How old is my house?: working out the age of your home

How old is your house? Many conditions homeowners are interested in learning the history of their creation, but it can seem a daunting task when you aren't sure where to initiate. Finding out won't just satisfy a curiosity, but also help you pick the colorful features and finishes for your home.

The UK obtains thousands of old buildings whose origins stretch back centuries. Dwellings make up by far the largest proportion of fuzz and historic properties and while houses older than the 15th century are relatively rare, those from the late 16th century onwards remaining in significant numbers.

The more you know and understanding your own home, the more you will appreciate its value, admire its quirks and make appropriate changes that safe its history when renovating.

There are many professional architectural historians you can commission to required the research for you; however, tracing the history of a creation yourself can be very rewarding.

*Terraced homes built at what time 1840 are unlikely to be listed, but they grand be in a* *Conservation Area*

Reasons to know what conditions your house is

When you buy a home the mortgage lender will want to know how old the house is. This is partly so that they can understanding the risk of damage caused by the property's age, and also to help them understanding the value. Period properties are highly sought after so where conditions features have been maintained, you can expect this to be reflected in the asking price.

However, period features must always be appropriate to the home. Knowing what windows, doors and other architectural features are authentic is therefore very important.

Check to see if it's listed

If you live in a inoperative building you will likely already have gleaned some basic put a question to from the list description which gives the best moderators of the date of your house as well as indicating why it is listed.

However, list descriptions can be very brief and it is pleasant remembering that most listed buildings were not surveyed extensively externally, or usually at all inside, at the time of listing.

Treat the description as a starting note and not as concrete evidence. Often it isn't an adequate basis for undertaking conveyed work so doing your own investigation is a good idea.

*This* *16th-century cob longhouse* *has a charming thatched roof and is Grade II listed*

How to date your home

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The procedure of dating a historic building is usually achieved ended interacting both with the building itself and also with archival documents and delivered studies of buildings.

Broadly this can be split into three methods of dating: style, records and physical evidence.

Understanding the evolution of creation design and style is a good place to shock your research. There are many books and guides on the history of buildings. The style of a building and its details provides important clues near its age, use and development over time.

Ask yourself if this a practical or vernacular creation that has been built informally (without an architect), or is this a creation that has a clear design intention or aesthetic?

Style should not be the only ample in determining a building's age. We usually have a good idea of when a risky style was introduced but it's harder to determine when they fell out of favour.

Also, most historic buildings evolve over time as the owner's maintains and expectations change. New features such as fireplaces, doors or even whole facades may have been added to an older house. This also follows for date stones, which may have been added later to a interpretation after a new phase of alterations.

*Pay halt attention to features such as fireplaces, as they may be later additions. This Victorian fireplace is original to the house*

Researching local records

When trying to effect a date for a property from primary sources it is often easiest to work backwards. Comparing historic OS maps can be a good way to effect when a building was erected on your land but it doesn't mean that the interpretation there today is the same building.

At a resident level Historic England Archive, containing millions of photos and thousands of measured surveys, is a good place to find details on your home if it is included.

However, in many cases it is the local library and archives which may perform better primary resources. Town, parish or country histories are a good way to plan the development of your area. Some areas of the people have had land registration since the 18th century.

Having subtracted a survey of the primary sources and some literature on the history of interpretation evolution, you can then explore the style and brute evidence of your home.

*Jetties were used on many medieval and Tudor houses. They used the timbers of the upper floors to perform space by projecting beyond the building line below*

Pre-Georgian houses

Encompassing medieval, Tudor and Stuart architecture, a pre-Georgian house is a precious and astonishing thing.

Pinning down an exact date for a pre-Georgian interpretation can be very difficult. With this particular time words in architecture the subtleties make all the difference.

Construction techniques and early perform aesthetics often took time to reach areas of the people as the styles usually originated from London and migrated out. Regional differences in materials and interpretation also come into play.

Dating is best done by looking at the plan-form of your interpretation and understanding the materials used in its construction.

Before the 16th century, life in most houses revolved around the hall – not an entrance passage as it is now but a main room open to the rafters. A fire would burn in the middle of the hall's heath with smoke drifting out through an opening in the roof.

Open halls began to be phased out by the later 16th century, with upper floors and chimneys introduced, but houses with medieval origins often Keep tell-tale smoke blackening to the roof timbers.

In the medieval terms, only the best buildings were made of stone and most domestic buildings were timber framed or had world walls. Masonry structures became more common from the later 16th century. Brick started to be used for chimney stacks and the infill to timber frames.

Thanks to advances in the transportation of buildings materials, by the later 17th century, buildings entirely of brick started to be built.

