England -- Pictorial works; Watercolor painting, British
The red tiles, which were used for the most part, are certainly the
most agreeable to the artistic eye, for their seemingly haphazard
setting, due in part to the builder and in part to nature, affords that
pleasure which always arises from an unstudied irregularity of line.
Roof tiles were made thicker and less carefully in the old days, and
our artist's truth in delineation may be detected in almost any drawing
by examining where the weight has swagged away the tiles between the
main roof beams.
Unlike chimneys erected by our cottage builders of to-day, which appear
to issue out of a single mould, those of the untutored architects of
the past present every variety of treatment and appearance.
The old solidly built chimney seen in many of Mrs. Allingham's cottages
(Chiddingfold, Plate 44) is worthy of note as a type of many sturdy
fellows which have resisted the ravages of time, and have stood for
centuries almost without need of repair. In old days the chimney was
regarded not only as a special feature but as an ornament, and not as
a necessary but ugly excrescence. Although probably it only served
for one room in the house, that service was an important one, and so
materials were liberally used in its construction.
In Kent and Sussex many of the chimneys are of brick, although the
house and the base of the chimney-stack are of stone. This arose from
the stone not lending itself to thin slabs, and consequently being
altogether too cumbrous and bulky.
The windows in the old cottages were naturally small when glass was a
luxury, and became fewer in number when a tax upon light was one of
the means for carrying on the country's wars. They were usually filled
with the smallest panes, fitted into lead lattice, so that breakages
might be reduced to the smallest area. Not much of this remains, but a
specimen of it is to be seen in the Old Buckinghamshire House (Plate
52). One of the few alterations that Mrs. Allingham allows herself is
the substitution of these diamond lattices throughout a house where she
finds a single example in any of the lights, or if, as she has on more
than one occasion found, that they have been replaced by others, and
are themselves stacked up as rubbish. She has in her studio some that
have been served in this way, and which have now become useful models.
Public-domain text, read in full here on John Shaqi.
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