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HANDBOUND
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An Architetural
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JOSEPH EVEETT CHANDLER
Prepared for publication by
Duffel I TWhiteheadformertyEdftor
cfTheJZrchitectural 'Record
and The &ricKb uilder.
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Photograph by Julian Buckly

THE CAPEN HOUSE AT TOPSFIELD, MASSACHUSETTS. Detail of Gable

Built during the second half of the 1 7th century ; an example of the framed overhang type.
The central bracket supporting the gable overhang is the original; the "drops" are restored.

ffie WHITE PINE SERIES

o/ARCHlTECTVRAL MONOGRA.P

** A BI-MONTHLY PUBLICATION SUGGESTING THE

ARCHITECTURAL USES OF WHITE PINE AND ITS
AVAILABILITY TO-DAY AS A STRUCTURAL WOOD

Vol. I

COLONIAL COTTAGES

SALUTATION

IN the early part of the nineteenth xentury
there flourished in Boston a very eccentric
character by the name of Timothy Dexter;
no matter how unsound Mr. Dexter's business
ventures seemed at their inception, they in-
variably turned out successfully. None was
more characteristic than the incident wherein
Mr. Dexter chartered a sailingvessel and shipped
a cargo of old-fashioned warming pans to the
West Indies!

In place of this being a complete loss, the
natives discovered in these warming pans-
minus the charcoal inside — exactly the imple-
ment they long had needed, not only as a ladle
but also as a strainer for their sugar-cane. By
this venture Mr. Dexter, it is reported, estab-
lished a profitable trade in warming pans to
the tropical islands.

This incident does not lack pertinence in
introducing a series of Monographs for the
architectural profession, for it oftentimes seems
that when literature issued by a manufacturer
has the good fortune to reach its goal, it is only
by some such stroke of good luck as befell
Mr. Dexter.

In issuing this Monograph Series the White
Pine Bureau does not intend to rely entirely on
Timothy Dexter's good luck. To edit this series
we have obtained the co-operation of Mr. Rus-
sell F. Whitehead, formerly Editor of "The
Architectural Record" and of "The Brick-
builder, "now a practising architect, whose abil-
ity has, we feel, been demonstrated. In addi-
tion to Mr. Whitehead's experience and our own
resources, we hope that we may be favored with
the good fortune that befell Timothy Dexter,
but we are trying to take nothing for granted.

The Monograph Series will present classified
illustrations of wood construction, critically
described by representative American architects,
of the most beautiful and suggestive examples
of architecture, old and new, which this country
has produced. Appreciating that most archi-
tects prefer to form their own conclusions from
good photographs, the pictorial side of the work
will be made the dominant feature, being in

charge of Mr. Julian Buckly, architectural phojf
tographer. In selecting subjects the highest
standard will be maintained, and they will be
chosen with special reference to their useful-
ness to the architectural designer. By this
discriminating choice of subject matter and the
quality of its plate reproductions, the Mono-
graph Series hopes to earn a place as a valuable
addition to the literature on architecture, and
thereby become worthy of preservation in a
library of standard architectural works.

This first Monograph on Colonial Cottages
inaugurates the series, and records some of
the remaining examples of the last half of the
seventeenth century, or that period in American
architecture which evidences the dignified be-
ginnings and basic strength of design of our
later and more refined Colonial architecture.
The text is contributed by Joseph Everett
Chandler.

The second Monograph will be devoted to
New England Colonial houses, which show the
various refinements that were introduced in
that later period ending with the Revolutionary
War. For this number Frank Chouteau Brown
will furnish the text.

Subsequent numbers will be issued every
second month, and each will contain an ex-
position of some type or style of building suit-
able for construction in wood.

The Monograph Series is published by the
White Pine Bureau, representing the North-
ern Pine Manufacturers' Association of Minne-
sota, Wisconsin, and Michigan, and The Asso-
ciated White Pine Manufacturers of Idaho.
The object of the Monograph Series is to further
acquaint the architect with "White Pine — Its
Qualities— Its Availability — Its Cost," which
subject is fully covered on page fourteen of
this issue.

