PEVSNER’S ARCHITECTURAL GLOSSARY

PEVSNER’SARCHITECTURAL GLOSSARY

Glossary pages new extra text:Layout 1 10/9/10 16:22 Page 1

Nikolaus and Lola Pevsner, Hampton Court,in the gardens byWren's east front, probably c.


PEVSNER’SARCHITECTURAL

GLOSSARY

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CONTENTS

GLOSSARY


FOREWORD

The first volumes of Nikolaus Pevsner’s Buildings ofEngland series appeared in .The intention was to makeavailable, county by county, a comprehensive guide to thenotable architecture of every period from prehistory to thepresent day. Building types, details and other features thatwould not necessarily be familiar to the general reader wereexplained in a compact glossary, which in the first editionsextended to some terms. As the English seriesprogressed this figure grew considerably, and theadvent in the s of Scottish, Welsh and Irish volumesfurther multiplied the total. Fresh illustrations werecommissioned too, culminating in in a completely newsequence of comparative drawings. These were suppliedby the late John Sambrook, an exceptionally talenteddraughtsman who had worked for the Historic BuildingsDivision of the Greater London Council before makinghimself the foremost British expert on the history andconstruction of fanlights. It is these drawings which illustratethe text of the present book, which brings togetherfor the first time in one volume the full and revised arrayof architectural terms from the English, Irish, ScottishandWelsh series.One celebrated feature of the first series was the use

of the abbreviations E.E., Dec and Perp (Early English,Decorated, Perpendicular) for the successive phases ofEnglish Gothic. These originated in with ThomasRickman’s An Attempt to Discriminate the Styles of EnglishArchitecture from the Conquest to the Reformation, and weregiven currency for later generations by Murray’s Guides andby Methuen & Co.’s Little Guides, both of which wereamong Pevsner’s habitual sources for his own fieldwork. Forlater styles of architecture, however, the books were silent.This omission was made good with the launch in ofthe website www.lookingatbuildings.org, funded by theHeritage Lottery Fund and compiled on behalf of the series’


research charity the Buildings Books Trust (now PevsnerBooks Trust), in which the greater space available on-linemade possible a more expansive definition of such terms asBaroque, Rococo, Neoclassical and Art Deco than has everbeen feasible in the individual Buildings glossaries. Theseterms now take their place in the present book,together with photographic illustrations of key examples.Thewhole is at once a reference work in its own right, and acompanion and supplement to the four nations of thePevsner Architectural Guides series.

Simon Bradley


ROUNDELS

The roundels which mark the opening of each alphabeticalsection appeared on the covers of paperback editions of theseries produced between and . Each is based onan illustration reproduced in the volume, and the majoritywere drawn by the designer BertholdWolpe. Exceptionsare Cornwall, by Andrea Lee;Herefordshire,Wiltshire, andLincolnshire by Fred Price; and London except. . . by theLondon County Council Architects’ Office.

A Northamptonshire

B Buckinghamshire

C Cambridgeshire

D Derbyshire

E Essex

F Co. Durham

G Leicestershire & Rutland

H Hertfordshire

I Herefordshire

J Lincolnshire

K Suffolk

L London except the Cities ofLondon andWestminster

M Middlesex

N Nottinghamshire

O Northumbria

P London: Cities of London andWestminster

Q South Devon

R North Devon

S Surrey

T North Somerset & Bristol

U Shropshire

V Cornwall

W Wiltshire

Y YorkshireWest Riding

Z North East Norfolk & Norwich


FIGURES

Acanthus

Anthemion and palmette

Arches ‒

Bar tracery

Bell capital

Brick bonds

Buttresses, roofs and spires

Chamfers and chamferstops

Console

Crocket capital

Cruck frames ‒

Diocletian window

Double chamfer

Gables and roof forms

Gibbs surround

Guilloche

Hoodmould

Husk garland

Key pattern

Lugged architrave

Moulding and ornament

Oculus and pendentive (in a dome)

Orders ‒

Panelling

Pediments

Plate tracery

Portico

Rinceau

Rustication

Shouldered architrave

Squinch (in a dome)

Stairs

Stiff-leaf capital

Timber framing

TheTower House: elements


Trumpet capital

Vaults

Venetian window

Vitruvian scroll

Waterleaf capital

Yett


PLATES

The colour plates are divided into three chronological sec-tions: Ecclesiastical (after p. ); Public, and Domestic (afterp. ), the sequence used in the county gazetteers. In thislist captions are followed by an excerpt from the description,with its page reference, from the relevant volume.The texthas been lightly edited in some cases. Each entry starts with astylistic definition in italic, and within the text terms explainedin the glossary are also in italic. A complete list of all thePevsner Architectural Guides in print appears on p. .

