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Preace vii
Acknowledgements ix
Introduction 1
Building Victorian Houses !
1he Publishing World 10
Architectural Pattern Books and Manuals
or Victorian Houses !!
Early Models !!
Architectural Pattern Books and Manuals 18!00 !6
1he 180s and 1860s !!
Architectural Books 1870101
Pattern Books and Manuals o Victorian
Exterior and Interior Details 71
Pattern Books o Designs 71
1rade Manuals and Price Books 76
Decoration and Home Manuals 88
1rade Catalogues and }ournals 7
1rade catalogues 7
}ournals o Architecture, Building 1rades and
Home Furnishing 10
Postscript 1!1
Bibliography 1!!
Index 1!7

1his book examines the publications that contributed to the making o small-
to medium-sized Victorian houses and their details. Pattern books o house
designs and interior and exterior detailing, manuals, price books, trade catalogues
and journals, were useul sources o inormation or the architectural and
building trades and the public alike, and played an important role in the
transmission o taste and practical advice.
Supplementing the body o knowledge already available on the history o
building publications, the book does not seek to provide an exhaustive list o
all titles issued, but using selected examples, to construct a picture o the types
o publications, their development and use. A discussion o publications relat-
ing to Victorian housing necessarily involves looking at works well prior to
18!7, as their roots go back into the eighteenth century and early nineteenth
century. 1he distinction between the Victorian period and what went beore
is urther blurred and complicated by the act that some early nineteenth-
century writers works were republished well into the Victorian period.
1he book begins by briey considering the building and publishing worlds,
to show how changes which took place in the Victorian period impacted on
housebuilding and its literature. 1he chapters ollowing the Introduction look
at selected publications in more detail, Chapters ! and ! covering pattern books
and manuals, and Chapter !, trade catalogues and journals. While designs or
whole houses are covered mainly in Chapter !, and house details in Chapter
!, there is inevitably some overlap in cases where books, journals and trade
catalogues cover both total designs and details. I have divided chapters accord-
ing to publication types as the most straightorward means o presenting mate-
rial.
1he strong visual emphasis o this book is intended to provide a vivid pic-
torial history supporting the text, in a sense, a pattern book o pattern books.
1he value o such a book, which points in the direction o all kinds o sources,
is as a resource or a wide range o interested readers, Victorian home-own-
ers and scholars in a number o elds.
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First, I would like to thank 1he Arts and Humanities Research Board and 1he
University o Wales Institute, Cardi or enabling me to complete this work.
Special thanks also go to 1im Coward, Katherine Reeve, Sarah Richards, Nigel
Whiteley, and 1he William De Morgan Foundation (}on Catleugh) or their
help and support. I would like to thank my colleagues, Glyn }ones, Martin
Gaughan, Steve Gill, }enny Godrey, Gill St }ohn Griths, Arwen 1homas,
and in particular, Kevin Edge and Megan Ngoumtsa. 1hanks are also due to
V A Picture Library (Martin Durrant and Rachel Lloyd), RIBA Library
(Robert Elwall), Cyartha Castle Art Gallery and Museum (Claire Dovey-
Evans), and in particular, Stephen Astley at Sir }ohn Soanes Museum, Sylvia
Harris at 1he Architectural Resource Centre, Cardi University, and
Matthew Williams at Cardi Castle. Others have helped greatly, notably,
Christopher Christie, }udy Cligman, Nancy Sheiry Glaister, Lesley Gray, Sue
Hunt, Alex }ackson-Long, Chris }ames, David Long, }oyce and Ken Long,
Ben Piper, Alison Yates and in particular, 1om Piper.
- -:
Architectural Resource Centre, Cardi University, !8, !0, !, 0, 60, 61, 6!,
6!, 100
Cyartha Castle Museum and Art Gallery, !!
David Long, 88, 8
}udy Cligman, , 10
Nancy Sheiry Glaister, !, !, 0
National 1rust 8!
RIBA Library Photographs Collection, 7
1rustees o Sir }ohn Soanes Museum, !!, !6, !, !0, !1, 1, 1!!
V A Picture Library, !1, 6, 10!, 1!7, 1!!
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1he year o Queen Victorias accession to the throne saw the publication
o a range o new and reissued works, some o which demonstrated the
continuum between needs and interests o the early Victorian period and the
years prior to it, and others which highlighted issues which became promi-
nent Victorian concerns.
Peter Frederick Robinsons penultimate book, -
, and Peter Nicholsons nal work, -
- - were both published in 18!7. Reissues
in 18!7 o earlier works by these authors also dominated architectural publi-
cations or that year. Nicholson and Robinson were among the most signi-
cant and prolic writers on architecture and building o the early nineteenth
century and, although they are technically speaking pre-Victorian, their
inuence, partly through the many later editions o their works, lasted well
into the Victorian period, Robinsons pattern books o cottages and villa designs
still inuenced housebuilders in the 180s and even 1860s, whilst Nicholsons
practical manuals on a wide range o subjects, particularly carpentry and join-
ery, dominated building practice through the rst hal o the nineteenth cen-
tury. Other books published in 18!7 included A.W.N. Pugins -
--, one o a number o books by Pugin which set the oundations
or rules on correct Gothic style, and C.}. Richardsons --, which
provided a basis or accurate Elizabethan and }acobean architecture. }ames
Collis - 18!7, was the rst pattern
book to be mainly devoted to terraced housing,
1
looking orward to the
Victorian era o suburban housebuilding or the masses. Charles Hoods
- -, 18!7, in its sixth edition by 188,
highlighted domestic heating, which became a much-debated issue among
proessionals and the public throughout the Victorian period.
In 18!7, a number o elements important or housebuilding in the rest o
the Victorian period were in place. Key sources or those about to build the
pattern book, manual and price book and which were to be important or
building and decoration or the rest o the century, were established by then,
but new types o publications were also developing ast, namely, the archi-
tectural magazine and the trade catalogue, which ultimately replaced many
earlier orms o advice. Also by 18!7 the basis o all techniques o illustration
used in the nineteenth century were present, and organizational and tech-
nological change in the publishing trade was about to transorm the scale and
ace o book production. 1he architectural and building world, too, was in 18!7
in a transitional phase, becoming thereater increasingly specialized and diver-
sied, with new orces such as mechanization and transportation impacting
on established ways o doing things. 1he speculative builder, the availability
o a large workorce o cheap, skilled and unskilled labour, and o cheap
machine-made building requisites, were o vital importance or the building and
ornamental detailing o small- to medium-sized Victorian houses. Such
changes were reected across the range o publications dealt with in this book.
Publications or the year 101 included Barry Parker and Raymond Unwins
important book . Style had come ull circle since
18!7, rom the cottages o Robinson, via E.W. Neseld and others, to the Arts
and Crats ideal o C.A. Voysey, M.H. Baillie Scott and Parker and Unwin.

1he population o England and Wales rose rom approximately nine million
in 1801, to 16 million in 18!1, to !6 million by 111, and the numbers o houses
built rose rom 1.6 million in 1801, to three million in 18!1 to 7.6 million by
111.
!
Peaks o building activity occurred in the late 1860s, mid to late 1870s
and around 100, with small booms in the 18!0s, 18!0s and early 180s.
!
Architecture became more ormalized into a proession in the 18!0s with
the oundation o 1he Institute o British Architects, 18!! (Royal Institute o
British Architects, 18!7) and the Architectural Association, 18!7. 1he
number o architects rose to !8!! in 1861 and to 688 in 1881, ollowed by a
proportionally smaller rise by 101. Quantity surveying and civil engineering
also emerged as distinct spheres o activity, with proportionally similar advances
in members, to 6!1! and 11,0! (includes mining engineers), respectively, by
101.
!
Architects became less involved in housebuilding and materials
manuacture, these unctions separating o with their own specialists. Old
systems o calculating work as it proceeded, and the client making separate
contracts with various trades, were increasingly controlled, either by using
estimates and contracts where large houses were concerned, or, in the case o
speculative building with no specic client, through building legislation, bye-
laws, restrictive covenants and credit terms or speculative building.

1homas
Cubitt was largely responsible or developing the modern speculative build-
ing rm rom 181, where he employed all trades, oremen and nancial sta,
and manuactured his own materials and components at his works, by 18!8,
he employed 1000 men.
6
Cubitt built many houses in London, notably high-
quality housing in Bloomsbury and Belgravia, and smaller houses in Barnsbury.
A very ew years ago Willesden was a quiet, retired, thoroughly rural village, a
avourite haunt o the holiday-maker, summer rambler, botanist, and sketcher
1he builder has invaded the once-tranquil meadows. (1horne 1876).
7
Suburbia was essentially a product o the period 1811!, a response to
demand or houses out o increasingly crowded cities. In 18!, S.H. Brookes
said in the preace o -- :
An Englishmen when he rst travels on the Continent particularly remarks
on the comparatively small number o suburban villas which are seen in the
vicinity o even the largest towns, and which orm such a delightul eature in
the landscape scenery o England. Par eminence, England becomes the coun-
try o suburban villas.
By 1881 W.S. Clarke listed 8 suburbs o London. 1he demand or small sub-
urban houses or workers prompted a new type o builder, the superior arti-
san,
8
to become involved in housebuilding in the so-called artisan suburbs o
the 1870s and beyond. 1he origins o this class o building lie in the estates
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o houses built by the semi-philanthropic Artisans and Labourers General
Dwellings Company, ounded 1867 by William Austin, who was illiterate, and
started his working lie on a arm scaring birds or 1d a day.

1he rst o these


estates was such as the Shatesbury Estate, Battersea, London, 187!, ollowed
by estates at Queens Park (Figure !), Noel Park, and Leigham Court, Lon-
don, and others in Liverpool, Gosport, Leeds, Salord and Birmingham.
Large-scale speculative builders, such as Charles Freake and }ohn Spicer
ollowed Cubitt in Londons development in the 180s and 1860s, and the trend
generally across the country was towards ewer, larger housebuilding rms by
the Edwardian period, but broadly speaking, the size o the average building
rm remained small throughout the Victorian period. In north Kensington
in 18!, or example, !1 rms put up 1!7 houses,
10
and in Camberwell between
1878 and 1880, !16 builders put up 1670 houses.
11
1he number o people involved in the building trades rose rom !0!,000
in 18!1 to !7,000 in 181, to 8!1,!! by 1881 and to 1,1!0,!! by 101.
1!
Paralleling increasing specialization and expansion in other aspects o archi-
tecture and building, individual crats became increasingly hierarchically
organized, with clearly dened boundaries between and levels within trades.
New trades, such as the interior decorator and electrician, added to the ranks
o the crats involved in housebuilding towards the end o the century. 1he
average building wage in 1860 was !!s a week, so building workers were well
o compared to some other working groups, the cost o labour rose more than
the cost o materials over the century.
Building materials supply shited rom the use o local materials and com-
ponents made on site, to cheap osite manuacture and imported goods. 1he
repeal o taxes on materials like glass, bricks and tiles in the 18!0s and 180s


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also reduced costs, and made the bay window, and polychromatic brickwork,
so typical o Victorian houses, economically possible. 1he builders merchant
boomed ater 1870, with its trade catalogues and credit terms, and provided ast
delivery o ready-made building requisites. 1he availability o ready-made
components, and o a large skilled and unskilled workorce or all the necessary
trades, along with written advice or builders and others, and the increasing
middle classes and standard o living by the end o the Victorian period, resulted
in vast numbers o small- to medium-sized detached, semi-detached and
terraced houses, resulting at once in homogeneity yet numerous varied
combinations o details.
1!
In terms o styles used or housebuilding, architects and builders o villas could
broadly ollow styles in ashion or large country houses such as those by C. Barry,
A. Salvin and A. Waterhouse, in vastly scaled-down and altered orm, or so-called
Italianate, Elizabethan, Old English, Scotch Baronial, French Gothic and so on,
were all available in architectural pattern books o the time. Other models
provided by well-known architects were also inuential, such as the small sub-
urban detached house and garden ideal inuenced by }ohn Nash, popularizer
o the picturesque cottage and Italianate villa, at Regents Park (Figure 6).
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Later, the smaller mid-Victorian parsonages o William Buttereld,


George Street and Philip Webb, inspired by Pugins own house, St Maries
Grange, Alderbury, near Salisbury, 18!6, led to houses such as those in
Norham Manor Estate in Oxord o the 1860s.
Suburbs all over the England and Wales reected early Victorian stylistic
variety, houses divided along broadly Gothic or Classic lines, inspired by the
eighteenth-century challenge to the idea o Classical authority, and the aes-
thetic o the Picturesque and Sublime. In north London, houses o the 18!0s
and 18!0s include those shown in Figures 710.


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1he High Victorian eclecticism o the 1860s was characterized by inuences
rom the Continent expanding the range o styles, a new conscious ree use
and mixing o styles (which had roots in the 18!0s), and a growing concern
16
about the direction o architectural style generally. Charles Gray, Charles Ham-
bridge and George 1ruett (Figure 11) exempliy the eclectic approach to house
style in London in the 1860s.
17
Much housing, however, was built in a classical style, top architects did not
tend to get involved in the small- to medium-sized housebuilding scene
18
and
builders may have preerred to use a style they were amiliar with rather than
risk building in a ashionable style such as Gothic, which might be hard to sell.
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1he 1870s and beyond sees the move towards the Queen Anne and Arts
and Crats styles, in reaction to eclecticism and the diminishing size o coun-
try houses. Architects like R.N. Shaw adopted a smaller scale Old English ver-
nacular style, and became involved in the designing o small Queen Anne style
houses as models or suburban housing at Bedord Park, London. Builders
rapidly adopted the Queen Anne style and also the Arts and Crats look that
ollowed in the 180s, as is evident in Muswell Hill, London, where the big
builders o the area ollowed ashion, moving rom Queen Anne or houses
in the 180s to Arts and Crats by 10!
1
(Figures 1! and 1).
A similar stylistic path could be seen in the suburbs o many Victorian towns
and cities. For example, Alderley Edge, Manchester had villas o the 180s built
in the Rural Italian style, and even a Swiss villa, Gothic villas o the 1860s and
Queen Anne houses o the 1870s and 1880s. 1orquay suburbs have many villas
in the Rural Italian style, with some Elizabethan and Georgian examples. 1he
Park, Nottingham, begun by P.F. Robinson in the 18!0s and completed by 1. Hine
in the 180s onwards, shows the move rom Georgian terraces and cottage ornes
to Rural Italian, Gothic and French Renaissance combinations (Figures 1618).
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Cardi, built up rom the 180s, has Robinson-style 1udor cottages, Rural
Italian villas, and Queen Anne houses but the predominant style used is
Gothic Revival, inuenced by Burges, architect at Cardi Castle and nearby Castell
Coch (Figure 1).
1he uses o publications ranged rom ideas and advice or the middle
classes, to essential reading or those involved in building, regarding building
legislation, construction techniques and price guidance. Some builders might
pay an architect or his assistant or a plan or two, but many designed or
themselves, and at the lower end o the market especially, there was oten no
architect involved and so pattern books would have come in useul, to add to
the builders own experience. Advice, designs and so on, where taken rom books,
was not always the most up to date inormation available, as builders would have
continued to use their old books, or example Nicholson. 1his helps explain con-
servatism in design, particularly at the lower end o the housebuilding market,
with Georgian being used into the 1880s.
!0
Books were certainly intended to be
used, either to inspire or to be copied, and oten advertised tried-and-tested built
designs. Builders could add instant architectural eect with a detail, such as an
Italianate campanile, a Gothic doorway, a 1udor, Elizabethan or Dutch gable,
a French-style roo, all o which eatures could be taken rom a pattern book and
adapted to suit the circumstances. As S.H. Brookes remarked in the preace o
his book, -- in 18!:
1he eorts o architects in all ages have hitherto been generally directed to
public buildings, and to the mansions o noblemen, and those who may be con-
sidered as composing the middling orders o society have been or the most part
let to become their own architects. Hence the tardiness with which the improve-
ments made in the accommodation, arrangement, and exterior beauty o the
mansions o the wealthy have ound their way to the dwellings o the middling
classes. It is thereore one o the chie objects o the present work, to point out
by appropriate designs, how the residence o the man o wealth, and the dwellings
o a more humble grade, may in a degree, be equalised as ar as regards essen-
tial comort, convenience and beauty. A series o published designs cannot but


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prove o great benet, not only to the experienced, but also to the amateur archi-
tect In rural architecture, particularly, the only means o accomplishing that
end, is the study o published designs, or no local builder can be supposed to
have had either leisure or opportunity to inspect the dierent improvements
which have gradually or immediately taken place in his own country, or which
may be the result o oreign talent. Without recourse to a book o designs, the
builder must in his own plans be necessarily tame and uniorm, his edices will
but be a copy o each other.
!1
Names and proessions o subscribers in the case o early books, and details
o ownership o individual copies give an insight into readership. I proo o
the importance o publications were needed, in some cases there are very pre-
cise details about the impact o books, as in the case o Robert Kerrs Bear-
wood, designed or }ohn Walter, the owner o -, who switched
architects and employed Kerr, upon reading Kerrs book.
!!
Builders, architects,
tradesmen and the public liked to have, and ound useul, the various sorts o
written material that were published or the dierent audiences, as is clear rom
the number and long-running nature o many publications.