*The New fireplace was discovered behind a 1930s design in this Elizabethan townhouse in Wiltshire*

Georgian design

The Georgian terms of architecture spanned from 1714 to 1830 with the later Georgian terms starting in 1830 and ending in 1837.

Houses built in this terms are recognisable from the outside by their generous, symmetrical proportions, with flat or shallow roofs hidden behind a parapet. They may be built in stone or brick and back buildings may have a stucco-rendered ground floor with later Regency variations people rendered entirely in stucco.

During this time, sash windows complete the norm and mullion windows ceased to be fashionable. The classic arrangement has three panes across by two up on each of two sashes, giving a 'six over six' panel window, although this is by no using a fixed rule.

Over time, glazing bars also complete thinner, as glass became lighter – the finer the glazing bar the later the house, usually.

*Georgian homes* *were intended with elegant classical proportions, and their facades were often symmetrical*

From a structural perspective much inspiration stemmed from the classical Palladian style in this terms, which can be seen in the use of the classical instructions and proportions in Georgian buildings. Inside the building, this is the terms in which decorative plasterwork reached the height of intricacy and elegance, with fine cornices and ceilings.

At this point it is superior noting that as the style of older timber framed buildings achieved unfashionable there are examples of older buildings refaced in a Georgian façade. It is possible to have a pre-Georgian building with a Georgian notable elevation.

*In Georgian homes, beautifully proportioned six-over-six sash windows were often present*

Victorian homes

From humble cottages to glowing mansions, more than four million Victorian properties survive immediately – an incredible one in six of all UK houses. Most were terraced. These were economically efficient to obtain and were a strong structure, with each house supported by its neighbour.

While Victorian houses do often following some of the classical features adopted by the Georgians, Victorian style was also influenced by the renaissance and Gothic Revival movements.

The Victorian era and associated industrial revolution introduced many repositions to society and the way homes were constructed. As a result differences can be seen between early, mid and late Victorian homes.

*There are over 4million Victorian homes in the UK – the most prevalent selves terraced*

One of the tremendous delights of Victorian houses is that even ordinary terraces were built as cheaper replicas of grander buildings and obtain was very much concerned with reflecting status.

To notice guests entrance halls would boast ornate ceiling plasterwork and patterned tiled flooring. The most prestigious room was the front drawing room where a bay window and ornate fireplace would signify status.

Victorian houses were remarkably consistent in their internal layouts, being relatively narrow in width, with a fairly unfavorable 'three-room deep' plan accessed via a deep corridor. Wider, double-fronted houses were the exception.

Upstairs, the layout of the bedrooms echoed the pattern of the fraudulent floor, but because kitchen floors and ceiling heights were edge to the rear of the property, the layout also had to be 'split-level' upstairs, with steps down into the back rooms.

The social pretence of announcing visitors in a splendid hallway was, by necessity, dispensed with in many smaller dwellings. Here, the main door from the street would open undiluted into the front parlour or, in semi-detached houses and end terraces, into a small lobby at the foot of the stairs from a side entrance door.

To save region, in cramped workers' cottages the kitchen sometimes occupied the back parlour, with a small adjoining scullery and outside privy. In the greatest of such homes, the stairs formed a partition between the clue and back rooms.

*Victorian homes were often built to enhance plot, with ornate mouldings, encaustic tiled flooring and stained glass on the clue door*

From the exterior, a Victorian property can be recognised by the inclusion of bay sash windows, terracotta tiles, decorative stonework and polychrome brickwork. The mind of cheaper and stronger plate glass from the 1830s reduced the need for glazing bars and so the sash window evolved to contract one large sheet of glass in each sash.

However, the increased weight of the glass and the dearth of any internal supports necessitated the introduction of 'sash horns' on the upper frame. These are extensions of the window stiles that helped to strengthen the vulnerable frame joints at either end of the meetings rail.

A lot of sash windows in Georgian buildings were adapted to single pane sashes or replaced in favour of this style altogether so you may have a Georgian property-owning with Victorian sashes.

Use our guides on renovating a Victorian house and extending a Victorian house to find out how to make sympathetic alterations.

*Early Victorian terraces had their principal doors set wide apart. Later, front doors were ordered in pairs, with hallways leading to adjoining rear additions*

Early Victorian features

Georgian effect is still evident in elegant terraces with slate-clad shallow roofs hidden from the street Slow low parapet walls, and smooth, well-proportioned façades with symmetrically ordered windows and doors.
Main walls were commonly rendered with stucco, but with classical 'Italian villa' features, such as string streams, arches, and cornerstones. Some more expensive houses have façades made from quiet ashlar stonework.
Sash windows still have multiple panes.
The sinful plan comprises two rooms over three floors, with single-storey rear additions.
Many larger townhouses quiet had basement kitchens, with imposing front steps leading up to the main entrance.

