1.
William Burn
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William Burn, FRSE was a Scottish architect, pioneer of the Scottish Baronial style. A talented architect, he received commissions from the age of 20 until his death at 80. He was born in Rose Street in Edinburgh, the son of architect Robert Burn, after training with the architect of the British Museum, Sir Robert Smirke, he returned to Edinburgh in 1812. Here he established a practice from the builders yard. In 1841, he took on a pupil, David Bryce, from 1844 he worked in London, where he took on his nephew John Macvicar Anderson as a partner. In 1827 he was elected a Fellow of the Royal Society of Edinburgh and he resigned in 1845 following his move to London. In the 1830s he was living and working at 131 George Street in the New Town, Burn was a true master of many styles, but all are typified by well-proportioned simplicity externally and frequent stunning interiors. He died at 6 Stratton Street in Piccadilly, London and is buried in Kensal Green Cemetery just on the edge of the path to the north-west of the central buildings, gazetteer for Scotland- William Burn Archival material relating to William Burn
2.
Royal Academy of Arts
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The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly in London. The Royal Academy of Arts was founded through an act of King George III on 10 December 1768 with a mission to promote the arts of design in Britain through education and exhibition. Supporters wanted to foster a national school of art and to encourage appreciation, fashionable taste in 18th-century Britain was based on continental and traditional art forms, providing contemporary British artists little opportunity to sell their works. From 1746 the Foundling Hospital, through the efforts of William Hogarth, the success of this venture led to the formation of the Society of Artists of Great Britain and the Free Society of Artists. Both these groups were primarily exhibiting societies, their success was marred by internal factions among the artists. The combined vision of education and exhibition to establish a school of art set the Royal Academy apart from the other exhibiting societies. It provided the foundation upon which the Royal Academy came to dominate the art scene of the 18th and 19th centuries, supplanting the earlier art societies. Sir William Chambers, a prominent architect, used his connections with George III to gain royal patronage and financial support of the Academy, the painter Joshua Reynolds was made its first president. Francis Milner Newton was elected the first secretary, a post he held for two decades until his resignation in 1788, the instrument of foundation, signed by George III on 10 December 1768, named 34 founder members and allowed for a total membership of 40. William Hoare and Johann Zoffany were added to this list later by the King and are known as nominated members, among the founder members were two women, a father and daughter, and two sets of brothers. The Royal Academy was initially housed in cramped quarters in Pall Mall, although in 1771 it was given temporary accommodation for its library and schools in Old Somerset House, then a royal palace. In 1780 it was installed in purpose-built apartments in the first completed wing of New Somerset House, located in the Strand and designed by Chambers, the Academy moved in 1837 to Trafalgar Square, where it occupied the east wing of the recently completed National Gallery. These premises soon proved too small to house both institutions, in 1868,100 years after the Academys foundation, it moved to Burlington House, Piccadilly, where it remains. Burlington House is owned by the British Government, and used rent-free by the Royal Academy, the first Royal Academy exhibition of contemporary art, open to all artists, opened on 25 April 1769 and ran until 27 May 1769. 136 works of art were shown and this exhibition, now known as the Royal Academy Summer Exhibition, has been staged annually without interruption to the present day. In 1870 the Academy expanded its programme to include a temporary annual loan exhibition of Old Masters. The range and frequency of these exhibitions have grown enormously since that time. Britains first public lectures on art were staged by the Royal Academy, led by Reynolds, the first president, a program included lectures by Dr. William Hunter, John Flaxman, James Barry, Sir John Soane, and J. M. W. Turner
3.
