The origins of the sash window are not easy to fathom. There are a variety of theories but no absolute proof for any of them. In the late 1600′s, an English inventor, Robert Hooke used them in Ham House and a painting by Vermeer called ‘The Milkmaid’ shows a sash frame behind the girl. It is believed that they might have come from France, via Holland to Britain around this time but the British certainly made them their own.
A “Yorkshire Light” is a window made of panels which can slide sideways or up and down. Originally the windows would be propped open but later a pulley and weight system was designed. Connected by a rope which ran over a pulley to the window, the weight would hold the window at the level it was moved to.
Sir Christopher Wrens, a excellent architect very popular with the royals, made use of these windows in the Whitehall Palace. Hampton Court and Kensington Palace are other examples of royal architecture employing the sash window that were built around this time. This made the windows the must-have in the 1700′s and for two centuries they were almost the only style of window used for new buildings not only in Britain but also in all the colonies. Wrens found that, unlike casement windows, the facade of a building is not ruined if the windows are open.
By Georgian times, they were everywhere. An additional feature was added which allowed the windows to open at both the top and bottom. Called a double hung sash, these windows allowed rising hot air to leave through the top and sucked in colder air from the bottom. In a rainy European climate, less rain and more ventilation was possible.
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.
As with many beautiful objects the advent of mass production methods and industrialization after the First World War, signified the end for this product. The labour involved in hand producing a sash was too expensive and casement windows were easier to produce in factories.
Many older European buildings and cities would be characterless without these beautiful windows, which remain popular even though they cause problems.
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