Tudor architecture

The Tudor architectural style is the final development of medieval architecture in England and Wales, during the Tudor period (1485–1603) and even beyond, and also the tentative introduction of Renaissance architecture to Britain. It followed the Late Gothic Perpendicular style and, gradually, it evolved into an aesthetic more consistent with trends already in motion on the continent, evidenced by other nations already having the Northern Renaissance underway, like Italy and especially France who were well into their revolutions in art, architecture, and thought. A subtype of Tudor architecture is Elizabethan architecture, from about 1560 to 1600, which has continuity with the subsequent Jacobean architecture in the early Stuart period.

In the much more slow-moving styles of vernacular architecture, "Tudor" has become a designation for half-timbered buildings, although there are cruck and frame houses with half-timbering that considerably predate 1485 and others well after 1603; an expert examination is required to determine the building's age. In many regions stone architecture, which presents no exposed timber on the facade, was the norm for good houses, while everywhere the poorest lived in single-storey houses using wood frames and wattle and daub, too flimsy for any to have survived four centuries. In this form, the Tudor style long retained its hold on English taste.^[1] Nevertheless, "Tudor style" is an awkward style-designation, with its implied suggestions of continuity through the period of the Tudor dynasty and the misleading impression that there was a style break at the accession of James I in 1603, first of the House of Stuart. A better diagnostic is the "perpendicular" arrangement of rectangular vertically oriented leaded windows framed by structural transoms and mullions and often featuring a "hooded" surround usually in stone or timber such as oak.

The low multi-centred Tudor arch was another defining feature and the period sees the first introduction of brick architecture imported from the Low Countries. Some of the most remarkable oriel windows belong to this period.^[1] Mouldings are more spread out and the foliage becomes more naturalistic. During the reigns of Henry VIII and Edward VI, many Italian artists arrived in England; their decorative features can be seen at Hampton Court Palace, Layer Marney Tower, Sutton Place, and elsewhere. However, in the following reign of Elizabeth I, the influence of Northern Mannerism, mainly derived from books, was greater. Courtiers and other wealthy Elizabethans competed to build prodigy houses that proclaimed their status.

The Dissolution of the Monasteries redistributed large amounts of land to the wealthy, resulting in a secular building boom, as well as a source of stone.^[2] The building of churches had already slowed somewhat before the English Reformation, after a great boom in the previous century, but was brought to a nearly complete stop by the Reformation. Civic and university buildings became steadily more numerous in the period, which saw general increasing prosperity. Brick was something of an exotic and expensive rarity at the beginning of the period, but during it became very widely used in many parts of England, even for modest buildings, gradually restricting traditional methods such as wood framed, daub and wattle and half-timbering to the lower classes by the end of the period.

Tudor style buildings have several features that separate them from medieval and later 17th-century design. The earliest signs of the Renaissance appear under Henry VII; whereas most of his building projects are no longer standing, it is actually under him and not his son that the Renaissance began to flower in England, evidenced by ample records of what was built and where, materials used, new features in gardening that did not at all fit the pattern of the earlier medieval walled garden, letters from the king expressing his desires and those of his wife's in the case of Greenwich Palace, as well as his own expressed interest in the New Learning.

The residences of the king and nobility, while they had not been seriously defensible for centuries, still evoked the idea of the castle, with moats, gatehouses, machicolations and crenellations.^[3] Brick, having been popularised in 15th century buildings like Tattershall Castle and Herstmonceaux Castle, was now in general use as a secular building material across eastern England. The ascendancy of the Tudors caused no direct change in architectural style, with buildings such as Hadleigh Deanery (Suffolk, 1470s) and Giffords Hall (also Suffolk, 1510s) looking much alike.^[3]

