Cu 31924015196318

Architecture Library
College of
Cornell University
GJomell Utttueratty
3tl;aca,
ffitbrarg
Kem $orh
BOUGHT w.TH THE INCOME OF THE
SAGE ENDOWMENT FUND

THE GIFT OF
HENRY W. SAGE
1691
ONE HUNDRED
COUNTRY HOUSES
ONE HUNDRED
COUNTRY HOUSES
flDofcern
Hmerican jByamples
BY
AYMAR EMBURY
II
PUBLISHED BY THE CENTURY CO.
NEW YORK
M CM IX
V'
Copyright, 1909, by
The Century Co.

Published September, I<)on
THE DE VINNE PRESS
'
TO MY KINDEST
CRITIC
AND FELLOW-WORKMAN,
ALFRED BUSSELLE
CONTENTS
Introduction:
1
The New American Architecture
New England
Colonial
16
Southern Colonial
37
in
Classic Revival
56
iv
Dutch Colonial
74
11
v Spanish or Mission
vi
vii
viii
ix
x
xi
xii
xiii
-93
American Farm-house
107
Elizabethan
123
Modern English
14.9
Italian
174
Art Nouveau
194
Japanesque
215
The House and the Garden
233
The Plan
of the-
House
247
LIST OF ILLUSTRATIONS
CHAPTER
NEW ENGLAND COLONIAL
I.
PAGE
HOUSE FOR AUSTIN W. LORD, WATER WITCH,
N.
19
Lord & Hewlett, Architects.
HOUSE FOR MR. CHAUNCEY OLCOTT, SARATOGA

Keen & Mead,
SPRINGS, N.
Y.
THE PITMAN RESIDENCE, BROOKLINE, MASS

Kilham
&
21
23
Hopkins, Architects.
THE BRIGGS RESIDENCE, BROOKLINE, MASS

Kilham
...
Architects.
&
25
Hopkins, Architects.
HOUSE FOR WILLIAM
H.
GRAY, DEDHAM, MASS
27
James Purdon, Architect.
THE CHENEY RESIDENCE, SOUTH MANCHESTER, MASS

Charles
29
Piatt, Architect.
HOUSE FOR MR. WITHERBEE BLACK, PELHAM MANOR,
N.
31
O. C. Hering, Architect.
HOUSE AT NEEDHAM, MASS
33
James Purdon, Architect.
THE SWIFT RESIDENCE, LARCHMONT,

Ewing &
N. Y.
35
Chappell, Architects.
CHAPTER
"EASTOVER," WYOMING,
N.
II.
SOUTHERN COLONIAL
39
Joy Wheeler Dow, Architect.
THE SAMUEL ADAMS HOUSE, SEWICKLEY,

Alden
& Harlow,
Architects.
PA
41
PAGE
HOUSE OF
DR. A.
C.
43
CABOT, CANTON, MASS
Charles A. Piatt, Architect.
HOUSE OF HOWARD CLARK, BRISTOL,
R.
45
RESIDENCE OF
E. R.
THOMAS, SHEEPSHEAD BAY,
N.
47
Lionel Moses, Architect.
RESIDENCE OF ERNESTUS GUL1CK, GARDEN CITY ESTATES,

Kirby, Petit
&
THE FRANKENBERG HOUSE, GREENWICH, CONN

Hale
C. L.
&
L.
I.
...
49
Green, Architects.
51
Rogers, Architects.
WISE RESIDENCE, EAST ORANGE,
N.
53
Percy Griffin, Architect.
HOUSE OF PROFESSOR
Bailey
&
L.
W. REID, HAVERFORD, PA
55
Bassett, Architects.
CHAPTER
III.
CLASSIC REVIVAL
RESIDENCE OF DR. MARSDEN, CHESTNUT HILL, PA
59
Charles Barton Keen, Architect.
THE MATHERS FARM-HOUSE, GERMANTOWN,
PA
61
RESIDENCE OF MR. JOHN CHAPMAN, TARRYTOWN,
N.
63
RESIDENCE FOR MRS. PROBST, ENGLEWOOD,

Davis,
M.
McGrath &
N.
65
Shepard, Architects.
TAYLOR PYNE HOUSE, PRINCETON,
N.
67
Raleigh C. Gildersleeve, Architect.
THE RAMSAY HOUSE, CLEVELAND,

Elzner
&
69
Anderson, Architects.
RESIDENCE OF ALFRED BUSSELLE, CHAPPAQUA,
N.
71
Alfred Busselle, Architect.
MR. WYATT'S RESIDENCE, BALTIMORE,

Wyatt & Nolting, Architects.
x
MD
73
CHAPTER
DUTCH COLONIAL
IV.
PAGE
A REAL ESTATE OFFICE,
WOODMERE,
L.
75
HOUSE FOR MRS.
CAL
77
THE CRENSHAW COTTAGE, GERMANTOWN,
PA
79
E. SPEER, LOS ANGELES,

J.
Myron Hunt & Elmer Grey, Architects.
Wilson Evre, Architect.
COTTAGE OF MR. HENRY

Avmar Embury
S.
ORR,
NEW
"APPLEDORE," BOUND BROOK,

Avmar Embury
J.
C.
HOUSE FOR
ST.
Avmar Embury
L.
81
JERSEY
83
GRAEME, ENGLEWOOD,
R.
N.
85
II, Architect.
BULL HOUSE, TUCKAHOE,

Avmar Embury
CITY,
II, Architect.
RESIDENCE OF MRS. ETHEL

Avmar Embury
GARDEN
II, Architect.
N.
87
II, Architect.
GEORGE BARBER, ENGLEWOOD,

II,
N.
89
Architect.
HOUSE AT COLONIA,
N.
91
George Nichols, Architect.
CHAPTER
MR.
H. O.
V.
SPANISH OR MISSION
HAVEMEYER'S HOUSE, BAYBERRY POINT,
L.
95
Grosvenor Atterbury, Architect.
MR. MACKENZIE'S RESIDENCE, OYSTER BAY,
L.
97
G. C. Mackenzie, Architect.
THE REIDERMEISTER HOUSE, ENGLEWOOD,
N.
J.
99
William K. Benedict, Architect.
RESIDENCE OF
Lyman A.
E. S.
HALL,
WATER WITCH,
N.
101
Ford, Architect.
RESIDENCE AT CEDARHURST,
103
L. 1
Louis Boynton, Architect.
RESIDENCE OF MR. TAYLOR, NORFOLK, CONN

Taylor
&
Levi, Architects.
xi
10S
LIST
CHAPTER
OF ILLUSTRATIONS
AMERICAN FARM-HOUSE
VI.
PAGE
COTTAGE FOR
MISS
MARIA GREY, FOX POINT, WIS
Myron Hunt & Elmer Grey,
109
Architects.
MR. JONES' COTTAGE, BRYN

Sullivan W. Jones, Architect.
MAWR
HI
PARK, N. Y
BENDIN RODE COTTAGE, HAVERFORD, PENN

Walter Smedley,
113
Architect'.
THE LYGERT HOUSE, GERMANTOWN, PENN

Cope & Stewardson,
F. P.
115
Architects.
LORD HOUSE, EDGEWORTH, PENN
117
THE UNDERWOOD RESIDENCE, FOX
POINT, WIS
119
Elmer Grey, Architect.
THE BATES COTTAGE, WYOMING,

Joy Wheeler
Dow,
N.
CHAPTER
Cope & Stewardson,
RESIDENCE OF MR.
F.
ELIZABETHAN
VII.
THE FINE RESIDENCE, PRINCETON,
Aymar Embury
121
Architect.
N.
J.
127
Architects.
E. P.
COE,
ENGLEWOOD, N.J
129
II, Architect.
M. NICHOLAS HOUSE,
UNION VILLE,
131
Frank B. Mead, Architect.
BALDWIN RESIDENCE, DETROIT, MICH

Stratton
&
133
Baldwin, Architects.
GATE LODGE FOR W.
K.
VANDERBILT,
JR.,
"DEEPDALE,"
L.
135
John Russell Pope, Architect.
SCOTT RESIDENCE, PELHAM MANOR,
N.
137
Louis Metcalfe, Architect.
MR. JACKSON'S RESIDENCE, CAMBRIDGE, MASS

Allen W. Jackson, Architect.
xii
139
cage
THE FASSETT RESIDENCE, NORFOLK, CONN

Tavlor
&
141
Levi, Architects.
COTTAGE FOR
MRS. BISLAND,
LAWRENCE
PARK, N. Y
143
William A. Bates, Architect.
THE RABBITT HOUSE, WYOMING,
N.
145
lov Wheeler Dow, Architect.
RESIDENCE AT OYSTER BAY,
L.
147
Grosvenor Atterhury, Architect.
CHAPTER
MODERN ENGLISH
VIII.
THE HOWARD RESIDENCE, BROOKLINE, MASS
151
THE JACOBEAN HOUSE, BROOKLINE,
MASS.
153
William Whitney Lewis, Architect.
RESIDENCE OF MRS. GARLAND, HAMILTON, MASS

Winslow & Bigelow,
GATE LODGE OF MR. ERNEST

Spencer
&
155
Architects.
A.
HAMILL, LAKE FOREST, ILL
157
Powers, Architects.
THE BORIE RESIDENCE, JENKINTOWN, PENN
159
Wilson Evre, Architect.
THE RICE RESIDENCE,
IPSWICH, MASS
161
William G. Rantoul, Architect.
THE
C. P.
Cope &
FOX HOUSE, PENLLYN, PENN
163
Stewardson, Architects.
RESIDENCE FOR DR. DAVID MAGIE, PRINCETON, N.J

Cope &
165
Stewardson, Architects.
RESIDENCE OF MAXWELL WYETH, ROSEMOUNT, PENN
167
Wilson Eyre, Architect.
THE
P. B.
Spencer
WALKER HOUSE, GLENCOE,

&
COTTAGE FOR
Wilder
&
ILL
169
Powers, Architects.
MRS. PRESBREY BISLAND,
LAWRENCE
PARK, N.
Y.
.171
White, Architects.
HOUSE AT CEDARHURST,
L.
173
Louis Boynton, Architect.

xiii
CHAPTER
ITALIAN
IX.
FACE
MR. BIGELOW'S RESIDENCE, READVILLE, MASS.

Winslow & Bigelow,
175
Architects.
RESIDENCE OF SAMUEL CABOT, CANTON, MASS

Winslow & Bigelow,
177
Architects.
THE WILLIAMS RESIDENCE, NAHANT, MASS

Parker
& Thomas,
RESIDENCE OF MR. HERING, PELHAM MANOR,

Oswald C. Hering,
RESIDENCE OF
J.
179
Architects.
N.
181
Architect.
O. BLOSS,
HARRISON,
N.
183
Alfred Busselle, Architect.
RESIDENCE OF
A.
DURANT SNEDEN, AVON-BY-THE-SEA,
N.
185
A. Durant Sneden, Architect.
"CASA DEL PONTE," ROWAYTON, CONN

Slee
&
187
Bryson, Architects.
THE CARPENTER HOUSE, LAKE GENEVA, WIS

Howard Shaw,
THE
A. C.
BARTLETT HOUSE, LAKE GENEVA, WIS
Howard Shaw,
THE
A. C.
189
Architect.
191
Architect.
BARTLETT HOUSE, LAKE GENEVA, WIS
Howard Shaw,
CHAPTER
"RAGDALE," LAKE FOREST,
Howard Shaw,
193
Architect.
X.
ART NOUVEAU
ILL
195
Architect.
THE HEDGES RESIDENCE, BROOKLINE, MASS

J.
197
Lovell Little, Architect.
THE DUNNING COTTAGE,
BRIARCLIFF, N. Y
199
A. Van Buren McGonigle, Architect.
A HOUSE AT GLEN RIDGE, N.
A. Van Buren McGonigle.

xiv
201
PAGE
RESIDENCE OF CARLETON MACY, WOODMERE,

Albro
&
L.
203
Lindeberg, Architects.
ENTRANCE TO THE CLUB HOUSE, KENSINGTON,
ILL
205
RESIDENCE OF FRANCIS LACKNER, KENILWORTH, ILL
207
George
W.
W.
George
Maher, Architect.
Maher, Architect.
RESIDENCE OF MR. HARRY RUBENS, GLENCOE, ILL

George W. Maher, Architect.
209
HOUSE OF
211
A. B.
EASTWOOD, ROCHESTER,
N. Y
Claude Bragdon, Architect.
RESIDENCE OF RUDOLPH TIETIG, CINCINNATI,

Tietig
&
CHAPTER
JAPANESQUE
XI.
TICHENOR HOUSE, LONG BEACH, CAL

Greene
&
217
Greene, Architects.
RESIDENCE IN PASADENA, CAL

Greene
&
219
Greene, Architects.
TEA HOUSE AND POOL, LONG BEACH, CAL

Greene
213
Lee, Architects.
&
221
Greene, Architects.
RESIDENCE OF DR. GUY COCHRAN, PASADENA, CAL

Mvron Hunt & Elmer Grey,
RESIDENCE OF DR. GUY COCHRAN, PASADENA, CAL

Mvron Hunt & Elmer Grey,
223
Architects.
225
Architects.
THE FARRINGTON STUDIO, BERKELEY, CAL
227
Bernard Maybeck, Architect.
A CAMP
Davis
ON LAKE WILBERT, ADIRONDACK MOUNTAINS

& McGrath,
Architects.
COTTAGE FOR MR. DELAFIELD, TUXEDO

Donn
229
Barber, Architect.
xv
PARK, N. Y
231
LIST
CHAPTER
OF ILLUSTRATIONS
THE HOUSE AND THE GARDEN
XII.
I'
GARDEN OF MR. JAMES HAMILTON, DETROIT, MICH

Stratton
&
GARDEN OF
Baldwin, Architects.
DR.
GUY COCHRAN, PASADENA, CAL
Myron Hunt & Elmer Grey,
THE
&
237
Architects.
CASA DEL PONTE, ROWAYTON,

Slee
AGE
235
CONN
239
Brvson, Architects.
A. C.
BARTLETT STUDIO AND GARDEN, LAKE GENEVA,
Howard Shaw,
WIS.
.241
Architect.
THE GARDEN OF WELD, BROOKLINE, MASS
243
THE CASINO AT FAULKNER FARM, BROOKLINE, MASS

245
ONE HUNDRED COUNTRY HOUSES
INTRODUCTION
THE NEW AMERICAN ARCHITECTURE
TX THEN
"
the medieval architect Vilard d'Honnicort was
commissioned
to build the
church
at St.
Stephen
at
Prague, he spent two years traveling around Europe studying and sketching other churches.
have been preserved, are
good tower;
my
it
lull of
His sketch-books, which
notes like this:
were changed thus:
it
"Here's
could use
it
for
church."
Alter
this
by the study
manner
ol old
requirements oi
all
architectural design has been done:
work, varying the design to meet the
the individual case;
and each
style
of
architecture has been logically evolved from the study and

revision
Roman
oi
the
work immediately preceding
it.
Thus
architecture was derived from Greek,
Romanesque
from Roman, and Gothic Irom Romanesque.
During the
fourteenth century
this
dug up the Forum and
chain was interrupted;

all
somebody
the near-by architects at once

3

were fascinated by the
Their knowledge
it.
Roman work and

ot
it
started to
copy
was imperfect, but they were
very good architects and so created, almost by accident, the

free
and charming, but by no means
which we know
very slowly.
men
as
architecture
classic,
This spread and developed
Renaissance.
Means of communication were poor and the
ol the countries outside Italy, trained, as Italians never
were, in Gothic architecture, were loath to give
it
up. In time,
however, the earlier process of development and elimination
was repeated, with the difference that
now
the development
was both aided and cramped by the increasing knowledge
and strength of the
Thus
classic tradition.
the splendid
architecture of the Classic Revival was formed, gaining in

dignity
It
what
it
lost in
treedom.
was toward the end of
this
period that in America
our ancestors became rich enough and had time enough to

think about things
artistic;
and
eyes of the world were turned
after the
to this
Revolution the
country with the
expectation that here, in a land unfettered by tradition and
unhampered by
the
monuments of
dead
past,
would be
developed an architecture original and beautiful.

that time to
this,
both here and abroad,
art writers
From
have

given voice to
this feeling,
and
just as often they
pressed their mournful regret that
we have
have ex-
completely
so
failed.
Neither the expectation nor the regret was
would indeed have been
a line thing
justified.
It
had we made an
art
and without precedent; but when the
lovely
our originality compared
to
that
of
critics
Gothic and
builders, they forget that the buildings they have in
were not spontaneous but the culmination

studv, experiment, and earnest effort.
decry
Greek
mind
of centuries of
Had we been
the
aboriginal Americans, without knowledge of the great past
and
of
different
developed,
as
blood from
makers,
its
we would have
the Indians did, an architecture novel and
without reminiscence
of
European work.
But we were
transplanted Europeans of the blood of the old builders,
with
memory
of their
work,
all
the
more compelling be-
cause of the lack of daily familiarity therewith.
Nor can
tyle.
tv
it
be said that
we
entirely failed to create a
Hardlv had we become
new
nation before, working;
with the old designs of the Renaissance in new materials
and with
little
accurate information to guide them, our
architects evolved the Colonial style; a result almost as ac-

cidental as the Italian
Renaissance and
pendent
And some
style as that.
period has
left
us,
Independence Hall
monuments
of the
New York
notably the
an inde-
as truly
that
City Hall and
in Philadelphia, stand quite
on
a level
with any ot the work of the Italian builders.
The American
lonial
architects
development
were
of the old
still
Roman
the year 1789, Stewart and Revett,
working
in this
Co-
school when, about
two English
travelers,
published their monumental work on the Antiquities of
Athens, which changed the current of work the world over,
from
Roman
This
movement
strongly and
we were
channels to their prototvpe in Greece.
we
influenced American architecture verv
find
filling the
Fenimore Cooper complaining that
land with "Greek temples" utterly un-
suited to the environment.

as
there has been in
Yet Cooper
done
failed
at that time,
was shown
to
all
Some
truth there was in
the criticisms of
realize that in
that
this,
character.
certain of the
work
notably the noble University of Virginia,
a creative
power
as real as that
of the Parthenon,
and that the old Greek motif, modified and adjusted

needs of that day, was
as vital
Greeks themselves.
6
an architecture
as that
to
of the

Greek forms were, however, tew
1 he
architects
From
and
that time on to within a few years,
copy
of the foreign.
liant adaptation of
who
it
of being a
With the exception
of the bril-
practically
which was not
of
some
of
copy
&
White
But how
in
his
Gothic work,
Madison Square Gar-
Boston Public Library, and R. M.
in the
copies of the Erench
his
in the
late
no good work done
an old original.
Upjohn
was!
it
and McKim, Meade

den and
them.
Erench Romanesque used bv the
a close
the
American work
accuse
H. H. Richardson, there was
beautiful
number and
their clients, the public, soon tired of
has almost justified those critics

slavish
in
Hunt
in
Renaissance, fairly outdid their
originals.
Now,
at last
we have developed
an architectural
style
rationally
which may be
and naturally
fairly called
our own.
Until within a few years American architects had practically
no
training,
foreign
ing
work
women"
that thev did
tew and poor books, and no monuments of

to copy.
the
it
As with "dancing dogs and preach-
wonder
was, not that they did
at
To-day
all.
both in the schools and
in
the training
is
the offices; there
it
badly, but
of the best,
is
a flood
architectural books of unquestioned merit, and with

7
all
of
the

instruments for good work ready to our hands,
at
length learned to use them, realizing
architecture
is
which neither
that
has been done, nor tries
imitate
to
it
the truest
that
rejects the
we have
good which
All
exactly.
knowledge and training might not have resulted

thing further than
more and
for that restless search for
pressive
Nouveau.
it
any-
not been
something new, modern, and ex-
we know
present-dav condition which
of
Germany
better copies, had
in
this
as
Art
France, Austria, Italy, and
This resulted in
in a type of design filled
with beautiful, yet often
meaningless, lines; and in England and the United States,
coming
at
The
architecture.
ified
critical
period,
vitalized
it
use of the old work, changed
with the greatest possible freedom,
modern
archaeology into
architecture,
is
and mod-
the key-note of
and we find those inveterate archaeol-
McKim, Meade & White, doing work as brilliantly

original as the Gorham Building and the Colony Club, in
ogists,
which the old motives are

that the result
While
is
is
truly
a
J
so
new
freely
and
style.
J
in all classes of buildings this
apparent,
it
skilfully treated
modern sentiment
has advanced furthest in the country dwel8

ling-house;
number
and the reasons
for this are evident.
least
great
recently built gives almost unlimited opportunity
change and experiment, and
tor
The
it
is
the type of buildings
trammeled by the requirements of the owner and the
feeling that the building should
with others of
its
The
class.
conform
reproduced
some extent
even of these few
results
work have been amazing
years of
to
to the observer,
and the
this
new
way
very
plain that their authors have started
from
illustrations
here
w ork.
They are
much alike.
very different and vet in a subtle
fairly
represent
It
is
different prototypes;
have achieved
instinct with
yet
a result
working with
which
is
work
that
number
but there
in architecture at least
has
the
its
is
and
of different historical
suit the
Exact reproduction
be drv and tiresome;
aim they
beyond mere copying, and
modified and modernized to
needs ot to-day.
sun
common
lite.
Architects are employing a

stvles
conditions and
of old
work
is
apt to
nothing new under the

so even the
most modern
prototype, sometimes so far separated from
connection
is
barely perceptible.
9
it
Accordingly

those styles most usual in home-building will be dealt with
later
under the following headings:
New
Southern Colonial
Classic Revival
Dutch Colonial
Spanish or Mission
American Farm-house
Elizabethan
Modern English
Italian
Art Nouveau
i i
England Colonial
Japanesque
This classification will be necessarily a very loose one;
probably almost every modern

or
more
of these styles, yet the
found mainly owing

ness to,
This
more
home owes something
to
one
of
easilv
two
root idea or motif will be
them, and the points of like-
and divergence from, the older work

list
to
will be
two
shown.
divides itself
naturally into
treated
formal manner, and the other
in
suited to a less formal treatment.
io
As
classes:
a general,
one
but not

hard-and-fast rule, the formal work
is
far-away descendant
of the old classic period, while the informal
the
class
first
would come
the
divisions
is
Under
not.
of "Colonial,"
"Classic Revival," "Spanish" and " Italian," and under the
second
fall
the remaining styles.
lot nearly level lends itself readily to
of house, but a sloping lot requires a
Harmony
informal way.
almost any style
house treated in an
house and grounds
of
most
is
important, and a house should grow naturally from the
ground, not to be
set
upon
it
as
it
if
had been dropped
there haphazard.
The
country
architecture of the
is
apt to
first settlers
any part
be that most suitable to
some strong personal preference

is
in
for
it,
a practical as well as
from
our ancestors both here and
much
of looks as they did of
roofs of
This
want
who had
their
to
comfort; and the
make
i i
true
Europe did not think
in
bedrooms
is
sentimental standpoint:
never have been employed by the
did not
and unless
flat
the Southern Colonial and Mission styles
States farmers,
the
another style prevents,
probably the most satisfactory to employ.
from
of
New
the
full
pitched
would
England or Middle
snow
of
as
slide off
water.
if
they
Yet while

appearance was
secondary, several
The
suitability to location.
compelled our ancestors

in
country work
is
and there
which makes
around them,
something
is
in the use
Whether
for fitness.
this
purely sentimental or whether the colors and kinds of
used are really harmonious with the woods
the materials
and ground from which they

nevertheless
is
of transportation
difficulties
to use the materials
at least,
of native material
made toward
factors
is
ings
The
the fact.
another element in
certainly
modern Art
it
writers
exist,
Such
and the suggestions
in the exterior,
skin
its
a rule a
as
is
good
one preached unceasingly by
is
The
from Ruskin down.
cheap decorative motives

not
say.
most old work
simplicity of
bones ot a house under
feature;
hard to
is
beauty: the structure of the build-
its
was always apparent
of the
are taken,
for the exterior of the
compelled the old designers,
call
fact
all
that
house did
them carpenters
or architects as you will, for they were both, to study with

j
'
>
great care the masses of their work.