E

Anglo-Saxon: Colchester, HolyTrinity, doorway. ,p. .‘The tower is built with plenty of Roman bricks. Its small doorway with triangular head a wholly Anglo-Saxonfeature.’

Norman: Edstaston, St Mary, doorway of nave, late ., p. .‘The nave doorway is extremely sumptuous. Four ordersof shafts plus demi-shafts in the jambs. Leaf capitals.Theorders of the arch have a variety of chevron and crenellationmotifs.The hoodmould, starting from headstops, sharesthese motifs. A head also at its apex.’

Norman: Waltham Abbey, Holy Cross and St Lawrence,second quarter of the . , p. .‘The Norman nave has something of the sturdy force ofDurham Cathedral.The elevation, as in most majorAnglo-Norman churches, is of arcade, gallery andclerestory.The arcades have supports alternating betweencomposite piers and subordinate round ones.The compositepiers have a buttress-like broad flat projection to the navewith demi-shaft attached running up to the ceiling with-out any break apart from the clerestory sill.Thecapitals are big and heavy, single- or double-scalloped.’


Transitional: Worcester Cathedral, two bays of nave,c. –. , p. .‘The piers of the arcade have a continuous quarter-roll andthin attached shafts, some keeled; capitals mostly decoratedscallops but also some foliage.The pointed arches continuethe outer quarter-roll, then have keeled rolls before endingwith steps.The treatment of the triforium is highly idiosyn-cratic. Each bay has two pairs of three-stepped roundarches, each with continuous quarter-rolls.’

Early English: Ripon Cathedral, front, probably s. : ,

, p. .‘This is theWest Riding’s outstanding example of theausterely elegant and disciplined strand of E.E.The twow towers as well as the central section consist of four lev-els whose heights are more nearly equal that in most E.E.facades, and the effect of evenness and consistency is en-hanced by the almost uniform width of the lancets. Apartfrom the portals, which are given a modicum of recession,the relief is even and fairly shallow.’

Decorated (Geometric): Ripon Cathedral, end, after . : ,

, p. .‘Its centrepiece is a tall and elegantly detailed seven-lightwindow with a big circle enclosing alternating trefoils andtrilobes. Below this are two three-light units with the three‘piled-up’ circles beloved of late English architects anda single central light enclosing an impaled trefoil. A playfultouch is the way the apex of the central light punctures thelarge circle so as to impale the lowest trilobe there.’

Decorated (Curvilinear): Chaddesley Corbett, St Cassian, window, mid-. , p. .‘The most spectacular Dec piece in anyWorcestershireparish church. window of five lights, with many ogees butalso trefoils, reticulation units flanked by reversed ogee-ended triangles and, at the top, a large roundel with foursplit-cusped trefoils.’

Decorated: Kidwelly, St Mary, piscina and sedilia, .

, p. .‘remarkable triple sedilia with unornamented triangularheads, cusped spandrel and shafts threaded through thebench.To the l. a richly moulded ogee piscina with tinynaturalistic mask stops, a lamp bracket and cusped head.’


Worcester Cathedral, misericord, jousting scene, c. .

, p. .‘A fine set of misericords from the stalls of .Thirty-seven complete scenes, all with supporters.’

Perpendicular / Tudor: Sefton, St Helen, parclose screen,early . : -,

p. .‘exquisitely fine late Gothic tracery.’

Decorated: Pershore Abbey, chancel vault, probablyc. –. , p. .‘It consists of transverse arches, diagonal ribs, ridge ribs,one pair of tiercerons to and , but in addition lierne ribs(possibly their first surviving usage), forming a kind ofscissors movement: open-closed-open-closed, all along.’

Perpendicular / Tudor: Gestingthorpe, St Mary, double-hammerbeam roof attributed toThomas Loveday, c. ., p. .‘uncommonly splendid for Essex, it is of the double-ham-merbeam type of which there are only a few in the county.’