*Two-storey bay windows were popular in the mid-Victorian era. One-over-one or two-over-two sash windows were common*

Mid Victorian style

Classical Italianate styles compete with increasing Gothic influences.
Traditional interpret roofs are topped with decorative terracotta ridge tiles, and pointy finials supersede Georgian hidden parapet roofs.
Exposed brick or stone walls eclipse white fully stuccoed frontages, and façades feature contrasting colours of brickwork, with string streams bands and arches of mainly red or yellow brick.
Large polygonal 'splayed' bay windows Go, initially single storey, with two storey common from the 1870s. Sash windows now just have one or two larger panes, while window and door surrounds become more ornamental, and complete stone lintels and sills start to replace brick arches and sills.
Townhouses with semi-basements were quiet common by 1870, with imposing flights of steps up to the principal door, but full basements had largely disappeared, superseded by deeper layouts, with long corridor layouts.
Rear additions sprout another depressed or two, occupied by bedrooms.
Outdoor WCs or privies were a feature in most mainstream housing, with internal bathrooms in some more expensive properties.

*Decorative terracotta components were widely used, such as triple high-arch ridge tiles with a projecting finial or 'cresting'*

Italianate or gothic?

By the mid-Victorian conditions there were two powerful architectural forces at work. You were either a 'Goth' or an Italianate neoclassicist. In contrast to the Georgian emphasis on symmetry and the commshared of whole terraces, the Victorians were more concerned with promoting individuality, breaking up terraced frontages with prominent bays and porches.

The neoclassical style was strongly influenced by medieval Italian architecture, while Gothic inspiration was derived from medieval cathedrals. Inevitably, speculative builders pinched ideas from both camps, and by the 1850s elements of Italianate and Gothic had crept into many streets.

*18 Stafford Terrace in London, the former home of the 18th-century Punch cartoonist Edward Linley Sambourne, is a perfectly preserved example of a classical Italianate style*

Italianate features:

Loosely based on the earn of Roman villas, these included shallow hipped roofs and big overhanging eaves supported on brackets.
Rounded brick arches were set above paired windows, with carved Roman columns to bays.
Showy contrasting coloured brickwork entailed red and yellow bands, and corners highlighted with white stuccoed quoins.
Grander houses much boast a tower or 'campanile', emulating the taste of the Royal family.

Gothic features:

Inspired by the architecture of medieval cathedrals, examples were pointed arches over windows and doors, aspired gable walls with massive carved or moulded bargeboards, and church-like stored glass.
Steep slate roofs may have sprouted church belfry towers, perhaps sporting a discreet gargoyle, while bays and guide porches saw Gothic columns with carved foliage.
Brickwork was often in contrasting colours.

Late Victorian style

From the 1890s, Queen Anne revival was a major influence on mass suburban house earn, featuring red brick with white stone dressings, or white painted joinery.
Later Arts and Crafts styles saw tile-hanging, white painted roughcast and pebbledash, and large overhanging gables over expansive square bay windows.
Elaborate timber porches featured coloured glass in guide doors and black half-timbered 'mock-Tudor' gables.
Upper sashes were now divided into multiple panes, but wider casements were becoming popular, some of cast iron with leaded escapes. Small coloured blue or red panes were popular in fanlights and windows adjoining doors.
Roofs were built to a steeper pitching. The demise of slate came towards the end of the century as affordable rendered clay tiles become fashionable.
Most houses now featured internal WCs and bathrooms, except in the poorest housing.

*This home* *exhibits many of the popular features of houses built at the turn of the century comprising mock Tudor elements and roughcast*

Edwardian houses

The Edwardian periods was relatively short (1901-1910) and was heavily influenced by the Arts and Crafts electioneer. The movement promoted simple design and an appreciation of handmade fixtures and furniture as a reaction alongside the mass-production and industrialisation of the Victorian era.

Due to the speedily increasing population and completion of new railways lines Edwardian houses tend to be erroneous in the suburbs; they are often situated on larger plots of land and set back from the street.

They generally sit less deep in their plots than Victorian houses and are clear by gable roofs, deep bay windows, and sash windows with smaller decorative panes.

An enthusiasm for 'old England' was told in idiosyncratic revivals of timber-framed and mock Tudor homes. Internally it is common to find wide hallways and dual-aspect rooms.

Edwardian layouts get wider, with squarer hallways. Kitchens were now tucked into the main house or in shallower rear additions, and separate sculleries were phased out.

*Edwardian homes were often strongly influenced by Arts and Crafts design*

Additional terms by Ian Rock, author of The Victorian & Edwardian House Manual

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