An architectural monograph on some old houses on the southern coast of Maine

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Trogramtne of Third Annual

Architectural Competition,

onT'ages Tifteen and Sixteen,

IVith Introductorylextby

CHowdtdWalket

Copyright, 1918

George F. Lindsay, Chairman

White Pine Bureau

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THE JEWETT HOUSE, SOUTH BERWICK, MAINE.

A remarkably well proportioned and delicate Roman Doric porch. Note the filling of the
flutes in the lower third of the columns to avoid too great apparent slenderness in the columns.

1&WH1TE. PINE SERlESa^

ARCHITECTURAL MONOGRAPHS

ABI-MONTLY PUBLICATION 5UGGLSTING TE
ARCHIXCTURAL U5LS a WHITE PINE AM) US
A/ALABLITY TODAf AS A STRUCTURAL WGDD

Vol. IV

APRIL, 191S

No. 2

SOME OLD HOUSES ON THE SOUTHERN

COAST OF MAINE

Bv C. HOWARD WALKER

Mr. Walker was born in Boston and is a descendant of one of the Yankee skippers of wliom he writes.
While practising as an architect in Boston for years, Mr. Walker has been interested in the various types
of Colonial work. — Editor's Note.

PHOTOGRAPHS BY JULIAN A. BUCKLY

THE Yankee skipper feeling his way in the
soft fog that lies along the southern
Maine coast, in August, watching the
chart spread in the wheelhouse beside him, sees
upon it the lines of the streams flowing southerly
into the sea, as the rain drops run down a win-
dow-pane at the beginning of a shower. They
waver in their courses as they swerve around
highlands, now reaching straight through mead-
ows and spreading into inland ponds, now tortu-
ously winding amidst rocky ledges, but always
tending southeasterly until they form estuaries
up which the sea tide rushes to meet the waters
from the forests and the hills.

Down these streams float the rafts of lumber
from the pinelands, cut in the forests of Aroos-
took, and at the headwaters of the Androscoggin,
the Penobscot, and the Kennebec. Deep in the
forests, far up on the mountain side, lie the
camps, busy through the white winters with the
work of many lumbermen who are felling the
monarchs of the trees, the tall, slender, straight
white pines of the northland.

It is a strange anomaly that the white pine,
with its home in a land of harsh winters, growing
amidst the constant stress of wind and storm,
should have a fiber straight as a ruled line, a
surface soft and smooth as silk, and that its
grain, instead of being gnarled and twisted.

should be so even and fine that it will respond
to the most delicate of carving.

The logs, brought down over the snows to
the streams, float down in broad rafts to the
more open reaches of the rivers, to the mill
ponds where the streams are dammed, and there
are sawn in lengths and widths, into scantling
and plank and board, and sent to their destina-
tions.

The Yankee skipper knows all of this. He has
loaded his decks at the head of navigation and
is now distributing his cargo. He knows every
inch of the varied coast of Maine, the long fin-
gers of land stretching out into the sea, the inlets,
and bays, and islands, and reefs; and even in the
fog he has little need of his chart, but the chart
itself shows penetrating arms of the sea running
deep into the land to meet the rivers, each of
which ramifies into little bays and coves and
back waters and into numerous almost land-
locked harbors in which navies might ride. And,
like the Greeks of Leigh Hunt, the skipper "is
always putting up harbors and creeks," for there
lie his markets which he can supply from the
source directly.

The coast cities of Maine lie up these inlets,
and in the cities and upon the banks of the bays
and coves the merchants of Maine built their
houses.

THE WHITE PINE MONOGRAPH SERIES

The first century after the Revolutionary War
was one of active shipping interest in New Eng-
land. The East India trade created a long and
famous list of clipper ships, which gave prosper-
ity not only to Salem, Newburyport and Ports-
mouth, but to Portland and Bath and other
Maine coast towns.

The whaling fleets of Martha's Vineyard,
Nantucket and New Bedford were aided by the
Maine shipyards, and both commerce and ship-
building industry brought prosperity.

In the years between the end of the Revolu-

manded them and sailed from and came home to
their own doors.

There are no more numerous or better land-
locked harbors for 'Titting out," while safely
protected from ail interference, than on the coast
of Maine. The Dalmatian coast of the Adriatic
and the gulfs of the Grecian peninsula alone
compare with it. The famous Bonne Homme
Richard of John Paul Jones was "fitted out"
in the Great Bay up the Piscataqua River, and
many a cargo has been laden from some con-
cealed nook between York and Campobello.

