Georgian architecture is the name given in most English-speaking countries to the set of architectural styles current between 1714 and 1830. It is eponymous for the first four British monarchs of the House of Hanover—George I, George II, George III, and George IV—who reigned in continuous succession from August 1714 to June 1830. The style was revived in the late 19th century in the United States as Colonial Revival architecture and in the early 20th century in Great Britain as Neo-Georgian architecture; in both it is also called Georgian Revival architecture. In the United States the term "Georgian" is generally used to describe all buildings from the period, regardless of style; in Britain it is generally restricted to buildings that are "architectural in intention",and have stylistic characteristics that are typical of the period, though that covers a wide range.
An architectural style is characterized by the features that make a building or other structure notable or historically identifiable. It is a sub-class of style in the visual arts generally, and most styles in architecture related closely to the wider contemporary artistic style. A style may include such elements as form, method of construction, building materials, and regional character. Most architecture can be classified within a chronology of styles which changes over time reflecting changing fashions, beliefs and religions, or the emergence of new ideas, technology, or materials which make new styles possible.
A namesake is a person, geographic location, building, or other entity named after another entity that first had the name, which is the eponym. It is normally the entity that's the later 'recipient' of the name, rather than the 'giver'.
The monarchy of the United Kingdom, commonly referred to as the British monarchy, is the constitutional monarchy of the United Kingdom, its dependencies and its overseas territories. The current monarch and head of state is Queen Elizabeth II, who ascended the throne in 1952.
The Georgian style is highly variable, but marked by symmetry and proportion based on the classical architecture of Greece and Rome, as revived in Renaissance architecture. Ornament is also normally in the classical tradition, but typically restrained, and sometimes almost completely absent on the exterior. The period brought the vocabulary of classical architecture to smaller and more modest buildings than had been the case before, replacing English vernacular architecture (or becoming the new vernacular style) for almost all new middle-class homes and public buildings by the end of the period.
Classical architecture usually denotes architecture which is more or less consciously derived from the principles of Greek and Roman architecture of classical antiquity, or sometimes even more specifically, from the works of the Roman architect Vitruvius. Different styles of classical architecture have arguably existed since the Carolingian Renaissance, and prominently since the Italian Renaissance. Although classical styles of architecture can vary greatly, they can in general all be said to draw on a common "vocabulary" of decorative and constructive elements. In much of the Western world, different classical architectural styles have dominated the history of architecture from the Renaissance until the second world war, though it continues to inform many architects to this day.
The architecture of ancient Greece is the architecture produced by the Greek-speaking people whose culture flourished on the Greek mainland, the Peloponnese, the Aegean Islands, and in colonies in Anatolia and Italy for a period from about 900 BC until the 1st century AD, with the earliest remaining architectural works dating from around 600 BC.
Renaissance architecture is the European architecture of the period between the early 14th and early 16th centuries in different regions, demonstrating a conscious revival and development of certain elements of ancient Greek and Roman thought and material culture. Stylistically, Renaissance architecture followed Gothic architecture and was succeeded by Baroque architecture. Developed first in Florence, with Filippo Brunelleschi as one of its innovators, the Renaissance style quickly spread to other Italian cities. The style was carried to France, Germany, England, Russia and other parts of Europe at different dates and with varying degrees of impact.
Georgian architecture is characterized by its proportion and balance; simple mathematical ratios were used to determine the height of a window in relation to its width or the shape of a room as a double cube. Regularity, as with ashlar (uniformly cut) stonework, was strongly approved, imbuing symmetry and adherence to classical rules: the lack of symmetry, where Georgian additions were added to earlier structures remaining visible, was deeply felt as a flaw, at least before Nash began to introduce it in a variety of styles.Regularity of housefronts along a street was a desirable feature of Georgian town planning. Until the start of the Gothic Revival in the early 19th century, Georgian designs usually lay within the Classical orders of architecture and employed a decorative vocabulary derived from ancient Rome or Greece.