the mass
or general proportion
beauty depends, for
hundred
feet
all
detail
is
It
lost
is
in the
main upon
of a building that
at
its
the distance of a
and only the outlines and the large shadows
remain.
12

The
desire of every
and
ality;
occupant.
cry of so
one
naturally
is
for individu-
house should express the character
Individuality, however,
many
met
joining houses
out of harmony.
as
is
of
its
not contrast; and the
prospective home-builders for "something
different" can be
number
enough
harmony with
just as well in
any
of designs possible in
There
the ad-
are an indefinite
each of
style;
its
own
individual character, heavy or light, high or broad, accord-
ing to the desired expression of the

the
style.
Lord house designed by Mr. Keen

and the house
section,
for Dr.
Cabot
Take
second chapter,
columns and much roof; comfort and strength
good
farm-house
in the
in the
example
the one low and broad with heavy
designed by Mr. Piatt;
The
for
in every line.
other slim, square, and simple, refined in detail and

in
proportion.
that of anv
two
Both have character,
friends;
as
distinct as
yet they look like friends;
and bred under the same sky; going each

with community of interest to
tie
his
born
own way
together their different
lives.
It
is
as
is
the likeness of these different styles of
work
that
it
thought here especially desirable to emphasize, and while,

has been
stated
above, the houses shown later will be

:

grouped under
loosely
their parent styles, they really
com-
pose a single and modern type of architecture.
The
characteristics ot this style are honest expression of
the plan and structure in the exterior;
and care
and great freedom
with an effort constantly
in the use of materials;
We
expose rather than to conceal their nature.
to
wood
longer turn and mold
we make
no
appear like stone; nor do
to
the mechanical perfections of pressed brickwork
our aim, but rather
try to get a texture to
our
flat
surfaces
by the use of rough brick with deep-set joints and wide
rough
shingles.
The knowledge
tecture as well as wine,

the
improvement
is
is
due
that age improves archi-
not new, but the realization that
to the texture of the surfaces
the softening of the rigid lines
is
and
recent and has not vet by
any means become general.
The
greatly increasing use
purely decorative feature, and

characteristic
great
many examples
as a trellis tor vines,
here shown.
shadows
shadows
of the cornices
it
lattice-work,
of the modern work, and
delicate
makes
of
cast
The
is
both
is
as
another
apparent in a
contrast between
by the lattice-work and the heavy
and projecting portions of the house
a particularly effective decoration, while forming,

x

by the growth
of vines
upon
it,
an invaluable link between
the structure and grounds, conveying a sense of fitness of
the house to the
The
order given- above, in which the different styles are
to be treated,
is
it
site.
is
not based upon any logical sequence, nor
possible so to do; but in a general
a link
between those adjoining.
way each
style
forms
CHAPTER
OF
the various styles from which the houses of to-day
are descended, probably the
is
one most commonly used
the one treated in this chapter.
The
title
is
in this
were
title
"Colonial"
is
in
a sense
generally understood to include
country prior to
number
of
styles
Gothic and Romanesque.
all
840, and up to
as
distinct
These
the
work done
this
time there
In the different diviStates the
displayed nearly as great a variety of treatment as
employing an architecture very
The
detail
was almost invariably
refinement.
The
New
it
work
did in
England States
severe, simple,
light
as
were divided both
what now constitute the United
the separate countries of Europe, the
for the
from each other
styles
geographically and chronologically.

sions of
misnomer,
and
quiet.
and had considerable
masses of the houses were square, and
often without any projecting wings of any sort.
16
Around

New
\ ork the
Dutch farm-house
style of architecture
was
In the neighborhood of
prevalent before the Revolution.
Philadelphia was a different type resembling more closely

the
work
the
more northern work.
The
which
of the
same period
houses of which
in general
in
we
of
now
are
are derived
but almost every one
Maryland and Virginia than
from
speaking are
New
England motives,
them contains such an admixture
New England
"New England
elements foreign to the early
of
their inclusion
is
open
is
it
under the term
to question,
possible to
those
and only by
style
Colonial"
a careful analysis of
trace their origin
more
to
that
New
them
England
than to other sources, Colonial or foreign.

In most of
to
them
there are very strong Italian influences
be seen, especially in the detail of the cornices and in

Generally speaking, the great
the treatment of the porches.
point of separation between the modern work along Colonial lines
and the older work
is
the constant use of details,
foreign to the style, applied to a house in mass quite similar
to
old work.
Of course
this
must be very
carefully
done
the
elements
When, however,
use
to
of
extraneous
be successful.
they are incorporated into the design from

l

its
very inception, and are not simply introduced because
something novel, they result
of a desire for
and charm
can hardly be surpassed.
ol detail that
The Lord house

shown probably
(the
first
illustration)
the purest in style,
points of divergence from
is
is
a very
of
those
all
The width
of the
texture remind us
strongly of the old-time country house.
of the shingle courses
is
and yet there are many
the type.
courses and their rough
shingle
a crispness
in
modern
very
Yet the doubling
The house
note.
picturesque in composition, and while unsymmetncal,
both clever and charm-
shows
a balance of design
ing.
The doorway and entrance porch
axis
that
is
are not
upon
the
of the building, while the two big chimneys are at
equal
distance from
the
The
ends of the ridge.
little
pantry extension to the right brings the doorway back to
what may be
called for lack of a better term, the center
of composition.
The
second-story windows
village type of
house
and Farmington.
house
is
string-course above the heads of the

is
a recollection of the
New
so familiar to all visitors to
An
DeerfieM
especially interesting feature of the
the treatment of the cornice;
and of wide projection
England
in the front
18
and
this, richly
rear,
is
treated
flat
along
HOUSE FOR AUSTIN W. LORD

WATER WITCH, N. J.
LORD & HEWLETT, ARCHITECTS

and the cornice up the rake of the gables
the gable-ends;
is
arranged
more
The
than the main cornice.
lighter
in
way, but the treatment here
this
handled than
skilfully
any
in
the feeling that the cornice does not

corners, which
old houses were
is
is
of the old
fit
infinitely
work, and
neatly around the
often observable in the old work,
is
here
entirely absent.
The
Olcott house
just described,
house
in
detail, the
of the
and
is
it
very similar in character to the one
perhaps the most famous small
is
Exceedingly simple
America.
in
mass and in
proportions are so admirable and the relation
window openings
to wall surface so perfect that the
house compels attention, without having any exaggerated
The house
or novel features.
old motives a
inators.
The
little
more
is
freely
simply composed of the

used than by their orig-
arbors at each end are nothing
than the old grape-arbors, but so placed
composition with the house, and to
as to
assist in
more
form
or less
a single
forming
nection between the house and the surroundings.

trellis
mon
of
across the front

to
New
England,
Philadelphia.
The
feature which, while not
is
is
often
cornice,
20
con-
The
com-
used in the neighborhood

indeed,
is
considerably
HOUSE FOR MR. CHAUNCEY OLCOTT

SARATOGA SPRINGS, N. Y.
KEEN & MEAD, ARCHITECTS

would have dared
heavier than most Colonial architects

to
employ, and the feeling of unity which
house
leaders
gether.
boxes
ample
its
is
at
gives to the
and the placing
justification,
the
of
each end also helps in binding the house to-
The treatment
and beam-ends
of the front porch with the flower-
one
is
which the old builders
of
would hardly have thought, and
it
Perhaps the house owes almost
as
the beauty of
design,
it
its
seems very charming.
much
its
charm
one feature
setting as to any other
and while the
of
of the
were certainly not included
trees
to
in
the architect's drawings, he unquestionably had their effect

in
mind and placed

them
bring
his
While
grouping.
the
into
house in such a position
possible to obtain a setting like this,

that an equally
of the
good
setting
house upon the
ficed to reasons of
lot,
much
The Pitman and Briggs

setts,
is
it
it
is
as to best
not always
very often happens
spoiled by unskilful placing
and
slighter
trees
like
these are sacri-
importance.
residences at Brookline, Massachu-
resemble very closely the larger and handsomer village
residences around Boston, such residences as used to be spoken
of
as
mansions.
It
may be
house was the suggestion
that the
for the
22
well-known Longfellow
Pitman house, and
if so
^^"-^H^tfjlWHiifM
nsnM^nn
n|J!i!lllll!i ( !!!!!l!!i!!!!i!!!lilSI!i
"inmiiHiiiiiiiiiiii i iiiiii ii
iiiffl
Hlipiiiir
Siiniimm
JS ill
i
nminiii
THE PITMAN RESIDENCE

BROOKLINE, MASS.
KILHAM
& HOPKINS,
ARCHITECTS

it
was used
in the
proper way, not
as a basis for a
rather as an inspiration to a different
These houses are

their design, the
on each
alike in the
grouping
the front
ing
and better treatment.
symmetry and
five
doorway
little trellis
on
windows
being a favorite
Especially interesting
builders.
Pitman house with the charm-
of the
either side of the Palladian motive;
the building been an old one

for lovers of the Colonial.
esting posts
simplicity of
elements, two
side of the door, in the front of each
one with the old Colonial

is
of
copy but
and the
little
it
would have become
had
a shrine
Even the fence with the
inter-
arched entrance-gate recalls very
strongly the old work, yet the treatment of the porches
new, and though new, perfectly
The
in
is
harmony.
Briggs house shows in the entrance
doorwav and
the piazza the influence of the Italian work, the
doorway
being characteristically Italian and well adapted to the position in

trifle
which
it
is
used, although
the
small and out of scale with the
side.
The porch
is
not so happy
as
columns seem
windows on
that of
the
either
Pitman
house.
The Gray
residence
ence to the Colonial
is
style
very far from the simple adher-
shown
24
in the other
work.
The
THE BRIGGS RESIDENCE

BROOKLINE, MASS.
KILHAM & HOPKINS, ARCHITECTS

tremendous overhang
roof
show strong
of the cornice
and the
flatness of the
even Spanish, influence, while
Italian, or
the treatment of the front porch as a pergola

istically
Compare
modern.
the
trellis
with those of the
Olcott house, and the difference between the

nial
is
strictly
arranged to form
vines
is,
a belt course,
to
some
out a single feature that
our minds, yet
it
original use as a
Yet with-
of.
Colonial, this house plainly be-
is
may
it
be because the familiar
coloring so strongly recalls Colonial
its
it
its
extent, lost sight
longs to that class of work;
green and white of
and
Colo-
Here
usage and the modern one will be apparent.
trellis for
to
character-
is
probably because with
'is
motive
of unfamiliar detail, the basic
is
all
the use
precisely that of
the old work.
The Cheney
bles in
this
residence by Mr. Charles A. Piatt resem-
respect
we
type that at times

all
the
are
those illustrated here,
modern although
simple,
it
and square,
dence imaginable
it
is
is
for a
the old Puritan stock.
Gray residence,
tempted
it
is,
from
to call
it
Italian.
Of
is
perhaps, the most thoroughly
the
also
it
so far
most
restrained.
Sturdy,
emphatically the most suitable
resi-
modern gentleman descended from
The
beautiful balance
26
and the
air
HOUSE FOR WILLIAM H. GRAY

DEDHAM, MASS.
JAMES PURDON, ARCHITECT

of utter sincerity, with nothing done for "effect," but evidently with no sparing of time and study to
perfect,
try
rank
work of
unpretending house very high
this
The interweaving
to-day.
England motives with those of

tricable,
that
and
seem
to
freedom, that
it
combination
expression to
The house
things
in the
coun-
old
New
the
complete and inex-
is
any
ot
the root indeed of the
is
every
of
Italy
ot
all
historic
styles
the designer proper, treated with the utmost
pure terms ot Mr.
mind
this
is
While we cannot
tecture.
make
all
Piatt's using,
man
to-day
new American
archi-
think so skilfully and in the

it
who
is
is
the idea present to the
giving true and honest
his creative art.
at
Pelham Manor,
New
York, by Oswald C.
Hering, resembles very closely the Cheneyhouse.
The cornice
treatment, the pergolas, and the arrangement ot the win-
dows
in the front are
ence
between the
all
two
very similar.
houses
being
materials, Mr. Hering's house being ot
other
is
of brick.
With
The
the
chief differ-
difference
stucco where the
a light-colored house,
such
one, the use of blinds as a decorative motive, even
thev are not required from any point ot pure

desirable,
and the combination

28
in
utility,
ot gray or buff
as this
when
is
very
cement, dull
THE CHENEY RESIDENCE

SOUTH MANCHESTER, MASS.
CHARLES
A.
PLATT, ARCHITECT

green blinds and white trim
ern
work and almost
color scheme
is
very frequently used in
A complex
invariably with success.
very difficult for an architect to handle, for
is
materials are not as flexible as the painter's

is
mod-
palette,
and
it
often necessary to confine the colors of a house to those
few simple ones which are inherent in the materials and

not obtained by
The house
Purdon
is
art.
at
Needham, Massachusetts,
the architect,
extended proportion.
is
of
which Mr.
similar in design, but with
Like the others,
simple, central mass with wings;
it is
more
composed
of a
and here the piazzas are
treated at the ends of the wings instead of flanking the central
mass.
The grouping
fenestration)
most
is
it,
The rooms
and
technically called
in this respect
inside are
in the exterior, as
is
less like
it is
more
difficult
openings wider than their
The
height are apt to give a sense of lack of strength.
broad white belt-course
at
the
the
generally bettered in
appearance by grouped windows, but

motive to treat
is
from that of the other two houses
different
closely resembling
older work.
windows (what
of
second-story
line,
which
Mr. Purdon has employed, has done much to counteract
this
weakness, tying the building together, and giving a feeling
HOUSE FOR MR. WITHERBEE BLACK

PELHAM MANOR, N. Y.
O. C. HERING, ARCHITECT

of stability
mers
which would otherwise be lacking.
in this
house are worthy
The
dor-
of close attention, for while
they are very different from the majority of Colonial dor-
mers they seem to agree excellently well with the remainder

of the
design, both
in
The
mass, detail, and grouping.
front entrance-porch deserves the closest study, uniting a
covering for the front doorway with the
very charming
second-story balcony so often found desirable in country

houses.
is
The
laying of the brick in pattern in this house
very charmingly done, and shows a careful study of the
texture, essential to beauty in
new work, which
spoken
is
of in the first chapter.
The Swift house

in
at
type from these
Larchmont, New York, is quite different

last
Colonial
sentiment, although
purely of
New
is
England
New
the
root
motive
New
posts to support
find in
the roof and
This
Probably the
feature best worth study and imitation in this house
We
as
England with Dutch Co-
England predominating.
very charming piazza.
the
not
is
origin as that of the others.
rather a combination of
lonial, the
much more
three, preserving
we
New
England
is
the
trellised
also find square
posts.
This use of the square posts in connection with the
trellis
32
HOUSE AT NEEDHAM,
MASS.
JAMES PURDON, ARCHITECT

has the advantages of both
Trellis
of neither.
and the disadvantages
without the posts seems thin and weak, while the
use of the square posts alone
is
meager and lacking
in in-
Every one has probably noticed the charm of the
terest.
spider-web tracery of cables and ropes against the heavier
members
of
grouping
of light
an unfinished
The
It
same
this
is
and heavy members which has been used
here and the beauty of

causes.
steel structure.
its
effect
depends upon the same
setting of the house has evidently
been very
carefully studied, the house being placed so that the large

trees hide the service wing, while they leave the
of the house
free,
main part
except for foliage sufficient to relieve the
house from any bare newness of appearance, so
that,
while
the house had been but just completed at the time the
photograph here shown was made,

been here
it
seems
as if
it
had
for years.
The examples which have been
presented show the wide
range of results obtained from the same motive, treated
by different hands to
suit
different
they are kindred will be evident to

All of
are individual.
spirit
which
is
requirements.
all;
That
likewise that they
them show the impress of the new
pervading the architects
34
of to-day.
Of
THE SWIFT RESIDENCE

LARCHMONT, N. Y.
EWING
& CHAPPELL,
ARCHITECTS

course there are
close
copies
of
many
houses being built which are very
the old, often very charming copies, yet
these almost always impress the observer as being dry, hard,
and lacking
in
interest.
Any
copy, even a mechanically
correct one, lacks the beauty and
can bring; therefore, in
new work
charm which age alone

it
is
best not to try to
imitate, but rather to create, not disregarding the old
but drawing upon
its
meaning and
the requirements presented.
36
ideas as they
work,
may
suit
CHAPTER
II
SOUTHERN COLONIAL
r
^HE
I
-*-
earliest
buildings of architectural importance in
the colonies were the old
and Maryland, and up
to
manor-houses
in Virginia
twenty years before the Civil
War
the South continued to lead in architecture, as in the fame

ot their hospitality,
among
The
of
earliest
were
builders thought
try,
for
the country houses of the land.
imported because
brick,
as
their
there was no suitable clay in this coun-
brickmaking, and
in
design
closely the English houses of the
Piazzas were at
they followed
same period.
used, since the
first little
very
English, with
lite
have never and do not to-day
build porches.
The famous
old mansion "Westover" on
the James River
is
their love of
all
and
is
outdoor
the best-known example of the period,
exceedingly close in
the English architects
The
its
resemblance to the work
who succeeded
Sir
of
Christopher Wren.
climate, however, soon convinced the colonists of
37

the necessity of outdoor sitting-rooms, and
South that verandas attained

portance.
it
was
their greatest dignity
Sometimes they were one
in
the
and im-
story in height as at
"Homewood," sometimes they extended the full height of

the house as at "Mount Vernon," and sometimes they were
two-storied, the upper part called, as
it
from the West Indian colonies, where

of the Spanish
"patio" with
its
it
was
two or more
reminiscence
stories of gal-
surrounding the courtyard.
With the growth
of plantation life
ing increase in the plan of the house.

vice portion
was contained
and business was

of
to-day, a " gal-
This two-story porch was probably an importation
lery."
leries
is
the
in the
it
correspond-
Elsewhere, the ser-
main body of the house;
rarely transacted at
summer made
came
desirable to
home.
remove
Here the heat

all
fires
from
the living and sleeping rooms, and the administration of

the plantation was the business of the house's occupant; so
in time there
grew into the plans two wings, one
for
the
kitchen and store-rooms, and the other for the transaction
of business.
example of
similar
"
Mount Vernon "
this
is,
of course, a very familiar
arrangement.
development took place

38
in building materials.
EASTOVER"
WYOMING, N. J.
JOY WHEELER DOW, ARCHITECT
"

Wood
was found
to use
while equally good results, both in comfort
than brick;
and appearance, were
possible with
make
chitecture began to
crowded out brick
much
and cheaper
to be easier to obtain
as
it
wood
So
use.
its
appearance, and while
its
did in
New
England,
it
used even for the larger and handsomer
it
ar-
never
was
still
class
of
dwellings.
marked point
Northern work was
of
difference
have
States
it
and coolness of the high
possible
as
through the long, cold winters, while

airiness
New
was highly important
few cubic feet of space
as
In
in the height of the ceilings.
England and the Middle

to
between Southern and
ceilings
the
in
was
to
heat
South the
a necessity in
midsummer.
The
New
Orleans
influence over
modern
old architecture of the far South at
and along the Gulf, has had
work except
gretted, for
America
is
architects.
in
its
some
to be
own
Some
is,
This
is
much
to be re-
most beautiful Colonial work

there,
and
is
little
of course, situated far
and the very knowledge

but there remains
locality.
of the
found
little
of
a great
it
in
known by most
from the
cities,
would come only by accident,
body
40
of material readily accessible
THE SAMUEL ADAMS HOUSE

SEWICKLEY,
PA.
ALDEN & HARLOW, ARCHITECTS

to the student of
bygone
The
times.
work around
early
Philadelphia, on the other hand, has had great influence on

the
modern;
but
as
it
similar
is
in
character
to
the
will be classed
with
"Eastover," the brick
resi-
Virginia work, houses derived from
it
the Southern ones.
Ol the very
dence
at
earliest
type
Orange shown
name but
the original,
the
in
pretty plainly indicated by
not only in
is
This
illustration.
is
analogy to old "Westover"
its
in design.
While much smaller than
simple dignity and grace of
preserves the
it
first
many departures irom old

Bay-windows were almost unknown in Colonial
the older house, and that with

lines.
days, yet here
charming
is
one absolutely
in itself.
the bay joins the
flat
fitting to
The double break

surface of the house
of the success of the treatment, but
in the
it
in
the house,
and
the wall where
may
be the secret
probably
deeper
lies
thorough sympathy between the designer and the
style.
While the Adams house
more modern
The
in treatment.
is
a very simple
doorway
of
like
is
"Eastover"
front
and charming design
unusual beauty;
42
up
it
is
much
to the cornice
of the old type,
while the side
is
with
entirely
HOUSE OF
CHARLES
A.
A. C. CABOT
CANTON, MASS.
PLATT, ARCHITECT
DR.

unlike any of the old houses, yet the whole scheme hangs
together,
and the exceeding cleverness of the treatment
the
elevation
side
Where
study.
becomes apparent only
change
of
careful
after
in the direction of the ridge of the
roof occurs a break in the wall surface at once suggests
it-
may
be
self,
such
in fact,
almost requisite, yet the plan
make
to
as
is
break impossible.
this
itself
Such
case
is
evidently before us, and by the simple expedient of a leader

at the rear
is
termination of the gable the effect of
The window treatment on
produced.
yet the whole
is
with the trees
is
in
the
front
is
on the
side
the
the walls apparently at their
own
will,
symmetrical to the point of formality;
windows cut through
break
this
harmony.
The
also well done,
placing of the house
and the terrace helps the
agreeable effect produced.