THE HOBBS HOUSE. SOUTH BERWICK, MAINE.
A very simple house of unusually good proportions.

tionary War and the War of 1812 there is in-
creasing evidence of comfortable fortunes having
been amassed by local merchants all along the
Atlantic coast, for larger and more important
private houses are being built everywhere, not
only in the towns themselves, but often at quite
a distance from them. Especially is this the case
in the first decade of the nineteenth century.

Sheltered from the sea by outlying islands, as
at North Haven, or nestled in behind promon-
tories or headlands, with still waters at the foot
of grassy slopes, are to be found the homes of
these amphibiously minded merchants of Maine,
men who sent out their own ships and often com-

Our Yankee skipper has been standing in
closer to land, and suddenly he runs out of the
fog into clear sunshine. As he emerges the long
white mass of mist stretches right and left like
a sheer wall cut by a knife. It seems as if by
looking back he might see in it the hole he had
left in emerging. The land breeze, dry and hot,
is beating the fog out to sea, and before him is
spread the charming fantastic coast of Maine:
rocky ledges, gray at their crowns and russet
and red and purple as they dip into the tide,
upon their tops and sides twisted cedars and
hardy savins, long reaches of green salt marsh,
deeper touches of upland meadow, and every-

THE WHITE PINE MONOGRAPH SERIES

HOUSE AT WELLS, MAINE.
Well-proportioned facade, with wall texture refined by narrow clapboards.

THE JUDGE HAYES HOUSE, SOUTH BERWICK, MAINE.
Gabled type, ample in effect. Balustrade over porch unnecessary, too high.

SOME OLD HOUSES ON THE SOUTHERN COAST OF MAINE

where little or large inlets setting into the
land.

Over the crest of one of these rocky hillocks
are broad masses of spreading elms, grouped to-
gether as if planted with a purpose. That pur-
pose is manifest as the point of land is weathered
and the inlet opens, for amidst the trees is a
broad white mass, a simple rectangular shape,
set four-square to the winds, with a low-pitched
roof and ample chimneys above it at each end.
It is nestled among the trees, which were planted

apparent importance of the house with which
they are associated. But there may be a long L
of outbuildings, or a considerable barn.

Many of the houses in Maine were built be-
tween 1800 and 1810. That decade is an im-
portant one in residential building in American
Eastern cities. The early economies of the years
following the Revolutionary War were no longer
felt necessary, and comfortable living, such as
had been in the Colonies before the great strug-
gle, began to reappear.

THE ROBERT LORD HOUSE, KENNEBUNK, MAINE.
Type simulating stone upon fagade by the use of matched sidings.

to give it shade from the summer's sun, and is
the homestead of some merchant of Maine, or at
least was such in the early days of the last cen-
tury, and may at the present time be the summer
home of a resident from a distant city.

It corresponds in a way with the planters'
homes of Virginia, though it has no dependencies
of the slave quarters, nor buildings for the hous-
ing of farm laborers. For the farm laborer of
the North has usually a little home of his own at
a distance. Also the income of this homestead
is not necessarily from the farm; it comes from
merchant shipping, so that very often the farm
buildings seem disproportionately small for the

The traditions of Colonial architecture had
not been disturbed by the turgid stream from
other sources that later appeared. When rela-
tions were reestablished with England, importa-
tions of the minor factors of house building
again made their appearance. Hardware, wall
papers, relief ornaments for mantels, etc., were
often brought from London, but a skilled race
of New England carpenters and of carvers had
been created who, however, manifestly looked to
the English pattern books, published and repub-
lished since 1700, for their designs of mouldings,
cornices, and entablatures, for portals, and even
for fagades, which latter fact somewhat accounts

THE ROBERT LORD HOUSE, KENNEBUNK. MAINE.

Details especially good. Balustrade at top too weak at the corner. Sentinel window
in gable upon entrance axis is out of harmony with the shape of the other openings.

THE SMITH HOUSE, WISCASSET, MAINE.

Admirable cornices, both upon main facade and the smaller masses. Note
the angle of these cornices is more acute than 45 degrees, which is usually
the case in Colonial exteriors, and gives an effect of additional refinement.