George Henry Boughton
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This page is about the painter, for the NY politician see George H. Boughton. George Henry Boughton RA was an Anglo-American landscape and genre painter, illustrator, Boughton was born in Norwich in Norfolk, England, the son of farmer William Boughton. The family emigrated to the United States in 1835, and he grew up in Albany, at this early stage he was influenced by the artists of the Hudson River School. By the age of 19 he was recognised as a landscape painter, in 1853, the American Art Union purchased one of his early pictures which financed six months of studying art in England. He concluded this period of his training with a tour of the Lake District. After coming back to the USA, Boughton exhibited his works in Washington, D. C. and New York, from 1859–61 he studied art in France under Pierre Edouard Frère and Edward Harrison May. His subject-pictures, such as the Early Puritans of New England Going to Church, were especially popular, the Return of the Mayflower was praised as a picture which will live as long as the memory of the Mayflower itself lasts. Vincent Van Gogh, who lived London in 1873–75, was impressed by Boughton’s painting Godspeed. Then working as a minister, he gave an inspired by the painting. The Boughton painting is now part of the collection of the Van Gogh Museum in Amsterdam, Boughton illustrated Nathaniel Hawthorne’s The Scarlet Letter and Henry Wadsworth Longfellows poems. In 1893, the edition of Washington Irving’s Rip Van Winkle, a London critic once declared that he has learnt the secret of putting natural feelings into rustic figures, which has been almost entirely wanting to English painters. Boughton exhibited extensively in both Britain and USA, and was elected a member of the National Academy of Design in New York in 1871. He was elected a member of the Royal Institute of Painters in Water Colours, an Associate of the Royal Academy in 1879, and a Royal Academician in 1896. He was a useful and popular member of this body, and worked well as member of the council, as a hanger, after the death of John Callcott Horsley, Boughton was elected a Director of the Fine Art and General Insurance Company. Among his landscape paintings - views of England and Brittany in France, in 1883, he travelled to Holland. His illustrated account of that journey was published in the Harpers Magazine as Artist Strolls in Holland, in 1865, Boughton married Katherine Louise Cullen, and they had an adopted daughter, Florence. Along with John Callcott Horsley, he was one of the clients of architect Richard Norman Shaw who built a house for the Boughtons on Campden Hill. The parties given here by Mr and Mrs Boughton were celebrated among artistic and literary people and it was noticed that Boughton was influenced by works of British painter and illustrator Frederick Walker
4.
Cragside
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Cragside is a country house near the town of Rothbury in Northumberland, England. It was the first house in the world to be lit using hydroelectric power, the property was opened to the public in 1979. At one point, the building included an observatory and a scientific laboratory. The Grade I listed house is surrounded by one of Europes largest rock gardens, a number of rhododendrons. One variety of rhododendron is named after Lady Armstrong, Lord Armstrong spent much of his time as a child in Rothbury to get away from industrial Newcastle to alleviate his ill health. He returned to Rothbury after not having a holiday for many years, the original house was completed in 1863 by an unknown architect but was transformed by architect Richard Norman Shaw between 1869 and 1884 into an imposing mansion. Cragside is an example of his English Gothic style, in 2007, Cragside reopened after undergoing total refurbishment. In 1868, an engine was installed, with water being used to power labour-saving machines such as laundry equipment, a rotisserie. The resultant electricity was used to power an arc lamp installed in the Gallery in 1878, the arc lamp was replaced in 1880 by Joseph Swans incandescent lamps in what Swan considered the first proper installation of electric lighting. The generators, which provided power for the farm buildings on the estate, were constantly extended and improved to match the increasing electrical demand in the house. The 2006 regeneration project included extensive rewiring, a new hydro-powered electricity generator was installed in 2014, it can provide 12 kW, supplying around 10% of the propertys electricity consumption. The new system uses an Archimedes screw 17 metres long, the Open University Arts Foundation Course featured Cragside in one of its programmes in 1987. The documentary series Abroad Again in Britain by Jonathan Meades focused on Cragside in episode 2, henrietta Heald, William Armstrong, Magician of the North. Ken Smith, Emperor of Industry, Lord Armstrong of Cragside
5.