Dr. Cabot's house at Canton, Massachusetts,
position
shown
much
in
like the
house by Mr. Purdon,
the previous chapter.
of
central mass dominating the wings, at the ends of
the piazzas,
it
is
much
like this
New
which are
is
similar.
in this similarity that lies the difficulty of dividing
44
simple
England Colonial
house; and the grouping of the windows, too,

is
com-
Needham,
at
Composed
in
is
It
modern
HOUSE OF HOWARD CLARK

BRISTOL,
CHARLES
A.
R.
I.
PLATT, ARCHITECT

work
into classes derived from older sources.
themselves are often
much
alike,
and
it is
The
sources
impossible to be
absolutely certain of the root idea in every case, and
it
may
be that the architects of the houses would differ very widely
from
ment
their classification as here given,
has been the
subject of
although the arrange-
much thought and
study.
So these two houses, although they so closely resemble each

other, are placed
there
is
under different headings because
that subtle difference of sentiment
stamp one
as the
them
in
which seems to
descendant of Northern, and the other of
Southern, work.
The Cabot house almost
speaks for
itself.
It
seems un-
necessary to call to the reader's attention the beauty of
The
mass and of detail apparent everywhere in the design.

very great area of the
windows
of the building presents a
great a
its
window
component
surface
is
as
compared with the mass
problem not easy of solution. Too

apt to break up a single mass into
parts; here
by the strength of the white
lines
of the terrace at the bottom and the cornice at the top of

this
building the unity of the house
large
window
within.
The
surface suggests air
is
preserved, while the
and sun
in
four great chimneys flanking the
46
the
rooms
main roof
RESIDENCE OF
E.
R.
THOMAS
SHEEPSHEAD BAY, N. Y.
LIONEL MOSES, ARCHITECT

are a favorite motive in the old work, but
not always
it is
but
easy to adjust a
modern plan
so that
requires them.
When
possible they form, as in this
this
is
not only
it
fits,
case, a verv delightful feature of the design.
The Clark house

Cabot house,
work
of the
openings
and
Rhode
Island, suggests the
two examples
might be expected from
as
of the
same man.
The treatment
quite different from that in the
very original.
is
house
is
Bristol,
at
The
recalls the gallery
of the triple
Cabot house,
brick loggia at the right of the
between the main building and the

Like the
service quarters of the old-time plantation house.
old work, too, are the dormers, bare to simplicity, and the
best that could be designed for this type of roof.
or
more decorated dormers would have given
line,
and spoiled the singleness
The
in
of the
Higher
ragged sky-
composition.
residence of which Mr. Moses was the architect
design
more
like
is
those houses which were later built
under the influence of the Greek Revival, than the true

Colonial
period.
this
is
type, while
the
details
follow
As has been noted with regard

beautifully
fit
for the location.
broad, sweeping road, as well
48
as
this
last-named
to other houses,
The
trees
and the
the generous lines of the
RESIDENCE OF ERNESTUS GULICK

GARDEN CITY ESTATES, L. I.
KIRBY, PETIT & GREEN, ARCHITECTS

design, suggest
in style
ample comfort
between
this
The harmony
in the house.
new house and
the quaint old barn
beyond shows exceedingly well how new work should be

treated to correspond with
often
its
surroundings, a feature not
enough thought about, and which always deserves
the most serious consideration.
The Gulick house
at
Garden City Estates
is
similar in
and
type, but with the two-story portico across the front
smaller porches at the ends.

familiar
Dutch double-pitch
the South at the period

built,
but
roof of this house,
roof,
probably never used in
when houses
evidently suitable for
it is
Vernon" was
The
its
evidently in the designer's
and he did not
fall
below
The
it.
of
this
is
class
the
were
purpose.
"Mount
mind
standard
as a
gardening, too,
is
very
well done.
The Frankenburg house and

in composition,
but different in
tion in different materials.
the Wise residence are alike

detail, as befits their
The
execu-
very delicate and simple
cornice of the Wise house corresponds beautifully with the

pattern of the brickwork, and the porch treatment comes
just at the right place
in railings
and
upon
the facade.
to decorate the
50
The
lattices
used
windows constitute perhaps
THE FRANKENBERG HOUSE

GREENWICH, CONN.
HALE & ROGERS, ARCHITECTS

the most interesting feature
the
of
Erankenburg house,
while the treatment of the porch with projecting beam-
ends in place of a cornice, and the same arrangement over

the arcade in the
modern
The
from the study
one which
one which, while thoroughly
is
sentiment, accords with the
in
building.
center
is
arcade
a feature
is
character of the
which has been evolved
of the architecture of the Renaissance
now coming
to
its
own
treatment for the
as a
exterior walls of a sun-parlor, or living-room.
fortunate
after
the
this
the
of
of the building,
vines
and hidden
most charming adjunct.
The Reed house
at
Haverford, Pennsylvania,
material and design. Executed in brick, this
work
remainder
for the
would when covered with
by shrubbery be
of
Maryland and
buff sandstone of which
it is
of
recall very
Virginia, but in the

it
is
of
the
much
used in the
Philadelphia
architects.
is
still
unusual and interesting feature of

5 2
would
of local
This stone was constantly
used bv the Colonial builders, and
suburban work
is
actually constructed
the true old Philadelphia type.
An
un-
is
stone wall
building, for the
which here looks too heavy and clumsy
beautiful
It
photograph should have been taken so soon
completion
strongly the
and
this
house
is
the
WISE RESIDENCE
EAST ORANGE, N. J.
C. L.
PERCY GRIFFIN, ARCHITECT

painting of the blinds green in the second story and white
in the
The
first.
windows on each
semi-circular
the chimney in the gable-end are delightful in
side of
pattern,
while the treatment of the cornice across the gable-end,
forming
a shingled
hood,
charming.
is
modern
seemed
it
needs, calling for

to
suit
more
to be regretted
such minor details that
in
is
is
arrangement required
that the exigencies of the third-floor
the double dormers, but
It
light
and sunshine than
our ancestors, require the
of ap-
sacrifice
pearance to comfort.
In most of these examples there have been
neous elements introduced, yet

to the few
While some
all
and simple motives

of their designers
of
of
them owe
many
extra-
their genesis
the older architecture.
have been content to accept
the old motives substantially unchanged, others prefer to
use
a
them only
as
aground-work; but
way which makes them
their
are using
own, and with
subordination of precedent to design.
54
all
them
in
proper
HOUSE OF PROFESSOR L. W. REID

HAVERFORD, PA.
BAILEY & BASSETT, ARCHITECTS
CHAPTER
III
CLASSIC REVIVAL
ABOUT
beginning of
the
America the forms
merged
into,
the
of
and superseded
The
Classic Revival.
century
nineteenth
the
work were
old Colonial
by, the style
known
Colonial architecture of
away descendant
of the
Greek and
as
New
land and of the South which has been illustrated
preceding chapters was, although
in
the
Eng-
in the
two
descendant, a very far-
Roman
forms.
The
Classic Revival was a very close adaptation of the original
types to the needs of that day.
The
tion.
causes of this were touched
The
passion
forms so curious
for the
Classic
phase of
the
upon
in the introduc-
political
ideal,
which
French Revolution, was
only one manifestation of an everywhere dominant interest

in the
manners and
ledge had
life
of
the great Classic era.
Know-
become more wide-spread throughout Western
Europe than
it
had been since the days

56
of
Roman
occupa-
CLASSIC REVIVAL
This knowledge brought
tion.
tioning curiosity in regard to
was
rite,
and
in
Golden Age, not
was purity
The
itself
its
an eager ques
train
Corruptio 11
things Classic.
all
the reaction against
turned their eyes back

the
in
people naturally
it
time which seemed to them
to that
realizing that the eighteenth century
compared with imperial Rome.
interest in all things artistic followed the interest in
things intellectual, and jewelry, dress, and architecture were

alike
remodeled along pseudo-classic
As the only
lines.
remains ol antique architecture existing were temples (for
Pompeii had not yet been discovered)

form upon which was based the
it
revival of the Classic type.
Since the original temple had no windows
something
The
of a
problem
to
was the temple
adapt
it
to
it
was naturally
use as a dwelling.
solution arrived at in most cases was simply to use the
temple portico
as a
piazza and to employ the usual type of
dwelling-house, with a complete change of detail from the

slim proportions of the Colonial to the heavy
still
heavier Greek.
of the older piazza
The
portico then occupied the position
on the long
times an attempt was
Roman, and
made
side of the house;
to
adhere more
but some-
strictly to the
temple shape and the portico was placed on the end and
57

windows were punched
this
type the
full
in
In
the walls where necessary.
entablature of architrave, frieze, and cornice
was retained; and
as this
was very wide,
in small
houses the
second-story windows were cut in the frieze, resulting in the
low broad windows
close to the floor
which have been
so
aptly called "lie-on-your-stomach-windows," after the position
needed
to look out of them.
The Mathers farm-house and
the residence of Dr.
are very frankly like the old work.
In each case a simple
four-columned portico supporting a pediment

frontispiece with
across
The
it.
is
is
used
as a
main body of the house running
use of the red brick with the white porch
was exceedingly
portico
the
Marsden
here
architrave, frieze,
common and
treated
with a
of
The
unfailing charm.
full
entablature (that
is,
and cornice) over the columns, while the
cornice only continues around the house.
In the Marsden house the order
is
the familiar
Roman
Doric, while the broad steps across the entire front of the
piazza remind us very strongly of the original temple.

semi-circular
window
in the
The
pediment over the portico
is,
of course, a reminiscence of the earlier Colonial work, no
windows being used
in
temple pediments.
58
It
is
such a
RESIDENCE OF DR. MARSDEN
CHESTNUT
HILL, PA.
CHARLES BARTON KEEN, ARCHITECT

happy adjustment
as this of
old forms to
makes the difference between copying and

and painstaking study
of careful
ment
The wing
with the
rest of the design,
main house
in
also in the treat-
surface
of the drive
admirably in keeping
is
and yet
Evidence
forming the doctor's
at the right,
while only one story high,
office,
design.
and gate-posts and the sweep
of the fence
to the house.
shown
is
new needs which
subordinated to the
is
treatment by the lattice-work,
as
well as in height.
The Mathers farm-house

but the order
is
it
presents an
solved.
The
greatly like the
body
Unusual
of the house,
immensely
difficult
example,
first
Doric, and the roof
Ionic instead of
gabled instead of hipped.

three in the
is
is
the use of four stories,
is
and one
in the attic,
and
problem, here beautifully
use of the big "order
1
'
in
the front of the
building serves to attract the eye away from the building

itself,
and
aids in tying the
While perhaps the

ture
is
whole structure
stable archway,
through which
ground.
this pic-
taken, should not be included in the criticism of
the house, the quality of the stonework
be well worth comment.

in the
to the
is
so
lovely as to
Half the charm of stonework
proper relation between the
60
size
of
the stone
lies
and
THE MATHERS FARM-HOUSE

GERMANTOWN, PA.

rough sur-
position, here absolutely perfect, while the
its
face of the stone
and the wide joints give an exceedingly
pleasing texture to the whole.
These two houses just described adhere pretty closely
They might almost have come from
their prototypes.
campus
of the University of Virginia,
and yet
it is
to
the
evident
that they are not simply copies, but the expression of an

original
and creative mind.
upon
finger
they are, in
sign,
common
imbued with
motive
of
is
to place
one's
modern
different
the same:
The
The
in
character,
although
the
namely, a portico on the longer face

original
strong reminiscences
Renaissance.
spirit.
house, of which Mr. Piatt was the archi-
the building.
with
difficult
with houses of the most original de-
the
somewhat
is
is
points of unlikeness to the older work, yet
The Chapman
tect,
It
portico
of
is
Classic detail
both
Italian
blended
is
and
French
compressed toward the face
of the building with three-quarter "engaged columns" in-
The
stead of free standing ones.
one-story porch at the
left-hand end employs a motive which
ing
more
ment of
usual in
the
is
every day
modern country-house work:
roof
with
projecting
62
becom-
the treat-
beam-ends,
like
RESIDENCE OF MR. JOHN CHAPMAN
TARRYTOWN,
CHARLES
A.
N. Y.
PLATT, ARCHITECT

pergola, although the root
ful
itself
closed, offering a beauti-
is
opportunity for the growth of vines along the top of
the porch, and at the same time giving a protection against
sun and
rain.
The
little
balconies on the central
iron
motive are deserving of attention,
between the windows of the

flanking wings.
In
as
and second
first
house the
this
are the flower-boxes
full
on the
stories
entablature
is
con-
tinued completely around, not stopping against the main
body
of the house, as
The
was the case
in the previous
Probst residence at Englewood,
New
examples.
Jersey,
is
still
another application of the same principles, but in unusual
combination with the

roof.
The
"Dutch"
so-called
walls are of clapboards, like the
or
"gambrel"
New
England
houses, and the porch instead of having the columns spaced
nearly equal has
them combined
the center, marking the entrance.
in pairs at either side
no photograph does
this
detail being largely lost,
house
is
to be regretted that
justice, the
and the
house injured, by the shadows

in
It
beauty of the
effect of the
cast
of
mass of the
by the clapboards, which
reality play a very small part in
the appearance.
The
dormers, however, can here be seen to good advantage, and

are as thoughtfully studied as in any
64
example given, while
RESIDENCE FOR MRS. PROBST
ENGLEWOOD,
DAVIS,
McGRATH
& SHEPARD,
N.
J.
ARCHITECTS

the treatment of the pediment over the
perhaps, the most interesting of
Pyne residence
In the
pediment
is,
all.
Princeton,
at
main portico
New
Jersey,
the
omitted, the front of the building being deco-
is
rated with a
colonnade
of
proportioned
beautifully
six
Ionic columns, with a simple and sturdy entablature above.
An
interesting feature of this entablature
" cushion frieze," so called

of the
of
more
which
from
its
usual straight frieze.
photograph
tained because of
its
is
is
the use of the
curved section, instead
The house
is
the largest
here included, and has been re-
quiet, simple,
and home-like character.
The great difficulty in the design of a house of this size is

to make it a home and not a show-place, and Mr. Gildersleeve's success in
combining with the breadth and dignity
of the treatment an intimate and personal quality
is
note-
worthy.
The Ramsay house is under the influence of the Greek

The columns somewhat more attenuated than is
Revival.
usual, are treated with the bell-formed capital,
which was
the earliest Corinthian capital used by the Greeks.

too,
the
is
used the "cushion frieze."
windows
of this
It
is
Here,
to be regretted that
house were not divided into small panes,
66
M.
RALEIGH
C.
TAYLOR PYNE HOUSE
PRINCETON, N. J.
GILDERSLEEVE, ARCHITECT

as
customary
is
in
work
of
are very frequently insisted
this
character, but large panes
upon by
an unobstructed view than of the exterior
of
houses are a
compromises, and
series of
after all the wishes
play a very great part in the appearance of

the
many
may
types which
All
effect.
Dormers
be the governing factor.
the client should
of
think more
who
clients
all
houses, and
be properly and consistently used
with Colonial houses form a constant source of pleasure to

the student of this work, while nothing mars
more
the appearance of a building than dormers
when they
badly designed or placed.

are unusual but
The
good
seriously
are
These on the Ramsay house
in character.
residence of Alfred Busselle
is
a very radical
departure
in
mass from the work of the Classic Revival, while because
of
its
this
preservation of the older detail
heading.
of in the older
esting secondary motives of
the
is
is
The
under
the cornice
work and form
design.
piazza under a portion of the house

feature, as
clearly belongs
The dormers breaking through
unheard
are entirely
it
inter-
use of the
another very modern
the tying of the design together by the heavy
entablature at the top of the single-story columns of the

piazza.
These columns are typically Greek Doric,

68
as
are
THE RAMSAY HOUSE

CLEVELAND, OHIO
ELZNER & ANDERSON, ARCHITECTS

the details, and that details as pure as these can be applied
to a
Dutch
roof as successfully as
how
free
the
is
modern
Mr. Wyatt's residence
here proven indicates
is
use of the old materials.

at
Baltimore
is
modeled upon one
of the big square houses which were built at the very end
Most of them,
of the period of the Classic Revival.
built
of brick with their severity and lack of grace only relieved
by the lovely detail
of
the
windows and entrance-doors,
look like enlarged packing-boxes.
clumsy motive
in
its
it is
is
so skilfully used
successfully
and refined piece of architecture.
To
its
design a building of this shape requires the
window-openings
it
so accurately placed
lines
most careful and thorough study
ing which
and
this old,
uncompromising
surroundings, that in spite of

truly a beautiful
Here, however,
to the mass;
of the proportions
of the cornice to the build-
surmounts, and the most
the porches and entrance.
of the
Even
these
skilful
handling of
would go
for
noth-
ing were the proper setting unobtainable, but when,

here, all things are in
tail,
ture.
and the mass
The
much more
all
harmony, the
work together
as
tree shadows, the de-
to
make
a lovely pic-
high measure of success attained here means
than
it
would with
7
a building
of more inter-
RESIDENCE OF ALFRED BUSSELLE

CHAPPAQUA, N. Y.
ALFRED BUSSELLE, ARCHITECT

esting roof-lines
treatment.
may
It
and greater
will
remain
possibilities
for
picturesque
what
a never-failing lesson in
be done with few and simple features.
The work
reserve,
and
sented are
of the Classic Revival was marked by dignity,
a certain
all,
ample
simplicity.
The examples
pre-
with the exception of the Busselle house, rather
more monumental than
picturesque.
They
suggest square
high-ceilinged rooms, severe and simple furniture, rooms

light,
clean and orderly.
The
first
the second four of Greek, but
all
four are of
Roman
convey an impression
dignity without the least suggestion of the grandiose.
72
detail,
of
MR. WYATT'S RESIDENCE
WYATT
BALTIMORE, MD.
ARCHITECTS
& NOLTING,
CHAPTER
IV
DUTCH COLONIAL
^
OF
totally different character
done
work
of
Dutch
the United States,
other parts oi
in
from the Colonial work
and the
the Classic Revival, was the architecture of the
settlers
in the
old farm-houses
so
New
neighborhood of
many
York.
The
which have fortunately been
of
preserved in the early Dutch settlements at Flatbush and
Flushing on Long Island, and
and Demarest,
New
in
at
jersey
Hackensack, Schraalenburg,
were
of a type very differ-
ent from the formal and symmetrical houses built by the
Colonial
The
its
settlers
of English descent.
architecture of Holland has always been famous for
picturesque quality and blood
The
manners.
New
why
this roof
York
is
in art as well
as in
feature which gave most quaintness to the
American work was the

Just
tells
Dutch
or gambrel roof.
should have been so
common around
hard to
say.
familiar
In Holland
74
it is
rarely, if ever,
A REAL ESTATE OFFICE
WOODMERE,L.
I.

seen,
and while
it
was occasionally used
Colonies
it
was the exception always.
of the
which lends
itself
when terminating
in the
in
modern
down
all
hew
lumber
is
Labor was
a small
and when every beam had
settlers
to be
was not much more
diffi-
curved than a straight timber; to-day,
when
ax,
it
wrought out by macbjne, the curved

Another feature
volves a very heavy expense.
houses which impresses
itself
strongly
uncommon
line in-
of the old
upon the observer
a cheerful disregard of uniformity of material.
no means
the ground,
to
times, principally because of the great
hewn out by hand with an

cult to
a shape
broad sweeping curves
labor involved in their construction.
item to the old
is
These curves are seldom
usual in most of the old work.
reproduced
It
admirably well to a picturesque treatment,
carrying the lines of the house well

especially
other portions
in
to find a single small
It
is
was by
farm-house with
the four walls of different materials, stone on one gable-end
and brick on the

walls,
other, with stucco for the front
and perhaps the extension
of shingles.
common
and rear
Just
why
it
Dutch work
is
that the use of stucco
is
another of those fascinating problems which constantly
is
so
in the
confront students of Colonial architecture.
76
Stucco was
HOUSE FOR MRS.
MYRON HUNT
E. SPEER
J.
LOS ANGELES, CAL.
& ELMER GREY, ARCHITECTS

very rarely employed in the English settlements
near Philadelphia
very large
though
number
farm-houses of stucco;
of their
use in Holland was
as rare as it
Yet here
all.
many
and while
and
its
England.
Holland, the
halt of the houses are of stone,
both stone and stucco.
Dutch was widely
work.
in
in
built a
flat,
country offering no building-stone at
good
of these of
too, the
nial
of the
common
was
unknown
Stone, too, was practically
low character
home,
English, at
the
except
dissimilar
and
In the details,
from the other Colo-
Their simplicity was quaint, rather than severe,

it is
uncommon
to find in
work any molding which cannot be

Classic prototype, in the
octagonal
pure Gothic form.

architecture
more freedom
free,
lends
The columns had genof
Dutch
has been used than with any

styles,
itself
because
this style, itself
very easily to variations and
adaptations never employed by
its
originators.
employed
in the older
generally lost in the modern.
Architects
detail, so constantly
of the detail of
modern adaptation
In the
some
with caps and bases of
shafts,
other of the early American
exceedingly
directly traced to
Dutch work much
the moldings was distinctly Gothic.

erally square or
Northern or Southern
78
The Gothic
work, has been

of
to-day are
eaateiS
THE CRENSHAW COTTAGE

GERMANTOWN, PA.
WILSON EYRE, ARCHITECT

trained in classical schools, and while their design
spontaneous and without scholastic

time
often
severity, at the
same
almost impossible for them to forget the formulae
it is
with which they started their training.

rials, as
is
used now, are fewer in
What was
in old
be affectation.
work
number than
in
too, the
As has already been
abandoned because of the
difficulties
has been generally
attending
execution.
its
these points of diversion from type
much
the countrv-house
work
truly American,
unquestionably of Dutch genesis.
Such
the
first
And
house
is
as that
that
is
if
we except
by Charles Barton Keen, shown in
less to say
is
unmistakably Dutch.
the shape of the roof and the general
proportion of the building

characteristic.
of
most truly modern and most
illustration in this chapter,
yet
would
use of the
said, the
work
mate-
Colonial times.
naivete, in a present-day design
wide, swinging eaves of the earlier
In spite of
Then,
Since the
it
has
not one truly Dutch
Dutch used no dormers
it is
that those used here, both the projecting
need-
one
in
the center and the recessed ones at the sides, are not Dutch.
The
big,
circular
pillar
brackets under the eaves
hood with
its
at
is
each corner with
Dutch only
the
quaint
in spirit, while the
shell-formed arch over the front-door reminds
80
COTTAGE OF MR. HENRY S. ORR

GARDEN CITY, L.
AYMAR EMBURY II, ARCHITECT
I.

New
us of
The
England.
and wide white shingles
use of stucco for the
tor the
while the house

ing of
that
is
is
almost the accepted
present-day work of
in
not lacking
somewhat
in dignity,
this kind,
it is
far
and
from be-
kind observable in the
rigid
story
second-story gable-ends,
with the dark-colored shingled roof,
blend of materials
first
New
England and Southern work.
The Speer
how
residence at Los Angeles, California, shows
far-reaching has been the effect of
tious
Dutch farm-houses
of their design,
in this
around
chapter
New
almost without thought
built,
York.
Of the examples shown
the simplest, both in materials
it is
color, filled with the spirit of the old
oughly modern.
of the
windows,
those unpreten-
work and
and
yet thor-
All of soft gray tones, even to the trim

it
would be monotonous were
it
not tor
the texture of the walls, produced by the use of wide
heavy shingles.
in
The
beautiful grouping of the
the second-story gable, united by the shingled
and
windows
in
hood above
them, and the extremely quiet and natural treatment of the

dormers, are points especially worthy of notice and imitation.
house built
as this
one
is,
with casement-windows
of square panes, always possesses a certain
82
advantage over
"APPLEDORE"
BOUND BROOK, NEW JERSEY


one with the usual double-hung windows because,
for
some
reason difficult of explanation, the heavy cross-bar, cutting

horizontally in two the double-hung window, is not so agreeable as the vertical lines of the casement-windows.
This
may
be seen by comparison with the Crenshawe
cottage, Mr. Wilson Eyre, architect,

is
are,
no hint
ele-
its
thev are few because of careful study, and there
of
poverty of thought apparent.
Crenshawe cottage and the Woodmere
the
restfulness
Few though
the salient feature of the design.
ments
is
where again
In
many
real-estate office
minds
are very similar, differing only as the
of
their de-
signers differed as to the handling of the details.

of the
brackets under the eaves
houses
among
the
is
respects
The
use
confined to these two
examples here given.
The
brackets
themselves are quite different, one being concave and the

other convex, those in the Crenshawe house
tural feature, those in the
as a
in
decoration.
Woodmere
bination of several elements,
way,
is
its
a struc-
cottage used rather
Here, the treatment of the second story,
one long simple dormer instead
terrace, with
more
is
of presenting a
exceedingly interesting.
com-
The
stucco wall, leading to the side entrance-
an unusual and pleasing feature.
84
R. GRAEME
ENGLEWOOD, N.
RESIDENCE OF MRS. ETHEL
J.