The White Pine Bureau has entrusted the de-
tails of publication of the Monograph Series to
Mr. Whitehead, its editor, who is one of you, and
who will bring together through this publication
material that will, it is hoped, help you to solve
your problems involving the uses of wood.

Courtesy of Henry I. Fairbanks, Dedhatn, Mass.

THE FAIRBANKS HOUSE AT DEDHAM, MASS. Built in 1636

The oldest house in America (excepting possibly the shell and adobe
houses of Florida and California), which is now standing, in practically
its original condition. The central portion of the house is 279 years
old. It was built of White Pine, left unpainted, and remains to-
day a striking tribute to the enduring qualities of this material.

COLONIAL COTTAGES

OF MASSACHUSETTS DURING THE LATTER HALF
OF THE SEVENTEENTH CENTURY

By JOSEPH EVERETT CHANDLER

The restoration of the Paul Revere House, Boston, Massachusetts, was entrusted to
Mr. Chandler, as well as the restoration of" The House of the Seven Gables," Salem,
Massachusetts, wade famous by Hawthorne's story of the same name. — EDITOR'S NOTE

PHOTOGRAPHS BY JULIAN BUCKLY

WE read with absorbing interest how
students of Egyptian Archaeology
found in the Rosetta Stone, with the
aid of other inscriptions, the key to the hiero-
glyphics on the tombs and the obelisks, and by
it were enabled to interpret to the modern world
the records of bygone centuries. Wonderfully
picturesque and instructive to us have been the
translations of these Egyptian records, revealing
as they do the daily life of those days. Seldom do
we stop to think that a large part of the history of
the days of our own forefathers lies recorded in
the very walls of the houses they built. The
records are preserved in a somewhat different
way, it is true, but without the few houses that
remain, we should be at a loss to know in what
manner of domicile the early colonists lived
their lives, since the rare written documents of
that period make slight mention of the houses.
Were these buildings not preserved, we might
be picturing the colonists of New England as
living for many years in rough log huts, whereas
actually such rude shelters were rapidly re-
placed by houses of more or less finished crafts-
manship, and there are indications that even
during the first fifty years subsequent to the set-
tlement by the Pilgrims in 1620, considerable
thought was expended upon the aesthetic as
well as upon the practical side of the problem.

Some of the early craftsmen who became our
carpenter-builders in New England brought
with them from the mother-country certain
traditional methods of construction, and for a
period followed the ways with which they
were familiar. But the new country, with its
rigorous climate, rapid temperature changes
and frequent searching storms, as well as the
completely new materials with which they
were obliged to work, soon caused them to
adapt their work to the new conditions, with
results which were utterly distinct from any
work of the mother-country.

Unfortunately many of these early domiciles
have been destroyed, some because the small
villages of which they once formed a part have
now grown into cities, while others have been
torn down and replaced with newer and more
pretentious structures because of the persistent
(and perhaps regrettable) love of change char-
acteristic of the American people. Nevertheless,

in the eddies and quiet harbors of the territory
inhabited by the early colonists there can still be
found a few examples of the dwellings of our
forefathers, which seem to express in their sturdy
frames something of that strength of character
which the definite purpose, the aspirations and
the hopes of their original occupants quickly
gathered from the new soil. Their point of view
of life was peculiarly bound up in, and expressed
by, their family shells — their homes.

There was not much masonry used in our
early domestic architecture. The foundations
were of stone, frequently laid up in clay dug
from the cellars; the spaces between the tim-
bers of the framework were filled with soft brick
of home manufacture, often laid up in clay mor-
tar; the chimneys were of stone or of brick,
sometimes of the two in combination, with the
hearths of the fireplaces of smooth, large stones,
or of hard brick, or of large, heavy tiles brought
from the mother-country.