Perpendicular / Tudor: Westminster Abbey, Chapel ofHenryVII, c. –, vault, attributed toWilliamVertue. : , p. .‘A fan vault of the most glorious richness and size, of thekind known as a pendant fan vault... The division intobays is by strong transverse arches with a fringe of cusping.These are given a form similar to the arched braces of tim-ber roofs.Thence also comes the openwork tracery in theirspandrels, here combined with a diagonal bracing rib...The points are marked by huge pendants, from which thegreater area of the fans themselves radiate.’

Baroque / Artisan Mannerist: Minsterley, HolyTrinity,byWilliamTaylor, –, front. ,p. .‘The oddest facade, rich with sculpture. Rusticated giantpilasters support an open segmental pediment.Within thisframe the most elaborate feature is the portal. It hasrustication l. and r., an exaggeratedly eared frame and asegmental frieze and cornice.The keystone is carved withthe usual cherub’s head and there are flanking reliefs ofskulls and bones in the frieze... Above all this is an archedwindow with radiating voussoirs and cherub keystone.Garlands hang down the flanking pilasters.’


Baroque: Christ Church, Spitalfields, –, byNicholas Hawksmoor, west front. : ,p. .‘The most overpowering of Hawksmoor’s three greatBaroque churches of the East End.The tower rises be-hind the oddest of porticoes. It consists of four Tuscancolumns, the outer ones carrying a straight entablature, theinner ones a semicircular arch... The tower is evenstranger. Seen from the , the effect is of a triumphal archraised up on high, with the central opening breakingthrough a heavy cornice flanked by arched niches.’

Gothic Revival / Gothick: Croome D’Abitot, St MaryMagdalene, –, almost certainly by Lancelot Brown., p. .‘As built it is medievalizing: one of the most serious of theearly Gothic Revival outside, one of the most elegantwithin.’

Neo-classical: Shrewsbury, St Chad, by George Steuart,–. , p. .‘an original and distinguished design, indeed one of thefinest Neo-classical churches in Britain... a circular body,prefaced by a mighty tower with a portico, vestries l. and r.and an apse-ended link for the gallery stairs.’

Gothic Revival / Gothick: St George, Heyworth Street,Everton, built by John Cragg, –.

, p. .‘extraordinarily light and delicate due to the use of castiron throughout. Slender clustered columns divide navefrom aisles.Traceried arches span between the columns tosupport the nave ceiling, and between the columns andthe outer wall to carry the flat ceilings over the aisles (thetie-rods are a insertion).’

Gothic Revival: Alvechurch, St Laurence, –, byWilliam Butterfield. , p..‘One of the best of Butterfield’s surviving brick colourschemes... The nave walls are patterned with crisp whitediaper against glowing red brick, but subservient to thewhite stone bands dominating the forceful clerestory.Arcades of alternating buff and pink sandstone.’

Gothic Revival: Interior view of St Michael’s and All An-gels Church, nave byWilliam Burges, –.

, p. .


‘ in style and cathedral-like, it has a triforium and aclerestory tied to the arcades below by shafting running upbeside the piers, clustered shafting to the upper parts anddetached inner arcading to the triforium which repeats thetracery.’

Neo-Byzantine: Bradford, Heaton, Our Lady and the FirstMartyrs, by J.H. Langtry-Langton, , interior. -

: , ,p. .‘The first church in England designed with a centralaltar... Octagonal, with a central lantern stage carried ona series of radiating semi parabolic beams spanning theinterior.’

Modernist: St Paul, Bow Common, by Maguire & Murray,–, interior. : , p. .‘lit from above and defined by the slender white columnsdividing [the centre] from the surrounding triangular-vaulted aisles.The altar is raised on steps, emphasized bythe hanging steel corona and baldacchino.’

P

Norman: Castle Hedingham, the keep, c. . ,p. .‘Built by one of the most powerful families of NormanEngland. It stands to this day as an ideal picture of a keep– on a mount, high above old trees, with two of its squarecorner turrets still rising up to nearly ft. It is, more-over, probably the best preserved of all tower-keeps ofEngland.’

Perpendicular: Manchester, Chetham’s School andLibrary, cloister, s. :

-, pp. ‒.‘The buildings are of red sandstone with a stone flagroof... The cloister has a walk around a garth with three-light openings to three sides... Stepped buttresses dividethe bays. Lower windows have cinquefoil heads, upperwindows in alternate bays only, trefoil heads.’