Ashlar is finely dressed stone, either an individual stone that was worked until squared or the structure built from it. Ashlar is the finest stone masonry unit, generally rectangular cuboid, mentioned by Vitruvius as opus isodomum, or less frequently trapezoidal. Precisely cut "on all faces adjacent to those of other stones", ashlar is capable of very thin joints between blocks, and the visible face of the stone may be quarry-faced or feature a variety of treatments: tooled, smoothly polished or rendered with another material for decorative effect.
An order in architecture is a certain assemblage of parts subject to uniform established proportions, regulated by the office that each part has to perform. Coming down to the present from Ancient Greek and Ancient Roman civilization, the architectural orders are the styles of classical architecture, each distinguished by its proportions and characteristic profiles and details, and most readily recognizable by the type of column employed. The three orders of architecture—the Doric, Ionic, and Corinthian—originated in Greece. To these the Romans added, in practice if not in name, the Tuscan, which they made simpler than Doric, and the Composite, which was more ornamental than the Corinthian. The architectural order of a classical building is akin to the mode or key of classical music; the grammar or rhetoric of a written composition. It is established by certain modules like the intervals of music, and it raises certain expectations in an audience attuned to its language.
In towns, which expanded greatly during the period, landowners turned into property developers, and rows of identical terraced houses became the norm.Even the wealthy were persuaded to live in these in town, especially if provided with a square of garden in front of the house. There was an enormous amount of building in the period, all over the English-speaking world, and the standards of construction were generally high. Where they have not been demolished, large numbers of Georgian buildings have survived two centuries or more, and they still form large parts of the core of cities such as London, Edinburgh, Dublin, Newcastle upon Tyne and Bristol.
In architecture and city planning, a terrace or terrace house (UK) or townhouse (US) is a form of medium-density housing that originated in Europe in the 16th century, whereby a row of attached dwellings share side walls. They are also known in some areas as row houses or row homes.
A garden square is a type of communal garden in an urban area wholly or substantially surrounded by buildings and, commonly, continues to be applied to public and private parks formed after such a garden becomes accessible to the public at large. The archetypal garden square is surrounded by tall terraced houses and other types of townhouse. It is subtly distinguished from a public-access version throughout the existence of the square – the town square. Due to its inherent private history it may have a pattern of dedicated footpaths and tends to have considerably more plants than hard surfaces and/or large monuments.
London is the capital and largest city of England and the United Kingdom. Standing on the River Thames in the south-east of England, at the head of its 50-mile (80 km) estuary leading to the North Sea, London has been a major settlement for two millennia. Londinium was founded by the Romans. The City of London, London's ancient core − an area of just 1.12 square miles (2.9 km2) and colloquially known as the Square Mile − retains boundaries that follow closely its medieval limits. The City of Westminster is also an Inner London borough holding city status. Greater London is governed by the Mayor of London and the London Assembly.
The period saw the growth of a distinct and trained architectural profession; before the mid-century "the high-sounding title, 'architect' was adopted by anyone who could get away with it".This contrasted with earlier styles, which were primarily disseminated among craftsmen through the direct experience of the apprenticeship system. But most buildings were still designed by builders and landlords together, and the wide spread of Georgian architecture, and the Georgian styles of design more generally, came from dissemination through pattern books and inexpensive suites of engravings. Authors such as the prolific William Halfpenny (active 1723–1755) had editions in America as well as Britain.
A design is a plan or specification for the construction of an object or system or for the implementation of an activity or process, or the result of that plan or specification in the form of a prototype, product or process. The verb to design expresses the process of developing a design. In some cases, the direct construction of an object without an explicit prior plan may also be considered to be a design activity. The design usually has to satisfy certain goals and constraints, may take into account aesthetic, functional, economic, or socio-political considerations, and is expected to interact with a certain environment. Major examples of designs include architectural blueprints, engineering drawings, business processes, circuit diagrams, and sewing patterns.
