16o5) (p. 693 B) (re-modelled) ; Charlton House, Wilts(A.D. 1607) ; Stockton House, Wilts (A.D. 161o) (p. 755 A) ; Aston Hall, Warwickshire (A.D. 161835) (pp. 696 H, 761 c),from designs of John Thorpe ; and Bolsover Castle, Derbyshire (A.D. 1613), by Huntingdon Smithson.

JACOBEAN COLLEGES

This period saw a number of additions to colleges both at Oxford and Cambridge.

The Bodleian Library, Oxford (A.D. 161318) (p. 706 c), formerly the Old Schools, by Thomas Holt, is a conspicuousinstance of the work of the period, for the tower over the gateway is a curious but effective mixture of traditional Gothicand new Renaissance, with mullioned windows and canopied niches flanked by the five Orders of architecture, one abovethe other ; while the whole is capped by Gothic pinnacles.

Thomas Holt was very busy at the older University at this time, for at Merton College he designed the entrance, withsuperimposed Orders (A.D. 161o), and library ; Wadham College entrance and hall screen (A.D. 1610-13), besidesadditions to Oriel and Jesus Colleges (A.D. 1612) ; while Pembroke College (A.D. 1624) is by another hand. At

Cambridge the quadrangle of Clare College (A.D. 1634), by Westley, belongs to the latter part of the period, but it was notuntil later years that Worcester College, Oxford (A.D. 1714), and Downing College, Cambridge (A.D. 1800), were founded

JACOBEAN MANOR HOUSES

Mediaeval manor houses supplied a good ground-work for Jacobean architects to elaborate with Renaissance additionsand fittings, such as we see in South Wraxall Manor, Wilts, and Cranborne Manor House, Dorset (A.D. 1612), which is aTudor building with a Jacobean casing ; while Fountains Hall, Yorkshire (A.D. 1611), is a complete example, built largelywith material from the Mediaeval abbot's house.

JACOBEAN TOWN HOUSES

The building now known as S. Peter's Hospital, Bristol (A.D. 1607), is a fine half-timbered house of this period, withoverhanging upper storeys and panelled " Court Room " with carved chimney-piece and modelled plaster ceilings.

JACOBEAN MARKET HALLS

Many market halls, as at Shrewsbury and Chipping Campden, show how the Jacobean style was applied to buildings forall purposes in this period.

JACOBEAN HOSPITALS AND ALMSHOUSES


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The need for hospitals and almshouses, which had already been recognised in the Mediaeval period (p. 397), becamegreater after the Dissolution of the Monasteries, and many hospitals were erected in this period.

The Whitgift Hospital, Croydon (A.D. 1597), with its fine quadrangle, common hall, and living-rooms, still carries on theuses for which it was founded. Sackville College, East Grinstead (A.D. 16o8), Weekley Hospital, Northants (A.D. 1611),Chipping Campden Hospital (A.D. 1612), Trinity Hospital, Greenwich (A.D. 1613), Trinity Hospital, Castle Rising (A.D.1614), Eyre's Hospital, Salisbury (A.D. 1617), and Abbot's Hospital, Guildford (A.D. 1619), are a few of these buildingsall of which have a similar arrangement of hall, kitchen, chapel, and rooms for the master and inmates.

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Jacobean style 1600-1690

Architecture and furniture during the reign of James I in Britain (1603-25) and his son, Charles I (1625-1649).

Some historians extend the period to the Commonwealth (1649-1660) and even the Restoration period, including CharlesII (1660-1685) and James II (1685-1688).

James I

James I succeeded Elizabeth I who was unmarried and produced no heirs. He was king of Scotland, reigning as James VIwhen asked to assume the throne in England.

The King James Bible was translated during his reign and bears his name. In America, Jamestown settlement on theJames River are both named after him.

Jacobean style

The Latin name for James is Jacobus. The English style in vogue beginning with James I's reign is referred to as"Jacobean," as opposed to "Jamesian."

Jacobean style is English Early Renaissance architecture and decoration. It formed a transition between the Elizabethan(Tudor) and the pure Renaissance style later introduced by Inigo Jones during James's reign (see Banqueting House).

Renaissance motifs were communicated to England through German and Flemish carvers, rather than directly from Italy.

Jacobean style architecture

Much use was made of columns and pilasters, round-arch arcades, and flat roofs with openwork parapets. These andother classical elements appeared in a free and fanciful vernacular rather than with any true classical purity. With themwere mixed the prismatic rustications and ornamental detail of scrolls, straps, and lozenges also characteristic ofElizabethan design. Strapwork was imported from Flemish Antwerp.

See also: Jacobean style furniture

Jacobean Architecture

Although no major shift in architectural style took place during the reign of James 1, England's first Stuart monarch,nonetheless a Jacobean style did emerge in the early 17th century, partly due to the use of many overseas carvers andcraftsmen, particularly from the Low Countries.

Interior decoration included much stucco work and wood carving, as well as ornate fireplaces and doorways .Decorated"Dutch" gables featured in many new buildings, and this trait continued particularly in domestic architecture in the east ofEngland, where links with the Low Countries were strong.

As in the Tudor period, little church architecture was built, but several important Jacobean prodigy houses wereconstructed. While they were similar in many ways to earlier examples, changes occurred in their ground plans, whichtended to be either H- or U-shaped. There was an interest in giving houses bold and impressive silhouettes and inachieving striking vistas of them. ...
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Gable decoration was an important element of Jacobean architecture, and a preference developed for curved and scrolledlines rather than stepped designs. Striking and dramatic skylines were achieved with curving gables, turrets, and towers.

- The Grammar of Architecture, Emily Cole, general editor. Bulfinch Press, 2002, pp. 252-253

Jacobean Revival in America - early 20th century

In the early 20th century, there was a revival of Jacobean / Pilgrim style architecture and furniture.

Architecture: Often, Jacobean Revival architecture is lumped with Tudor Revival style.

Examples from Buffalo:

* Illustration above: Jacobean Revival house - John W. Cowper House, 126 Oakland Place

* Jacobean Revival house - Henry W. Wendt House, 120 Lincoln Parkway

* Jacobean Revival house - Buffalo Seminary

* Jacobean Revival house - Georgia M. Greene Forman House, 77 Oakland Place

* Woodwork - Silverthorne House, 877 Delaware Avenue

* Mantelpiece ornamentation - Lockwood House, 844 Delaware Avenue

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