These few portions of the house were the
only ones not built of wood, for the frame-
work, the floors and the walls alike bear testi-
mony to the ease with which the native woods
were employed to further comfort and beauty.
Undoubtedly their builders gave thought to the
beautiful, even in those stern days of wresting a
livelihood from the new and difficult soil and
the waters which isolated them from the rest of
the world. Why otherwise should the summer-
beams which carried the overhanging second
stories have their edges chamfered, with beau-
tiful moldings carved into the chamfer, and
stopped at the ends with the familiar "lamb's-
tongue" ornament? The amount of care lav-
ished on these early buildings is surprising. At
the same time, had the material been oak, as it
was in the English houses, it could never have
been executed with the small means at the dis-
posal of the colonists. Instead of oak the colo-
nists used the strong, easily worked, compara-
tively light and entirely durable white pine, the
best of the plentiful native woods. The mass of
the house as well as the details was studied by
theircraftsmen-builders ; witnessthemany cases
where they were built with overhanging second
stories on the front or sides and occasionally
having the gable ends treated in a similar way.
This overhang was probably reminiscent of the

THE WHITE PINE MONOGRAPH SERIES-COLONIAL COTTAGES

random widths, inclining to be very broad, the
edges matched and the juncture carrying a series
of moldings which were flush with the faces
of the boards. In some cases a type of decora-
tion has been found of a curious dentil cut into
these moldings, which are then run between
the chimney girt and posts, on the edge of the
boarding. The under flooring of the upper
rooms was exposed and thereby formed a
roughly paneled ceiling between the girders
and joists, and this flooring was as interesting
seen from above as from below, for it was made
of great slabs of white pine held in place with
wooden pegs. In spite of the fact that they
were often two feet in width, because of the
nature of the material they show little shrink-
age and few cracks.

The posts, girts, summer-beams and joists
were usually exposed in the interior, and were
frequently of such great size that the construc-
tion might almost be called massive, although
they were put together in the most character-
ful way, tongued and pinned and oftentimes
decorated with moldings and chamfers. This
construction, so direct and convincing, has a
feeling quite distinct from that later work which
usually comesto mind when the word "Colonial"
is used, it being rather Gothic than Classic in its
charm and spirit.

The inside walls were usually plastered even

DETAIL OF OLD BROWN HOUSE,
HAMILTON, MASSACHUSETTS

The overhang is unusual in being a framed end showing end-
girt molded and chamfered. This is a fine type of "drop"
ornament depending from the posts framed into the projecting
second end- girt. " The House of the Seven Gables' in Salem
was found to be similar to this house.

traditional English construction, but was un-
questionably carried out because it was pic-
turesque, and not because of its utility or ease
of construction. Very frequently the overhang
was embellished with brackets, drops and
chamfered beams or girts, which show con-
siderable care and a decided feeling for form in
their selection.

The overhang on the front, which was a more
usual position for it than on the ends of the
building, generally had four carved ornamental
drops depending from the four girts, two at the
ends and two on the extension of the central
chimney girts, when the projection of the second
story was of "framed" construction and suffi-
cient to receive them. Possibly, at times,
brackets were used at either side of the front
door, and certainly when gable ends projected
they were frequently carried on brackets, some-
times of ornamental form, as was the case in
the Capen house, in Topsfield, Massachusetts,
which is in many ways one of the most inter-
esting of the remaining examples.

The interiors likewise were not built as was
most convenient, but show that care and
thought were displayed in treating the novel
conditions encountered by the early builders so
as to produce an interesting and often beautiful
effect. For example, many of the houses had
their interiors ceiled vertically with boards of

DETAIL OF OLD BRAY HOUSE, WEST
GLOUCESTER, MASSACHUSETTS

The corner post — "shouldered"— is roughly carved It
is a piece of ornamented construction of great interest.