The Orr
type and materials.
The
and messengers may
terfering with the comfort
hold.
is
of similar
separation of the main living-
piazza from the entrance-porch

visitors
New York,
cottage at Garden City,
often very desirable, so
is
and depart without
arrive
and occupations
in-
house-
of the
This house has a third storv, necessitating a somewhat
higher treatment of the roof than

three, perhaps to
chimneys
its
at either
is
a feature
is
in the other
But the placing
disadvantage.
end
emploved
of the
almost invariable in the
old work, and one which seems a suitable termination to

the long line of the ridge.
The house
Bound Brook, New
at
Jersey,
is
combination
of modern English with Dutch motives, the treatment of

the
first
being quite
story
English work.
rangement
tained
bv
right-hand
feature deserving of
of flower-boxes
different heights.
little
characteristic
on the same
The symmetry
trellises
back
of
comment
level, for
of the design
of
present-day
the ar-
is
windows
of
being main-
the flower-box
on the
side.
The Graeme
cottage
is
house of
New
England Colonial
shape translated into terms of Dutch architecture.
The
use of the stone gable-ends with stucco front and back
86
is
THE
C. BULL HOUSE
TUCKAHOE, N. Y.
J.

characteristically
chimneys
Dutch,
is
the shape of the roof with
The
stone piers running through
as
at either end.
the piazza roofs with columns between are

tie in
the piazza to the
body
Too
materials of the house.
while a treatment like
have used
it is
this
false
the
front
of
the
first
storv with
ful
any
in
builders
New York,
end, and columns and glass between,
whole south
Dutch
very possible the
piazza on
and unnatural and
one does not occur
In the Bull house at Tuckahoe,

of
wood
had they happened to think of
it
to
house by repeating the
often a light
building looks
a stone or brick
the old work,
of the
employed
would
it.
the treatment
stone piers
making
of
at
each
practically the
admirably bright and cheer-
side of glass, gives
rooms, while the details of the brick panels under the
windows were the subject

little
trellises
across the top

for the
view
as
up the
is
novel,
sides
the
of
The
use of
dormer windows and
and should make
a pleasant
frame
seen from inside.
The Barber house
is,
like the
bination of English with
ment being
careful study.
of
Bound Brook
Dutch motives, the piazza
that combination of pergola
elsewhere spoken of
as
house, a
being
comtreat-
and covered porch
modern innovation.
The
GEORGE BARBER
ENGLEWOOD, N. J.
HOUSE FOR
ST.

cement
piers at the corners of the piazzas
function architecturally
Graeme
is
The
house.
oriel
ones used on the
stone
the
as
window
the same
fulfil
porch
at the right of the
always a pleasing feature of an interior, although here
breaks up the design of the exterior
more than
New
Jersey, of
The
residence at Colonia,
Nichols was
the architect,
chapter by straining a point.
desirable.
is
which Mr.
only placed in the
is
It
one
is
of the
Dutch
examples of
modern design whose elements have been drawn from
many
sources that
heading without
roof
is,
it is
difficult
to place
under
fear of successful contradiction.
so
single
The main
however, Dutch in type, and while the detail of the
entrance-porch and of the cornices
and the treatment
suggests a
Dutch
is
Northern Colonial,
of the side-porch rather Italian, the pic-
turesqueness and the freedom of
plex,
it
it
The
origin.
the whole composition
design
is
exceedingly com-
and had the colors not been confined
white for the walls, and green for the roofs,
to the simple
it
might have
suffered in effect.
An
as
architect, however,
for proportion,
and
as
is
after
much
seeing
responsible for color
how completely
such
various elements are unified into a single composition by
90
HOUSE AT COLONIA, N.
GEORGE NICHOLS, ARCHITECT
J.

the use of color in this instance,
an important factor
two porches
so
The
it is.
it is
readily perceived
what
daring experiment of using
utterly different justifies
and the
itself,
various heights ot the eaves are successful only because of

the thought
expended upon
their
arrangement.
These examples show how widely

itself,
and how
infinite are the designs,
which may be evolved from

need
to
employ an
that of one's
a style
neighbors to
a single style.
it is
express
ing
upon them,
as
may
designs,
There
is
no
house from
one's difference
from
necessary to wear crinolines to
express one's individuality of taste in dress.
conform one's house
differ in
and the good
entirely different type of
them, any more than
will
may
Good
to that of the neighbors,
be possible, but building in
with them.
92
taste
improv-
harmony
CHAPTER V
SPANISH OR MISSION
WHILE
the styles of architecture which seem to most
of us peculiarly American are the various kinds of

Colonial,
there
was used within the boundaries of the
United States even
earlier than the Colonial styles, a style
almost unrelated to them, that we

the
"Spanish" and "Mission."
titles
tecture,
now know under
it
was a far-off descendant of
both
Like Colonial archiClassic,
through the
Renaissance, but the Renaissance of a different country,
Spain instead of England.
Every
its
youth
maturity
cline
art passes
it
is
virile
and
free,
tendency
to
of evolution.
though often crude;
restrained, quiet, dignified;
it is
comes
through like processes
and with
in
its
this
its
de-
overload ornament, and trust
to decoration rather than to structure, for appearance.
English architecture
In
In
period of decline was halted by
the inquiry into Classic forms and their freshening influ-
93

ence on the decaying
and
its
American Colonies
ture had
influence,
little
the
of
art
In Spain
Renaissance.
the revival of Classic architec-
and Renaissance
became cor-
art
rupted and debased into the complicated and often ugly

forms of "Rococo" and "Baroque."
It
to
is
these last
stages of the Spanish Renaissance that the so-called Mission
architecture
of
United States
the
can
be
under the influence of the unusual conditions

country, which
impossible, and
make any
the
very extended use of
forced
use
of
new
But
traced.
of
new
ornament
materials,
there
resulted a certain freshening of the older springs of design.
For these reasons the Spanish Colonial architecture was
many respects
Most
better than that of Spain at the
ot us are familiar
in
same period.
with the few surviving examples of
the Mission architecture, and none will deny their charm.
They have become

through
their
visits of tourists to
as state
Americans are
something new
this
magazine
illustrations,
Florida and the Southwest, and
reproduction by California, Arizona,
and Florida,
We
familiar through
New
Mexico^
buildings for the different expositions.

a
restless
race,
searching
in art, as in construction
style after centuries
and
in
always
tor
politics, so
of disuse became again popular
94
MR. H. O. HAVEMEYER'S HOUSE

BAYBERRY POINT, LONG ISLAND
GROSVENOR ATTERBURY, ARCHITECT

under the influence
ment and during
of the
seli-named "Craftsman" move-
many
the past ten or twelve years
have been built along the
of
lines
this style,
houses
some of which
have also been influenced by the original Spanish work.
The
architecture
is
a difficult
one
foreign to the usual run of design,
to
it
work
Quite
with.
requires a peculiarly
sympathetic handlina and very careful adjustment to loca-
While examples
tion of the building.
Northern
States, as well as in the
are
found
extreme Southern,
in
the
its
low
pitched roofs and stucco walls seem out of place
when
they are not surrounded with the palms of the South.

careful search through
many examples showed
worthy of the inclusion

of to-day.
they are not
While there
among
in this series of
only a few
American houses
are doubtless others equally good,
those easily to be found.
Mr. Havemeyer's house
at
Bayberry Point
is
a very in-
genious and delightful adaptation of the Mission architecture with a strong tincture of Moorish design.
This
is
one
of eight houses built on Bayberry Point fronting the Sound,

all
are
of which are executed in the same

of similar design.
Such
style,
and
scheme was
all of
which
wonderful
opportunity for the architect, and Mr. Atterbury has seized
96
MR. MACKENZIE'S RESIDENCE

OYSTER BAY, LONG ISLAND
G. C.
MACKENZIE, ARCHITECT

it
and worked
it
out in
completeness with
its
might be expected of
cess that
and the large expanse
of
in
scale of
the detail
rough concrete give power and
strength to the design, while
The manner
the suc-
pastmaster of country-
The tremendous
house architecture.
degree.
this
all
picturesque to the highest
it is
which the pergola terminates
walk from the front door, and
is
flanked on one side by a
boat-house and on the other by a summer-house overlooking the water, gives a beautiful opportunity for out-of-door
life,
and one can
easily
from the third-story
imagine the view and
There
that are well
is
at
Oyster Bay
is
along similar
but exhibits a certain amount of influence from Spain
direct.
tiles
obtainable
gallery.
Mr. MacKenzie's residence

lines,
air
are
many
things about this simple house
worth notice and imitation.
are both curious
The
railings of
and unusual, the way they are used
an excellent method of securing a masonry railing at a
minimum
of
expense and a
iron balconies are precisely
and
in scale.
The
maximum
what
are
of effect, while the
needed both
corbels supporting the brackets
in
size
under
the cornice are of brick and add a pleasing touch of color

to the wall surface, while the
method
98
of laying the roof tiles
THE RE1DERME1STER HOUSE

ENGLEWOOD, NEW JERSEY
WILLIAM K. BENEDICT, ARCHITECT

gives a color
end
either
(if
of
feature
roof that
to the
is
exceedingly happy.
the building are roofless piazzas, or pergolas
of
kind can be called a pergola), with
this
canvas loosely stretched for covering.

usually possesses
some
The
nary house.
do
house
beyond the
ordi-
what he dare
his clients.
Reidermeister house
and other
architect's
for himself
is
much
residence with the difference that the

gables,
An
features of interest
architect can
not attempt with
The
At
details are
like
window
dark instead of
MacKenzie
the
trim, copings,
light.
The com-
is
an interesting one, with the two unequal gables
against the
main body of the house. Shrubbery over the wall in
position
the foreground will greatly improve the general appearance.
The
residence of E.
S.
Hall at Water Witch reverts to
the original Spanish type, but with the detail subdued
kept in good
design.
The
and
while quite in accord with the general
taste,
setting
is
excellent and doubtless adds to the
attractiveness of the place, but even without this setting
the house
would not
The house
Spanish
at
lose
its
Cedarhurst,
character
with
good
qualities.
Long
tendencies
Island,
is
toward
again of the
Italian.
It
resembles rather the architecture of the island of Majorca
ioo
RESIDENCE OF
E. S.
HALL
WATER WITCH, NEW JERSEY

LYMAN A. FORD, ARCHITECT

than either the Spanish Colonial or that of Spain
is
a simple, quiet,
itself,
Many
and expressive piece of design.
unsymmetrical country houses appear casual, and while

does not detract from their interest,
when placed
and
this
beside a
design so sober and thoughtful as this they lose in value.
The most remarkable feature of this house is the employment of color in the frieze between the third-story windows
and
in the lunettes
above the second-story windows.
architect felt the need of
some colored band
apparent
building,
height of
the
would otherwise have been

effected
and
reduce the
to
decorate what
to
This was
a very plain surface.
by mixing earth colors, ocher and sienna, in the
cement of the
final coat.
How excellent was the resulting ap-
pearance can only partially be seen

the pattern
is
visible
in the
photograph where
but not the color.
Its
durability was
tested within a few hours after the laying of the

a
The
heavy rain-storm without any damage.
cement by
This
is
a very
inexpensive form of decoration which Mr. Boynton only

has used, and deserves great attention, for
it
ment
themselves, with
of
such features
as
this,
cheap
in
is
by employ-
great lasting qualities, and splendid decorative effect, that
small American houses can be
I02
made
beautiful.
RESIDENCE AT
CEDARHURST, LONG ISLAND
LOUIS BOYNTON, ARCHITECT

The Taylor
residence
is
in
many
respects the
most
suit-
able adaptation to northern conditions of Spanish architec-
done
ture that has been
in the
neighborhood
New
of
While Mr. Atterbury's Havemeyer houses were

stucco of a gray color, quite in
harmony with
York.
built of
the beaches
and general barren conditions of the sea-shore, Mr. Taylor's

house
is
built of
rough stone with a
The
the material surroundings.

excellent, set as
it
The house
hill.
is
on
roof to blend with
situation of
this
bench of the slope
house
is
rocky
of a
exceedingly vigorous in character, but
is
without losing the refinement
and has many
tile
details
essential to the best results,
which are of uncommon
The
interest.
balconies of the second story afford a delightful view, while
The
the arrangement of piazzas and terraces seems ideal.
treatment of the railing and the chimney-caps are both exceedingly interesting.
this
house, since
it
had
The problem was

to
might obtain thorough ventilation.

in
harmony with
all
the
in
combination with
its
104
rooms
Every color used was
the natural ones, with the
result that this style, quite foreign to Connecticut,
happy
in
be long and narrow, both be-
cause of the slope of the ground and so that
one which was
one
a difficult
surroundings.
is
most
RESIDENCE OF MR. TAYLOR

NORFOLK, CONNECTICUT
TAYLOR AND
LEVI,
ARCHITECTS

Some
idea ot
what has been done along Spanish
may be gathered from

summing up
of
them would show
they are and skilful as

to
warm
the foregoing examples;
is
that while
their handling, they are
and
lines
a fair
beautiful as
more
suited
climates than to the Northern States, not only from
a practical but
from
a sentimental viewpoint.
106
CHAPTER
VI
AMERICAN FARM-HOUSE
BECAUSE
rough conditions which prevailed
of the
in
the newly settled regions, and the crudity of the im-
plements to be found
settled
in districts
remote from the closely
portions of the country, there was developed in
Colonial days an architecture distinct from the recognized
Colonial type.
tier
In the "back settlements" and on the fron-
the type persisted for a long time, until with
processes
manufacture and transportation, galvanized
of
iron and canvas took the place of the materials
out by hand
There was very
in older days.
schoolmen would
buildings.
modern
call
architecture
They were simply
as possible to
house the
tures could be built,
settlers until
and were only
an element
be
little of
seen in
built as rapidly
more
a
what
these
and cheaply
finished struc-
step in advance of
of
them were
of design derived
from older
the log cabin and the sod hut.

totally lacking in
to
wrought
107
While most

sources,
of
many
of them possessed an unsophisticated charm
proportion and material which
tired of the city
ness
their
is
commends
and every reminder of
dominant
They
quality.
minds
itself to
Picturesque-
it.
are rarely dignified,
never formal, but possess the same charm that rough camping
life
Native
Maine
only
in
woods has
the
no particular
to
to Florida and,
fifty
years
old,
villages, these
dweller in
they
vary
the
work
fifty
or
of the
of the present generation.
While the Colonial type was
all.
were
much
city.
from
little
whether one hundred and
have served to inspire
are familiar to us
of the
the
locality,
pleasantest of the country
They
for
of the
open country, the homes
of farmers and fishermen.

It
for
was to them that American country architects looked
inspiration
when, some
thirty
years
ago,
country-house design began to be revived.
work
the art of
the original lines were almost lost under a
jig-saw
work and elaborate
farm-house type.
copied.
So
much
Of
late
of the
new
maze of
In the
turning, but the basis was the
they have not been so often
first
work done with them
motive was so bad that designers fought shy of the
as
style.
Now, when the "back to Nature" and "The Simple Life" ideas
108
COTTAGE FOR
MISS MARIA GREY

FOX POINT, WISCONSIN
MYRON HUNT & ELMER GREY, ARCHITECTS

much
have
force, interest in
vived and they are gradually
them
has naturally been re-
coming
to their
own
as
one
of the great sources of modern design.
The
residence of Miss Grey at
very close in
its
Fox
simplicity of design
Point, Wisconsin,
and
color, to
is
those
plain, almost crude, farm-houses of the poorer class of set-
Like
tlers.
many
of the old
central chimney.
The
old
course,
times
was, of
was the most
examples
the
around
built
use of a single central chimney in
common, because
difficult thing in the
the joint between
it is
the
chimney
house to construct, and
roof and the
chimnev gave most
trouble to a generation too poor to buy lead or copper,
and
to
whom
tin
The rough
was almost unknown.
terrace wall across the front of Miss Grey's house
reminder
of the
time when, to clear the
the farmers built their walls of them.
touch
in
is
is
fields of
The same
stone
another
stones,
careful
observable in every part of the design, resulting
an almost perfect preservation of the old
spirit of
sim-
plicity.
The
residence at Bryn
Mawr
Park
is
quite similar in
character, but with certain additional features
been introduced to the type through

i
10
its
which have
use in sea-shore
MR. JONES'
COTTAGE
BRYN MAWR PARK, NEW YORK

SULLIVAN W. JONES, ARCHITECT

The
cottages.
is
one
out,
this
piazza under a portion of the main
of these, as
the use of casement-windows through-
is
and the rough stone chimney.

cottage,
is
room
semi-bungalow,
way of
gradually becoming the accepted
building mountain and sea-shore houses for
pancy, and the farm-house
is
like
summer occu-
the logical and fitting style
to use.
The Bendin Rode
cottage
lower story and chimney being

of shingles.
This house
is
is
of the same character, the
of stone,
probably the best suited to
position of any illustrated in the book.
the crest of the
little hill
and the upper story
on which
it is
It
set,
its
follows exactly
and
is
arranged
so as to secure the shade of the trees at the proper places.

It
seems
its
fairly to
grow out
lines adjusted to
its
of the
position.
pointed out, harmony between the
employed
the style
this
is
ground, so perfectly are
As has elsewhere been

site
of the house and
essential to perfect composition,
example more than any other brings out
The dark
this
and
point.
color of the stonework, the rough texture of the
hand-made
shingles, the simple cornice
up the
gables,
and
the use of a gutter along the eaves instead of an elaborately
molded
cornice,
all
blend with the informal and natural
112
BENDIN RODE COTTAGE

HAVERFORD, PENNSYLVANIA
WALTER SMEDLEV, ARCHITECT

treatment of the surroundings, while every feature recalls
the farm-house from which
upon
it
The
was derived.
shutters
the extension at the rear are thoroughly in keeping
with the remainder of the design, and the pergola at the
end
as to
tion.
of the extension blends so well with the surroundings
make
it
almost unnoticed except upon close inspec-
Formal garden there
none, but gardening in the
is
sense of development of the surroundings to

is
here in
its
at
Germantown, Pennsylvania,
Bendin Rode cottage
the detail
is
not built
far
of a
in the
more conventional
shape of
more properly
kind to
many
its
location.
Like
is
city,
finished
of the old farm-
houses, around which villages have grown,
it
is
placed very
close to the street, a position generally avoided
licity of
very
masses but
its
out in the country, but in a suburb of the

a
if possible,
is
This house
kind.
and the materials are therefore of

suit
the house
highest degree.
The Lygert house

like the
fit
nowadays
because of the dust from the road and the pub-
the piazzas.
The
thick growth of vines along the
fence and the small openings between the pickets are here
ployed to overcome, as
far as
may
be, these
em-
annoyances, while
they improve at the same time the setting of the building.
114
-*.
>
-'
-
THE LYGERT HOUSE

GERMANTOWN, PENNSYLVANIA
COPE AND STEWARDSON, ARCHITECTS

The Lord house
house
another successful treatment of a
is
Here the heavy columns of
set close to the street.
the pergola and the high wall at
its
termination shield the
occupants from the dust and view from the road, while they
give a charming spot in which to
of doors during the summer.
grow flowers and
Such
treatment
of course, foreign to the primitive type,

of the roof, the
informal character of the building
all
as this
but the simple
rough stonework of the
first story,
the
out
live
lines
and the
way through
The
alike impressed with the farm-house character.
is,
are
stone-
work
of the
chimneys
ment
of the
porch under the overhang in front with stone
of
is
unusual charm
as
column
arches at either end and a tremendous stucco

the center.
house
is
many
In
like the
of
its
handling
Woodmere Land Company's
trated in the chapter on
how
the details
of
the treat-
is
this
office, illus-
Dutch Colonial, and exemplifies
with different root-motives a characteristically modern
The
treatment can be obtained.
ment apparent
in all
sturdy and solid treat-
Mr. Keene's work, and which, com-
bined with the original and playful fancy that has
him
in
his great
in this
reputation
house carried to
as a
its
made
for
designer of country houses,
furthest point.
116
It
is
is
in the ex-
F. P. LORD HOUSE
EDGEWORTH, PENNSYLVANIA

treme
of
modern design
as logically
conceived, and
exe-
is
cuted with a beauty and simple richness of detail that
is
neither bizarre nor extravagant, although utterly unlike the
While not the best of Mr. Keene's
conventional forms.
houses
it is
perhaps the most interesting and fullest of sug-
gestion for the lover of country-house work.
The Underwood
characteristics.
residence
is
marked by many English
The dormer and
gable
over the porte-
cochere have, instead of cornices, an English "verge-board,"

while the brackets under the eaves and the square posts of
the piazza and porte-cochere are also English in treatment.
The main bodv
of the
and porte-cochere,
rooms
as
house
carried over both the piazza
is
often done
is
when more
are required than living-rooms
upon
the
sleeping-
first
floor.
This affords an easy, cheap, and pleasant way of obtaining

the desired result.
dence
this
is
Of course
for
an all-vear-round
J
not apt to be satisfactory because the rooms
over the piazzas are difficult to heat, but in

are the coolest ones in the house.
cellent
The
resi-
and well adapted

Bates cottage at
The
summer
color scheme
they
is
ex-
to the style.
Wyoming, New Jersey, is composed
of such various elements that
its
118
inclusion in this chapter
^staber
THE UNDERWOOD RESIDENCE

FOX POINT, WISCONSIN
ELMER GREY, ARCHITECT

is
ot
on account
any
of
its
general character rather than because
likeness
specific
The treatment of
type.
to
the
dormers might be either English or Holland Dutch, and

the big
bow-window
from either of these
the front might also
in
be derived
the general composition
styles, yet
The
that of the old time farm-house.
finish of the stone
walls at the ends with a wide board along the top
sometimes employed
it
is
certainly
which
it
in primitive
work, and
one
is
not the only,
if
one of the very few modern instances
The treatment
has been used.
is
of the
in
gate
little
leading to the road pierced through a continuation of the
gable-end on that side
is
unusual in the extreme, and
combination with the brick terrace across the

ing to the garden,
is
very charming.
tinctly different types of
One
of
windows used on
small square panes in the
diamond leaded panes
in
It
is
front, lead-
are three dis-
elevation.
this
bow-window, one
headed windows
difficult to
recall
at
the
the Bendin
Rode
it is
cottage the
i
here very delightful.
harmony between
20
left
any other house
where that has been done, and though perhaps not

desirable thing to imitate
of
the dormers, and the other of
single panes in the circular
of the door-way.
There
its
a very
As
in
the build-
THE BATES COTTAGE

WYOMING, NEW JERSEY

ing and
of
its
vines
surroundings
is
excellent,
and the preservation
of
and by the
the
trees
liberal use
close
to
the
house, the architect has succeeded in obtaining the effect
of fitness which constitutes the appeal of old work to the

artistic eye.
It
was mainly
in their intimate fitness to their
ings that the older farm-houses are beautiful,

cess or lack
largelv
upon
of success in present-day
but in a style such

it
is
form
essential
a
as this
The propor-
and the composition happy,
where
that the house
and the suc-
work depends very
the handling of this element.
tion must, of course, be pleasant
surround-
detail plays a small part,
and
its
surroundings should
complete picture without any intrusive or discordant
element.
12
CHAPTER
VII
ELIZABETHAN
ALL
the houses illustrated in the chapters preceding this
one have been derived from earlv work
There
States.
are,
however,
many
must be sought elsewhere, and

be found in England.
most delightful
in
in
in the
houses whose precedents
most instances these may
English domestic architecture
the world, and
is
It
up
is
the
whose
the only one
traditions have continued without interruption
present day.
United
to
the
has varied during the course of years, but
each variation has been evolved slowly and naturally from

the preceding period.
The
architecture
familiar
in
Haddon
under the Tudor kings, such

Hall,
is
the
earliest
as
is
country-house
architecture which has an appreciable influence on present-
day designs.
castles,
built
dawn of
Before
for
time
that
defense
the larger
and not
the Renaissance the
Tudor
123
for
houses were
comfort.
At the
architecture was modi-

fied
by the Renaissance impulse and became what
called Elizabethan;
now
and with the growing knowledge of
Classic forms Elizabethan
During the time
is
ol the
was transmuted into Jacobean.
civil
wars there was
little
or
no
building in England, but under Charles II English buildings
became very strongly influenced by the Romans, owing
to the
growth
by Charles
knowledge
of
and
II
his nobles,
of
the Classic period gained
during their stay in France.
This type of architecture was brought to a fuller perfection
under Queen Anne,
whose
for
ough, the famous palace "Blenheim" was
Under
the four Georges architecture
refined in detail and lighter and
way, and what
supreme.
It
is
we now
from
built.
became much more
more
delicate in every
Georgian architecture reigned
call
this
Marlbor-
favorite general,
type that our American Colonial
architecture was derived.
During the nineteenth century there was

interest in
revival of
Gothic forms which has continued up to the
present time.
Now
English architects are using both the Classic and
the Gothic styles
and are fusing them into one
which, in addition to
its
original
i
24
components,
single type,
is
strongly
ELIZABETHAN
influenced by the
modern
under
title
its
French
combination
and Gothic
of
is
two
art spirit,
"Art Nouveau."
is
something which has never previously been
art
the world.
stvles
in the highest degree suc-
it is
one of the strongest ocular demonstrations of the
tremendous
all
This deliberate
strongly opposed as Classic
styles so
attempted, and the fact that

cessful,
which we know best
movement which
It
is
is
now
visible
throughout
true that the Elizabethan and Jacobean
were combinations of Classic and Gothic, but they
were only the preliminary attempts