10

THE WHITE PINE MONOGRAPH SERIES

for the custom of often confining the architec-
tural treatment to the facade alone, leaving the
other elevations largely to take care of them-
selves, and also for the different surface treat-
ment of facades to imitate stone antecedents,
while the ends were frankly clapboarded or at
times built of brick.

The classic styles originated in wood, the col-
umns were tree-trunks, the facias boards, the
mouldings cleats; and the reversion to wood in
America was the most natural thing in the world.

cess of material, their charm being that of simpli-
city without crudeness, based upon proportions
obtained from the books of English masters.

The work in New England, somewhat more
indigenous than elsewhere in the States, was
more refined in its detail than elsewhere. There,
is more attention paid to entasis of columns, to
fineness of fillets, to subtlety of curved profiles
to mouldings. The fact is interesting, for Eng-
lish detail was less careful in contrasting sec-
tions, and in delicacy and avoidance of monot-

THE SMITH HOUSE, WISCASSET, MAINE.

Extremely well proportioned, having almost monumental
quality. There is a good portal behind the storm porch.

The style was going back to its original ancestry
and in doing so became delicate and refined. For
there is nothing so manifestly absurd as an ex-
cessive use of bulk of wood, both for aesthetic
and structural reasons. The classic wooden
architecture of New England gives evidence of a
very intelligent use of the material, which was
maintained after the Georgian style in England
became heavy and dull and cumbrous. That
this is largely due to an appreciation of the
possibilities of wood, and of white pine espe-
cially, is constantly manifest. Seldom in these
houses of the early nineteenth century is there ex-

ony. A comparison of Virginian Colonial details
which were derived at a better period directly
from England justifies this statement.

It is known that many of the New England
carpenters were also ship carpenters and figure-
head carvers, and there is no education relating
to the beauty of lines and curves better than that
obtained in designing ships. An appreciation of
line and form became second nature to these
men, and when it was associated with so ad-
mirable and amenable a material as white pine,
it would be strange indeed if the results were not
good.

THE SEWELL HOUSE, YORK, MAINE. Detail of Entrance.

Dignified portal with adequate arch moulding. Note
that the pilasters as well as the columns have entases.

12

THE WHITE PINE MONOGRAPH SERIES

Necessary economies also created the restraint
so essential in fine classic architecture. An inter-
esting example of this is shown by the illustra-
tions of two houses in Wiscasset. One, the Wil-
liam Nickels house, was built in 1807—08, and
has both upon piazza and the house itself a very
admirable Corinthian order without modillions
but with double rows of contrasting dentils,
Greek in feeling. The piazza balustrade was
unfortunately added about 1890 with no regard
for or knowledge of the charm of the old work.
Mr. Abiel Wood began his house in 1812 with

distinction. Classic architecture originates as a
one-storied style, it progresses as a two-storied
style, and later still more stories are added. The
difficulty of adding these stories successfully in-
creases geometrically with the increasing number
of stories. This must necessarily be the case, as
with the addition of each story the design
departs farther from the original source of
its inspiration. Therefore some of the smaller
and simpler two-storied houses of more modest
type built outside the towns are sometimes the
more attractive.

THE ABIEL WOOD HOUSE, WISCASSET, MAINE.
Simple and well proportioned.

the distinct intention of outdoing the Nickels
house, but had to practise economy, and, taking
several years to complete the house, omitted the
pilaster treatment; yet the house is bettered in its
proportions, especially in those of the Palladian
windows in the second story, and the arched
window over it in the third story. This latter
window is a favorite terminal factor of the axis
motive of a facade in houses on the Maine coast,
though not peculiar to them.

The question of proportions is always some-
what intangible and often houses with the least
embellishment give an impression of the greater

It was to such houses as these that the coaster
brought her lumber, landing it on the shore be-
low the site, where the frame was cut and mor-
tised and tenoned and pinned, with the strong
corner posts which so often show in the rooms
and become cased pilasters. It was here that,
after each side had been put together upon the
ground, the day of the house-raising was
observed, bringing together the interested neigh-
bors and celebrated by a liberal distribution of
hard cider to the workmen. And later the coast-
ers bring the boards and sidings and clapboards,
and the stock of greater thickness for the pilas-

SOME OLD HOUSES ON THE SOUTHERN COAST OF MAINE

13

ters, all of which is planed and fitted to as near
perfection as the carpenter, proud of his repu-
tation for skill, can perform his work. The
fluted columns, the dentil courses with the infi-
nite variations, which characterize so much of
this work, were probably done in a neighboring
town, of the finest, clearest white pine, without
a blemish, thoroughly dried, and a pleasure to
look upon even before it was touched by a
plane. The carving may have come from farther
afield. Pieces of English carving in mahog-
any made by some London master, even per-
haps by Grinling Gibbons himself, have been
found behind the paint of New England mantels,
having been imported and used as models and
repeated in the remainder of the work in white
pine.

