Terms: Chapter 15 Victorian and Historical Revivals

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Copyright ©2024 Bloomsbury Publishing Inc. All rights reserved. No part of this presentation covered by the copyright hereon may be reproduced or used in any form or by any means–graphic, electronic, or mechanical, including photocopying, recording, taping, or information storage and retrieval systems–without written permission of the publisher.

ISBN: 978-1-5013-8560-5

George Aitchison and Frederic Leighton, Leighton House, Kensington, United Kingdom, 1866–1895.

Charles Barry and A.W.N. Pugin, Houses of Parliament, Westminster, England, 1840–1860.

John Nash, Royal Pavilion at Brighton, England, 1815.

Karl Friedrich Schinkel, Palace of the Queen of the Night, Stage design for the Magic Flute, Berlin, Germany, 1847–1849.

Queen Victoria’s railway carriage, 1869.

Victorian Furniture

Gothic revival armchair

with neoclassical textile

Chippendale style Chinese

armchair

Sheraton sidechair

borne

Augustus Welby Northmore Pugin, Carved oak and leather chair, Westminster, London, England, 1859.

Christopher Dresser, Thebes stool, 1884.

H.F.C. Rampendahl, Victorian horned armchair, Hamburg, Germany, 1850.

John Henry Belter, rosewood rococo revival sofa, New York, New York, 1850–1860. Rosewood.

John Henry Belter,

rosewood rococo

revival sofa,

New York, New

York, 1850–1860.

Rosewood.

Lawrence Alma- Tadema, Turkish revival settee, London, England, 1885. Ebony, sandalwood, cedar, ivory, mother-of-pearl, and brass.

Henry Hobson Richardson, Glesner House, Chicago, Illinois, 1885.

VOCABULARY

borne

cast iron

folly

janissary

Japonisme

polychromy

Richardsonian Romanesque

Romanticism

Saracenic

whatnot

CONCLUSION

Robert Kerr, not a well-known figure today, was

not only prescient with his perceptions about

nineteenth-century design, he was wise about

what was to come. He placed the blur of nineteenth-

century styles into three categories: the

eclectic, the followers of Pugin and other Gothic

Revivalists, and the early modernists. This is an

astute and productive way of making sense of an

era that defies categorization. On the one hand,

designers of the Victorian era were buried in the

past, yet on the other, they were marching triumphantly

toward the future.

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