Not all Tudor architecture was of a residential nature, and the dry dock in Portsmouth is very important as it laid the foundation for other civic projects done under Henry VIII and Elizabeth I. Built under Henry VII, it enabled the maintenance of the navy developed by Henry VIII, establishing England as a major seafaring power in the Age of Discovery. Purchasing eight acres, he gave the job of constructing the dry dock to Sir Reginald Bray. It measured 330 feet on each side, the bottom of the dock 395 feet long, and the whole 22 feet deep. The wharf on the outside of the piers that marked the dock's location were 40 feet on each side at a depth of 22 feet. The dock operated by swinging some hinged gates open, allowing the ship to enter, and then water was taken out with a bucket and chain pump worked by a horse-gin.^[4] In the early part of his reign, Henry Tudor favoured two sites, both on the River Thames though in opposite directions, with one west of Westminster and one east of it. Upon his rise to power he inherited many castles, but notably he did very little to these. Recent evidence suggests that he made notable improvements to other properties belonging to the crown, including Greenwich Palace, also known as the Palace of Placentia. Although today the Old Royal Naval College sits on the site of the palace, evidence suggests that, shortly after ascending the throne, Henry spent a very large amount of money on enlarging it and finishing off a watchtower built prior to his reign; his Queen, Elizabeth, gave birth to Henry VIII and his brother Edmund in this palace. Henry Tudor's palace facing the Thames Estuary would have had a brick courtyard that faced the River Thames.^[5] Excavation has also revealed that it had a chapel with black-and-white tiles,^[6] and 'bee boles' in which bees could hibernate.^[7]

As well as Greenwich, Henry VII built Richmond Palace, after its timber predecessor of Sheen burnt to the ground at Christmas 1497.^[8] This, has been described as the first prodigy house, a term for the ostentatious mansions of Elizabeth's courtiers and others, and was influential on other great houses for decades to come as well as a seat of royal power and pageantry.

Henry VII was succeeded by his second son, Henry VIII, a man of a very different character of his father, who spent enormous amounts of money on building many palaces, most now vanished, as well as other expensive forms of display. In a courtyard of Hampton Court Palace he installed a fountain that for celebrations flowed with wine.^[9] He also built military installations all along the southern coast of England and the border with Scotland, then a separate nation.

Henry VIII's most ambitious palace was Nonsuch Palace, south of London and now disappeared, an attempt to rival the spectacular French royal palaces of the age and, like them, using imported Italian artists, though the architecture is northern European in inspiration. Much of the Tudor palace survives at Hampton Court Palace, which Henry took over from his disgraced minister Cardinal Wolsey and expanded, and this is now the surviving Tudor royal palace that best shows the style.

As time wore on, quadrangular, H- or E-shaped floor plans became more common, with the H shape coming to fruition during the reign of Henry VIII.^[10] It was also fashionable for these larger buildings to incorporate 'devices', or riddles, designed into the building, which served to demonstrate the owner's wit and to delight visitors. Occasionally these were Catholic symbols, for example, subtle or not so subtle references to the trinity, seen in three-sided, triangular, or Y-shaped plans, designs or motifs.^[11]

During this period, the arrival of the chimney stack and enclosed hearths resulted in the decline of the great hall based around an open hearth that was typical of earlier medieval architecture. Instead, fireplaces could now be placed upstairs and it became possible to have a second story that ran the whole length of the house.^[12] Tudor chimney-pieces were made large and elaborate to draw attention to the owner's adoption of this new technology.^[2] The jetty appeared, as a way to show off the modernity of having a complete, full-length upper floor.^[2]