Engraving is the practice of incising a design onto a hard, usually flat surface by cutting grooves into it with a burin. The result may be a decorated object in itself, as when silver, gold, steel, or glass are engraved, or may provide an intaglio printing plate, of copper or another metal, for printing images on paper as prints or illustrations; these images are also called "engravings". Engraving is one of the oldest and most important techniques in printmaking. Wood engraving is a form of relief printing and is not covered in this article.
William Halfpenny was an English architect and builder in the first half of the 18th century, and prolific author of builder's pattern books. In some of his publications he described himself as "architect and carpenter", and his books concentrate on the practical information a builder would need, as well as addressing "gentleman draughtsmen" designing their own houses. They were a popular alternative to the very expensive architectural treatises by British authors such as Colen Campbell and James Gibbs, or foreigners such as Serlio or Palladio. He also wrote under the name of Michael Hoare.
A similar phenomenon can be seen in the commonality of housing designs in Canada and the United States (though of a wider variety of styles) from the 19th century down to the 1950s, using pattern books drawn up by professional architects that were distributed by lumber companies and hardware stores to contractors and homebuilders.
From the mid-18th century, Georgian styles were assimilated into an architectural vernacular that became part and parcel of the training of every architect, designer, builder, carpenter, mason and plasterer, from Edinburgh to Maryland.
Georgian succeeded the English Baroque of Sir Christopher Wren, Sir John Vanbrugh, Thomas Archer, William Talman, and Nicholas Hawksmoor; this in fact continued into at least the 1720s, overlapping with a more restrained Georgian style. The architect James Gibbs was a transitional figure, his earlier buildings are Baroque, reflecting the time he spent in Rome in the early 18th century, but he adjusted his style after 1720.Major architects to promote the change in direction from baroque were Colen Campbell, author of the influential book Vitruvius Britannicus (1715–1725); Richard Boyle, 3rd Earl of Burlington and his protégé William Kent; Isaac Ware; Henry Flitcroft and the Venetian Giacomo Leoni, who spent most of his career in England.
Other prominent architects of the early Georgian period include James Paine, Robert Taylor, and John Wood, the Elder. The European Grand Tour became very common for wealthy patrons in the period, and Italian influence remained dominant,though at the start of the period Hanover Square, Westminster (1713 on), developed and occupied by Whig supporters of the new dynasty, seems to have deliberately adopted German stylistic elements in their honour, especially vertical bands connecting the windows.
The styles that resulted fall within several categories. In the mainstream of Georgian style were both Palladian architecture—and its whimsical alternatives, Gothic and Chinoiserie, which were the English-speaking world's equivalent of European Rococo. From the mid-1760s a range of Neoclassical modes were fashionable, associated with the British architects Robert Adam, James Gibbs, Sir William Chambers, James Wyatt, George Dance the Younger, Henry Holland and Sir John Soane. John Nash was one of the most prolific architects of the late Georgian era known as The Regency style, he was responsible for designing large areas of London.Greek Revival architecture was added to the repertory, beginning around 1750, but increasing in popularity after 1800. Leading exponents were William Wilkins and Robert Smirke.
In Britain brick or stone are almost invariably used;brick is often disguised with stucco. In America and other colonies wood remained very common, as its availability and cost-ratio with the other materials was more favourable. Raked roofs were mostly covered in earthenware tiles until Richard Pennant, 1st Baron Penrhyn led the development of the slate industry in Wales from the 1760s, which by the end of the century had become the usual material.
