1.
Twickenham
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Twickenham is a leafy suburban area of south west London, on the River Thames in the London Borough of Richmond upon Thames 10 miles southwest of the centre of London. It has a town centre and is famous as being the home of rugby union, with hundreds of thousands of spectators visiting Twickenham Stadium. The historic riverside area is famous for its network of 18th-century buildings and pleasure grounds and this area has three grand period mansions with public access, York House, Marble Hill and Strawberry Hill House. Another has been lost, that belonging to 18th-century aphoristic poet Alexander Pope, excavations have revealed settlements in the area dating from the Early Neolithic, possibly Mesolithic periods. Occupation seems to have continued through the Bronze Age, the Iron Age, the area was first mentioned in an 8th-century charter to cede the area to Waldhere, Bishop of London, for the salvation of our souls. The charter, dated 13 June 704, is signed with 12 crosses, the signatories included Swaefred of Essex, Cenred of Mercia and Earl Paeogthath. In Norman times Twickenham was part of the Manor of Isleworth – itself part of the Hundred of Hounslow, Middlesex. The manor had belonged to Ælfgār, Earl of Mercia in the time of Edward the Confessor, the area was then farmed for several hundred years, while the river provided opportunities for fishing, boatbuilding and trade. Bubonic plague spread to the town in 1665 and 67 deaths were recorded and it appears that Twickenham had a pest house in the 17th century, although the location is not known. In 1633 construction began on York House and it was occupied by Edward Montagu, 2nd Earl of Manchester in 1656 and later by Edward Hyde, 1st Earl of Clarendon. 1659 saw the first mention of the Twickenham Ferry, although ferrymen had already operating in the area for many generations. Sometime before 1743 a pirate ferry appears to have started by Twickenham inhabitants. There is speculation that it operated to serve The Folly, a floating hostelry of some kind, several residents wrote to the Lord Mayor of the City of London. In 1713 the nave of the ancient St Marys Church collapsed, the process generates an extremely unpleasant smell, which caused objections from local residents. The area was soon home to the worlds first industrial production facility for gunpowder. There were frequent explosions and loss of life, on 11 March 1758, one of two explosions was felt in Reading, Berkshire, and in April 1774 another explosion terrified people at church in Isleworth. In 1772 three mills blew up, shattering glass and buildings in the neighbourhood, the powder mills remained in operation until 1927 when they were closed. Much of the site is now occupied by Crane Park, in which the old Shot Tower, mill sluices, much of the area along the river next to the Shot Tower is now a nature reserve
2.
Alexander Pope
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Alexander Pope was an 18th-century English poet. He is best known for his verse and for his translation of Homer. He is the second-most frequently quoted writer in The Oxford Dictionary of Quotations after Shakespeare, Alexander Pope was born to Alexander Pope Senior, a linen merchant of Plough Court, Lombard Street, London, and his wife Edith, who were both Catholics. Ediths sister Christiana was the wife of the miniature painter Samuel Cooper. Pope was taught to read by his aunt, and went to Twyford School in about 1698/99 and he then went to two Catholic schools in London. Such schools, while illegal, were tolerated in some areas, in 1700, his family moved to a small estate at Popeswood in Binfield, Berkshire, close to the royal Windsor Forest. This was due to strong anti-Catholic sentiment and a statute preventing Catholics from living within 10 miles of either London or Westminster, Pope would later describe the countryside around the house in his poem Windsor Forest. He also studied languages and read works by English, French, Italian, Latin. After five years of study, Pope came into contact with figures from the London literary society such as William Wycherley, William Congreve, Samuel Garth, William Trumbull, at Binfield, he also began to make many important friends. One of them, John Caryll, was twenty years older than the poet and had many acquaintances in the London literary world. He introduced the young Pope to the ageing playwright William Wycherley and to William Walsh, a minor poet and he also met the Blount sisters, Teresa and Martha, both of whom would remain lifelong friends. From the age of 12, he suffered health problems, such as Potts disease. His tuberculosis infection caused other problems including respiratory difficulties, high fevers, inflamed eyes. He grew to a height of only 1.37 m. Pope was already removed from society because he was Catholic, although he never married, he had many female friends to whom he wrote witty letters. Allegedly, his lifelong friend Martha Blount was his lover, in May,1709, Popes Pastorals was published in the sixth part of Tonsons Poetical Miscellanies. This brought Pope instant fame, and was followed by An Essay on Criticism, published in May 1711, around 1711, Pope made friends with Tory writers John Gay, Jonathan Swift, Thomas Parnell and John Arbuthnot, who together formed the satirical Scriblerus Club. The aim of the club was to satirise ignorance and pedantry in the form of the fictional scholar Martinus Scriblerus and he also made friends with Whig writers Joseph Addison and Richard Steele. In March 1713, Windsor Forest was published to great acclaim, during Popes friendship with Joseph Addison, he contributed to Addisons play Cato, as well as writing for The Guardian and The Spectator
3.
