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English Tudor
The Tudor style belongs to a period of transition, blending the Perpendicular
Gothic with the Renaissance. In domestic architecture we find the peculiarities
of the Perpendicular are: breadth of doors and windows in comparison to height,
often with square frames of plain inouldings, the mullions of the windows
forming two or three lights, with slight tracery; arches depressed, four-centred;
capping mouldings rectangular, coming about one third down at the sides and
ending in foliated bosses, sculptured heads or emblazoned shields; columns
and pilasters which assume classic form, though not orthodox proportions.
Under Henry VII fireplaces often have pointed hoods, decorated with floral tracery and heraldry; under Henry VIII the monumental “continued” fireplaces are rectangular, adorned with strapwork, pilasters, and terminal figures. But another type was introduced almost flush with the wainscoting, the arched opening almost square, and little decoration beyond classic mouldings. Wainscoting was mostly of simple sunken panels with plain raised mouldings, and was painted with convçntional flowers, tracery, figures, and heraldry in fresco colours. Plasterwork was largely used, occasionally stamped, but becoming more and more finely modelled. The early strapwork, so often seen in all kinds of carving, at first flat and plain, became raised, rounded and reeded, and later “jewelled.”
Henry VIII brought over some Italian masons, plasterers, and other workers,
and by their means introduced classical bosses and capitals to his columns,
string mouldings, and some florid sculptures and moulded plaster, including
figures, among the decorations.
His father had introduced the Tudor rose,
with double rows of petals sometimes alternately white and red, at others
a white rose within a red or a red within a white. He was also prodigal with
the Beaufort portcullis and the Welsh gold and red dragon.
In the reigns
of both the Henrys the Tudor flower parapet moulding was conspicuous. It
replaced the embattled crestings and consisted of two raised flower mouldings
divided by a sunken one and topped by stiff, heart-shaped traceried or pierced
trefoils with smaller trefoils between.
Under Mary some Spanish motifs were added, but the most common were the pomegranate (occasionally dimidiated with the Tudor rose) and the sheath of arrows of her mother.
Under Elizabeth perpendicular rather than horizontal lines were the rule.
Thus chimney-pieces were inordinately tall, with slim carved or turned columns,
beginning to show bulbous rings.
Geometrical panelling was decorated with
or surrounded by foliage and flowers in sprays, wreaths and swags, ribbons,
“jewellings,” drapery, animals, heads and figures, a good deal
of heraldry, elaborate bandings, rich mouldings, and other devices, all warmly
coloured.
Pictures on walls and ceilings were usually confined to panels,
and it is characteristic to find side by side with semi-classic columns
projecting ribs heavily wrought with oak leaves and acorns, roses, and fine
tracery, including the favourite “nailed” or “jewelled”
trelliswork, which we see adorning even the wonderful polygonal tall chimney
stacks.
Frescoes continued to adorn walls, and painted cloths were used as
hangings, though tapestries began to be imported and foreign carpets took
their place with home-made embroideries for decorative purposes.
Green and white, the Tudor livery colours, as well as red and white, were favourite combinations throughout the period.