Versions of revived Palladian architecture dominated English country house architecture. Houses were increasingly placed in grand landscaped settings, and large houses were generally made wide and relatively shallow, largely to look more impressive from a distance. The height was usually highest in the centre, and the Baroque emphasis on corner pavilions often found on the continent generally avoided. In grand houses, an entrance hall led to steps up to a piano nobile or mezzanine floor where the main reception rooms were. Typically the basement area or "rustic", with kitchens, offices and service areas, as well as male guests with muddy boots,came some way above ground, and was lit by windows that were high on the inside, but just above ground level outside. A single block was typical, with perhaps a small court for carriages at the front marked off by railings and a gate, but rarely a stone gatehouse, or side wings around the court.
Windows in all types of buildings were large and regularly placed on a grid; this was partly to minimize window tax, which was in force throughout the period in the United Kingdom. Some windows were subsequently bricked-in. Their height increasingly varied between the floors, and they increasingly began below waist-height in the main rooms, making a small balcony desirable. Before this the internal plan and function of the rooms can generally not be deduced from the outside. To open these large windows the sash window, already developed by the 1670s, became very widespread.Corridor plans became universal inside larger houses.
Internal courtyards became more rare, except beside the stables, and the functional parts of the building were placed at the sides, or in separate buildings nearby hidden by trees. The views to and from the front and rear of the main block were concentrated on, with the side approaches usually much less important. The roof was typically invisible from the ground, though domes were sometimes visible in grander buildings. The roofline was generally clear of ornament except for a balustrade or the top of a pediment.Columns or pilasters, often topped by a pediment, were popular for ornament inside and out, and other ornament was generally geometrical or plant-based, rather than using the human figure.
Inside ornament was far more generous, and could sometimes be overwhelming.The chimneypiece continued to be the usual main focus of rooms, and was now given a classical treatment, and increasingly topped by a painting or a mirror. Plasterwork ceilings, carved wood, and bold schemes of wallpaint formed a backdrop to increasingly rich collections of furniture, paintings, porcelain, mirrors, and objets d'art of all kinds. Wood-panelling, very common since about 1500, fell from favour around the mid-century, and wallpaper included very expensive imports from China.
Smaller houses in the country, such as vicarages, were simple regular blocks with visible raked roofs, and a central doorway, often the only ornamented area. Similar houses, often referred to as "villas" became common around the fringes of the larger cities, especially London,and detached houses in towns remained common, though only the very rich could afford them in central London.
In towns even most better-off people lived in terraced houses, which typically opened straight onto the street, often with a few steps up to the door. There was often an open space, protected by iron railings, dropping down to the basement level, with a discreet entrance down steps off the street for servants and deliveries; this is known as the "area".This meant that the ground floor front was now removed and protected from the street and encouraged the main reception rooms to move there from the floor above. Where, as often, a new street or set of streets was developed, the road and pavements were raised up, and the gardens or yards behind the houses at a lower level, usually representing the original one.
Town terraced houses for all social classes remained resolutely tall and narrow, each dwelling occupying the whole height of the building. This contrasted with well-off continental dwellings, which had already begun to be formed of wide apartments occupying only one or two floors of a building; such arrangements were only typical in England when housing groups of batchelors, as in Oxbridge colleges, the lawyers in the Inns of Court or The Albany after it was converted in 1802.In the period in question, only in Edinburgh were working-class purpose-built tenements common, though lodgers were common in other cities. A curving crescent, often looking out at gardens or a park, was popular for terraces where space allowed. In early and central schemes of development, plots were sold and built on individually, though there was often an attempt to enforce some uniformity, but as development reached further out schemes were increasingly built as a uniform scheme and then sold.
The late Georgian period saw the birth of the semi-detached house, planned systematically, as a suburban compromise between the terraced houses of the city and the detached "villas" further out, where land was cheaper. There had been occasional examples in town centres going back to medieval times. Most early suburban examples are large, and in what are now the outer fringes of Central London, but were then in areas being built up for the first time. Blackheath, Chalk Farm and St John's Wood are among the areas contesting being the original home of the semi.Sir John Summerson gave primacy to the Eyre Estate of St John's Wood. A plan for this exists dated 1794, where "the whole development consists of pairs of semi-detached houses, So far as I know, this is the first recorded scheme of the kind". In fact the French Wars put an end to this scheme, but when the development was finally built it retained the semi-detached form, "a revolution of striking significance and far-reaching effect".