1he role o publications in the production o houses between 18!7 and 101
was not surprising, given that the Victorian period was the age o books.
!!
W.}. Lotie in , 1876, one o Macmillans Art at Home
series o books, spoke o their added ornamental value, next to pictures, I am
inclined to place books a well-lled bookcase is{ one o the best ornaments
o any sitting-room. He even recommended certain periods o bindings to suit
the style o interior decoration, thus,
1here is also a very ne old English style, much sought ater, and harmonis-
ing very well with Queen Anne urniture and decorations.
!!
American writer, }ulia McNair Wright, whose popular book,
, 187, has an entire chapter devoted to 1he Literature o the Home,
said A Home without books is like a garden without owers, like a orest with-
out birds or sunshine, like a house without urniture.
!
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Reading was a growing activity in the early eighteenth century, evidenced


by middle-class magazines, such as - begun in 17!!
by Edward Cave, which was selling 1,000 a month in the 17!0s.
!6
Reading
and writing became an essential ingredient or employment opportunities
among the upper working and lower middle classes by the nineteenth centu-
ry. 1he 1870 Education Act, which made elementary education compulsory
or all, was a urther boost to literacy, producing a new generation o adult read-
ers who coincided with the publishing boom o the 180s, many a child has
a library that would have suced a hundred years ago or a country town,
Lotie said in 1876.
!7
1he rates o publication or all books rose rom approximately 100 new titles
a year in 170, to 600 in 18!, !!00 in 188, and 6000 in 18.
!8
New trends
appeared, with novels overtaking religious subjects as the largest group o new
books between 1870 and 1886, and books on trade and economics trebling in
the same period.
!
Cheap series emerged, or example, Cassells National
Library o !0 volumes at !d each in the late 1880s. Magazines also greatly
expanded in numbers and circulation, even in 18!!, Nathanial Whittock said,
Persons unaquainted with the Bookselling business can orm no idea o the
immense sale o the periodicals, particularly the low priced publications.
!0
By
the end o the nineteenth century, Harmsworths , begun 186, cost-
ing 1/!d, had a circulation o a million.
!1
1he use o certain words as selling
points in titles o books about the house alters over the Victorian period, or
example, villa, household, hints, and economy, are replaced by house,
cottage or home, taste, art, artistic, and decoration.
1he communications revolution was made possible by technological devel-
opments between the mid-eighteenth century and the late Victorian years:
steam power, mechanized typecasting and setting, machine-made paper, which
reduced the cost o paper in a book rom !0/ in 17!0 to 7/ in 110,
!!
and
improved means o distribution. Blackie Son, Glasgow, or example, enlarged
their premises !0 times between 18!1 and 187!, and introduced machines in
the 18!0s, and a lithographic department in 1866. Cheaper means o binding
came with the invention o the cloth binding in 18!!, pioneered by the Clerken-
well bookbinder, Archibald Leighton, and in 18!! gold-blocking motis on cloth
by machine, mainly on the spine o the book, was made possible. Charles Booth
said in 18:
1he great reductions in the price o paper and other materials used in the pro-
duction o books, and the numerous inventions that have acilitated this pro-
duction, have greatly increased the output and brought books within the reach
o all classes just when, by the spread o education, there has begun to be a gen-
eral demand or them. 1he movement towards cheapness has compelled the
binder to seek by all means to reduce the cost o binding also, and in this he has
succeeded, or a book that would have cost !s to cover ten years ago can now be
done or d, but the work is not so good, and the increase o such work is turn-
ing the mechanic more and more into a machine-minder.
!!
By 18 bookbinding was subdivided into !1 distinct trades, or example, book-
edge gilder, and marbler. 1he cost o illustrations, the most expensive aspect o
an architectural book in the eighteenth century, were also much reduced under
the impact o new techniques which will be discussed separately later.
Architectural books in the eighteenth century were published by one o
a number o specialist publishers, such as A. H. Webly or R. Sayer, or by the

author himsel, in which case he had to raise capital, execute his own engrav-
ings, negotiate with a printer and sell books rom home. For example, 1homas
Sheratons o 180! was:
Printed by W. Smith, Bookseller, King Street, Seven Dials, and sold by W. Row,
Bookseller, Great Marlborough Street, Mathews, No.18, Strand, Vernor and
Hood, Poultry, M. }ones, No. 1, Paternoster Row, and by the Author, 8, Broad
Street, Golden Square, London.
A normal print run or architectural books at this time was under !0, William
Chambers - sold !!6 copies.
!!
Subscription was a
means o selling books, though it was generally not liked,
!
a subscription list
gives a avour o a book, with ewer aristocrats and more cratsmen, the lower
the class o book. Selling books in parts or numbers, which began with } Moxon
--, 167880,
!6
was a popular alternative. 1he Number 1rade,
as it was known, though much criticized by publishers o whole books, was in
18!! a popular and growing trend, as by this means thousands o volumes o
an important description have been purchased by a class o readers that would
otherwise never have had an opportunity o reading them at all.
!7
By this point,
publishing was increasingly diversied, with publishing distinct rom bookselling,
and periodical publishers, numbers publishers and publishers o whole books
established as separate groups.
Along with Rudolph Ackermann o 1he Strand, I. }. 1aylor o 1he Archi-
tectural Library in Holborn was the major publisher on architecture in the
early nineteenth century. 1aylors 177! catalogue has 1! building titles, rising
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to !0 titles by the 1818 catalogue. 1hey published the rst builders price book,
books by William Pain, and reected a growing architectural proession,
!8
and
dominated in this area until Priestley and Weale set up business in the 18!0s.
As books or the building trades expanded beyond carpentry and building o
the eighteenth century to encompass a wide range o trades in the Victorian
period, Weale was at the oreront, publishing engineering and building books,
alongside works such as A.W.N. Pugins - -
, 18!1, which sold 1!00 copies.
!
}ohn Weales stock and best-
selling 1echnical Series was taken over by Crosby Lockwood on Weales death
in 186!.
Other established publishers operated in the eld o manuals and pattern
books (see later) or example, Rivington published Bartholomews -,
and later, with Sampson Low, books or Mrs Panton and Mrs Haweis. Long-
mans published books by }.C. Loudon, }oseph Gwilt, Charles Eastlake and later
on, Parker and Unwin, whilst Spon, Kelly and Atchley ocused on technical and
price books, publishing books by Hood, Nicholson and Brookes. Crosby Lock-
wood, Hagger and Day Son, published some expensive pattern books, and
books on architectural detail. 1he early bulk o business or Blackie Son,
publishers o pattern books and - ---, was
in the Numbers 1rade, at a time when bookshops were rare, except in larger
towns, and thus readers were dependent on Numbers, sold by means o travel-
ling, canvassing and delivering.
!0
1he rm went back to its roots in 188 when
Blackies ormed Gresham Publishing Co Ltd or selling by subscription (Fig-
ure !1). Mrs Humphreys six-volumed 10 was sold in this
way by Gresham Publishing Co Ltd.
Batsord, established in 18!!, developed a speciality in the design eld, and
its 186! catalogue had architecture, ornament and ne arts in prime position
on the title page. Publishers o Hellyers --, among
other books, a unique bond was established between Batsord and writer on
ornament, Lewis F. Day, which lasted over !0 years, Day designed the ront-
papers and endpapers o his books with their initials LFD and B1B inter-
linked.
!1
}ohn Cassell,
!!
was the publisher o many books on household related
subjects, or example --- - , 18671, eventually or a mass
market. Ater working as a carpenter, in a cotton mill and in a velveteen actory,
he joined the teetotal movement, and the tea and coee business in the City
o London, and nally began a publishing career with his -, ol-
lowed by many magazines and newspapers set up between 1866 and 1886,
including , 187810!. Other publishers o books aimed
increasingly at a mass market included Ward Lock who published books or
Mrs Beeton. In contrast to the drive towards cheap publications generally, must
be set the stands taken to maintain quality in book production by }ohn Ruskin
!!
and William Morris Kelmscott Press.


1he general drive towards cutting book production costs also applied to the
trend in the use o illustrative techniques in books and journals, so central to
the transmission o taste. In the eighteenth century, engraving on copper was
the common method used in books or illustrating buildings and their details.
Such illustrations tended to be simple outline pictures, which suited the need

or precise inormation about classical detailing. Such a straightorward style
o representation also allowed the book to be used as a bench book, to work
rom directly. As Eileen Harris points out, the inconvenience o working rom
the book when image was necessarily printed separately rom text and so one
had to turn the page to read the instructions which went with a plate, was
solved by authors who put working instructions on the plate itsel.
Engraving was, however, a costly process, reected in the act that the num-
ber o plates in a book was clearly a matter o pride. In act, it was the most
expensive actor in the cost o a book and so many authors undertook their
own engravings to keep the costs down. New processes were developed, always
aimed at reducing costs rather than improving quality, or example, etching
the plate beorehand and then nishing with the burin which became
commonplace, and the increasing use o mechanical devices like the panto-
graph and the ruling machine to the same end. 1he ruling machine, invent-
ed by Wilson Larry in 170, became greatly used in the nineteenth century
especially or backgrounds, skies, borders, etc.
!!
Costs were also reduced by
the employment o apprentices and young boys to undertake these more
mundane tasks. Engraving, later on steel-coated copper, declined in use, but
remained the most prestigious orm o printed illustration into the Victorian
period, the apprenticeship ee averaging L10!0, compared to L0100 or
an aquatint artist or wood engraver in 18!!.
!
Beore ruling machines and so on were introduced, tone in engraving had
to be created with cross-hatching and stippling. A ull range o tone was brought
in with the invention o aquatint in the 1760s and was rst used in the villa
and cottage books o the 1780s and 170s. It suited the new ashion or the
picturesque, adding mood and allowing readers to imagine what their house
might look like in a setting. 1he skill and labour involved in the process gave
it a prestigious status. Hand colouring could be added at an extra charge, done
by teams o women and children. Between 178 and 181, over hal all new
architectural books included aquatinted plates, particularly in the period rom
1800 to 1811 (Figure !!).
!6
--

-- -
1wo other techniques came on the scene at roughly the same time which
were to eclipse the use o both engraving and aquatint in architectural books,
that is, lithography and wood engraving. 1hese media became very impor-
tant or illustration in the nineteenth century, and lithography was the basis
or uture developments in the twentieth century.
1he importance o wood engraving, rst introduced by Bewick in the late
eighteenth century, was that type and image were done on the same plate and
could thereore appear together on the same page which was much more cost
eective than previous techniques. 1he hard, outline, precise lines suited the
need to accurately reproduce architectural detail in the Victorian age o eclec-
ticism. From about 1860, a method o manuacturing wood blocks was devel-
oped which involved bolting parts o the block together so dierent artists could
do various parts o the illustration at the same time, useul where time was o
the essence, as in the production o a weekly journal, such as .
!7
Firms also began to specialize in dierent types o illustration, or example,
in architecture, oliage, machinery, or products or trade catalogues. Com-
mercial considerations o making the process aster and cheaper to meet the
huge increase in demand or books and journals led to the use rom the 18!0s
o stereotyping, and electrotyping, which were ways o reproducing the orig-
inal blocks as casts or the purpose o printing the same image on dierent
machines at the same time (Figure !!).
1he process o engraving is entirely mechanical, that o lithography
entirely chemical (C.}. Hullmandel) (Figure !!).
!8
Lithography was available
concurrently with wood engraving, though it was eclipsed by wood engraving
until later on in the Victorian period. German amateur artist and music publisher,
Alois Seneelder, is usually credited with the invention o lithography in 176.
1he process was established in Britain by Charles }oseph Hullmandel, and
popularized by Rudolph Ackermann who used lithography in his magazine,
- -. Lithographys ultimate success or architectural illustration



- - -
- - - - -
- - --
-- -
- -
- - --
- -

-
lay in its speed, cheap cost and versatility. As Whittock explained in 18!! engrav-
ing on stone is cheap, and, when well perormed, produces impressions o
great beauty in imitation o chalk, mezzotinto, pen and ink, and even o etching
woodcuts, and aqua-tinta. 1he style, however, which has a decided superi-
ority, is that o chalk, as no copperplate engravings can give so perect an imita-
tion o original pencil, or crayon drawings. Its ability in rendering atmospheric
picturesque eects led it to appear in nearly hal all new architectural books
between 18! and 18!1,
!
notably, those o P.F. Robinson and 1.F. Hunt, drawn
on landscape artist, }.D. Harding, and printed by Hullmandel.
Lithography generally languered behind wood engraving early on though,
and had its critics throughout who regarded it as an inerior medium, and not
necessarily any cheaper or easier, as 1. Hansard put it:
the whole process o drawing on the stone appears, rom Mr Hullmandels
treatise, beset with diculties and dangers o the most teasing and curious
description, and is continually liable to ailure rom, apparently, the most triing
and even ludicrous causes Even a London winter atmosphere is unavour-
able to lithography, as the smoke may x in greasy particles upon the prepara-
tion o the stone, and cause a grey tint to be printed all over the impression.
0
However, its potential was clear, and }ohn Ruskin eared or the uture o
the aquatint artist. In the later decades o the nineteenth century, the tremen-
dous growth in lithographic commercial work called or speedier techniques.
Lithographic power-driven machines came in rom the 180s. Pantographs
and other orms o reducing and enlarging machines were devised. 1he
lithographic chalk and pen gave way to such inventions as the rub-down
shading medium, and the mechanical stippling pen and the aerograph or air-
brush.1he lithographic trade by then employed large numbers o skilled litho
artists, transer printers, colour-separation draughtsmen and stone preparers.
1he process o chromolithography, designed to replace earlier means o
colouring books by hand, which was time consuming, costly and ultimately
untenable, was rst patented by Engelman in 18!. Spurred on by the growing
contemporary interest in medieval coloured books, Seneelder, Hullmandel
and Baxter also experimented with the technique, as did M. and N. Hanhart,
(established in 18!0), who produced Pugins in 18!,
Henry Shaw, who wrote the rst o the nineteenth-century books on orna-
ment entitled , 18!!, and Owen }ones, author
o , 186 (still being reprinted in 110) which
had over 100 chromolithographs. Hand colouring continued, using tints like
Fieldings and later Windsor and Newtons, sometimes used in combination
with printed colour. Full-colour chromolithography was not oten used in
architecture and building books, which tended to use tinted two- or three-
colour tones instead. 1rade catalogues and journals also used one-colour
lithography, oten red or green ink, in the late nineteenth century. Chromo-
lithography was a highly developed crat by the 1860s, using power-driven
machines. Mechanical means or producing lines, dots and other patterns,
which could be used by lithographic draughtsmen to get tonal eects quickly,
were developed in the 1880s by Benjamin Day in the USA. Varnishing by
machine also contributed hugely to the look o the late nineteenth-century
chromolithograph. Such techniques led to ubiquitous printed matter o all
kinds, or example, the trade catalogue (Figure !), which so epitomized the
look o the late nineteenth century, although arbiters o taste oten disapproved,
--
speaking o modern books, Lotie concluded, the best have woodcuts, the worst
have chromolithographs.
1
By 1860, most o the traditional techniques had been developed to their max-
imum eciency.
!
In the climate o invention and the more complex needs
o trade and society generally, new inventions constantly aected established
ways o doing things. In particular the impact o the relationship between photo-
graphy and printing on publishing was huge. From 188, wood engravers could
engrave rom a photographic image, applied by exposing the negative to a light-
sensitive coating on the block, which became common practice or magazines
and trade catalogues or the rest o the century. Working rom photographs
in this way gave illustrations o buildings a sense o real perspective, which,


- -- - --
combined with the paring down o the use o landscape background as the
picturesque ell rom ashion, gave Victorian illustrations o buildings an
altogether dierent avour. Photolithography took over rom wood engrav-
ing in building journals, such as
!
around 1880. Further experi-
ments with photography led to the development o the haltone screen,
invented by Frederick Ives in the early 1880s. It was responsible or the mass-
produced photograph, which, along with step-and-repeat machines, changed
the ace and quantities available o books, catalogues and journals at the end
o the century. With such change came urther division o labour artist print-
makers, and printing technicians with the aim o cheapening and accelerat-
ing the mass production o commercial picture printing. Charles Booths
, 18, lists !1 trades under printers, including layer-
on, taker-o, chromolithographer, lithographic artist, stippler, stone grainer, and
photolithographer.
By 101 the whole range o modern graphic reproduction processes had been
developed and were available or use in architectural and building publica-
tions. 1he signicance o these developments or ways o illustrating houses
were enormous, as will become apparent later in the book.
1he ollowing chapters explore publication types in more detail, beginning
with eighteenth-century pattern books, treatises, books on the orders, meas-
uring and price books as models rom which later publications developed. 1he
mid-nineteenth-century architectural pattern book can be divided into two
main types: those by an individual author o all or mainly his own designs,
and a smaller group o compilations by leading architectural publishers. By
the middle o the century also there was a widening o its scope, to include
instructions and advice and, as such, some o these books aimed at a more
popular market. Practical books at a range o prices on specic aspects o build-
ing, and manuals aimed at householders targetted the growing demand or
small- and medium-sized houses and interest in using decoration on the insides
and outsides o these houses. Pattern books o house designs continued
throughout the period in one orm or another, but seemed to decline in num-
bers as dedicated architectural and building magazines and trade catalogues
competed to become the main sources o inormation and ideas or the house-
building industry.
--

1 }ohn Archer, - -
, 1he MI1 Press, Cambridge, Mass. and London, 18, !7!.
! Stean Muthesius, - -, Yale University Press,
New Haven and London, 18!, 17.
! Stean Muthesius, - -, Yale University Press,
New Haven and London, 18!, !0.
! 1. R. Gourvish, and Alan ODay, ,
Macmillan, Basingstoke, 10, !0.
Stean Muthesius, - -, Yale University Press,
New Haven and London, 18!, !7.
6 Christopher G. Powell, - -
- , Methuen, London and New York, 18!, !!.
7 }ames 1horne, - , 1876, reprinted
Adams and Bart, Bath, 170, 67.
8 }ohn Summerson, -, 1hames and Hudson,
London, 10, !!!.
-- , 1he Artisans and General Properties
Company Ltd, 167, 6.
10 C.G. Powell, - - -
, Methuen, London and New York, 18!, !1.
11 H.}. Dyos, , Leicester University Press, 177, 1!!.
1! C.G. Powell, - -
- , Methuen, London and New York, 18!, 68.
1! E. Dobson, - -
-, Virtue, London, !th edition 1868, !!1.
1! See Stean Muthesius, - -, Yale University Press,
New Haven and London, 18!.
1 }ones, Edward and Christopher Woodward,
, Van Nostrand Reinhold Company, New York, 18!, 67.
16 }. Mordaunt Crook, , }ohn Murray, 187, chapter !.
17 }ohn Summerson, -, 1hames and Hudson,
London, 10, !!!.
18 }ohn Summerson, -, 1hames and Hudson,
London, 10, !1.

1 Helen C. Long, -, Manchester University Press,
Manchester, 1!, 81!.
!0 }ohn Summerson, -, 1hames and Hudson,
London, 10, !1.
!1 S.H. Brookes, -- , Kelly,
London, 18!, iii.
!! }. Franklin, - - - ,
Routledge and Kegan Paul, 181, 1!!.
!! Asa Briggs, -, Penguin Books, London, 10, !17.
!! W.}. Lotie, , Macmillan, London, 1876, 80.
! }. McNair Wright, , }.C. McCurdy, Philadelphia,
187, !16.
!6 P. Langord, ,
Oxord University Press, Oxord,1!, 1.
!7 W.}. Lotie, , Macmillan, London, 1876, 7.
!8 R. Ensor, , Oxord University Press, Oxord, 1!, !!8.
! R. Ensor, , Oxord University Press, Oxord, 1!, 1.
!0 N. Whittock, -, 18!!, !1.
!1 Asa Briggs, -, Penguin Books, London, 10, !06.
!! , Chicago, 170, !67.
!! C. Booth, , Macmillan, Lon-
don 10! edition, second series, !, !!!.
!! }ohn Archer, - -
, 1he MI1 Press, Cambridge, Mass. and London, 18, 8.
! Eileen Harris, - - - ,
Cambridge University Press, 10, .
!6 Eileen Harris, - - - ,
Cambridge University Press, 10, 6.
!7 N. Whittock, -, 18!!, !0.
!8 Eileen Harris, - - - ,
Cambridge University Press, 10, .
! P. Atterbury and C. Wainwright, eds, --, Yale
University Press and VA, 1!, 17.
!0 Blackie, Agnes A.C., , Blackie Son
Limited, London and Glasgow, .
!1 See Hector Bolitho, - , 1!!.
!! See Simon Nowell Smith, - -- , 18.
!! A.F. Mumby and I. Norrie, - -, }onathan Cape,
London, 17! edition, !7!.
!! Gavin Bridson and Georey Wakeman,
, 1he Plough Press, Oxord and 1he Bookpress Ltd,
Williamsburg, Virginia, 18!, 87.
! N. Whittock, -, 18!!, !1.
!6 }ohn Archer, - -
, 1he MI1 Press, Cambridge, Mass. and London, 18, !1.
!7 Ruth Richardson and Robert 1horne, --
, 1he Builder Group and Hutton and Rostron, in
association with Institute o Historical Research, University o
London, 1!, !0.
!8 1.C.Hansard, -
-- , Baldwin, Craddock and }oy, 18!, 88.
! }ohn Archer, - -
, 1he MI1 Press, Cambridge, Mass. and London, 18, !!.
0 1.C. Hansard, -
-- , Baldwin, Craddock and }oy, 18!, 88.
1 W.}. Lotie, , Macmillan, London, 1876, 7!.
! Gavin Bridson and Georey Wakeman,
, 1he Plough Press, Oxord and 1he Bookpress Ltd, Williamsburg,
Virginia, 18!, 16.
! Ruth Richardson and Robert 1horne, --
, 1he Builder Group and Hutton and Rostron, in association
with Institute o Historical Research, University o London, 1!, !!.
1his Page Intentionally Let Blank
-
-
--

Eighteenth-century building activity inspired a urry o books, including new
types introduced to cater or specic needs. Books available on building and
decoration included architectural treatises, notably Isaac Wares
, 1767 and William Chambers - ,
17, much reprinted, with additions by other authors, or example }oseph
Gwilt, through to 186!. 1here were two types o pattern book,
1
rstly those by
well-known architects o their executed designs, such as }ames Gibbs
, 17!8 (see Figure !6).
1he second, much larger group o pattern books, written by building crats-
men or architects, contained untried, ideal patterns, sometimes copied rom other
books. Such books were intended to be used, or example, in rural areas instead
o using an architect, and their designs were indeed widely copied. 1wo popular