Gothic to design
in
of architects trained in
way; and the preliminary
Classic
attempts of men, who, without books, pictures, or any in-
formation other than that given
dark for what was to them

be
much
the same
if
orally,
new
style.
J
The
from what instruction

result
The
result
in the
would
our dressmakers should attempt to
imitate the French styles without any

aside
were groping
their
knowledge
of
them
customers could give.
unquestionably would not be French, but were
the dressmakers people of taste and experience, one could
reasonably expect charming and unusual patterns.
was the result
under Elizabeth, and there
in architecture
was evolved a system of building, largely

I2
Such
of
wood, which

was
charm and has been
of extraordinary
a continuing de-
light to the present day.
All styles of architecture are influenced to a
degree by available materials, and
timber construction was the
as
easiest
what we know
as half-
common
and most
become almost
that time, the term "Elizabethan" has
nonymous with
marked
half-timber construction.
It
at
sy-
in that sense
is
here employed.
Half-timber construction
in
wood, generally
of
of the vertical walls
the framing of the building
is
heavy oak beams, and the
between the beams with brick or stone,
which was generally plastered on the

outside of the
this
wood
manner was not
rilling in
exterior, leaving the
Of course construction
exposed.
limited to England;
many
of the
in
most
beautiful examples are found in France; but our architects

are not so apt to seek in France for their precedents as in
And
England.
tion,
it
has
half-timber
so, for
purposes of comparison and illustra-
seemed desirable
all
houses under the generic
Real half-timber construction
masonry, nor
tirely of
group
to
is
it
so easy to
frame: and
it is
is
not
as
photographs of
title
enduring
as
true
repair as a construction en-
more expensive than

i
Elizabethan.
26
either.
For
_M%@mm
THE FINE RESIDENCE

PRINCETON, NEW JERSEY
COPE AND STEWARDSON, ARCHITECTS

these reasons practically
ness
and richness
strips of
construction
is
work
of the old half-timber
is
the quaint-
sought for
and the exterior plastered and covered
are built of frame,
with thin
modern houses where
all
wood between
way
in a
The
the panels of plaster.
a sham, as the
woodwork which
appears on the face of the building has no relation to the

structure, but as this construction
and
as
it
is
exceeding decorative,
forms a durable and water-proof covering for the
outside of the house,
use
its
is
common and growing
in
favor.
The Fine house
at Princeton,
New
Jersey,
is
one
of the
Pho-
best examples of houses of this type in this country.
tographs cannot do
largely lost.
work
its
justice because the color
The lower stonework
is
scheme
of gray, the
of greenish-black, the plaster nearly white,
roof red.
in
it
The house
is
and
on the front being
few years
for a
later,
verge-boards
(as
gable-ends are called)

bethan.
The
oriel
and the
the
are
overhanging
common
while the orna-
mental timber-work just above the second floor

the
wood-
very close to the Elizabethan period
design, the double gable
in that period,
is
cornices
line
and
on the
both characteristically Eliza-
windows on the
128
first
floor are very de-
E. P. COE
ENGLEWOOD, NEW JERSEY
RESIDENCE OF MR.

both within and without,
lighttul
surpassing in effect
tar
any octagonal or square bay-window because
These would iorm window-seats
quantity ot glass area.
rooms and windows
the
of the great
of this, or similar design
in
could be
Chimneys, while
used on almost any kind of house.
little-noticed part of the building, are yet very important

to the general appearance,
and these seem exactly right
and
the house since they are both archaeologically correct
admirably well fitted in

portion.
it
is
size
and shape
Chimneys ought always
make them
not necessary to
for
to the general pro-
to be carefully studied;
very elaborate, but their
height and width and thickness should always be such as to

get the proper relation between their size and the size of
the building.
It
unfortunate that in
is
the beautiful carving on the
this
hood over the
cannot be very well seen, nor
is
the
method
stone visible except in the shadows.
It has
reproduction
front
of laying the
big quoins
the corners, contrasting well with the small stones
white joints ot the
nor too smooth.

in
"rustic" houses
mortar
in
it
rilling
between, and
is
and was
apt to look
liable
to fall
130
as
if
down
on
and wide,
neither too rough
Very rough stonework such

is
doorway
as
is
used
the wall had

at
no
any moment;
F.
M.
NICHOLAS HOUSE
UNIONVILLE, OHIO
FRANK
B.
MEAD, ARCHITECT

on the other hand, stonework where
fectly
smooth and the
joints
hard and sharp, and lacks
all
all
the faces are per-
narrow and
straight looks too
As
the interest of old work.
has often been said before, the
charm
of old
much
the texture of the wall surface, and
work
of that
lies
in
charm can
be obtained by the careful use of materials not to imitate

the old work, but to obtain a texture which
is
in
itself
pleasing.
In the
Coe house an attempt was made
to get a texture in
the
working out
the brickwork;
of the details
The dormer-windows
especial
comment and
fitted to the house,
is
and
in a similar
in other respects
like that of the
good
although not at
in design
all like
Fine house.
which
are the only portions

are both
way
call for
and eminently
old Elizabethan
work.
The Nicholas house

form
of construction
is
almost entirely of half-timber, a
which even
in the
the English half-timber country houses
most beautiful of
is
apt to
become
tiresome because of the glaring contrast between the light
and dark members.
Half-timber work
is
best adapted for
use in only a small part of the building, and a house
half-timber
is
a pretty difficult thing to
132
all
of
handle; but in the
BALDWIN RESIDENCE
DETROIT, MICHIGAN
STRATTON AND BALDWIN, ARCHITECTS

Nicholas house the
ill
much
effect of too
half-timber
work
some extent overcome by the big chimneys and
has been to
stone base, and the great extent ot roof surface, and the
whole scheme
is
well executed and proportioned with
bits of delightful detail.
riage
Exceedingly charming
entrance underneath the wing
house carried entirely over

service
wing
by big hedges
is
also merits attention,
The Baldwin
residence
with the
which the
of a
is
it
and
is
serves to strengthen
largely
upon
the sur-
house depends.
a very delightful
combination
cement, and half-timber, half-timber being used in
gable-ends, and
lighter
left,
in
the car-
is
cut off from the front portion of the house
roundings that the beauty
the
the
The manner
it.
the oft-repeated statement that
of brick,
at
many
form
The blank
stair-tower
of construction
in
the
corner,
where
might naturally be expected.
brick wall on the wing to the right with the
mass of ivy over
it
would have refused
is
an experiment which most clients
to try,
but a large wall surface properly
treated can be quite as charming as any group of windows.
An
architect should never forget that the proper relation
between walls and windows can be obtained
in other
than by the symmetrical placing of the windows,
*34
as
is
ways
made
K. VANDERB1LT, JR.
"DEEPDALE," LONG ISLAND
JOHN RUSSELL POPE, ARCHITECT
GATE LODGE FOR W.

evident in
The house
this case.
pronounced type
that
is
To what
this
due
is
marks
as
it
American.
impossible to point out, yet, while
is
thoroughly "English,"
the
being used in England to-day; and
is
has a certain atmosphere which
still
modern English of
could not be mistaken for the work
it
of English hands.
The
gate lodge at Deepdale
is
probably the only house
of genuine half-timber construction throughout that

illustrated.
timbers
on the
It
filled in
bricks.
with brick eight inches thick and plastered
The
color scheme was very carefully studied,
brown, and the stucco
the timbering being stained dark

gray,
was
warmed up
of red tile.
with yellow ocher, while the roof
a little
The
effort
work was here made by
to obtain
the
charm
the use of old roof
demolished Moravian church
in Pennsylvania,
be seen from the photograph
it
It
is
tiles,
and
of old
from a
as
may
was exceedingly successful.
unfortunate that the photograph does not do justice
to the timber brackets
under the overhang,
delightful pieces of carving.

of
here
with a frame of heavy chestnut
built
is
is
the
The chimneys
for they are
here, as in
some
other cases, have been carefully studied, and the
combination of brick and stucco
136
is
well worth imitation.
SCOTT RESIDENCE
PELHAM MANOR, NEW YORK
LOUIS METCALFE, ARCHITECT

The whole
design
English, and shows
The
French
is
how
rather than
treatment
in
two
closely the
styles
were
allied.
Pelham Manor has the two wings
Scott residence at
of cement and the connecting portion of the second story

half-timber, a
good motive
The
executed.
only weak spot
hand wing, where the

the wall above.
for a house,
seem
piers
The whole
is
and here excellently
the piazza in the right-
to be too light to support
color scheme
is
also
good, the
gray cement with the black timbering and the white sash
harmonizing very
well,
and
givino-
enough difference
in
color without too sharp a contrast.
Mr. Jackson's residence
most
like
of the houses
selves, quite
Architects
clients;
were
is
are held
a freer
Cambridge, Massachusetts,
which architects build
unusual, and
often
at
as
too
for
charming
as
much
check
in
it
is
is
them-
unique.
by their
rein given to them, especially in the
matter of exterior, results would be, on the average, better.
client inevitably desires his
his
his,
house, and the architect
and the
neither.
result
is
is
own
personality expressed by
unable to entirely eliminate
compromise, often satisfactory to
This condition cannot be bettered except by one
of them giving up to the other, and
138
as a
rule the
client
W7
MR. JACKSON'S RESIDENCE

CAMBRIDGE, MASSACHUSETTS
ALLEN W. JACKSON, ARCHITECT

should select an architect whose work appeals to him and
Were
leave the design entirely in his hands.
we would have
While the combination of
unusual.
cement
little
oltener a house like this;
is
often used,
entrance porch
advantage on a
much
it is
is
seldom
a feature
who was
many
respects
and
so
happy
The
as here.
which might be copied to
smaller house than the one here illus-
building would probably not
person
the case,
brick, half-timber,
and though the carriage gate
trated,
in
this
commend
considering building,
it
at
the
itself
left
of the
to the average
forms an agreeable
change from the ordinary.
The
Fassett residence at Norfolk,
influence of the Art

of
Nouveau
in
showing strongly the
England,
recalls the
work
Lutyens, the great English architect, and that of his
followers.
The treatment
through the two

projecting
wood
of
the stone piers running
stories at the sides
woodwork between,
brackets,
is
of the gables with the
supported, on brick
The wood
unique.
up
and
brackets below the
second-story windows and the projecting beam-ends in the
verge-boards are painted

interest of the
more
dull
red,
which adds
house and gives an unusual
carefully the
whole composition
140
is
to
effect.
studied, the
the
The
more
THE FASSETT RESIDENCE

NORFOLK, CONNECTICUT
TAYLOR AND LEVI, ARCHITECTS

the cleverness of the design becomes apparent, and while to
the minds of
more
work,
staid
The
many
will
it
make
not
cottage at Lawrence
little
an appeal
as
beyond most.
brilliant
it is
as great
Park
is
one
of
those
simple English houses constantly becoming more general in
our suburban towns.

defects of design,
may
it
While
is
be easily forgiven
The Rabbitt house
by no means free from
and delightful that these
so quaint
it.
is
quite different from any other in
Consciously
the chapter.
it is
strongly influenced by the
or
not
designer has
its
German Renaissance
been
half-timber
work, but has succeeded in eliminating the crudity and

vulgarity often
found
on the second
story are clever
the arrangement of
in
The bay-windows
that period.
beyond the ordinary, and
the first-story openings
below them,
while unsymmetrical, has the quality of balance which
needed
to
make
a perfect design.
turning across the gable-ends
and the use

noting
is
of leaders to
is
The broad
breaking of
all
the
cornice re-
unconventional and daring,
form brackets
the trim of the four grouped
story at the left with the
is
is
excellent.
Worth
windows on the
Jacobean type
of pilasters
first
and the
moldings around the heads of the

142
COTTAGE FOR MRS. BISLAND

LAWRENCE PARK, NEW YORK
WILLIAM
A.
BATES,
ARCHITECT

This same type of pilaster was employed both
pilasters.
in
Germany and
tury and
is
now
have not the
The
fully
condemned by
generally
skill to
use
them
charming
in every
all
way
Long
that
no
Island,
who
is
so
wonder-
single viewpoint serves
delightful features.
its
architects
here been done.
as has
residence at Oyster Bay,
bring out
to
England during the seventeenth cen-
in
reproduced here was chosen because
it
The photograph
showed better than
any other the mass of the house, although much of the

best of the detail
Deepdale,
at
is
the brick filling

eral
way
is
This house, like the gate lodge
hidden.
of
genuine half-timber construction with
left
the introduction of
lies
in
The
lost sight of.
precisely
is
here done.
the color of the

is
is
so greatly
modern elements
that
its
great strength in
in a
gen-
many
of
modified by
prototype
is
modern design
such adjustment of old motives to suit
modern conditions and

as
is
derived from big French farm-houses,
which were almost chateaux, but
almost
The house
unplastered.
It
is
their
combination with new motives
unfortunate that in
woodwork,
this
the brickwork,
not more clearly difFerentiated.
photograph
and the
roofs
tower seems almost
impossible of successful introduction into the design of a
144
THE RABBITT HOUSE

WYOMING, NEW JERSEY

modern house;
that
it
and not only
possible,
is
possible,
but under certain conditions the best thing to do

proved; yet
it
is
with vertical lines that so
of the corners
beautiful a result can be obtained.
not essential;
is
here
only by the careful study of the roof forms
and the treatment
critique
is
Any
the house itself
further detailed
is
its
own
best
exponent.
Black-and-white photographs cannot properly show the

best feature of the English houses,
nial
work
is
mainly
a study in
green and white, sometimes
with red brick, one cannot go very
scheme
for that style.
combine
far
wrong
When, however,
into a harmonious
it
is
in the color
necessary to
whole the varied colors
materials used in half-timber work, the architect

his
color sense
rests, to a
is
is
fancy to almost any degree, and
to indulge
There
As Colo-
their color.
a great
at liberty
upon
his
large extent, the success of the design.
chance
tions such as the red
of the
for
unusual and striking combina-
beam-ends
of the Fassett house,
and
the white leaders under the black cornice in the Rabbitt
house.
If a
man
be not careful he will inevitably ruin the
best of designs, while the architect
an
artist
who
does his picture, keeping in his
146
treats his
house
mind not only
as
the
RESIDENCE AT
OYSTER BAY, LONG ISLAND
GROSVENOR ATTERBURY, ARCHITECT

various colors
of
the house, but the colors of the back-
ground and the garden work
in
the foreground, will, by
the use of halt-timber, achieve a success impossible in any
other
style.
148
CHAPTER
VIII
MODERN ENGLISH
IN
the preceding chapter, houses of English precedent in
which half-timber
-*-
ter the English
is
vised
were included;
in this
chap-
houses of cement, brick, and stone will be
taken up.
In England most of the houses are of masonry, frame
houses being almost unknown, and the roofs are usually of
Here
slate or flat tile.
are
of
proportion of the houses
wood framing and
This has resulted in a
shingle.
dows
over
stucco
a large
of English houses,
but
as
loss
long
the
of the
as
deep-set win-
wood
continues to be cheaper than masonry,
it
roofs are of
will
construction
continue to
be employed for houses of low and moderate cost.

tunately the time
is
rapidly approaching
English, will be compelled to use

floors;
ings
when
now
wood
when we,
For-
like the
only for trim and
that time comes, instead of the frame build-
used,
we
will, in
all
149
our houses, have masonry

construction and
corresponding advantages of deep-set
its
windows and general

It
sturdiness of appearance.
English
characteristic of
is
work
emphasize the
to
lines of the walls rather than of the roofs.
hang
is
seldom emploved; often the walls project above the
roofs forming parapets, such as
and
wide over-
in
English architecture
The
present dav-
treatment, and in
roof
is
were used
in
medieval times
alone have persisted to the
always subordinated to the wall
those houses whose genesis
all
traced even indirectly to Gothic times, the cornice

entirelv omitted, or
its
position
is
string course of small moldings.
found alike
no other
in stone, brick,
and
can be
is
either
faintly indicated
These
by a
are
peculiarities
plaster houses,
and probably
account
in the design
style takes the material into
so little.
At the same time the use

fully studied
harmonize
to
of material
by the English architects
the
colors
throughout
the
is
in
invariablv care-
an attempt to
design
and
also
enrich wall surfaces by diaper patterns formed of the
materials themselves.
different colors;
in
In brickwork
this
is
done by using
stonework by using different kinds
stone or by using some stone with
15
much rougher
of
surfaces
THE HOWARD RESIDENCE

BROOKLINE, MASSACHUSETTS
CHARLES A. PLA7T, ARCHITECT

than others, so that the pattern
is
introduced by the different
This treatment
quality of the shadows.
elaborated and the patterns can
interesting of the English
and old depends
largely
The
greatly
be infinitely varied, and
some of the most
upon
may be
work both new
this ieature.
English influence over American domestic architec-
ture has been constantly growing in power, very greatly

to the
advantage ot American work, and whether the types
work
here copied are derived from English

time, or hark
back to some
earlier
ol the
present
"period" of English
architecture, thev are rarely used quite as an English architect
would handle them.
spirit
noticeable in
architect
in
all
There
which
it
is
certain
American
seems impossible for an
United States to avoid, no matter
the
how
deeply he imbues himself in the work ot the English past.
Formality
and
tecture,
is
in the sense that dignity
that quality.
place;
the least requisite quality ot English archi-
charm impossible
is
of
formality, thev lack

definition takes
quaintness, homeliness, and comfort are
teristics,
and
in
its
its
charac-
order to be successful they are inevitably
picturesque.
The Howard
residence at Brookline, Massachusetts, of

*5
WMBSBamSm
THE JACOBEAN HOUSE

BROOKL1NE, MASSACHUSETTS
WILLIAM WHITNEY LEWIS, ARCHITECT

which Mr. Charles A. Piatt was the
and sober example
Mr. Piatt has done very

of his
work
English
of
architect,
satility
he has given us
of the
English type.
to be in
is
most
gether.
a delightful
example
manner.
in a
The
and the door-
street
manner
front
is
quite charac-
the English, the gables being set very close toIt
is
symmetrical without being formal, and
picturesque enough to
satisfv the
No
about English work.
boards"
to illustrate his ver-
the spirit of the place,
double gable
if
very properly simplified so as
is
treated in a classic
teristic of
siast
these lines,
Brookline being, par excellence, a
harmony with
composed with
house
in this
Colonial town, the house
is
type.
houses being of Colonial origin with Italian influ-
ence, as has before been said; but as
way
a very simple
modern
of the
work along
little
is
as
the cornices
called in English
work
most exacting enthu-
overhanging eaves or "verge-
up the rakes
are
still
employed.
of
the gables are
They
are
seldom
used in England except on half-timber houses, and are very

properly omitted from
The
chapter
at
this design.
architect of the
is
not
Brookline.
known
It
is
to
second house illustrated in
this
the writer, but the house
also
is
proportioned in a similar manner to
U54
RESIDENCE OF MRS. GARLAND
HAMILTON, MASSACHUSETTS
& BIGELOW, ARCHITECTS
WINSLOW

Howard
the
in type,
residence, but instead of being
closely studied
is
modern English
from the Jacobean work.
The
decorative form ol the gables was very popular in the time

ol
James
finials
I,
and the use
on the tops
nev-pots are
house
is
all
ol brick with stone coigns, small
of the gables
characteristic
by no means
is
most
of
ol
the
so dignified or so
any absolute standard
there
and the ornamental chim-
good
of
time.
While the
good
in design (if
in architecture) as
here illustrated, yet
the others
charm and quaintness which make
it
it
well
has
certain
worth while
illustrating.
The Garland
residence
a splendid
is
handsome, many-windowed
The
to
type
of
house.
this case
in
reduced to
bay-win-
resembles the letter E, and was formerly supposed
have
Whether
in
Elizabethan
of the big
plan with the wings at either end and the shorter pro-
jection in the center
dow
example
adopted
been
this
so
is
honor
in
or not,
it
was
of
Queen
Elizabeth.
a favorite type of plan
Elizabethan days and one which, apart from any senti-
mental reason,
large
rooms
to
is
an exceedingly good one, permitting the
go on the corners where they should be,
with the other rooms between.
156
Judging from the exterior
GATE LODGE OF MR. ERNEST
A. HAMILL
LAKE FOREST, ILLINOIS
SPENCER & POWERS, ARCHITECTS

the staircase goes
up over
the front door to a large land-
number of
ing lighted by a great
The
leaded-glass panes.
gables are like those of the old houses in the process of
evolution from the true Gothic type to the Jacobean type

of gable
in
of
shown
mass and
in the
Brookline house just spoken
in detail this
the highest class of English
masonry throughout, even

between the windows,
old lines than
is
a very nearly perfect
is
is
to
the mullions
adheres
it
common
in
country work.
example
Built
full of
of
and transoms
much more
closely to the
present-day architecture.
nevertheless vigorous, sturdy, free from any trace of
copying, and
Both
of.
the right quality of pure design.
It
mere
The
dormers, in marked contrast to the highly ornamented ones

of
Colonial work, are
be, yet are in
The brickwork
although
this
is
rative
simple
as a
dormer can possibly
perfect keeping with the rest of the work.

is
laid in a rich pattern all the
difficult to see
of the a efflorescence,
salts in
as
,,
from the photograph because
white stain on the brick, due to the
the lime and the action of the weather.
treatment of the brickwork
architects are taking
big houses such as
way through,
is
This deco-
one feature
of
which
more and more thought, not only
this,
in
but in the smallest type of cottages
158
THE BORIE RESIDENCE

JENKINTOWN, PENNSYLVANIA

where onlyJ the chimneys
are of
J
more expensive than running

appearance
of
house
the
The gardens
feature.
is
brick.
It
the bricks straight,
and terraces
is
also are well carried out.
such
as to
is
is
this
There are
of the paths,
said
proper treat-
the grounds to form a proper setting for the house
indispensable in
Take
and the
As has often been
and cannot be too often repeated,
ment of
little
display to the best advan-
tage the beauty of the building.