Until the Church Building Act of 1818, the period saw relatively few churches built in Britain, which was already well-supplied,although in the later years of the period the demand for Non-conformist and Roman Catholic places of worship greatly increased. Anglican churches that were built were designed internally to allow maximum audibility, and visibility, for preaching, so the main nave was generally wider and shorter than in medieval plans, and often there were no side-aisles. Galleries were common in new churches. Especially in country parishes, the external appearance generally retained the familiar signifiers of a Gothic church, with a tower or spire, a large west front with one or more doors, and very large windows along the nave, but all with any ornament drawn from the classical vocabulary. Where funds permitted, a classical temple portico with columns and a pediment might be used at the west front. Decoration inside was very limited, but churches filled up with monuments to the prosperous.
In the colonies new churches were certainly required, and generally repeated similar formulae. British Non-conformist churches were often more classical in mood, and tended not to feel the need for a tower or steeple.
The archetypical Georgian church is St Martin-in-the-Fields in London (1720), by Gibbs, who boldly added to the classical temple façade at the west end a large steeple on top of a tower, set back slightly from the main frontage. This formula shocked purists and foreigners, but became accepted and was very widely copied, at home and in the colonies,for example at St Andrew's Church, Chennai in India.
The 1818 Act allocated some public money for new churches required to reflect changes in population, and a commission to allocate it. Building of Commissioners' churches gathered pace in the 1820s, and continued until the 1850s. The early churches, falling into the Georgian period, show a high proportion of Gothic Revival buildings, along with the classically inspired.
Public buildings generally varied between the extremes of plain boxes with grid windows and Italian Late Renaissance palaces, depending on budget. Somerset House in London, designed by Sir William Chambers in 1776 for government offices, was as magnificent as any country house, though never quite finished, as funds ran out.Barracks and other less prestigious buildings could be as functional as the mills and factories that were growing increasingly large by the end of the period. But as the period came to an end many commercial projects were becoming sufficiently large, and well-funded, to become "architectural in intention", rather than having their design left to the lesser class of "surveyors".
Georgian architecture was widely disseminated in the English colonies during the Georgian era. American buildings of the Georgian period were very often constructed of wood with clapboards; even columns were made of timber, framed up, and turned on an oversized lathe. At the start of the period the difficulties of obtaining and transporting brick or stone made them a common alternative only in the larger cities, or where they were obtainable locally. Dartmouth College, Harvard University, and the College of William and Mary, offer leading examples of Georgian architecture in the Americas.
Unlike the Baroque style that it replaced, which was mostly used for palaces and churches, and had little representation in the British colonies, simpler Georgian styles were widely used by the upper and middle classes. Perhaps the best remaining house is the pristine Hammond-Harwood House (1774) in Annapolis, Maryland, designed by the colonial architect William Buckland and modelled on the Villa Pisani at Montagnana, Italy as depicted in Andrea Palladio's I quattro libri dell'architettura ("Four Books of Architecture").
After independence, in the former American colonies, Federal style architecture represented the equivalent of Regency architecture, with which it had much in common.
In Australia, the Old Colonial Georgian residential and non-residential styles were developed in the period from c. 1810 – c. 1840.
After about 1840, Georgian conventions were slowly abandoned as a number of revival styles, including Gothic Revival, that had originated in the Georgian period, developed and contested in Victorian architecture, and in the case of Gothic became better researched, and closer to their originals. Neoclassical architecture remained popular, and was the opponent of Gothic in the Battle of the Styles of the early Victorian period. In the United States the Federalist Style contained many elements of Georgian style, but incorporated revolutionary symbols.