- -
- -- -
-
and inuential writers in this eld were Batty Langley and William Halpenny,
who each wrote about !0 books related to architecture and building. William Hal-
pennys books, including -, 17!, which gave sugges-
tions or cheap houses, - ,
17!, and -- --, 170, spread Palladian and roco-
co motis all over the country. His rst book, , 17!!, which
was reissued over the next !0 years, was an early book on the orders, to be o
practical use in providing workmen with a system or calculating proportions, as
this is a great Labour and Hindrance to those who are well acquainted with
Arithmetick, and to those who are not ready and expert at it (Figure !7). 1he
rst major treatise on the orders ollowed, namely, }ames Gibbs -
- 17!!.
!
Pattern books were oten portable books or the practical use o the builder,
or example Batty Langleys - 17!1, and its many subsequent
editions to 1808. Langleys practical approach is clear in
- - - -- 17!0, published through to 1770, thus:
1he study o architecture is really delightul in all its process, its practice is evi-
dently o the greatest importance to articers in general, and its rules so easy,
as to be acquired at leisure 1imes, when the Business o Days is over, by way
o diversion.
Its !00 engraved designs or gates, doors, windows, chimney pieces, pavements,
bookcases, ceilings, and ironwork provided a wide choice or builders and aided
customers in conveying their preerences to the workman (Figure !8). Such
designs ollowed ashion but showed cratsmen how to adapt classical orders
and ornamental parts to any building or piece o urniture. Langleys patterns
were widely copied in London and elsewhere,
!
and undermined regional variety
in architecture.
--

- -
-

- - -- - - -
Aside rom designs or carpenters in pattern books such as those mentioned,
the rst manual to cover geometry and construction thoroughly was Francis
Prices, - - , 17!!, sixth edition 1768.
!
His book led to urther carpentry manuals rom the 170s by Abraham Swan
and William Pain, whose popular works were also reproduced in the USA.
Pains - , 178 revised by S.H. Brooks in 18601,
and published by Weale, was typical o the way Georgian manuals were re-
used in the Victorian period. Pains - -
---, 1786, was more o a pattern book than a manual, consisting o plans,
elevations and sections, designs or doors, chimneypieces and ceilings with
their proper embellishments in the most modern taste, his books made
accessible and popularized the Adam style. Above all, the book aimed to be
o practical use, stating in the preace the aim to demonstrate:
in the most easy and practical method, all the principal rules o architecture,
rom the grand plan to the ornamental nish this work will be universally
useul to all carpenters bricklayers, masons, joiners, plasterers and others their
proper ornaments or practice drawn up to hal size to which are added scales
or enlarging or lessening at pleasure.
A practical pattern book o house designs, well used in the USA and in
Britain, was }ohn Crundens
-- -- - - -
- - -
-- , 1767, with
seven urther editions to 181 and still in use in the nineteenth century. Crun-
den, a landscape gardener, architect, surveyor, and manuacturer o articial
stone, aimed his book at the middle classes, among the !!! subscribers there
were ! subscribers connected with the arts o building and decoration, only
eight peers, and no architects.

It contained measurements and explanatory


notes, along with designs which ranged rom plain designs where elegance
is not required, to grander Palladian schemes (Figure !).
A new type o book o house designs or the middle classes emerged in the
later eighteenth century. Containing minimal text and designs set in aqua-
tinted landscaped backgrounds, allowing readers to imagine what a house
could look like, the so-called villa and cottage books were essentially aspira-
tional books and popularized leading ideas o the day such as those o Sir
Humphrey Repton. 1he rst villa book, and also the rst architectural book
to use aquatint as a means o illustration, was -
--
6
published in 178
by architect and surveyor, }ohn Plaw, who went on to write two urther books.
It comprised 6! aquatinted plates o views and plans and a brie list o the plates.
1he designs included cottages and various sizes o villa, mainly in the classi-
cal style, each in a picturesque landscaped setting (Figure !0).
Many o the designs in Plaws book were built and clients named, and the
book was clearly a means o advertising his work to readers. 1here were !1
subscribers to the 170 edition, which cost L! !s, included ten peers, our
baronets, seven MPs, six clergymen, ten military ocers, !! surveyors, 16 archi-
tects, 1 bricklayers, eight builders, eight carpenters, seven painters, three mem-
bers o the Royal Academy, two engravers, two masons, a landscape draughtsman,
a plasterer, a bookseller, an alderman, a surgeon, and two comedians.
7

was very popular, reaching its sixth edition by 180!.


- - --

- -
- - --
- - --
-- --
- - --
- -
1his book was ollowed by many books along similar lines over the next
ew decades, including those by }ames Malton, Charles Middleton, Edward
Gyord, 1.D.W. Dearn, Richard Elsam, and W.F. Pocock. }ames Malton, a pio-
neer o picturesque rural cottage orne, was central to a keen debate about the
cottage in the early nineteenth century. His ideas were expounded in books
such as -- -
-
, 178, where he urged readers to take the cottage under protection,
which, unless speedily done, will be ound to exist nowhere but on the can-
vas o the painter, Richard Elsam responded in --
- - - --
- , 180!. A number o villa books were written by
young architects, or example, W.F. Pococks -- -
- - - - , 1807,
}oseph Michael Gandys orward-looking and --
- - -, both 180, and David Laing,
- - 1800 (Figure !1).
--

- - - - -
-
-- - -
- --
- -

- - --
-
- -
-- - -
An important villa book rom the early nineteenth century was }.B.
Papworths --, -- - -- -
- - -- - , published
in 1818, second edition 18!!, it was compiled, ater having received such
applications or the series o designs in a separated orm rom his designs rst
published in Ackermanns - - in 181617. Papworth was a
ounder member o Government Schools o Design, the Institute o British
Architects, and RIBA vice-president, also landscape gardener, and prolic
designer o housing schemes, conservatories, glassware and urniture.
-- illustrated with hand-coloured aquatint plates, consisted
o labourers cottages, cottage ornes and villas, and ornamental buildings, and
ranged rom a villa or an artist, or man o literary study, in a Rural Italianate
style, to designs or an ice house, a Gothic conservatory, garden seats and a
verandah or a London dwelling (Figure !!). Each design was accompanied
by several pages o text on style, purpose and practical building details.
Papworth comments on the lack o the architects presence in contemporary
building practice thus:
the villas that surround London, the country residences o the most wealthy
o its inhabitants not being designed by the architect, are little more than cases
o brick, in which a certain number o apartments are injudiciously arranged,
presenting to the eye a continuity o ill-bestowed expense and tasteless absurd-
ities in London also the speculative builder has generally superseded the
labours o the artist, or the architect is rarely called upon the modern streets
o London present repetitions o the same vapid elevations o mere perorated
walls.
1he purpose o the book was instead, to attempt to instill into the public mind
a real love or architecture, by developing its principles and practice.
- - --

- - --

1his period o time, as has been suggested, saw stylistic variety in house design,
in reaction to the long period o domination o the Classical style. Architectur-
al pattern books were a major vehicle or transmitting ideas about style to the
public and architectural proessions. 1he pattern book continued throughout
the early Victorian period, and the variety o orms it took widened with new
printing and illustration techniques and expanding markets or books. In this
period we see pattern books o a single architects designs, compilations o var-
ious named designers work, pattern books o untried designs, or a combination
o untried and built, the combination pattern book/manual/encyclopaedia, and
books on correct historical architectural detailing.
Villa and cottage books thrived in the 18!0s and 18!0s, or example,
- - -
, etc. 18!8, reprinted 18, the last o three books by Robert Lugar. Lugar
was widely known as a designer o cottage ornes and Nash-style castellated
Gothic mansions. It ollowed the standard ormat with a short introduction,
!! hand-coloured aquatints and etchings o built designs in Birmingham,
Liverpool and elsewhere, in a wide range o styles and sizes including Gothic
houses, an Indian villa and a 1urkish summer house (Figure !!). Like other
pattern book writers, Lugar was designing or new wealthy industrialists, this
book is dedicated to William Crawshay, owner o the Cyartha ironworks o
Merthyr 1ydl, which by the 18!0s was the worlds largest iron-producing
company. 1he book illustrates Cyartha Castle, built in 18!! high in the hills
overlooking the works, Lugars castellated style, with its chunky, coarse detail-
ing and loose planning, according to Henry-Russell Hitchcock looks orward
to the Victorian period. It cost L!0,000 to build which drew criticisms rom
Crawshays ather: Is it wise to build on so large a scale No man can say
what it will cost to nish, urnish and maintain. But Crawshay boasted that
Cyartha Castle eclipsed all other residences in Merthyr a thousand times,
with a lake larger than 0 sh-pools, vast hot houses, and an ingenious ice-
house or keeping game and meat in perect condition.
8
--

- -
- -
As mentioned in the Introduction, one o the most important pattern book
authors was Peter Frederick Robinson, a ounder member o Institute o British
Architects and one o its rst vice-presidents. A prolic designer o cottages
and villas, his main contribution to the debate about style in the early nine-
teenth century was through his pattern books. He introduced the Swiss chalet,
and in particular, his Old English/1udor designs were copied or adapted by
builders and architects over the ollowing decades. Indeed the inuence o the
1udor style ran through to the Vernacular revival and Arts and Crats styles
o the late nineteenth century, and beyond to twentieth century interwar hous-
ing. 1he rst o Robinsons six books, - --
-, 18!! (Figure !!), published in 1! parts, was, accord-
ing to }ohn Archer, the rst collection o designs in the Old English style,
which, Robinson stated in the preace:
has been o late years altogether neglected. 1he high pointed Gable, and
enriched chimney stack, the ornamental barge board, and mullioned window,
the ivy-mantled porch, and lean-to roo, have given place to the spruce square
built house and tiled roo, assuming the ashion o our modern tradesmens
- - --

- -- --
-
villas, with sashed windows and central door, ormality even extending to the
outbuildings. 1he great change which eatures o this class have produced with-
in the last twenty years is the subject o much regret With a view to restore
a style peculiar perhaps to this country, these designs are now presented to the
Public, many o them have been erected and the attempt has been to unite econ-
omy with elegance.
Sales o the book proved very extensive, and it ran to a th edition in 180,
with the 18!6 edition stating that as many o the plates were newly worn out,
they have been redrawn at considerable expense. Robinsons books were, as
mentioned earlier, remarkable also or their lithographs printed by Hullmandel,
the mediums constant improvement alluded to in the 18!6 edition, thus, the
art o lithography has considerably improved since the publication o the orig-
inal work. Each design in the book was represented by several illustrations,
pen and ink-style lithographs o ront and side elevations, plans, and scenic
view in chalk-style lithography, oten drawn by Harding (Figure !).
--

- - -
Robinsons -- - 18!7, ourth edition 18!, con-
tained the largest range o styles to be so ar published by 18!7, with 16 designs
in the Swiss, Greek, Castellated, Elizabethan, Palladian, Norman, 1uscan styles,
exotic styles were omitted as not being appropriate or the British climate
(Figures !6!8). 1he Swiss chalet was introduced to Robinson on travels on
the Continent in 1816, and much imitated by most subsequent pattern book
- - --

- -- --
-


--



- -- -
writers o the 18!0s. Vivian was an important client (Figure !), Robinsons
other books also show designs or him, a baili s cottage and a seaside villa
Oystermouth, and even a whole book devoted to the design o Vivians Sin-
gleton Hall, entitled - 18!7. Other titles
by Robinson included -- - 18!0, with designs in the
Old English, Italian, Swiss and Rustic styles to show the humbler shed may
be erected with some regard to eect. -
-- - -- -- -
18!0, ourth edition 18!7, with its picturesque view
o a street o houses o contrasting styles, inspired }oseph Paxton and }ohn
Robertsons houses at Edensor in Derbyshire, a perect compendium o all
the prettiest styles o cottage architecture rom the sturdy Norman to the
sprightly Italian, according to - in 18!!.
Designing along similar lines to Robinson was 1homas Frederick Hunt who
wrote the rst detailed study o 1udor architecture, entitled -
- 18!0, reprinted 18!1. In contrast
to Robinsons highly picturesque eects, Hunt depicted his Old English hous-
es and their settings very dierently in his books, -
- - - -- -
- - -- 18!, and other editions to 18!1,
and in its sequel, -- -- -- - --
- - - - - , 18!7.
Hunt declared in the preace o -- -- that there would be:
no actitious eect obtained by the broken, unequal, or painters line, the indi-
vidual orms are represented with the sharpness o recent nishing, and the small
portions o vegetation which appear on some o the roos are only such as a ew
months would produce.
He added, a small portion o ornamental work, tasteully disposed is capa-
ble o producing very considerable eect (Figure !0).
A key source or the Rural Italian vernacular style, so popular with house-
builders all over Britain, was Charles Parkers -, published in 16
monthly parts, rom 18!! to 18!1, second edition 18!8, it ollowed Hunts
- o 18!7, and occasional designs in the style included
- - --

- - - -
-- -- - -
- - - ---
-- -
- -
in even earlier books such as Papworths --. Parkers book, based
on sketches o buildings done in Italy, had ! lithographed plates o actual
buildings, their plans and details, rom around Rome and Florence (Figure
!1). His books useulness to housebuilders lay in showing how the Italian
style could be adapted or use in Britain:
1hroughout the whole country, and especially near Rome and Florence, there
exist a great number o habitations 1he peculiar object thereore o the work
will be to delineate the exterior o these buildings, with their surrounding scenery,
modiying the interior to the wants and manners o this country. Although on
the Continent collections have been made and published they are general-
ly conned to palaces, and pass by or omit the humbler class o dwelling.
O the three types o villas in ancient Roman times Urbana, Rustica, and
Fructuaria Parker chose Villa Rustica as his model.

Features such as the tower, its peculiar orm is so identied with Italian
scenery, that without it we scarcely recognise the landscape as complete, and
the low, projecting roo, proved very popular as they were easily copied by villa
builders and lent instant style to even a small house. At the top end o the scale,
1homas Cubitt owned a copy o Parkers book and it perhaps inuenced the
design o Osborne House (Figure !!).
--

- - - } - -
- - - - -
On the question o architectural style that was such a central debate o the
time, at this point many pattern book writers appear to have been happy to
be able to provide clients with a wide range o ready-made options to choose
rom, as originality was not thought necessary and yet it was elt that a general
set o rules could not be applied in all situations.
10
1here was however an increasing interest in historical accuracy in style. One
o the principle gures in this respect and a keen supporter o the Elizabethan
style was Henry Shaw, who published - ,
18!!, sold in parts, s each, with many plates drawn and engraved by him-
sel. It was a book mainly about details o external and internal ornament rom
houses such as Blickling Hall, Norolk, with some interiors o rooms, a sub-
ject rarely entered into (Figures !! and !!). 1he intention was:
by a selection o some o the more interesting specimens o architectural detail,
the true source is pointed out rom which inormation may be derived a col-
lection o genuine examples must prove a useul guide in making a restoration
o an ancient edice, where it is absolutely necessary to ollow out the minut-
est details with care and accuracy.
1he book was important in establishing and popularizing the Elizabethan style
as an alternative to the Neoclassical style, Elizabethan architecture has estab-
lished well-ounded claims to public notice, and it is no longer necessary to
apologize or a zealous attachment to the pursuit o its characteristic eatures
the style, with all its exuberance and variety o detail, has been adopted
with success in the designs o several considerable mansions recently erect-
ed, such as Harlaxton, Lincolnshire, which displayed correct adherence to
propriety o design.
11
Gothic was given its theoretical underpinning most ervently by A.W.N.
Pugin. His ather, A.C. Pugin, was responsible or establishing historical accu-
racy in the Gothic style, and his book, - -
- - , 18!1,
was very inuential among domestic architects o the day. Augustus Welby
Northmore Pugin pressed or adherence to the Early English and Decorated
Gothic as a national style, arguing in - -
- - --

- - -
- - --
-
--


- -


, 18!1, that Swiss cottages were only suitable in Switzerland and
Renaissance architecture in Italy. It was in his principles, such as truth and
honesty o construction, that his inuence ultimately lay. He eected this
inuence in part through his commitment to cheap, mass-produced publica-
tions aimed at a mass audience, specically students and middle-class enthu-
siasts, by the use o cloth bindings and embossed designs. In his books such
as -
, 18!, - --, 18!7 (Figure !), and --
18!6 his use o cloth bindings, with the title page stuck on the ront in lieu
o expensive gold blocking, meant he could sell such books at 1!s each, com-
pared to Henry Shaws - which cost two guineas.
1!
A new interest in suburban housing appeared in books at this time. Very
much a working book o designs, -- - -
- , came out in 18!1, writ-
ten by Edward William 1rendall, a London architect. With its plain litho-
graphed outline illustrations o houses in the classical style, it was a pattern
book aimed at instructing builders rather than impressing clients, and, most
importantly, was the rst book dedicated to smaller house designs or the grow-
ing suburban environs o large cities and towns. Books by Plaw and Laing,
already mentioned, had hitherto included occasional designs, but the subject
had not been ocused on until now. }.C. Loudons manual/pattern book,
, 18!8, second edition 180, which gave
examples o gardens or the our rates o house, the ourth type being the
- - --

- - -- -
- -
typical garden o a small suburban house, rst used the term suburban in
the title o a book.
1!
Costing !0s, 1he called it 1he most
complete work on villa gardening that has ever appeared in our language
(Figure !6).
1!
}ohn Claudius Loudon stands out as a prolic writer o magazines and books
on architecture and gardens. His most well-known book,
, 18!!, costing L! !s, was a landmark in
nineteenth-century architectural and building publications, containing over
!000 wood engravings, and spread over more than 1000 pages, the book incor-
porated patterns or house types rom villas to arms and cottages, in the by now
standard range o ashionable styles to suit all tastes, including Grecian, 1udor,
Swiss and Italian (Figures !7!). 1he was more than just a pat-
tern book o architectural exterior styles and plans. It was a complete guide to
house and garden style, with practical advice on the decoration, tting up, and
urnishing o the interior as well as the exterior treatment. It incorporated con-
tributions rom 0 specialists, E.B. Lamb, Charles Parker, P.F Robinson, 1.F.
Hunt and 1.}. Ricauti and sold at such an unprecedentedly low price, as must
insure, to the names and talents o our contributors, an extensive circulation.
Loudon popularized the contents o books, aimed at men o wealth, rather
than builders or amateurs, or example, , by reproducing their work in his books.
1he actual production o the book was a huge eort, with never more than
our hours sleep and drinking strong coee to keep ourselves awake.
1
It made
use o the potential o wood engraving, reproducing text and pictures together
which gave a completely dierent ormat and appearance rom other books
--

- - - - - -
-
on the market at the same time. It helped him to meet his aim o producing
his book as cheaply as possible, as part o his wider aims to bring good design
to a mass audience and argue or art and design as a standard part o the
education curriculum. Loudons was extremely popular as a pat-
tern book or builders and the public alike, running to 1! editions or impres-
sions over the next !0 years, and is arguably one o the most inuential
publications on design in the nineteenth century, - declaring No sin-
gle work has ever eected so much good.
16
It was very successul in North Amer-
ica also, where it inuenced A.}. Downing in his books, such as
-- 180. Much o its mass appeal was due to its practical, instruc-
tive approach, emphasizing tness, convenience and comort and domestic ideals
o the time. 1his approach was vital in the ormation o attitudes to design in
the Victorian period, and in his ideas on the beauty o truth, he was ollowing
a similar path to Pugin,while at the same time accepting eclecticism in design.
Alongside those authors, such as Pugin, Shaw and Parker, who champi-
oned particular styles, the pattern book o designs where all styles were por-
trayed without bias to meet the builders needs, or clients personal
preerences, continued to be produced. Francis Goodwins -
-- -- - -, 18!!!,
L! 1!s, is a typical example. Goodwin had a large architectural practice in the
Midlands and was ready to build in any style, though was known better or
Gothic designs (Figures 01).
- - --

