• Proud Of The Prodigy Series
• Proud Of The Prodigy Book Series
• Proud Of The Prodigy Cast
• Proud Of The Prodigy Merch

The Prodigy is a 2019 horror film directed by Nicholas McCarthy, and written by Jeff Buhler. It stars Taylor Schilling, Jackson Robert Scott and Colm Feore. The plot centers around a child whose disturbing behavior signals that an evil, possibly supernatural being has taken control of him, forcing his parents to investigate whether sinister forces are involved.^[3][4][5][6]

The Prodigy was released in the United States on February 8, 2019, by Orion Pictures. The film grossed over $21 million and received mixed reviews from critics, who praised the performances and atmosphere but criticized the story and dialogue.

'We are proud to continue our partnership with Prodigy by increasing our original investment,' said George Rossolatos, Chief Executive Officer of CBGF. 'Alex and Rohan are great Canadian. Jake: Math prodigy proud of his autism. At age two, Jake Barnett was diagnosed with autism and his future was unclear. Now at age 13, Jake is a college sophomore and a math and science prodigy. Prodigy houses are large and showy English country houses built by courtiers and other wealthy families, either 'noble palaces of an awesome scale' or 'proud, ambitious heaps' according to taste. The prodigy houses stretch over the periods of Tudor, Elizabethan, and Jacobean architecture, though the term may be restricted to a core period of.

1. Prodigy argued it should not be responsible for the content its users create. It had no way of knowing whether Stratton Oakmont was a fraud or not and had never expressed an opinion on the subject.
2. The Prodigy are an English electronic dance music band from Braintree, Essex, formed in 1990 by keyboardist and songwriter Liam Howlett.The band's line-up has included MC and vocalist Maxim, dancer and vocalist Keith Flint (until his death in March 2019), dancer and live keyboardist Leeroy Thornhill (who left to pursue a solo career in 1999), and dancer and vocalist Sharky (1990–1991).

Plot[edit]

Proud Of The Prodigy Series

On August 22, 2010, in rural Ohio, serial killer Edward Scarka is fatally shot during a police raid of his farmhouse. At the time of Edward's death, married couple Sarah and John give birth to their son, Miles, in Pennsylvania. Miles shows extreme wisdom and intelligence from a young age and begins speaking fluently before he is even a toddler.

When Miles turns eight in 2018, Sarah and John begin noticing behavioral changes in him. One night he plays a prank on his babysitter Zoe, seriously injuring her, but claims no memory of the incident. At school, he attacks a classmate with a wrench. Sarah brings Miles to psychiatrist Elaine Strasser and turns over a tape recording of him talking apparent gibberish in his sleep. Elaine gives the tape to a colleague, Arthur Jacobson, an expert on rebirth and reincarnation. Arthur reveals that the gibberish Miles spoke is, in fact, a rare dialect of Hungarian and that the words translate to 'I'll cut your eyes out and watch you die, whore.'

Sarah is unwilling to believe Arthur's assertion that an unsettled spirit wants control of the boy's body. At home, the family's dog goes missing, and John becomes infuriated when he finds that Miles has been recording the couple's bedroom with a baby monitor. John leaves to stay with his brother, leaving Sarah alone with Miles. Sarah later finds a swarm of flies in the house and discovers the family's dismembered dog in the basement. Miles apologizes, explaining that someone is invading his dreams every night and that he has to 'make room.'

Sarah brings Miles to see Arthur, who hypnotizes him in the hopes of engaging in past life regression, which will allow him to speak to the dark spirit in Miles's body. The regression is successful, and the individual explains that his parents were Hungarian immigrants. The session goes awry when Miles threatens to accuse Arthur of drugging and molesting him, which prompts Arthur to end the session. Afterward, Arthur finds 'Scarka' carved into his leather couch from the boy's fingernails. He calls Sarah and explains that he believes Miles's body is being possessed by Edward Scarka, attempting to return to continue his killing spree. Upon researching Edward, Sarah finds he died only minutes before Miles's birth and is startled to see that, like Miles, he had two different-colored eyes. John and Sarah decide to have Miles committed, but Miles stabs John en route to the facility, causing him to crash; John goes into a coma as a result of the accident. In Miles's room, Sarah uncovers a cache of newspaper clippings about Edward's crimes, as well as a book by Margaret St. James, Edward's final victim, who escaped and led authorities to him.