Two of the simpler two-storied buildings are
illustrated: one the Hobbs house at South Ber-
wick, the other at Wells, not many miles away:
one on the river, the other not far from the
shore. The Hobbs house could not be simpler,
but its proportions are admirable, and the details
refined. Its hopper roof is surmounted by a
balustrade of plain cylindrical balusters, well
spaced.

In studying the books from which the car-
penters worked, it will be noticed that they are
lacking in examples of good turnings, and the
weakest details of many otherwise excellent Colo-
nial designs are in the balusters. This is not the
case with staircase balusters. The Hobbs house
balustrade and the fence to the Sewell house at
York, indicate that turnings are not necessary,
and that they may be too small in scale for the
rest of the work.

The smaller houses seldom are covered with
the broad matched sidings which were used to
give the appearance of the smooth surface of a
stone ashlar face. This work was confined to the
more ambitious examples and upon their main
fagades. But the clapboards which covered most
of the walls were not of the coarse modern va-
riety, laid as per specification 434 inches to the
weather. On the contrary, they were clear and
thin and often laid three inches to the weather,
and at times the widths of the overlaps were
graded up the wall. The fine narrow spaces be-
tween the shadow lines gave scale and texture to
the wall surface. These narrow clapboards are
to be seen upon the Wells and York houses.

The Smith house at Wiscasset has a broad
overlapping siding. This house is unusually
fine in its proportions. Its end walls are brick,
the thickness of the wall, painted white, showing
at the ends of the facade. The cornices are fine
in their thin overshooting angle, but the Ionic
cap is heavy in its scrolls. The balustrade is

very well proportioned to the mass of the house.
The Sewell house at York has great distinction
in proportions and an unusually fine portal with
Ionic columns in antis. The broad simplicity
of the details of the house and its vigor of treat-
ment are exceptional. It has the dignity of late
Georgian work with the finesse of the Colo-
nial.

In the towns themselves, as in Salem and New-
buryport and Portsmouth, the old sea captains
and merchants built their houses almost directly
upon the streets, the gardens at the back. These
houses are treated usually with pilasters, either
Ionic or Corinthian, running through two stories.
If the house has three stories the lower story is
made, as in the old Dole house in Portland and
the Nickels house at Wiscasset, a high base or
podium for the upper stories, not, as often occurs
elsewhere, with the pilaster in the first two
stories, and the third story an attic above the
entablature. The outer pilasters are kept well in
from the corner, thus announcing the fact that
the architectural treatment is for ornament only.
Also the entablature breaks thoroughly, the
break being carried through the cyma, not stop-
ping at the sofllt of the facia, or planceer. The
definition of stories by a belt course is usual, but
not universal.

On the old Dole house the very delicate porch
is surmounted by a villainous balustrade.

It will be noted in several of these houses that
the center axis is accented by a third-story
arched window, between the square openings at
the sides. This is one of Palladio's novelties, of
which he had several. It alwajs looks inter-
polated, and is at its worst when the arch is
doubled concentrically as in the Nickels house.
It is a favorite motive in the first decade of the
nineteenth century and an ill-advised one. A
glance at the Sewell house at York will show
that its omission is a virtue.

In the illustrations of portals, that of the
Jewett house at South Berwick is unusually fine,
and the treatment of fine herring-bone reeds in
the pilasters of the Nickels house is unique and
shows how effective can be a very simple method
of obtaining interesting texture.

And so our skipper sails up the river, anchors
off a pier, goes ashore in his boat, and spends his
afternoon in the counting-house of one of the
ship-owners, who is also a builder of the digni-
fied houses of Maine. He may have done so in
the early part of the last century, he may do so
to-day, for still are the forests being felled, still
is the white pine being sawn and planed and
chiseled and carved, still are the houses being
built, and, by good fortune, following the good
old styles of years ago.