- -
-
-


-- -
- -
- -- - -
-- -
- -- -
- - -
- - -
- -- - - -
- -
- - -
--

- - - - -

- -
- } -
- -
- -
Reissued as in 18!, and with a supplement, as
, also 18!, this work was popular and was still being reprinted in
180. It drew some criticisms, however, in Loudons ,
in 18!!, thus,
In some published designs or villas, Parkers, or example, the ascination o
the landscape prevents a critical examination o the building, and the general
character and keeping are such as would render any structure pleasing. 1here
is no danger o this kind, however, to be apprehended rom the landscapes in
Mr. Goodwins book, these, in almost every case, detract rom the eect o the
building, rather than add to it. What are more especially oensive in our eyes
are the trees, many o which are like nothing in the vegetable kingdom, in
Plate !, there is a tree, the orm o which sets at deance even the uncouth
shapes o the trees o Australia.
17
As already noted, the rst book devoted mainly to terraced houses, -
, came out in 18!7. Its author was }. Collis, District
Surveyor or Lee, Charlton and Kidbrooke or !6 years. 1he subject o the
terraced house had cropped up only as isolated examples in books prior to this,
and had generally been relegated to price books and some builders manuals.
It was similar to 1rendalls book in its practical outline drawings, and
contained 1 Neoclassical designs or acades o houses and other buildings
(Figures ! and !).
- - --

- - - - } - - - - - - - }
- -- - -

- -
- -
1he growth o the suburban villa, already highlighted by writers such as
Loudon, was also acknowledged in S.H. Brookes --
, 18!:
An Englishmen when he rst travels on the Continent particularly remarks
on the comparatively small number o suburban villas which are seen in the
vicinity o even the largest towns, and which orm such a delightul eature in
the landscape scenery o England. Par eminence, England becomes the coun-
try o suburban villas.
Brookes book was a pattern book or builders and clients, ull o details on con-
struction to help builders, as well as the usual array o styles Swiss, Gothic,
Elizabethan, classical or villas and cottages, apparently largely unexecuted.
But Brookes is an author who signals a change in eel towards later years.
18
1he
--

- - - -
-

-- - -
style o depiction is dierent rom Goodwin or Robinson, gone is the coloured
aquatint or chalk-style picturesque lithograph, to be replaced by simple, out-
line steel engraving and hard, machine ruled lines, strong perspective and min-
imal scenery and the orms are Victorian in eel (Figures ! and ). Brookes
also always wrote or technical publishers such as Kelly and Atchley and his
books have a down-to-earth avour about them. As an author whose books
were published until the end o the Victorian period, his books reected the
changing priorities towards catering or the small builder, and new modes o
depicting buildings.
Nineteenth-century stylistic variety reached new heights in the 18!0s
with the !7 designs in Richard Browns -
- - - -
-- -- - ---
-, 18!!. 1ravels
on the Continent in the 18!0s (as with many other writers mentioned) inspired
the largest number o styles to date, including a Venetian summer residence, a
Flemish-style chateau, a Chinese casino, and other dwellings in the Florentine,
Swiss, Egyptian, Grecian, Roman, Persian, Morisco-Spanish, and Plantagenet
styles. 1hat such designs were in demand is shown by the publication o a sec-
ond edition in 18!, but it was not so much the more exotic total designs which
would have been copied but rather, their details (Figure 6).
1
1he book covered
- - --

- -
architectural theory and practice as well as style, along with landscape garden-
ing, and as such was more than simply a villa pattern book or practical manual.
Books by }ohn Ruskin, a man to whom England owes measureless gratitude
in matters o art,
!0
which proved seminal or High Victorian Gothic, came out
in the late 18!0s and early 180s. His ideas contained in -
, 18! (see back cover), and - on smooth
ush surace decoration, tracery, dierent coloured materials, truth, repetition
o orms massiveness, and so on were inspired by Italian medieval architecture.
1his ltered through to housebuilding in the orm o polychrome decoration,
created by bands o contrasting coloured brick or stone, now economically
possible ollowing the repeal o the Brick 1ax in 180, which became widely used
on house ronts until the end o the century. 1he bay window, approved o by
Ruskin, was also a ubiquitous eature o mid to late Victorian houses.

Pattern books o the 180s and 1860s were varied, some were books o patterns
or villas along conventional villa book lines, while others appealed more
directly to builders. 1here was also a new emphasis on house planning which
led to publications addressing this aspect o the house. 1he way houses were
depicted became more straightorward, discarding landscape views and con-
--

-- - - - - -
- - - - - - -
centrating on details o style and layout. Much more inormation was given on
specications, prices, specic brands o product, and so on. Chromolithography
was used in architectural pattern books in this period or the rst time, and those
using colour by 1arbuck and Blackburne (see below), were published by Hag-
ger o London, but printed in Leipzig and Dresden by A.H. Payne who had
set up there in the 18!0s. Pattern books ocused on the middle-class villa, and
many now included designs or small terraced and semi-detached houses as
well. Interest in the cottage had by now shited to one which was more phil-
anthropic, under pressure rom industrialization, rom early books like }ohn
Halls or the Society or Improving the Condition o the Working Classes, to
those o Henry Roberts in the 1860s (Figure 7) and }ohn Birch in the 1870s.
A good example o very much a working pattern book/manual o instruc-
tion primarily or builders is Edward Lance 1arbuck (editor), -
- ---
- - - -
- - - --- -
-- - - , 188. It is a roughly assem-
bled compilation o articles on details o construction, site, drainage, and build-
ing law, alternating with a range o plans and elevations by 1arbuck, S.H.
Brookes and Gardiner and Son, many o which were combination block and
hand coloured, and clearly done by dierent hands. With the numerous build-
ing societies being set up at the time, and the Freehold movement o the 18!0s
and 180s, 1arbucks intention was to lay beore our readers a Handbook o
Building, a reerence to which will be o use to the initiated as well as those
- - --

- - - -
--

- -- - } -
about to purchase plots o ground or to build houses. Designs ranged across
all sizes o house rom the cottage o the labourer to the residence o the
Esquire, but what is signicant are the designs or small suburban houses
(Figures 8 and ). Designs, presented without comment on styles other
than labels attached, were generally Italianate o some sort, with a ew
Gothic, Elizabethan or detached dwellings, with even a pair o castellated
Gothic semi-detached villas. An architect and surveyor, 1arbuck clearly
wrote or the practical man, writing also
, 187, - 187, th edition
18!, and contributing regularly to and -.
- - --

-- - }
Weales compilation o 187, -- - - -
-- - - -, was
even more disjointed, comprising designs ranging over a 0-year period, early
nineteenth-century villa book aquatints o detached country houses by C.A.
Busby, architect o Kemp 1own and Brunswick 1own, Brighton, and
Edmund Aiken, sit alongside contemporary simple outline illustrations o
designs by 1homas 1atlock and others or suburban villas and terraces built
--

- - - - -
-

-- -
- -

- - -
- -
in London and the south-east o England (Figures 606!). Like 1arbucks book,
the majority o designs in Weales book were in an Italianate style, with a ew
Gothic designs. A compilation rom sources so diverse in time, type o dwelling
and method o depiction, suggests the basic conservatism o the housebuild-
ing industry in that such a range would be considered relevant to building needs.
1ypical o the mid 180s is -- - -- --,
by Samuel Hemming. 1he book has semi-detached and detached house
designs, adaptable to the terraced type, costing between L!00 and L000.
!1
A
narrower and more expensive market was sought by Charles Wickes with his
, published in two series rom 18 to 186!.
Prices ranged rom L11! or a two reception room, ve bedroom and bath-
roomed, Gothic-style house. 1he cheaper houses in Wickes book were in the
Old English style, with Italianate, }acobethan, and polychromatic ashionable
French Gothic and renaissance reserved or more elaborate designs (Figures
6!66). It ollowed the traditional pattern book ormat, with no introduction
except a list o plates, but prices, materials, brands or ttings and their sources
were given in very precise detail, and plans, sections and elevations were drawn
rom every angle, so prospective clients could imagine each house in detail. For
- - --

-- - -
- -
example, an Italianate villa costing L!7 with our reception rooms, seven
bedrooms and a balcony, had a marble or Minton encaustic tiled oor, along
with Bieleeld or }ackson papier mche decorations to the sum o L80. 1he
emphasis given to new materials and technologies, such as the bathroom, and
up-to-date conservatory construction according to Paxtons system, reects the
developments in manuacturing and services by 186!.
--

- - -
- }

-
-- - -
- -
--- -
- --
-
Published in the same year as Wickes, but catering or other end o the
market, was S.H. Brookes - -
- - - , specically aimed at the young builder,
or Weales 1echnical Series, costing !s 6d. Basically a manual, rather than a pat-
tern book, it nevertheless gave elevations and plans o a classical-style, semi-
detached house, giving the reader an uncomplicated example to ollow. It was
this straightorward approach which led to this books enduring popularity (see
page 67). 1here was a ood o books, particularly in the second hal o the 1860s,
which coincided with the contemporary building boom. Other cheap books
included }.W. Bogues - , 186, a small practical guide o !8
pages, with designs and costs, with a section on handy hints on internal arrange-
ments, by R.S. Burn. Robert Scott Burn was a prolic writer on a very wide range
o subjects rom ornamental drawing or students (Figure 67), carpentry, and
conservatories, to steam engines and protable pig keeping between the 180s
and 180s. His books on architecture and building included
- , a small thoroughly practical book written in 186!, with ideas
taken rom the work o A.}. Downing, and and -
Costs were kept down using simple line diagrams rather than expensive illus-
trations. It was a book intended or house investors, house proprietors, men o
practice and students o architecture on style and giving a wide variety o plans
ranging rom the simplest cottage to the more pretentious country villa
and town mansion. His book aimed to give not just a series o plans but using
the same plan, oering alternative arrangements or doors, windows and re-
places, a need much elt in practical literature. Heating was also dealt with,
reecting the contemporary interest in the services o the house.
!!
- - --

- - - - - -- - }
Robert Kerr, originally rom Aberdeen, became a ounder member and rst Pres-
ident o Architectural Association in 18!7 at the age o !!, and later, Proessor o
the Arts o Construction at Kings College London. His landmark book,
- - -, 186!, retitled in 1871 as - -
- -- - -
- - -, contained !0 litho-
graphed ground plans, many were taken rom and -,
and included several by Kerr himsel. Kerr described the history o styles used or
the gentlemans house, the nineteenth century Opening with that Palladianism
which had long been the vernacular o Europe, it introduced very soon the as-
tidious Greek, became involved more slowly, but even still more surely, in the
romantic Gothic, spared a liberal portion o attention or the dainty Elizabethan,
and gave still greater attention to the eminently serviceable Non-Palladian Ital-
ian, all the while openly avowing more or less the novel but striking doctrine o
Eclecticism, that all are equally good in their way.
!!
1he plan o the larger house
had, Kerr explained, ollowed a similar path, Under the general reedom o
thought which prevailed at the commencement o the century the practice o
the Palladian plan was becoming irksome At the same time there was arising
that singular competition o contrary ideas which, in due course, has ripened
into a direct antagonism, in all arts and letters alike, between Classicism and Goth-
icism o style. He continued that: its present practice is an Eclecticism which
adopts the Palladian and other Italian models on the one hand, and the Eliza-
bethan and pure Medieval on the other, quite indiscriminately and interchange-
ably. Robert Kerr indicated the eclectic approach to style in his day, In what Style
o Architecture shall you build your house A universal question these days,in
England i not elsewhere 1he architect will generally put this query to his client
at the outset o their intercourse,and i the client be inexperienced in such
matters, he may be somewhat astonished to discover what it is he is invited
to decide upon he is expected to make a choice rom among hal-a-dozen
prevailing styles, all more or less antagonistic to each other, all having their respec-
tive adherents and opponents.
--

-- - - -
- - --

- - -- - - - - -

Kerrs book also covered rooms o the house, and details such as the bay
window. His 1! principles o planning in a gentlemans house, however small
were, privacy, comort, convenience, spaciousness, compactness, light and air,
salubrity, aspect and prospect, cheerulness, elegance, importance, and orna-
mentation.
!
Chapter titles, such as How to employ a builder, How to employ
an architect, How to build inexpensively, How to deal with exterior design,
show its useul and comprehensive qualities, similar to Loudons .
Edward Lushington Blackburne, architect o many churches, and Diosce-
san surveyor to Norwich, edited -
, in 1867, reprinted in 186 (Figure 6). It contained a selection o
designs, some built or houses in a range o styles and was primarily a picture
book. Descriptions such as Anglo-Italian, Italianized Gothic, 1udor-
Gothic and German demonstrate well the eclecticism o the day and the
inclusion o a wider range o continental inuences, led by architects such as
William Burges. All the villa designs were coloured using three-colour tint
rather than ull chromolithography (Figures 707!). In contrast to the villa
--

-
- - --



-- --
designs, and more orward-looking, were the uncoloured designs by Shaw and
Lockingtons designs or cottages and small terraced houses in Portland cement
concrete (Figure 7!).
Brothers George Ashdown and William }ames Audsley, well known or their
books on ornament, such as - -
, 188!, a practical guide or architects and decorators, with
!6 chromolithographed plates, published ,
in 1868. In contrast to Blackburnes range o styles, this book avoured Goth-
ic and related styles. Quoting rom Pugin, Ruskin and G.G. Scott, this book
outlined the choice between national styles, rst revived by Pugin, and domes-
tic Italian, arguing that It is to be desired that one style o architecture should
be adopted by us in the present day, but we cannot hope to see that desirable
end attained, so long as individual taste and ancy are allowed to rule in mat-
ters o architecture. 1he book made the case or Gothic as the most suitable
and tractable style, while Elizabethan, either in its hal-timbered, or palatial
orm, though not so beautiul, was also approved o. Even the domestic Ital-
ian style, which was too well known to require any description, it was admit-
ted that, as a style or villa buildings, it has its advantages (Figures 7! and 7).
--


Around the same time, Blackies brought out a large, expensively produced
volume, a copy o which was owned by Robert Kerr, entitled
, - --
. 1he book aimed to ll a perceived need or more books o designs
or distinct classes o middle-class houses, as opposed to country houses or
small, cheap houses, both o which were well provided or. 1he book was also
a response to continual demand or designs by top British architects whose
alleged indierence to advantages, private and public, that are calculated to
accrue rom the dissemination o representations and written particulars o exe-
cuted designs, has been contrasted with the readiness o Continental architects
to publish elaborate monographies o their chie productions.
- - --

-- } -
--

- - - - -- -
- -- - - - -

- -
- - - -
- - - -
- - -
- -
- -
- -
- -
-
- -
- - -

- - --

- 7 - - -- - - -
- - - - - - -
-- -- - - -- - } -
- -- -- - -
- - -- - - -
--

-- - -

- - -
- -
Generally dismissing past works as collections o untested designs, with a sin-
gle plan and pictorial view, or representations historical structures and details, this
book went into much greater detail than other pattern books mentioned, show-
ing each design in ull and the considerable diversity in internal arrangements,
in the structural treatment o materials, and in decorative character, or style and
ornamental detail. 1his book was intended to be a source o inspiration and guide
to prevent costs overrunning, rather than a copy book.
!7
1here were !1 houses
o moderate dimensions, or erected at a cost ranging rom L00 to L!00, but
including some examples o more expensive character illustrated, all built in the
previous !0 years by 1 dierent architects including Banks and Barry, Henry Dar-
bishire, David Cousins, Ewan Christian, Speakman and Charlesworth, Edward
Walters, and E.B. Lamb. Examples were rom London, the Midlands, the North
and Scotland (Figures 767 and Figure 11).

1wo books came out in 1870 which showed the continuing popularity o the
Elizabethan and }acobean styles. One o these was 1homas Morris, -
-, not a book o patterns, but a social and architectural sketch o
the suburban house, with the ideal shown in the rontispiece. It was a pop-
ular subject, treated in a popular style,
!8
and covered a wide range o topics
rom suburban society, to the cost o land, and gave average prices or styles
o architecture, thus, an unornamented Italian parsonage at L1100, would cost
L1!001600 i done using rich Gothic detail, and L1700 with 1udor/Elizabethan
detailing. Beaumanor Hall, Leicestershire, by his old tutor William Railton,
cost L10,000 by comparison.
- - --

- - - - - --- - - -
-
--

- - -
-

--
A popular book in Britain and in the USA was - --
-- - - -
1870, by C.}. Richardson (Figure 81) A ormer pupil o Sir }ohn
Soane, and one o the evening masters o the Head Government School o
Design, Somerset House. - -- was a less extravagant book than
his earlier works, such as -, 18!7!0, costing L! s or
colour and gilt illustration. Its 00 wood engravings o dwellings and garden
buildings in a range o styles, included one cottage adapted rom Vine Cot-
tage at Blaise Hamlet by }ohn Nash (Figures 8!8!). 1he name o the book
changed with the second edition in 1871, to a more modern sounding title,
-- -, and ran to a th edition in 188, appearing in New
York in 187! as - -. Other books aimed
at a popular market included by I. Marvel, 1871,
a small, practical manual aimed at the amateur builder, with advice on repay-
ing loans and how to employ an architect to draw up specications or L!0
and design a ront elevation or a guinea (Figure 8!).
In the late 180s and early 1860s, Eden W. Neseld and Richard Norman
Shaw, pupils o Gothic Revivalist, Edmund Street, ollowing Pugins lead, had
published books o sketches o historical architecture done in France, Italy and
Germany (Figures 887). Shaw and Neseld rebelled against their Gothic past
a ew years later, turning instead to sources like Dutch and English seventeenth
century domestic architecture or inspiration. 1he Queen Anne style or town
housing, characterized by an eclectic mix o red brick, sash windows, and Dutch
gables, was the result. }.}. Stevensons Red House o 1871 was Londons rst
example o Queen Anne. In country housebuilding, there was a change ol-
lowing the agricultural depression o the 1870s to building smaller, less costly
houses.
!
What emerged instead was the Old English style o Neseld and Shaw,
using pargetting and hal-timbering. 1his picturesque cottage style had links
back to the cottage style o P.F. Robinson and others, Neseld and Shaw were
also taught by }.D. Harding who did illustrations or Robinsons books.
!0
A new
- - --

- -
-
consensus emerged, in contrast to previous decades, and the designs o lead-
ing architects or smaller houses at Bedord Park, or example, were copied and
adapted by younger architects and builders (Figures 88 and 8).
1he part played by publications, and in particular, by journals, in this trans-
mission o the Queen Anne style is also very signicant. 1he numbers o pat-
tern books seem to slow in this period but there are some signicant books.
Shaw, in collaboration with architect-trained W.H. Lascelles, who patented a
precast concrete slab system in 187, published a pattern book o designs,
- - - - -
- --, 1878 (Figure 0). Lascelles houses were illus-
trated in a popular manual, Shirley Foster Murphys -
, 188!, which had 16 contributors dealing with the topic
o healthy houses (Figure 1).
--