Sarah realizes Edward is attempting to return to claim Margaret. She decides to kill Margaret herself, ending Edward's need for Miles's body. She drugs Miles with sleeping pills and the two drive to Margaret's rural farmhouse. Sarah poses as a battered woman who was touched by Margaret's book, persuading Margaret to allow her inside. She then draws a gun but is unable to bring herself to shoot. Miles enters and brutally attacks Margaret with a butcher knife, stabbing and disemboweling her. Sarah chases Miles outside to console him, believing Edward has left his body now that his final deed is complete. However, he reveals that Edward has taken full control, and Miles's soul has already been vanquished. Horrified, Sarah attempts to shoot him, but before she can, a farmer shoots her with a rifle, killing her.

Sometime later, Miles is taken to live in a temporary foster home until John is discharged from the hospital. In his new bedroom, Miles stares into a mirror, which reflects the image of Edward.

Cast[edit]

• Taylor Schilling as Sarah Blume
• Jackson Robert Scott as Miles Blume / Edward Scarka
  • David Kohlsmith as Miles, age 5
  • Paul Fauteux as Edward Scarka
• Colm Feore as Arthur Jacobson
• Brittany Allen as Margaret St. James
• Peter Mooney as John Blume
• Oluniké Adeliyi as Rebecca
• Elisa Moolecherry as Zoe
• Paula Boudreau as Dr. Elaine Strasser
• Martin Roach as Dr. Kagan
• Ashley Back as Hailey
• Tristan Vasquez as Dash

Production[edit]

Development[edit]

In June 2018, Orion Pictures announced that the film, originally titled Descendants, would be released in February 2019, with Nicholas McCarthy directing, Jeff Buhler writing, and Taylor Schilling starring in the lead role. Daniel Bekerman, Lisa Zambri, Nick Spicer and Jeff Buhler will serve as executive producers.^[7]

During the film's production, Orion Pictures' president John Hegeman said about the project in a statement:

“Descendant is a unique and terrifying addition to the horror genre and we are looking forward to working with Nicholas, Tripp and Taylor in bringing Jeff’s script to life.'^[8]

In October 2018, McCarthy revealed that a scene had to be re-edited after it was found that it made a test audience scream so much that they missed the following dialogue.^[9]

The film includes an interview with another family who believed their child had memories of a previous life. That was actual footage of a real interview about James Leininger, whose parents believed his nightmares about plane crashes were caused by having had a previous life as a World War II pilot.

Casting[edit]

By June 2018, Jackson Robert Scott, Peter Mooney, Colm Feore and Brittany Allen were cast in the film.^[10]

Filming[edit]

Principal photography on the film began in March 2018 and wrapped in the same month in Toronto, Ontario, Canada.

Music[edit]

The dark orchestral score was composed by Joseph Bishara and released on vinyl in 2019 by Waxwork Records.^[11]

Release[edit]

The film was released in the United States on February 8, 2019, by Orion Pictures.

Reception[edit]

Box office[edit]

The Prodigy has grossed $14.8 million in the United States and Canada, and $6.2 million in other territories, for a total worldwide gross of $21.1 million, against a production budget of $6 million.^[1]

In the United States and Canada, The Prodigy was released on February 8, 2019, alongside The Lego Movie 2: The Second Part, Cold Pursuit and What Men Want, and was projected to gross $8–11 million from 2,530 theaters in its opening weekend.^[12] It made $2 million on its first day, including $350,000 from Thursday night previews. It went on to debut to $6 million, finishing sixth at the box office, although Deadline Hollywood noted given the film's $6 million production budget the studio was satisfied with the results and the film would likely net a profit.^[13]

Critical response[edit]

On review aggregator website Rotten Tomatoes, the film holds an approval rating of 41% based on 80 reviews, with an average rating of 5.01/10. The website's critical consensus reads, 'The Prodigy doesn't take the bad seed genre to any truly new places, but for horror fans in search of an evil child to fear, it might still be worth a watch.'^[14] On Metacritic, the film has a weighted average score of 45 out of 100, based on 18 critics, indicating 'mixed or average reviews'.^[15] Audiences polled by CinemaScore gave the film an average grade of 'C+' on an A+ to F scale, while those at PostTrak gave it a 64% overall positive score and a 44% 'definite recommend'.^[16][13]