COLONIAL COTTAGES

in the houses where the chimney end parti-
tions were covered with wood; and as most of
the early work was unpainted and left to darken
with age, the flooring only being sanded or
scrubbed, the combination of color was inde-
scribably warm, rich and satisfying, and com-
pleted most satisfactorily rooms of excellent
structural design. The days have happily not
gone by when many people consider this kind
of an interior much more attractive than one in
which the walls are covered with elaborate work
and painted innumerable coats, rubbed down
and glossed to a "piano finish." There is at least
one recent instance where an owner has built
his home in the form of this early period, leav-
ing the marks of the adze and other implements
on the wood, following the old methods of con-
struction carefully, the result being a modern
house thoroughly American in spirit and of
old-time honesty and charm of feeling.

These houses were in many ways different
from the later and better known Colonial type
on the exterior as well as within ; the roofs were
steeper, the houses thinner, and what little de-
tail there was, was of forms founded on Domes-
tic Gothic work rather than on those of the
period of the Classic Revival ; the chimneys usu-
ally were long and comparatively thin, instead
of massive and square as we should have expect-
ed, and were frequently embellished by project-

ing pilasters. An example of this sort of chimney
may be seen in the Boardman House atSaugus,
as well as in the Corbett House at Ipswich.

The green and white of the conventional
Colonial was likewise a thing of later develop-
ment, for many of the old houses have never
had a coat of paint. Others were probably not
painted until many years after their construc-
tion, and the fact that so many of the older
buildings have remained in good condition until
this day, without any paint at all, is extra-
ordinary testimony to the durability of the ma-
terials used in their construction.

These houses, built in the stress of strenuous
early times, do not furnish us much for study
or emulation in the way of detail, except that
most admirable kind which was applied to the
important constructional pieces of framing.
These forms are so different from those we
usually employ and are of such honesty and
charm that they deserve to be far more exten-
sively known than is the case at present. There-
fore it seems quite appropriate that this Series
of Architectural Monographs should commence
with the depiction of these early efforts of
house-building in one of the foremost and most
individual of the original States, and from which
early domestic architecture gradually evolved
that type which is commonly referred to to-day
as the Colonial Style.

THE OLD BRAY HOUSE AT WEST GLOUCESTER, MASSACHUSETTS

An example of the hewn overhang type of construction. The large size of
the cornice would suggest that a plaster cove cornice had once been used here.

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From ike Mary H. Northend Collection, Salem, Mass.

THE JOHN WARD HOUSE AT SALEM, MASSACHUSETTS. Built in 163/1

The exact date of the unpainted White Pine siding is not known, but there are records making certain that the
siding on the main portion of the house is from 1 50 to 200 years old, and stands now as originally built with prac-
tically no repair. Although the siding of the lean-to is of a much later date, one is unable to notice an appreci-
able difference between it and that put on almost two hundred years ago. The Ward house, as can be plainly
seen by this illustration, is in splendid condition to-day, and testifies to the lasting qualities of White Pine.

THE OLD BOARDMAN HOUSE, SAUGUS, MASSACHUSETTS

; WHITE PINE

ITS QUALITIES— ITS AVAILABILITY— ITS COST

THE TEST of three centuries of building in
America has proved White Pine the one
perfect outside structural wood. It meets every
requirement for a wood covering exposed to the
relentless attack of time and weather. Other
woods have some of its qualities — no other
wood has all of them.

// does not shrink, swell, check, crack, split,
twist, warp, or rot, even after years of expo-
sure under the most exacting climatic condi-
tions. In siding, casings, or cornice, it does
not "creep or crawl," or open at the joints; in
exposed mortised doors, in fine close-fitted mi-
tres, or in delicately moulded, carved and col-
umned porticos, its joints hold close — not for a
year or a life-time, but for centuries. The "Old
Fairbanks House," the second illustration in this
issue, and many other unpainted, weather-
beaten White Pine houses of New England,
built soon after the Pilgrims landed, are still the

well-preserved and comfortable homes of their
descendants, and offer the most convincing
proof of the enduring qualities of this most
remarkable wood. But durability is not White
Pine's only admirable quality.