Middlesex
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Middlesex is a historic county in south-east England. It is now entirely within the wider urbanised area of London and its area is now also mostly within the ceremonial county of Greater London, with small sections in other neighbouring ceremonial counties. It was established in the Anglo-Saxon system from the territory of the Middle Saxons, the largely low-lying county, dominated by clay in its north and alluvium on gravel in its south, was the second smallest county by area in 1831. The City of London was a county in its own right from the 12th century and was able to exert control over Middlesex. Westminster Abbey dominated most of the financial, judicial and ecclesiastical aspects of the county. As London grew into Middlesex, the Corporation of London resisted attempts to expand the city boundaries into the county, in the 18th and 19th centuries the population density was especially high in the southeast of the county, including the East End and West End of London. From 1855 the southeast was administered, with sections of Kent and Surrey, the City of London, and Middlesex, became separate counties for other purposes and Middlesex regained the right to appoint its own sheriff, lost in 1199. In the interwar years suburban London expanded further, with improvement and expansion of public transport, after the Second World War, the population of the County of London and inner Middlesex was in steady decline, with high population growth continuing in the outer parts. Since 1965 various areas called Middlesex have been used for cricket, Middlesex was the former postal county of 25 post towns. The name means territory of the middle Saxons and refers to the origin of its inhabitants. The word is formed from the Anglo-Saxon, i. e. Old English, middel, in an 8th-century charter the region is recorded as Middleseaxon and in 704 it is recorded as Middleseaxan. The Saxons derived their name from seax, a kind of knife for which they were known, the seax has a lasting symbolic impact in the English counties of Essex and Middlesex, both of which feature three seaxes in their ceremonial emblem. Their names, along with those of Sussex and Wessex, contain a remnant of the word Saxon, there were settlements in the area of Middlesex that can be traced back thousands of years before the creation of a county. Middlesex was formerly part of the Kingdom of Essex It was recorded in the Domesday Book as being divided into the six hundreds of Edmonton, Elthorne, Gore, Hounslow, Ossulstone and Spelthorne. The City of London has been self-governing since the century and became a county in its own right. Middlesex also included Westminster, which also had a degree of autonomy. Of the six hundreds, Ossulstone contained the districts closest to the City of London, during the 17th century it was divided into four divisions, which, along with the Liberty of Westminster, largely took over the administrative functions of the hundred. The divisions were named Finsbury, Holborn, Kensington and Tower, the county had parliamentary representation from the 13th century
4.
