Neo-Gothic Architecture in Britain

 

   1.  Charles Robert Cockerell, (1788-1863), Killerton House, 1 2 3   

   2. William James Burges, (1827-1881), Knightshayes House, 1 (interior view) 2

   3. G. E. Street, St. Peter's church, Treverbyn, windows 1 2 3 4

   4. St. Piran's cloister garden, Redruth, 1

   5. Thomas Dyke Acland, (1787-1871), church at Columb John, 1 2 3

   6.  Robert Smirke, (1780-1867), Eastnor Castle  1 2 3

   7.  George Edmund Street, (1824-1881), St. Andrew's church, Toddington,  1 2 3 4

   8.  Edward Law, Second Baron Ellenborough, (1790-1871),

        church of the Ascension, Southam, 1 2 3 and  Southam  House,  1 2

   9. James Wyatt, (1746-1813), Broadway Tower 1

  10. Harvey Eginton, (1808-1849), St. Michael and All Angels church, Broadway,  1

  11.  Gibert Blount, (1860-1868), St. Peter's Church, Gloucester, 1

     

    The Neo-Gothic period is generally thought to be a departure from neoclassicism, and strongly associated with medieval English buildings.. However, in the designs at Killerton House, we see the influence of Italian and French medieval architecture. The rose window is reminiscent of the wheel window form used at, for example, Tuscania. The chevet design can be traced to its use in France, as in the at chapel St. Benoit sur Loire, and in the Romanesque windows, which derive from the Norman period, for example at Morienval, see the page curveline. The style at Knightshayes House is more typical of the period, with its use of trefoils, a defining characteristic of the Early English style. Burges was heavily influenced by Pugin and Thomas Rickman, who wrote the famous
Attempt to Discriminate the Styles of English Architecture (1817). Castles also drew on medieval themes, for example at Eastnor, we can see the use of 3 shafts, a Norman innovation, possibly with Anglo-Saxon influence, the tower at Broadway also has 3 turrets. At St. Peter's in Gloucester, we can again see the use of trefoils, in a manner reminiscent of the medieval rose window at Alatri, Italy.