It seasons quickly and thoroughly; it is light
and soft — yet strong; no other wood works so
easily under the carpenter's tools, and once in
place it forever "stays put "; it offers only the
slightest resistance to nails and screws, then
closes in and holds them fast; because of its
close grain and freedom from objectionable
acids and oils it takes paints and stains perfectly.
The pattern-maker, wood-carver, and cabinet-
maker choose it for the most exacting uses to
which wood can be put; the box-maker,
because it is soft but strong, does not split
and carries no odor; the plasterer, because
White Pine lath hold their place, and therefore
plaster, so well.

THE WHITE PINE MONOGRAPH SERIES— COLONIAL COTTAGES

Substitute woods may be satisfactory in pro-
tected places, but none has been found to
equal White Pine in successfully withstanding
every exposure out-of-doors. In an effort to
displace White Pine, they have all in turn been
"tried," but in some respect "found wanting."
As against its harder, flintier substitutes, the
economy in working it is marked, though this
is ordinarily overlooked and rarely reckoned
with. It is the one wood that embodies every
structural quality, therefore it has no superior
for any of the special or specific requirements
demanded in house construction, either inside
or outside. But for "out-of-doors," it stands
alone. These advantages are conceded to
White Pine and have accorded it the one perfect
wood for the outside covering of a building.

That our use of the terms "outside covering"
and "exterior surfaces" may not be misunder-
stood, they include siding and corner boards;
window-sash, frames and casings; outside
doors, door-frames and casings; outside blinds;
all exposed porch and balcony lumber; cornice
boards, bracket ornament and mouldings; and
any other outside finish lumber — not including
shingles.

Against White Pine have been raised two argu-
ments—and only two— SCARCITY AND COST.

Nothing is more erroneous. To-day, as always,
all markets — with the possible exception of the
Pacific Coast States and Southern States — can
furnish it at prices that are reasonable, when its
qualities are considered.

The production of White Pine for 1912, based
on the last issued annual United States Govern-
ment report, as published by the Census Bureau
on December 30, 1913, was 3,138,227,000 feet,
manufactured by 5,733 saw mills, in 31 different
states, an amount fully sufficient to meet every
possible demand. The disappearance of many
mills from the water-ways of the Middle West
has led to the belief that the White Pine forests
are exhausted. Larger mills, however, have
replaced them at the source of an abundant
supply, and will produce White Pine and plenty
of it for generations to come.

The cost of White Pine, it is true, is higher
than that of its substitutes, but mahogany costs
more than birch, oak than ash, and wool more
than cotton or shoddy; yet no one questions
the difference in their price, or in their rel-
ative worth. In first-cost, White Pine is not
"cheaper," but because of its ability to with-
stand every trying weather condition it is in
the end more economical, and therefore it is
worth more. And here it should be emphasized
that clear White Pine, or even White Pine of
the higher grades, is not essential to ensure
this wearing quality; — and also that coarse-
knotted lumber of one kind may give infinitely
better service than absolutely clear lumber of
another kind. A White Pine board may have
numerous sound knots, yet after years of ex-
posure to the weather it will remain as per-
fectly in place as at first fitted, with no sign of
age or decay, and therefore it has surely served
its purpose better than an absolutely clear sub-
stitute wood, which under similar conditions
is found checked, warped, opened at the joints,
and perhaps decayed. Again — hardness and
obstinate cross-grain in a wood mean added
expense to the carpenter in working it — but
White Pine is soft, its grain smooth and yield-
ing, and in this alone there is a lessened ex-
pense in working it which absorbs much of, if
not quite all the difference in cost between it and
its substitutes.

The selection of a structural wood is too fre-
quently determined by its price per thousand
feet, and not by its true worth for the particu-
lar purpose for which it is to be used. The
cost of lumber for the outer covering of a house
is relatively very small in comparison with the
total investment, and the difference in cost per
thousand feet can be very misleading.