PM^^\'

THE NICKELS HOUSE, WISCASSET, MAINE. Detail of Entrance Doorway.

Interesting textures obtained by very simple means. The graduation of the reeds and darts
in the arch from the same centre as the divisions of the fan-light, instead of being at right
angles to the arch curve, is unusual, as is also the herring-bone reeding of the pilasters.

The White Pine Monograph Series
THIRD ANNUAL ARCHITECTURAL COMPETITION

PROGRAMME FOR A HOUSE FOR THE VACATION SEASON

OUTSIDE FINISH TO BE OF WHITE PINE

PRIZES AND MENTIONS

Design placed first will receive -
Design placed second will receive
Design placed third will receive
Design placed fourth will receive
Six Mentions

- I750

- $400

- $230

- $100

Jury
of Award

' Claude Bragdon, Rochester
Wm. Adams Delano, New York
Hugh M. B. Garden, Chicago
J. Harieston Parker, Boston
Howard Sill, Baltimore

All Architects and Architectural Draftsmen are cordially invited to compete

Competition closes at 5 p.m., Wednesday, May i, igi8

judgment. May 77 and iS, igi8

THE great interest shown by architects in
the two Competitions conducted by
the White Pine Monograph Series has
prompted us to hold a Third Competition this
year, in spite of the unfavorable conditions
prevailing throughout the country. After due
consideration, it
was felt that
this Competi-
tion, while not
interfering with
any patriotic ac-
tivities of indi-
viduals, might
find some with
the leisure to
give to its study
who at another
time would be
debarred, and so
a distinct contri-
bution may be
made to our ar-
chitectural prog-
ress.

As a foreword,
we may recall to
thedesignersome
of the benefits to
him which result from his entrance into such a
Competition :

In the exercise of his skill in solving the prob-
lem and in presenting such solution in an attrac-
tive and convincing form, he is contesting with
his peers, both by brain and by hand, thereby
gaining strength for his private professional
practice as truly as the athlete trains himself by
the physical competition.

In the definite knowledge of the merit or rela-
tive merit of the result, in private practice the
client is usually the ultimate judge. In one case
a meritorious solution may be turned aside by
some whim, while in another a scheme of inferior
merit may meet an enthusiastic reception. In
this Competition the high professional standing

SURVEY OF THE PROPERTY.

of the Jury gives assurance that the relative rat-
ing of the contestants would have the concur-
rence of the profession at large, or at least would
not be dissented from in any marked degree. A
fairly true mirror is held up in which one may
see his architectural face.

The advantage
to the authors
gained by the pub-
lication of the
best designs. Ar-
chitects have often
informed us of the
clients who had
come to them
from having seen
their work, not-
withstanding the
fact that the work
seen was not at all
such as the clients
would wish to se-
cure for them-
selves. What im-
pressed them was
that a good solu-
tion of certain
conditions had
been found, and
the inference was gained that there were prob-
ably other good solutions in that architect's head.
It is with this thought in mind that we have
taken a problem which is in itself less common
in practice than those heretofore chosen.

Much of an architect's practice is likely to in-
clude the less usual problems where his ingenuity
and grasp of the essentials are called into play.
Therefore we have allowed the client to intro-
duce in his own language the following:

PROBLEM: "Here is a survey I have had made of my
plot of land by the lake, on which I want to build a
White Pine house, for use during the six open months
of the year. With the information which I shall give
you, you will not need to visit the property. The lake
runs north and south. The shore is hilly and fairly
well wooded, also somewhat rocky, and you will see that

i6

THE WHITE PINE MONOGRAPH SERIES

my own plot has those characteristics. My site is on
the east side near the north end, and contains a blunt
point from which a view is obtained looking south-
west, down the lake for several miles; the prevailing
breeze is from that direction. The scenery across the
lake is also of interest. One approach is by boat, and
you will see indicated the place where 1 have collected
stone for a dock foundation, and you may have in
mind the general appearance of a boat-house to be
built later, to contain a motor-boat, and to have a
landing for row-boats, with perhaps a small tea-house
or lookout shelter connected with it. This is not to be
built now. and 1 merely mention it because of its prom-
inent position on the property. Just back of my site
is a road which runs through a typical American com-
munity, and 1 wish my house to be appropriate to that
village, and not to partake too much of the cabin or
so<alled bungalow design from the mere circumstance
that it is on the lake.

