Once again we take a brief moment to talk about one of the books in our collection; I have wanted this for some time, but was only recently able to obtain it on Ebay for a low price. Always a great fan of Country Life, I collected many issues years ago when it was commonly available at the local news stand (I never could bring myself to spring for an annual subscription) and I still keep some of these scattered about in the house. Lacking more recent issues, I was happy to report a successful effort to grab a single copy at Heathrow before we returned home from our recent UK trip.

I finished reading this book right before we left, and though it certainly relates a lively and interesting story of the magazine’s history and significance, it does an excellent job of weaving that history into a vivid panorama of Britain during the last 100 (now 120) years. It’s hard for me to imagine that this book has actually been out for so long; nevertheless, the subject matter is as essential today as it was in 1997. With a fairly substantial production run, it is still easily available from online booksellers such as Amazon and Abebooks.

As one might expect, the photography—which was primarily pulled from the magazine’s archives—is excellent. The vintage black-and-white images are so expressive and so “of their time” that they capture the feeling of their era in a way that modern color photography cannot.

Once surprising aspect of the book, and this is a tribute to Sir Roy Strong, is that it is an easy and comfortable read; though it is large and fairly substantial, the average reader would be able to get through it straightaway. The author pulls no punches in his observations regarding the magazine and its editorial positions; though helpful in preserving the country’s heritage and great estates in its early decades, he describes them as outdated and reactionary in the post war period.

Controversies aside, the book provides a useful record of the magazine’s history and outlines its role as a cultural icon. Outlining a long list of editors and contributors (including Strong himself) and surveying 100 years of social change, editorial policies, preservation issues and matters of taste, this book provides a great insight into a central period of English architectural and social history.

Country Life, 1897-1997  An English Arcadia
Hardcover: 128 pages
ISBN-10: 0752210548
ISBN-13: 978-0752210544
Product Dimensions:  11.8 x 9.2 x 1 inches

A Tudor Revival interior that embraces its unique details and original woodwork. Courtesy Stonewood, LLC

I was heartened to see a story on Houzz the other day regarding the continued popularity of the Tudor Revival style in American homes, including an outline of its basic visual elements. Architect Steven Randal does a fine job of distilling the style's most essential design cues, and best of all, the story includes some excellent photographic examples of contemporary Tudor Revival interiors. The collection of images included with the article fully dispels the notion that these rooms are dark and dusty museum set-pieces.

Another room that blends with contemporary style. Courtesy Margot Hartford Photography

The story was refreshing for another reason (one which I have noted more than once) regarding the “typical” rooms one sees when visiting Houzz. More and more, it seems that almost every room featured on the website is bathed in white; white woodwork, white cabinets, white floors, white furniture…all combined with a very trendy, “hip” design aesthetic that looks like it was inspired by any one of a hundred DIY-design-craft -blogs. I’ve found this to become fairly tiresome, and it’s only remedied by entering a more specific site search for rooms offering more traditional styles, more color, or more of anything not defined by “trendy.”

As I noted, the photos accompanying this story are helpful, in that they offer a clean and contemporary look that embraces each home’s Tudor details instead of painting them out (in white) or de-emphasizing them. This is not always an easy problem to solve, as we will eventually be looking to update the interiors of our own house, and need all the inspiration we can find.

You can reference the full article HERE.

These particular reviews, while sharing some observations regarding the content, design and quality of the book, are primarily intended to highlight the personal meaning they have for me and how they have served my interest in English Architecture.

Back some time in the mid-1980’s I acquired a copy of Mark Girouard’s The Victorian Country House. At the time, we were living in a modest stucco-and-shingle English cottage in Goodyear Heights, and I was dreaming of eventually building my own “country house”—though on a much smaller scale than those rambling piles featured in Girouard’s book.

To this day, the book remains one of the central resources in my library, and still informs my basic attitudes regarding design, building history and taste. Beginning with a thoughtful overview of the Victorian country house-building phenomenon, Girouard goes on to highlight about two dozen memorable examples of country houses—describing not only their planning and design, but also providing insights into their owners and architects. The chapters, which are clear, well-researched and highly entertaining, reveal a colorful tapestry of Victorian society: nouveau riche industrialists, landed gentry, eccentrics, aesthete artists, pious politicians and above all—original and talented architects. The main section is followed by a brief gazetteer of better-known houses built during the Victorian period. The book is very well illustrated; one might wish for more color photos, but I have always found black-and-white images to be very evocative and often highly appropriate to the subject of old houses.



