Numbers 14-17 And Attached Railings

Numbers 14-17 are a group of four terraced houses built around 1686 by Nicholas Barbon, and altered in the early 19th century. They are constructed of yellow stock brick with stucco ground floors.

Numbers 14 & 15 have tiled mansard roofs with dormers (which have been renewed), and three storeys with attics and basements. Each has two windows. The arched doorways have pilaster jambs supporting cornice heads, patterned fanlights, and panelled doors. The upper floor windows have recessed sashes with gauged brick flat arches. A stucco band runs along the first-floor level. The first-floor windows are set in shallow, round-arched recesses with cast-iron balconies. Number 15 has a stucco sill band to the second floor, and its rear elevation features flush frame windows. Inside Number 14, a mid-18th century staircase has twisted balusters, fluted column newels, and carved brackets, and there is a panelled hall and staircase. Number 15 includes an early 19th century staircase with square balusters, fluted column newels, and pilasters, and panelled ground floor rooms.

Numbers 16 & 17 have stucco sill bands at the first-floor level, are four storeys high with basements, and each has three windows. The entrances have pilasters supporting entablatures, doorways with fanlights, and panelled doors. The first-floor windows have architraves; Number 16 has balconies and a cornice over the central window, and the second and third floors have gauged brick flat arches. A stucco cornice band runs along the third-floor level. There is a parapet with a plain stucco band. Inside Number 16, a mid-18th century staircase has twisted balusters and carved brackets, panelled rooms, and other features. Number 17 has a mid-18th century staircase with twisted balusters and shaped ends, and some panelling.

Attached cast-iron railings with urn finials enclose the areas of Numbers 14, 15, and 16.

Historically, Number 17 was the residence of Rossetti, and later Morris and Burne-Jones. It was the need for furniture for these rooms that prompted Morris to pursue furniture design, subsequently leading him to abandon architecture and focus on applied arts.