before,
markedly enhanced by
no great masses of bloom, but the treatment

steps,
but
is
the
little
reduced to
country work, be
all
it
large or small.
gate lodge of Mr. Hamill, where the garden
minimum.
There are only simple flower-
boxes, one group of shrubs in the foreground, and a plain
fence to shut off a clothes-yard, yet they are exactly what
needed
to
keep the lodge
Without
ings.
and plain;
as it
in
its
surround-
house would probably look bald
foliage the
stands
sympathy with
is
it is
charming.
While the lodge
is
of brick, like the two preceding examples, the bay-window

is
of
ing;
wood,
is
proper in a projection from the main build-
and while derived from the work of the same period
as the
as
Garland house,
house of
this
size
it is
and
much more modern

of this character
160
in treatment.
would be very
THE RICE RESIDENCE

IPSWICH, MASSACHUSETTS
WILLIAM
G.
RANTOUL, ARCHITECT

more expensive than
little
built,
and would be
The
the cheap
wooden house
more unique and
infinitely
usually
attractive.
Borie residence at Jenkintown, Pennsylvania,
modern
in
type,
and
is
very
an exceedingly interesting combi-
is
nation ot brick and stucco
brick for the
story
first
and
stucco above, with the copings and chimneys also of brick.
While
tails
in general the
house
English, there are certain de-
is
suggestive of Colonial work, especially a sort ot Ger-
mantown hood
in the angle.
cases noted, the
brickwork
As
is
in several
of
the
other
very interesting, the joints
being exceedingly wide and pointed up with white mortar,

a
combination which
Evre was one
The
is
always pleasing, and which Mr.
of the first of
our architects to adopt.
Rice residence, Ipswich, Massachusetts,
is
another of
the very large type of English brick houses, and by the use
of this stvle all the
preserved
as
homelike character of
would be impossible with
applied to a building of
the right ot the picture
this
is
The
size.
a small
house
is
Classic architecture
little
forecourt at
an unusual and charming feature
while the extremely open treatment ot the one-story dining-
room
set
interior.
in
the angle
Where
is
practically
bound
all
ot
162
to
be agreeable on the
one or two
sides ot a
room
THE
C.
P.
FOX HOUSE
PENLLYN, PENNSYLVANIA
COPE & STEWARDSON, ARCHITECTS

is
glass, the
of
treatment
since,
room
is
apt to be pleasant, and although this
becoming
is
less
unusual than
has not yet been widely
it
windows giving much
would appear
glass area
few years
is
to
Single
weaken
here used would
window below: but where
crush a single
to
enough adopted.
the wall, and even a parapet such as
seem
was
it
it
is
broken up into three or four smaller ones, and these
in
turn treated with small panes,
pearance
is
produced which
The treatment
a
former chapter,
esting to
the
of
is
strength of ap-
a structural
essential
is
to proper design.
front of the Bull house,
along these
lines;
and
it
shown
may be
compare the same treatment executed
inter-
in entirely
different styles in Mr. Bulls small semi-Colonial cottage

this big
residence
is
of
the present time, and which
has
to use.
his
to a size
is
is
of
type, modified
most used
among
The well-known
done many houses
with
Tudor
the
present-day requirements, that
and
important English building.
The Fox
s tyles
in
in
England
to
at
the most satisfactory
English architect Voysey
precisely similar
character, but
window-openings much smaller, reduced,
in fact,
which no American owner would permit, largely
because of our hotter summers.
164
This house
is
built of
con-
RESIDENCE OF DR. DAVID MAG1E

PRINCETON, NEW JERSEY
COPE & STEWARDSON, ARCHITECTS

crete, the exterior in
rough
the extreme right of the picture
The Magie
and the door-opening
cast,
of stone.
is
house, by the same architects,
character but with the changes which befit
The stonework
in different materials.
at
is
its
similar in
is
construction
of soft gray, with
very wide white joints giving a beautiful texture to the wall
The wood
surface.
of attention
as
it
piazza at the
is
worthy
especially
admirably designed to form a single
is
composition with the house,

with
left
a very
difficult
thing
do
piazza in English work, without employing the same
material of which the main body of the house
built.
is
special interest too are the leaders with their big
leader-heads.
For some reason the
although
in the older
work
no matter how
in this
country every
had
small,
its
copper
architects,
little
carefully
Nowadays
lead leader-heads and leaders.
Of
treatment of
artistic
most American
leaders has been neglected by
house,
to
it
is
farm-
designed
the excep-
tion rather than the rule to find any attempt to use the
leaders as a decoration.
essary evil,
to,
and not
Thev
are usually treated as a nec-
as a feature
which can,
it
desired,
add
rather than detract from, the design.
The Wyeth house
at
Rosemount, Pennsylvania,
166
is
by the
RESIDENCE OF MAXWELL WYETH

ROSEMOUNT, PENNSYLVANIA

same author
and similar
as,
The
Borie residence.
foreground and what
life.
and design
probably a clothes-yard
is
to,
which
is
The mass
at the right,
essential to the
of the
house
is
complete-
exceedingly
varied and has "that balance of composition" which

erally
the
use of brick walls to close in the
gives a delightful privacy
ness of country
in materials
The
produced only by symmetry.
is
gen-
house, although
plavful in treatment, has quietness, dignity,
and
real
char-
acter.
The next two houses

Glencoe,
Park,
Illinois,
New
illustrated, the
and Mrs. Bisland's cottage
York, are of about the same
materials, derived
other Greek.
if
The Walker house
is
Lawrence
and the same
size
produced the difference

is
far
in the
introduction
older English architecture
of vertical lines,
Bisland cottage
as
strongly tinged with
Nouveau
The
of strong horizontal lines.
was an architecture
at
one had been Chinese and the
the Chicago variation of Art
The
at
from the same motives, and are
apart in appearance as
that has
Walker residence
and
it
is
this
change
in sentiment.
a derivative of the little
English
farm-house which has flourished without any marked variation from the time of the
Norman Conquest
168
until the
THE
SPENCER &
P.
B.
WALKER HOUSE
GLEN COE, ILLINOIS

POWERS, ARCHITECTS

The
present day.
roof,
is
imitation, in shingles, of the thatched
very clever, although
possibly
straightforward piece of design.
not
on the
with
window-trim
flush with the outside wall,
windows
outside,
of
frame
the
bringing
and no recessed
extreme treatment of the shingle roof with
less
softer lines
is
shown
in
the next illustration, a cottage at
Cedarhurst by Louis Boynton.
dominant
so
of a thatched roof;
acteristic of
is
made
only
thatched roofs
the
is
to
this
the roof
softness of
is
its
by no
Lawrence
for.
outline
char-
Another way of
shown where the longer
comes over the piazza, the roof sweep-
ing out in a broad curve to connect the house
mately with
is
produce the appearance
sought
softening the rigidity of outline

slope of the gables
In
a feature as in the cottage at
Park and no attempt
more
inti-
English of the present-day
surroundings.
type, this house, while simple to the extreme, possesses
the
charm
trated.
of the
It
is
much more
coming
to realize this,
all
elaborate houses before illus-
by no means necessary that
be big to be successful.
are
or
are possible.
A much
means
sincere
Both houses are
construction
stucco
Our
and
170
house should
large real-estate
are
companies
employing the cleverest
v,
T?^ pf^
COTTAGE FOR MRS. PRESBREY BISLAND

LAWRENCE PARK, NEW YORK
WILDER & WHITE, ARCHITECTS

men
is
they can find to design their work, and their success
seen in this house.
ings
lattice
around the porch-open-
and the hood over the front door are the only features
added
tor
merely decorative purposes-
work
structural
tect,
The
as
cheap
as
a result that
of his mass,
straight
and the careful ad-
could not be bettered by any expenditure.

illustrate pretty well the various pos-
They
the English type.
the United States, and
show
localized but that
influence
seated.
is
window-openings, has achieved
details of the
These eleven houses

sibilities of
the rest
can be well built, but the archi-
through the proportion
justment of the
all
its
While we are only
are
from
that the style

is
is
all
parts of
by no means
wide-spread and deep-
to a small degree of
English
blood, our laws, our customs, perhaps even our minds, reflect
England more than any other country, and
fore only natural that in architecture as
well
turn to England tor inspiration, especially as

that the best
it is
it is
we should
in
domestic architecture of the world
found.
172
there-
England
is
to
be
A HOUSE AT
CEDARHURST, LONG ISLAND
LOUIS BOYNTON, ARCHITECT
CHAPTER
IX
ITALIAN
THE
use of the Italian motives in
country
houses
J
Italy has long
been
and even the
medieval
architects
their
and wrote
Rome
of
which have ever existed; and
as
and even the records
working
of their design to
clients.
Roman
with a kind of awe.
country
for life in the
long
of
the
in
and gardens, the com-
and most beautiful schemes
of Italy,
and
land of dreams to art lovers the world
Italy has furnished us, in her villas

pletest
the influence of
to
architects
Gothic period, owing no trace

times, thought
due
entirely
J
and education upon
travel
over,
is
modern American
monuments
as these
them endure, they
will
serve as inspirations for the dweller in the country.
For our use they have one fault;

rich
the
ornamentation makes them
more modest demands
only the very rich could
of
live
their great size
difficult
of reduction
America to-day.
far
174
from
and
their
to
Formerly
occupations;
MR. BIGELOW'S RESIDENCE

READVILLE, MASS.
WINSLOW
& BIGELOW,
ARCHITECTS

now
improved methods
the
moderate means to
possible for people of

try
and
still
The
style
earn their livelihood in the

is
one foreign
adjustments of details can
snow
Italy
against
to
have
eaves,
be
to give a
meet our require-
to
made
flat
same way
in the
from
the
maximum
of sun
and
methods
roofs possible;
is
cool.
remain to us
in discussing Colonial
have had
a great influence
air in
large
the rooms.
we
wide overhanging
a certain
proportion of
of the original Italian.
As
work, the Italian buildings
upon American
good proportion
require
of roof-building
these, the
was noted
necessary
as a cellar
We
originals.
and the general masses with
detail.
is
and the windows were small
roof;
true that by improved
detail, are all that
of
made
of the Italian styles built here are necessarily
different
windows
is
coun-
city.
infrequent and no provision
lodgment on the
its
Adaptations
It
is
keep the houses cool
widely
live in the
it
America and only by certain
to
it
made
The roofs were very low-pitched, because in the climate
ments.
of
have
of transportation
in the question
of the so-called Colonial
houses being built to-day have had their cornices, columns,
and other decorative features copied very

work, and
it
may
be
closelv
said, to their lasting

i
76
from Italian
advantage.
RESIDENCE OF SAMUEL CABOT
WINSLOW
CANTON, MASS.
ARCHITECTS
& BIGELOW,

work of
Italian
in these details
Georgian, yet
The
other.
was not
it
is
and seventeenth centuries
the sixteenth
from the English
so very different
never possible to mistake one for the
description which
equally well to an Englishman;
an Italian might apply
fits
but, without being able to
we can
point out a single feature of difference,

tingly tell
one from the other.
So
it is
unhesita-
with Italian and
modern Ameri-
English work, and to a lesser degree with
can work derived from those sources.

Occasionally, however,
styles
are
dence
at
combined.
we
which the two
find a house in
Such
one
Readville, Massachusetts.
Mr. Bigelow's
is
It
resi-
has certain points
of resemblance to the house in Brookline, of which Charles

A. Piatt was the architect, in the preceding chapter, especially in
its
lack of overhanging eaves
than an Italian characteristic.
The chimneys,
us of England, but the house in the
The
an English
main
is
too,
rather
remind
clearly Italian.
use of the projecting gable-ends balanced throughout,
although entirely unsymmetrical,

of the house, while the fore-court
trance
is
is
an interesting feature
bounding the
excellently contrived to keep
view except
at that point.
all
street en-
vehicles out of
This, though the entrance-side,
178
THE WILLIAMS RESIDENCE

NAHANT, MASS.
THOMAS,
ARCHITECTS
PARKER &

is
really the
rear, as the living-side
The
the garden.
service
from the fore-court bv

the
clothes-yard
and
wing
is
of
the house
at
the right, separated
objectionable
other
facing
from view
a high wall, thus hiding
the
is
although
This
necessary features of the service portion of the house.
arrangement, which
in
is
many
respects ideal,
growing
is
favor as Americans realize that family
life
drawn from, rather than exposed
the public,
their houses
made
are
The Cabot
to live
to,
is
should be with-
house, bv the same architect,
of the
house
is
its
is
similar in
While the
location.
symmetrica], the service wing
not in any way recalled upon the opposite end, and so
well
is
it
treated that no need for
symmetry
the country, to judge from the photograph,

beautiful views
may
be obtained, one
above the others and

it
and that
and not look out from.
in
character and beautifully fitted to
main portion
in
this
room
is
is
one
is
of
which
higher portion, so treated that
design.
It
would be
here employed, the problem

residence at
one
is
of
Nahant
180
utmost
is
is
easy to
tower were the design informal, but where the
The Williams
in
located high
does not dwarf the main bodv of the house,
remarkable piece
As
felt.
style
a very
erect a
is
that
difficulty.
an excellent piece
RESIDENCE OF MR. HERING
OSWALD
PELHAM MANOR, N. Y.
HERING, ARCHITECT
C.

showing what has grown to be practically the
of design,
typical
American use of
The overhangs
work.
Italian
are
broad with exposed beams supporting them, there are plenty

of large windows for sun and
air,
and the roof
is
of the
Where
pitched type with the slope changed at the eaves.
no third story
required for living purposes,
is
house possesses
the
all
The
kind of
this
qualities of the Colonial type,
rooms, high
square
permitting large
ventilation.
good
low-
ceilings,
and ample
service quarters are of course placed in
wing over the kitchen, an arrangement which, though
the
not so economical
The
desirable.
as
the use of the third story,
the extreme right, hiding the ser-
trellis at
vice portion with the little
charming
bit of
design and
of increased care
one
been
hood over the

is
is
one
said, the
at
without
modern work.
much
its
kind;
Pelham Manor,
and dignified adaptation
modern country house,
is
a very
regard to details that
kind has of late become very
Mr. Herring's house

scholarly
in
examples of
of the best
gate,
one of those manifestations
and thought
of the strongest things in
house
more
is
is
The whole
and, as has
common.
New
York,
is
of the Italian villa to a
simple, refined,
and elegant, but
of that intimate and domestic quality which
182
RESIDENCE OF J. O. BLOSS
HARRISON, NEW YORK
ALFRED BUSSELLE, ARCHITECT

is
after all
The mass
house.
tor in a dwelling-
what should most be sought

of the house
central
excellent, the
is
portion dominating the wings to exactly the proper extent;

the proportion of window-openings to wall-space
while
able,
sufficiently
being
without
doorway,
the
is
meaningless.
set,
is
and
only serves
It
it,
will
feature
is
in
as
limits of the plot
consequence somewhat
for
the
vines
and
retaining-wall
terrace in front of the central portion, but
shrubbery are over
is
the stone wall across the front,
which apparently does not extend to the

on which the house
aggressive,
The only
emphasized and well detailed.
which one could regret
admir-
is
when
unquestionably lose
much
of this
unfortunate appearance.
The
Bloss residence at Harrison,
mass and refined in
rough stone wall
at
As
detail.
in
New
completed.
the present time
Here the
third
is
simple in
Mr. Herring's house the

is
story
somewhat objec-
when
rionable, but will lose this appearance

is
York,
is
the planting
utilized,
and the
dormers are designed with much success to harmonize with

a style
in
which dormers were unknown.
headed windows
single
windows
in the
at
each
second story placed

side,
and
184
The
circular-
in pairs
bay-window
above
in the center
RESIDENCE OF A. DURANT SNEDEN

AVON-BY-THE-SEA, NEW JERSEY
A. DURANT SNEDEN, ARCHITECT

on the
first
story
form an admirable composition,
The
together by the dark leaders at either end.
use of
the porches to carry out the long lines of the house,
good
as
is
similar in type
is
and flower-boxes
to support the roof
New
is
the use of dark
probably because the house
much more
is
though the
exotic
upon
the
is
is
no feeling
of that kind,
absolutely unsymmetrical and
intimately connected with
its
surroundings.
exceedingly small, so small indeed that off-hand one
would
a
brackets
Ponte, however, another Italian
house upon the sea-shore, there
It
it is
railing
Jersey coast.
In looking at Casa del
is
wood
yet delightful
interesting;
in
cannot be
this terrace
one cannot but think that
is,
The
excellent.
is
at the outside of
commended and
The manner
between the wings and
recessed
is
finished with a terrace in front
house
as
Mr. Sneden's residence, but
and more formal character.
which the central mass
too highly
is
their design.
Somewhat
of a larger
tied
all
say
house
of
mistaken.
it
its
would be impossible
size
There
along Italian
is
no
to
lines.
successfully execute
And one would
single portion of this little
expensive house without
its
feature of interest.
186
and
be
in-
Simply by
PONTE"
ROWAYTON, CONN.
<<CASA DEL
SLEE & BRYSON, ARCHITECTS

the clever grouping of windows, and the delightful placing
of the
if
of ornament
little bits
any houses of
lesson
to
all
far greater
given a charm which few
it is
It
cost possess.
build
those intending to
an object
is
small house, as
probably the entire outlay for the balusters, figures, and
molded work did not exceed three

and while three or tour hundred
or tour
dollars spent
without adding one penny's worth to

to the
average person building
hundred
its
money
dollars,
on
house
usefulness seems
owner
wasted, the
has been a thousand times repaid by his pleasure in the
house, and even in

its
greatly
enhanced
commercial sense has been repaid by
The Carpenter and
the Bartlett houses located at
Geneva, Wisconsin, while

of
Howard
design which
Shaw's work
is
power.
selling
in the
main
much
characteristic
of
of
Italian,
that
the best
show
modern
work of
Lake
like all
spirit of
to-day.
Mr. Shaw's vigorous and forceful personality, apparent

everything he touches,
two houses.
Imagination
to a large degree
of
is
nowhere more
is
so
a rare quality;
in
than in these
architecture
is
copying and adaptation, but the cleverest
adaptation needs fusion with imagination to produce
really live design.
We may have
188
sometime more beautiful
THE CARPENTER HOUSE

LAKE GENEVA, WISCONSIN
HOWARD SHAW, ARCHITECT

houses derived from Italian styles than these, but whether
we
have anything at once so
will ever again
fresh, vet
and
in
It
along
de-sign
so
restrained and scholarly as these, seems very
so
doubtful.
and
virile
is
tremendous achievement
strictly Classic lines
so beautiful as that of the
for
man
one
to
an entrance-way so pure
Carpenter house, and then
next-door neighbor, the Bartlett house, to carry out
its
a wall
treatment like that on
the wall
facing the pool.
There may be precedent
for this wall
may go
seems an inspiration too exquisite
for
far to find
It
it.
treatment;
if
so,
one
any precedent.
description of these two houses
are their
own
is
best exponents, absolutely in
their surroundings;
it
seems
lend them added beauty.

near perfection.
as
if
harmony with
nature had conspired to
In mass as in detail
The windows,
They
unnecessary.
they are
the arrangement
of
the
gardens, the well-curb, the very pavement under foot,

treated with loving attention;
is
is
slighted,
nothing
overdone.
The
Bartlett house
probably
in
nothing
is
among
the
and the
little
Casa del Ponte are
dozen most successful country houses
America, and both for the same reason:

i
90
there are
many
THE
A. C. BARTLETT HOUSE

houses whose
brilliant,
oughly
architects
are
but there are few
as
clever;
who have
to design every detail.
some
are
more
the patience so thor-
These
will
rank high, not
alone because of their beauty, but because while restrained

they are daring, and
they are not
bound by
while they acknowledge precedent

it.
192
THE
A. C.
BARTLETT HOUSE

CHAPTER X
ART NOUVEAU
torical precedent.
work
of
here
gathered
Nouveau."
terization;
the style
named, and
will
come
The
we
not be
far
is
any older
style
is
body
almost
examples
heading
the
his-
"Art
from being an exact charac-
are using to-day has not yet
named
until
it,
in
its
been
turn, has be-
matter of history.
houses, then,
shown
in
this
which the architect has been given
made
a great
of the best
under
together
This term
of
number
imperceptible, and of these a

are
from some
There remains, however,
which the influence
in
been
have
houses
the preceding chapters those

INdescribed
which were evidently derived
little
or
very truly
no attempt
"new
art"
chapter are those in

a free
hand and has
to follow precedent.
and
They
are
literal
sense the term
"Art Nouveau" applies to them excellently
well, but as that
all
generally brings before the
in
its
mind
194
the fanciful
and often-
"RAGDALE,"
LAKE FOREST, ILL.

movement
times meaningless curves with which the

the term
not satisfactory.
is
In England and in
ment
this
country the Art Nouveau move-
has assumed a form that differs from
development,
Its
tendency
is
a simpler form,
and
toward straight
lines
plain indeed that in furniture
work, and
started,
in
it
its
Continental
in all respects better.
and plain shapes,
so
often recalls the Colonial
another manifestation
it is
like the self-styled
"craftsman" movement, although without the affectation

that mars that work.
exponents
is
mainly by the great English
Nouveau,
Art
of
It
Voysey,
and
Baillie-Sott,
Lutyens, that our modern work has been influenced; and
much
cases
of
it
shows
where the
a trace
of
English sentiment, while in
architects are of
influence has been developed, as
"Ragdale"
architect,
at
Lake
is
of treatment characteristic of
It has
many
Teutonic
natural enough.
Forest, Illinois,
Mr. Howard Shaw.
build for themselves.
German blood
is
the
home
of
its
the delightful freedom
houses which architects
In working for
another
man
the
architect does not dare to express himself as fully as he
would
some
like,
and often
restraint
it is
just as well, perhaps, that there
put upon him.
The combination
196
is
of a sensible
THE HEDGES RESIDENCE

BROOKLINE, MASS.
LOVELL LITTLE, ARCHITECT

and
artistic client
with
capable architect gives better re-
than are achieved by architects working alone, since
sults
compromises and an architect often
every house
is
attaches too
much weight
which
a series ol
would
a client
to matters the reverse of those
insist,
with the result that
while usually successful pictorially,

In
this case
the house
is
his
on
house,
apt to be unpractical.
utterly delightful in the exterior
is
treatment, with the projecting second story supported on

sturdy beams over the cement columns.
One
of the
developed
is
softness of
most interesting things which has

a
method of
a thatched
ness
of
outline
peculiar charm.
to
sorts
all
work
in
roofs
is
new
and color
Many
been
shingling roofs to produce the
Sharp and angular
roof.
hard to disassociate from
lately
new
buildings,
which gives
to
and
old
lines are
it
is
soft-
work
its
architects have therefore resorted
of devices to get
the peculiar quality of old
houses, and of these, the curving of the shingle
as helpful a
one
as
has yet been found.
In the Hedges residence at Brookline, Massachusetts,

has not been carried
far,
and yet has immensely aided
it
in
relieving the stiffness of the design.
The house
is
and picturesque with the
lengths of
the roof
different
198
quaint
'
THE DUNNING COTTAGE

BRIARCLIFF, N.
A.
Y.
VAN BUREN McGONIGLE, ARCHITECT

and
slopes,
The
their projection over the loggias at the corners.
proportions are pleasing and the details, while some-
what meager,
are well
The Dunning
planned and executed.
residence at Briarcliff,
New
York, and the
cottage at Glen Ridge were designed by Mr. McGonigle,
whose work has been
largely along
than the country house.

English
These houses have somewhat the
mentioned, and by the use of trellis-work.
The Dunning house
is
the simpler of the two, being almost
symmetrical, where the other
McGonigle was
this
lines
accentuated by the treatment of the
character,
shingles, earlier
more important
the
first
is
entirely picturesque.
Mr.
architect in the East, perhaps in
country, to attempt the shingling of roofs to produce
the effect of thatch, and his design in this direction has
never been surpassed, although other architects have carried

the curved treatment
much
further than he has done.
interest in this type of roof

at the
lies,
not alone in the curving
ends of the shingles, but also in the manner of lay-
ing them very irregularly, and without the

lines
The
to
which we have grown
necessarily result
The garden
Glen Ridge house
200
horizontal
accustomed and which
from the ordinary method
in the
stiff"
is
of laying shingles.
delightful,
and the
A HOUSE AT
GLEN RIDGE, NEW JERSEY
A.
VAN BUREN McGONIGLE, ARCHITECT

treatment of the clothes-yard
demands
Every
attention.
at the left especially
trellis
has been thought out:
detail
the seat on the loggia, the leaders, and leader-heads,

the very shapes of the window-sash are kept in
and
harmony
with the general form of the building.
The
residence of Carleton Macy, at
Island, has been
In
years.
it
Woodmere, Long
one of the most admired
of the past
the shingle treatment has been carried further
than has ever before been attempted, with unique

satisfactory
few
results.
The house
is
and
thoroughly modern in
every respect, for the columns, while Greek in detail, are
may
so unusual in their handling that they
modern
design.
The
chimneys are placed

the need for
roof-lines are symmetrical,
are quite simply handled in a
setting
is
end
at either
some emphasis
and the shutters are

such
as to
solid
is
of the
always
manner
main
is
and the
ridge,
suggestive of Colonial,
below with louvers above.
show the house
where
to
its
The
best advantage,
architects.
The
one which has brought much and well-deserved
reputation to
virile
be called
The windows
felt.
and was very carefully thought out by the

house
fairly
its
authors, for
its
and thoughtful design.

