Page:An Encyclopædia of Cottage, Farm, and Villa Architecture and Furniture.djvu/957

 VILLAS IN VARIOUS STYLES. 933 sideration, that we see this characteristic producing its finest results, m airy lightness, loftiness, and dignity. It is observable, too (in noticing some of the principles of efleet in the style before us), that the use of the pointed arch cooperates in a double manner with the tendency of perpendicular lines ; for while, negatively considered, it supersedes the want of such features as beams and entablatures, and thus removes the depression of aspect consequent on numerous horizontal lines, it has a positive advantage in carrj'ing the eye up both its curves to a lofty and decided point ; xmlike the semicircular form, which conducts the eye round, and downwards again, without fixing its attention any where. It foUows, therefore, more especially in internal composition, that loftiness is essential to the attainment of the imposing ; length being likewise so, as presenting to the eye a greater succession of lofty forms : and again, that perpendicular lines in an interior should not only be numerous, but continuous ; as having thus a strong tendency to increase still further the appai-ent height, and more effectually to connect the various minor features of design. Force of shadow also contributes to the effectiveness of this style, no less than dignified forms of lines, and fine proportions. Porches, bold buttresses, octagonal turrets, oriel or bay windows, breaks, niches, &c., afford opportunities for the most striking management of light and shade; as well as for the multiplication of vertical lines. Besides tliese features, there are others which, to the varied effects of light and shade, add the interest of excited curiosity and imagination, resulting fi-om a partial interception of the view ; as in the case of screens, cloisters, pro- jecting and retiring distributions of plan, &c. 1 885. The Perpendicular Pointed Style, as applied to Domestic Architecture. But, not to enlarge upon these and similar points, as affecting the style in general, we will consider that style with reference to Domestic Architecture in particular. Indeed, it is only (as before implied) in the perpendicular system, and that in its later practice, that we shall find either principles or precedents to direct us in domestic designs after the pointed mode; and, even those examples of the mansions of Tudor times which have reached our own day are to be regarded only as establishing, to a certain extent, a style of architectural decoration, and not as affording rules either for the arrangements of plan, or the minutiEe of practical construction. Before we proceed, however, we will just remark that we use the term " Tudor Architecture, " in this place, under a limited appro- priation, as referring only to the style in use during the reign of Heni-y VII., and the first part of that of his successor. The application of one and the same epithet to the pointed style of that period, and to the heterogeneous mode which succeeded it, and which pre- vailed through the reign of Elizabeth, though historically correct, is not architecturally explicit ; and may have, we fear, a tendency to create a confusion of ideas as to the peculiarities of styles, not only essentially distinct, but diametrically opposite. 1886. Of the Character of the more extensive Alansions of the Tudor Times, a tolerably correct idea may be formed, by any one who is familiar with the Architecture of our English universities, on a reference to the arrangements of individual colleges. Indeed, we are disposed to think that the varieties of College Architecture may be fairly con- sidered as open to domestic application, where the subject of execution is on a large scale; and that the strictness of character which some would make essential to propriety in dwellings, however extensive, is neither founded upon a comprehensive view of the sub- ject, nor is favourable to variety and spirit in composition. We would not, however, be misunderstood as to this observation ; for when a house is so small that it cannot be reasonably supposed to possess such appendages as a chapel and a dining-hall, it becomes a piece of contemptible affectation to finish its exterior with members which are naturally applicable to those appendages alone ; and the only coui-se, therefore, which good taste can sanction in such a case, is, to treat the subject as what it is ; uniting an honest and obvious character with correct detail, and as much of the picturesque as circumstances will permit. The resemblance to which we alluded, as subsisting betvveen the larger Tudor mansions and many of our collegiate structures, may be traced in the use of the gate-house, the first and second courts or quadrangles with their central fountains, the cloisters, the chapel, and the refectory or hall : the last standing distinguished by its characteristics of the oriel window, light louvert or lantern, open-framed roof, dais or raised platform at one end, and perhaps a screen and music-gallery at the other. In other instances, the necessary accommodation was comprised within the form of a paral- lelogram ; a figure, of course, more suited to the purposes of economy than to those of display. In this case, the porch frequently took place of the gate-house, and the use of stone was often avoided by the execution of the plainer part of the work in brick, as became the practice in the reign of Henry VIII. ; a favourite embellishment of such l)rickwork being that of lozenges and frets formed out of the over-burnt and vitrified bricks, sorted and used with a regularity which turned even accident to account. Then, again, we meet with smaller works of this period, the walls of which, except at the quoins and around apertures, were formed of flints, or of rubble covered with rough-cast ; in