Grim's Dyke
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Grims Dyke is the name of a house and estate in Harrow Weald, in northwest London, England. The house was built from 1870 to 1872 by Richard Norman Shaw for painter Frederick Goodall and named after the nearby prehistoric earthwork known as Grims Ditch. The house is best known as the home of the dramatist W. S. Gilbert, of the opera partnership Gilbert and Sullivan and he died while attempting to save a girl from drowning in his lake. Lady Gilbert and the Gilberts ward, Nancy McIntosh, lived there until her death in 1936, the statue of Charles II now found in Soho Square stood on the property from about 1880 to 1938. The house was used as a rehabilitation centre until 1963. From 1963, the house was used mainly as a location for films and television, including Futtocks End and it was converted into Grims Dyke Hotel in 1970 but continues to be used as a film location. The hotel retains 30 of the original 110 acres of land that Gilbert purchased with the house, shaws design for the house included aspects of Gothic revivalism, added to a late-Elizabethan style, which included high red-tiled gables, tall clustered chimneys and leaded lights. To the north of the house, Shaw built a lodge, a walled garden and various outhouses. Over the dyke Shaw built two bridges, which incorporated flint from the ruined church at Stanmore. Construction on the house was completed in 1872, Goodalls ground-floor studio was built on a north-south axis in order to catch the light. Goodall sold the property in 1880 to Robert Herriot of Hambros Bank, windsor Castle is visible from the house. W. S. Gilbert purchased the property in August 1890 for £4,000 and he made various additions and alterations to the property, including an elaborate fireplace of Cornish alabaster in Goodalls studio, which became Gilberts drawing/music room. At the house, Gilbert wrote his last ten works from an armchair in his library overlooking the croquet lawn, Gilbert also had an observatory for stargazing. Arthur Sullivan visited Grims Dyke with his nephew, Herbert, on 27 May 1893 and they stayed at the house for three days while Sullivan worked with Gilbert to finalise Utopia, Limited. At the house, Gilbert had a vinery, apiary, orchards and he also kept a variety of exotic animals including monkeys, lemurs, a lynx and many others. Lady Gilbert designed the 30 acres of gardens at the house. After Gilberts death in 1911, Lady Gilbert and the Gilberts companion, Nancy McIntosh, continued to live there until Lady Gilberts own death in 1936. After Lady Gilberts death, the contents of the house, apart from a few items kept by Nancy McIntosh, were sold at auction on 17 and 18 March 1937
6.
Edwardian era
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The death of Queen Victoria in January 1901 marked the end of the Victorian era. The new king Edward VII was already the leader of an elite that set a style influenced by the art. The Liberals returned to power in 1906 and made significant reforms, below the upper class, the era was marked by significant shifts in politics among sections of society that had been largely excluded from wielding power in the past, such as common labourers. The Edwardian period is sometimes imagined as a golden age of long summer afternoons and garden parties. This perception was created in the 1920s and later by those who remembered the Edwardian age with nostalgia, the Edwardian age was also seen as a mediocre period of pleasure between the great achievements of the preceding Victorian age and the catastrophe of the following war. Recent assessments emphasise the differences between the wealthy and the poor during the Edwardian era and describe the age as heralding great changes in political and social life. Robert Tressells popular novel The Ragged-Trousered Philanthropists is an example of the eras social critique. Despite this, this type of perception has been challenged more recently by modern historians, the British historian Lawrence James has argued that, during the early 20th century, the British felt increasingly threatened by rival powers such as Germany, Russia, and the United States. There was a political awareness of the working class, leading to a rise in trade unions. The aristocracy remained in control of top government offices, the Conservatives – at the time called Unionists – were dominant from the 1890s to 1906. The party had many strengths, appealing to voters supportive of imperialism, tariffs, the Church of England, a powerful Royal Navy, and traditional hierarchical society. There was a powerful leadership base in the aristocracy and landed gentry in rural England, plus strong support from the Church of England. Historians have used election returns to demonstrate that Conservatives did surprisingly well in working-class districts and they had an appeal as well to the better-off element of traditional working class Britons in the larger cities. Nevertheless, the weaknesses were accumulating, and proved so overwhelming in 1906 that they did not return to power until 1922. The Conservative Party was losing its drive and enthusiasm, especially after the retirement of the charismatic Joseph Chamberlain, there was a bitter split on tariff reform, that drove many of the free traders over to the Liberal camp. Tariff reform was an issue that the Conservative leadership inexplicably clung to. Support among the top tier of the class, and in lower middle class weakened. The 1906 election was a landslide for the opposition, which saw its total vote jump 25 percent, the Liberal Party lacked a unified ideological base in 1906
7.
