Chaddesley Corbett, Worcestershire

Polite but pragmatic

The buildings that attract me are sometimes the ones that don’t quite obey all the rules. Here, for example, is an example of an early-18th century house with many of the standard features of Georgian domestic architecture: sash windows, symmetrically arranged, brickwork with stone quoins, keystones and sills, a canopy over the door supported on scrolled brackets. The central ‘blind’ window may have been blocked at some point in its history or may simply have always been like that – blind windows are not unusual in this kind of architecture, because they look more interesting than blank stretches of wall and keep up the rhythm of rectangles across the facade.

What’s not quite from the pattern-book of ‘polite’ 18th-century architecture is the roof line and the ‘extra’ upper window. More standard would be a very low-pitched roof hidden behind a parapet, the whole facade ending roughly at the level of the top of the quoins. However, here a higher-pitched roof leaves attic space beneath, and the attic is lit by the central window. This lonely sash window, with an expanse of blank brickwork and sloping parapets on either side, looks odd, but fulfils a practical purpose – the extra accommodation squeezed into the roof space.

The side elevation displays another oddity – the lintel of another doorway, subsequently blocked, is visible between the ground-floor windows. The removal of the doorway is clearly an alteration – and whether the surviving lintel looks awkward or charming is a matter of personal taste. Personally, I like it, for its charm and for the way it reveals a stage in the building’s history. The whole house, I think, is a pleasant-looking building, with a seasoning of quirkiness that makes it, to this viewer at least, all the more appetising.

Bath, Somerset

Windows on the world

Every time I go to Bath I marvel at its Georgian architecture. The way both individual buildings and the larger plan of the town, the sense of both architectural and urban space, have survived into the 21st century is simply glorious. And the place is very well looked after, so its survival looks secure.

There’s so much to see in a place like Bath that the eye doesn’t know where to look next. At one moment the visitor is trying to take in an entire sweeping terrace or crescent, the next focusing on some detail – a door surround, say, a carved street name, a bit of ironwork. All of which can make it easy to miss things, such as how some of these buildings, beautifully preserved though they are, have been altered over the years.

Look at these two houses, part of a sequence that steps its way majestically up Gay Street. Most of my readers will notice quickly one difference between them. The windows of the house on the left still have their small panes, four up and three across, while the windows on the right have been converted to plate glass. All expect for the small unregarded windows in the attic and basement – the ‘low status’ servant-haunted parts of the house, which the Victorians did not think worthy of clear, shiny, plate-glass windows.

Examine the right-hand house more closely and you’ll see another difference. The windows on the central floor are taller than those in the house on the left. And the left-hand house has a band of stone running beneath the widows at this level. This suggests that the Victorians made another change – they lowered the sills of their middle windows to make them taller, eliminating the stone band in the process, to give more emphasis to, and bring more light into, the principal rooms on this floor. This would have been a labour-intensive job, but it was quite often done in Bath.

One cold go on, of course. About the preserved shutters in the right-hand house, which are at odds with the opportunistic and unfortunate window blinds. And the window box on the left. And the paint colours: who’s for National Trust green? Or neutral white? Do any experts in historic paint finishes read this blog, and can they tell us what colour they’d prefer?

The houses in Bath, then, well preserved though they are, exhibit lots of changes, many of which are themselves historical indications of how taste has changed. Such changes are interesting in their own right. These are real houses where real people have lived and it’s fascinating to find signs of their presence and traces of their taste.