DOI Heft:
No. 35 (February, 1896)
DOI Artikel:The revival of English domestic architecture, [1] The work of Mr. Norman Shaw
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.17296#0040
The Revival of English Domestic Architecttire
mansion, Cragside, to which we must return later and many others, and would have replaced it by
on), as our illustrations show, are more " Gothic " " Free Classic," or even by "Re-renaissance." He
than "Queen Anne "in their spirit and detail. It attributed its rapid success to the fact that "the
was not until the facade in Leadenhall Street nineteenth century has expressed itself in Gothic,
brought the new style face to face with the and in gin-palaces, rows of houses built to sell,
thousands of City people, who gaped in astonish- semi-delached villas, chapels and churches. Gothic
inent at a commercial building so unlike its fellows, which of old was simple and unpretending, by
that " Queen Anne " may be said to have received means of its boasted freedom from restraint, has
its baptism of fire in the shape of adverse criticism, lent itself with fatal facility to the expression of
and to have been entered finally as a candidate for loudness, vulgarity, obtrusiveness, and sensation-
the laurel of British architecture. alism, more objectionable far than the dreary
As might have been expected, so sudden a change classic of Gower and Wimpole Streets. Thai may
of front was not welcomed by the Medievalists, be very dull prose, the other is screeching in
In his very admirable paper read before the Daily Telegraphese." In tracing its origin he did
General Conference of Architects on June iS, not hold with those who thought it a fashion
1894, Mr. Stevenson said "the peculiarity of the started by Dante Gabriel Rossetti and a faithful
present movement is that the upholders of this band of followers; yet although it may be too
form of classic are the same men who have been fanciful a theory to trace our modern houses to
hitherto devoted to Gothic." In the same paper the poet-painter of Cheyne Walk, there can be little
he objected to the nickname " Queen Anne," which doubt that the new departure in pre-Raphaelistic
was even then far too limited (as other speakers art which took place just before this change, wit-
pointed out) to embrace the work of Norman nessed the gradual admission of the hated Pagan
Shaw, Bodley, Basil Champneys, Ernest George, Renaissance within the realm heretofore sacred to
THE SALOON, LOWTIIER LODGE, KENSINGTON
R. NORMAN SHAW, R.A., ARCHITECT
27
mansion, Cragside, to which we must return later and many others, and would have replaced it by
on), as our illustrations show, are more " Gothic " " Free Classic," or even by "Re-renaissance." He
than "Queen Anne "in their spirit and detail. It attributed its rapid success to the fact that "the
was not until the facade in Leadenhall Street nineteenth century has expressed itself in Gothic,
brought the new style face to face with the and in gin-palaces, rows of houses built to sell,
thousands of City people, who gaped in astonish- semi-delached villas, chapels and churches. Gothic
inent at a commercial building so unlike its fellows, which of old was simple and unpretending, by
that " Queen Anne " may be said to have received means of its boasted freedom from restraint, has
its baptism of fire in the shape of adverse criticism, lent itself with fatal facility to the expression of
and to have been entered finally as a candidate for loudness, vulgarity, obtrusiveness, and sensation-
the laurel of British architecture. alism, more objectionable far than the dreary
As might have been expected, so sudden a change classic of Gower and Wimpole Streets. Thai may
of front was not welcomed by the Medievalists, be very dull prose, the other is screeching in
In his very admirable paper read before the Daily Telegraphese." In tracing its origin he did
General Conference of Architects on June iS, not hold with those who thought it a fashion
1894, Mr. Stevenson said "the peculiarity of the started by Dante Gabriel Rossetti and a faithful
present movement is that the upholders of this band of followers; yet although it may be too
form of classic are the same men who have been fanciful a theory to trace our modern houses to
hitherto devoted to Gothic." In the same paper the poet-painter of Cheyne Walk, there can be little
he objected to the nickname " Queen Anne," which doubt that the new departure in pre-Raphaelistic
was even then far too limited (as other speakers art which took place just before this change, wit-
pointed out) to embrace the work of Norman nessed the gradual admission of the hated Pagan
Shaw, Bodley, Basil Champneys, Ernest George, Renaissance within the realm heretofore sacred to
THE SALOON, LOWTIIER LODGE, KENSINGTON
R. NORMAN SHAW, R.A., ARCHITECT
27