Classicism
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Classicism, in the arts, refers generally to a high regard for a classical period, classical antiquity in the Western tradition, as setting standards for taste which the classicists seek to emulate. Classicism is a genre of philosophy, expressing itself in literature, architecture, art, and music, which has Ancient Greek and Roman sources. It was particularly expressed in the Neoclassicism of the Age of Enlightenment, Classicism is a recurrent tendency in the Late Antique period, and had a major revival in Carolingian and Ottonian art. Until that time the identification with antiquity had been seen as a history of Christendom from the conversion of Roman Emperor Constantine I. Renaissance classicism introduced a host of elements into European culture, including the application of mathematics and empiricism into art, humanism, literary and depictive realism, importantly it also introduced Polytheism, or paganism, and the juxtaposition of ancient and modern. The classicism of the Renaissance led to, and gave way to and this period sought the revival of classical art forms, including Greek drama and music. Opera, in its modern European form, had its roots in attempts to recreate the combination of singing and dancing with theatre thought to be the Greek norm, examples of this appeal to classicism included Dante, Petrarch, and Shakespeare in poetry and theatre. Tudor drama, in particular, modeled itself after classical ideals, studying Ancient Greek became regarded as essential for a well-rounded education in the liberal arts. They also began reviving plastic arts such as bronze casting for sculpture, for example, the painting of Jacques-Louis David which was seen as an attempt to return to formal balance, clarity, manliness, and vigor in art. Various movements of the period saw themselves as classical revolts against a prevailing trend of emotionalism and irregularity. The 20th century saw a number of changes in the arts, thus, both pre-20th century disciplines were labelled classical and modern movements in art which saw themselves as aligned with light, space, sparseness of texture, and formal coherence. Examples of classicist playwrights are Pierre Corneille, Jean Racine and Moliere, the influence of these French rules on playwrights in other nations is debatable. In the English theatre, Restoration playwrights such as William Wycherly and those of Shakespeares plays that seem to display the unities, such as The Tempest, probably indicate a familiarity with actual models from classical antiquity. Classicism in architecture developed during the Italian Renaissance, notably in the writings and designs of Leon Battista Alberti and this style quickly spread to other Italian cities and then to France, Germany, England, Russia and elsewhere. In the 16th century, Sebastiano Serlio helped codify the classical orders, building off of these influences, the 17th-century architects Inigo Jones and Christopher Wren firmly established classicism in England. For the development of classicism from the mid-18th-century onwards, see Neoclassical architecture, for Greek art of the 5th century B. C. E. See Classical art in ancient Greece and the Severe style Italian Renaissance painting and sculpture are marked by their renewal of classical forms, motifs and subjects. In the 15th century Leon Battista Alberti was important in theorizing many of the ideas for painting that came to a fully realised product with Raphaels School of Athens during the High Renaissance
8.
