Tudor Revival architecture

The Tudor Revival architecture of the 20th century (commonly called mock Tudor in the UK) first manifested itself in domestic architecture beginning in the United Kingdom in the mid to late 19th century based on a revival of aspects of Tudor style. It later became an influence in some other countries, especially the British colonies. For example, in New Zealand, the architect Francis Petre adapted the style for the local climate. Elsewhere in Singapore, then a British colony, architects such as R. A. J. Bidwell pioneered what became known as the Black and White House. The earliest examples of the style originate with the works of such eminent architects as Norman Shaw and George Devey, in what at the time was thought of as a neo-Tudor design.

Tudorbethan represents a subset of Tudor revival architecture; the word is modelled on John Betjeman's 1933 coinage of the "Jacobethan" style, which he used to describe the grand mixed revival style of circa 1835–1885 that had been called things like "Free English Renaissance". "Tudorbethan" took it a step further, eliminated the hexagonal or many-faceted towers and mock battlements of Jacobethan, and applied the more domestic styles of "Merrie England", which were cosier and quaint. Outside of North America, Tudorbethan is also used synonymously with Tudor revival and mock Tudor.

Tudor

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Tudor architecture

The Tudor architectural style is the final development of Medieval architecture in England, during the Tudor period (1485–1603) and even beyond. It followed the Perpendicular style and, although superseded by Elizabethan architecture in domestic building of any pretensions to fashion, the Tudor style long retained its hold on English taste. Nevertheless, 'Tudor style' is an awkward style-designation, with its implied suggestions of continuity through the period of the Tudor dynasty and the misleading impression that there was a style break at the accession of Stuart James I in 1603.

The four-centered arch, now known as the Tudor arch, was a defining feature. Some of the most remarkable oriel windows belong to this period. Mouldings are more spread out and the foliage becomes more naturalistic. During the reigns of Henry VIII and Edward VI, many Italian artists arrived in England; their decorative features can be seen at Hampton Court, Layer Marney Tower, Sutton Place, and elsewhere. However, in the following reign of Elizabeth I, the influence of Northern Mannerism, mainly derived from books, was greater. Courtiers and other wealthy Elizabethans competed to built prodigy houses that proclaimed their status.