References[edit]

1. ^ ^abcde'The Prodigy (2019)'. The Numbers. Retrieved April 11, 2019.
2. ^ ^ab'The Prodgy (2019)'. Box Office Mojo. Retrieved October 25, 2019.
3. ^MovieFone (June 28, 2018). 'The Prodigy'. Movie Fone. Retrieved October 12, 2018.
4. ^'The Prodigy Trailer & Poster: Taylor Schilling's Son Has Issues'. Screen Rant. October 22, 2018. Retrieved February 18, 2019.
5. ^Evans, Greg (October 22, 2018). ''The Prodigy' Teaser: Something Evil Is Inside Sweet Little Miles And Wants Out'. Deadline Hollywood. Retrieved February 18, 2019.
6. ^''What's Wrong With Miles?' in the First Trailer for The Prodigy'. pastemagazine.com. Retrieved October 23, 2018.
7. ^Brad Miska (June 28, 2018). 'Orion Sets 'The Pact' Director's 'The Prodigy' for Early 2019 Release'. Bloody Disgusting. Retrieved September 21, 2018.
8. ^Mia Galuppo (February 2018). 'Taylor Schilling to Lead Thriller 'Descendant' for Orion Pictures (Exclusive)'. The Hollywood Reporter. Archived from the original on February 18, 2019.
9. ^Collis, Clark (October 29, 2018). ''The Prodigy' director had to re-edit horror film because of a test audience's screaming'. Entertainment Weekly. Retrieved February 18, 2019.
10. ^Brad Miska (June 28, 2018). 'Orion Sets 'The Pact' Director's 'The Prodigy' for Early 2019 Release'. Bloody Disgusting. Retrieved September 21, 2018.
11. ^Thiessen, Brock (February 8, 2019). ''The Prodigy' Gets Soundtrack Release and It's 'Possessed''. Exclaim!. Retrieved August 11, 2020.
12. ^D'Alessandro, Anthony (February 5, 2018). ''The Lego Movie 2' Will Put The Box Office Back Together Again With $50M+ Opening'. Deadline Hollywood. Retrieved February 5, 2019.
13. ^ ^abD'Alessandro, Anthony (February 10, 2018). ''Lego Movie 2' Comes Apart With $34M+ Opening; 'What Men Want' Solid With $19M In Another Blasé B.O. Weekend'. Deadline Hollywood.
14. ^'The Prodigy (2019)'. Rotten Tomatoes. Fandango Media. Retrieved August 13, 2020.
15. ^'The Prodigy reviews'. Metacritic. Retrieved February 10, 2019.
16. ^'Find CinemaScore'(Type 'Prodigy' in the search box). CinemaScore. Retrieved February 11, 2019.

External links[edit]

• Official website
• The Prodigy on IMDb
• The Prodigy at Rotten Tomatoes

Proud Of The Prodigy Book Series

Prodigy houses are large and showy English country houses built by courtiers and other wealthy families, either 'noble palaces of an awesome scale'^[1] or 'proud, ambitious heaps'^[2] according to taste. The prodigy houses stretch over the periods of Tudor, Elizabethan, and Jacobean architecture, though the term may be restricted to a core period of roughly 1570 to 1620.^[3] Many of the grandest were built with a view to housing Elizabeth I and her large retinue as they made their annual royal progress around her realm. Many are therefore close to major roads, often in the English Midlands.

Proud Of The Prodigy Cast

The term originates with the architectural historian Sir John Summerson, and has been generally adopted. He called them '...the most daring of all English buildings.'^[4] The houses fall within the broad style of Renaissance architecture, but represent a distinctive English take on the style, mainly reliant on books for their knowledge of developments on the Continent. Andrea Palladio (1508–1580) was already dead before the prodigy houses reached their peak, but his much more restrained classical style did not reach England until the work of Inigo Jones in the 1620s. For ornament, French and Flemish Northern Mannerist decoration was more influential than Italian.^[5]

