Living semi-medieval but with your own bathtub upstairs. Almost looks like Henry V could be dropping by for dinner. Home furnishings and decor designed by William Burges A.R.A. for his own home which this house was. Strictly Gothic Revival with a few extra bells and whistles tossed in.

Title page, Image 1 of The House of William Burges A.R.A, edited by R. P. Pullman, who also wrote the text it looks like. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/mode/1up

*View from Melbury Road.* The Porch, which is of semi-classical character-resembling the early Gothic of the South of France-and the adjoining turret, make this front very picturesque. The large window on the Ground Floor is that of the Dining-room. In the windows of the Guest’s Chamber above may be seen the gilt lattices, which subdue the light of the interior and render the gilding and colouring more harmonious. Plate 6, Image 26 of The House of William Burges with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n26/mode/1up

The Entrance Hall. Though of small dimensions, is one of the chief features of the House. It goes up the full height of the first two storeys. At the top of the photograph is seen the balustraded gallery which gives access to the Bedrooms, supported by a massive stone corbel painted with the device which Mr. Burges adopted as his own, viz., a heart between three darts. Under the pointed arches, which spring from a rich column of red marble, is the circular stone staircase which occupies the turret. There are five doorways in the Hall. That seen in the view leads to the Dining-room. The destination of this apartment is indicated by a flask of wine and a dish painted on the lintel. Opposite to it is the front door, with the symbol of a latch-key in a like position; on the same side is the garden door with a rose over it At the end of the Hall is the door of the Drawing-room, with musical instruments, and adjoining it, on the same side as that of the Dining-room, the door of the Library, with open books. The pavement consists of a fine mosaic of the combat between Theseus and the Minotaur in the middle of the Labyrinth of Crete. The Hall is lighted by a large window filled w.th stained glass, symbolising the divisions of the twenty-four hours, by figures of four maidens issuing from bells-representing Dawn, Noon, Twilight, and Night. They are on a large scale, and are treated in a bold manner. The decorative paintings on the walls and ceilings also have reference to Time, Light, and the Solar System The sun and the moon, the morning and evening stars, are represented by graceful figures, and on the ceiling are the emblems of the constellations in the positions in which they were when the house was first occupied. The ront door and that leading to the Garden are covered with bronze. They have panels filled with figures; the former has four compartments, with the Ages of Man, and an inscription recording the date of its construction. That leading to the Garden has a sitting figure of the Virgin and Child in a Gothic niche. Plate 7, Image 28 of *The House of William Burges* with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n28/mode/1up

The Dining Room. Is almost a square in plan, and faces Melbury Road. The walls are lined with polished Devonshire marble to a height of six feet. In this dado it was intended that square panels of bronze with figures should be placed at intervals. The decorations of this room are meant to convey an idea of Chaucer’s House of Fame. Over the fireplace there is a sitting figure of Fame, with an ivory head and eyes of sapphire, modelled from Chaucer’s description “The figure of Fame was in the House of Fame, Had al so fele up stondyng eres And tonges, as on bestes heres, And on hir fete wexen I sauorh Partiches winges redely.” A deep frieze above the dado is occupied by a procession of the characters from familiar fairy tales and other legends. On one side we see Jack the Giant-Killer side by side with Jack and the Beanstalk, followed by the Yellow Dwarf, the Beast without Beauty, Reynard the Fox, Little Red Riding Hood riding on the Wolf, which draws a car containing the Sleeping Beauty, the dames from the story of Pearls and Toads, Blue Beard and Fatima, Peter Wilkins and his Winged Wife, Robinson Crusoe and Friday, and Robin Hood, accompanied by Maid Marian and Friar Tuck. Plate 8, Image 30 of *The House of William Burges* with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n30/mode/1up

An Escritoire (The exterior). Externally, the pictures refer to the uses of writing. On one side, an urchin is learning to write, while the monk, his instructor, is punishing him for his slow progress by pulling his ear. In front, a young man who has written a letter to his lady-love is represented as kissing it before depositing it in the trunk of a tree ; a merchant is seen in his counting house writing up his ledger; and on the other side an old man is in the act of making his will. The figures in the panel below are illustrative of the estates of life — King, Priest, Warrior, Merchant and Labourer. At the sides, there are emblematical figures of History and Poetry, and the portraits of two dogs. Plate 11, image 34 of *The House of William Burges* with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n34/mode/1up

