Early Renaissance Architecture in England: A Historical & Descriptive Account of the Tudor, Elizabethan, & Jacobean Periods, 1500-1625Gotch, J. Alfred (John Alfred)
History
Early Renaissance Architecture in England: A Historical & Descriptive Account of the Tudor, Elizabethan, & Jacobean Periods, 1500-1625
The door stood more often than not in a projecting porch, which,
although sometimes only one storey in height, as at Chelvey Court, in
Somerset (Fig. 64), was usually higher, and was frequently carried
up the full height of the building. It is round these doors that we
find pronounced classic features employed in the shape of pillars and
pilasters, friezes and cornices, and pediments. But it was seldom that
the English mason did not introduce into his design some departure
from strict classic treatment, suggested by his native traditions. At
Chelvey the doorway has a flat-pointed head resting on an impost, such
as usually accompanies a semicircular arch: there is also a keystone
which protrudes from the straight lintel instead of crowning the arch,
which in the ordinary way would be there. The twisted columns support
pilasters of a different scale, which in their turn, however, are
relieved of anything to carry. The broken pediment encloses a shield
of arms, which rests in the usual fashion upon a base carried by the
keystone. Over all is a pierced parapet divided into square panels by
shallow pilasters. The spirit of the whole composition is Jacobean,
but the treatment betokens a late date, with its twisted columns and
broken pediment; and the arms confirm the conjecture prompted by the
character of the work, though the exact date is not recorded. It is
evident, however, that even in Somerset, the home of good masons, the
lesson of making appropriate use of classic features had not yet been
mastered. The treatment of the doorway at the neighbouring house of
Nailsea Court (Fig. 65) is more logical and pleasing. There is a quaint
mixture of pointed arch and classic cornice and corbelled bay-window;
and the manner in which the central projection in the cornice is made
the starting-point of the corbelling to the bay is a happy illustration
of the freedom with which the new features were handled.
[Illustration: PLATE XXIV.
DOORWAY AT CHIPCHASE CASTLE, NORTHUMBERLAND.
PORCH TO THE MANOR HOUSE, UPPER SLAUGHTER, GLOUCESTERSHIRE.]
[Illustration: 66.--DOORWAY AT GAYHURST, BUCKINGHAMSHIRE.]
[Illustration: 67.--DOORWAY AT COLD ASHTON, SOMERSET.]
[Illustration: 68.--DOORWAY AT CHENEY COURT, SOMERSET.]
[Illustration: PLATE XXV.
WARDOUR CASTLE, WILTSHIRE. THE GRAND STAIRCASE.
HATFIELD HOUSE, HERTFORDSHIRE. DOORWAY IN COURT (1611).]
Public-domain text, read in full here on John Shaqi.
Reviews
Reviews
No reviews yet
Be the first to share your thoughts on this work.
Elsewhere in the archive
Join the Discussion
Join the discussion
Sign in to leave a comment or review.
Sign InorCreate an account