"1 do not want to spend more than I5000 for the
house. If the size and number of rooms which I con-
sider necessary indicate a larger house than it is pos-
sible to build for that amount under normal building
conditions, you may suggest dual use of certain of the
rooms. 1 might say, however, that Mr. Jones told me
that his house, built in the neighborhood of my site,
contains 38,000 cubic feet and cost approximately what
I have to spend.

"1 need a good-sized living-room, not smaller than
I5'X24', with a fireplace la-'ge enough for big logs, and
a dining-room, connecting, if possible, with a porch
where meals could be served. 1 would also like to have
a small room for books, guns, fishing tackle, etc. If
the contour of the land where you suggest placing the
house will permit of a room for billiards, etc., without
too much excavation, 1 would like it. 1 do not object
to having two or more levels in the floors.

"My family consists of my wife, two children, a boy
(fourteen) and a girl (ten), and myself. We are seldom
without guests, and plan to keep 'open house,' so we
would like to have five bedrooms, which may be small
if well ventilated, and at least two bathrooms. Also
additional accommodations for servants. We would
have no objection to having sleeping quarters on the
ground floor. A sleeping porch is essential. The ser-
vice portion should have a kitchen, either a porch or a
small sitting-room, and of course plenty of closet room.

"Although the house will be used during the open ■
months, some arrangements for heating must be rnade
— either sufficient open fireplaces or space provided
for a small heating apparatus.

"The outside finish of the house is to be of White
Pine; everything else I leave to you. By outside finish
I mean siding and corner boards; window sash, frames
and casings; outside doors, door frames and casings;
outside bhnds; all exposed porch and balcony lumber;
cornice boards, brackets, ornaments and mouldings,
etc., not including shingles. Plastering is not neces-
sary in all the rooms and we shall attend to the wall
covering ourselves.

"1 have marked the place where a foundation for a
garage has been started, but that will not be completed
now. It may, however, have some bearing on the en-
trance from the road."

IT IS REQUIRED TO SHOW: A pen-and-ink perspec-
tive of the subject at 54 inch scale clearly indicating
the character of the exterior finish. Plans of the first
and second floors at l4 inch scale, blacked in solid,
with the dimensions of each room given in good-sized
figures. Two elevations at % inch scale. A cross sec-
tion at % inch scale showing all heights. A key plot
plan at small scale showing what is in the contestant s
mind as the desirable development of the entire prop-
erty. Detail drawings at % inch scale of special feat-
ures and of the fireplace side of the livmg-room.
Profiles of the exterior details at 3 inch scale, in suf-
ficient number to present the subject adequately and
attractively. Graphic scales must be shown in all cases.
lUDGMENT: The Jury of Award will consider first:
The architectural merit of the design, and the in-

genuity shown in the development of the plans to meet
the client's needs as he has stated them; second: The
fitness of the design to express the wood-built house;
third: The appropriateness of the design to the given
site and the skill shown in indicating the possible fu-
ture development of the entire site.

Excellence of rendering of the perspective, while de-
sirable, will not have undue weight with the Jury, in
comparison with their estimate of the contestant's real
ability if otherwise shown.

Tlie Jury positively will not consider designs which
exceed }8,ooo cubic feet, or which do not conform in
all other respects to the conditions of the Competition.

PRESENTATION: Drawings are to be shown on two
sheets only. Each sheet is to be exactly 23 x 30 inches.
Plain border lines are to be drawn so that the space
inside them will be exactly 2iJ4>< 27^/2 inches. What-
man or similar white paper is to be used. Bristol board
or thin paper is prohibited, and no drawings are to be
presented mounted. All drawings must be made in
BL.ACK ink. Diluted black ink is particularly pro-
hibited. Color or wash on the drawings will not be
permitted. All detail drawings are to be shown on one
sheet. It is especially required that the perspective
be accurately plotted. There is to be printed on the
drawings as space may permit: "DESIGN FOR A
WHITE PINE HOUSE FOR THE V.ACATION SEA-
SON." The drawings are to be signed by a nom de
plume or device. (3n the sheet containing the floor
plans, in a space measuring 4X5 inches, enclosed in a
plain border, is to be printed the contestant's calcula-
tion of the total cubage.

