Examples Of Interior Wall Panelling

Examples Of Interior Wall PanellingOak Panelling Designs WorkmanshipTransport being a difficult undertaking, the m aterials used varied with geological conditions, with the result that local character is strongly m arked. Brick, of which no extensive use had been made as a building m aterial in this country since the tim e of the Roman occupation, now cam e into its own, m ore especially in the east and southeast of England, where stone was scarce and clay plentiful. Characteristic features of Tudor brickwork are an effective wall treat m ent in which different coloured bricks are used to form patterns and " diapers " ; and the elaborately moulded and twisted chim ney stacks, which are frequently found even above the roofs of stone built houses. As a rule wrought stone was used for doorways, window mullions and jambs, quoins and copings, as at Horham Hall, Essex Some of the greatest triumphs of Tudor craftsm anship are to be found amongst the palaces and houses built of brick. A local characteristic of chalk distric ts where flint abounds, is the use of squared flints for walling.In the neighbourhood of good building stone, houses were built of stone internally. wall panelling oak panelling designs The treat m ent was simple and at first reflected ecclesiastical m otives, for the m asons em ployed were experienced in church building and slow to relinquish traditional methods. Windows in early work had cusped heads and sometimes tracery as in church work (Part I), gradually changing to the Tudor four-centred arch without cusping (Diagram XIV), and finally to the plain square head. Transom es were introduced, as windows becam e larger and bay and oriel windows developed. There is no m ore striking feature of the Tudor house than its lofty bay windows (Page 10), and they are not found in any other country. More advance towards a symmetrical elevation is attem pted in stone houses than in those built of brick, but symmetry was not yet a governing principle of design and steep pitched roofs, gables, fine chimney-stacks and heraldic finials give a picturesque skyline.(Left) The Priority Gatehouse, Bromfield, Shropshire(Right) A stone house at Oundle, NorthamptonshireGable Finials at Ely and ChesterA special m ethod of construction of wall panelling oak panelling designs is found in the great forest districts where an abundant supply of good oak was available. So called " half-tim ber " houses were constructed with a fram ework of stout timbers which were left visible together with the curved struts and braces, giving a pleasing impression of strength and coherence. The spaces between the timbers were filled with lath and plaster, or bricks laid in a variety of patterns. In tim ber construction projections are readily obtained and a result is the overhanging upper storey which rests on the projecting ends of the first floor joists. In Lancashire and Cheshire, thewell known " black and white " half-tim ber houses, such as Speke Hall (Diagram XVI), are elaborate and m uch variety is seen in the patterns form ed by curved and diagonal braces and oak panels (black), filled with plaster (white). In Kent and Surrey the style is sim pler but has additional character in tile-hung walls. Fine ornamental carving, still Gothic in character, was lavished on exposed timbers such as angle posts, brackets, barge-boards, finials (Page 11), and pendants (Diagram XVI).Two types of house plan were usual, the enclosed courtyard plan and the central hall plan. In both types attention was concentrated on external display and internal com fort rather than upon security, and the num ber of rooms with wall panelling oak panelling designs was increased in response to the dem and of social conditions for greater convenience and privacy. The great hall was still the principal room though it had long ceased to be the general living and sleeping apart m ent. The disadvantages of the central hearth were obviated by the fireplace in a side wall and, as the fireplace was developed, a deeper recess with the surrounding stonework richly carved (Diagram XVII) superseded the shallow recess wi th a projecting hood of earlier tim es. More fireplaces m eant m ore chimneys and instead of isolated shafts these were grouped in well disposed stacks.The structural timberwork of the interior afforded a fine field for the delicate workmanship in wall panelling oak panelling designs hitherto lavished on church fittings. The roof of the hall, som etimes of the hammer-beam type (Part I), was a special feature ; the lower part of the walls was covered with " linenfold " panelling or hung with tapestry, and in the with-drawing-rooms in larger houses the exposed ceiling beams were m oulded and carved, whether the actual ceiling was formed of wood or plaster. Stone carved chim ney-pieces, oak doorways and panelling were singled out for elaboration, the tapering spandrils of the chimney-pieces giving opportunity for the introduction of cunning devices and heraldic em blem s. Glass, which had been a luxury in the early xvth century, cam e into general use for windows, in sm all leaded panes with heraldry em blazone d in colour. Walls, ceilings and windows formed a rich setting for the costum es and furniture of the period. Staircases were not yet designed to serve more than a strictly utilitarian purpose, and were usually narrow and of the old circular newel type."Elizabethan" Architecture Diagrams Nos. XVIII and XIXTHE developm ent in domestic wall panelling oak panelling designs architecture-so marked under the early Tudors-was carried still further under Elizabeth. Church building had all but ceased with the Reformation, and the new nobility-who had profited by the dissolution of the m onasteries-continued house-building on a scale of increasing m agnificence.National building traditions were too deeply rooted to be suddenly discarded. Gothic structure still persisted and although Renaissance detail had made its appearance on Henry VII's tom b in West minster Abbey, and was tentatively adopted by the more ambitious builders, an essentially English character was m aintained in Elizabethan houses and no real grasp of classic design is apparent. A departure, however, from medieval methods was