. English ironwork of the XVIIth & XVIIIth centuries; an historical & analytical account of the development of exterior smithcraft. fordshire presents as handsome a pair of iron gates in theforeground as any that could have been produced at the time onthe Continent. Not dissimilar to these, but larger and witharching top (Fig. 11), are the remarkable gates seen in the drawingsigned Sr. Balthazar Gerbier Baron Douty Fecit, and inscribed The Great Peeres at Hamstead Marshall, a house near Newbury,Berks, built in 1662 for Lord Craven in the style of Heidelberg,but of which no trace now exists. He
Image details
Contributor:
The Reading Room / Alamy Stock PhotoImage ID:
2AGDBBJFile size:
7.1 MB (486.4 KB Compressed download)Releases:
Model - no | Property - noDo I need a release?Dimensions:
1279 x 1953 px | 21.7 x 33.1 cm | 8.5 x 13 inches | 150dpiMore information:
This image is a public domain image, which means either that copyright has expired in the image or the copyright holder has waived their copyright. Alamy charges you a fee for access to the high resolution copy of the image.
This image could have imperfections as it’s either historical or reportage.
. English ironwork of the XVIIth & XVIIIth centuries; an historical & analytical account of the development of exterior smithcraft. fordshire presents as handsome a pair of iron gates in theforeground as any that could have been produced at the time onthe Continent. Not dissimilar to these, but larger and witharching top (Fig. 11), are the remarkable gates seen in the drawingsigned Sr. Balthazar Gerbier Baron Douty Fecit, and inscribed The Great Peeres at Hamstead Marshall, a house near Newbury, Berks, built in 1662 for Lord Craven in the style of Heidelberg, but of which no trace now exists. Heidelberg accounts forthe extraordinary piers, of the dimensions of garden houses, andpossibly for the design of- the gates, though these comprise theinitials, coronet, fleurs-de-lis, and dagger of the Cravens. Noother drawing so signed is known, and the gates are interestingas a design for florid ironwork of the first years of Charles II.Some such piers are represented in Kips view of 1707- TheRestoration brought with it a revival of gardening. Thecreations at Versailles were not unnoticed here. Evelyn expresses The Garden 31. < o S 5^ n ^ p O <; 32 English Ironwork of the XVIIth and XVIIIth Centuries admiration for the garden gates at the Chateau de Maisons nearParis, by the celebrated Daniel Marot, who published- designs forthem in 1658. They are still to be seen in the Louvre, polishedand parcel gilt, closing the Galerie dApoUon. Lord Essex senthis gardener, Rose, to study the gardens of Versailles, and KingCharles annexed him on his return. The celebrated painterVerrio was employed to lay out the gardens of St. James, Greenwich, and Hampton Court Palaces, for years attributed toAndre Lenotre, architect and gardener to Louis XIV. Thoughnever in England the latters influence here was enormous, andled to a most extensive use of iron gates. Views of Badmintonshow fine entrance gates to the avenue 2-i- miles from the house, and others were left behind before the fore-court w