The Drawing Room. When completed, this will be the richest room of all. Many of the decorations are of a temporary nature, but the whole scheme is complete. The room is lit by three large mullioned windows, which face the Garden. They are divided by massive piers of reddish marble, leaving recesses for divans or tables. The “motif” for the decoration is “the tender passion of Love.” A medieval Cupid, modestly habited in robes of various hues, figures in the three central compartments of the ceiling as a king, a conqueror, and a pilgrim. He also graces the elaborate chimney-piece. Round the room there is a series of pictures, having reference chiefly to the misfortunes of lovers. The stories of Hero and Leander, Ariadne and Theseus, Pyramis and Thisbe, Cupid and Psyche, Venus and Adonis, Francesca di Rimini, Circe and Ulysses, and Lancelot and Guinevere, are represented in glowing colours in the style in which they would have been illustrated in an illuminated MS. of the Thirteenth Century. The stained glass of the windows has, in addition to birds of splendid plumage, imaginary portraits of the celebrated women of former times-Eve, Aspasia, Galliana, Joan of Arc, Cleopatra, &c. On the sides of the room are lockers with painted doors. Here also stands the mediaeval settle seen in Photograph Number 17. There are sliding doors divided by a marble column of serpentine, between the Drawing-room and Library. These are opened in summer, and closed in winter. Plate 15, Image 44 of *The House of William Burges* with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n44/mode/1up

The Chimney-Piece in the Drawing Room. This is a most poetical composition. It is executed in Caen stone, and richly gilt and painted. The scenes represented in the sculptures are derived from Chaucer’s version of the ” Roman de la Rose.” In that poem the hero, Gillaume de Lorris, dreams that he sees a beautiful garden, “With high walles embattailed, Portrayed without and well entayled With many rich portraytures.” These ” portraytures ” represented the enemies of Love. They are arranged in the following order on the frieze of the chimney-piece:— Poverty, with rents in his dress, and a spoon in his cap. Envy, “that never lough.” Sorrow was painted next Envy on that wall of masonry.” ” Full sad, pale, megre also, Was never wight so full of woe.” Papalardid that seemed like a hypocrite. Viellesse is ” dire and dwined all for elde.” Lastly comes Haine, ” grinning for despitous rage.” Gillaume enters the garden through a gate opened by Idleness (Oyseuse), and finds the friends of Love dancing beneath the trees. These are signified by handsome men and women in diapered robes, with their names written beneath in Provencale. Here are Largesse, Richesse, J olivet e”, Liesce, Deduit, Beaute”, Dons regars, and Franchise. On the opposite side of the chimney-piece to that in which Gillaume is seen as entering the garden, he is represented as plucking the rose, Jealousy meanwhile looking on. All the figures are elegantly modelled. To show how careful Mr. Burges was about details, I may mention that I have found amongst his memoranda studies for the diapers on their draperies copied from ancient examples. Plate 16, Image 45 of *The House of William Burges* with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n45/mode/1up

The Ceiling is divided into longitudinal compartments by rounded beams, powdered with hearts and darts; and it is enlivened by small convex mirrors surrounded by gilt rays, which reflect the light in a marvellous manner. Plate 29 Image 71 of *The House of William Burges* with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive https://archive.org/details/HouseOfWilliamBurges_201504/page/n71/mode/1up

A Table with Articles of Domestic Use. This table, which is a model of all the tables in the house, has upon it a collection of plates and faience, the mountings of which were designed by Mr. Burges. Amongst these articles may be seen his decanters, cat-cup sugar-basm, pomegranate teapot, and other ornamental vessels. All these were frequently used by him, both at his chambers and in his house; for, as he was accustomed to say, “What is the object of having pretty things unless one makes use of them?” Plate 40 image 93 of *The House of William Burges* with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive 71 of *The House of William Burges* with text and editing by R. P. Pullman. Published in Britain in 1885. In the public domain due to age. via the Internet Archive

Also an outer front porch floor mosiac featuring a Cave Canem with the dog being a portrait of Mr. Burges’ favorite poodle Pinkie.

William Burges died a few years before this was privately published. If you are interested there are many more images, I just used a few. The descriptions are long but fascinating. At least recently I haven’t come across any with poems by Geoffrey Chaucer in the original Middle English.

Gothic Revival candlesticks. Interesting. Like having miniature castles in attendance at your dinner party.

