Tudor Revival mansions, the twentieth-century equivalent of the English-inspired Gothic Revival of a century earlier, were composed following similar picturesque principles but were often larger, more formally and spatially complex, and combined many materials in their construction. Porter and Lockie's composition of a long, steep-gabled rectangle, which is oriented parallel to the road and intersected by cross gables of varying dimensions, originated in late nineteenth-century British transformations of traditional native house forms. However his British precedents, such as the work of C. F. A. Voysey, concentrated almost exclusively on interpenetrating abstract geometric masses rather than on surface details. For Porter and Lockie such formal vocabulary demanded appropriate surface articulation and materials in order to re-create the look and feel of an “olde Englishe” manor house. Irregularity and asymmetry were fundamental: wood half timbering was set in a stone gable at one end and in a different pattern on a stucco wall at the other. Uncoursed blocks of stone in shades of gray and brown, varicolored bricks not just for the chimney but set haphazardly into the stone walls, and gray slate covering all slanted surfaces rather than just the roofs resulted in an impressive range of textures and colors already consciously aged at the time they were assembled.