COMPUTATIONS: The cubage shall be figured to
include the actual contents of the house, computed
from the outside of all walls and foundations and
from the bottom of excavation or from the bottom of
floor beams in any unexcavated portion and to the
average height of all roofs. Open porches and sleeping
porches where projecting shall be figured at one-third
actual cubage.

The cubage will be carefully checked by an architect
and a contractor.

DELIVERY OF DRAWINGS: The drawings are to
be rolled in a strong tube not less than 3 inches in
diameter, or enclosed between stiff^ corrugated boards,
securely wrapped and sent to RUSSELL F. WHITE-
HEAD, EDITOR, 132 MADISON AVENUE, NEW
YORK, N. Y., to reach him on or before Wednesday.
May 1, 1918. Drawings delivered to Post Offices or
Express Companies in time to reach the destination
and to be delivered within the hour set for final receipt
will be accepted if delayed by no fault of the Com-
petito'. Enclosed with the drawings is to be a sealed
envelope bearing on the outside the chosen nom de
plume and on the inside the true name and address
of the contestant. Drawings sent by mail must be at
the first-class postage rate as required by the Postal
Regulations.

RECEIPT OF DRAWINGS: Designs will be re-
moved from their wrappers by the Editor, who will
place a number upon each drawing and the corre-
sponding number on the enclosed sealed envelope for
purposes of better identification. The envelopes will
not be opened until after the awards have been made.
THE PRIZE DESIGNS are to become the property
of The White Pine Series of Architectural Mono-
graphs, and the right is reserved by this publication to
publish or exhibit any or all of the others.
PUBLICATION OF DESIGNS: The Prize and Men-
tion drawings will be published in the .August. 1918.
number of the Monograph Series, a copy of this issue
being sent to each competitor.

Where drawings are published o-- exhibited the con-
testant's full name and address will be given and all
inquiries regarding his work will be forwarded to him.
RETURN OF DRAWINGS: Unsuccessful contestants
will have their drawings returned, postage prepaid.
direct from the Editor's ofl!ice.

List of Members of

THE NORTHERN PINE MANUFACTURERS' ASSOCIATION OF
MINNESOTA, WISCONSIN AND MICHIGAN

Cloquet Lumber Company Cloquet, Minn.

Crookston Lumber Company Bemidji, Minn.

DuLUTH Log Company Duluth, Minn.

Johnson-Wentworth Company . Cloquet, Minn.

The J. Neils Lumber Company Cass Lake, Minn.

Nichols-Chisholm Lumber Company Frazee, Minn.

Northland Pine Company Minneapolis, Minn?

The Northern Lumber Company Cloquet, Minn.

Pine Tree Manufacturing Company Little Falls, Minn.

Red River Lumber Company Akeley, Minn.

Rust-Owen Lumber Company Drummond, Wis.

St. Croix Lumber & Mfg. Company Winton, Minn.

Shevlin-Clarke Company, Ltd Fort Frances, Ont.

J. S. Stearns Lumber Company Odanah, Wis.

The I. Stephenson Company Wells, Mich.

David Tozer Company Stillwater, Minn.

The Virginia & Rainy Lake Company Virginia, Minn.

List of Members of
THE ASSOCIATED WHITE PINE MANUFACTURERS OF IDAHO

Blackwell Lumber Company Coeur d' Alene, Idaho

Bonners Ferry Lumber Company Bonners Ferry, Idaho

Dover Lumber Company Dover, Idaho

HuMBiRD Lumber Company Sandpoint, Idaho

McGoLDRicK Lumber Company Spokane, Wash.

Milwaukee Land Company St. Joe, Idaho

Panhandle Lumber Company Spirit Lake, Idaho

PoTLATCH Lumber Company Potlatch, Idaho

RosELAKE Lumber Company Roselake, Idaho

Edward Rutledge Timber Company Coeur d' Alene, Idaho

Any information desired regarding JVhite Pine will he furnished
hy any member of either Association or by the

WHITE PINE BUREAU

Merchants Bank Building, Saint Paul, Minnesota

Representing
The Northern Pine Manufacturers' Association of Minnesota, Wisconsin
and Michigan and The Associated White Pine Manufacturers of Idaho

14 DAY USE

RETURN TO DESK FROM WHICH BORROWED

LOAN DEPT.

This book is due on the last date stamped below, or

on the date to which renewed.

Renewed books are subjea to immediate recall.

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