Grotto
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A grotto is a natural or artificial cave used by humans in both modern times and antiquity, and historically or prehistorically. Naturally occurring grottoes are often small caves near water that are usually flooded or liable to flood at high tide, sometimes, artificial grottoes are used as garden features. The Grotta Azzurra at Capri and the grotto at the villa of Tiberius in the Bay of Naples are examples of popular natural seashore grottoes, the word grotto comes from Italian grotta, Vulgar Latin grupta, and Latin crypta. It is also related by an accident to the word grotesque. The rooms had sunk underground over time, the Romans who discovered this historical monument found it very strange, a sentiment enhanced by the fact that it was uncovered from an underworld source. This led the Romans to give it the name grottesche, or grotesque, grottoes were very popular in Greek and Roman culture. Spring-fed grottoes were a feature of Apollos oracles at Delphi, Corinth, the Hellenistic city of Rhodes was designed with rock-cut artificial grottoes incorporated into the city, made to look natural. According to tradition, Praenestes sacred spring had a native nymph, Tiberius, the Roman emperor, filled his grotto with sculptures to create a sense of mythology, perhaps channeling Polyphemus cave in the Odyssey. The numinous quality of the grotto is still more ancient, in a grotto near Knossos in Crete, Eileithyia was venerated, even farther back in time, the immanence of the divine in a grotto is seen in the sacred caves of Lascaux. The popularity of artificial grottoes introduced Mannerist style to Italian and French gardens of the mid-16th century, two famous grottoes in the Boboli Gardens of Palazzo Pitti were begun by Vasari and completed by Ammanati and Buontalenti between 1583 and 1593. One of these grottoes originally housed the Prisoners of Michelangelo, before Boboli grotto, a garden was laid out by Niccolò Tribolo at the Medici Villa Castello, near Florence. At Pratolino, in spite of the dryness of the site, there was a Grotto of Cupid, with water tricks for the unsuspecting visitor. The Fonte di Fata Morgana at Grassina, not far from Florence, is a garden building. It is decorated with sculptures in the Giambolognan manner, the outside of garden grottoes are often designed to look like an enormous rock, a rustic porch or a rocky overhang. Damp grottoes were cool places to retreat from the Italian sun, in Kuskovo at the Sheremetev estate there is a Summer Grotto, built in 1775. Grottoes could also serve as baths, an example of this is at the Palazzo del Te, in the Casino della Grotta, courtiers once bathed in the small cascade that splashed over the pebbles and shells encrusted in the floor and walls. Grottoes have also served as chapels, or at Villa Farnese at Caprarola and they were often combined with cascading fountains in Renaissance gardens. The grotto designed by Bernard Palissy for Catherine de Medicis château in Paris, there are also grottoes in the gardens designed by André Le Nôtre for Versailles
5.
Tudor Revival architecture
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It later became an influence in some other countries, especially the British colonies. For example, in New Zealand, the architect Francis Petre adapted the style for the local climate, elsewhere in Singapore, then a British colony, architects such as R. A. J. Bidwell pioneered what became known as the Black and White House. The earliest examples of the style originate with the works of such eminent architects as Norman Shaw and George Devey and this was generally modelled on the grand prodigy houses built by the courtiers of Elizabeth I and James VI. It was associated with the Arts and Crafts Movement, outside North America, Tudorbethan is also used synonymously with Tudor revival and mock Tudor. The emphasis was on the simple, rustic, and the less impressive aspects of Tudor architecture, the Tudor revival style was a reaction to the ornate Victorian Gothic revival of the second half of the 19th century. Confusingly, it was promptly named Queen Anne style, when in reality it combined a revival of Elizabethan and Jacobean design details including mullioned. The style later began to incorporate the classic pre-Georgian features that are understood to represent Queen Anne in Britain. The term Queen Anne for this style of architecture tends to be commonly used in the USA than in Britain. In the USA it evolved into a form of architecture not instantly recognisable as that constructed in either the Tudor or Queen Anne period, in Britain the style remained closer to its Tudor roots. Large and small houses alike with half-timbering in their upper storeys and gables were completed with tall ornamental chimneys and it was here that the influences of the arts and crafts movement became apparent. However, Tudor Revival cannot really be likened to the structures of the originals. An example of this is the cottage style of Ascott House in Buckinghamshire. This was designed by Devey for the Rothschild family, who were among the earliest patrons, the Tudor revival, though, now concentrated on the picturesque. A very well known example of the idealised half-timbered style is Liberty & Co. department store in London, the store specialised, among other goods, in fabrics and furnishings by the leading designers of the Arts and Crafts movement. In the early part of the century, one of the exponents who developed the style further was Edwin Lutyens and this is Tudorbethan at its best, free in ground plan, stripped of cuteness, yet warmly vernacular in effect, familiar though new, eminently liveable. An example of Tudorbethan architecture was seen at Greaves Hall. Many of the features of the building could still be seen until it was demolished in 2009. Later came Mackey Hugh Baillie Scott and Blair Imrie who made their names as Tudor style architects, Lutyens though took the style away from what is generally understood as Tudor revival creating a further highly personalised style of his own
6.