The early Tudor period saw the completion of many of the greatest English Gothic religious buildings, with the tallest church tower at the Boston Stump (266 feet high, completed c.1515)^[13], the highest parochial spire at Louth (287' 6'' high, c.1455-1515)^[14], the grandest cathedral tower at Canterbury (1433-97)^[15], and the widest fan vault at King's College Chapel, Cambridge (completed 1515)^[16]. There were also two important buildings started from scratch: Bath Abbey and Henry VII's Chapel at Westminster Abbey. This work all followed the Perpendicular style, established over a century and a half earlier. However, work done by Court masons, forming what Francis Woodman termed the 'Windsor-Westminster School' was noticeably more ornate than the work of previous years.^[17] This may be seen clearly at King's College Chapel, where the eastern buttresses of the 1450s are plain, while the Tudor buttresses to the west are festooned with carved heraldic symbols.^[18] The difference was striking enough for John Harvey to consider Tudor Gothic to be a distinct style, though this is not the consensus among architectural historians.^[19] The Court style was notable for elaborate fan or pendant vaults, ogee-domed turrets and complex polygonal plans, as well as a general tendency towards the miniscule, in a form reminiscent of tomb architecture. These changes towards the complex and ornate were likely due to continental influence from Flamboyant Gothic in France and Flanders.^[19] The elaborate planning of the bay windows in Henry VII's chapel inspired the 'compass window' in secular architecture, showing the connection between the sacred and the secular in the Gothic age.^[20]

Monastic building abruptly ceased at the Reformation: an evocative example is the west tower at Bolton Priory, left half-finished since the royal commissioners sent the masons away in 1539. Work on parish churches was not directly affected by the Reformation to the same degree, but the changed religious climate and the decline in the wool trade that had funded the grandest churches meant that work ground to a halt, with some buildings summarily completed without pinnacles and other ornamentation.^[21] Church building was not to be seen again on a major scale until the 1660s.

Buildings constructed by the wealthy or royal had these common characteristics:

• An E- or H-shaped floor plan
• Brick and stone masonry, sometimes with half timbers on upper floors in grand houses earlier in the period
• Recycling of older medieval stone, especially after Henry VIII's Dissolution of the Monasteries. Some reuse of monastery buildings as houses.
• Curvilinear gables, an influence taken from Dutch designs, from the mid-century
• Displays of glass in large windows several feet long; only the rich could afford numerous expensive large windows. Heraldic stained glass was provided by Galyon Hone and others
• Depressed arches in clerical and aristocratic design, especially in the early-middle portion of the period
• Hammerbeam roofs still in use for great halls from medieval period under Henry VII until 1603; were built more decoratively, often with geometric-patterned beams and corbels carved into beasts
• Most windows, except large ones, are rectangular, and drip moulds common above them.
• Classical accents such as round-headed arches over doors and alcoves, plus prominent balustrades from time of Henry VIII to Elizabeth I
• Tall multi-stack chimneys, often ornamented with decorative brickwork, as at Hampton Court Palace. Chimneys were such a status symbol that false ones could be fitted where there was no fireplace, as at Framlingham Castle in either the 1470s or 1510s.^[22]
• Wide, stone fireplaces with very large hearths with large chimneypieces in stone, sometimes with the family's heraldry.
• Enormous ironwork for spit roasting located inside cooking fireplaces. In the homes of the upper class and nobility it was fashionable to show off wealth by being able to roast all manner of beasts weighing less than 500 grams on up to a full grown bull; in the case of royalty it would be seen as dishonour if the monarch's table could not provide equal to that of the Continental powers of France and Spain. Managing the flames would be the job of either a spit boy (Henry VII's reign) or later on a new invention where a turnspit dog ran on a treadmill (Elizabeth I's reign.)
• Long galleries
• Tapestries serving a triple purpose of keeping out chill, decorating the interior, and displaying wealth. In the wealthiest homes these may contain gold or silver thread. Cornelius van der Strete added arms and ciphers to royal tapestries.^[23]
• Gilt detailing inside and outside the home
• Geometric landscaping in the back of the home: large gardens and enclosed courtyards were a feature of the very wealthy. Fountains begin to appear in the reign of Henry VIII.
• Arms- The Tudor dynasty is famous for using its Tudor rose as a decorative device, but also the royal coat of arms was in use throughout the period as a p.r. and marketing tool and today is an important marker that dates a structure, singles it out from any other coat of arms, and if authentic can prove its provenance: it would have been a feature of the furniture as well as ironwork. Very specific to royalty, the royal coat of arms of the House of Tudor would have been distinct from all others that have sat the throne: in common with most royal houses, the three lions passant and the fleur de lys pattern did impale the shield, with the motto of "God and my right." In common with all arms since Edward III, they all have the gold lion passant guardant standing upon a chapeau, bearing a royal crown on its head. However, this period specifically hd the Greyhound Argent collared Gules plus a matching red dragon gules sinister garnished and armed Or, a nod to the Welsh origins of the House of Tudor. For Henry VII, the dragon occasionally would have been replaced with a lion rampant and had red mantling lined with ermine; this distinguishes it from his son, Henry VIII, who lined his with gold. Mary I had the black eagle rampant sinister as a supporter, a nod to her marriage to Philip II of Spain.