As the years passed, I went on to collect most all of Mr. Girouard’s books. Along with this particular work, another book of his, The Return to Camelot: Chivalry and the English Gentleman, provided much inspiration for my first novel, The Steadfast.

The mind conjures up a great many things, and when I eventually did build my own house a few years later, it was easy to sometimes imagine myself some minor Lord, making designs, studying and evaluating plans and somehow—seeking to express my essence in a house. Like life itself, the final product turned out to be full of compromises in size, design and materials. The grand plans I first developed (I was my own architect) eventually shape-shifted from a stately, stucco-covered manor house to a broad, brick-and shingle Tudor Revival house…to finally materialize in a 4-bedroom, Old English “cottage” on a 90’ foot wide lot. Thus do dreams run smack dab into the brambled hedgerow of reality. Nevertheless, I still remain Lord of my modest manor.

For those who are interested in the types of houses featured on this blog, I highly recommend The Victorian Country House as a fine place to start your reading. I feel confident you will find it not only informative, but highly inspiring, as I did.

Here is the first of our video book reviews - or as I like to call them: New Reviews of Old Books. As regards my reasoning for this, please refer to this recent post. As you will see, while I have nothing but praise for the book's content, the quality of the printing and publication (not the design) leaves something to be desired.


To make things a little clearer, I am including here a couple of photos of the interior of the book. The overall layout and design is fine, but the printing process used (I assume digital, since I feel this was a short-run book) was perhaps not up to the task, as the photographs do not have the requisite contrast and detail one would prefer. Even the stock paper is a little thin; you may be able to see bleed-through text from the other side of the pages.

Normally, planning authorities don’t look favorably upon building plans when they include significantly remodeling an older structure in order to vastly change its appearance or character. However, if the existing house is unattractive, impractical, or where it does not warrant extensive protection, then allowances can be made.

Such is the example I recently came across on Homebuilding and Renovating—a Tudor Revival remodel in Shropshire that really combines a number of clever tricks and some original thinking to deliver a very convincing and attractive home. Yes, there is some sleight-of-hand going on here; steel beams have been covered in plaster, then grained and finished to look like wood. Stone-like door surrounds are actually made from cast-moulded concrete, and then weathered to look like stone.

Purists may wish for “the real thing” but I cannot argue with the end result. Such is my own experience that the budget of most people—especially where new building projects are concerned—cannot always sustain the use of traditional materials, though they would clearly be our first choice. Creative and available substitutes can often be employed, and this home is a fine example of such an approach.

Looking at the end result, the original, nondescript Georgian home has been flanked with half-timbered Tudor side wings, embellished with a jettied porch over the center section, and topped with a high-pitched timber frame roof. As a self-build project, it is quite impressive; the owners, Mark and Julia Swannell, clearly have an excellent eye—as the proportions and architectural detail are very authentic looking. From a distance (other than the fact that the home’s lines are straight and level) one might briefly mistake it for an original. Well done!

SEE THE ORIGINAL ARTICLE HERE.

Why would you want to review a book that’s been out of print for thirty years? Or fifty? Or eighty, for that matter?

Well, if I was reviewing fiction or computer programming, I agree, it would make no sense at all. The former is a slave to contemporary taste and fashion, which changes almost daily; the latter is subject to the inevitable march of technology—making today’s technical information soon obsolete.

For those of us who are interested in architecture—and specifically—old houses, there is an entirely different set of issues to consider when reading, collecting and referring to older books:

First, old houses are still old. Where they exist, they generally do so undisturbed over the course of many years, and that is the way people like it. For example, observations made about an old house like Little Moreton Hall in Cheshire in 1920 are generally valid unto this day. While new analyses continue to be made and today’s technology may reveal some new understanding, the scholars of the past continue to provide keen insights on the character, history and appreciation of old houses.

Likewise, many of the photographic and illustrative examples provided in old books offer an unsurpassed visual record of many old houses, some of which no longer exist. Whether it is the beautiful black & white photographs we see in old Country Life books, or the seductive drawings of Sidney R. Jones, there is a unique character and perspective in these old illustrations that even the sharpest digital image cannot provide. In the very oldest examples, they may offer details that cannot even be seen today.