Listed building
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A listed building or listed structure, in the United Kingdom, is one that has been placed on the Statutory List of Buildings of Special Architectural or Historic Interest. The statutory bodies maintaining the list are Historic England in England, Cadw in Wales, Historic Scotland in Scotland, however, the preferred term in Ireland is protected structure. In England and Wales, an amenity society must be notified of any work to a listed building which involves any element of demolition. Owners of listed buildings are, in circumstances, compelled to repair and maintain them. When alterations are permitted, or when listed buildings are repaired or maintained, slightly different systems operate in each area of the United Kingdom, though the basic principles of the listing remain the same. It was the damage to caused by German bombing during World War II that prompted the first listing of buildings that were deemed to be of particular architectural merit. The listings were used as a means of determining whether a building should be rebuilt if it was damaged by bombing. Listing was first introduced into Northern Ireland under the Planning Order 1972, the listing process has since developed slightly differently in each part of the UK. In the UK, the process of protecting the historic environment is called ‘designation’. A heritage asset is a part of the environment that is valued because of its historic. Only some of these are judged to be important enough to have legal protection through designation. However, buildings that are not formally listed but still judged as being of heritage interest are still regarded as being a consideration in the planning process. Almost anything can be listed – it does not have to be a building, Buildings and structures of special historic interest come in a wide variety of forms and types, ranging from telephone boxes and road signs, to castles. Historic England has created twenty broad categories of structures, and published selection guides for each one to aid with assessing buildings and these include historical overviews and describe the special considerations for listing each category. Both Historic Scotland and Cadw produce guidance for owners, in England, to have a building considered for listing or delisting, the process is to apply to the secretary of state, this can be done by submitting an application form online to Historic England. The applicant does not need to be the owner of the building to apply for it to be listed, full information including application form guidance notes are on the Historic England website. Historic England assesses buildings put forward for listing or delisting and provides advice to the Secretary of State on the architectural, the Secretary of State, who may seek additional advice from others, then decides whether or not to list or delist the building. In England and Wales the authority for listing is granted to the Secretary of State by the Planning Act 1990, Listed buildings in danger of decay are listed on the Historic England Heritage at Risk Register
7.
J. M. W. Turner
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Joseph Mallord William Turner, RA was an English Romanticist landscape painter. Turner was considered a figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence rivalling history painting. Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolour landscape painting and he is commonly known as the painter of light. Joseph Mallord William Turner was baptised on 14 May 1775, and it is generally believed he was born between late April and early May. Turner himself claimed he was born on 23 April, but there is no proof and he was born in Maiden Lane, Covent Garden, in London, England. His father, William Turner, was a barber and wig maker and his mother, Mary Marshall, came from a family of butchers. A younger sister, Mary Ann, was born in September 1778, the earliest known artistic exercise by Turner is from this period—a series of simple colourings of engraved plates from Henry Boswells Picturesque View of the Antiquities of England and Wales. Around 1786, Turner was sent to Margate on the north-east Kent coast, here he produced a series of drawings of the town and surrounding area foreshadowing his later work. Turner returned to Margate many times in later life, by this time, Turners drawings were being exhibited in his fathers shop window and sold for a few shillings. His father boasted to the artist Thomas Stothard that, My son, in 1789, Turner again stayed with his uncle who had retired to Sunningwell in Berkshire. A whole sketchbook of work from time in Berkshire survives as well as a watercolour of Oxford. The use of sketches on location, as the foundation for later finished paintings. By the end of 1789, he had begun to study under the topographical draughtsman Thomas Malton. Turner learned from him the tricks of the trade, copying and colouring outline prints of British castles. He would later call Malton My real master, topography was a thriving industry by which a young artist could pay for his studies. In the same year of 1789 he entered the Royal Academy of Art schools, when he was 14 years old, Sir Joshua Reynolds, president of the Royal Academy, chaired the panel that admitted him. At first Turner showed a keen interest in architecture, but was advised by the architect Thomas Hardwick to continue painting and his first watercolour painting A View of the Archbishops Palace, Lambeth was accepted for the Royal Academy summer exhibition of 1790 when Turner was 15. As a probationer in the academy, he was drawing from plaster casts of antique sculptures
8.