Timber framing: Thaxted, Guildhall, third quarter of the, altered in and by Ernest Beckwith in –., p. .


‘Three-storeyed, free-standing on three sides, and oneach of those three sides are not one but two jetties...The ground floor is open, with simple arches betweenthe posts... the arches on the first floor are Beckwith’s,allegedly based on a single example that he found, whilethe second-floor oriels are entirely conjectural.’

Tudor: Beamsley Hospital, founded .

: , , p. .‘Circular, with a circular core carried up as a lantern.Thispart is a chapel, the rooms encircling it ambulatory-wiseand mostly opening off it.Three chimney-stacks disposedround the lantern, mullioned windows, conical roof withfinial.’

Baroque: Abingdon, County Hall, –, builderChristopher Kempster. , p. .‘Of the free-standing town halls of England with openground floors this is the grandest. It is also remarkablyhigh and monumental for its two storeys.Tawny stone,four by two bays.Giant Composite pilasters on very highplinths used consistently. Open arches below, the windowsabove of three lights arched with a transom, and the mul-lions forming a concentric arch above the transom.’

Baroque: Stydd, almshouses, front, . :

, p. .‘Very curious and very engaging. Five bays.The three middlebays have on the first floor an arcade of rustic Tuscan columnswith balustrading to the outer bays.The loggia is reached byan open staircase with curved sides.Truncated shaped gableon top.’

Italianate: Perth, St John Street, Nos. ‒ (former CentralBank of Scotland, by David Rhind. ‒.

, p. .‘Three-storey five-bay palazzo, with rusticated quoins. At theends of the ground floor, Roman Doric pilastered doorpieceswith triglyphed friezes.The bases of the inner pilasters arelinked by a balustrade under the corniced ground floorwindows. Aedicular first-floor windows.’

Classical: St George’s Hall, the Concert Hall, . -

, p. .‘one of the greatestVictorian interiors, and perhaps more ex-pressive of civic pride and aspiration than any other. It isroofed with a mighty tunnel vault which is carried on columns


of polished red granite, placed in front of massive piers, andthere are arches between the piers.The Minton tile floor withits pattern of interlocking circles against a diapered back-ground is by Cockerell.

Classical: LeedsTown Hall, Headrow, by CuthbertBrodrick, –. , pp. –.‘The monumental flight of steps leading to the front isan impressive prelude to the great ten-column Corinthiancolonnade... There are pavilions to l. and r. withCorinthian columns between coupled pilasters and archedwindows in two storeys. Above the colonnade is theproud tower... with a detached square colonnade of sixcolumns and a big, tall, rather elongated square lead-cov-ered dome with concave sides crowned by a cupola.’

Gothic Revival: Liverpool, Victoria Building, University ofLiverpool, by AlfredWaterhouse, –. :

-, p. .‘To the l., the former library with gabled dormers; to the r.,the principal staircase and a semi-circular lecture theatre,both expressed externally. Double height apsidal entrancehall faced in Burmantofts terracotta, glazed and unglazed,mostly browns with touches of pale blue.’

Modernist / Art Deco: Morecambe, Midland Hotel, byOliver Hill, –, side. : , p. .‘the first hotel of its type in England, in a style whichevokes theModern Movement without really beingMod-ernist, yet seeming too substantial to be called merely ArtDeco.’

Modernist: The Economist Group, St James’s Street,London, – by Alison and Peter Smithson.

: , p. .‘The three towers are set on a podium, grouped andproportioned to suit the context – a radical departure ata time whenModernist practice was still dominated bystand-alone monumentalism.The towers have evenconcrete frames, with the corners canted to increase theamount of light.’

Postmodernist: StormWater Pumping Station, Isle ofDogs, – by John Outram. : , p. .‘A primitive classical temple, Postmodern in its symbolism,classicism and vivid colour, inside and out, but in no wayroutine.’


Modernist (HighTech): Sage Music Centre, Oakwellgate,Gateshead, –, from the north-west.

, p. .‘The intricate roof has a maximum span of ft ( me-tres) formed by four primary arches, with beam segmentsof successively increasing radius giving a spiral profile.The result is a sheath undulating across a large struttedstructure and wrapping round two small and one largereinforced-concrete halls.’

