Most Britons want their home to be more than just a place to live, but a home full of "character", whether it's an 18th-century fireplace, local clay-fired bricks, or authentic wood. this effect. They value such architectural details because they allow them to appreciate the architectural skills, taste and life of their ancestors from time to time.
But every day in one's own home or on the nearby street, it is difficult to gain insight into the history of a house without understanding the true meaning of some buildings. Here are ten often-unknown house features in the UK that help shed light on the building's past.
Medieval houses
under Georgian facade Typical Georgian style in towns with a large number of 18th century buildings, such as Fremoringham in Sackfordshire, Poshall in Worcestershire, and Lewis in East Sussex There are many houses in the house, but, if you look closely, you will see that not every house strictly adheres to the Georgian style of neat and orderly windows, because the interior of the building hides the wooden frame of the medieval or Tudor era. .
As Georgian tastes began to shift to classicist design styles, old wooden houses were often clad in brick, stucco, tile or wainscoting, but holes were punched in the old walls to install regular, spacious windows This often means removing the load-bearing walls, which can cause the house to collapse, so architects can only bypass the support structure and make the windows as neat and beautiful as possible.
A house with a skewed visual
effect Imperfect panes of glass are one of the joys of an old house: the sun shines on the walls, creating a wavy effect that softens the outside. Why is this so? Window glass from the 1670s to circa 1840 was usually "crown glass", made by blowing bubbles of glass melt (in a "crown") and swirling to form a flat disc up to 5 feet thick , and then cut into right-angle glass (the corrugated lines starting from the disk create a skewed light effect) to make glass lattice bars.
After 1840, manufacturers turned to flat glass, so glass before and after 1840 could be distinguished by the curved line—though Victorian flat glass was slightly rougher and might have subtle ripples. Glass that seems to have a traditional retro feel may not be as old as you think if it doesn't have these flaws.
"Fashion" value derived from "lowly" origin The
thick bulging convex lens circle center glass is the remnant of hand-blown glass, taken from the part where the center of the disk contacts the glass blowing rod. It was originally scrap and was once used. Toilets in low farmhouse sheds, potting sheds and gardens are now a rare commodity, worth around £50 each.
Also, beware of modern imitations, such as the ordinary glass that adorns the octagonal windows of teahouses, which are usually thin and cast so that there are no concentric ripples, many of which were fashioned in the mid-20th century in favor of ancient fashions Crafted glass (badly crafted).
The evolution of taste reflected by the layout of the kitchen
Comparing the patios built before and after 1840, you will find that the front doors of the early patios were separated by windows, not close together, and the later doors were close together.
The main reason for this change is that Victorians, tired of Georgian kitchens in basements, prefer to place kitchens in the back half of a well-ventilated first-floor house, next to a neighbour's kitchen, two The kitchen forms a kitchen "zone", and between each zone is a large courtyard that allows "air to flow through" and the front doors are juxtaposed accordingly.
The hidden meaning of pineapple sculpture In the
18th century, on both sides of the Atlantic Ocean, a large number of pineapple sculptures appeared on the doorposts of houses. This spiky, leafy sculpture symbolizes hospitality—early travelers to the Caribbean were greeted with fresh pineapples after a long voyage on dry food. In Britain, across the ocean, a pineapple outside a house has a similar meaning of welcome. Pineapple sculptures, which replace traditional religious imagery, can also often be seen in Quaker meeting rooms.
The most spectacular pineapple sculpture is a 45-foot-tall stone sculpture in Dunmore Park, near Falkirk, Scotland, that presents a dramatic and comical effect.
The return of the 'window frame' aesthetic The
English -style sliding window, which dates back to the 1670s, dominated housing construction for two centuries, until 1880, when the nostalgic re-use of sash windows ended its monopoly .
There are two ways to date window frames. The first method, the thicker the glazing, the older the window. After about 1750, the glazing became thinner, from 1 inch to 05 inches, and the 19th century glazing was probably only 0.3 inches thick. Alternatively, in the 18th century, there were generally "6 rows and 6 columns" of panes on the window frame, but, in the 1840s, after the advent of large sheets of flat glass, the panes became 2 rows and 2 columns, By 1900, it became a row and a column.
From "closed" to "Lutiki"
In the 17th century, the staircase was "closed". That is to say, the outer ends of the steps that make up the sides of the stairs are hidden and rammed together with wooden inclined beams, which are the "slant beam side panels", and the circular balustrade pillars stand on the side panels.
In the early 18th century, the British began to like light and slender buildings, so they concealed the support of the stairs under the side ends of the steps. Therefore, the stairs were "Lotiki", and the pillars of the handrail became more and more slender to make them more slender. Lightweight, modern handrails are a little slender on this basis.
"Petals" with hidden magic
Old wooden houses usually have warding devices (to ward off "demons") or "exorcism marks", which are carved on beams and on doors to deter "devils" who want to enter the room through openings Staying out is something that people in the 17th century began to pay special attention to.
Many exorcism marks are associated with the Virgin Mary, such as the capital "M" with a circle at the top. The Sussex marigold mark is a six-petaled flower in a ring, carved on chimneys and door jambs, this mark is usually found in the south-east of England, and in Christian stories, the marigold is associated with the Virgin.
Once such a mark is found on the fireplace, there is a good chance that a boot or a cat is buried under the fireplace slab, a sacrifice that gives the gods extra protection to keep the chimney safe.
The remaining cultural implication of "a thin layer of lacquer" The houses in
medieval Italian city landscape paintings are usually gray-blue, white or orange, with bells and whistles. In fact, these colors are accurate in real life, and the same is true for houses in England at the time. A glance at the shaded areas of a 16th or 17th century brick house (behind a sewer or a shaded corner) will often reveal traces of white, red or grey.
If only one coat of red is applied, it is called "red clay", a red paint used to mark the sheep. On noble buildings you will see "colored strips", three layers, first a layer of red paint, then an outer surface of blue-grey bricks arranged in a diamond pattern, and finally white stucco layer.
As you can imagine, this complicated procedure makes even the most basic repairs difficult, and now, the only thing that can be seen is some traces of color.
The "fan window" alludes to British house values
. One of the biggest features of 18th and 19th century houses was the small window above the front door: the fan window. The appellation was established around the mid-18th century, when doors and windows were usually fan-shaped with a semicircular edge, like half a citrus.
Although this geometry is naturally set under a solid arch, in the mid-17th century it was still a small square window. At that time, the British were tired of houses that were only one room deep, and preferred a square two-room, or "double-storey" design, with a central front door leading to the back door through a windowless corridor, so they began to use Sash windows for light.
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