River Thames
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The River Thames is a river that flows through southern England, most notably through London. At 215 miles, it is the longest river entirely in England and it also flows through Oxford, Reading, Henley-on-Thames and Windsor. The lower reaches of the river are called the Tideway, derived from its tidal reach up to Teddington Lock. It rises at Thames Head in Gloucestershire, and flows into the North Sea via the Thames Estuary, the Thames drains the whole of Greater London. Its tidal section, reaching up to Teddington Lock, includes most of its London stretch and has a rise, in Scotland, the Tay achieves more than double the average discharge from a drainage basin that is 60% smaller. Along its course are 45 navigation locks with accompanying weirs and its catchment area covers a large part of South Eastern and a small part of Western England and the river is fed by 38 named tributaries. The river contains over 80 islands, in 2010, the Thames won the largest environmental award in the world – the $350,000 International Riverprize. The Thames, from Middle English Temese, is derived from the Brittonic Celtic name for the river, Tamesas, recorded in Latin as Tamesis and yielding modern Welsh Tafwys Thames. It has also suggested that it is not of Celtic origin. A place by the river, rather than the river itself, indirect evidence for the antiquity of the name Thames is provided by a Roman potsherd found at Oxford, bearing the inscription Tamesubugus fecit. It is believed that Tamesubugus name was derived from that of the river, tamese was referred to as a place, not a river in the Ravenna Cosmography. The rivers name has always pronounced with a simple t /t/, the Middle English spelling was typically Temese. A similar spelling from 1210, Tamisiam, is found in the Magna Carta, the Thames through Oxford is sometimes called the Isis. Ordnance Survey maps still label the Thames as River Thames or Isis down to Dorchester, richard Coates suggests that while the river was as a whole called the Thames, part of it, where it was too wide to ford, was called *lowonida. An alternative, and simpler proposal, is that London may also be a Germanic word, for merchant seamen, the Thames has long been just the London River. Londoners often refer to it simply as the river in such as south of the river. Thames Valley Police is a body that takes its name from the river. The marks of human activity, in cases dating back to Pre-Roman Britain, are visible at various points along the river
9.
James Gibbs
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James Gibbs was one of Britains most influential architects. Born in Scotland, he trained as an architect in Rome and he is an important figure whose work spanned the transition between English Baroque architecture and a Georgian architecture heavily influenced by Andrea Palladio. Among his most important works are St Martin-in-the-Fields, in London, the Palladians were largely Whigs, led by Lord Burlington and Colen Campbell, a fellow Scot who developed a rivalry with Gibbs. Gibbs professional Italian training under the Baroque master Carlo Fontana also set him apart from the Palladian school. The naming of the Gibbs surround for doors and windows, which he certainly did not invent, overall, Gibbs was an individual who formed his own style independently of current fashions. Architectural historian John Summerson describes his work as the fulfilment of Wrens architectural ideas, despite the influence of his books, Gibbs, as a stylistic outsider, had little effect on the later direction of British architecture, which saw the rise of Neoclassicism shortly after his death. He was educated at Aberdeen Grammar School and Marischal College, after the death of his parents he went in 1700 to stay with relatives in Holland. He later travelled through Europe, visiting Flanders, France, Switzerland, some time after he left for Rome travelling via France. On 12 October 1703 he registered as a student at The Scots College and he would have been studying for the Catholic priesthood but had second thoughts. By the end of 1704 he was studying architecture under Carlo Fontana, he was taught by Pietro Francesco Garroli. While in Rome Gibbs met John Perceval, 1st Earl of Egmont who attempted to persuade him to move to Ireland. He moved to London in November 1708, his return to Britain was probably due to the illness of his half-brother William. Still intending to take up the offer of work in Ireland, he had befriended by John Erskine. The Earl persuaded Gibbs to remain in London, offering him his first commission, around this time he met Edward Harley, 2nd Earl of Oxford and Earl Mortimer, who would be a powerful patron and friend and James Brydges, 1st Duke of Chandos. Gibbs was one of the sixty members of Godfrey Knellers Academy of Painting. On 18 December 1716 Gibbs joined the Vandykes clubb, also called the Club of St Luke for Virtuosi in London, in 1720 Gibbs was invited along with other architects to enter a competition to design a new church to replace the dilapidated church of St Martin-in-the-Fields. He won, and on 24 November 1720 he was appointed architect of the new church, horace Walpole described Gibbs as being around 1720 as the architect most in vogue. In 1720 Gibbs was approached by the Provost of Kings College, Cambridge to complete the college, the scheme consisted of three buildings, all 53 feet high, forming a courtyard 240 by 282 feet to the south of the Chapel
10.