Gothic Revival architecture
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Gothic Revival is an architectural movement that began in the late 1740s in England. Gothic Revival draws features from the original Gothic style, including decorative patterns, finials, scalloping, lancet windows, hood mouldings, the Gothic Revival movement emerged in 19th-century England. Its roots were intertwined with deeply philosophical movements associated with a re-awakening of High Church or Anglo-Catholic belief concerned by the growth of religious nonconformism, ultimately, the Anglo-Catholicism tradition of religious belief and style became widespread for its intrinsic appeal in the third quarter of the 19th century. The Gothic Revival was paralleled and supported by medievalism, which had its roots in antiquarian concerns with survivals, as industrialisation progressed, a reaction against machine production and the appearance of factories also grew. Proponents of the such as Thomas Carlyle and Augustus Pugin took a critical view of industrial society. To Pugin, Gothic architecture was infused with the Christian values that had been supplanted by classicism and were being destroyed by industrialisation, poems such as Idylls of the King by Alfred Tennyson, 1st Baron Tennyson recast specifically modern themes in medieval settings of Arthurian romance. In German literature, the Gothic Revival also had a grounding in literary fashions, guarino Guarini, a 17th-century Theatine monk active primarily in Turin, recognized the Gothic order as one of the primary systems of architecture and made use of it in his practice. Some of the earliest evidence of a revival in Gothic architecture is from Scotland, inveraray Castle, constructed from 1746, with design input from William Adam, displays the incorporation of turrets. These were largely conventional Palladian style houses that incorporated some features of the Scots baronial style. The eccentric landscape designer Batty Langley even attempted to improve Gothic forms by giving them classical proportions, a younger generation, taking Gothic architecture more seriously, provided the readership for J. Brittens series of Cathedral Antiquities, which began appearing in 1814. In 1817, Thomas Rickman wrote an Attempt. to name and define the sequence of Gothic styles in English ecclesiastical architecture, the categories he used were Norman, Early English, Decorated, and Perpendicular. It went through numerous editions and was still being republished by 1881. The largest and most famous Gothic cathedrals in the U. S. A. are St. Patricks Cathedral in New York City and Washington National Cathedral on Mount St. Alban in northwest Washington, D. C. One of the biggest churches in Gothic Revival style in Canada is Basilica of Our Lady Immaculate in Ontario, Gothic Revival architecture was to remain one of the most popular and long-lived of the Gothic Revival styles of architecture. The revived Gothic style was not limited to architecture, classical Gothic buildings of the 12th to 16th Centuries were a source of inspiration to 19th-century designers in numerous fields of work. Architectural elements such as pointed arches, steep-sloping roofs and fancy carvings like lace ant lattice work were applied to a range of Gothic Revival objects. Sir Walter Scotts Abbotsford exemplifies in its furnishings the Regency Gothic style, parties in medieval historical dress and entertainment were popular among the wealthy in the 1800s but has spread in the late 20th century to the well-educated middle class as well. By the mid-19th century, Gothic traceries and niches could be inexpensively re-created in wallpaper, the illustrated catalogue for the Great Exhibition of 1851 is replete with Gothic detail, from lacemaking and carpet designs to heavy machinery
9.
Timber framing
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Timber framing and post-and-beam construction are methods of building with heavy timbers rather than dimensional lumber such as 2x4s. Traditional timber framing is the method of creating structures using heavy squared-off and it is commonplace in wooden buildings from the 19th century and earlier. The method comes from making out of logs and tree trunks without modern high tech saws to cut lumber from the starting material stock. Since this building method has been used for thousands of years in parts of the world. These styles are categorized by the type of foundation, walls, how and where the beams intersect, the use of curved timbers. Three basic types of frames in English-speaking countries are the box frame, cruck frame. The distinction presented here is the load is carried by the exterior walls. Purlins are also in a timber frame. A cruck is a pair of crooked or curved timbers which form a bent or crossframe, more than 4,000 cruck frame buildings have been recorded in the UK. Several types of frames are used, more information follows in English style below. True cruck or full cruck, blades, straight or curved, base cruck, tops of the blades are truncated by the first transverse member such as by a tie beam. Raised cruck, blades land on masonry wall, and extend to the ridge, middle cruck, blades land on masonry wall, and are truncated by a collar. Upper cruck, blades land on a tie beam, very similar to knee rafters, jointed cruck, blades are made from pieces joined near eaves in a number of ways. See also, hammerbeam roof End cruck is not a style, aisled frames have one or more rows of interior posts. These interior posts typically carry more load than the posts in the exterior walls. This is the concept of the aisle in church buildings, sometimes called a hall church. However, a nave is often called an aisle, and three-aisled barns are common in the U. S. the Netherlands, aisled buildings are wider than the simpler box-framed or cruck-framed buildings, and typically have purlins supporting the rafters. In northern Germany, this construction is known as variations of a Ständerhaus, the frame is often left exposed on the exterior of the building
10.
