ABSTRACT
B\ WKH WLPH (GZLQ ¶1HG· /XW\HQV ZDV PRYLQJ RQIURP KLV SUHFRFLRXVO\ EULOOLDQW VHULHV RI ¶IUHHVW\OH· country houses in London’s Surrey commuter belt to designing his first central London building – the 1904 ¶:UHQDLVVDQFH· H[HUFLVH IRU &RXQWU\ /LIH PDJD]LQH LQ 7DYLVWRFN 6WUHHW &RYHQW *DUGHQ ² WKH 4XHHQ Anne style was a moribund cause among architects (although it had, by then, been warmly absorbed into the vernacular). Lutyens had thoroughly explored his own version of a free, neo-vernacular approach to architectural gamesmanship and now saw himself GUDZQWRWKH¶KLJKJDPH·WKDWZDVDOVRWKHVHGXFWLYHO\ ¶ELJJDPH·RIQHR&ODVVLFLVP
At that time, at the turn of the century, all the principal ILJXUHVRIWKH*RWKLFUHYLYDOZHUHGHDGDQGDSDUWIURP DKDQGIXORIUHVLGXDO*RWKLFLVWV²VXFKDV&RPSHUZKR ZDVRQHRIWKRVHWDNLQJWKH*RWKLFUHYLYDOLQWRLWVWKLUG post-Black Death (of 1348) phase of Late Decorated or Early Perpendicular – most architects were divided between two principal streams of architectural value (admittedly not without some intermixture).
