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References (44)
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Ornamental Porches -
Alumni Oxonienses -
S. Caunce (1997)
Complexity, Community Structure and Competitive Advantage within the Yorkshire Woollen Industry, c.1700–1850Business History, 39
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A Topographical Description of Cumberland, Westmoreland, Lancashire, and a Part of the West Riding of Yorkshire (Carlisle, 1800), p. 202; Brayshaw and Robinson -
East Riddlesden Hall and its owners -
Other examples of this period in the area are or were at Askrigg Hall in Wensleydale (1678, demolished) and Oxnop Hall in -
The Buildings of England: Cambridgeshire -
Book of Architecture, iv, fol -
See Hutton and Martin, Doorways in the Dales -
(1968)
Attitudes to Elizabethan Architecture -
Ovenden Wood -
Homes and other Old Buildings of Northamptonshire (London, 1939), p. 18; N. Pevsner and B. Cherry, The Buildings of England: Northamptonshire -
R. Brunskill (1971)
Illustrated handbook of vernacular architecture -
Pedigrees, 1; Foster, Alumni, in, p. 918; Goulding, 'Notes on the Lords of the Manor of Burwell -
For Hacking Hall see VCH Lancashire, vi (London, 1911) -
See notes 60 and 63, above -
Ambler, Old Halls, p. 22; Ford, 'Some Buildings of the Seventeenth Century in the Parish of Halifax -
In this case, exceptionally, the porch, which was centrally placed, was carried up to form a tower crowned by a balustrade -
M. Girouard (1962)
The Smythson Collection of the Royal Institute of British ArchitectsArchitectural History, 5
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Grammar School at Heath -
R. Strong (1977)
The Cult of Elizabeth -
The Craven and North-West Yorkshire Highlands -
To which is added an Account of Architects and Architecture -
Dutch Art and Architecture 1600 to 1800 (Harmondsworth, 1966), p. 230. The English sculptor and master mason Nicholas Stone was married to de Keyser's daughter (Colvin, Biographical Dictionary -
House of Commons 1558-1603, m -
Grant of Administration of estate of Robert Preston -
(1965)
Ornamental Porches of mid seventeenth-century Halifax -
(1986)
The Angel Choir and its Local Influence', Medieval Art and Architecture at Lincoln Cathedral (British Archaeological Association Conference Transactions vm -
Sebastiano Serlio, A. Santaniello (2004)
The Book as ArchitectureRebound
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Alumni Cantabrigienses, 1/11 (Cambridge, 1922) -
The Buildings of England: West Kent and the Weald (Harmondsworth, 1969), p. 396. See also VCH Northamptonshire -
Famous Sowerby Mansions -
At Mears Ashby Hall, Northamptonshire (1637) a truncated-ogee-headed window is set within a gable of the same type but of a more bulbous oudine -
W. Swaan (1977)
The late Middle Ages: Art and architecture from 1350 to the advent of the Renaissance -
M. Girouard (1985)
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(1928)
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(1900)
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The present tracery however is a nineteenth-century insertion and
- Publisher
- Cambridge University Press
- Copyright
- Copyright © Society of Architectural Historians of Great Britain 2000
- ISSN
- 2059-5670
- eISSN
- 0066-622X
- DOI
- 10.2307/1568689
- Publisher site
- See Article on Publisher Site
Abstract
The antiquary John Aubrey, in a well-known passage, wrote of architecture during the reign of Queen Elizabeth that it ‘made no growth: but rather went backwards’, his measure of ‘growth’ being the use of the ‘old Roman fashion’. If he had extended his comments to the architecture of the Pennine region in his own time he would doubtless have found this similarly reactionary, essentially medieval in its forms of composition and much of its detail, with a use of the classical orders notable only for its crudity and its relative sparseness. For the Arts-and-Crafts-inspired generation at the beginning of the twentieth century, however — the first to study this body of work with any seriousness — it represented the essence of a distinctive regional vernacular, to be celebrated for the very fact that its characteristic features could be regarded as being home-grown; while for Sir Nikolaus Pevsner it displayed a combination of both these qualities, a marked conservatism on the one hand and the distinctiveness of ‘grossly fanciful detail’ on the other. The purpose of the present paper is to explore the possibility that none of these interpretations encompasses the whole story and that, on occasion at least, this architecture embodies rather broader cultural horizons and more sophisticated procedures than any of them implies. It is not an attempt at a reinterpretation of Pennine building as a whole along these lines, but is rather an examination of the origins and nature of certain specific and characteristic elements within it, and of the implications of this investigation. The elements in question are two items of architectural detail, the rose window and the truncated ogee; and the building which Pevsner saw as representing the style’s ‘crazy climax’, a house known as The Folly in the town of Settle, in Ribblesdale.
Journal
Architectural History – Cambridge University Press
Published: Apr 11, 2016