The origins of the sash window are murky with the earliest references coming from the late Seventeenth Century. For example, 'The Milkmaid', a painting by Vermeer from 1658 shows a sash window in the background. Recent research indicates that, they may have been invented in England by Robert Hooke, and used for the first time in Ham House in the late 1600's. Other researchers believe that they were first used in France and then travelled via Holland to Britain. The British used it so prolifically that it is seen now as purely British.
Windows with double rows of glass panes that opened by sliding to one side or upwards, were initially known as 'Yorkshire light'. As the windows became larger and heavier, a rope and sash weight system was developed with the rope connected to the window and a pulley running inside the sealed box frame.
In the late 1600's, the famous architect Sir Christopher Wrens used these windows for Whitehall Palace. They were also used for Kensington and Hampton Court Palace. Wrens' reputation and the royal patronage gave wooden sash windows a cachet that soon saw them used right across the British empire. Until the early 1900's, the windows were used almost exclusively in all new constructions both private and public. Whether open or closed they do not detract from the aesthetics of a building unlike other windows.
In Georgian times, the sash was the rage and a double hung sash window was created allowing both the top and bottom sashes to be moved. In a wet European climate, the window can be opened at the top to let warm air escape while colder air is drawn in through the gap at the bottom, without allowing rain to enter.
During Victorian times, the windows like everything else were an additional site for the excessive decorations that were favoured by the elite of the day. Leaded lights, latticework, intricate carvings and mouldings were added to their buildings. Windows were grouped in a bay framed with pillars carved in stone. The windows at the bottom of the building were intentionally made longer than those of the upper stories to enhance the effect of perspective.
The First World War brought a different ethos and method to the production of goods and expensive labour intensive handicrafts were the losers. It was simply too expensive to continue to create intricate craft when producing for the masses.
It must be agreed that without the sash window, defects and all, the most interesting urban areas of older European cities would be bleak and characterless.
Windows with double rows of glass panes that opened by sliding to one side or upwards, were initially known as 'Yorkshire light'. As the windows became larger and heavier, a rope and sash weight system was developed with the rope connected to the window and a pulley running inside the sealed box frame.
In the late 1600's, the famous architect Sir Christopher Wrens used these windows for Whitehall Palace. They were also used for Kensington and Hampton Court Palace. Wrens' reputation and the royal patronage gave wooden sash windows a cachet that soon saw them used right across the British empire. Until the early 1900's, the windows were used almost exclusively in all new constructions both private and public. Whether open or closed they do not detract from the aesthetics of a building unlike other windows.
In Georgian times, the sash was the rage and a double hung sash window was created allowing both the top and bottom sashes to be moved. In a wet European climate, the window can be opened at the top to let warm air escape while colder air is drawn in through the gap at the bottom, without allowing rain to enter.
During Victorian times, the windows like everything else were an additional site for the excessive decorations that were favoured by the elite of the day. Leaded lights, latticework, intricate carvings and mouldings were added to their buildings. Windows were grouped in a bay framed with pillars carved in stone. The windows at the bottom of the building were intentionally made longer than those of the upper stories to enhance the effect of perspective.
The First World War brought a different ethos and method to the production of goods and expensive labour intensive handicrafts were the losers. It was simply too expensive to continue to create intricate craft when producing for the masses.
It must be agreed that without the sash window, defects and all, the most interesting urban areas of older European cities would be bleak and characterless.
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