Gable
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A gable is the generally triangular portion of a wall between the edges of intersecting roof pitches. The shape of the gable and how it is detailed depends on the system used, which reflects climate, material availability. A gable wall or gable end more commonly refers to the wall, including the gable. A variation of the gable is a gable, which has a stairstep design to accomplish the sloping portion. Gable ends of more recent buildings are often treated in the way as the Classic pediment form. But unlike Classical structures, which operate through trabeation, the ends of many buildings are actually bearing-wall structures. Thus, the detailing can be ambiguous or misleading, gable style is also used in the design of fabric structures, with varying degree sloped roofs, dependent on how much snowfall is expected. Sharp gable roofs are a characteristic of the Gothic and classical Greek styles of architecture, the opposite or inverted form of a gable roof is a V-roof or butterfly roof. While a front-gabled building faces the street with its gable, a building faces it with its cullis. The terms are used in architecture and city planning to determine a building in its urban situation, front-gabled buildings are considered typical for German city streets in the medieval gothic period, while later Renaissance buildings, influenced by Italian architecture are often side-gabled. In America, front-gabled houses, such as the Gablefront house, were primarily between the early 19th century and 1920. A wimperg is a German and Dutch word for a Gothic ornamental gable with tracery over windows or portals and it was a typical element in Gothic Architecture especially in cathedral architecture. Wimpergs often had crockets or other elements in the Gothic style. The intention behind the wimperg was the perception of increased height, the gable end roof is a poor design for hurricane regions, as it easily peels off in strong winds. The part of the roof overhangs the triangular wall very often creates a trap that can catch wind like an umbrella. A series of ornamental timber gables, from existing examples in England and France of the 16th Century
11.
Chimney
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A chimney is a structure that provides ventilation for hot flue gases or smoke from a boiler, stove, furnace or fireplace to the outside atmosphere. Chimneys are typically vertical, or as near as possible to vertical, to ensure that the gases flow smoothly, drawing air into the combustion in what is known as the stack, the space inside a chimney is called a flue. Chimneys may be found in buildings, steam locomotives and ships, in the United States, the term smokestack is also used when referring to locomotive chimneys or ship chimneys, and the term funnel can also be used. The height of a chimney influences its ability to transfer flue gases to the environment via stack effect. Additionally, the dispersion of pollutants at higher altitudes can reduce their impact on the immediate surroundings, in the case of chemically aggressive output, a sufficiently tall chimney can allow for partial or complete self-neutralization of airborne chemicals before they reach ground level. The dispersion of pollutants over an area can reduce their concentrations. Romans used tubes inside the walls to draw out of bakeries. The earliest extant example of an English chimney is at the keep of Conisbrough Castle in Yorkshire, however, they did not become common in houses until the 16th and 17th centuries. Smoke hoods were a method of collecting the smoke into a chimney. Another step in the development of chimneys was the use of built in ovens which allowed the household to bake at home, industrial chimneys became common in the late 18th century. Chimneys in ordinary dwellings were first built of wood and plaster or mud, since then chimneys have traditionally been built of brick or stone, both in small and large buildings. Early chimneys were of a brick construction. Later chimneys were constructed by placing the bricks around tile liners, to control downdrafts, venting caps with a variety of designs are sometimes placed on the top of chimneys. In the 18th and 19th centuries, the used to extract lead from its ore produced large amounts of toxic fumes. Lead and silver deposits formed on the inside of these long chimneys, todays central heating systems have made chimney placement less critical, and the use of non-structural gas vent pipe allows a flue gas conduit to be installed around obstructions and through walls. In fact, most modern high-efficiency heating appliances do not require a chimney, such appliances are generally installed near an external wall, and a noncombustible wall thimble allows a vent pipe to run directly through the external wall. On a pitched roof where a chimney penetrates a roof, flashing is used to seal up the joints, the down-slope piece is called an apron, the sides receive step flashing and a cricket is used to divert water around the upper side of the chimney underneath the flashing. Industrial chimneys are commonly referred to as flue gas stacks and are generally external structures and they are generally located adjacent to a steam-generating boiler or industrial furnace and the gases are carried to them with ductwork
12.