-- -

- - - } -
- - -
- - --

- -
--

-- - - --
- - -


-- -
-
-
-
- - - -
-- -

- - -
- - --
-
- -
-

- -

- -
1homas Cutler, Vice President o the Architectural Association, and a well-
known designer o small country houses, wrote a pattern book o hal-
timbered and brick Shaw-style designs in 1886 (Figure !).
1he case or the Queen Anne style was made in - by
}.}. Stevenson, published in 1880. Looking at the question again o in what
style shall we build, and taking each style in turn, the book argued that
although Gothic was more exible or houses than classic and had in late years
the ull tide o enthusiasm, eloquence and ashion in its avour,
!!
it was
impractical when it came to grates and gasoliers, and the problem o blinds
and curtains or pointed windows. He also described the French style, which
with its tall roos was lately very ashionable, as producing a good deal o
show or the money,
!!
and on the Scotch style, commonly used or country
houses in the previous !0!0 years, as all mustard and no bee ,
!!
although
he praised the plain style o Scottish house. 1he average housebuilder had not
used Gothic much because according to Stevenson, he did not understand it,
and because he would not risk building Gothic houses or sale,
!
which
Stevenson considered was an astute assessment o the market. Builders had
instead continued using debased classical styles, especially Italianate (Figure
!). Stevenson avoured using a style which was a true and national style,
reecting the vernacular o workmen, based in the classic styles o the past
!00 years, and yet expressing characteristic modern accurate mechanical
nish.
!6
1he best solution to the problem o style was thereore perceived to
be the recent ashion or so-called Queen Anne, which was a builders
style, which combined cut brick and moulded terracotta, with curved and
classic details, and Gothic-inspired at wall suraces (Figure !). Stevenson
recommended the style personally to readers in his own house, the style adapts
itsel to every modern necessity and convenience I made no attempt to
ollow a particular style, the style grew naturally.
!7
Following established
- - --

- - - --
- - -

- -
- - -
--
- -- - -

- - -
--

- -

- -- - -
practice was the key to success or speculative housebuilding and the style
proved very popular,
the London builder is adopting its eatures, with more chance o success than
in Gothic, since it is the natural outcome o London materials and modes o
work.
!8
1he second volume dealt with ashionable issues such as house planning and
services, with a section on, or example, electric bells and speaking tubes.
Stevenson ollowed Kerrs ideas on planning, with a list o ten characteristics,
but there was a move away rom compartmentalization to multiariousness,
and a more modern simplied open house plan with ewer corridors, stair-
cases and steps, such changes were underpinned by changing ideals in society
generally by the late nineteenth century.
!
1he move to Queen Anne was also clear in cheap books or workmen,
Brookes popular - o 1860 mentioned earlier, was in its
seventh edition in 186. A comparison o the 1860 edition with the 186 edi-
tion reveals the broad sweep o change which had occurred while the text,
plans and back elevation are unchanged, the dramatic change in architectur-
al ashions and the manner o depiction resulted in the change in the style o
rontispiece o the ront o the house rom Italianate to Queen Anne, and tight
shading to pen-and-ink style (Figures and 6).
1he growing number o building and architectural journals increasingly
took over the role o the architectural pattern book, especially in the nal ew
decades o the century. But the turn o the century and beyond sees a urry
o books about the small to medium house and its interior, and a number o
- - --

- --- -
-
--

- - -
- -


books about cottages, which can here be only mentioned very briey. Barry
Parker and Raymond Unwin in , 101, stressed
convenience and workability as the rst consideration in designing a house.
In contrast to the standard house plan, which was too divided up and cramped,
and there are wasted rooms that are never used, Would it not be ar better to
reduce the number o rooms, keeping such rooms as we do retain, large enough
to be healthy, comortable, and habitable 1his book also commented on over
decoration, stating that the average armhouse has an artistic value ar beyond
that o ninety-nine out o every hundred drawing-rooms in the kingdom.
!0
Parker and Unwins ideas can be traced back to Pugin and Morris, but they
applied Arts and Crats ideals to small houses, rather than middle-class houses.
Maurice B. Adams , 10!, a pattern book o
designs, which included his cottage designs at Bedord Park and Port Sun-
light, and others by Shaw, Neseld, Lutyens and Voysey, commented on the
improvements in cottages o all kinds in the previous decade or so and drew
attention to the evolution o the weekend cottage,
!1
a reection o wider
changes in society towards a less ormal liestyle. 1he same year, the seminal
work - - - by Hermann Muthesius was published in Berlin,
giving the rst historical account o later Victorian British architecture and
discussing in great detail the houses built by modern British architects such
as Baillie Scott, C.R. Mackintosh and W.R. Lethaby.
- - --

1 Eileen Harris, - - - ,
Cambridge University Press, 10, !!.
! }ohn Archer, - -
, 1he MI1 Press, Cambridge, Mass. and London, 18, !.
! see Dan Cruikshank and Peter Wyld, --, Butter-
worth Architecture, revised and reprinted edition, 10.
! David 1. Yeomans, Early Carpenters Manuals 1!18!0,
- - volume !, 186, 18.
}ohn Archer, - -
, 1he MI1 Press, Cambridge, Mass. and London, 18, 11.
6 }ohn Archer, - -
, 1he MI1 Press, Cambridge, Mass. and London, 18, !.
7 }ohn Archer, - -
, 1he MI1 Press, Cambridge, Mass. and London, 18, 1!.
8 Iris Roderick 1homas, --, Rainbow Print
(Wales) Ltd, 1, !!.
Charles Parker, -, }ames Carpenter, London 18!!!1,
preace.
10 }ohn Archer, - -
, 1he MI1 Press, Cambridge, Mass. and London, 18, 10!.
11 Henry Shaw, - , 18!!, 1.
1! Paul Atterbury and Clive Wainwright, eds, --,
Yale University Press, New Haven and London, in association with
1he Victoria and Albert Museum, 1!, 16!.
1! }ohn Archer, - - ,
1he MI1 Press, Cambridge, Mass. and London, 18, 81! and !8.
1! }ane Loudon, -, }ohn Murray, London, 18!!, !!!.
1 , 18!!, Cornmarket Reprints, London 17!,
introduced by Ben Weinreb, n.p.
16 }ane Loudon, -, }ohn Murray, London, 18!!, !!!.
17 , 18!!, 1!!.
18 Henry-Russell Hitchcock, , 1he
Architectural Press, London: Yale University Press, New Haven, 1!,
!!.
1 Henry-Russell Hitchcock, , 1he
Architectural Press, London: Yale University Press, New Haven, 1!,
!!.
!0 Hermann Muthesius, - -, BSP Proessional Books,
Oxord, 187, 1!.
!1 For a detailed analysis, see Henry-Russell Hitchcock,
, 1he Architectural Press, London: Yale University
Press, New Haven, 1!, !!8!0.
!! Robert Scott Burn, - , }ohn G. Murdoch,
London, 186!, iii.
!! Robert Kerr, - -, }ohn Murray, London, 1871, !.
!! Robert, Kerr, - -, }ohn Murray, London, 1871, !!1.
! Robert Kerr, - -, }ohn Murray, London, 1871, 67.
!6 W.}. and G.A. Audsley, , Mackenzie,
London, 186, 1!!.
!7 Blackies , Blackie, London, 1868, vii-viii.
!8 - in 1 Morris - -, 1870, v.
! Roger Dixon and Stean Muthesius, , 1hames
and Hudson, London, 178, 0.
!0 Gillian Darley, - -, 1he Architectural Press Ltd, Lon-
don 17, 11!.
!1 Priscilla Wrightson , - -, B. Weinreb Architectural
Books Ltd., London, 177, 8.
!! }.}. Stevenson, - , Macmillan, London, 1880, 1!!.
!! }.}. Stevenson, - , Macmillan, London, 1880, !!0.
!! }.}. Stevenson, - , Macmillan, London, 1880, !77.
! }.}. Stevenson, - , Macmillan, London, 1880, !!8.
!6 }.}. Stevenson, - , Macmillan, London, 1880, 1!0.
--
!7 }.}. Stevenson, - , Macmillan, London, 1880, !!8.
!8 }.}. Stevenson, - , Macmillan, London, 1880, 1.
! see }ohn Burnett, - - , Methuen and
Co Ltd, London, 180, 1!.
!0 Barry Parker and Raymond Unwin, , Long-
mans, London, 101, !.
!1 Maurice B. Adams, , B.1. Batsord, Lon-
don, 10!, preace.
- -

-
For external and internal detailing, builders, architects, and clients could look
to some o the architectural pattern books already mentioned. Some o the
writers o architectural pattern books also wrote separately on interior ttings.
1hese books similarly reected the prevailing attitudes to style. Builders also
consulted general builders manuals which will be discussed later.

1here were also books o patterns or individual eatures or trades, such as cast
iron and urniture. Some examples rom this type o publication are given
below. 1he origins o pattern books o design lie in textile model books o the
early sixteenth century, and in the rst comprehensive illustrated treatise on
architecture by Sebastiano Serlio, published in six books between 1!7 and
11, which included patterns or ceilings and woodwork.
1
Later architectural
writers already mentioned, such as Adam and Pain, included designs or all
kinds o ttings and details, or example, ceilings, replaces and anlights, in
their works. Early books o patterns devoted to individual trades included
Walter Gedde, - -
-- -, 16116 (reprinted in the nineteenth cen-
tury by Henry Shaw), which had 180 designs or leaded windows, }ohn
Carwithen, - - -
- - -- , 17!, a collection o !! designs, each
showing a design and its eect -, and }ohn Crunden,
- , 176, consisting o !0 designs or Goth-
ic, Mosaic, and Ornamental Frets, and !0 designs or anlights.
Early ironwork pattern books included those by }ean 1ijou (16!) and }ean
Berain (1700), and Isaac Ware was the rst to claim that cast iron is very serv-
iceable to the builder and a vast expense is saved in many cases in using it.
!
Builders, ounders and so on, wishing to work with cast iron, a material which
was so important or the insides and outsides o Victorian houses, looked to two
pattern books on cast iron in particular in the early Victorian period written by
antiquarians, L.N. Cottingham, - , 18!!,
reprinted in 18!0, was the rst nineteenth-century book to satisy a need or such
patterns,
!
aiming to remove in some measure the severe and painul regret that
has long been elt by ingenious workmen, or the want o a collection o good
ornaments to select rom, at a price within the compass o their limited means.
Cottingham covered every class o building rom the palace to the social villa
o the retired citizen, with 8! designs and patterns by the most eminent artists
as may be a guide to artisans and tradesmen{ in orming correct and taste-
ul compositions, or example, }ohn Nash, and also based on his personal muse-
um collection. Designs included stoves and enders or drawing rooms,
serviceable to ladies and gentlemen to select rom, and equally so the urnish-
ing ironmonger. Cottinghams designs were much copied by ounders and
appear all over Britain, and as ar aeld as America and Australia (Figure 7).
!
1he other inuential early Victorian pattern book o designs or staircases, rail-
ings, etc. was - , by Henry Shaw, 18!6, con-
taining 0 designs by Shaw and prominent architects such as Sidney Smirke.
Many o these books were aimed specically at the trade or workmen to
copy. W.F. Pococks -- -, 1811, 18!!, 18!7, contained
detailed designs o doors, windows, chimney-pieces, cornices and other
nishings or every room in the house, according to the methods o the best
workmen in London. Designs, oten reproduced ull scale, were specically
intended to help country workmen on how to best ollow the prevailing ash-
ions. 1he book also addressed Gentlemen whose situation prevents their
having the aid o an architect, may with condence proceed in the nishing
o{ their houses according to the designs here shown. Similarly, E.W. 1ren-
dalls - --, 18!!, 1!s, was aimed at all persons con-
nected with the practical parts o the building, with lithographed plates o
olding doors, French windows, staircases, chimney-pieces, and cornices or
rooms and staircases and other mouldings drawn to ull size, it was useul
or carpenters and builders according to which
added that as this book published details in the classical or modern style,
equivalent books on the Gothic and Elizabethan styles would be useul.

For a wider popular market, Loudons contained much on


interior ttings, including cornice mouldings, ceiling roses, paint, wallpaper,
and replaces (Figures 8 and 101).
--

- -- - -
-
- -
-
-
With the popularity o the numbers trade in publishing, publications were
becoming more accessible. --
- - ---
- - - -
- , was sold every ortnight, in parts, eight altogether with three
plates each, at 1s per part. Loudons said we hail the
work as the commencement o an era o good and cheap architectural publi-
cations, which workmen may aord to purchase, as well as architects.
6
1he changes in styles o interior urnishing can be plotted through the pat-
tern books (and later journals and trade catalogues) or the trade. 1o give a very
brie resume o some important books, an early example is 1homas Sheratons
o 180!, primarily a manual, but with many designs that he
indicated could be copied. His list o subscribers was almost exclusively
cabinet makers and joiners (Figure ). Sheratons designs linked Adam to
1homas Hope, a wealthy connoisseur, who rst used the term interior dec-
oration.
7
His book, - executed rom
designs by 1homas Hope, was based on his travels round the Mediterranean
and his personal collection and served as the main source or Neoclassicism.
}.C. Loudon was inspired by his home, Deepdene, near Dorking, which he
visited in 18!. Neoclassicism was prolonged by writers like Peter Nicholson.
He had been a cabinet maker beore moving onto architecture, and his book,
- , 18!67, sixth
edition 18!6, was a complete treatise the designs made clearly intelligible
to the gentleman and the amateur. 1he pictures included interior schemes,
beds, chairs, tables, curtains, wardrobes. Most designs were in the Neoclassical
style, with a ew Egyptian and Gothic designs added.
1he challenge to Neoclassicism rom other styles can be seen in the works
o 1homas King, author o over !0 books, notably,
, 18!, reissued to 186!, which included Old French
(or rococo) designs which were easily copied using composition. His patterns,
drawn rom manuacturers designs o the time, were urther disseminated
through the popular Websters - , 18!!,
destined or the middle-class home.
8
Richard Browns -
- , 18!0, contained a new style, o heavy, round-
ed orms and carving that added essential ingredients o ornamentation and
comort, orming the look o the Victorian interior. Further contributions to
- - -

-- - -

-
the style debate came rom Henry Shaws - - -
, 18!! and - , 18!, sold in parts, s each, rom
A.C. Pugin, , 18!7, previously published in - -
, 18!7, and rom Pugins , 18!, a serious study o Goth-
ic which was to become very inuential on later writers (Figure 100). Loudons
, summarizing the style debate or a wider public, identied our
main styles or urniture in 18!!: Grecian, Gothic, 1udor or Elizabethan, and
Louis Quatorze. His book included urnishing or all classes o house, in con-
trast to other books which ocused on the middle- and upper-class interior,
and dealt with new materials and technologies.
1he increasing stylistic eclecticism in interiors and urniture by the 180s
can be seen in Blackies, - ---, 18!, probably written
by P. 1hompson.

1his was a much copied manual and pattern book aimed


at the trade, covering drawing, woods, and a vast range o patterns or urniture,
cornice mouldings, etc. and included designs taken rom the Great Exhibition
o 181. 1he upholstered and tasselled interior o the middle-class home, while
remaining a status symbol or many, was under threat as heavy, rounded orms
were replaced by rectilinear shapes o art urniture rom the late 1860s. A
prominent gure in the transmission o this new mood to a more popular audi-
ence was Scottish architect, Bruce }. 1albert, author o two books, both o which
were reprinted in Boston, Massachusetts, USA.
10
--

-- -
- -
-

- -
1alberts rst book, -
- --, 1867 (Figure 10!), echoed Eastlakes approach
in - - - republished rom articles in the
. Central to 1albert was the question o honesty in urniture construction,
the best isolated eorts o the Architectural proession can do little to render
this class o urniture popular, until the cabinet-maker and his workmen take
some interest in their work.
1alberts second pattern book, -
-- , 1876 demonstrated how much taste had
changed since 1867 under the inuence o the Queen Anne style, he described
how once thirteenth century Gothic admirers now turned to 1udor, }acobean
or Georgian, even Rococo, and recalled earlier works o Henry Shaw and
1.F. Hunt.
11
1here was a useul historical table to guide readers through style,
listing styles and main domestic works rom 1! to 18!0, rom Perpendicular,
1udor and Elizabethan, }acobean (including Italian Renaissance), to
Georgian.
An essential ingredient o the aesthetic interior was the inuence o }apan,
rst introduced to Britain in the early 1860s. In particular, it appears in the sim-
ple, lightweight, rectilinear urniture o E.W. Godwin, who published a pattern
book, , 1877, with manuacturer, William Watt. Victorian books on
ornament is a separate large area o study and cannot be included here in detail,
but it should be briey noted that there were a number o books on ornament
by writers who were particularly interested in }apanese art, or example, the Aud-
sley brothers and 1homas Cutler issued important books on }apanese ornament
in 187 and 1880, respectively. Most notable was Christopher Dressers -
-, 187!6, which aimed at decorators, householders, designers and
manuacturers, to bring about a better style o decoration or our houses. It
contained 60 chromolithographed plates o designs or ceilings, walls and dadoes,
drawing on a range o inuences rom }apanese, Persian and Indian art to
stylized plant orms, and was the key book o patterns or interior decoration.
1!
1he Aesthetic style was transmitted to a wide public through journals, trade
- - -

-
catalogues and manuals o home decoration and was much imitated on a
variety o levels, rom whole schemes in Queen Anne style houses, to }apanese
ans and blue and white china advocated in many manuals (depending on ones
budget) as a means o lending a ashionable look to the ordinary home.

Practical written advice on housebuilding and decoration was available rom
manuals, both general building and those specic to one trade. 1hat many o
the books were reissued over many years shows the need or such books, and
the conservatism o the building industry and Victorian tastes generally. First-
ly, price books gave prices or materials and labour, reproduced Building Acts
and included outline elevations and plans or terraced houses according to
the our rates o house, which were generally omitted rom early Victorian
pattern books (Figures 10! and 10!).
--

- - - - -
-

Books to aid the builder in measuring o building works (beore quantity sur-
veying), and price books with up-to-date prices or labour and materials to
protect workmen,
1!
had been introduced in the eighteenth century. I. }.
1aylors - rst appeared in 1776, and Laxtons price books
began in 18!6. Price books expanded in size over the years to cater or increas-
ingly diversied trades and new materials and products, as can be seen rom
a comparison o Richard Elsams - ,
Kelly, 18!1 edition, and H. Laxtons - , 71st edition, 1888,
- - -

- - -
Elsam covered the work o carpenters and joiners, sawyers, bricklayers and
masons, plasterers, slaters, plumbers, painters, glaziers and smiths, Laxtons
book o 1888 added blind manuacturer, gilder and paperhanger, sanitary work,
bell-hanger, gas tter and electrical work, ironmonger, engineer, to the list,
with the conventional trades themselves subdivided into dierent specialisms.
Rapidly changing ashions meant that styles, prices and other inormation con-
tained in such publications could not remain accurate, and price books were
rom the 1870s increasingly superseded by the trade catalogue. 1he rst book
o specications was Alred Bartholomews (later briey editor o )
- , an essay on the decline o excellence
in the structure and in the science o modern English buildings, 18!0. 1he
work was intended to give exact descriptions
which are requisite or the contracting or and manipulation o buildings
more than twenty years ago, I began this description o technical literature, I
ound prevalent in it a coarse style o vagueness, which let ample room upon
a thousand points or Builders to exercise imagination as to the intentions o
the writers o it.
1!
1he eighteenth-century builders manuals o Price, Pain and so on men-
tioned in Chapter !, were transormed by Peter Nicholson who set a new stan-
dard, look and tone or building manuals in the nineteenth century. He wrote
!! books over a period rom 178! to 18!7, whose content ranged widely, rom
urniture as we have already seen, to carpentry and architecture. Nicholsons
books were very popular, - , 17!, was in its thirteenth
edition by 187. His main contribution lay in his new high standard o detailed
scientic and technical writing, essential in an age o rising importance o the
--

-- -
- -

-
-
engineer and new types o buildings, methods o construction and materials.
In particular, his contributions in the elds o roo construction and hand rail-
ing (or which the Society o Arts awarded him its gold medal in 181!), and
the inclusion o instruction on doors and their hinges, and windows and
shutters, served to set his books apart rom earlier works.
1
His most well-known work, -
, 18!!, republished through to 1861 (Figures 106110), aimed to teach
the art o building to the proessional and the untaught, and was explained
in a consciously straightorward way. 1he book contained a series o designs
in the modern style, or the various ranks o society, and boasted a much
greater variety o subjects than any similar work and many things entire-
ly new or example, in the design o roos, several modes are brought or-
ward or the rst time. Nicholson stressed the importance o geometry,
1he execution o the design o the architect is generally let to the skill o the
workmen i he be not practically acquainted with the geometrical construc-
tion o the object to be executed, he is not only unt or the undertaking, but,
at every step that he takes, he will maniest his ignorance and inability, and even-
tually overwhelm himsel with conusion and disgrace.
- - -