Pair of gilt and green painted metal candlesticks in the Gothic taste. 19th c. Possibly French. Maker not known. Image © 2020 DREWEATTS 1759 LTD. Fair use license. via https://auctions.dreweatts.com/auctions/7833/drewea1-10229/lot-details/9a2b48b7-ea51-4f66-a6b4-ad2d009d929e

Pair of candlesticks in brass, mounted on a wide rounded pedestal base with a column step with a central angled knop with Gothic style cutouts and castellated round top candleholders. The body is decorated with red and green enamels with red enamel also applied to the base. 19th c. Gothic Revival. Possibly made in India. Not marked. Image © xupes.com. Fair use license. via https://www.xupes.com/art/product-details/9034/superb-antique-pair-gothic-revival-enamelled-brass-candlesticks-19th-c/superb-antique-pair-gothic-revival-enamelled-brass-candlesticks-19th-c.html

Pair of tall gilded Gothic Revival pricket candlesticks. ca. 1850. English. Image © Susan Silver Antiques. Fair use license. via https://susansilverantiques.com/product/pair-bronze-gothic-revival-candlesticks/

Set of three solid brass altar candle holders decorated at the bottom with a church and cross in the center of each side. Made to be used in a church. Antique, ca. 1900 or earlier. Gothic Revival. Image © 2021 Chairish, Inc. and the Gilded Lion, Scottsdale, Arizona. Fair use license. via https://www.chairish.com/product/2180005/antique-gothic-revival-brass-alter-candle-holders-candlesticks-set-of-3

Live life the Gothic Revival way. Various features at Strawberry Hill, home of Horace Walpole, taken from “A Description of the villa of Mr. Horace Walpole.” Written by Walpole in 1784 with illustrations by various artists and printed by Thomas Kirgate.

“Chimney Piece of the Holbein Chamber.” Page 42. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/descriptionofvil00walp_0/page/42/mode/1up

“Screen of the Holbein Chamber.” Page 79. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/descriptionofvil00walp_0/page/n78/mode/1up

“The Gallery.” Page 84. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/descriptionofvil00walp_0/page/n84/mode/1up

“Chimney in the Round Room.” Page 93. Collections of and digitalized by the Getty Research Institute. In the public domain due to age. via https://archive.org/details/descriptionofvil00walp_0/page/n93/mode/1up

*The Shell Bench.* Page 133. Taken from *A Description of the villa of Mr. Horace Walpole* which was written by Walopole in 1784 with illustrations by various artists and printed by Thomas Kirgate. Collections of the Getty Research Institute. In the public domain due to age. https://archive.org/details/descriptionofvil00walp_0/page/n132/mode/1up

Cathedral clocks in the best Gothic Revival and Neo-Gothic style. Very popular around when Victoria married Albert.

Porcelain cathedral form mantel clock with a light green ground and gilt highlights. The clock face set above faux stained glass windows and the arched doorway painted with a foreground and cathedral in the distance, set on a rectangular base with an imitation marble and geometric floral band design. ca. 1830. French. Dagoty, maker. Maker’s marks: Iron-red stenciled mark “*Ancienne Maison Dagoty / Ed. Honore A Paris / 4 Boulevard Poissoniere*” to the underside. Image © 1stdibs.com, Inc. 2021. Fair use license. via https://www.1stdibs.com/furniture/decorative-objects/clocks/mantel-clocks/gothic-revival-dagoty-honore-porcelain-cathedral-form-mantel-clock/id-f_5046143/?gclid=CjwKCAiAsaOBBhA4EiwAo0_AnKUJiOv6z-XjYr5BJwIIo9jC583u7IvpOTr1OinJQC1S_ZkGejOFHxoCBz8QAvD_BwE&gclsrc=aw.ds
.

Large gilt brass bracket or mantel clock, the case, with engraved floral decoration and applied colored cabochon jewel mounts, encloses a gilt 7″ Roman dial with a finely scroll engraved center and an eight day spring driven movement with anchor escapement chiming the quarters on a nest of two bells. ca. 1870. Gothic Revival. French. The movement having been made in *Saint Nicolas d’ Aliermont, by Pierre-Honoré-César Pons and then finished by the Parisian Clock maker, Louis Achille Brocot*. Retailed by Hall and Company, Manchester, England. Image © 1stdibs.com, Inc. 2021. Fair use license. via https://www.1stdibs.com/furniture/decorative-objects/clocks/mantel-clocks/large-19th-century-french-gothic-revival-mantel-clock/id-f_11810171/.