Elizabeth I travelled through southern England in annual summer 'progresses', staying at the houses of wealthy courtiers; however she never went north of Worcester or west of Bristol,^[6] though by the end of her reign there were many large houses beyond these self-imposed boundaries. The hosts were expected to house the monarch in style, and provide sufficient accommodation for about 150 travelling members of the court, for whom temporary buildings might need to be erected.^[7] Elizabeth was not slow to complain if she felt her accommodation had not been appropriate, and did so even about two of the largest prodigy houses, Theobalds House and Old Gorhambury House (both now destroyed).^[8]

Partly as a result of this imperative, but also general increasing wealth, there was an Elizabethan building boom, with large houses built in the most modern styles by courtiers, wealthy from acquired monastic estates, who wished to display their wealth and status.^[9] A characteristic was the large area of glass – a new feature that superseded the need for easily defended external walls and announced the owners' wealth. Hardwick Hall, for example, was proverbially described as 'Hardwick Hall, more glass than wall.'^[10] Many other smaller prodigy houses were built by businessmen and administrators, as well as long-established families of the peerage and gentry. The large Doddington Hall, Lincolnshire was built between 1593 and 1600 by Robert Smythson for Thomas Tailor, who was the recorder to the Bishop of Lincoln; 'Tailor was a lawyer and therefore rich' says Simon Jenkins.^[11]

Some recent uses of the term extend the meaning to describe large ostentatious houses in the United States of later periods, such as colonial mansions in Virginia, first so described by the American writer Cary Carson.^[12]

Style[edit]

In many respects the style of the houses varies greatly, but consistent features are a love of glass, a high elevation, symmetrical exteriors, consistency between all sides of the building, a rather square plan, often with tower pavilions at the corners that rise above the main roofline, and a decorated skyline. Altogether '...a strange amalgam of exuberant pinnacles and turrets, native Gothic mullioned windows, and Renaissance decoration.'^[13] Many houses stand alone, with stables and other outbuildings at a discreet distance. Glass was then an expensive material, and its use on a large scale a demonstration of wealth. The large windows required mullions, normally in stone even in houses mainly in brick. For the main structure, stone is preferred, often as a facing over brick, but some buildings use mostly brick, for example Hatfield House, following the precedent of Hampton Court and other earlier houses. Though there were often reminiscences of the medieval castle, the houses were exceptionally without defences, compared to contemporary Italian and French equivalents.

To have two internal courtyards, requiring a very large building, was a status symbol, found at Audley End, Blickling Hall, and others. By the end of the Elizabethan period this sprawling style, essentially developing the form of late medieval buildings like Knole in Kent (which has a total of 7 courtyards), and many Oxbridge colleges, was giving way to more compact high-rising structures with a coherent and dramatic structural plan, making the whole form of the building visible from outside the house. Hardwick Hall, Burghley House, and on a smaller scale Wollaton Hall, exemplify this trend.^[14] The outer exteriors of the house are more decorated than internal exteriors such as courtyards, the reverse of the usual priority in medieval houses. The common E and H-shaped plans, and in effect incorporating an imposing gatehouse into the main facade, rather than placing it across an initial courtyard, increased the visibility of the most grandly decorated parts of the exterior.^[15]

The classical orders were often used as decoration, piled up one above the other on the storeys over the main entrance. But, with a few exceptions such as Kirby Hall,^[16] columns were restricted to such individual features; in other buildings such as the Bodleian Library similar 'Towers of the Five Orders' sit at the centre of frankly Gothic facades. At Longleat and Wollaton shallow pilasters are used across the facades. A crib-book, The First and Chief Grounds of Architecture by John Shute (1563) had been commissioned or sponsored by 'Protector Somerset', John Dudley, 1st Duke of Northumberland, and is recorded in the libraries of many important clients of buildings, along with Sebastiano Serlio's Architettura, initially in Italian or another language until 1611, when Robert Peake published four of the volumes in English.^[17] The heavily-illustrated books on ornament by the Netherlander Hans Vredeman de Vries (1560s onwards) and German Wendel Dietterlin (1598) supplied much of the Northern Mannerist decorative detail such as strapwork. It is evident from surviving letters that courtiers took a keen and competitive interest in architectural matters.^[18]

Interiors[edit]