- -- - -
- -

1he many dierent revised and retitled versions o Nicholsons work in later
years can be attributed to his ailed monthly journal
, which lasted only ve issues, obliging him to sell the rights
o earlier work. One o the main writers who revised Nicholson was 1homas
1redgold, who published , in 1861,
and , rom 18! to 187. 1red-
golds own work, - , rst published 18!0,
became a standard work or the second hal o the century, to be republished,
with many editions in the 1880s, through to 11. 1redgold, also wrote a book
on warming and ventilation in 18!!. His work shows how building books were
beginning to branch out into diverse trades and engineering.
16
--

- -

-

- -
1redgolds - was part o an cheap technical
series aimed at a mass market, Weales
series, which won a prize medal at the 186! International Exhibition. In 1868,
its titles included , - -, and
several standard works by architect Edward Dobson, including -
, 18!, in its sixteenth edition in 1!!, and
- - -, 180, in its ourth edition in 1!6 (Fig-
ure ). 1owards the end o the century (and increasingly ater 100) there were
many other aordable manuals brought out, partly or entirely aimed at the
emerging do-it-yoursel amateur carpenter market (Figure 11!).
Plasterers, masons and related trades were oten grouped together, as in F.
Reinnels -- - -- - ---, rst published 18!!,
perhaps a reection o the extent o overlapping o trades especially outside Lon-
don. Larger and more elaborate volumes appear, catering or the needs o run-
ning up suburban houses, or example, -- - --
- , Hagger, 186!, edited by E.L. Blackburne and
assisted by eminent architects and builders. With many ull-page illustrations
o scrolled brackets and cornice and ceiling mouldings, its Italianate detailing
was widely copied. Robert Scott Burns (editor), -
- , 18687!, was written a
decade later along similar lines (Figures 11!116). It was a large volume:
Within the last ew years and original, bold, and comprehensive practice has
been opened up in Britain, as well as on the Continent o Europe and in Amer-
ica, in the various branches o the building Arts, with resh adaptations o mate-
rials and with ingenious appliances. A work thereore which shall present these
most recent improvements has now become an obvious necessity to the prop-
er instruction o the modern mechanic recent architectural adaptations and
structural novelties, in terracotta and articial stone work important, little
availed o, yet cheap and eective sources o architectural ornamentation make
it the most comprehensive and exhaustive treatise to be issued.
He wrote a companion volume, , 18687!.
- - -

- - -
-- -
-


- -
- - ---
- -
Finally, in 187, a weighty guide exclusively dedicated to the plaster trade
covering the history and current practice and trade o plastering, William Mil-
lars - , appeared (Figure 117).
1o mention a ew other trades, early nineteenth-century writers on interi-
or decoration included Nathaniel Whittock, -
- , 18!7, notable or some coloured lithographs representing
woods, whereby the eect o colour and polish obtained by rst painting the
lithograph with bright watercolours and then covering with a solution o gum
arabic used as varnish. At roughly the same time, D.R. Hay, house painter
o Edinburgh, published - -
- - - --, 18!8, sixth edition
--

--
- -
- - -
- - - -
18!7, with coloured plates, which was reviewed in :
One o the characteristics o the present age is, the union o science and practice
in our tradesmen and manuacturers every young architect, builder, or other per-
son connected with houses or urniture may gain much{ rom Mr Hays book.
17
1he rm o H.W. A. Arrowsmith were well established on ashionable New
Bond Street, and were decorators to Queen Victoria, in 18!0 they published a man-
ual/pattern book, - - , still in print !0 years
later, which had many hand-coloured plates o room schemes in styles o the 18!0s
and 18!0s, or example, Elizabethan, Greek and Roman revival, and modern
French. 1hey commented that in contemporary practice Gothic and Elizabethan
were requently intermixed, and we see the dierent styles o Gothic mingled
together, and orming an indescribable mass. A later, cheaper and more purely
practical manual with ew pictures was E.A. Davidsons, -
, 1876, which remained a standard text ater 100. Ater 100 the
market was inundated with small manuals aimed at house painters appeared on
various aspects o housepainting, and in particular, stencilling, and painters books
o business and specications, or example Cassells work handbooks.
- - -

- -
--

-
- - -

- - -
--

- -- - -

- -
Issues surrounding heating, plumbing and ventilation attracted great
attention in the periodical and non-periodical press throughout the Victorian
period, with interests shiting rom solving problems o heating houses, to plumb-
ing and lighting. In addition to the attention paid to these issues in architec-
tural books already mentioned, there were also many individual treatises on these
subjects or the trade, in addition to examples already cited by 1redgold and
Richardson, key authors also included Charles Hood (18!7), N. Arnott (18),
Frederick Edwards (1868), 1. Pridgin 1eale (188!) and Douglas Galton (188!).
1he standard text on plumbing, published as the public became alerted to the
subject when the Prince o Wales nearly died rom typhoid, was S.S. Hellyers
--, 1877, th edition 18! (Figure 118).
- - -

- - -
1he interest in sanitation and hygiene was associated with aesthetic move-
ment lightweight, moveable urniture and urnishings. Shirley Foster Murphy,
vice-president o Royal Sanitary Institute, edited -
, 188!, with sections on architecture, internal decoration, light-
ing, warming and ventilation, drainage and house cleaning, among others, writ-
ten by 16 experts, including Douglas Galton and Robert W. Edis (Figure 11).
1he International Health Exhibition o 188! raised the prole o this sub-
ject, and issued a number o handbooks by specialists, or example, Edis
, 188!. Demand or the latest inormation in
a rapidly changing situation led to G. Lister Sutclie (editor), -
- -, 188, to make rapidly available
all the most advanced practical inormation, with contributions rom 17 experts,
including Robert Kerr. Sutclie was the second architect at Brentham Gar-
den Suburb, begun 101, and contributed designs or 100 houses there and
elsewhere.
18
New inventions resulted in new trades, each with their specic
publications, such as R. Hammonds -, 180,
and F.C. Allsopps , 18.

1he nal quarter o the nineteenth century saw particular expansion in manu-
als on home decoration aimed at householders, particularly women, rather than
--

- - -
the building trades. Inormation on this subject was previously ound in pat-
tern books, such as Loudons.
Early precursors to later popular manuals on home urnishing,
- } } , sixth edition 18!!.
1he author recommended I London be the domicile o the persons who read
this, I should advise then to avoid the ollowing neighbourhoods, and gave a
long list including, any o the small tenements about the lower end o Sloane
Street, any o the streets between 1ottenham Court Road and Gower Street,
the streets leading rom Euston Square to Hampstead, and all Bayswater.
1he best houses o an average kind in London the author judged to include
Paddington, Kensington, parts o Islington, Kentish 1own, Hackney, Brixton
and Clapham. Readers were advised that:
RA1S and MICE, heavy 1AXES o all kinds, the want o convenient CLOSE1S,
indierent FLOORING, a KI1CHEN below, and dingy loose PAPERING come
under the head o nuisances, that ought to be shunned either wholly or in great
part.
1
Aimed at the middle classes with servants, was Mrs Beetons amous
- , 1861, costing 7s 6d, which had rst appeared in
18 in monthly parts in her husbands magazine, -- -
. 1he second biggest seller ater the Holy Bible, it sold nearly two
million copies by 1868, and in the 1870s, its publishers, Ward Lock, were run-
ning o !0,000 in an edition.
!0
Other manuals o domestic economy includ-
ed -, rst published 18 (Figure 1!1), - -
, by William }ones, c.1860, and
- - } , by
}.H. Walsh, rst published 18 (Figure 1!!).
Walshs book was a comprehensive manual on cookery, all aspects o the
home, including buying and renting a house, building and planning, warm-
ing, ventilating and lighting, nishing and urnishing. Walsh commented that
architects and builders bills are so oten sore subjects in amilies, explain-
ing how it was common practice or architects to deliberately run up extra costs
on a L1000 house, because at their ee o / o the total cost, payment o L0
was too little or all the work involved in drawing up plans and superintend-
ing building work, though Walsh elt this was a very lame apology.
!1
Furni-
ture prices were given by Walsh or urnishing a range o houses according to
price lists o W.S. Burton, Oxord Street and Messrs Atkinson Co, West-
minster. A house with our bedrooms and three servants bedrooms, with an
income o L100, would total L1701 s 1d, a L70-income house with three
reception rooms and three bedrooms with servants could have urniture cost-
ing L670 18s 6d, a L!0-income house with two reception-roomed house with
two main bedrooms, a servants bedrooms and a childrens room would cost
L1! 1!s 10d to urnish, while an income o L10 could not aord a whole
house in London but in the countryside, urniture expenditure or a two bed-
roomed house with kitchen and parlour would total L6! 16s 8d.
!!
A trend towards multi-volumed comprehensive guides to the home, which
accelerated ater 100, began with Cassells -, our vol-
umes, 1868, which gave advice on choosing a home, its urnishing, decorat-
ing, running, the care o the children, the garden and home entertainment
(Figure 1!!). Beeton capitalized on the demand or publications with a series
o cheap guides on a range o subjects, including gardening. Gardening books
- - -

- -- -
- - - -
- -
- -- ---


-
and journals rst became popular in the eighteenth century, or example, }ohn
Abercrombies - , in its eighteenth edition in 180.
Among the most popular authors were }ane Loudon with books such as -
, 18!1, which ran to nine editions and sold
!0,000 copies,
!!
and Shirley Hibberd with - - - -,
186, which had early examples o chromolithographed plates.
One o the most inuential books specically on home decoration and ur-
nishing was architect Charles Eastlakes - - -, 1867, which
cost 18s and was compiled rom his articles in the . Eastlake
and Mrs Beeton were the two best-known books o the 1860s.
!!
1his book played
a huge role in popularizing a version o Pugins Gothic o the 18!0s or the mid-
dle classes, with an emphasis on rectilinearity, cratsmanship and painted deco-
ration, which was also publicized by Bruce 1albert (Figure 1!). It also contained
chomolithographed plates o designs or wallpapers, and tiled and parquetry oors
by the well-known manuacturers, Maw Co, and H.}. Arrowsmith. It ran to
our editions in Britain and to six editions in the USA, and became so amiliar
--

-
- }
-
- - -

--- -


- -

that interiors done out in this style were said to have been Eastlaked. He went
on to write a history o the Gothic revival in 187!, at the point o major change
in architectural style.
!
1he Aesthetic movement sparked a new interest among a wide public,
particularly the middle classes, in interior decoration and urnishing.
Responding to the general interest in artistic taste, between 1876 and 1878
Macmillan issued the cheap Art at Home series, which included Lady Barker,
, 1878, and Mrs Orrinsmiths ,
1877 at !s 6d each (Figure 1!6). Mrs Loties , 1878 was:
not intended or people who can aord to employ skilled decorators, nor yet
or those who can give costly entertainments. It merely contains a ew practical
--

-- --


suggestions or inexperienced housekeepers o small income, who do not wish
to make limited means an excuse or disorder and ugliness.
!6
R.W. Edis was president o the Architectural Association and designer o
houses in London. Drawn rom a series o lectures to the Society o Arts in
1880, his book, - --, 1881, aimed to show
what can be done to improve the general dreariness o an ordinary 1own House,
by a little thought and a conscientious regard or use and comort, combined
with artistic design, arrangement and moderate expense.
In particular, he emphasized integrated and economic, well-made schemes,
where design was used to eliminate dust traps in bedrooms and nurseries
!7
(Figure 1!6).
, 188!, by the well-known writer, Mrs Haweis, was
ollowed by her book, --, comprising descriptions o well-known
artistic houses, which appeared originally in the , 18801, and includ-
ing houses belonging to Sir Frederick Leighton, William Burges, and }.}.
Stevenson (Figure 1!8). Her position was clear:
Without holding up any particular style as proper or imitation it is serv-
iceable to show that every style has a beauty and interest o its own No
house, no picture, no piece o music, is interesting or instructive which is a servile
copy o something else.
O Burges house at Melbury Road, London, she commented:
Mr Burges is perhaps our best authority on mediaeval architecture and decoration,
and his own house is built on mediaeval precedent, even to the thirteenth century
round tower which marks it, and it is a orcible protest against ashionable gloom.
!8
- - -

- -
- -- -


--
Mrs Panton was one o the most popular authors o the 1880s and 180s
in the eld o home decoration. She wrote !! books, including some novels,
notably - -, 188, - -, 180, and --
, 186. Her most well-known work was
- --, 1887, which was in its eleventh
edition ten years later:
I have oten been struck with amazement at discovering how ew really prac-
tical guides there are that even proess to help newly married girls past those
rst shoals and quicksands that so oten wreck the little vessel.
!
As in the case o other popular books on the home such as American }ulia
McNair Wrights , 187, the text is made more accessible
and readable as advice was given through imaginary situations involving
ctitious characters, in this case, Edwin and Angelina.
It covered questions o house choosing and house management and ur-
nishing rom garrett to basement (Figure 1!), and covering topics such as
servants, babies, and childrens education.
Penge and Dulwich are dreary and damp the higher parts o Sydenham are
to be preerred those who do not mind the north side o London, Finchley,
Bush Hill Park and Eneld are all worthy o consideration.
!0
It is clear that these books had a ready market, as Mrs Panton points out, very
rich people can place themselves unreservedly in the hands o a proessional
decorator, an option not possible or her readers. 1his book was based on arti-
cles written by her in - magazine, and or which she had
thousands o correspondents. She was a pioneer in this eld:
From my correspondence I have evolved quite a new proession, which I
commend to any lady I go to peoples houses and advise them about their
decorations, and tell them the best places to go or dierent things, I buy things
or country ladies we have now started a society or the employment o ladies
who will either decorate a house entirely, make the chair-covers and curtains I
recommend, or work at ladies houses at dressmaking and upholstering.
!1
--

-
Her books gave very specic advice on brandnames o goods and where
to get them, or example, Smee, 1reloar, and Maples. Amateur work, do-it-
yoursel, crochet, embroidery, etc., promoted by Mrs Panton and others, was
a ashionable idea among the middle classes and prompted books entirely
devoted to it, such as Beetons - , c.180s
(Figure 1!1).
Publishers increasingly catered or a working-class market, with books such
as Cassells -, 187 edition, and Sylvias -.
- - , 187, costing 1s, had an interesting section on
denitions o six dierent types o dwellings rom palace to cottage, or
example, a villa should stand in its own grounds, or be accessible on three
o its our sides and will contain rom ten to twenty rooms, the book
comments that the term villa is used indiscriminately but that No house ...
should be called a villa unless it has a good garden.
!!
Sylvias
, published by a manuacturer, }.W. Shaw, Cheetham,
Manchester, with Branches in every part o the 1own, dealt with day-to-day
- - -

- - - - - -

-
- - --
subjects like cottage gardening and needlework, holiday excursions, materni-
ty, inancy and childhood, washing day, cooking and urnishing. Cassell con-
tinued to produced economical multi-volumed sets ater 100. As mentioned
in the Introduction, Gresham Publishing, an oshoot o Blackie Son,
published the six volumed , 10, whose author was Mrs
Humphreys, or Madge o , as she was more popularly known.
--

1 Michael Snodin and Maurice Howard, -


, Yale University Press in association with Victoria and Albert
Museum, New Haven and London 16, !0.
! Ior Edwards, - -, Gomer Press, Llandysul,
18, !7.
! }anet Myles, , Lund Humphries Publish-
ers, London, 16, 76.
! see Robertson, E Graeme, and }oan Robertson, - ,
1hames and Hudson, London, 177, 1!, or examples.
, 18!!, 1!6.
6 , 18!!, 1!7.
7 Charlotte Gere, - , 1he Gerye Museum, !000, !.
8 1homas King, -- -- -
- Dover publications,
New York, 1, introduction by 1homas Gordon Smith, xi.
- - -, Antique
Collectors Club, Suolk, 177, introduction by Edward }oy, xxviii.
10 B.}. 1albert, -, 1he American Lie Foundation
or 1he Athenium Library o Nineteenth Century America, New York,
178, introduction, n.p.
11 B.}. 1albert, - , 1876, in
-, 1he American Lie Foundation or 1he Athe-
nium Library o Nineteenth Century America, New York, 178, n.p.
1! Christopher Dresser, - -, Studio Editions, London, 188,
preace.
1! Eileen Harris, - - - , Cam-
bridge University Press, 10, !!.
1! Alred Bartholomew, - , 18!0, preace.
1 David 1. Yeomans, Early Carpenters Manuals 1!18!0,
- - volume !, 186, !8.
16 David 1. Yeomans, Early Carpenters Manuals 1!18!0,
- - volume !, 186, !1.
17 , volume !, 18!6, !!6, !!.
18 Aileen, Reid, -
, Brentham Heritage Society, London, !000, 176.
1 - }} , 6th
ed 18!!, 810.
!0 Nancy Spain, - -, Collins, London, 1!8, !!.
!1 }.H.Walsh, - , Routledge, London, 187
edition, 11.
!! }.H.Walsh, - , Routledge, London, 187
edition, 1!0!.
!! }ohn Gloag, - , Oriel Press Ltd, Newcastle, 170, 61.
!! Asa Briggs, -, Penguin Books, London, 10, !1.
! see introduction to Eastlakes - Leicester
University Press, Leicester, 170, by }. Mordaunt Crook, 11.
!6 Mrs Lotie, , Macmillan, London, 1878, preace.
!7 R.W. Edis, --, EP Publishing
Limited, 17!, x.
!8 Mrs Haweis, --, Sampson Low, London, 188!, 1!1!.
! Mrs }.E. Panton, , Ward Downey, London,
1888, 1.
!0 Mrs }.E. Panton, , Ward Downey, London,
1888, !.
!1 Mrs }.E. Panton, , Ward Downey, London,
1888, preace.
!! - - , 187, !!.
-
-

1he Victorian period is very much the age o the trade catalogue and the build-
ing journal. Over the course o the nineteenth century we see an increase in
their importance, particularly in the nal quarter o the century, and by 100
these types o publications had overtaken some conventional modes o trans-
mitting inormation. Such a shit reected vast changes occurring in the build-
ing industry in response to the demand or housing and ornamentation
generally. }ournals provided the same type o inormation as books, patterns,
prices, and instruction, but also trade news and correspondence and inorma-
tion was regularly updated. Firms increasingly advertised their wares in journals,
and indeed in manuals and price books, made easier ater tax on advertising
was dropped in 18!. In their eort to compete in supplying the building trades
with ready-made materials and components, rms developed a large appara-
tus o publicity, including extensive and prousely illustrated catalogues. 1his
was made possible by cheap printing methods and new modes o illustration,
and large companies issued various catalogues or dierent markets.
1he modern trade catalogue, with numbered and priced patterns,
1
devel-
oped in the mid-eighteenth century rom traditional orms o communication
and selling, or example, ornamental prints o designs,
!
and pattern and button
cards (which enclosed samples o the product or sale) in response to the
increasing need to nd more ecient ways o selling products in a ast chang-
ing world. Early catalogues o books, maps and globes, scientic instruments
and owers and plants are among the trade catalogues predecessors, and
notably, 1homas Chippendales - -
o 17!, with designs which could be bought rom the actory.
!
1he tools
trade, notably }ohn Wyke o Liverpool, and brass and cutlery manuacturers
o the Midlands and the North, began to issue trade catalogues between the
late 170s and 1770s.
!
Catalogues were expensive to produce, because o
copperplate engraving and prices had to be added in by hand aterwards. Some
rms used pattern cards and trade catalogues concurrently to begin with, or
example, Wedgewood.

