presses, ensured that new designs from Italy or northern
Europe made an increasing impact upon native craftsmen.
Ecclesiastical architecture, which after the 1520s was
affected by the turmoil of the Reformation, continued to
favor the Perpendicular style, the final phase of English
Gothic. Domestic architecture, on the other hand, saw
major developments, notably the increasingly widespread
use of brick, often in conjunction with timber framing and
with the bricks laid in herringbone or other decorative
patterns. Great houses no longer needed to be heavily for-
tified, so attention could be paid to aesthetic considera-
tions in their construction. Battlements reduced to
ornaments and large, elaborately decorated chimneys,
often formed in a barleysugar twist, were new exterior fea-
tures, while decorative fireplace surrounds and wooden
paneling, carved in the shallow pattern known as linen-
fold, were innovations inside. The shallow, four-centered
arch was the characteristic shape for doorways, and oriel
windows grew in size and prominence. Compton Wyn-
yates in Warwickshire and the parts of HAMPTON COURT
PALACEbuilt by Cardinal WOLSEYfor HENRY VIIIare impor-
tant examples of Tudor buildings. Nothing now survives
of the house begun in 1544 for Henry Howard, Earl of
SURREY, which is claimed to have been the first in pure
Italian classical style in England.
Further reading: Maurice Howard, The Early Tudor
Country House: Architecture and Politics 1490–1550 (Lon-
don: George Philip, 1987).
Tuileries A former palace on the right bank of the Seine
in Paris. Named after the tile factories (tuileries) that ex-
isted in the area in the 13th century, the Tuileries palace
was commissioned in 1564 by CATHERINE DE’ MEDICIand
originally designed by the famous architect Philibert DE-
LORME. Jean BULLANTand Jacques DUCERCEAUalso worked
on the palace, which gradually became recognized as the
source of a national style of decoration. As a royal resi-
dence the Tuileries became the target of rioters during the
French Revolution. In 1871 the palace was burnt down
during the Commune of Paris. The site is now occupied
by the Tuileries gardens.
Tunis, battle of (July 1535) A Christian victory over the
Ottoman Turks in North Africa. In 1534 the admiral of the
Turkish fleet, the corsair BARBAROSSA, captured Tunis from
its Moorish king. This posed a threat to Spanish provinces
in Italy, and Emperor CHARLES V, as king of Spain, resolved
to meet the danger decisively. Crossing in person to North
Africa with a large army, and with Andrea DORIAas admi-
ral of his fleet, he took Tunis by storm and restored its for-
mer ruler as his vassal. This was regarded as a great
Christian triumph over the infidel, but it failed to check
continued growth of Turkish naval power. Tunis was re-
conquered by the Turks in 1547.
Tunstall, Cuthbert (1474–1559) English bishop and
diplomat
Tunstall was educated at Oxford, Cambridge, and Padua
and became a scholar in theology, law, Greek, and Hebrew.
His diplomatic career began in the service of Henry VIII as
ambassador at Brussels, where he became friends with
Thomas MOREand ERASMUS. In 1522 he became bishop of
London before succeeding Thomas WOLSEYas bishop of
Durham in 1530. Although Tunstall wrote a number of
tracts in Latin defending traditional Catholic dogma and
opposed the Protestant reforms, he adopted a position of
passive obedience toward them. During the reign of Ed-
ward VI he was imprisoned and deprived of his bishopric,
but he was reinstated in 1554 under the Catholic Mary I.
Tunstall refused to take the Oath of Supremacy under Eliz-
abeth I, was deprived of his bishopric, and interned at
Lambeth Palace, where he died soon afterward.Tura, Cosimo (Il Cosmè) (1430–1495) Italian painter
He was the founder and the first great artist of the school
of his native Ferrara. As court painter to the ESTEdukes he
is well known for the series of wall paintings depicting the
magnificence of court life with which he decorated the
Palazzo Schifanoia in Ferrara (1469–70). It is thought he
was trained by Francesco SQUARCIONEin Padua and the
sculptured style of his figures show this influence, as well
as that of MANTEGNAand PIERO DELLA FRANCESCA. His
paintings, such as Primavera (c. 1460), an allegorical fig-
ure from his early period, a St. Jerome from his later years
(both National Gallery, London), and the St. George organ
shutters (1469; Museo del Duomo, Ferrara) illustrate the
personal style he developed within the tradition of Squar-
cione. He used careful detail and rich metallic colors to
produce what is often described as a mannered and ner-
vous quality.
Further reading: Stephen Campbell, Cosme Tura of
Ferrara: Style, Politics, and the Renaissance City, 1450–1495
(New Haven, Conn.: Yale University Press, 1998).Turks See OTTOMAN TURKSTurner, William (1508–1568) English divine, physician,
and naturalist
His New Herball, published in London (1551) and
Cologne (1562–68), was written in English for the benefit
of ignorant physicians. Its woodcuts, taken from a 1545
edition of FUCHS’s herbal, reflect Turner’s intention of mak-
ing known the work of the Continental botanists he met
during his exile in Mary I’s reign, which had been necessi-
tated by his belligerent Protestantism.Tyard, Pontus de (1521–1605) French poet
From the family château in Bissy, his birthplace, Tyard
combined the careers of poet, scholar, ecclesiastic,
courtier, and epicure. An associate of Maurice SCÈVE’sTTyyaarrdd,, PPoonnttuuss ddee 4 47755