To determine this definitely and to insure the
accuracy of our statement, we have compiled
a number of comparative costs, based on actual
market prices in different parts of the country,
covering several different types of houses. The
resulting cost figures, painstakingly computed
so as not to be misleading, show that from \%
to 1 24 per cent only of the total cost of the ex-

WHITE PINE — ITS QUALITIES— ITS AVAILABILITY— ITS COST

terior of a building determines between using
White Pine or a substitute wood. In these
figures no attempt has been made to show the
reduced cost of working soft White Pine as
against its harder substitutes, for while the
difference in cost is surprisingly large, there
can be honestly varying opinions as to the ex-
act amount of this difference.

The misapprehension as to scarcity and pro-
hibitive cost of White Pine has frequently led
to the substitution of less satisfactory woods
in the hope that they might be "just as good,"
but the test of time proves that they are not.

White Pine — the wood pre-eminent in building,
to-day as always — is still abundantly available
in all grades and in any quantities desired. If
the lumber dealer supplying your needs is at
any time unable to furnish it, we would appre-
ciate the opportunity of being helpful to you
in securing it.

WHITE PINE BUREAU,

MERCHANTS BANK BUILDING,

ST. PAUL, MINNESOTA.

Representing

THE NORTHERN PINE MANUFACTURERS-
ASSOCIATION OF MINNESOTA, WISCONSIN
AND MICHIGAN, AND THE ASSOCIATED
WHITE PINE MANUFACTURERS OF IDAHO.

Photograph by Julian Buckly

THE SALTONSTALL-WH1PPLE HOUSE, IPSWICH, MASS. Built between 1636 and 1675

Hewn end overhang type. The overhang is here entirely at the end of the house,
and in both the second story and attic. The chimney is a good example of this period,
with projection at back, indicating early additions to it when the "lean-to" was
added. The windows have been restored according to legend with triple sash, but the
panes of glass should not be divided by wood muntins, but rather with lead. The
house is one of the claimants against the Fairbanks House for the distinction of being the
oldest house now standing in America. It was undoubtedly, however, built at a later date.

The subject of the second Monograph of The White Pine Series will be "New England Colonial
Houses of the Eighteenth Century," with descriptive text by Frank Chouteau Brown

An Architectural
Monograph

New England X

FRAKK CWVTEAV
Prepared for publication by
T WhiteheadformerJy&fltor
'cf TheJZrchitectural T
and The 'BricKbuilder
1)2 'Madjfon'ZVe.NewYorK N. Y.

THE SHUTE HOUSE AT HINGHAM, MASS. Detail of Side Entrance

A house of unusual type, built about 1 762.

PJtfltn graf>h by Julian Buckly

ARCHITECTURAL MONOGRAPHS

A BI-MONTLY PUBLICATION SUGGESTING TE
ARCHITECTURAL USES CF WHITE PINE AN) ITS
A\NLABLITY TODAY AS A STRUCTURAL WGDD

Vol.

NEW ENGLAND COLONIAL HOUSES

No. 2

IN ACKNOWLEDGMENT

IT surely has been both encouraging and
gratifying to have received written assur-
ances from so many members of the archi-
tectural profession throughout the United States
in commendation of the first number of the
White Pine Series of Architectural Monographs,
and we take this opportunity to most sincerely
thank you for your kind appreciation of our
efforts to interest you. Three thousand five
hundred and ten architects out of a mailing list
of fifty-five hundred in the White Pine consum-
ing territory, or nearly 64%, have already ex-
pressed their approval of and interest in the
first Monograph on Colonial Cottages. A record
quite without precedent!

These thoughtful expressions of appreciation
have created an atmosphere of enthusiasm
among those responsible for bringing to your
attention, by means of this Monograph Series,
the fact that White Pine is not exhausted, and
that there is still an abundance of this wood
obtainable in all markets, and their receipt has
given added stimulus and direction to our work.