Gilt shelf clock in the form of the west facade of Reims Cathedral. The case of finely detailed cast and fire gilt bronze. The dial of twelve porcelain Roman numeral chapters is in the rose window opening. Blued steel sunburst hands, spring-powered, eight-day time and strike movement that has a silk thread suspension and external count-wheel, the gong mounted in the inlaid wooden plinth being controlled by the movement. ca. 1835. Gothic Revival. French. Maker’s marks: strike movement marked “Cailly Freres”. Image © 2021 Bidsquare Inc. and Skinner Auctions. Fair use license. via https://www.bidsquare.com/online-auctions/skinner/gilt-reims-cathedral-form-shelf-clock-93474

Gilt Reims Cathedral-form Shelf Clock

Gothic Revival candelabra to make your home look more baronial. 1850 and later, all in brass.

**Pair of** Gothic Revival brass nine-light floor candelabra. Twisted cylindrical stems with quatrefoil rims and a central light with two graduated tiers with four lights each, on spiral fluted stem with four fleur-de-lis uprights on four domed legs. 20th c. Continental. Brass. Maker not known. Image © 1999 – 2020 SKINNER, INC. Fair use license. via https://www.skinnerinc.com/auctions/2475/lots/617

Pair of brass Gothic Revival candle holders. ca. 1850. Continental. Brass. Image © 1stdibs.com, Inc. 2020. Fair use license. via https://www.1stdibs.com/furniture/decorative-objects/candle-holders/brass-gothic-revival-candelabra/id-f_913303/?gclid=Cj0KCQiAqdP9BRDVARIsAGSZ8AksJR0amZYnCLEHDg_1PDkTWV7XChFVbOtOEcgz2RHb4aVAKri5PMcaAt-cEALw_wcB&gclsrc=aw.ds

Pair of large brass Gothic Revival candelabra, each with seven sconces. Hooped frame on arched supports embellished with clover leaves, on knopped stem and dome base with three feet. Late 19th c. Brass. Image © CHRISTIE’S 2020. Fair use license. via https://www.christies.com/lotfinder/Lot/a-large-pair-of-gothic-revival-brass-5825649-details.aspx

Gothic Revival and Neo-Gothic inkstands and inkwells. Early and mid 19th century. So needed in case the archbishop wants to share a whiskey in the library.

890567 — Patinated inkstand together with two similar spill vases. Mid 19th c. Gothic Revival. Molded with tracery. Image © 2020 William Doyle Galleries, Inc. Fair use license. via https://doyle.com/auctions/12an01-estate-of-lee-b-anderson/catalogue/1247-gothic-revival-patinated-metal-inkstand

f2fb4a1299c6d48c1c7e9a4a452e6579 — Inkwell modeled as a medieval helmet with pierced visor with applied cut and chased steel scrolled acanthus ornaments that is raised on a concave shield form base with three ball feet. The hinged top opens to reveal the inkwell. 19th c. Gothic Revival. Probably German. Patinated steel. Image © Jackson’s International Auctioneers and Appraisers. Fair use license. via https://www.pinterest.com/pin/75224256254422550/

Screenshot (814) — Inkwell in a Neo-Gothic style with a top that lifts to reveal three round openings resting on a marble plinth base and raised on cast bronze feet. The three glass inkwells are missing. 1875. Neo-Gothic. Patinated bronze and marble. Maker not known. Image © 2020 ROBUCK. Fair use license. via http://robuck.co/collection/curiosities/italian-gothic-revival-period-patinated-brass-and-marble-architectural-model-inkwell-r6803.html

Screenshot (820) — Oval inkwell modeled with cathedral arcades and rosettes that houses two inkwells with lids, a pounce pot and four pen holders. Rectangular Sienna marble base. 1820-1829. Neo-Gothic. French. Gilt bronze and Siena Marble. Maker not known. Image © 1stdibs.com, Inc. 2020. Fair use license. via https://www.1stdibs.com/furniture/decorative-objects/desk-accessories/inkwells/gothic-revival-inkwell-gilt-bronze-sienna-marble-19th-century/id-f_16380242/

Screenshot (816) — Inkstand modeled with a Gothic tracery design with a pierced rose window gallery enclosing a sander, two ink wells and four pen holders. Rectangular base. Victorian. Gothic Revival. Brass. Image © 2020 Mayfair Gallery Limited. Fair use license. via https://www.mayfairgallery.com/antique-victorian-gilt-brass-inkstand-with-gothic-tracery

Ecclesiastical gold and silver. French, made in Paris. Gothic Revival. Placide Poussielgue-Rusand, goldsmith (1824-1889).