202
brilliancy
is
the result of
RESIDENCE OF CARLETON MACY

WOODMERE, LONG ISLAND
ALBRO & LINDEBERG, ARCHITECTS

The entrance
to the
Club House
at
Kensington,
should not properly be included in a book of
but
is
this character,
too remarkable a piece of design to be omitted.
Certain portions
are
European
the
like
variety
Nouveau, and with strong German tendencies.

rangement of the pergola, leaving the
of
Art
The
ar-
tree in place,
of
problem which has troubled many who have desired
to
preserve beautiful trees which

to the house.
come
The treatment
proximity
in too close
of the
beams
is
perhaps the
most interesting thing about the whole composition.

is
im-
is
a satisfactory solution
mensely interesting, and exhibits

a
Illinois,
largely
due
to
the
contrast between
their
This
heavy and
simple lines and the delicate handling of the leaded glass

in the
The whole scheme
lamps and windows.
suggests
much of the best of modern work in

effort has been made to preserve a simple and
handling of materials.
The brickwork on the
the Japanese, as does
which an
expressive
steps
and
floors
harmonizes with the stucco and the rough
woodwork, while the
pedestals for the
flower-boxes
are
truly delightful.
The Lackner and Rubens

to the last degree
and
full
residences are Art
Nouveau
of interesting and suggestive fea-
204
ENTRANCE TO THE CLUB HOUSE

KENSINGTON,
ILL.
GEORGE W. MAHER, ARCHITECT

modern
tures for a student of
be seen, the architect was the same
Club House, and
his
as that of the
German blood
The Lackner
perceptible.
As can readily
architecture.
residence
is
is
Kensington
here again plainly

of brick
and stucco
with a simply designed pergola carried on brick piers and
stucco columns.
that here
such
as
shown
pergola treatment of the porches like
gives a
combination of
and shade
light
no covered porch can ever do, and, when
it
becomes
thoroughly covered with vines, affords ample protection
from the sun, with greater coolness than

the usual type.
The shape
of the roof
one, perhaps derived from the
removed therefrom.
far
to the
The
is
is
possible with
a verv curious
Dutch farm-house
style,
but
leaded glass adds immensely
appearance of the exterior by introducing
many
small motives to relieve the big scale of the other detail.
The manner
in
which the stucco work
the top of the gable in a sort of cove

this
house
is
one
of the few in
is
is
carried
up under
interesting,
and
which the leaders and leader-
heads have been thought of and provided for in an unusual
and delightful way.
The Rubens house

is
of a style
is
one which staggers
criticism.
It
which the Germans are using to-day, the com-
206
RESIDENCE OF FRANCIS LACKNER
KENILWORTH, ILL.

bination repeated throughout the design of columns be-
tween brick walls
characteristically
is
German,
great extent the whole treatment of the building.
who
as
is
to
Any one
desires their architecture undiluted by the personality
of the architect, will
pronounce
this
house bad beyond re-
demption, but to those who see the brilliancy and daring

of
its
author,
will
it
so unusual, that a
is
full of
interest.
design
its
is
sufficient to
scale,
is
is
so different,
immense
atone for
the most elementary consideration
of
It
proper viewpoint from which to judge
impossible to find, and whether the
displayed in
of
be
of
something which time alone can
its
it
cleverness
disregard
both form and
tell.
The Eastwood house at Rochester is another example

the use of German motives, and a very picturesque and
The entrance-porch with
charming one.
across the arches
is
the hoods cutting
most entertaining, and one which, while
absolutely novel, has
much
spirit.
It
is
impossible to fairly
consider houses which are so far from the ordinary as
this.
Beauty
one
lies so
largely in the eye of the beholder that
cannot be certain whether one
and
is
seeing a piece of great
lasting design or the caprice of an unrestrained fancy.
Mr. Bragdon
is
an iconoclast
first, last,
208
and always, but the
RESIDENCE OF MR. HARRY RUBENS

GLENCOE, ILL.

idols
he breaks are those of
tradition,
false
convention and improper
and unlike most iconoclasts he
well, setting
up before
us
new and
constructive as
is
delightful forms to take
the place of the old.
The
one
Tietig house at Cincinnati, Ohio,
of the designs of the English architect
and modified
greatly revised
temperament
of
spection that
we
at
is
the
end
is
its
perceive
that
its
it is
Lutyens, but so
location and the
its
only upon closest in-
genesis.
The double
always difficult to handle, and
usually well done.
combination
owner
to suit
derived from
The chimneys
of color
is
here un-
is
and the
are well placed
The
good one.
gable
simple pilasters
running up between the prominent portions of the front

are excellent while unconventional in the extreme,
arrangement
of
the
window-panes
vertical sentiment visible

is
well done.
It
to continue the
sign,
does not often happen that
harmony with
and were
achieved.
it
same
everywhere throughout the house
shape and spacing of the window-panes

entirely in
and the
is
matter of
thought of to be
the general character of the de-
done more often better
Of equal merit
this
results
are the leader-heads
would be
and
the latter placed so as to form the groups of four

2
IO
leaders,
windows
HOUSE OF
A. B.
EASTWOOD
ROCHESTER, NEW YORK

CLAUDE BRAGDON, ARCHITECT

on the
front, while
make
the leader-heads
dark spot of
excellent outline opposite the tops of the windows.
As
may
be
from
these
stretched
to
seen
Nouveau" can be
houses, the
include widely different
They
examples of heterogeneous types.

per se or as steps in
merit, either
great art which must be coming;
term "Art
are not of equal
the evolution
but
all
of the
are of interest as
showing what can be done without precedent and without

any other inspiration except that found
in
the minds of
their authors.
The whole tendency

deed
of every art,
is
of architecture
away from precedent, and
out toward some goal which
is
as
time
whether
able.
it is
We
is
old work.
reaching
We
fresh art
movement
at
but the beginning of an evolution, or
already at
its
height;
the former seems prob-
cannot forecast from past movement the pro-
gress of the present, for at

artisans so
is
yet hidden to us.
do not know whether the great and

the present
of to-day, and in-
no past time were the
artists
and
thoroughly familar with, and so well drilled
in,
Their knowledge of precedent extended back
only a few years and was confined to a very small territory;

ours covers the whole range of historic time, and of
2
12
all
the
RESIDENCE OF MR. RUDOLPH TIETIG

CINCINNATI, OHIO
TIETIG & LEE, ARCHITECTS

world, and
it
is
impossible to say what influence
ledge has to speed up a development, or to
contusing
not even
its
of
some great wave
its
surface.
We
permanent or
in the life of art, or
so
Their influence
powerful
as
we
honestly believing that everything
utmost importance, that we can

for all
new work
by
We
do
is
that
only a ripple on
are probably attaching too great value to
present tendencies.
so
movement
the present-day
it,
retard
progress with too varied knowledge.
know whether
know-
this
that
is
may
be by no means
think, yet
we
are doing
really
worth while
it is
is
only by
of the
do enduring work;
is
an honest expres-
sion not only of the spirit of the architect, but of the spirit
of the time in which he
lives.
214
CHAPTER
XI
JAPANESQUE
ARCHITECTURE
<L
As has been
\. eclectic.
searched
world
the
at the present
more
for
time
said before,
and,
ideas
of
is
nothing
many
extraneous
none
is
there
none
so utterly foreign to our traditions.
interesting than the Japanesque,
There are nevertheless many
work which deserve

architect.
way
It
so that
tained.
is
the
There
the
the aim of
full
is
consideration of the
beauty of each material
may
in
be ob-
as
construction.
it
is
no material which does not
is
an imitation of some other, even
though the other be much more expensive and
employ
proper
no material without beauty when
by being employed
and
Japanese
to use materials in a
all
properly handled, and there

lose
features of the
respectful
not
our architects have
sources,
is
if
It
is
in
difficult to
precisely this point
of
frankness in the handling of materials that the Japanese

excel.
Every traveler returning from Japan speaks of the

2I

wonderful treatment
and richness
of
wood
of the grain,
and
bring out the
to
evident from
it is
graphs of Japanese work that their stonework

possibly because they spend
and polishing
it,
but use
in
all
ever
use.
It
in this climate,
although the Japanese
continue to use them in the face of winters

of their construction
as
cold as ours,
not intended to be dur-
is
but rather to be renewed without inconvenience or
able,
much expense when its term of

Here we have a prejudice in favor
has
It
American
not
been
by
country-house
work which does not

be because of
its
usefulness
work
attract the
expired.
has
of durability.
dwelling-houses
Japanese
rather by the temples and castles.
may
Of
which we
natural condition.
its
seems unlikely that paper partitions will
become popular
and much
photo-
masterly,
is
course there are some of the Japanese materials
cannot
color
time and labor in cutting
little
it
full
has
been
There
is
American
complete novelty;
inspired,
little
that
but
Japanese
architect;
this
and those who
have studied Japanese architecture with care often find
much
to regret in a building
perfection.
for
example,
which to the unlearned seems
As with Japanese
and
in their theaters
2
art of other kinds, as
shown,
their pictures, their view-
TICHENOR HOUSE
LONG BEACH, CALIFORNIA
GREENE & GREENE, ARCHITECTS

point
and
it,
we
so different
is
it
may
that
it is
and not the
this will
be enduring future generations alone can
but no resume of American country-house architecture
of to-day
can omit these houses without omitting some of
the sincerest and most inspiring

is
best.
houses here presented have a compelling charm.
Whether
tell,
work
be that in our imitations of Japanese
are copying the poorest
The
impossible to properly grasp
natural, these houses are
coast, yet
once
in
a while
Japanese form consciously,

a Japanese
since;
most
work
of recent years.
common upon
As
the Pacific
an eastern architect uses the
as
Cope and Stewardson
did in
house for a Philadelphia exposition some years
or oftener because, aiming like the Japanese, at a
use of materials which will explain
itself,
he arrives at a
similar conclusion.
Messrs. Greene and Greene have
carried the Japanese
treatment further than any other architects whose work

has been brought at
house
at
all
Long Beach,
before the public.

California,
The Tichenor
and the residence
in
Pasadena, here illustrated, seem like the utmost limits to
which Japanese architecture could be stretched, and
meet American requirements.

218
Nevertheless
it
still
may even
RESIDENCE IN
PASADENA, CALIFORNIA

be that they are only the
They
very
are
beginnings of an evolution.
first
from
adaptations
consciously
sources and so eloquent of Japan that one
tempted
is
to
Greene and Greene must have studied the archi-
believe that
tecture on
Japanese
native
its
Even the twisted and unusual
soil.
forms of the trees and shrubs agree with the house in perfecting the illusion of a foreign country.
Of
course the patio idea
when
it
is
is
not foreign to California, but
treated in a Japanese way, as in the garden of
the Tichenor residence,
it
very unusual.
is
The
style
is
perhaps happier in the accessories to the house than in the
house
than
Certainly nothing could be
itself.
this
garden with
its
more
high arched Japanese bridge span-
ning the pool from the rough boulders on either

flowers and plants there are few, but the
tion
is
utterly
pose.
but
is
terials
It
and
in
may
any
style
used in
but
be that even in
so successful that
this
although each by
it
whole composi-
this
arrangement
most
difficult
this style it
seems simple.
for
seaside
was hard
The
com-
to
to do,
is
well-known one.
220
ma-
various
house are quite along Japanese

itself
Of
side.
Big balconies on the second
delightful.
story of the house are a splendid
cottages,
delightful
The
lines,
half-
TEA HOUSE AND POOL

LONG BEACH, CALIFORNIA

timber work with brick
filling
is
not
uncommon, and
yet
because of the extreme roughness with which the bricks

are used,
it
gives the effect of a
new
Shingles are
material.
by no means an
uncommon
house, nor
unusual on the roof; yet the whole com-
is
tile
bination as used here
and the balustrade
is
are very simply
and not
The Pasadena
the one at
America with
by no means
is
It
is
of
its
beauty
this
han-
and
The method
mixed
in with
curious and interesting, but the question
lies in
good these houses
is
as a curiosity,
it
of laying the bricks in the retaining walls

is
due
probably the only house
white roof, but so skilfully
clearly
as interesting as
almost persuaded to go and do likewise.
boulder stones
is
charm which must
vet even so has a
dled that one does not even think of

is
that
to the source.
residence
Long Beach,
brackets
handled in a way thor-
a cleverness
be recognized by everyone.
in
The
novel in the extreme.
oughly Japanese, but with

to the architects
covering for the exterior of a
the taste of the individual.
are cannot be said.
The
Just
how
standards with
which we are wont to measure do not here apply, but that

they are
Dr.
full of
Guy
suggestion
is
undeniable.
Cochran's house, while strongly influenced by

2
22
MYRON
RESIDENCE OF DR. GUY COCHRAN

HUNT & ELMER GREY, ARCHITECTS

Japanese
art,
houses.
The
house)
front
of
it
entrance-front (practically the rear of
the
English in character, while the garden
almost
is
Stucco
Japanese only in a measure.
is
been
not carried to the extreme of these other
is
for centuries a favorite material in
is
and has
Japan, and the best
Japanese architects would not be ashamed had he used
The
here.
center of the garden front
tremendous group
of
is
formed by
windows looking down on the garden
Once
shaded by an awning whose edge has been designed.

in a while
sign
one
an awning about whose color and de-
sees
some thought
The
has been taken.
best house can
be spoiled by ugly awnings and the worst house can be
improved by well-chosen ones, yet they are
a feature
thought of except by the German mechanic

them.
It
is
made
perfect of
taken by
all
its
pay
to
that the
own
them
owner
kind, and that the
architects in regard to
Whether
ently deplored.
to
who makes
by the complete harmony of these
comparatively unimportant details that
it
is
may
same care
them cannot be
is
and
be
not
suffici-
because they are too busy
dismisses his architect

is
little
house
the attention they deserve, or
ton of the house
seldom
when
whether
it is
the bare skele-
completed, varies with the individual

2
24
MYRON
RESIDENCE OF DR. GUY COCHRAN

HUNT & ELMER GREY, ARCHITECTS

but
case,
if
an architect
good enough
finished.
house
is
One
to
good
is
for
anything he
complete the work and not leave
of the delightful things about
that everything has
combining
to give to
all
half
it
Cochran
this
been thought out:
the walks, the gardening, the awnings

the house,
certainly
is
the walls,
harmonize with
authors a reputation
its
among
other architects altogether out of proportion to the
money
value ol the houses they have built, and only
com-
parable with the artistic excellence of their work.
Of the Western
is
architects,
Bernard Maybeck, and
little
Farrington
it is
studio
one
the most imaginative
of
to be regretted that only the
can
here
Faculty Club House at the University of California

side the scope of this
of
book.
perhaps the least expen-
is
sive
thing he has ever done, for that very reason
one
to show.
seem impossible
to
out-
is
Yet while the single example
Mr. Maybeck's work shown
The whole
His
be reproduced.
thing
is
make anything
it is
so simple that
of
it,
it
good
would
but by the judi-
cious use of materials, the excellence of the proportion
the quaintness and richness of the pergolas and
most delightful piece

evolved.
trellisses, a
of picturesque architecture has
Thoroughly Japanese
226
and
in quality, this effect
been
is
due
THE FARRINGTON STUDIO

BERKELEY, CALIFORNIA
BERNARD MAYBECK, ARCHITECT

in
probability to a course of reasoning similar to the
all
Japanese on the part of
preserved;
it
The
imitation.
scious
is all
beauty of
full
more excellent
The Adirondack camp,

the architects,
is
a piece
roof,
walls
is
both
the railings,
all
vital
which Davis
of
woodwork
none, and
& McGrath
and
of precedent,
and achieved
and the black-and-white color
designed to
fit
any
of
site,
stereotyped and commonplace, but

suitable to this situation
were
The double
meaning.
full of
and
of
the
Japan, as does the
general handling of the entire problem in

is
is
is
pure design whose architects
of
remind us most strongly
often a house
any con-
for that reason.
worked without much thought

a result that
the
to
moldings and turned work there
of
the
and not
architect,
its
its
Too
location.
and, therefore, seems
this
one
is
evidently
to this situation only.
Every
log-cabin has the joints between the logs filled with clay;
here the architects have used mortar, colored white, and
have tinted the ends of the poles of the overhang, white to
match.
a
This use of poles instead of
charming piece
piazza roof.
It
of
decoration
rafters has resulted in
along the edge
was from the decorative
results
of
the
produced
unconsciously by the employment of natural materials that
228
A CAMP ON LAKE WILBERT
ADIRONDACK MOUNTAINS
DAVIS & McGRATH, ARCHITECTS

ornament has
the world's
and
it is
tect has the
ornament not
his
cottage
American
is
here been
but in
success
its
The stonework
is
bers in the
to
meet
architects
who have
nary materials
even in the
method
of
of
shadow than there
it
is
interesting
elsewhere.
is
and
shingling a roof.
and
this
The
somewhat heavier
trim of the rafter-
characteristically Japanese, although
was probably approached from an entirely different view-
point, as Mr. Barber
is
an architect trained in France, and
whose work customarily follows French

tects of successful
in
is
continued by making every sixth course of shingles
the roof a double one, producing a
ends
It
handling ordi-
All the horizontal lines of this cottage are strong,
in
mem-
and ambi-
the courage
methods
the
especially de-
work compels admiration.
half-timber
tion not to accept the obvious
is
to
and the contrast between the large and small
lightful,
effect
life.
another example of
which owes
architecture
as has
in books,
Tuxedo Park
at
exquisite use of materials.
good
that once in a while an archi-
courage to "revert to type,"
done, and find
The
know
pleasant to
most part been evolved,
for the
lines.
country houses are those
Most
who
archi-
specialize
such work, not by choice perhaps, but by necessity;
230
yet,
>j$,.
Hi
i-
HUM
Hill
Hi Hi III in in
mi
ft
A COTTAGE FOR MR. DELAFIELD
DONN
TUXEDO PARK, N. Y.
BARBER, ARCHITECT

as
can be seen
oi
work
is
in this house,
an architect good in one
usually qualified for
all,
and success
rests
class
upon
inherent merit alone and not upon continuous practice in
any particular branch
of design.
232
CHAPTER
XII
THE HOUSE AND THE GARDEN
TO
the architect the term "garden" does not
an acre
full of flowers,
to the
lot full of vegetables,
house which
is
its
treated in such a
building and
its
Some attempt
grounds
O
is
as
natural environment, and
at
to disis
the
between the purely
step
lore of dual character, partly natural

tional.
manner
The garden
best advantage.
which forms an intermediate
artificial
nor even an open space
but rather that part of the grounds adjacent
play the house to

link
mean
is
there-
and partly conven-
an attractive treatment of the
almost always
made bv the home-builder, and
j
7
the tendencv to-day
is
to discuss with the architect the dis-
position of the shrubs, flowers, and paths, so as to best dis-
play the
good
as possible its
be
left
qualities of the building
weak
points.
No house,
without some serious
to
however
mask
as far
small, should
effort at arranging the sur-
roundings to harmonize with the house.

2
and
33
These may be
of

description, a few
the simplest
some small
house, and
of
trees, or
our large country places
treated for miles to lead
house
of
its
as
the case with
is
surroundings
the
to the heart of the
some
may
be
whole: the
owner.
immensely
Bright flowers add

place,
up
the
shrubs, vines against
and although almost any kind
judgment should be
the appearance of a
to
beautiful,
is
still
some
exercised in securing colors which blend
with the colors of the building, and in picking out flowers
and shrubs whose blossoms

in thick masses.
Probably the best of
viewpoint of the architect

stately form, the
are either large or
is
freedom with which
as
all
growth near the house. Asters
and
for early spring
its
flowers from the
the hollyhock.
magnificent colors of the bloom

for
all
which grow
Its tall
and
blossoms, and the
it
make
it
an ideal plant
in the fall are excellent,
blooming the
iris
is
good; especially
beautiful leaves assist in the decoration of a place
long after
its
flowers have faded.
Of the shrubs azaleas are the most
satisfactory: their
wide
range of brilliant colors, and the large size to which thev

eventually grow, suit
which
is
them well
here taken up.
for the
kind of gardening
Rhododendrons both
2
34
in their nat-
GARDEN OF MR. JAMES HAMILTON

DETROIT, MICH.
STRATTON
& BALDWIN, ARCHITECTS

ural
and cultivated
varieties
that they are evergreen

in the
known, "Rose
makes them valuable
Althaeas, or
winter.
of Sharon,"
and the
are also useful,
they are
as
bloom
in
few other shrubs are in flower, and
for decoration
more commonly
August
as
at a
time
No
very attractive.
anything like
most
which
attempt can here be made to give
catalogue of the better shrubs and flowers
a full
The few above enumerated and
for planting.
when
thev increase in age
the stems take on a gnarled and twisted appearance

is
fact
closelv resemble
them
are
spoken
those which
of only to illustrate
the kind of thing for which one should seek in gardens close
to the house.
The Hamilton house

in
is
quite near
order to avoid dust and to secure
possible, the
garden
house upon
a little terrace.
the service portion
and from the

trees, shrubs,
lot
and
is
by
to
as
the street,
much
and
privacy as
placed in the rear in an angle of the

It
is
a pergola
very simple, cut off from
and
a trellis at the right,
next door by beds thickly planted with
This same type of garden could
flowers.
be used with the grass terraced to replace the stone wall,
and gravel walks instead

to every
of
cement
ones,
and
it
would
give
householder a bright and cheerful place to spend
236
GARDEN OF
MYRON HUNT
DR.
GUY COCHRAN
& ELMER GREY, ARCHITECTS

afternoons in seclusion.
his
are used here,

varieties
and
it
is
Only
few
better to use
varieties of flowers
many
plants of few
than to attempt to include in a garden,
the space
if
be limited, enough kinds to give a continual bloom, for in

that case the garden will never be very attractive, since there
will
never be at one time sufficient color.
The garden
of Dr.
Guy Cochran's
flowers with the exception of a few
The beauty
pool.
vista
of this
garden
residence
iris
is
plants
due
without
is
around the
the charming
to
terminating at a glassed-in porch and bounded on
either side by the
dwarfed
fruit-trees.
important feature of gardens and
vista
is
to be successful
as in this case, interesting in itself,
interest,
The
most
must
be,
broken up by objects of
and terminated by some more or
less
important
The sun-dial is one of the "objects of interest"

more commonly used and most charming in effect, especially when it can be reflected by water.
A little pool
feature.
always adds to the beauty of a garden.

all sorts
are attractive,
bility of reflection
and the water
Water flowers of
itself
with
and movement, suggesting
its
life, is
possi-
almost
indispensable.
In the garden of Casa del Ponte architectural motives
238
CASA DEL PONTE