It is a further pleasure to learn from the many
comments received that the architects of the
country have been successfully reached through
these Monographs. We are frankly trying to
interest you and tell you, not that White Pine,
as a building material, is good — you know that
—but that it is still abundantly available for
your use, and we are very glad to have dis-
covered that the method we have chosen
meets with your approval and commendation.

We hope that the profession will agree with
the architect whose sentiments we quote:

"The Monograph Series is timely — useful —
valuable and educational — preserving to us
much of the best of the early domestic architec-
ture built of White Pine, which has remained
in an excellent state of preservation for over
two hundred years. Our cities, towns and vil-
lages must shortly take on an improved appear-
ance through your intelligent advertising."

The first number has indicated the general
character of the publication which we think will
be useful to you as well as to us. In no case
will we publish material valueless from the
point of design just because it is constructed
of wood. There is an enormous amount of
beautiful domestic architecture in this country
which has either not yet been published, or has
been published only in a fragmentary way, and
for several years we intend to continue the publi-
cation of such work in the Monograph Series
in a form which will be compact and definite.

These Monographs will, we hope, be more
than nominally monographs: each number will
be a very fully illustrated description of some
phase of our architecture in which White Pine
(of course it is to our interest to emphasize this
material) may be used. The text for each issue
will be written by an architect of wide reputa-
tion who has made a special study of the se-
lected subject.

The criticisms and suggestions brought forth
by the first Monograph of the series have been
gratefully received, and have proven of distinct
value. In future issues we will profit by this
good counsel, which has made it possible for
us to better cover the field in which this publi-
cation is unique.

Our first number described the very begin-
nings of domestic architecture in this country,
and the present issue illustrates its develop-
ment in New England during the early portion
of the 1 8th century. The third issue will dis-
cuss the domestic architecture which was de-
veloped by the Dutch in their colony of New
Netherlands synchronous with that of New
England. Mr.' Aymar Embury 11, an architect
who is both familiar with and interested in this
subject, will contribute the text.

We hope that the current number and the
succeeding ones will convince you that we are
endeavoring to be worthy of the very kind rec-
ognition which you accorded the first number.

THE ISAAC ROYALL HOUSE AT MEDFORD, MASS.

Photograph by Julian Buckly

The East Front, now facing the street. Built in 1732 along the lines ol a "nobleman's house" in
Antigua. An unusual feature is the horizontal emphasis obtained from the treatment of the windows.

NEW ENGLAND COLONIAL HOUSES

OF THE EARLY PORTION OF THE EIGHTEENTH CENTURY

<By FRANK CHOUTEAU BROWN

Since coming to Boston from the Northwest in 1895, Mr. Brown has made a special study of
Colonial Architecture. He had charge of the restoration of the "Norfolk House" at Dedham
and the Southborough farmhouse. He is the author of several books, his "Letters and Lettering"
being recognised as the standard text-book on the subject. He is an authoritative writer on archi-
tectural subjects, besides being Editor of "The Architectural T^eview" since 1907. — EDITOR'S NOTE.

PHOTOGRAPHS BY JULIAN BUCK1.Y

THE early architecture of New England is,
for the most part, distinctive for its sim-
plicity and economy, both of plan and
construction. It was based, in the first in-
stance, upon rooms of small size and low
height, and was as easy to erect and furnish as
to heat and defend from enemies, climatic
and human. The construction was a sim-
ple framework, whose prin-
cipal supports — generally ei-
ther of oak or white pine-
were hewn from native tim-
ber and framed in the fash-
the early colonists

ion

previously had been accus-
tomed to in England. These
timbers were also spaced with
an economy in use that per-
mitted the spaces between to
be spanned with small irreg-
ular pieces of timber and
boarding; just as the non-
supporting partitions were, in
turn, most frequently com-
posed of roughly shaped plank.
These heavy timbers once set-
tled into place, the walls could
be strengthened against ar-
rows or cold by a
further protective
filling of brick or
tile, so often dis-
closed when old
dwellings are torn
down. In one place
only was the scale
invariably ample
and generous; and
this was around the
central chimney,
always the feature
of the house.

