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Victorian design is widely viewed as having indulged in a grand excess of ornament. The Victorian era is known for its interpretation and eclectic revival of historic styles mixed with the introduction of Asian and Middle Eastern influences in furniture, fittings, and interior decoration .
The former House and School of Industry at 120 West 16th Street in New York City Simon C. Sherwood House (1884), Southport, Connecticut. The British 19th-century Queen Anne style that had been formulated there by Norman Shaw and other architects arrived in New York City with the new housing for the New York House and School of Industry [3] at 120 West 16th Street (designed by Sidney V ...
At 18th-century Holkham Hall, service and secondary wings (foreground) clearly flank the mansion and were intended to be viewed as part of the overall facade.. Servants' quarters, also known as staff's quarters, are those parts of a building, traditionally in a private house, which contain the domestic offices and staff accommodation.
George Devey (1820–1886) and the better-known Norman Shaw (1831–1912) popularized the Queen Anne style of British architecture of the industrial age in the 1870s. Norman Shaw published a book of architectural sketches as early as 1858, and his evocative pen-and-ink drawings began to appear in trade journals and artistic magazines in the 1870s.
The Eastlake movement was a nineteenth-century architectural and household design reform movement started by British architect and writer Charles Eastlake (1836–1906). The movement is generally considered part of the late Victorian period in terms of broad antique furniture designations.
The Garreteer's Petition by Turner, 1809 Carl Spitzweg, The Poor Poet (Der arme Poet), 1839, depicting a garret room Place Saint-Georges in Paris, showing top-floor garret windows A garret is a habitable attic , a living space at the top of a house or larger residential building, traditionally small with sloping ceilings.
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The Mary Fiske Stoughton House is a National Historic Landmark house at 90 Brattle Street in Cambridge, Massachusetts. Henry Hobson Richardson designed the house in 1882 in what is now called the Shingle Style, with a minimum of ornament and shingles stretching over the building's irregular volumes like a skin.
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