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To an extent, they codified some of the contemporary thinking behind the Gothic Revival. At the time of its publication, A. W. N. Pugin and others had already advanced the ideas of the Revival and it was well under way in practice. Ruskin offered little new to the debate, but the book helped to capture and summarise the thoughts of the movement.
Sint-Petrus-en-Pauluskerk in Ostend (Belgium), built between 1899 and 1908. Gothic Revival (also referred to as Victorian Gothic or neo-Gothic) is an architectural movement that after a gradual build-up beginning in the second half of the 17th century became a widespread movement in the first half of the 19th century, mostly in England.
John Ruskin (8 February 1819 ... there is the Ruskin Pottery, Ruskin House, ... Ruskin's theories indirectly encouraged a revival of Gothic styles, but Ruskin himself ...
On this, he built a Gothic Revival-style house for his family, which he named St Marie's Grange. [15] Of it, ... This was partly due to the hostility of John Ruskin.
Porch of All Saints, Margaret Street, 1850-59, William Butterfield. The revival of polychrome brickwork is generally thought to have been instigated by British critic and architectural theorist John Ruskin, in his 1849 book The Seven Lamps of Architecture, where he lauded not only Medieval and Gothic architecture as 'truer' than the Classical, but also the ‘honest’ medieval use of ...
The architectural scholar James Stevens Curl describes it thus: "Style of the somewhat harsh polychrome structures of the Gothic Revival in the 1850s and 1860s when Ruskin held sway as the arbiter of taste. Like High Gothic, it is an unsatisfactory term, as it poses the question as to what is 'Low Victorian'.
In the 19th century, inspired in particular by the writings of John Ruskin, [2] there was a revival of the style, part of the broader Gothic Revival movement in Victorian architecture. Even in the Middle Ages, Venetian palaces were built on very constricted sites, and were tall rectangular boxes with decoration concentrated on the front facade.
It is a red-brick Victorian Gothic structure, completed after its architect J. H. Chamberlain's death by his partner William Martin and his son Frederick Martin, and widely considered as Chamberlain's masterpiece. Its Venetian style and naturalistic decoration are heavily influenced by John Ruskin's Stones of Venice.