Palladian architecture
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Palladian architecture is a European style of architecture derived from and inspired by the designs of the Venetian architect Andrea Palladio. That which is recognised as Palladian architecture today is an evolution of Palladios original concepts, Palladios work was strongly based on the symmetry, perspective and values of the formal classical temple architecture of the Ancient Greeks and Romans. From the 17th century Palladios interpretation of classical architecture was adapted as the style known as Palladianism. It continued to develop until the end of the 18th century, Palladianism became popular briefly in Britain during the mid-17th century, but its flowering was cut short by the onset of the Civil War and the imposition of austerity which followed. In the early 18th century it returned to fashion, not only in England but also, the style continued to be popular in Europe throughout the 19th and early 20th centuries, where it was frequently employed in the design of public and municipal buildings. However, as a style it has continued to be popular and to evolve, its pediments, symmetry. Buildings entirely designed by Palladio are all in Venice and the Veneto, with an especially rich grouping of palazzi in Vicenza and they include villas, and churches such as Redentore in Venice. Palladio always designed his villas with reference to their setting, if on a hill, such as Villa Capra, facades were frequently designed to be of equal value so that occupants could have fine views in all directions. Also, in cases, porticos were built on all sides so that occupants could fully appreciate the countryside while being protected from the sun. Palladio sometimes used a loggia as an alternative to the portico and this can most simply be described as a recessed portico, or an internal single storey room, with pierced walls that are open to the elements. Occasionally a loggia would be placed at floor level over the top of a loggia below. Loggias were sometimes given significance in a facade by being surmounted by a pediment, Villa Godi has as its focal point a loggia rather than a portico, plus loggias terminating each end of the main building. Palladio would often model his villa elevations on Roman temple facades, the temple influence, often in a cruciform design, later became a trademark of his work. Palladian villas are built with three floors, a rusticated basement or ground floor, containing the service and minor rooms. The proportions of each room within the villa were calculated on simple mathematical ratios like 3,4 and 4,5, earlier architects had used these formulas for balancing a single symmetrical facade, however, Palladios designs related to the whole, usually square, villa. Palladio deeply considered the purpose of his villas as both farmhouses and palatial weekend retreats for wealthy merchant owners. These symmetrical temple-like houses often have symmetrical, but low, wings sweeping away from them to accommodate horses, farm animals. The wings, sometimes detached and connected to the villa by colonnades, were designed not only to be functional but also to complement, the Palladian, Serlian, or Venetian window features largely in Palladios work and is almost a trademark of his early career
11.