Inside, most houses still had a large hall in the medieval style, often with a stone or wood screen at one end. But this was only used for eating in by the servants, except on special occasions. The main room for the family to eat and live in was the great chamber, usually on the first floor (above the ground floor), a continuation of late medieval developments. In the 16th century a withdrawing room was usually added between the great chamber and the principal bedroom, as well as the long gallery. The parlour was another name for a more private room, and increasingly there were a number of these in larger houses, where the immediate family would now usually eat,^[19] and where they might retreat entirely in cold weather. Although the first modern corridor in England was probably built in this period, in 1579, they remained rare, and houses continued to have most rooms only accessible through other rooms, with the most intimate spaces of the family at the end of a suite.^[20]

Staircases became wide and elaborate, and normally made of oak; Burghley and Hardwick are exceptions using stone.^[21] The new concept of a large long gallery was an important space,^[13] and many houses had spaces for entertaining on the top floor, whether small rooms in towers on the roof, or the very large top-floor rooms at Hardwick and Wollaton. Meanwhile, the servants lived on the ground floor. This might be seen as a lingering memory of the medieval castle, where domestic spaces were often placed high above the soldiery, and viewpoints were highly functional, and is a feature rarely found in subsequent large houses for two centuries or more. At Hardwick the windows increase in size as the storeys rise up, reflecting the increasing status of the rooms.^[22] In several houses the mostly flat roof itself was part of the reception spaces, with banqueting houses in the towers that were only accessible from 'the leads', and a layout that allowed walking around to admire the views.^[23]

Architects[edit]

The designers are often unclear, and the leading figures had a background in one of the specialisms of building. Sometimes owners played a part in the detailed design, though the age of the gentleman amateur architect mostly came later. Few original drawings survive, though there are some by the architect-mason Robert Smythson (1535–1614) who was an important figure; many houses at least show his influence. Robert Lyminge was in charge of Hatfield and Blickling. John Thorpe laid the foundation stone of Kirby Hall as a five-year old (his father was chief mason, and children were often asked to perform this ritual) and is associated with Charlton House, Longford Castle, Condover Hall and the original Holland House, and perhaps Rushton Hall and Audley End. The demand for skilled senior builders, able to design and manage projects or parts of them, exceeded supply, and, at least in the largest houses, they appear to have been usually given a great deal of freedom in deciding the actual design by their mainly absentee clients.^[24]

History[edit]

Proud Of The Prodigy Merch

The first 'prodigy house' might be said to be Henry VII's Richmond Palace, completed in 1501 but now destroyed. But as a royal palace it does not strictly fit the definition. Hampton Court Palace, built by Cardinal Wolsey but taken over by the king on his fall, is certainly an example. The trend continued through the reigns of Henry VIII, Elizabeth, and into the reign of James I, when it reached its height. Henry was a prolific builder himself, though little of his work survives, but the prudent Elizabeth (like her siblings) built nothing herself, instead encouraging her courtiers to '...build on a scale which in the past would have been seen as a dynastic threat.'^[25]

Others see the original Somerset House in the Strand, London as the first prodigy house, or at least the first English attempt at a thoroughly and consistently classical style.^[26] With some other Châteaux of the Loire Valley, the Château de Chambord of François I of France (built 1519–1547) had many features of the English houses, and certainly influenced Henry VIII's Nonsuch Palace.^[27]

Important political families such as the Cecils and Bacons were serial builders of houses. These newly-risen families were typically the most frenetic builders.^[28] Sites were chosen for their potential convenience for royal progresses, rather than being the centre of landholdings, which were looked after by agents, or any local political powerbase.^[29]

The term prodigy house ceases to be used for houses built after about 1620. Despite some features of more strictly classical houses like Wilton House (rebuilding begun 1630) continuing those of the prodigy house, the term is not used of them. Much later houses like Houghton Hall and Blenheim Palace show a lingering fondness for elements of the 16th-century prodigy style.^[30]

In the 19th century Jacobethan revivals began, most spectacularly at Harlaxton Manor, which Anthony Salvin began in 1837. This manages to impart a Baroque swagger to the Northern Mannerist vocabulary.^[31]Mentmore Towers, by Joseph Paxton, is an enormous revival of a Smythson-type style, and like Westonbirt House (Lewis Vulliamy, 1860s) and Highclere Castle (Sir Charles Barry 1839–42, the setting for Downton Abbey), is something of an inflated Wollaton.^[32] The royal Sandringham House in Norfolk includes prodigy elements in its mixed styles. Apart from private houses, elements of the prodigy style were popular for at least the exteriors of all other types of public buildings, and office buildings designed to impress.