D

Decorated: Markenfield Hall, hall block, c. –. : ,

, p. .‘L-shaped hall block at the corner of the courtyard –the principal element, taller than the rest – former lodg-ings range along the rest of the side, former kitchenblock of the hall... The main rooms of the hall blockare all on the upper floor, above a undercroft which wasoriginally vaulted throughout.The crenellated parapet,originally with a wall-walk behind, is all of a piece.’

Perpendicular: MuchWenlock,Wenlock Priory, prior’slodging range from the , late s, wall perhaps rebuiltc. . , p. .‘the range is faced by two storeys of galleries, originallyunglazed, like cloister walks, entered through an inconspic-uous doorway at the end.The galleries form a continu-ous grid of windows, very much as in a building of the. Buttresses between each pair of two-light openings.Four-centred arches.The whole impresses one as statelyand yet entirely domestic.’

Timber framed: Bramley, Manor House, exterior,c. –. : ,p. .‘timber-framed with an impressive display of closestudding to both floors. Restored byThomas Stopherc. –. His are the diamond-leaded oriel windows,the star chimneys and scallop tile-hanging.’

Elizabethan: Fountains Hall, attributed to Robert Smyth-son, c. . : ,

, p. .‘Round-headed doorway flanked by coupled fluted Ioniccolumns carrying an entablature...Mullion-and-transom


windows of five lights to l. and r., with mullioned base-ment windows below. On top of the fore-building is abalustrade... then comes the spectacular fenestration of thegreat chamber, a virtual ‘glass wall’ with a tall semicircu-lar double-transomed oriel of five lights in the centre.’

Palladian: Hagley Hall, by Sanderson Miller, ‒.

, p. .‘basement of even ashlar rustication. Piano nobile abovewith windows with blind balustrades, then a half-storeywith square windows: the corner pavilions have an addi-tional storey and windows emphasized with pediments orears.Moulded cornice with balustraded parapet.’

Rococo: Lytham Hall, staircase hall, plasterwork byGuiseppe Cortese, c. . : , p. .‘a rich coffered and coved ceiling, with everything presidedover by Zeus wielding thunderbolts as he treads billowingclouds.’

Neo-classical (Adam): Harewood House, Music Room, byRobert Adam, c. –. : ,

, p. .‘Adam’s decoration of the rooms was one of his largestschemes, executed by many of his usual contacts... circu-lar insets to the ceiling attributed to Biaggio Rebecca, awall scheme of large paintings of classical ruins by Anto-nio Zucchi, and an Axminster carpet echoing the ceilingdesign.’

Pictureque / Regency: Cronkhill, by John Nash, c. –., p. .‘The earliest Italiante villa in England, of a new Pictur-esque sort which would become hugely popular through-out the first half of the .The design appears completelyinformal, with a big round tower at one corner of themain, two-storey block and a balustraded loggia to the l.’

Gothic Revival / Regency: Liverpool (Mossley Hill), Green-bank, front, c. –. :

-, p. .‘delightful gothick... on the front is the most charmingtwo-storey iron veranda of delicate tracery across all fourbays.’

Greek Revival: The Grange, portico byWilliamWilkins,c. –. : ,p. .


‘At the endWilkins added the magnificent pedimentedDoric portico, its order based on that of theThesion inAthens. Everything is bigger and better than the contem-porary portico at Stratton Park: it is hexastyle rather thantetrastyle, the columns are fluted rather than plain, and it istwo columns deep... The whole is tied together by theentablature of triglyphs and metope wreaths.’

Picturesque: East Stratton, model estate cottages, byGeorge Dance theYounger, . : -

, p. .‘five pairs of model estate cottages with thatched roofs,Yorkshire sashes and lean-to porches.’

Old English / Queen Anne: Chigwell Hall, by NormanShaw, –. , p. .‘Brick ground floor, projecting tile-hung upper floor, andcoved eaves.The front has an asymmetrical bay window,three slightly projecting windows on the first floor andthen three more windows in the broad gables above.Theentrance is at the side, with a flat wooden hood over thedoorway.’

Arts and Crafts: Castlemorton, BannutTree House, ,by C.F.A.Voysey. , p. .‘Four even gables with half-timbering, a motif Voysey latermore or less discarded.The upper floor is jettied out,though this is disguised by the picturesquely detailedchimney, l., by typically sloping buttresses, by the project-ing garden porch, and also by the nice solution of the r.corner, where the ground-floor window bay is polygonalbut the floor above juts out at a right angle.’