The houses and buildings of ordinary people were typically timber framed. The frame was usually filled with wattle and daub but occasionally with brick.^[2] These houses were also slower to adopt the latest trends, and the great hall continued to prevail.^[12] Fireplaces were quite large by modern standards, and were used for both cooking and warmth.

Smaller Tudor-style houses display the following characteristics:

• Simpler square or rectangular floor plans in market towns or cities
• Farmhouses retain a small fat 'H' shape and traces of late medieval architecture; modification was less expensive than entirely rebuilding.
• Steeply pitched roof, with thatching or tiles of slate or more rarely clay (London did not ban thatched roofs within the city until the 1660s)
• Cruck framing in use throughout the period
• Prominent cross gables
• Tall, narrow doors and windows
• Small diamond-shaped window panes, typically with lead casings to hold them together
• Dormer windows, late in the period
• Flagstone or earthen floors rather than all stone and wood
• Half-timbers made of oak, with wattle and daub walls painted white
• Brickwork in homes of gentry, especially Elizabethan. As with upper classes, conformed to a set size of 210–250 mm (8.3–9.8 in) × 100–120 mm (3.9–4.7 in) × 40–50 mm (1.6–2.0 in), bonded by lime mortar
• Jettied top floor to increase interior space;^[24] This was very common in market town high streets and larger cities like London.
• Extremely narrow to nonexistent space between buildings in towns
• Inglenook fireplaces. Open floor fireplaces were a feature during the time of Henry VII but had declined in use by the 1560s for all but the poor as the growing middle classes were becoming more able to build them into their homes. Fireplace would be approximately 138 cm (4.5 ft) wide × 91 cm (3 ft) tall × at least 100 cm (3.3 ft) deep. The largest fireplace—in the kitchen—had a hook nailed into the wall for hanging a cooking cauldron rather than the tripod of an open plan. Many chimneys were coated with lime or plaster inside to the misfortune of the owner: when heated these would decompose and thus the very first fire codes were implemented during the reign of Elizabeth I, as many lost their homes because of faulty installation.
• Oven not separated from apparatus used in fireplace, especially after the reign of Edward VI; middle-class homes had no use for such enormous ovens nor money to build them.
• More emphasis on wooden staircases in homes of the merchants and gentry
• Outhouses in the back of the home, especially beyond cities in market towns, often referred to as "the jakes" in documents that survive.
• Little landscaping behind the home, but rather small herb gardens. Occasionally bee skeps would be kept in this area as a means of getting wax for candles and also, when in season, honey.
• The poorest classes lived in hovels, a building with a slightly different definition than today: it was a one-room wattle-and-daub hut. Most did not have the copyhold on the land they occupied and were tenants on another man's land; amenities were very basic in that there was a place to sleep, a place to eat, and a place to cook.