Many of the houses were later demolished, in the English Civil War or other times, and many smothered by later rebuilding. But the period retained a prestige, especially for families who rose to prominence during it, and in many the exteriors at least were largely retained. The north fronts of The Vyne and Lyme Park are examples of a slightly incongruous mixture of the Elizabethan and Palladian in a single facade.^[33]

Criticism[edit]

The houses attracted criticism from the first, surprisingly often from their owners. The flattering poem To Penshurst by Ben Jonson (1616), contrasts Penshurst Place, a large and important late medieval house that was extended in a similar style under Elizabeth, with prodigy houses:^[34]

Thou art not, Penshurst, built to envious show,
Of touch or marble; nor canst boast a row
Of polished pillars, or a roof of gold;
Thou hast no lantern, whereof tales are told,
Or stair, or courts; but stand’st an ancient pile, ...
And though thy walls be of the country stone,
They’re reared with no man’s ruin, no man’s groan;
There’s none that dwell about them wish them down;
But all come in, the farmer and the clown, ...
Now, Penshurst, they that will proportion thee
With other edifices, when they see
Those proud, ambitious heaps, and nothing else,
May say their lords have built, but thy lord dwells.

Alternatives[edit]

Though the style became dominant for very large houses from around 1570, there were alternatives. At Kenilworth Castle, Robert Dudley, 1st Earl of Leicester did not want to lose the historic royal associations of his building, and from 1563 modernised and extended it to harmonize the old and new,^[36] though the expanses of glass still impressed Midlanders. Bolsover Castle, Broughton Castle, Haddon Hall and Carew Castle in Wales were other sympathetic expansions of a medieval castle. The vernacularhalf-timbered style retained some popularity for gentry houses like Speke Hall and Little Moreton Hall, mostly in areas short of good building stone.

Earlier, Compton Wynyates (begun c. 1481, greatly extended 1515–1525) was a resolutely unsymmetrical jumble of essentially medieval styles, including prominent half-timbering on the gables of the facade.^[37] It also nestles in a hollow, as medieval houses often did, avoiding the worst of the wind. In contrast, prodigy houses, like castles before them, often deliberately chose exposed sites where they could command the landscape (Wollaton, Hardwick); their owners mostly did not anticipate being there in winter.

Examples[edit]

Essentially intact[edit]

(especially on the exterior)

Burghley House, Cambridgeshire

Longleat House, Wiltshire

Hatfield House, Hertfordshire

Wollaton Hall, Nottingham

Hardwick Hall, Derbyshire

Longford Castle, Wiltshire

Castle Ashby House, Northamptonshire

Montacute House, Somerset

Bramshill House, Hampshire

Aston Hall, Birmingham

Charlton Park, Wiltshire

Barrington Court, Somerset, early Elizabethan E plan

Astley Hall, Chorley, Lancashire

Doddington Hall, Lincolnshire

Fountains Hall, North Yorkshire, built with stone from Fountains Abbey next door

Charlton House, London, relatively modest, to house James I's young son

East Barsham Manor, Norfolk

Burton Constable Hall, Yorkshire (exterior)

Early Henrician examples[edit]

Hampton Court Palace

Hengrave Hall, Suffolk^[38]

Sutton Place, Surrey

Part-destroyed[edit]

Audley End, Essex, part destroyed

Kirby Hall, Northamptonshire, part destroyed shell

Layer Marney Hall, Essex, Henrician and only ever part-built

Berry Pomeroy, Devon, Built by the Seymours but never completed^[39]

Now destroyed[edit]

Nonsuch Palace, Surrey, a royal palace of Henry VIII, now destroyed

Theobalds House^[40]

Holdenby House

Old Gorhambury House, Hertfordshire

Worksop Manor

Rocksavage, Cheshire

Wimbledon House

Oxwich Castle, West Glamorgan, substantial ruins remain

Notes[edit]