In the early decades of the twentieth century when there was a growing nostalgia for its sense of order, the style was revived and adapted and in the United States came to be known as the Colonial Revival. In Canada the United Empire Loyalists embraced Georgian architecture as a sign of their fealty to Britain, and the Georgian style was dominant in the country for most of the first half of the 19th century. The Grange, for example, a manor built in Toronto, was built in 1817. In Montreal, English born architect John Ostell worked on a significant number of remarkable constructions in the Georgian style such as the Old Montreal Custom House and the Grand séminaire de Montréal.
The revived Georgian style that emerged in Britain at the beginning of the 20th century is usually referred to as Neo-Georgian; the work of Edwin Lutyens includes many examples. Versions of the Neo-Georgian style were commonly used in Britain for certain types of urban architecture until the late 1950s, Bradshaw Gass & Hope's Police Headquarters in Salford of 1958 being a good example. In both the United States and Britain, the Georgian style is still employed by architects like Quinlan Terry Julian Bicknell and Fairfax and Sammons for private residences.
The architecture of cathedrals, basilicas and abbey churches is characterised by the buildings' large scale and follows one of several branching traditions of form, function and style that all ultimately derive from the Early Christian architectural traditions established in the Constantinian period.
Gothic Revival is an architectural movement popular in the Western world that began in the late 1740s in England. Its momentum grew in the early 19th century, when increasingly serious and learned admirers of neo-Gothic styles sought to revive medieval Gothic architecture, in contrast to the neoclassical styles prevalent at the time. Gothic Revival draws features from the original Gothic style, including decorative patterns, finials, lancet windows, hood moulds and label stops.
Regency architecture encompasses classical buildings built in the United Kingdom during the Regency era in the early 19th century when George IV was Prince Regent, and also to earlier and later buildings following the same style. The period coincides with the Biedermeier style in the German-speaking lands, Federal style in the United States and the French Empire style. Regency style is also applied to interior design and decorative arts of the period, typified by elegant furniture and vertically striped wallpaper, and to styles of clothing; for men, as typified by the dandy Beau Brummell, for women the Empire silhouette.
Victorian architecture is a series of architectural revival styles in the mid-to-late 19th century. Victorian refers to the reign of Queen Victoria (1837–1901), called the Victorian era, during which period the styles known as Victorian were used in construction. However, many elements of what is typically termed "Victorian" architecture did not become popular until later in Victoria's reign. The styles often included interpretations and eclectic revivals of historic styles. The name represents the British and French custom of naming architectural styles for a reigning monarch. Within this naming and classification scheme, it followed Georgian architecture and later Regency architecture, and was succeeded by Edwardian architecture.
Palladian architecture is a European style of architecture derived from and inspired by the designs of the Venetian architect Andrea Palladio (1508–1580). What is recognised as Palladian architecture today is an evolution of Palladio's original concepts. Palladio's work was strongly based on the symmetry, perspective and values of the formal classical temple architecture of the Ancient Greeks and Romans. From the 17th century Palladio's interpretation of this classical architecture was adapted as the style known as Palladianism. It continued to develop until the end of the 18th century.
The following outline is provided as an overview of and topical guide to classical architecture:
Rose window is often used as a generic term applied to a circular window, but is especially used for those found in churches of the Gothic architectural style that are divided into segments by stone mullions and tracery. The name "rose window" was not used before the 17th century and according to the Oxford English Dictionary, among other authorities, comes from the English flower name rose.
The architecture of England is the architecture of modern England and in the historic Kingdom of England. It often includes buildings created under English influence or by English architects in other parts of the world, particularly in the English and later British colonies and Empire, which developed into the Commonwealth of Nations.
The Italianate style of architecture was a distinct 19th-century phase in the history of Classical architecture.
In Great Britain and former British colonies, a Victorian house generally means any house built during the reign of Queen Victoria. During the Industrial Revolution, successive housing booms resulted in the building of many millions of Victorian houses which are now a defining feature of most British towns and cities.