Other old books on architecture, through their sheer depth of observation, provide an in-depth illustrative record of measured construction details like doors, chimneys, windows, mouldings and their profiles, stonework, ironwork and more. Few modern books provide these richly detailed and carefully recorded illustrations—which can be so helpful to both the student and the practicing residential architect who may turn to them for inspiration.

Another consideration on the value of old architecture books for the modern user is their essential value as books, and in many cases, great examples of what I refer to as The Book Arts. As an example, I often point to is the two-volume study from Thomas Garner and Arthur Stratton, entitled The Domestic Architecture of England During the Tudor Period. I own a second edition set from 1929; they are huge books—measuring 12” x 16”—wonderful to hold in one’s lap and beautifully illustrated with both photographs and exquisite drawings. A much more recent example of this type might be Mark Girouard’s beautiful Elizabethan Architecture, published by Yale in 2009. It is another substantial, finely illustrated book which does great justice to its subject.

To the casual observer, it may seem strange to provide a review of a book that is no longer in print, and which may not even be easily obtainable. But in doing so, we would point out that:

a) Many books, being highlighted as “essentials” on the subject of our chosen historical period of architecture, are well-recommended for their enduring high value, technical competence and even inspirational content.

b) While no longer in print, most of these books may still be obtained without undue effort from used bookstores, online sources such as abebooks.com, or even Ebay—often at a reasonable price.

c) Some books that have been recently scanned and made available through Print-on-Demand, while helpful and more easily purchased, are actually poor facsimiles of the original version. In some cases, the scanned illustrations are of extremely bad quality, in the worst cases, almost useless as a reference. While the text has value, to be sure, the student would be better satisfied in finding an original edition, which may often be found at a price that is little more than the reprint.

So, seeing some value in offering these types of reviews, we will begin to provide them, since we have no shortage of books on our chosen subject that we would like to share.

Seeing the newer phenomenon of video book reviews making an impact, and noting the advantages of physically describing and talking about a book that I am holding in my hand, this may be the method employed as we move forward.

Our dedication to old books being noted, we would nevertheless invite publishers of new books on period architecture to make review copies available, should they so desire. This would include  - Architecture (particularly residential) from Medieval through the Early Renaissance (Jacobean) – and Revival Styles (Gothic, Medieval, Tudor, Elizabethan, Jacobean) from the early 18th Century through the Victorian and Edwardian eras, and up to 1930.

Why would you want to review a book that’s been out of print for thirty years? Or fifty? Or eighty, for that matter?

Well, if I was reviewing fiction or computer programming, I agree, it would make no sense at all. The former is a slave to contemporary taste and fashion, which changes almost daily; the latter is subject to the inevitable march of technology—making today’s technical information soon obsolete.

For those of us who are interested in architecture—and specifically—old houses, there is an entirely different set of issues to consider when reading, collecting and referring to older books:

First, old houses are still old. Where they exist, they generally do so undisturbed over the course of many years, and that is the way people like it. For example, observations made about an old house like Little Moreton Hall in Cheshire in 1920 are generally valid unto this day. While new analyses continue to be made and today’s technology may reveal some new understanding, the scholars of the past continue to provide keen insights on the character, history and appreciation of old houses.

Likewise, many of the photographic and illustrative examples provided in old books offer an unsurpassed visual record of many old houses, some of which no longer exist. Whether it is the beautiful black & white photographs we see in old Country Life books, or the seductive drawings of Sidney R. Jones, there is a unique character and perspective in these old illustrations that even the sharpest digital image cannot provide. In the very oldest examples, they may offer details that cannot even be seen today.

Other old books on architecture, through their sheer depth of observation, provide an in-depth illustrative record of measured construction details like doors, chimneys, windows, mouldings and their profiles, stonework, ironwork and more. Few modern books provide these richly detailed and carefully recorded illustrations—which can be so helpful to both the student and the practicing residential architect who may turn to them for inspiration.

