Victorian Homes for sale in Athol and Orange Massachusetts, Real Estate MLS listings for Homes, Houses and Condos, Keller Williams north central

Athol /Orange Ma. Victorian Homes For Sale

Trulia Real Estate Search - Athol, Orange

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08/06/2010 03:00 AM

98 Newton St, Athol, MA 01331, $179,900 6 beds, 2 baths

2800 sqft, 6 beds, 2 baths, property in Athol, MA - 01331

08/04/2010 03:00 AM

416 S Main St, Orange, MA 01364, $99,900 3 beds, 2 baths

1558 sqft, 3 beds, 2 baths, single-family home in Orange, MA - 01364

05/15/2010 03:00 AM

70 Wheeler St, Athol, MA 01331, $69,000 3 beds, 2 baths

1530 sqft, 3 beds, 2 baths, single-family home in Athol, MA - 01331

04/08/2010 03:00 AM

151 S Main St, Orange, MA 01364, $101,900 6 beds, 3 baths

3018 sqft, 6 beds, 3 baths, single-family home in Orange, MA - 01364

02/26/2010 03:00 AM

38 Wellington St, Athol, MA 01331, $139,900 4 beds, 1 bath

1808 sqft, 4 beds, 1 bath, single-family home in Athol, MA - 01331

10/14/2009 03:00 AM

55 Ball St, Orange, MA 01364, $175,000 5 beds, 3.5 baths

3888 sqft, 5 beds, 3.5 baths, single-family home in Orange, MA - 01364

10/03/2009 03:00 AM

549 E Main St, Orange, MA 01364, $87,500 3 beds, 1 bath

1391 sqft, 3 beds, 1 bath, single-family home in Orange, MA - 01364

07/10/2009 03:00 AM

239 S Main St, Orange, MA 01364, $244,900 3 beds, 1.5 baths

2148 sqft, 3 beds, 1.5 baths, single-family home in Orange, MA - 01364

Varieties of Victorian architecture

British Arts and Crafts movement -
The Arts and Crafts Movement began primarily as a search for authentic and meaningful styles for the 19th century and as a reaction to the eclectic revival of historic styles of the Victorian era and to "soulless" machine-made production aided by the Industrial Revolution. Considering the machine to be the root cause of all repetitive and mundane evils, some of the protagonists of this movement turned entirely away from the use of machines and towards handcraft, which tended to concentrate their productions in the hands of sensitive but well-heeled patrons. Yet, while the Arts and Crafts movement was in large part a reaction to industrialization, if looked at on the whole, it was neither anti-industrial nor anti-modern. Some of the European factions believed that machines were in fact necessary, but they should only be used to relieve the tedium of mundane, repetitive tasks. At the same time, some Arts and Crafts leaders felt that objects should also be affordable. The conflict between quality production and 'demo' design, and the attempt to reconcile the two, dominated design debate at the turn of the twentieth century.
Gothic Revival -
The Gothic Revival is an architectural movement which began in the 1740s in England. In the early nineteenth century, increasingly serious and learned admirers of neo-Gothic styles sought to revive medieval forms, in contrast to the classical styles which were then prevalent. The movement has had significant influence throughout the United Kingdom as well as on the continent of Europe, in Australia and the Americas, and perhaps the number of Gothic Revival structures built in the nineteenth and twentieth centuries exceeds the number of authentic Gothic structures that had been built previously.[citation needed] The Gothic Revival was paralleled and supported by medievalism, which had its roots in antiquarian concerns with survivals and curiosities. In English literature, the architectural Gothic Revival and classical Romanticism gave rise to the Gothic novel genre, beginning with Castle of Otranto (1764) by Horace Walpole, 4th Earl of Orford, and inspired a 19th century genre of medieval poetry which stems from the pseudo-bardic poetry of "Ossian." Poems like "Idylls of the King" by Alfred Tennyson, 1st Baron Tennyson recast specifically modern themes in medieval settings of Arthurian romance. In German literature, the Gothic Revival also had a grounding in literary fashions.[1]
Italianate -
In the course of the history of Classical architecture, an Italianate style of architecture was a distinct nineteenth-century phase, in which Italian sixteenth-century models and architectural vocabulary, which had served as inspiration for both Palladianism and Neoclassicism, were now synthesized with picturesque aesthetics, to create an architecture that, though it was also characterized as "Neo-Renaissance", was essentially of its own time. "The backward look transforms its object," Siegfried Giedion wrote of historicist architectural styles[3]; "every spectator at every period—at every moment, indeed—inevitably transforms the past according to his own nature." The Italianate style was first developed in Britain about 1802 by John Nash, with the construction of Cronkhill in Shropshire. This small country house is generally accepted to be the first Italianate villa in England, from which is derived the Italianate architecture of the late Regency and early Victorian eras.[4] The Italianate style was further developed and popularised by the architect Sir Charles Barry in the 1830s.[5] Barry's Italianate style drew heavily for its motifs on the buildings of the Italian Renaissance, this concept, sometimes at odds with Nash's semi-rustic Italianate villas, produced what came to be accepted as the Italianate style. The style was not confined to England and was employed in varying forms, long after its decline in popularity in Britain, throughout northern Europe and the British Empire. From the late 1840s it achieved huge popularity in the United States, where it was promoted by the architect Alexander Jackson Davis. Jacobethan (the precursor to the Queen Anne style) - Jacobethan is the style designation coined in 1933 by John Betjeman to describe the English Revival style made popular from the 1830s, which derived most of its inspiration and its repertory from the English Renaissance (1550 - 1625), with elements of Elizabethan and Jacobean.
Neoclassicism -
Neoclassical architecture was an architectural style produced by the neoclassical movement that began in the mid-18th century, both as a reaction against the Rococo style of anti-tectonic naturalistic ornament, and an outgrowth of some classicizing features of Late Baroque. In its purest form it is a style principally derived from the architecture of Classical Greece.
Neo-Grec -