Designs were oten drawn liesize in early catalogues,


a hangover rom using actual samples.
6
An early trade catalogue or the building trades was that o Mrs Eleanor
Coades rm o 178!, which contained 700 designs in the articial stone,
including re surrounds and internal and external paterae. A doorway might
cost L, or i this could not be aorded, a small Lion keystone 6 inches high
cost !s.
7
As one o the ew women in business in this period, she was well
known and Coadestone was used by major and minor architects o the time
or example, Adam, Nash, Soane, Crunden, Nicholson and Papworth, on
houses all over Britain, and its inuence spread ar beyond (Figure 1!!).
Fanlights, in addition to designs in pattern books o designs, were obtainable
rom trade catalogues such as that o Underwood and Doyle o c.181!.
1he use o the trade catalogue was common by the early nineteenth century,
and by the Great Exhibition o 181, all exhibitors had trade catalogues to give
to visitors. In 18!6, Charles Frederick Bieleeld produced a trade catalogue o papi-
er mche designs. - - -
- - - ---
- , enlarged in 180, contained
numerous designs or roses, cornices and console brackets, and sought to ull
the increasing demand or materials which could instantly indicate the style
intended or an interior (Figure 1!!). Although this is a trade catalogue with pages
o designs and prices, it combined advertising the product, with a historical
overview o the particular circumstances which gave rise to the adoption o
--

-
-- - -

- -- -
-
papier mche by the architectural decorator in England. He traced how Eliza-
bethan and classic styles brought in bold plasterwork and produced a need or
contrivances, that is papier mche rom France and how the large trade in papi-
er mche in the eighteenth century was held back by imperect technology. Given
the stylistic eclecticism o the early nineteenth century, plaster was totally inap-
plicable to the exact imitation o the bold orid carvings while to carve in wood
would occasion a cost ar beyond the means o all ordinary purses. 1echno-
logical improvements resulted in a tough, rapidly manuactured, cheap product,
easily assembled using screws. Bieleeld said:
Nothing can possibly be so convenient as papier mche many hundreds o
owers or paterae are annually sent rom the manuactory to be xed upon ceil-
ings o the smaller class o private dwellings, the erection o which the increasing
population o the country is requiring in almost every town in the kingdom. 1hese
are sometimes merely used to give a neat nish to the appearance o the room.
8
1he look o the trade catalogue altered and costs dropped with the arrival o
the steam press and the move to wood engraving rom the 18!0s. Chromolith-
ography also began to be used and was to become increasingly important,
Mintons was an early user, producing a ull-colour catalogue in the early 1860s,
their 188 catalogue was an early example o photographic reproduction o
designs where moulded suraces need to be shown.
1he pattern books o cast iron designs by L.N. Cottingham and Henry Shaw
o the 18!0s and 18!0s mentioned earlier, were superseded ater mid century
- -

- -
- - - -- -
by the trade catalogues o iron rms,

such as Coalbrookedale Company o


Shropshire, and Glasgow oundries Walter Macarlane Co, George Smith
Co and MacDowall, Steven Co., and Carron Company o Falkirk, whose
designs appear all over Britain and abroad. Many trade catalogues harked back
to Cottingham and Shaw orms
10
and pirating o designs was a problem, despite
copyright protection.
Iron catalogues o the 1870s became more substantial, Coalbrookedale Co
catalogue o 187 had 1! sections o wares, 7! pages, 11 I 1! inches and
weighed 10 lb. Walter Macarlanes catalogue o 188!, appeared in a ull-size
colour version, and also a black-and-white pocket-sized version (Figures
1!1!7). 1he inconsistent numbering and non-dating typical o many cat-
alogues, goes back to practices o early trade catalogues old and new designs
were used in the same catalogue and pages kept in loose sheets or re-compiling
to suit needs at a later date. Prices could be listed separately or the same
reason. As happened in building journals, the use o the latest illustrative
techniques, such as photolithography, was a matter o pride and giving the
catalogue a cutting edge avour.
1he progressive Norwich iron rm o Barnard, Bishop and Barnard also pro-
duced catalogues around the same time, with designs or regrates, garden ur-
niture and other goods. Barnards were well known or their innovative grates,
both in a technological and artistic sense, and they were requently highlighted
--

-- - - - - --

- -

- --

- -- -
in the building journals o the later nineteenth century. }ust as the Adam
brothers had been associated with Carron Company a century earlier, Barnards
used tiles in their designs designed by a range o artists such as Kate Greenaway,
William Morris and William De Morgan.
11
I a Barnard, Bishop and Barnard grate, with its Oriental-style birds and ora,
was desirable in a ashionable Aesthetic interior, terracotta and moulded brick
were essential ingredients or the exterior o a ashionable Queen Anne house.
Blanchard Company and }ohn Blasheld, both o which companies had early
links with Coade, and Doulton Company, were early important companies in
the eld. Doulton began making terracotta in the 18!0s and by the 1880s their
catalogues were ull o a wide range o building requisites. 1he inuence o ter-
racotta catalogues appears as elaborate decoration on villas in towns with terra-
cotta companies nearby, or example, Hathern Station Brick and 1erracotta
Company o Loughborough. 1he most popular products would have been items
such as nials and gate posts which did not have to course in with brickwork.
1!
1he Eneld Brick and 1ile and 1erracotta Company, Accrington, a major brick
area, produced a small catalogue o their products in 181, all illustrations done
in green litho ink (Figures 1!8 and 1!). 1his trade catalogue was clearly well
used and has a design or a gatepost cut out.
Another small paperback catalogue o 1he Cheap Wood Company o 100
shows how ar selling joinery items had come since the early days o the tim-
ber business. In }ewsons case, this involved looking or business in Diss or
Beccles on market day, and i none was orthcoming, seeking out local builders
and riding back to Norwich late in the evening (Figures 1!01!!).
1!
--

- --
- -

- --

- -



- --
While one tendency in trade catalogue production was towards cheaply
produced paperbacks, the late nineteenth century also saw increasingly lavish
catalogues rom large manuacturers, which became a key source o design
ideas or the building trades. Builders merchants grew in number rom 100
in 1870 to 1!00 by 110.
1!
Catalogues could contain samples o the product,
or example, paint, and views o premises and acilities, along with detailed
delivery schedules and prices. 1he large general builders merchant o
Young and Marten Ltd, Stratord, London, ounded 187!, is an excellent exam-
ple o a rm who produced a range o catalogues or the various trades and
sometimes dierent markets with a trade, and made great use o the range o
illustrative techniques, in particular chromolithography (Figure 1!!). 1heir
188 catalogue demonstrates the wide range o designs within any one type
o product, resulting rom mass production and standardization (Figures
1!!1!6).
--

-
- -

- - - - - - - - --
- - - - -- - - - - -- - -
- --
--

-
- -

- -
--

- - --
1he elaborate trade catalogue caught on hugely with urnishing rms, or
example Hamptons substantial catalogue o 18!, with its colour illustrations,
0 collotypes and !000 haltone blocks photographed rom the stock, showing
every aspect o the home, rom complete interior schemes to individual items
like reguards and lighting xtures. 1his catalogue demonstrated the perceived
suitability o certain styles or particular rooms o the house at this time, such
as Elizabethan or the dining room and Georgian or the drawing room.
1
Finally, an interesting turn occurs with the trade catalogue o Boulton and Paul,
is an iron company in Norwich, where their building catalogue o designs or
small houses o 10, such as a weekend cottage or a motorist, takes on the orm
o an architectural pattern book and is entitled - --
- -- - .


1he origins o magazine publishing lie in pamphlets, broadsides, ballads, chap-
books and almanacs. 1he rst magazine to be produced was in Germany in
166!, while the rst to be published in Britain was the in
160. 1he rst womens magazine, - , came out in 16!.
1ypical o Georgian and Regency period was - -,
1781806, and 1817!8. Its rival, - - -,
180!8, was at the oreront o taste and technical innovation, using the new
medium o lithography rom 1817. Originally intended as a general magazine,
in its nal 1! years it specically aimed at women. 1he magazine contained
abric samples, hand-coloured plates o dress ashions, designs or country
houses, garden buildings and urniture, and illustrations o the interiors o
Wedgewoods showrooms and Ackermanns Repository (Figure 1!7). Groups
o plates were later published in book orm, as in A.C. Pugins
, 18!7. 1he classical style was much illustrated or urniture designs but
in 1817 there was the rst recorded illustration o the new interest in Eliza-
bethan style, ollowed by Egyptian in 18!7.
- -

- - - -
While most o the early general magazines were high quality and aimed at
the leisured classes, cheaper ones began to appear rom the 18!0s, with an
increasing moral tone and emphasis on sel-improvement, or example,
Cassells - -, 180. As domesticity
became the ideal or women to aspire to, so womens magazines became home
centred in content and moral in tone, or example, - -, 187.
1he rst womans journal to deal with the subject o home management and
give practical instruction, was Samuel Beetons -- -
, 18!, costing !d. Better-class womens magazines became an increas-
ingly important source o ideas and advice on interior decoration and, as we have
seen, their columnists oten later turned their advice into book orm. Cheap titles
or the working classes multiplied in the nal decade o the century, with the
ormation o many more publishing houses, notably Harmsworth and Pearson,
responsible or - and , ounded in 18! and 18, respec-
tively, costing 1d, with ction and practical articles on nutrition, hygiene, and
childcare, these parallelled the trend which has been seen in home manuals.
16
}ournals were a crucial means o transmitting architectural ideas, and they
gained in importance over books in this respect during the Victorian period. 1he
--

- -
- -
rst journal in Britain or the USA dedicated to architecture and building was

- - - - , by }.C.
Loudon, 18!!8. 1he eighteenth century had seen the appearance o Edward
Oakleys - , 17!!, and
- , 177!, neither o which were actually journals, the latter, or
instance, comprised a builders dictionary, a description o rates o housing
according to Act o Parliament and a collection o patterns or various build-
ings, with plate descriptions, and was published in parts, as was common prac-
tice, was a monthly periodical, based on Loudons
book published the pre-
ceding year. 1he subject matter was broad, rom articles about transparent blinds
and Mr Austins articial stone, to book reviews o major works by Pugin and
a series o articles by }ohn Ruski,n and domestic architecture in particular was
given a high prole.
Following the closure o Loudons magazine in 18!8, in late 18!! }oseph Aloy-
sius Hansom, architect and inventor o the Hansom cab, ounded
magazine. It was advertised as an illustrated weekly magazine or the drawing
room, the studio, the oce, the workshop and the cottage. It became arguably
the most important journal o the century, with a wide readership among the devel-
oping proessions and new trades such as sanitary engineers. George Godwin
was its editor rom 18!! to 188!, and his interests in social issues, such as slum
overcrowding, shaped the character o the . Competing journals in
the eld o architecture and building ollowed the ormation o ,
-, in 18, , in 186, and - , in 187!, and
and , both in 18. -
o the 180s and 1860s eatured issues o style and technology, or example,
- -

- - - - -- -
materials and styles or the resurround, and the search or solutions to the
problems o domestic heating, the issues o the 1870s had much on house
decoration and practical articles on plumbing and damp prevention, or exam-
ple, publicity given to the invention o a revolutionary regrate design by Barnard,
Bishop and Barnard o Norwich in the early 1880s. 1his rms work, as men-
tioned, was regarded as technologically and artistically avant garde, and so tted
the progressive outlook o the paper, owned by Passmore Edwards, who was
known or his radical views. 1he avant-garde designer E.W. Godwin, was involved
with the papers production, likewise Maurice B. Adams, in whose hands the
architects o the Queen Anne style, or example Shaw, enjoyed considerable sup-
port. 1he journal eatured a sketching club, regular competitions to design small-
scale works such as a boathouse or item o urniture, and themes such as designs
or artists houses by leading architects (Figures 1!1!).
In 1877, - was established, a weekly mag-
azine, or joiners, decorators, painters, plumbers, gas tters, architects, etc.,
price 1d, edited by }ohn Black (Figure 1!). -
was a response to the sudden changes in the housebuilding picture,
17
with the arrival on the scene o the artisan builder, a product o the 1860s, and
the accompanying boom in lower middle-class villa building rom the late
--

-- - -- -
- -

--
-

- -
1870s to 180s. It was a lower class o paper than -, both in
quality o production and in content, more practical in tone with trade
inormation and the advertisements were or practical products on the whole,
such as tools, builders supplies and so on. 1here were some attempts to deal
with the current ashions, illustrating or example, a Queen Anne window t-
ment (Figure 1!) or a modern vernacular style semi-detached house design.
1he designs or small detached, semi-detached and terraced houses, illustrated
were generally small scale as opposed to ull-page - style, and
tended to be conservative in taste, requently degraded versions o Classic
or Gothic in style, but nonetheless useul to the small builder (Figures
1618), in the preace o the 18! volume, the editor noted that the maga-
zine had survived strong competition rom the new building magazines on
the market.
While the architectural and building magazines occasionally illustrated
designs or wallpapers, urniture, etc., it should be briey mentioned that
magazines specically on urniture and urnishings came out in the latter part
--

- - - -

- -


-
- -

-- - --

-

-- - --
o the century. such as , 187!, and
- - -
, 187, taking on the role
o the pattern book o earlier in the century (Figures 16016!). 1he journal
compiled a book, available ree to businesses, listing hundreds o buyers o
cabinet goods and urnishing materials compiled rom readers testimonials,
so that advertisers will see that their advertisements really reach the
leading buyers. Ater 100 these journals reect a new trend, principles o
simplicity, naturalness, honesty, good decent solid workmanship o handmade
objects, championed by Ruskin, had ormed the basis o the new artistic ideals
o William Morris and the new Arts and Crats movement, and its wider
exposure at the Arts and Crats exhibitions rom 1888.
Catering or other specic branches o the trades were journals such as
- -, ounded 1880, price 1d, aimed at painters,
plumbers, gas tters, brass and wire workers, builders, carpenters and cabinet-
makers, and and -
, started two years earlier. Builders merchants had their
own magazine rom 187, - which included ,
costing 7s per year. Ernest Benn had great success in the eld o technical and
trade journals, turning around the ortunes o the sold
to Benn, and buying a small rival paper, . Other specialist journals
in this eld included - - was established
in 18, as a weekly magazine costing 6d. In the early 1880s, it was a cheaply
produced paper, comprising largely world iron trade news and many advertise-
ments o all kinds, rom lawnmowers and light xtures, to heavy engineering and
machine tools. Exporting and the Empire were prominent themes among the
advertisements (Figures 16! and 16).
--

-- - - -


- - -
- - - - - - - - - - - - - -
-
- -

- -- - - - -

- --- - -- -- -
- - - -
--

- -

- -
-
- -

- - -
--

1 1heodore, R., Crom, - , Melrose, Florida,


18, !.
! Michael Snodin and Maurice Howard, -
, Yale University Press in association with Victoria and Albert Muse-
um, New Haven and London 16, !.
! National Art Library Internet site, -.
! 1heodore, R. Crom, - , Melrose, Florida,
18, !.
1heodore, R. Crom, - , Melrose, Florida,
18, !1.
6 Philip Walker, - - -, Stu-
dio Editions, London, 1!, n.p.
7 Alison Kelly, - - , 1he Sel Publishing Association Ltd,
Upton-on-Severn, Worcs, in conjunction with 1he Georgian Group,
10, 160.
8 C.F.Bieleeld, - - -
- - -
--- -
180 edition, preace.
E Graeme Robertson and }oan Robertson, - ,
1hames and Hudson, London, 177, 1!. !1.
10 Ior Edwards, - -, Gomer Press, Llandysul,
18, !!.
11 }on Catleugh, -, Richard Dennis, Ilminster,
11, !!.
1! Michael Stratton, , Victor Gollancz, London,
1!, 8.
1! C.B.}ewson, ed., - , privately published, 1!8
(located in Norwich Record Oce).
1! Stean Muthesius, - -, Yale University Press,
New Haven and London, 18!, !0.
1 - -, introduced by Stephen
Calloway, Studio Editions, London 1!.
16 see Cynthia L. White, - - }oseph, London,
170.
17 }ohn Summerson, -, 1hames and Hudson,
London, 10, !!!.
--
In April 18! a new magazine, , was launched, aimed at the huge
middle-class audience. It became the most important art and design maga-
zine o the late nineteenth century, as had been in previous
years. Edited by Gleeson White, a prominent eature o the magazine was its
international dimension and readership. covered a wide scope across
design, architecture and ne art, eaturing articles by, or about, avant-garde
designers, such as William Morris, C.A. Voysey, M.H. Baillie Scott, and Lasen-
by Liberty. It continued to play a key role in the transmission o taste into the
twentieth century. Magazines such as this added to the ood o publications
on house design and interior decoration, at the top o the range were books
eaturing the work o important designers, such as W. Shaw Sparrows
- , 10!, and books by Muthesius, Baillie Scott, Weaver,
and others, prousely illustrated in the new medium o photographic repro-
duction. At the cheap end o the market were books such as the paperback
Arthur S. }ennings -
- -- - -, 108,
costing 6d. 1his little book was specically not intended or wealthy home-
owners, with sections on Diculties o Harmonising Old Furniture with New
Decoration, Morris and his inuence, Non-poisonous paints, and Venet-
ian Blinds, it creates a vivid impression o the needs and priorities o the ordi-
nary house-holder. Advertisements or products such as Halls Sanitary
Washable Distemper, Ripolin Paint, Flooryline dark oak oor varnish, and
Oetzmanns bungalow-cottages, costing L!00L!!0, and urnished or !
guineas, add to this picture. Sources such as these demonstrate the nature o
the need and desire or advice and ideas among the housebuilding industry
and the public by the Edwardian period.
Concentrating on publications rather than the actual houses has been the
ocus o this book, and this approach allows us to view Victorian houses rom
a particular angle, through the modes o depicting buildings and the words
o the authors, we can see very directly how contemporaries regarded the busi-
ness o designing and building houses and what their priorities were, and the
legacy o their publications is still with us today in the built orms which make
such a major contribution to our towns and cities. 1he signicance o their
task o transmitting ideas about house design and decoration is apparent in
the sense o commitment and pride demonstrated in all o these types o pub-
lications, as M.H. Baillie Scott said in -- -, published in 106:
For the building and adornment o the house is surely the most important as
well as the most human expression o the Art o man.
1his Page Intentionally Let Blank