ROWAYTON, CONN.
SLEE & BRYSON, ARCHITECTS

more freedom than
are introduced with
in the
two forego-
ing instances, and the columns, vases, and pergola, together
with the tubs of arbor
vitas,
interspersed with masses of hol-
lyhocks and dwarf oak-trees,
lead the eye gradually to
all
the house from the natural
woodland around.
ner in which the walk
terminated
imitation, tor there
is
is
no abruptness
but the transformation
is
of
is
The man-
especially
worth
change perceptible,
accomplished
in
gradual and
ordered sequence.
The
in
studio and garden of the Bartlett house
many ways
of
remind us
the best of the Italian gardens, but the
shapes of the lattices, of the fences and pergolas, are very

distinctly along
case to
modern
lines.
make any gradual
woods, and the
trees
were
the original and beautiful
It
was not possible in
transition
from the garden to the
so large that
manner
had
it
not been for
of designing the garden,
they would have appeared to dominate and encroach

it.
The pool
is
this
used here, too, with excellent
effect.
upon
The
hollyhocks in the center of the picture furnish an excellent

screen for the terrace wall, and permit the studio
to
be
seen in exactly the proper relation to the garden.
The
question of boundaries which
240
is
here solved in so
THE
A. C.
BARTLETT STUDIO AND GARDEN


unusual and picturesque
It
manner
is
always a difficult one.
best lor a lormal garden such as this, to select,
is
possible,
some spot where the boundaries
haps using the side ol the house

natural features as
may
ening them with
architectural
Ponte, or with a terrace
The
vistas
the
in
such other
be found for the others, strengthfeatures
as in the
success of any garden
and
are natural, per-
one, and
as
when
successful
as
Casa del
in
Hamilton garden.
largely in securing proper
lies
handling of the boundaries.
Their angles must usually be strengthened, and in the large
and formal work small summer-houses, technically called

gazebos, are employed.
among the most

Weld is perhaps
This
is
in the
beautiful which
the
said with the
memory, and
Those
it is
garden of Weld are
come
to
most perfect garden
list
in a short time.
is
added
this
Mr.
gar-
of superb accomplishments, nor could the
owner without Mr.
The garden
the world.
triumphant illustration of what genius
Piatt without the client could never have

to his
in
as
wonderful Italian gardens fresh in
and money combined can accomplish
den
mind, even
Piatt have obtained this
a very large one,
terraces, the corners of which are
242
around
its
triumph of
sides
art.
run wide
strengthened by the gazebos
THE GARDEN OF WELD

CHARLES
A.
BROOKLINE, MASS.
PLATT, ARCHITECT

shown
At the extreme end of the gar-
photograph.
in the
den facing the house
is
a sort of
altar,
little
which can be
seen in the center of the picture, with a fountain at
and columns
of excellent design flanking
center runs an open grass plot and this
end by masses of bloom
up the
rising
is
its
base
Through
it.
the
flanked on either
terrace.
In another of Mr. Piatt's gardens, at Faulkner Farm, the
garden
is
terminated at the
pergolas flanking
it
on either
which the whole
is
us to spend
money
this,
the
Most
It
is
to
sit
at the
character
this
of
is
to have.
a
have a definite objective
it is
of the
if
for
no
is
seats
and
for the
some
sort
only the length
some place
garden opposite the house
a table,
an essential feature.
Farm
when we walk,
other,
does not need to be covered,
It
couple of
an excellent one
the small and simple kind.
for that reason,
end
a pool in
impossible for most of
even though the distance to be traversed

of the garden;
upon
required to obtain anything like
gardening even
of us like to
by the casino and, with
side, it fronts
reflected.
but some motive of
for formal
rear
it
may
is
good
be only
but in any inclosed garden
Pergolas are used at Faulkner
boundary wall
at the rear
of the garden and
of pergola has grown to be a habit nowadays.
244
THE CASINO AT FAULKNER FARM

BROOKLINE, MASS.
CHARLES
A.
PLATT, ARCHITECT

It
is
a habit
grown by
which
form, there
trees,
and casting shadows

is
when
well worth while, for
shaded by
vines,
of sunlight
is
over-
pierced through with spots

of irregular
and delightful
no piazza which can compare with
it.
One
thing should be remembered, however, in placing a pergola:
must be
there
anywhere,
like
need
for
it.
It
postage-stamp
cannot simply "happen'

set
in
the middle of an
envelop, but must bear some definite relation to the whole
layout of the grounds;

is
this
this
quality of
fitness
then nothing can surpass

that
makes
but in every other feature
success
it.
It
not only in
The
of gardening.
sur-
roundings and the shape of the plot must be most carefully

studied and
results.
worked over and accentuated
Columns and
statues are by
at times they are absolutely unsuitable.
produce the best
to
no means
The
essential,
garden, like
the house, must be studied as an individual case and not as

a general proposition to be laid
246
down and
followed.
CHAPTER
XIII
THE PLAN OF THE HOUSE
EVEN
good
more
essential than
plan, but
and individual requirements

to be
worked out
entirely
so
it is
any exterior which pleases

tion
A
ical
and variation
to a degree
successful plan
many
a client
both of space and
of
each problem
exterior views, since
susceptible of reduc-
is
which
embodies three
reason only a few typi-
this
cal plans are illustrated, as against
is
dependent upon cost
as to necessitate
For
afresh.
an attractive exterior
is
impossible in a plan.
qualities:
it is
operation, and
it
econom-
makes an
attractive interior possible.
Taking up the
first of
these considerations,
economy of
space, there are certain governing factors which enter into
every plan, be
it
large
or small.
the relative size of rooms.
may
There should be one room
is
of
all
the family and such
be ordinarily expected.
The modern house
sufficient area to
guests as
The most important
comfortably seat
247

has no parlor, the large
living-room
taking
its
big as the dining-room

its
width.
place.
cases, possibly for a piano,

a
way
that
all
as
may form
themselves into a
and
fire
Attached to
this
It
is
as
talking, or read-
living-room
main piazza, which forms

it.
such
in
two or more, according
they are simply sitting around the
practically an extension of
book-
a fireplace, space for
single group, or can fall into
desirable to have the
should be half again
It
and should be arranged
the occupants
ing and playing cards.
generally called the
and should be much longer than
must contain
It
-now
room
in
it is
summer
not often wise to have
the piazza across the front of the house because the en-
trance of strangers and guests to the front door breaks up

the family group unnecessarily, and messengers
and people
having purely business relations should be enabled to

to the front
come
door without interrupting their occupations.
The living-room should have windows upon at least two

and, if practicable, upon three sides, so that thorough ventilation
is
secured with the accompaniment of cooln-ess in
summer, and good

the living-room
windows on the
is
light in winter.
upon
the south
south, east,
The
end
best position for
of the house,
with
and west, since the south end
248

house
ot the
coolest in the
east
is
both the warmest
as lar
as it
so large as the living-room
around the table
made
It
in that
should have
be by
to
it
north.
as possible, it falls to the
not need
does
also
generally desirable to remove
is
from the living-room
The dining-room
the winter and the
The dining-room
summer.
windows, and,
in
any means
people are always concentrated
room and no
lor scattered groups.
provision need be
fireplace
is
not an essential.
an excellent decorative feature, but seldom ol any
is
practical use since, in any but the largest dining-rooms, the
heat ol the
it.
fire
becomes uncomfortable
The dining-room
to those seated near
should be nearly square, with the
sideboard and serving-table
arranged on the sides of the
mav
be extended to seat a compar-
room
so that the table
atively large
of
not over
number
six
persons,
ample,
opposed
as
and
about
to
house which costs not over
in a
dining-room about
$15,000,
For an ordinary family
people.
of
fifteen
fifteen
by seventeen
by twenty-five
feet
is
for the
living-room.
In a house of any
size a
room and living-room

it
is
room
in addition to the dining-
desirable
on the ground
study, den, or reception-room, as you will.
249
floor, call
The condi-

tions ot
American
life
are such that in a family
where there
are children, thev prefer to entertain their guests apart
and two rooms become then
their elders,
the head of the family
is
a professional
any business where he has

his
own home, some room
so on,
is
indeed, in
for necessary consultations,
is
in
most
possible of access directly
cases sufficient,
from the
hall,
some extent secluded from both the dining- and

rooms, although a door into the dining-room
possible
use
for
and
This additional room need not be large,
desirable.
must be
or,
to occasionally see his clients in
probably ten by fifteen feet

it
Where
inevitable.
man,
from
as a
smoking-room
after
but
and
living-
makes
dinner.
to
it
The
grouping of these three elements, the dining- and living-
rooms and the study, together with the

and the
servants' portions,
and the manner

is
in
of the
from the
and stairway
becomes then the plan problem,
which the arrangement may be varied
according to the location of the
of access
hall
street,
lot,
the preferable
means
and the individual requirements
owner.
The
hall
is
essential only as a
rooms, and although
many
means
of access
attempts have been
to the
made
to
utilize the hall as a living-room, they are usually unsuccess-
250

nil, first,
make
it
number of doors
because the
drafty
and unpleasant
to
sit
cause the continual passage ol people
reading or playing games.

hall of suitable size
tain a
house
is
as
usually
is
in;
is
and, second, be-
disturbing to those
Nevertheless in
many
cases a
essential because ol a desire to
thorough draft or to
to the
there
is
required in a hall
ob-
impressive an entrance
crive as
In the case of large families
possible.
more space required
for
bedrooms above
than for rooms below, and in such an instance a large hall-
way
is
an excellent method of obtaining the additional
area required.
Doorways opening from
the hall into the different
rooms
should be large and dignified, and while sliding doors are

usually asked for by the prospective builder, they are sel-
dom
is
of any use except to shut off the rooms
in progress,
fail
and
as
when
cleaning
they are often difficult to handle they
to fulfil their anticipated purpose.
For economy
in operation
it is
desirable that those por-
used more often by the servants should be in close

The pantry should connect directly with both
connection.
tions
and dining-room, and the dining-room and

kitchen should be shut off by at least two doors. If these
the kitchen
25

are
made swinging
without turning
The
doors, so that they
a handle,
it
may
be pushed open
saves a servant
much
trouble.
kitchen should have, where possible, two closets, one
to contain the refrigerator,

in a cool place,
room
dresser
arrangement
and such
and the other
is
the
and an excellent
pantry would permit of
handling dishes, and the
like,
Ample
and pans.
for pots
desirable in the pantry,
of
kept
stores as are best
maid
one
near the pantry sink, without
interfering with the passage of another
from the kitchen to
the dining-room.
Many
housekeepers
desire
direct
entrance
from
the
kitchen to the front door without passing through the din-
ing-room. In theory
cally,
however,
habit
is
it
an excellent arrangement; practi-
it is
does not work out so well.
The
force of
strong enough to induce almost every servant to go
through the dining-room to the front door, following her

usual route, even though the other be
in families of small size the
much
easier;
same maid answers the
would probably be
and
bell
as
and
waits
on the
room
at
in the
dining-room there can be no objection to her pass-
table, she
meal-times anyway, and
ing through.
when
rear stairway direct
252
in the dining-
the familv are not
from the kitchen
is

not
satisfactory as
as
rear
are very thoroughly
stairs
cooking
one from the pantry,

cut
oft,
for,
unless the
the smell
of the
apt to penetrate to the second story.
is
Every kitchen where no separate maids' dining-room
is
provided should have a bright and cheerful place with a

pleasant outlook for the maids to
sit
at meals.
This should
be on the opposite side of the kitchen from the working
and
part,
is
an essential feature
and
are so hard both to obtain
ground-floor lavatory
many
guests,
in these days
when
retain.
desirable
is
where there
and should open from some
man
of the house.
servants' toilet,
either the servants' part of the
first story,
are
retired part of
the house, possibly from the study, where this

the
servants
is
used by
opening from
or in the cellar,
is
almost a necessity, since most servants' rooms are on the

third floor.
The
third essential to a successful plan concerns itself
with appearance alone.

space
when one
a suggestion of
enters the house, without entirely reveal-
ing every portion of
and the entrance
where expected.
There should be
it.
The
stairs
to the various
The
should be in plain
sight,
rooms should be exactly
opposite wall from the entrance
253
ONE HUNDRKD COUNTRY HOUSES

should be made interesting, either by doorways, windows,
or
and no part
stairs,
blank
Doors are best placed opposite each other, and
wall.
that,
of the entrance-hall should be a
standing in one
room and looking through
the vista will terminate in either fireplace,
The
dows.
so
the doors,
stairs,
or win-
color scheme must be arranged to grade grad-
ually through the
rooms without glaring contrast between
those adjoining.
Where
work
are
coverings,
dull
and quiet colors
employed, the wall-hangings, the
rugs, furniture-
and curtains may be verv
without
brilliant
harmony, but where the woodwork
dued
wood-
ol
is
loss ot
white, rich and sub-
colors are essential.
The
shown here vary
five plans
which could be
built for
in
about $4000
size
to
from
house
one which could
be built for $16,000 or $17,000, and the same basic principles will be
The
man
first,
Boss,
is
found
in
all.
designed by Mr. Herexceedingly compact,
the hall reduced to a
with the
stairs at
doorway through
one
minimum,
side
to
opposite the entrance;
and the
the kitchen
the living-
25 +

room
that
at
is
Only one chimney
left.
while
kitchen
two
the
proportion
is
or
three
are
rest
between
be
to
by
seated
the
The
dining-room, and
living-room,
and the kitchen has an extension
excellent,
sit
is
persons
scattered about the room.
the
where the maids may
There
required and
is
placed in a niche opening from the living-room,
is
permitting
fire,
the
and be removed from
only a single staircase
in this
their
house, but
work.
it
is
so
arranged that the maids may pass under the second run of
it
to
go up-stairs, without being seen from the main portion

This portion
of the house.
is
cut off by two doors from
the kitchen, a very desirable feature in that the cellar
be entered from the front without

kitchen.
is
While the plan
as
passing
shown here
is
through the
a small one, it
possible of enlargement by increasing each
portion, to a house which
may
room
in pro-
would be exceedingly convenient
for a family of three or four people with a single maid.
The second
is
plan,
which can be
built for
about $7000,
excellent in giving a large living-room and dining-room
and
The
a good-sized
stairway
is
kitchen in a comparatively small area.
in principle the
same
as
in the first plan,
there being no back stairway, and entrance to the cellar
*55
is

possible
from
front
the
of
the
house.
In both of these plans

the
maids
straight
go
can
the front
to
without going *
door
through
the
dining-
room, although,
been before
as has
said, it
is
seldom that they ever do

rear porch so that the
The
so.
ice-closet
iceman has
possible in the kitchen,
to take as
size
with
porch.
of
its
is
Bull house in the
The
on either
While the
four sides
third plan
living-room;
hall
is
side
is
and
leading directly to the
This plan was used in the
Dutch Colonial
is
of
comparatively small, every one
interesting.
is
as
ar-
is
The living-room
one with
chapter.
a large hall suitable for a
the front staircase goes
first-floor lavatory
few steps
fireplace well placed for comfort,
French windows
close to the
and the pot and pan closet
ranged conveniently to the range.
ample
is
up
at
one
side,
and
arranged under the front staircase in
the secondary passageway between
256
the kitchen
and
hall.

The dining-room and
living-room are placed at either end,
with the living-room slightly larger than the dining-room.
The chimney
that
it
in
the living-room
can be seen
all
dining-room, giving
the
comes
way through
a beautiful
at
such a point
the house, from the
appearance.
here called the china closet, affords a simple
The
pantry,
and direct
connection from the kitchen to the dining-room, and the

refrigerator closet
manner.
The
is
This plan
fourth plan
through, with the
placed off the entry in an excellent
by Mr. Lovell
is
is
one
stairs
and study opening from
at
it
in
Little.
which the
one
side,
at the
the living-room at the other side.
hall runs straight
and the dining-room
right by little lobbies
This permits of a carri-
age entrance at the rear, with a walk up to the front, an
257

arrangement which
is
often desirable, since either a garden
or a lawn can be placed in the front of the house in place
of the usual dusty road.
from the
study has an entrance both
and from the dining-room, which permits
before suggested, as a smoking-room.
use, as
stairs
hall
The
open
quarters
directly
The back-
from the kitchen, and the
would be kept on
its
servants'
the second floor over the kitchen
extension, with the guest rooms on the third floor.
The
last
plan illustrated
is
that of the Orr house in the
chapter on Dutch Colonial, and
complete
and
of
all.
The entrance
faces directly the stairs,
is
is
the largest
from
a little loggia porch,
under which
258
and most
is
placed a lava-

The
tory.
entrance-hall
arcaded ceiling,
at
one end
reduced to
is
of
From
at the other the living-room.
house open
of the
closets
which
is
a corridor with
the dining-room and
corridor at the back
this
reception-room and study, while coat
are placed adjoining the dining-room
room on
an
the front.
The
and
living-
kitchen and pantry arrangements
are very complete, with the stairs to the second story going
up from the pantry and down

kitchen.
stairs
at
basement from the
to the
rear entrance for carriages
the back, while the entrance to the front
people on foot only.
The living-room
space for furniture, and at the same time
The
placed under the
is
fireplace in the
dining-room
is
has
is
kept
is
for
ample wall
brightly lighted.
as tar
back
in
the wall as possible, so that the mantel will not crowd the
The
passage around the table.

2
59
plan
is
excellent in per-

mitting through ventilation in every
room and
giving
airi-
and spaciousness combined with excellent working
ness
qualities.
No
second-floor plans have been shown because these
would not even
vary so enormously that a few examples
be ol suggestive value to the home-builder.
few words,
however, on the modern tendency of second-floor plan
may
People are coming more and more to house
not be amiss.
the servants in extensions above the kitchen, reserving the
rooms or
third story for guest
many
cases the
children's rooms.
In
outlook from the third story surpasses that
from anywhere
rooms
for
else
in the house,
are possible, while the
struction of to-day
have
J
and
big, light,
improved methods
and
airy
of
con-
done awayJ with the old-fashioned
theory that rooms directly under the roof are invariably

In the second floor, where there are
hot.
it is
desirable to arrange the owner's
children's
rooms en
suite, so that
young
children,
room and one
thev
may
or
be completely
cut off from the remainder of the house, and the doors
open
at night,
without fear
"the burglar."
bath-rooms
are
It
is
of the great
two
left
American bogie
perhaps not necessary to add that
constantly
increasing
260
in
proportionate

number
bedrooms, and
to the
owner, with one

will
tor the
For the best placing

tree
as
children,
soon be an essential
in every house,
closets,
for
for the
the guests,
however
small.
rooms should be kept
from angles and projections
possible.
as
may
Every
be.
with outside light where
Built-in cupboards for dresses, coats, shirts,
forth, are a
customarv feature, and
from the second and third floor

ment, where
Open
and one
of furniture
room should have ample
bath-room
a separate
it
bedrooms
so
chute
to the laundry in the base-
can be introduced,
fireplaces in
a soiled-clothes
and
is
saving of labor.
assist in ventilation, especially
in cases of sickness.
While no attempt has been made
to enter fully into the
subject of plan, these tew suggestions

to
may prove
of help
those intending to erect a house, and no one of
has been
made without due
them
regard tor the requirements
of the average American of moderate means.

ably impossible to combine them
all in
It
is
prob-
one house without
too great a sacrifice of factors dependent upon the individual
case,
but
applicable to
in
broad
and generous sense they are
all.
261
LIST OF
&
&
Albro
Alden
ARCHITECTS
Lindeberg
203
Harlow
41
Atterbury, Grosvenor
&
Bailey
Bassett
55
Donn
Barber,
William
Bates,
95, 147
231
143
'
Benedict, William
99
Boynton, Louis
103, 173
Bragdon, Claude
211
Busselle, Alfred
Cope
&
Stewardson
&
Davis
115,127, 163, 165
McGrath
McGrath
Davis,
71, 183
&
229
Shepard
65
Dow, Joy Wheeler

Elzner
&
Embury
Ewing
&
39, 121, 145
Anderson
69
Aymar
81, 83, 85, 87, 89, 129
II,
Chappell
-55
Eyre, Wilson
Ford,
Lyman A.
79>
59> 167
...................
262
101
LIST OF
ARCHITECTS
PAGE
Gildersleeve, Raleigh
Greene
&
Griffin,
Percy
67
Greene
217 219
221
ro
Grey, Elmer
ng
&
Hale
Rogers
Hering, O.
Hunt, Myron,
&
........
Elmer Grey
31, 181
77, 109, 223, 225, 237
W
Jones, Sullivan W
Jackson, Allen
130
1 1
Keen, Charles Barton
Keen
&
Kilham
Kirby,
21
& Hopkins
Petit & Green
Little, J.
&
23, 25
49
Whitney
Lewis, William
Lord
59, 61, 75, 117
Mead
153
Lovell
197
Hewlett
19
MacKenzie, G. C
Maher, George
97
W.
205, 207, 209
Mavbeck, Bernard
227
McGonigle, A. Van Buren
199, 201
Mead, Frank B
Metcalfe, Louis
Moses, Lionel
131
....................
Nichols, George
137
47
91
263
LIST OF
ARCHITECTS
PAGE
&
Parker
Piatt,
Thomas
Charles
179
29,43,45,63,151,243,245
Pope, John Russell
135
Purdon, James
Rantoul, William
Shaw,
Slee
27, 23
161
Howard
&
Bryson
189, 191, 193, 195, 241

187, 239
Smedley, Walter
113
Sneden, A. Durant
185
Spencer
Stratton
Taylor
Tietig
Wilder
& Powers
& Baldwin
133, 235
& Levi
& Lee
&
Winslow
Wyatt
157, 169
&
105, 141
213
White
&
171
Bigelow
155, 175, 177
Nolting
73
264-

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Architecture Library

BOUGHT w.TH THE INCOME OF THE

SAGE ENDOWMENT FUND

PUBLISHED BY THE CENTURY CO.

The Century Co.

THE DE VINNE PRESS

The New American Architecture

The House and the Garden

NEW ENGLAND COLONIAL

HOUSE FOR AUSTIN W. LORD, WATER WITCH,

Lord & Hewlett, Architects.

HOUSE FOR MR. CHAUNCEY OLCOTT, SARATOGA

THE PITMAN RESIDENCE, BROOKLINE, MASS

THE BRIGGS RESIDENCE, BROOKLINE, MASS

HOUSE FOR WILLIAM

GRAY, DEDHAM, MASS

James Purdon, Architect.

THE CHENEY RESIDENCE, SOUTH MANCHESTER, MASS

HOUSE FOR MR. WITHERBEE BLACK, PELHAM MANOR,

HOUSE AT NEEDHAM, MASS

James Purdon, Architect.

THE SWIFT RESIDENCE, LARCHMONT,

Joy Wheeler Dow, Architect.

THE SAMUEL ADAMS HOUSE, SEWICKLEY,

CABOT, CANTON, MASS

Charles A. Piatt, Architect.

HOUSE OF HOWARD CLARK, BRISTOL,

Charles A. Piatt, Architect.

THOMAS, SHEEPSHEAD BAY,

Lionel Moses, Architect.

RESIDENCE OF ERNESTUS GUL1CK, GARDEN CITY ESTATES,

THE FRANKENBERG HOUSE, GREENWICH, CONN

WISE RESIDENCE, EAST ORANGE,

Percy Griffin, Architect.

RESIDENCE OF DR. MARSDEN, CHESTNUT HILL, PA

Charles Barton Keen, Architect.

THE MATHERS FARM-HOUSE, GERMANTOWN,

Charles Barton Keen, Architect.

RESIDENCE OF MR. JOHN CHAPMAN, TARRYTOWN,

Charles A. Piatt, Architect.

RESIDENCE FOR MRS. PROBST, ENGLEWOOD,

TAYLOR PYNE HOUSE, PRINCETON,

Raleigh C. Gildersleeve, Architect.

THE RAMSAY HOUSE, CLEVELAND,

RESIDENCE OF ALFRED BUSSELLE, CHAPPAQUA,

Alfred Busselle, Architect.

MR. WYATT'S RESIDENCE, BALTIMORE,

A REAL ESTATE OFFICE,

Charles Barton Keen, Architect.

HOUSE FOR MRS.

THE CRENSHAW COTTAGE, GERMANTOWN,

E. SPEER, LOS ANGELES,

Wilson Evre, Architect.

COTTAGE OF MR. HENRY

"APPLEDORE," BOUND BROOK,

BULL HOUSE, TUCKAHOE,

RESIDENCE OF MRS. ETHEL

GEORGE BARBER, ENGLEWOOD,

George Nichols, Architect.

HAVEMEYER'S HOUSE, BAYBERRY POINT,

Grosvenor Atterbury, Architect.

MR. MACKENZIE'S RESIDENCE, OYSTER BAY,

THE REIDERMEISTER HOUSE, ENGLEWOOD,

William K. Benedict, Architect.