[263]. Devey’s incidental work at Penshurst Place in Kent, where that notable fourteenth-century manor house was restored by him, having been done more than a decade earlier, probably prepared the way for this. It is extremely likely that Nesfield was familiar with what Devey had done there; but the line forward leads, in the late sixties, from Nesfield to Shaw, not directly from Devey to Shaw.
[264]. See Pevsner, N., ‘Art Furniture of the Seventies’, Architectural Review, CXI (1952), 23-50.
[265]. The most famous instance of japonisme in decoration is Whistler’s ‘Peacock Room’, now in the Freer Gallery in Washington. See Ferriday, P., ‘Peacock Room’, Architectural Review, CXXV (1959), 407-14.
[266]. Once again Devey had prepared the way, in this case at Betteshanger, Kent, a house built precisely ten years earlier. This will doubtless have been known both to friends of Devey’s clients and to various young architects. But the Kew lodge was located where everyone could see it, even though it was not published until the nineties.
[267]. For this also there was precedent at Devey’s Betteshanger; but Betteshanger initiated no popular mode in the way that the conspicuous London schools by Robson and Stevenson’s highly touted house did at this point. For the schools, see Jones, D. G., ‘Towers of Learning’, Architectural Review, CXXIII (1958), 393-8.
[268]. See Harbron, D., ‘Queen Anne Taste and Aestheticism’, Architectural Review, XCLV (1943), 15-18.
[269]. See Shaw, R. N., Sketches for Cottages and Other Buildings ..., London, 1878.
[270]. See ‘The Ballad of Bedford Park’, St James’s Gazette, 17 December 1881 (reprinted by Blomfield, Shaw, 34-6). This is an amusing but not entirely accurate contemporary description in verse.
[271]. The handling of this building in section is particularly ingenious, the area of the service portions at the rear of the flats being much increased by the use of lower storey heights than in the reception rooms at the front. This device has been revived since, but its earlier invention by Shaw has rarely been noted Brandon-Jones pointed out to me.
[272]. At least they are now so painted; it is probable they were originally of ‘white’ Suffolk brick, actually a very pale yellow when newly laid and unbegrimed, but more likely to be black after a few decades of exposure to the air of London!