Queen Anne style architecture
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George Devey and the better-known Norman Shaw popularized the Queen Anne style of British architecture of the industrial age in the 1870s. Norman Shaw published a book of architectural sketches as early as 1858, Shaws eclectic designs often included Tudor elements, and this Old English style also became popular in the United States, where it became known as the Queen Anne style. Confusion between buildings constructed during the reign of Queen Anne and the Queen Anne Style still persists, in the late 1850s the name Queen Anne was in the air, following publication in 1852 of William Makepeace Thackerays novel, The History of Henry Esmond, Esq. A Colonel in the Service of Her Majesty Queen Anne, one minor side-effect of Thackerays novel and of Norman Shaws freehand picturesque vernacular Renaissance survives to this day. The British Victorian version of the style more closely with the Arts and Crafts movement than does its American counterpart. A good example is Severalls Hospital in Colchester, Essex, now defunct, in the 20th century Edwin Lutyens and others used an elegant version of the style, usually with red-brick walls contrasting with pale stone details. In the United States, the so-called Queen Anne style is used of a wide range of picturesque buildings with free Renaissance details rather than of a specific formulaic style in its own right. The gabled and domestically scaled Queen Anne style arrived in New York City with the new housing for the New York House and School of Industry Sidney V. Stratton, architect, 1878). Dentils, classical columns, spindle work, oriel and bay windows, horizontal bands of leaded windows, monumental chimneys, painted balustrades, front gardens often had wooden fences. The Federation period went from 1890 to 1915 and included twelve styles and this became the most popular style for houses built between 1890 and 1910. The style often utilised Tudor-style woodwork and elaborate fretwork that replaced the Victorian taste for wrought iron, verandahs were usually a feature, as were the image of the rising sun and Australian wildlife, plus circular windows, turrets and towers with conical or pyramid-shaped roofs. The first Queen Anne house in Australia was Caerleon in the suburb of Bellevue Hill, Caerleon was designed initially by a Sydney architect, Harry Kent, but was then substantially reworked in London by Maurice Adams. This led to controversy over who deserved the credit. The house was built in 1885 and was the precursor for the Federation Queen Anne house that were to become so popular. Caerleon was followed soon after by West Maling, in the suburb of Penshurst, New South Wales and these houses, although built around the same time, had distinct styles, West Maling displaying a strong Tudor influence that was not present in Annesbury. The style soon became popular, appealing predominantly to reasonably well-off people with an Establishment leaning. The style as it developed in Australia was highly eclectic, blending Queen Anne elements with various Australian influences, Old English characteristics like ribbed chimneys and gabled roofs were combined with Australian elements like encircling verandahs, designed to keep the sun out. One outstanding example of this approach is Urrbrae House, in the Adelaide suburb of Urrbrae, South Australia
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Shaw, Richard Norman". Encyclopædia Britannica (11th ed.). Cambridge University Press.
This article incorporates text from a publication now in the 