Neo-Grec is a term referring to late manifestations of Neoclassicism, early Neo-Renaissance now called the Greek Revival style, which was popularized in architecture, the decorative arts, and in painting during France's Second Empire, or the reign of Napoleon III, a period that lasted approximately between 1848 and 1865. It was one of many "Revival styles" of the mid to late 19th century, and just one among several concurrent modes of Classicism. The Neo-Grec vogue took as its starting point the earlier expressions of the Neoclassical style inspired by 18th-century excavations at Pompeii, which resumed in earnest in 1848, and similar excavations at Herculaneum.
Painted ladies -
Painted Ladies is a term used for Victorian and Edwardian houses and buildings painted in three or more colors that embellish or enhance their architectural details. The term was first used for San Francisco Victorian houses by writers Elizabeth Pomada and Michael Larsen in their 1978 book Painted Ladies - San Francisco's Resplendent Victorians.[1] Since then the term has also been used to describe groups of colorful Victorian houses in other American cities, such as the Charles Village neighborhood in Baltimore City, Lafayette Square in St. Louis, the greater San Francisco and New Orleans areas, Columbia-Tusculum in Cincinnati and the city of Cape May, New Jersey
Queen Anne -
The Queen Anne Style is a style of architecture, furniture and decoration that reached its greatest popularity in the last quarter of the 19th century, manifesting itself in a number of different ways in different countries. It consisted largely of influences that harked back to "Old English" or even Tudor styles and characteristics. This Queen Anne style derived from the influence of Richard Norman Shaw,[1] an influential British architect of the late Victorian era. Seen from the 1870s onwards, this style revived features of English architecture from the seventeenth and eighteenth centuries, including, initially, elements from the historical reign of Queen Anne
Renaissance Revival -
"Neo-Renaissance" is an all encompassing style designation that covers many aspects of those 19th century architectural revival styles which were neither Grecian (see Greek Revival) nor Gothic (see Gothic Revival) but which instead drew for inspiration upon a wide range of classicizing Italian modes; under the broad designation "Renaissance architecture" nineteenth-century architects and critics included more than the style of buildings which began in Florence and central Italy in the early 15th century, as an expression of Humanism; they also included styles we would identify as Mannerist or Baroque. Self-applied style designations were rife in the mid- and later nineteenth century: "Neo-Renaissance" might be applied by contemporaries to some structures that others simply called "Italianate", or when many French Baroque features are present (Second Empire). The varying forms in which architecture developed in different parts of Europe, particularly France and Italy, during the Renaissance period has added further to the difficulties in defining and recognising Neo-Renaissance architecture. When one compares the English Wollaton Hall,[1] Italian Palazzo Pitti, the French Château de Chambord, and the Russian Palace of Facets — all deemed "Renaissance" — one can appreciate how divergent the same architectural designation can be. Romanesque Revival (includes Richardsonian Romanesque) - Romanesque Revival (or Neo-Romanesque) is a style of building employed in the late 19th century inspired by the 11th and 12th century Romanesque style of architecture. Popular features of these revival buildings are round arches, semi-circular arches on windows, and belt courses. Unlike the classical Romanesque style, however, Romanesque Revival buildings tended to feature more simplified arches and windows than their historic counterparts. The style was quite popular for courthouses and university campuses in the late nineteenth and early twentieth century, perhaps the best-known of these being the University of California, Los Angeles.[citation needed] The style was widely used for churches, and occasionally for synagogues such as the Congregation Emanu-El of New York on Fifth Avenue built in 1929.
Second Empire -
Second Empire is an architectural style that was popular during the Victorian era, reaching its zenith between 1865 and 1880, and so named for the "French" elements in vogue during the era of the Second French Empire. In France, a significant variation is sometimes called the Napoleon III style. While a distinct style unto itself, some Second Empire styling cues, such as quoins, have an indirect relationship to the styles previously in vogue, Gothic Revival and Italianate eras. In the United States, the Second Empire style usually combined a rectangular tower, or similar element, with a steep, but short, mansard roof; the roof being the most noteworthy link to the style’s French roots. This tower element could be of equal height as the highest floor, or could exceed the height of the rest of the structure by a storey or two. The mansard roof crest was often topped with an iron trim, sometimes referred to as “cresting”. In some cases, lightning rods were integrated into the cresting design, making the feature useful beyond its decorative features. The exterior style could be expressed in either wood, brick or stone. More elaborate examples frequently featured paired columns as well as sculpted details around the doors, windows and dormers. The purpose of the ornamentation was to make the structure appear imposing, grand and expensive. Floor plans for Second Empire residences could either be symmetrical, with the tower (or tower-like element) in the center, or asymmetrical, with the tower or tower-like element to one side.
Stick-Eastlake -
The Queen Anne Style is a style of architecture, furniture and decoration that reached its greatest popularity in the last quarter of the 19th century, manifesting itself in a number of different ways in different countries. It consisted largely of influences that harked back to "Old English" or even Tudor styles and characteristics. This Queen Anne style derived from the influence of Richard Norman Shaw,[1] an influential British architect of the late Victorian era. Seen from the 1870s onwards, this style revived features of English architecture from the seventeenth and eighteenth centuries, including, initially, elements from the historical reign of Queen Anne (1702-14)

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