1. ^Airs, 51, quoted
2. ^Ben Jonson, To Penshurst (1616) see below
3. ^as by Norwich, 670
4. ^Summerson (1980), 70
5. ^Summerson (1993), 50–54; Airs, 23–24, 37–38
6. ^Ridley, chapter 3
7. ^Girouard, 111
8. ^Girouard, 109–112; Airs, 50
9. ^Summerson (1993), 58–59; Airs, 14–17, 50
10. ^Airs, 158
11. ^Jenkins, 433; Historic England. 'Doddington Hall (1164612)'. National Heritage List for England. Retrieved 1 August 2015.
12. ^Mooney, 2
13. ^ ^abWilliams, 209
14. ^Airs, 53–56; Williams, 208–209
15. ^Williams, 208; Airs, 58–59
16. ^Summerson (1993), 47–48
17. ^Airs, 24. This is somewhat simplifying the complicated history of the writing and publication of Serlio's work.
18. ^Summerson (1993), 50–54; Airs, 15–24
19. ^Girouard, 88–105
20. ^Barbagli & Kertzer, 12–13
21. ^Summerson (1993), 88
22. ^Strong, 195–196
23. ^Girouard, 105, 118
24. ^Airs, 22–23; Summerson (1993), 54–57
25. ^Airs, 50, quoted
26. ^Summerson (1993), 43–44; Williams, 208–210; Airs, 46
27. ^Airs, 33
28. ^Summerson (1993), 67–69, 79–81; Airs, 48–51
29. ^Airs, 14–16
30. ^Summerson (1980), 70–71
31. ^Jenkins, 438–440; Esher, 160–164
32. ^Norwich, 66, 254
33. ^Jenkins, 83–84
34. ^Song, 49–50
35. ^Text from the Poetry Foundation
36. ^Jenkins, 808
37. ^Airs, 42–43
38. ^Summerson (1993), 37–39
39. ^https://www.english-heritage.org.uk/visit/places/berry-pomeroy-castle/
40. ^Airs, 49

References[edit]

For individual houses, see Airs, Jenkins, Norwich, and of course the Pevsner Architectural Guides

• Airs, Malcolm, The Buildings of Britain, A Guide and Gazetteer, Tudor and Jacobean, 1982, Barrie & Jenkins (London), ISBN0091478316
• Barbagli, Marzio, Kertzer, David I. (eds.), The History of the European Family: Family life in early modern times (1500–1789), The History of the European Family, 2001, Yale University Press, ISBN0300094949, 9780300094947, ISBN0300089716, 9780300089714, google books
• Esher, Lionel, The Glory of the English House, 1991, Barrie and Jenkins, ISBN0712636137
• Girouard, Mark, Life in the English Country House: A Social and Architectural History 1978, Yale, Penguin etc.
• Jenkins, Simon, England's Thousand Best Houses, 2003, Allen Lane, ISBN0713995963
• Mooney, Barbara Burlison, Prodigy Houses of Virginia: Architecture and the Native Elite, 2008, University of Virginia Press, ISBN9780813926735
• Musson, Jeremy, How to Read a Country House, 2005, Ebury Press, ISBN009190076X
• John Julius Norwich, The Architecture of Southern England, Macmillan, London, 1985, ISBN0333220374
• Ridley, Jasper, A Brief History of the Tudor Age, 2002, Hachette UK, 2013 ed., ISBN1472107950, 9781472107954, google books
• Song, Eric B., Dominion Undeserved: Milton and the Perils of Creation, 2013, Cornell University Press, ISBN9780801468087
• Strong, Roy: The Spirit of Britain, 1999, Hutchison, London, ISBN185681534X
• Summerson (1980), Summerson, John, The Classical Language of Architecture, 1980 edition, Thames and HudsonWorld of Art series, ISBN0500201773
• Summerson (1993), Summerson, John, Architecture in Britain, 1530 to 1830, 1993 edition, Yale University Press Pelican History of Art, Yale University Press, ISBN0300058861, 9780300058864
• Williams, Penny, The Later Tudors: England, 1547–1603, Volume 2 of The New Oxford history of England, 1998 revised edition, Oxford University Press, ISBN9780192880444

Further reading[edit]

• Mark Girouard: Montacute House, Somerset (1964); Robert Smythson and the Architecture of the Elizabethan Era (1966); Hardwick Hall (1976); Robert Smythson and the Elizabethan Country House (1983); Elizabethan Architecture: Its Rise and Fall, 1540–1640 (2009)