Page:Architectural Review and American Builders' Journal, Volume 1, 1869.djvu/283

 1868.] Descriptions. 237 stone balcony and the others iron ones in front. The fourth story, in the centre, has a twin-window, and on either side, a triple-window, all having semi-circular beads and stone panels. The fifth story, or attic, in the French roof, has, in the middle, a semi-circular window, enriched with a broken pedi- ment ; and on either side, a small oval- window, to give greater variety of aspect, through the form of the roof. Along the whole front of this story runs a graceful and ornate stone balus- trade. The different balconies ; the circular- headed windows ; the columns, with their carved caps ; the ornamental and projecting keystones, extending up |o the string-courses — all combine, with other parts described, to form a tout- ensemble of unusual lightness; and de- signed to appear imposing, without being costly or ponderous ; and to pos- sess richness of effect, without any ex- cessive outlay. A TUDOR MANSION. THE Tudor style of architecture, considered in a general sense, is that which came in vogue during the Tudor dynasty in England, in the earlier part of the sixteenth century, originated and fostered by Henry VII. 's policy of diminishing the power and influence of the Barons through bringing forward and elevating men of hitherto unknown families. This excited a mutual emula- tion to excel, not, as heretofore, in the feudal days, by the number of their fol- lowers, but in the elegance and splen- dor of their mansions. It will be ob- served, however, in the earlier days of this style, that the nature of society, and the customs of the age, still required these edifices — palaces, baronial halls, and manor-houses — should be so con- structed as to be calculated for defence, if necessary. This particular feature in the style, which may have been, how- ever, partly retained as an ornament, gradually disappeared ; and, during the later years of its existence, is not visible in any of the examples still existing. The better to examine this style, it may be divided into three periods, the characteristics of which are quite distinct, although all modifications one of the other. First, we may give the style as existing in the time of Henry VII., the peculiar traits of which were the bay-windows, turrets and battle- ments; the turrets being surmounted by bulbous domes, the latter, in form, essen- tially Russian. But little is known of the buildings at this period of history, beyond a view, and a pretty full descrip- tion of the " Palace of Sheen," near Richmond, built by Henry VII., him- self, which are to be found in " Speed's Theatre of Great Britain." It appears, from the conglomeration of turrets and bulbous cupolas with which it abounded, to have presented somewhat the appear- ance of an Arabian palace, or an Oriental mosque. Later on, in the sixteenth century, in the following reign, that of Henry VIII., a great impetus was given to domestic architecture, the king himself person- ally setting an example, by building and repairing no less than ten mansions, in different parts of England. His lead was nobly followed by his courtiers, among whom Cardinal Wolsey may be named as the most distinguished. To him we are indebted for Hampton Court Palace, Whitehall, the Episcopal resi- dence at Esher, Surrey, the College of Christ Church, at Oxford, and one at Ipswich. A large number of sumptuous and stately edifices were erected by