Another consideration on the value of old architecture books for the modern user is their essential value as books, and in many cases, great examples of what I refer to as The Book Arts. As an example, I often point to is the two-volume study from Thomas Garner and Arthur Stratton, entitled The Domestic Architecture of England During the Tudor Period. I own a second edition set from 1929; they are huge books—measuring 12” x 16”—wonderful to hold in one’s lap and beautifully illustrated with both photographs and exquisite drawings. A much more recent example of this type might be Mark Girouard’s beautiful Elizabethan Architecture, published by Yale in 2009. It is another substantial, finely illustrated book which does great justice to its subject.

To the casual observer, it may seem strange to provide a review of a book that is no longer in print, and which may not even be easily obtainable. But in doing so, we would point out that:

a) Many books, being highlighted as “essentials” on the subject of our chosen historical period of architecture, are well-recommended for their enduring high value, technical competence and even inspirational content.

b) While no longer in print, most of these books may still be obtained without undue effort from used bookstores, online sources such as abebooks.com, or even Ebay—often at a reasonable price.

c) Some books that have been recently scanned and made available through Print-on-Demand, while helpful and more easily purchased, are actually poor facsimiles of the original version. In some cases, the scanned illustrations are of extremely bad quality, in the worst cases, almost useless as a reference. While the text has value, to be sure, the student would be better satisfied in finding an original edition, which may often be found at a price that is little more than the reprint.

So, seeing some value in offering these types of reviews, we will begin to provide them, since we have no shortage of books on our chosen subject that we would like to share.

Seeing the newer phenomenon of video book reviews making an impact, and noting the advantages of physically describing and talking about a book that I am holding in my hand, this may be the method employed as we move forward.

Our dedication to old books being noted, we would nevertheless invite publishers of new books on period architecture to make review copies available, should they so desire. This would include  - Architecture (particularly residential) from Medieval through the Early Renaissance (Jacobean) – and Revival Styles (Gothic, Medieval, Tudor, Elizabethan, Jacobean) from the early 18th Century through the Victorian and Edwardian eras, and up to 1930.

There's no doubt about it – I love old books, especially books on architecture. Unfortunately, many of the best examples are fairly rare, and when available are often obtainable only at a very high price.
 
One book I've had my eye on for some time is Alan Jackson's The Half-Timber House: Its Origin, Design, Modern Plan, and Construction – which was originally published in several editions, from about 1912 through 1929. What makes the book particularly interesting for me is that the author is American, and he studies the characteristics of Tudor-revival homes from an early 20th century viewpoint--analyzing the style's appropriateness for [his] time and offering both good and bad examples of how it might be adapted for American homes.

As far as the text is concerned, it may be slightly “wordy” for the average reader; the language is perhaps too flowery and expressive for today's tastes, and might have benefited from a firm editing. Nevertheless, it makes for an interesting read, especially since the period when it was written was a time when Tudor-revival was one of the most popular of American residential styles.
                                       


THE WAY THE ILLUSTRATION APPEARS IN THIS EDITION.

Behind Jackson's clear admiration for the warmth and comfort offered by the “Old English” style, you can sense the popular notions and attitudes that caused so many of these homes to be built across the United States from 1900 to about 1935. Interestingly, a bit of waspishness sneaks in as he discusses other “sub-types” of half-timbered architecture, specifically examples found in France (Norman) and Germany, both of which he subtly dismisses as seeming “foreign” to most Americans.

While I have come close to purchasing some original editions of this book on Ebay, they are uncommon and usually demand a stiff price. Happily, the recent proliferation of publishers who are now offering facsimile copies of the book via page-scanning of the originals (now in the public domain) has made it easy to add a copy to my architecture library.     But in that realization there remains a critical caveat.

Quality Matters

One of the reason I love old books is that I find them attractive, and in the best examples, quite beautiful. While I have not seen an original copy of The Half-Timber House, it looks like it was produced with some level of care and attentiveness to design—all of which suffered greatly in the repro copy I purchased from Forgotten Books via Amazon.

Be aware that there are several publishers offering this book, and the prices vary from $7.56 for a paperback version (my sample) to almost $30.00 for a hardcover reprint.  The quality of the final product will depend on how the scanning equipment was set up and what type of sample was used—the Forgotten Books edition looks like it was scanned not from an original, but from a poor xerox copy. While the text was of acceptable quality, most of the illustrations were useless—not looking like halftone photos at all (as in the original) but more like super-high-contrast black and white drawings, offering little detail and large areas where the image dropped out completely. I suppose one issue might be that the contrast setting on the scanner was set extra high to make the text clearer (and ruin the halftone images in the process) but the illustrations are so poor that I find it impossible to believe that an original copy of the book was used.
Perhaps a better solution would be to purchase the book on CD; I have seen some examples available on Ebay as well, where the book has been scanned into PDF and the images look fairly decent. In any case, I would recommend to any buyer that if page samples of these reproduction copies are available to view, they take a careful look to see that the quality is acceptable.