Tudor Revival architecture first manifested itself in domestic architecture in the United Kingdom in the latter half of the 19th century. Based on revival of aspects that were perceived as Tudor architecture, in reality it usually took the style of English vernacular architecture of the Middle Ages that had survived into the Tudor period. The style later became an influence elsewhere, especially the British colonies. For example, in New Zealand, the architect Francis Petre adapted the style for the local climate. 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 Neo-Tudor design.
Scottish Baronial is an architectural style that developed during the 16th and 17th century and was revived in the 19th century. The style of the first period, the original Scottish Baronial style, was limited to small castles and tower houses in Scotland and Ulster. It introduced Renaissance elements to buildings that preserved many of the features of the Scottish medieval castles and tower houses. The style of the second period, the Scottish Baronial Revival, was considered a British national idiom and was widely used for public buildings, country houses, residences and follies throughout the British Empire.
Renaissance Revival architecture is a group of 19th century architectural revival styles which were neither Greek Revival nor Gothic Revival but which instead drew inspiration from a wide range of classicizing Italian modes. Under the broad designation "Renaissance architecture" nineteenth-century architects and critics went beyond the architectural style which began in Florence and central Italy in the early 15th century as an expression of Humanism; they also included styles we would identify as Mannerist or Baroque. Self-applied style designations were rife in the mid- and later nineteenth century: "Neo-Renaissance" might be applied by contemporaries to structures that others called "Italianate", or when many French Baroque features are present.
Australian architecture has generally been consistent with architectural trends in the wider Western world, with some special adaptations to compensate for distinctive Australian climatic and cultural factors. Indigenous Australians produced only semi-permanent structures from readily available material. During Australia's early Western history, it was a collection of British colonies in which architectural styles were strongly influenced by British designs. However, the unique climate of Australia necessitated adaptations, and 20th-century trends reflected the increasing influence of American urban designs and a diversification of the cultural tastes and requirements of an increasingly multicultural Australian society.
Australian residential architectural styles have evolved significantly over time, from the early days of structures made from relatively cheap and imported corrugated iron to more sophisticated styles borrowed from other countries, such as the Victorian style from the United Kingdom, the Georgian style from North America and Europe and the Californian bungalow from the United States. A common feature of the Australian home is the use of fencing in front gardens, also common in both the UK and the US.
Gothic Revival architecture in Canada is an historically influential style, with many prominent examples. The Gothic Revival was imported to Canada from Britain and the United States in the early 19th century, and rose to become the most popular style for major projects throughout the late 19th and early 20th centuries.
Federation architecture is the architectural style in Australia that was prevalent from around 1890 to 1915. The name refers to the Federation of Australia on 1 January 1901, when the Australian colonies collectively became the Commonwealth of Australia.
English Gothic is an architectural style originating in France, before then flourishing in England from about 1180 until about 1520.
Prodigy houses are large and showy English country houses built by courtiers and other wealthy families, either "noble palaces of an awesome scale" or "proud, ambitious heaps" according to taste. The prodigy houses stretch over the periods of Tudor, Elizabethan, and Jacobean architecture, though the term may be restricted to a core period of roughly 1570 to 1620. Many of the grandest were built with a view to housing Elizabeth I and her large retinue as they made their annual royal progress around her realm. Many are therefore close to major roads, often in the English Midlands.
Palazzo style refers to an architectural style of the 19th and 20th centuries based upon the palazzi (palaces) built by wealthy families of the Italian Renaissance. The term refers to the general shape, proportion and a cluster of characteristics, rather than a specific design; hence it is applied to buildings spanning a period of nearly two hundred years, regardless of date, provided they are a symmetrical, corniced, basemented and with neat rows of windows. "Palazzo style" buildings of the 19th century are sometimes referred to as being of Italianate architecture but this term is also applied to a much more ornate style, particularly of residences and public buildings.
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