6439d Poussielgue-Rusand Chalice — Chalice. 19th c. Gothic Revival. French. Gilded silver, filigree and enamel with garnets. Makers mark of “PPR”. Image © Luzar Vestments. Fair use license. via http://www.luzarvestments.co.uk/Poussielgue-Rusand_Chalice_6439.htm

2006AA7679_2500 — Pyx. ca. 1850. French. Silver gilt, enamelled and gem-set. Image © Victoria and Albert Museum, London. Fair use license. via http://collections.vam.ac.uk/item/O94999/pyx-and-case-poussielgue-rusand/

Pyx. 19th c. Engraved silver gilt. Image © 2020 Antiques de Laval. Fair use license. via https://www.antiques-delaval.com/en/items-sold/2157-ciborium-with-silver-gilt-collar-and-punches-goldsmith-poussielgue-rusand-nineteenth.html

csm_S3-13_bdbb6a975a — Châsse. 19th c. Gold. ca. 1850. Image © Patrimoine et Inventaire d’Aquitaine. Fair use license. via http://inventaire.aquitaine.fr/decouvertes-de-laquitaine/landes/orfevrerie-des-eglises-des-landes/lage-dor-de-lorfevrerie-religieuse-dans-la-seconde-moitie-du-xixe-siecle/

New post up on my public (free) patreon page. More Gothic Revival with one more on the Medieval end of things. All fun. Link below.

https://www.patreon.com/posts/33284338

Now available! Enjoy! Five images, not just this one. Should you be interested in supporting my work and can, please check out what’s available at the various levels. All levels include writing updates and other items not found elsewhere.

Dragon or basilisk brooch, a basilisk being a mythological winged creature with large toes and a long, thin tail. Gothic Revival. Gold, diamonds and garnet. Image © 1995-2020 eBay Inc. Fair use license. via https://www.ebay.com/itm/Around-1850-Dragon-Brooch-in-Gold-Diamonds-Garnet-Basilisk-Gothic-Revival-/122656641726

Sunday public (free) post just up on my Patreon page. My weekly series. “Gothic Revival (Part 2). Fashionable from around 1820 to 1860.” Link below

https://www.patreon.com/posts/30544887

Five more, mostly found just now. All great! Should you be interested in supporting my work please check out what’s available at the various levels. Thanks! Sarah.

And enjoy! All fabulous, at least I think so.

Title plate from the souvenir folio “Recollections of the Great Exhibition, 1850, London, Lloyd Bros. & Company, Sept 1st 1851." — Title plate from the souvenir folio “Recollections of the Great Exhibition, 1850, London, Lloyd Bros. & Company, Sept 1st 1851.” Depicts a dome from Coalbrookdale and statue of William Shakespeare sculpted by John Bell. 1851. Published in Great Britain. In the public domain due to age. via https://babylonbaroque.wordpress.com/2010/06/24/the-great-exhibition-1851/

Public (free) post for Sunday, September 29, 2019. More Gothic Revival. Coming in towards the middle of the 18th century but never really gone. Especially popular for mausoleums and college campuses. Link below-

https://www.patreon.com/posts/30334979

Including a mausoleum image. And several images, not just the two (including the mausoleum).

Should you be interested in supporting my work and can please check out what’s available at the various levels. And enjoy the post! Sarah.

"Eighth Frontispiece. Gothic design concept. — “Eighth Frontispiece. Gothic design concept. Batty and Thomas Langley, inventors and sculptors, 1741.” Plate XXIV, page 63 from “Ancient Architecture, restored and improved by a great variety of grand and usefull designs, entirely new, in the Gothick Mode, for the ornamenting of buildings and gardens,” written by the Langleys and published in London in 1742. Collection of and scanned by the Getty Research Institute. Public domain due to age. via https://babel.hathitrust.org/cgi/pt?id=gri.ark:/13960/t0ns4cg1f&view=1up&seq=63