inevit¬able and a distinctive character was imparted to the early wall panelling oak panelling designs in Renaissance architecture of the Elizabethan and Jacobean periods.The different foreign influences which contributed to this change can be traced in its development. The introduction cam e direct from Italy, and decorative detail executed by Italians in Henry VIII's reign has a delicacy and refinement lost in the later work. This direct influence from the fountain head of the Renaissance was short lived. By the tim e of Elizabeth's accession, the change of religion, and lack of em ployment under Edward VI and Mary, had driven Italians from the country, and in their place cam e craftsm en to eork on wall panelling oak panelling designs from Germany and the Low Countries. Through these channels the new m anner of design cam e to stay, and to German and Flemish influence, strengthened by a wide use of pattern books—mostly published in Antwerp—may be attributed the haphazard use of classic features which for a tim e dominated design. Planning and construction were still carried out by native builders and the ignorant use of the classic " Orders " and new ornam ent was largely the work of English craftsm en trying to adapt them selves to the new m ovement.So far, no nearer approach to the status of the practising architect of today had been reached than that of the m aster builder, but in Elizabeth's tim e individual designers, who submitted plans and sketch designs—known as " drafts "—for houses of distinction, m ade their appearance. In 1563 John Shute, who seem s to have studied in Italy, published his "Chief Grandes of Architecture," with drawings of the " Orders," and John Thorpe, Robert and Huntingdon Smithson and Thom as Holt, are English wall panelling oak panelling designers whose names are associated with the greater Elizabethan and Jacobean houses ; they encouraged symmetrical planning wall panelling oak panelling designs, together with elevations distinguished by strong horizontal lines and applied classic " Orders."Planning on symmetrical lines advanced steadily. The quadrangular plan, frequently with m ore than one court, was adhered to, but E and H shaped plans, with central block and projecting wings, were favoured because they admitted m ore light and air, while a spacious walled forecourt ensured a welcoming and dignified approach (Diagram XVIII).Building m aterials were the stone, brick and timber of the locality as in earlier days. The external treat m ent of sm aller houses shows little m ore departure from tradition than the em ployment of pilasters and entablature about the entrance doorway. Changes of a m ore definite nature are seen in the greater houses. The entrancedoorway usually set in a projecting porch, presents a general use of classic features. The m edieval string-course gradually gave way to the classic cornice and various form s of curved gables—of Flemish origin —provided the picturesque skyline which was enhanced by turrets, heraldic finials and lofty chimney-stacks, even when roofs were flat and concealed behind ornamental parapets. Elaboration of wall panelling oak panelling designs detail has seldom been carried further than in Elizabethan and Jacobean houses, and gateways, balustrades and even rain-water heads (Page 13), were singled out for display. Square-headed mullioned windows were universal and the bay window m aintained its importance and was often carried the whole height of the house.Dunham Massie, Cheshire in the XVIIth Century. Rebuilt, 1721The Great Chamber South Wraxall, WiltshireLead Rainwater Heads - Abbot's Hospital, GuildfordChastleton, OxfordshirePassages and corridors were fitted with wall panelling oak panelling afforded improved access to room s on all floors and three especially characteristic features are the long gallery, the great staircase and the internal lobby. The gallery, conducive to the enjoym ent of music and the display of pictures, usually occupiedthe whole length of the house on the topmost floor. The hall had now becom e a fine entrance vestibule and its importance diminished with the provision of more private apart m ents. Broad staircases, with short straight flights and wide landings, tall newel posts with ornamental tops, and flat or t urned balusters cam e into fashion in place of the old circular newel staircase. Towards the m iddle of the XVIIth century strapwork balustrading was occasionally used instead of balusters.New ideas were freshly expressed in the wall panelling oak panelling designs for the decoration of the interior. The xvith century established its own standard of stateliness and dignity, as well as of com fort, and it required that walls, fireplaces, ceilings and staircases should be ornately treated. In oak panelling, the " linen-fold " gave way to plain panelling in a variety of rectangular shapes, surrounded by mouldings usually " mitred " at the angles. When a richer effect was desired, carved pilasters and friezes and the characteristic strapwork ornament were introduc ed ; intricate patterns som etimes filled the panels, and some use was m ade of inlaid woods of different colours. After the middle of the xvith century the art of working plaster decoratively was encouraged and plaster ceilings excelled in skilfultreatm ent. Whether flat or curved, moulded ribs in elaborate geom etrical patterns with pendants at the intersections, floral ornament in the interspaces andstrap-work devices covered the whole surface. The m ost distinctive feature, however, is the chimneypiece ; few houses are without an ornate example of wall panelling and oak panelling designs. The usual materials were wood and stone, occasionally marble, and sometimes m odelled plasterwork for the overm antel. The fireplace opening was fram ed in varying versions of columns, pilasters and entablature, and a similar arrangement above formed an elaborate overm antel in which frequently the family arms formed the central decoration. For the sumptuous effects to be obtained from oak panelling and furniture, coloured plaster work and stained glass, these interiors have never been excelled, but they lack the reticence that could com e only with m ore chastened im aginations than were possessed by the Elizabethans.。