• The final stages of King's College Chapel, Cambridge (1446–1515, John Wastell)
• St Peter and St Paul's Church, Lavenham, Suffolk (1485–1525, John Wastell)
• Red Mount Chapel, King's Lynn, Norfolk (c. 1485–1533, attributed to John Wastell)
• St. George's Chapel, Windsor Castle, nave (1475–1528, the Vertue brothers)
• St Winefride's Well Holywell, Flintshire, Wales (1490)
• The central tower (Bell Harry) and strainer arches of Canterbury Cathedral, Kent (1493–97, John Wastell)
• The retrochoir (New Building) at Peterborough Cathedral, Cambs. (1496-1508, attributed to John Wastell)
• The Lady Chapel at Rochester Cathedral, Kent (1500–12)
• Bath Abbey, Somerset (1501–39, completed in the 19th century, the Vertue brothers)^[25]
• St Edmundsbury Cathedral (formerly St James' Church), Suffolk (1503, John Wastell)
• The nave of Ripon Cathedral, N. Yorks. (1502–22)
• Henry VII Lady Chapel at Westminster Abbey, London (1503–1509, the Vertue brothers)^[1]
• Church of St. John the Baptist, Cirencester, Glos. (1508–30)
• Chantry chapels at Ely Cathedral, Exeter Cathedral, Worcester Cathedral, Salisbury Cathedral, Winchester Cathedral and others

• Magdalen Tower, Oxford (1492–1509)
• First Court, Christ's College, Cambridge (1505–11)
• Old Quad, Brasenose College, Oxford (1509–22)
• First Court(1511–20) & Second Court (1598–1602), St. John's College, Cambridge
• Front Quad, Corpus Christi College, Oxford (1517)
• Tom Quad, Christ Church, Oxford (1525–29)
• Caius Court, Gonville & Caius College, Cambridge (1565)
• Great Court, Trinity College, Cambridge (1599–1608)

• Thaxted Guildhall, Essex (late 15th century)
• Malmesbury Market Cross, Wiltshire (c. 1490)
• Market Cross, Shepton Mallet, Somerset (c. 1500)
• Lavenham Guildhall, Suffolk (1529)
• Much Wenlock Guildhall, Shropshire (1587)
• Old Market Hall, Shrewsbury, Shropshire (1597)
• Old Royal Exchange, London (1565–71 by Thomas Gresham; burned 1666)

• Lincoln's Inn Old Hall (c. 1490)
• Gray's Inn Hall (1559; damaged in the Blitz and restored)
• Middle Temple Hall (1562–72; damaged in the Blitz and restored)
• Staple Inn (1580–86; damaged in the Blitz and restored)

• The Tribunal, Glastonbury (c. 1500)
• Globe Theatre, London (1599; d. & rebuilt, 1613–14; b. 1644) Replica built a away from original site on South Bank of the Thames.
• St. John's Gate, Clerkenwell Priory, London (1504)
• Ford's Hospital, Coventry

• Henry VII, Greenwich Palace, Greenwich, London (1498–1504; d. 1660) Archaeological work done on palace within last 30 years. Current ruins directly underneath modern Naval College.
• Henry VII, Richmond Palace, Richmond-upon-Thames, London (1498–1502, d. 1649) Fragments of original palace still extant. Fell out of favour after the Stuart Dynasty.
• Henry VIII, Bridewell Palace, London (1515–23, b. 1666)
• Henry VIII, Palace of Beaulieu, Essex (1516–27, partially d.)
• Henry VIII, Leeds Castle, Kent (1519)
• Henry VIII, Hunsdon House, Herts. (1525, partially d.)
• Henry VIII, St. James's Palace, Westminster, London (1531–44)
• Henry VIII, Oatlands Palace, Surrey (1538, d.)
• Henry VIII, Queen Elizabeth's Hunting Lodge at Great Standing, Chingford, London (1542–43)
• Henry VIII, Nonsuch Palace, Epsom, Surrey (1538; d. 1682)

• Bishop Richard FitzJames, Fulham Palace, Fulham, London (1480–1522)
• Cardinal Morton, portions of Lambeth Palace, Lambeth, London (1495)
• Cardinal Morton, Hatfield Old Palace, Herts. (1497, partly d.)
• Cardinal Wolsey, Hampton Court Palace, Richmond-upon-Thames, London (1498–1502)
• Cardinal Wolsey, Palace of Whitehall, Westminster, London (1514–30; burned 1691; see Holbein Gate)
• Sir Christopher Hatton, Holdenby Palace, Northants. (1583, d.)
• Lord Burghley, Theobalds Palace, Herts. (1564–85, d.)

