fabrics and furnishings by the leading designers of the Arts and Crafts movement. 20th-century Tudor Revival In the early part of the 20th century, one of the exponents who developed the style further was Edwin Lutyens (1864–1944). At The Deanery in Berkshire, 1899, (right), where the client was the editor of the influential magazine Country Life, details like the openwork brick balustrade, the many-paned oriel window and facetted staircase tower, the shadowed windows under the eaves, or the prominent clustered chimneys were conventional Tudor Revival borrowings, some of which Lutyens was to remake in his own style, that already predominates in the dark recessed entryway, the confident massing, and his signature semi-circular terrace steps. This is Tudorbethan at its best, free in ground plan, stripped of cuteness, yet warmly vernacular in effect, familiar though new, eminently liveable. The Deanery was another example of the "naturalistic" approach; an anonymous reviewer for Country Life in 1903 wrote; "So naturally has the house been planned that it seems to have grown out of the landscape rather than to have been fitted into it". An example of Tudorbethan architecture was that seen at Greaves Hall, which was built in 1900 as a mansion house for the Scarisbrick family. Many of the features of the original building could still be seen until it was demolished in 2009. Later came Mackay Hugh Baillie Scott (1865–1945) and Blair Imrie who made their names as Tudor style architects. Lutyens though took the style away from what is generally understood as Tudor Revival creating a further highly personalised style of his own. His buildings coupled with their often accompanying gardens by Gertrude Jekyll, while in a style thought of as "olde world" would not be recognisable to inhabitants of the 16th century. Another noted practitioner was George A. Crawley. A decorator and designer, rather than an architect, Crawley greatly expanded the original medieval hall house, Crowhurst Place in Surrey, firstly for himself and latterly for Consuelo Vanderbilt. The result, "remarkable in its own right", saw Crawley add extensions, chimneys, gables, linenfold panelling and large amounts of half-timbering. Martin Conway, writing in Country Life, considered Crawley's reconstruction gave the remains of the original manor, "a beauty far greater than was ever theirs in the days of its newness". Ian Nairn, Nikolaus Pevsner and Bridget Cherry, in the 1971 revised Surrey Pevsner Buildings of England, note the sense of escapism which