Abbey, }ohn Roland,


, Maggs, 1!.
Agius, Pauline Agius, - , Antique Collectors
Club, Suolk, n.d.
Aldrich, Megan, , Phaidon Press Ltd, London, 1!.
Allen, C.B., - -
--- , Lockwood, London, 18!0, 10th ed 1886.
Antique Collectors Club, , Suolk, n.d.,
introduction by Simon Houe.
Archer, }ohn, - - ,
1he MI1 Press, Cambridge, Mass. and London, 18.
Arrowsmith, H.W and Arrowsmith, A., - -
, Kelly, London, 18!0.
Aslin, Elizabeth, - , Ferndale, London, 181.
Atterbury, Paul and Wainwright, Clive, eds, --, Yale
University Press, New Haven and London, in association with 1he
Victoria and Albert Museum, 1!.
Audsley, W.}. and Audsley, G.A., ,
Mackenzie, London, Edinburgh and Glasgow, 186.
Ayres, }ames, , Faber and Faber,
London, 181.
Ayres, }ames, , Paul Mellon Centre, Yale
University Press, New Haven and London, 18.
Beard, Georey, -
, Bloomsbury Books, London, 181.
Beeton, Mrs Isabella, - , Ward Lock, London,
1861.
Berg, Maxine, - , Routledge, London,
!nd edition 1!.
Blackburne, E.L., , Hagger, London, 1867.
Blackie, , Blackie, London and Glasgow, 1868.
Blackie, Agnes A.C., , Blackie and Son Ltd, Lon-
don and Glasgow.
Blutman, Sandra, Books o Designs or Country Houses, 1780181,
-, 11, 168, !!!.
Bridson, Gavin and Wakeman, Georey,
, 1he Plough Press, Oxord and 1he Bookpress Ltd, Williamsburg,
Virginia, 18!.
Booth, Charles, , Macmillan,
London,18.
Brand, Ken, - , Nottingham Civic Society, n.d.
Briggs, Asa, -, Penguin Books, London, 10.
Bristow, Ian, - - , Paul
Mellon Centre, Yale University Press, 16.
Bristow, Ian, - - ,
Paul Mellon centre, Yale University Press, 16.
Brodie, A., Felstead, }., Franklin, }. and Pineld, L., -
- , 16.
Brookes, S.H., -- , Kelly, London,
18!.
Burnett, }ohn, - - , Methuen and Co
Ltd, London, 180.
--- - , 186-71.
Cayn, Lucy, - - - - , Royal
Commission on Historic Monuments o England, HMSO, 186.
Calloway, S., ed., - , Mitchell Beazley, London, 11.
Catleugh, }on, -, Richard Dennis, Ilminster, 11.
Chaer, Denise, - , B. Weinreb Architectural Books Ltd, 17.
Clarke, Linda, -, Routledge, London, 1!.
Colvin, Howard, - -
, Paul Mellon Centre, Yale University Press, New Haven
and London, !rd edition, 1.
Cornorth, }ohn, - - , Barrie and }enkins, 178.
Cottingham, L.N., - , 18!!.
Christie, Christopher, - - ,
Manchester University Press, !000.
Crom, 1heodore, R., - , Melrose, Florida, 18.
Cruikshank, Dan and Peter Wyld, -- -,
Butterworth Architecture, revised and reprinted edition, 10.
Curwen, Harold, --- , Faber and
Faber, London, 1!7.
Darley, Gillian, - -, 1he Architectural Press Ltd, London 17.
Davido, Leonore and Hall, Catherine, -
- -- , Hutchinson, London, 187.
Dixon, Roger. and Muthesius, Stean, , 1hames and
Hudson, London, 178.
Dobson, E., - - -,
Virtue, London, !th edition 1868.
Donner, Peter F.R. (pseud. or Nikolaus Pevsner), 1he End o the Pattern
Books, XCIII:, March 1!!, 7-7.
Downing, Andrew }ackson, --, 18!!, reprinted by Dover
Publications, New York, 181.
Downing, Andrew }ackson, --, 180,
reprinted by Dover Publications, New York, 16.
Dresser, Christopher, - -, Studio Editions, London, 188,
introduction by Stephen Calloway.
Dyos, H.}., ,
Leicester University Press, Leicester, 177.
Eastlake, Charles, - - -, Longmans, Green and Co.,
London, 1868.
Edis, R.W., --, 1881, reprint-
ed by EP Publishing Limited, 17!, introduction by Christopher
Gilbert.
Edwards, Ior, - -, Gomer Press, Llandysul, 18.
Elsam, Richard, - , Kelly, London,
18!1, 186! editions.
Ford, }ohn, , Arthur Ackermann Publishing Limit-
ed, London, 18!.
Franklin, }., - - - ,
Routledge and Kegan Paul, London, 181.
Gere, C., with Hoskins, L. - -
- , Lund Humphries in association with 1he Gerye
Museum, London, !000.
Girouard, Mark, -- , Yale University Press, New Haven
and London, 177.
Girouard, Mark, -, Yale University Press, New
Haven and London, 17.
Gloag, }ohn, - , Oriel Press Ltd, Newcastle, 170.
Godwin, George, - -, 18, reprinted by
Leicester University Press, 17!.
Gow, Ian, - , Edinburgh University Press, Edinburgh,
1!.
Grier, Katherine C., - -
, 1he Strong Museum, University o Massachusetts Press,
Mass. 188.
Handlin, David P.,
, Little, Brown and Company, Boston, Mass, 17.
Harris, Eileen, - - - ,
Cambridge University Press, 10.
Harrison, Charles and Wood, Paul with Gaiger, }ason,
-, Blackwell Publishers Ltd,
Oxord, 18.
Haweis, Mrs H.R., , Chatto and Windus, London,
188.
Hellyer, S.S., --, Batsord, London, 1877.
Hinchclie, 1anis, , Yale University Press, New Haven and
London, 1!.
Hitchcock, Henry-Russell, , 1he Archi-
tectural Press, Yale University Press, New Haven and London, 1!.
Hobhouse, Hermione, - - , Management Books
!000 Ltd, 1 edition.
Howe, Bea, , 1he Harvill Press, London, 167 (about
Mrs Haweis).
, Dumbarton Oaks Research Library and Collection,
Washington DC, 1!.
Hunter, Michael, - , Hackney Society,
London, 181.
Hyde, Matthew, - , 1he Silk Press, Altrincham,
1.
}ones, Edward and Woodward, Christopher,
, Van Nostrand Reinhold Company, New York, 18!.
}ones, Owen, , 186, reprinted by Studio Editions,
London, 186.
Kelly, Alison, - - , 1he Sel Publishing Association Ltd, Upton-
on-Severn, Worcs, in conjunction with 1he Georgian Group, 10.
Kerr, Robert, - -, }ohn Murray, London, 1871.
Laxton, H., - , Kelly, London, 18!6 and later edi-
tions.
Lewis, Philippa and Darley, Gillian, , Macmillan
London Limited, London, 186.
-, Merrell Holberton, London, in association with Eng-
lish Heritage, 1, introduction by Andrew Saint.
Long, Helen C., -, Manchester University Press,
Manchester, 1!.
Loudon, }ohn Claudius,
, Longmans, London, 18!!.
Loudon, }ohn Claudius, ,
Longmans, London,18!8.
Lowe, }.B., - - - - , National
Museum o Wales, Cardi, 177.
McMordie, Michael, Picturesque Pattern Books and Pre-Victorian
Designers, - , 18, 17, !!.
MacDougall, Elizabeth B., ed., -
, Dumbarton Oaks, Washington DC,
180.
Marzio, Peter C., , David R Godine, Boston, 17.
Millar, William, - , Batsord, London, 187.
- - , 188, reprinted by Richard Dennis Publications,
Somerset, 16, introduction by Chris Blanchett.
Mordaunt-Crook, }., , }ohn Murray, London, 187.
Mumby, F.A. and Norrie, Ian, - -, }onathon Cape,
London, th edition revised 17!.
Murphy, Shirley Foster, - ,
Cassell, London, 188!.
Muthesius, Hermann, - -, reprinted by BSP Proessional
Books, Oxord, 187.
Muthesius, Stean, - -, Yale University Press, New
Haven and London, 18!.
Myles, }anet, , Lund Humphries Publishers,
London, 16.
Nicholson, Peter, - ,
Kelly, London, 18!!.
Panton, }., , Ward and Downey, London, 1888.
Parker, Barry and Unwin, Raymond, , Long-
mans, London, 101.
Parker, Charles, -, }ames Carpenter and Son, London,
18!!!1.
Pevsner, Nikolaus, Sir, -
, Clarendon, Oxord, 17!.
- - -, with an
introduction by Edward }oy, Antique Collectors Club, Suolk, 177.
Porter, Roy, - , Penguin Books Ltd,
Middlesex, 18!.
Powell, C.G., - - -
, Methuen, London and New York, 18!.
Pugin, A.W. N, -- 18!6, reprinted by Leicester University Press,
16, introduction by H-R.Hitchcock.
Reid, Aileen, - ,
Brentham Heritage Society, London, !000.
Richardson, C.}. - -- -- - - , Atchley,
London, 1870.
Richardson, Ruth and 1horne, Robert, --
, 1he Builder Group and Hutton and Rostron, in associ-
ation with Institute o Historical Research, University o London, 1!.
Robertson, E. Graeme, and Robertson, }oan, - , 1hames
and Hudson, London, 1! edition.
Robinson, Peter Frederick, - --
-, 18!! and later editions.
Routh, Guy, - , 1he
Macmillan Press Ltd, London, 187.
Rubenstein, David, -, David and Charles, Newton Abbot,
17!.
Ruskin, }ohn, - , 18!, reprinted by Dover
Publications, New York, 18.
Ruskin, }ohn, - , 181!, reprinted by Penguin Books,
London, !001.
--
Saint, Andrew, , Paul Mellon Centre, Yale Univer-
sity Press, New Haven and London, 176.
Sambrook, }ohn, -, Chatto and Windus, London 18.
Service, Alastair, , 1hames and Hudson, London,
177.
Shaw, Henry, - , 18!!.
Shaw, Richard Norman, - - -,
Lascelles, 1878.
Simo, M.L., -, Yale University Press, New Haven
and London, 188.
Simpson, M.A. and Lloyd, 1.H., -- - , David
and Charles, Newton Abbott, 177.
Skinner, D.S. and van Lemmen, Hans, - , City
Museum and Art Gallery, Stoke on 1rent, 18!.
Snodin, Michael and Howard, Maurice, -
, Yale University Press, in association with Victoria and Albert
Museum, New Haven and London, 16.
Soros, Susan Weber, -
-, Yale University Press, New Haven and London, 1.
Spain, Nancy, - -, Collins, London, 1!8.
Stevenson, }. }., - , Macmillan, London, 1880.
Stratton, Michael, , Victor Gollancz, London, 1!.
Summerson, }ohn, ed., ---
- - - -, Allen Lane, London, 168.
Summerson, }ohn, -, 1hames and Hudson,
London, 10.
Summerson, }ohn, , Penguin books, London, 11.
Sutclie, G.L., - - -,
Gresham, London, 188.
1arbuck, E.L.{, - , Hagger, London, 188.
1emple, Nigel, - -, Alan Sutton,
Gloucester, 17.
- ---, Dover Publications, New York,
170, introduction by }ohn Gloag.
- -, Studio Editions, Lon-
don 1!, introduced by Stephen Calloway.
- , Sidgewick and }ackson,
London 10, oreword by Peter Howell.
1horne, Robert, Building Bridges. George Godwin and Architectural
}ournalism, in Gordon Marsden (ed), -, Longman,
London, 18, 116!6.
1hornton, Peter, - ,
Weideneld and Nicholson, London, 1!.
1wyman, Michael, - -
-, 1he British Library, London, 18.
Walker, Philip, - - -,
Studio Editions, London, 1!.
Walkling, Gillian, , Bell and Hyman Limited,
London, 17.
Webster, 1., and Parkes, Mrs W., -
, London, 18!!.
Weinreb, Ben and Hibbert, Christopher, eds, ,
Pan Macmillan Publishers Ltd, London, 1! edition.
Wrightson, Priscilla, - -, B. Weinreb Architectural
Books Ltd., London, 177.
Yeomans, David 1., Early Carpenters Manuals 1!18!0,
- - , volume !, 186, 1!!!.

1his Page Intentionally Let Blank
Ackermann, Rudolph 1!, 1, !, 7!,
10
Adam, Robert !1
- !1
Aesthetic movement 88, !!
Aquatint 1, !!
Architectural Association, oundation
o !
, 1!1!
, 7!
Architectural treatises !1
Architecture, ormalization o
proession !
Arrowsmith, H.W. A. 8!
- -
8!
Art at Home series 10, !!
Artisans and Labourers General
Dwellings Company !
Artists houses 11!
Arts and Crats
houses 8
movement 116
Audsley, George Ashdown and
William }ames !, 6

!
!
Austin, William !
Balconies 7!
Balcony designs 10!
Balluster designs 10!
Barnard, Bishop and Barnard 100, 10!,
11!, 11!
Bartholomew, Alred 78
-
78
Baths 107
Batsord 1!
Bay window display 1
Bedord Park 8, 6!, 6!, 6, 11!
Beetons, Mrs -
8
Benn, }. Williams 116
116
Bieleeld, Charles Frederick 8
Blackburne, Edward Lushington !,
81
!
-- - --
-
81
Blackie Son 11, 1!, , 7!, 6
- --- 7!

Blaise Hamlet 61
Bogue, }.W. !
- !
Book production costs, cutting 1!1!
Bookbinding 11
Booth, Charles 18
18
Brackets 8!
Brick 1ax, repeal o !!
Brickwork patterns 8!
Brookes, S.H. !, !0!1, !, 68
--
!, , !0
- 67
Brown, Richard !1!!
- !1!!
, 1, 18, !, !, 0, 78,
11111!
- , 116
Builders
as superior artisan !
merchants !, 10!
Building
Acts 76
journals 18
materials, supply o !
trades, growth o !
works, measuring 7778

-, !, 0, 11111!,
11!
Burn, Robert Scott !, 818!
818!
-
!
-
- 81
, 116, 117, 118
Cardi
Carpenters !
Carpentry 81
manuals !!
Cassells
- 80,
6
- 1!
Cassell, }ohn 1!
Ceiling enrichments 7!
Chambers,William !1
- !1
Cheap Wood Company, 1he 10!
Chippendale, 1homas 7
Chromolithography 1617, !!, !,
100
Clarke, W.S. !
Coadestone 8
Collis, }ames 1, !!0
-
1, !!0
Continental inuences 6
Copper plate engraving 1!1!
Cornice designs 108, 116
Cottage orne 7
Cottingham, L.N. 717!
-
717!
Crunden, }ohn !!

!!
Cubitt,1homas !, !
Curtain arrangements 8, 118
Cutler, 1homas 6, 66, 7
Cyartha Castle !6
Davidson, E.A. 8!
-
8!
Day, Lewis F. 1!
Decorators 8!
Doorways 10!
Downing, A.}. !7, !
Dresser, Christopher 776
- - 776
Eastlake, Charles 0!
- - -
0!
Edis, R.W. !
Eighteenth century architectural books
111!
Elizabethan style !!,
Elsam, Richard 7778
-
7778
Engraving 1!
Estates o houses !
-, 110
Fanlights 8
Fences 7!
Firegrates 100, 11!
Fireplaces 7!, 0
Floor tiles 106
Foundations 88
Fountain design 10
Freake, Charles !
Freizes 116
Furniture 7!7!, 117
Gandy, }.M. !!
Garden design !!6
Gardening 0, 1
Gate lodge design !0
Gates 101
Gibbs, }ames !1
!1
- -
!!
Goodwin, Francis !7
- !7!
Gothic
interior scheme !1
Revival
Revivalist Edmund Street 61
Gray, Charles 6
Great Exhibition o 181: 8
Grecian mouldings 80
Grecian villa !0, !, 8
Halpenny, William !!
-
!!
-
!!
!!
--
-- !!
Hambridge, Charles 6
Hand colouring 1!
--
Harding, }.D. 16, !8, 61
Haweis, Mrs !
!
Hay, D.R. 8!
Hellyer, S.S. 1!, 87
Hibberd, Shirley 0
- - -
- 0
Hine, 1homas 8
Home manuals 886
Hood, Charles 1
-
- 1
Hope, 1homas 7!7!
-
7!7!
Houses, numbers o !, !
Hullmandel, C.}. 1, 16, !8
Hunt, 1homas Frederick !1
-
!1
- 11!,
11!
Illustrations
cost o 11
techniques 1!18
Institute o British Architects,
oundation o !
Interior
decoration, rst use o term
7!7!
ttings 7!
International Health Exhibition o
188!: 88
Ironwork 717!, 100
Italian
lodge !, 7
villa 6!
Italianate style 7, !7, !7, 6, 81
}acobean style 6,
}apanese inuence 776, 117
}ones, Owen 1617
16
}ournals 11011!
Kellys price book 76, 77
Kendall, Henry 7
Kerr, Robert 0, 1
1! principles o planning !
- -
- 0
Laing, David !!
Langley, Batty !!
- !!
-
- - --
!!
Lascelles, W.H. 6!
- -
- 6!
Laxton, William 77
Library, design or !0
Lithography 116
Lotie, W.}. 10, 11
10
London !!, 6, 1!, !!, !, !6, 61, 67,
8, !, !
Loudon, }ane 0
-
0
Loudon, }ohn Claudius !!6, !8, !0,
7!, 7!7!, 111
!, 7!, 111

!6, !7, !,
7!, 7!

!!6
Louis XIV style 7!
Lugar, Robert !6
!6
Macarlanes
catalogue 100
designs 101, 10!
premises 101
Magazine publishing 10110
circulation 1!
Mantel-piece shelves !
Manuals, publishers o 1!
Marvel, I. 61
61
Millar, William 8!
- 8!
Mintons 100
Moorish urniture 117
Morris, 1homas , 60
- -
Morris, William 116
Moulding machine !
Murphy, Shirley Foster !, 6!, 6, 88
Nash, }ohn !, 61, 7!
Neoclassicism 7!7!
Neseld, Eden W. 61
-
6!

Nicholson, Peter 1, 7880
-
- -
1
- 787

- 7
Norman !, !1
Nottingham 8,
Numbers 1rade 1!, 7!
Optimus valve closet 87
Ornament, Victorian 776
Ornaments 8
Osbourne House !!, !!
Pain, William 1!, !!
Panton, Mrs !
Paperhangings 10
Papier mche designs 8
Papworth, }.B. !
-- !
Parker and Unwin !
!, 6
Parker, Barry 6
Parker, Charles !1!!
- !1!!
Parsonages
Periodical publishing 1!
Plaster moulding 86
Plastering 8!
Plaw, }ohn !!, !!
- !!
Plumbing 87
Pocock, W.F. 7!
-- - 7!
Population in Victorian Britain !
Price books 7678
Price, Francis !!
Priestly and Weale 1!
Print runs 1!, 80
Publication titles, increase in demand
or 11
Pugin, A.C. !!, 7!, 10
-
- !!
7!
Pugin, A.W.N. 1, !!!, !, 61, 7!
- -- 1,
!
1617

!
- -
1!, !!
Queen Anne houses 8, 616!, 6, 67,
7
Reading and writing, growth o 11
Ready-made components, availability
o !
Renaissance style 117
Repository o the Arts 10
Richardson, C.}. 1, 6!
-- 1
- -- 61
Robinson, Peter Frederick 1, 8, !7, !8,
!1
-- -
!
-
1
!7
Room schemes !
Roumieu Gough, Charles and Hugh
6
Ruling machines 1!
Rural Italianate houses 6, 8, !1
Ruskin, }ohn !!, 116
-
!!
- !!
Samuel Hemming !7!8
-- - --
-- !7!8
Sanitation and hygiene 88
Scotch Baronial !
Scotch house design 6
Semi-detached houses 7, 11
Seneelder, Alois 1
Services o the house !, 88
Shaw, Henry 1617, !!, !!, 6!, 6!,
7!
-
!!
1617
-
7!
Shaw, Richard Norman 61
Sheraton,1homas 7!
7!
Small house design 11!, 11
Soane, }ohn 1
Spicer, }ohn !
Stained glass design 17
Stevenson, }.}. 667
- 6
String courses 10!
Subscription 1!
--
Suburban
houses
design or garden !6
small !, !
villa, growth o !!0
Suburbia, beginning o !
Suburbs, early Victorian
Sutclie, G. Lister 88
-
- - 88
Swags and panels 10!
Swiss
chalet !7, !1, !!, !
villa 8, !0, !
Sylvias Home Help Series 6
1albert, Bruce }. 7!
-
7
- 7
1arbuck, Edward Lance !!!
-
!!!
1aylor, I. }. 1!1!
1erracotta 10!
1homson, Alexander 8
1orquay 8
1rade catalogue or the building trades
710
1rades, increase in new !
1ravel, eect on style !1!!
1redgold, 1homas 8081
-
8081
1rendall, Edward William !!6, 7!
- -- 7!
-- -
- !!6
1ruett, George 6, 7, 8
1udor architecture !7, !1
1udor style , 6, !7, !
Unwin, Raymond 6
Verandahs 7!
Victorian eclecticism 6
Victorian interiors, orming the look o
7!7!
Villa and cottage books !!, !6
Walsh, }.H. 8
- 8
Ware, Isaac !1
!1
Weale 1!, !!, !6
-- - -
- -- !6
Wedgewood 7
Whittock, Nathanial 8!
- - 8!
Wickes, C. !7!
Window
gardening 1
guards 7!
Windows 11!
Wood engraving 1
Woodworking machines !
Wright, }ulia McNair 10
10
Wyke, }ohn 7
Young and Marten 17, 10!, 106, 107

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