Scottish Baronial: Dall House, by Mackenzie & Matthews,–. , p. .‘Scottish Baronial but lighthearted in its display of crow-stepped gables, round towers and turrets with witches’-hatroofs, and steeply pedimented dormer heads... the entrancecontained in a bowed tower topped by a rectangular cap-house.’

Arts and Crafts: Sulhamstead, Folly Farm, by Sir EdwinLutyens, –. , p. .‘Lutyens’s original addition appears at first to be a com-plete, though relatively modest, ‘Wrenaissance’ house look-ing out onto a formal canal and attached to the s end ofthe old farmhouse. Grey brick with dressings of unortho-


dox two-inch red bricks, raised quoins, hipped roof. Cen-tral full-height hall and two-storeyed wings.’

Modernist: Ulting,The Studio, by Richard & Su Rogers,–. , p. .‘One of two executed experiments by Rogers for a steel-framed structure, built as far as possible with factory-made components: the width of the building isdetermined by the width of the available sheeting for theroof. In theory, the house was a prototype for a systemthat was capable of mass production.’

Modernist: Nolton, Malator, by Future Systems, ., p. .‘The seaward elevation is entirely of glass. Open plan withcentral living area, the kitchen and bathroom towardseach end, these rooms within free-standing pear-shapedpods. Steel-framed construction, the roof supported on asteel ring-beam.’

PHOTOGRAPHIC ACKNOWLEDGEMENTS

The publishers gratefully acknowledge the support of EnglishHeritage and the Royal Commissions for Scotland andWales.Their photographers have provided the majority of the imagesfor the Pevsner Architectural Guides for a number of years.The images used in this book come from a variety of sourcesand are all taken from previous volumes in the series; they areacknowledged below.

Martin Charles: ,

Chetham’s Library:

English Heritage (NMR): ,

English Heritage (Photo Library): , , , , , , , , , ,

, , , , , , , , , , , , , , , ,

, , , , , , , , , , , , ,

The Dean and Chapter of Westminster:

Angelo Hornak:

NationalTrust Photographic Library/Andrew Butler:

John Outram:

Royal Commission on the Ancient and Historical Monumentsof Scotland (RCAHMS, Crown Copyright): ,

Royal Commission on the Ancient and Historical Monumentsof Wales (RCAHMW, Crown Copyright): ,


NOTETOTHE READER

Numbers in square brackets refer to text figures and Platenumbers refer to the colour sections.

Captions for the plate sections are listed on pp. –, withextracts from the original description in the Pevsner Archi-tectural Guides.Terms defined in the Glossary are set initalics.

Literal meanings, where specially relevant, are indicatedby the abbreviation lit.

The majority of the original drawings for the text figuresare by John Sambrook.


ABACUS Flat slab forming the top of a capital on acolumn or pilaster [].

ABUTMENT The meeting of an arch or vault with its solidlateral support, or the support itself.

ACANTHUS Classical formalized leaf ornament [].

ACCUMULATOR TOWER A tower housing a hydraulicaccumulator which accommodates fluctuations in theflow through hydraulic power mains.

ACHIEVEMENT In heraldry, a complete display ofarmorial bearings.

ACROTERION (plural: acroteria) Plinth for a statue orornament on the apex or ends of a pediment; moreusually, both the plinth and what stands on it [].

ADAM A style associated with the Scottish architectRobert Adam (–), marked by delicate all-overornament derived largely from the decoration of ancient

Fig. Acanthus

AGlossary pages new extra text:Layout 1 10/9/10 16:22 Page 23

3. Norman: Waltham Abbey, Holy Cross and St Lawrence, secondquarter of the c12. Essex

01 Ecclesiastical buildings plate section:Layout 1 10/9/10 14:31 Page 2

4. Transitional: Worcester Cathedral, two w bays of nave, c. 1175–85.Worcestershire


5. Early English: Ripon Cathedral, w front, probably 1230s. YorkshireWest Riding: Leeds, Bradford and the North


6. Decorated (Geometric): Ripon Cathedral, e end, after 1284. YorkshireWest Riding: Leeds, Bradford and the North


Real Estate

PEVSNER’S ARCHITECTURAL GLOSSARY