• London Charterhouse Great Hall (1545)
• Great Hall, Carew Manor, Beddington (c. 1510)
• Sutton House, Hackney (1535)
• Suffolk Place, Southwark (1522; d. 1557)
• Hall Place, Bexley (1537–1649)
• Syon House, Isleworth (1552)
• Broomfield House, Enfield (c. 1560)
• Eastbury Manor House, Dagenham (1566–73)

(see Prodigy house)

• Compton Wynyates, Warks. (1481–1515)
• Oxburgh Hall, Norfolk (1482-& seq.)
• Prysten House, Plymouth, Devon (c. 1490)
• Athelhampton House, Dorset (1493–1550)
• Paycocke's House and Garden, Coggeshall, Essex (c. 1500)
• Dorney Court, Bucks. (c. 1500)
• Little Moreton Hall, Ches. (1504–62)
• Thornbury Castle, Glos. (1508–21)
• Coughton Court, Warks. (1509–22)
• Helmingham Hall, Suffolk (1510; remodeled)
• Layer Marney Tower, Essex (1520)
• East Barsham Manor, Norfolk (c. 1520)
• Sutton Place, Surrey (c. 1525)
• Hengrave Hall, Suffolk (1525–1538)
• Chenies Manor House, Bucks. (c. 1530–1550)
• Speke Hall, Liverpool (1530–98)
• Rufford Old Hall, Lancs. (1530)
• Cowdray Castle, Sussex (1533–38)
• Barrington Court, Somerset (1538–50)
• Kentwell Hall, Suffolk (1540–63)
• Haslington Hall, Ches. (1545)
• Broughton Castle, Oxon. (c. 1550)
• Cothelstone Manor, Somerset (c. 1550)
• Great Fosters, Surrey (c. 1550)
• The east tower, Wilton House, Wilts. (c. 1551)
• Melford Hall, Suffolk (1554–59)
• Burghley House, Peterborough, Cambs. (1555–87)
• Sawston Hall, Cambs. (1557–84)
• Englefield House, Berks. (1557)
• Charlecote Park, Warks. (1558)
• Burton Constable Hall, E. Yorks. (c. 1560)
• Pitchford Hall, Salop. (c. 1560)
• Loseley Park, Surrey (1562–68)
• Handforth Hall, Ches. (1562)
• Old Gorhambury House, Herts. (1563–68; ruins)
• Additions by Lord Leicester to Kenilworth Castle, (1563–75; ruined 1649)
• Chequers Court, Bucks. (1565)
• Longleat, Somerset (1567 by Robert Smythson & al.)
• Kirby Hall, Northants. (1570–75; ruins)
• Great Chamber at Gilling Castle, N. Yorks. (1571–75)
• Castle Ashby, Northants. (1574–1635)
• Longford Castle, Wilts. (1576–91)
• Churche's Mansion, Nantwich, Ches. (1577)
• Parham Park, W. Sussex (1577)
• Rainthorpe Hall, Norfolk (1579–& seq.)
• Wollaton Hall, Nottingham (1580–88 by Robert Smythson)
• Benthall Hall, Salop. (1580)
• Castle Lodge, Ludlow, Salop. (1580)
• Shaw House, Newbury, Berks. (1581)
• Corsham Court, Wilts. (1582)
• Barlborough Hall, Derbys. (1583)
• Mapledurham House, Mapledurham, Oxon. (c. 1585)
• Wilderhope Manor, Shropshire. (c. 1585)
• Brereton Hall, Ches. (1586)
• Wakehurst Place, W Sussex (c. 1590)
• Hardwick Hall, Derbys. (1590–97 by Robert Smythson)
• Hall-i’-th’-Wood, Bolton, Manchester (1591–1648)
• Condover Hall, Salop. (1591–98, attr. to John Thorpe)
• Anglesey Abbey, Cambs. (c. 1591)
• Stanley Palace, Chester (c. 1591)
• Longford Castle, Salisbury, Wilts. (1591 by John Thorpe & al.)
• Danny House, W Sussex (1593–95)
• Doddington Hall, Lincs. (1593–1600 by Robert Smythson)
• Milton Hall, Cambs. (1593–94)
• Gayhurst House, Bucks. (1597–1603)
• Cold Ashton Manor, Glos.(1597–1601)
• Fountains Hall, N. Yorks. (1598–1604)
• Montacute House, Somerset (1598 by William Arnold)
• Bramall Hall, Manchester (c. 1599)
• Rotherwas House, Herefords. (1600–11; d., interior now at Amherst College, see Rotherwas Room)
• Gawthorpe Hall, Lancs. (1600–04, attr. to Robert Smythson)
• Westwood House, Worcs. (1600)
• Hartwell House, Bucks. (ea. 17th C.)
• Burton Agnes Hall, E. Yorks. (1601–10, attr. to Robert Smythson)