 As I have discussed previously in the "About" section of the site, my study and interest in ancient English building styles and revival-style architecture left me rather empty after the completion of my home in the 1990's. While the work has continued on there over the years  (and it still does) I had sought to use the knowledge I had gained in some useful manner, and The Steadfast was the result.

While the book is also currently available through Creatspace in a print version, I just finished converting it to a PDF ebook version that is available from Lulu at $4.99.  To check out a few sample chapters, head over to http://thesteadfastnovel.blogspot.com .

We are providing some copies of the ebook version for free to the first six of our friends who make the request via Twitter - just DM @thelonggallery to let us know - and please be sure to give us a review when you are finished!

 As I have discussed previously in the "About" section of the site, my study and interest in ancient English building styles and revival-style architecture left me rather empty after the completion of my home in the 1990's. While the work has continued on there over the years  (and it still does) I had sought to use the knowledge I had gained in some useful manner, and The Steadfast was the result.

While the book is also currently available through Creatspace in a print version, I just finished converting it to a PDF ebook version that is available from Lulu at $3.77.  To check out a few sample chapters, head over to http://thesteadfastnovel.blogspot.com .

We are providing some copies of the ebook version for free to the first six of our friends who make the request via Twitter - just DM @thelonggallery to let us know - and please be sure to give us a review when you are finished!

With thousands of onlookers lining the streets, the cameras of ABC's "Extreme Makeover: Home Edition" rolling, the principals of Marous Brothers Construction and their sister, Sue Marous, watched as the Paul Anderson's family arrived at their new home on Anthony Street in Willoughby, Ohio. The company was selected to be the builder and general contractor for the project, which took six days to complete with the help of an estimated 4,000 volunteers working around the clock. It was the 177th episode of the popular show.


Sue Marous said the company was "deeply honored" to have been chosen by producers of "Extreme Makeover" to build the 3,500-square-foot, English Tudor Revival style home for a family with special needs. The four-bedroom home replaced the family's modest 50-year-old, 1,200-square foot house. Chris Auvil, who serves as staff architect for Marous Brothers Construction, said the new home has many modern features including fingerprint readers on doors and bar-code readers on kitchen cabinets to identify various food items.

Though many modern examples of revival style homes fall well short in terms of historical accuracy, scale, proportion and visual appeal, we'd have to admit that--based on our initial impressions--this particular home is pretty well done. It certainly appears more authentic than most modern attempts, and although we might have suggested a few alternate choices in terms of some materials and details (like the white columns at the entrance) they basically got it right.

Come each November, I seem to undergo a slow transformation; the island music which lilts across my backyard pool and the bottles of ice-cold Corona quickly give way to ancient music and dark ales as the holiday season begins to take hold. During the winter months, an idle night will often find me seated in the dining room, listening to old madrigals or ancient drinking songs of one sort or another, trying various ales out in an effort to decide what to serve at Christmas.


I've recently come across a new (to me) ensemble, New York Polyphony, which clearly has staked a claim to accompany those efforts this season. The group came together in 2006, and their debut CD, I Sing the Birth, was released on Avie Records in 2007. That disk gained universal praise, and for good reason - the group's clear, rich and engaging a capella sound is well-suited to the works they have chosen to perform. Indeed, the ensemble, which includes Tenor Geoffrey Silver, countertenor Geoffrey Williams, baritone Scott Dispensa and bass-baritone Craig Phillips takes on a wide range of music, from medieval chant to 21st-century liturgical compositions.

The group recently finished a number of Midwest and Rocky Mountain region dates in September, and is next set to appear at the First Presbyterian Church in Atlanta on November 22 and in New York City on December 12th. New York Polyphony is also set to release a CD of Elizabethan-inspired music recorded at Manhattan's Cathedral Church of St. John the Divine in spring 2010.

To hear some of this great music, visit the group's website or listen on line at Lala.