William Kent
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William Kent was an eminent English architect, landscape architect and furniture designer of the early 18th century. As a landscape gardener he revolutionised the layout of estates, but had limited knowledge of horticulture and he complemented his houses and gardens with stately furniture for major buildings including Hampton Court Palace, Chiswick House, Devonshire House and Rousham. Kent was born in Bridlington, Yorkshire, and baptised, on 1 January 1686, Kents career began as a sign and coach painter who was encouraged to study art, design and architecture by his employer. A group of Yorkshire gentlemen sent Kent for a period of study in Rome, by 18 November he was in Florence, staying there until April 1710 before finally setting off for Rome. In 1713 he was awarded the medal in the second class for painting in the annual competition run by the Accademia di San Luca for his painting of A Miracle of S. Andrea Avellino. During his stay in Rome, he painted the ceiling of the church of San Giuliano dei Fiamminghi with the Apotheosis of St. Julian, the most significant meeting was between Kent and Richard Boyle, 3rd Earl of Burlington. Kent started practising as a relatively late, in the 1730s. He is better remembered as an architect of the revived Palladian style in England, Burlington gave him the task of editing The Designs of Inigo Jones. With some additional designs in the Palladian/Jonesian taste by Burlington and Kent and these neo-antique buildings were inspired as much by the architecture of Raphael and Giulio Romano as by Palladio. Walpoles son Horace described Kent as below mediocrity as a painter, a restorer of science as an architect, a theatrically Baroque staircase and parade rooms in London, at 44 Berkeley Square, are also notable. Kents domed pavilions were erected at Badminton House and at Euston Hall, Kent could provide sympathetic Gothic designs, free of serious antiquarian tendencies, when the context called, he worked on the Gothic screens in Westminster Hall and Gloucester Cathedral. When Kent died, the work was completed by Stephen Wright, as a landscape designer, Kent was one of the originators of the English landscape garden, a style of natural gardening that revolutionised the laying out of gardens and estates. Smaller Kent works can be found at Shotover Park, Oxfordshire, including a faux Gothic eyecatcher and his all-but-lost gardens at Claremont, Surrey, have recently been restored. It is often said that he was not above planting dead trees to create the mood he required. Kents only real downfall was said to be his lack of knowledge and technical skill. Claremont, Stowe, and Rousham are places where their joint efforts can be viewed, Stowe and Rousham are Kents most famous works. At the latter, Kent elaborated on Bridgemans 1720s design for the property, adding walls, at Stowe, Kent used his Italian experience, particularly with the Palladian Bridge. At both sites Kent incorporated his naturalistic approach, the royal barge he designed for Frederick, Prince of Wales can still be seen at the National Maritime Museum, Greenwich
12.
English country house
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An English country house is a large house or mansion in the English countryside. Such houses were owned by individuals who also owned a town house. This allowed them to time in the country and in the city—hence, for these people. However, the term also encompasses houses that were, and often still are, frequently, the formal business of the counties was transacted in these country houses. With large numbers of indoor and outdoor staff, country houses were important as places of employment for rural communities. In turn, until the agricultural depressions of the 1870s, the estates, of country houses were the hub. However, the late 19th and early 20th centuries were the swansong of the traditional English country house lifestyle, increased taxation and the effects of World War I led to the demolition of hundreds of houses, those that remained had to adapt to survive. While a château or a schloss can be a fortified or unfortified building, if fortified, it is called a castle, but not all buildings with the name castle are fortified. The term stately home is subject to debate, and avoided by historians, as a description of a country house, the term was first used in a poem by Felicia Hemans, The Homes of England, originally published in Blackwoods Magazine in 1827. In the 20th century, the term was popularised in a song by Noël Coward. The books collection of homes also includes George IVs Brighton town palace. The country houses of England have evolved over the last five hundred years, before this time, larger houses were usually fortified, reflecting the position of their owners as feudal lords, de facto overlords of their manors. The Tudor period of stability in the saw the building of the first of the unfortified great houses. Henry VIIIs Dissolution of the Monasteries saw many former ecclesiastical properties granted to the Kings favourites, woburn Abbey, Forde Abbey and many other mansions with abbey or priory in their name became private houses during this period. Other terms used in the names of houses to describe their origin or importance include palace, castle, court, hall, mansion, park, house, manor, and place. Burghley House, Longleat House, and Hatfield House are among the best known examples of the prodigy house. Some of the best known of Englands country houses were built by one architect at one time, Montacute House, Chatsworth House. They finally ran out of funds in the early 20th century, an example of this is Brympton dEvercy in Somerset, a house of many periods that is unified architecturally by the continuing use of the same mellow, local Ham Hill stone
Media related to Pope's villa (1719) at Wikimedia Commons