In the 19th century a free mix of late Gothic elements, Tudor, and Elizabethan were combined for public buildings, such as hotels and railway stations, as well as for residences. The popularity continued into the 20th century for residential building. This type of Renaissance Revival architecture is called 'Tudor,' 'Mock Tudor,' 'Tudor Revival,' 'Elizabethan,' 'Tudorbethan,' and 'Jacobethan.'

Tudor and Elizabethan precedents were the clear inspiration for many 19th and 20th century grand country houses in the United States and the British Commonwealth countries. A 19th and 20th century movement to build revivalist institutional buildings at schools and hospitals often drew from famous Tudor examples such as the Collegiate Gothic architectural style.

• Airs, Malcolm, The Buildings of Britain, A Guide and Gazetteer, Tudor and Jacobean, 1982, Barrie & Jenkins (London), ISBN 0091478316
• Airs, Malcolm, The Tudor and Jacobean Country House: A Building History, 1998, Bramley, ISBN 1858338336, 978-1858338330
• Garner, Thomas and Arthur James Stratton, Domestic Architecture of England during the Tudor Period. London: B.T. Batsford, 1908–1911.
• Gunn, S. (2016). The making of Tudor England. In S. Gunn (Ed.), Henry VII’s New Men and the Making of Tudor England (p. 0). Oxford University Press. https://doi.org/10.1093/acprof:oso/9780199659838.003.0018
• Henderson, Paula, The Tudor House and Garden: Architecture and Landscape in the Sixteenth and Early Seventeenth Centuries, 2005, Paul Mellon Centre for Studies in British Art/ Yale University Press, ISBN 0300106874, 978-0300106879
• Howard, Maurice, The Early Tudor Country House: Architecture and Politics 1490–1550, 1987, Hamlyn, ISBN 0540011193, 978-0540011193
• Tudor Architecture. (n.d.). English Heritage. Retrieved April 19, 2024, from https://www.english-heritage.org.uk/learn/story-of-england/tudors/architecture/

• Jenkins, Simon, England's Thousand Best Churches, 1999, Allen Lane, ISBN 0-7139-9281-6
• Jenkins, Simon, England's Thousand Best Houses, 2003, Allen Lane, ISBN 0-7139-9596-3
• John Julius Norwich, The Architecture of Southern England, Macmillan, London, 1985, ISBN 0333220374

Wikimedia Commons has media related to Tudor style architecture.

• www.tudor-buildings.co.uk