In the early Colo-
nial cottage again,
little, if any, at-
tempt was made
for mere ornament
ordecoration. Rec-
ollections of Euro-

FRONT ELEVATION.

pean craftsmanship were adapted to new con-
ditions with little apparent trouble, and with
what we now realize to have been greatly
successful common sense. When these struct-
ures have remained unaltered by succeeding
generations, they are rarely anything but beauti-
ful in their direct outlines and sturdy propor-
tions; the composition of sky-line and chimney
with the ground contour, and
the grouping and proportions
of the wall openings being
always notably successful.
Occasionally these early car-
penters, in an entrance door-
way, a mantel, or perhaps in
the staircase, would seize the
chance to apply their craft-
knowledge with a little more
freedom from restraint, and
while the results may some-
times seem to us perhaps a bit
naive or quaintly obvious, at
other times one cannot help
but acknowledge they display
as superb an acquaintance
with, and appreciation of,
beauty in line, detail and in
the placing and modeling -of
ornament as any
inventions of other
and more sophisti-
cated days.

The earliest type
of plan had un-
doubtedly a room
on each side of an
entrance, a staircase
placed in front of a
central chimney,
and a kitchen, lo-
cated perhaps part-
ly in a rear shed or
ell.

Such an arrange-
ment is ordinarily
regarded as of the
"farmhouse" type,
and is sufficiently
THE DOAK HOUSE, MARBLEHEAD, MASS. familiar hardly to

ENTRANCE DETAIL

THE WHITE PINE MONOGRAPH SERIES

require illustration. If
such is to be supplied,
a typical example is
found in the Gushing
House at Hingham, or the
old "Tyler House" at
Wayland, standing on the
old prehistoric Indian
"Bay-Path." This latter
house dates from the early
part of the i8th century
(sometime previous to
1 725) and is nowdeserted.
At the rear the roof of this
house now sweeps down,
nearly to the ground, in
the usual fashion, being
unbroken for any purposes
of light or ventilation.
As originally built, the
house undoubtedly con-
sisted of four rooms only:
two below and two above.
As it now stands, the kit-
chen runs the full width of
the ell, and is located exactly in the center, be-
hind the chimney, with a small room behind
the front room on the left of the entrance; the

WINDOW DETAIL. JUDGE JOSEPH LEE HOUSE.
CAMBRIDGE, MASS.

space at the right being
taken up by closets and
the side entrance. The
original frame is of hewn
oak, covered with one
thickness of weather-
boards beveled on the
edges to overlap without
lathing or plastering, but
with the timber frame
filled in with soft burned
brick. Another indication
of the age of this house is
the abrupt "over-hang"
or projection at the eaves
line, without soffit mold-
ing or any other sugges-
tion of the later "cornice"
treatment.

There are to be found
only a very few instances
of a house of interestingly
different type, where the
chimney and staircase oc-
cur at one end instead of in
the center, leaving but one room across the
front. Such a type appears in the little South-
borough house, where the typical projected

A GOOD EXAMPLE OF AN EARLY FARMHOUSE, NEAR BOSTON, MASS.
Illustrating shingle ends combined with clapboarding on the front.

NEW ENGLAND COLONIAL HOUSES

face-gable showing at the
end indicates how natur-
ally the early builders
adapted their plan to get
the outlook and sun de-
sired in rear rooms.

In this house there ex-
isted a curious detail of
construction in the win-
dow-caps, intended to
protect the top of the
window-case, which was
projected beyond the
frame of the building and
applied to its face in the
old-fashioned way. These
molded caps were crowned
by a sloping member, care-
fully hewn and shaped
from one heavy log of
wood so as to provide
a sloping "wash" across
the top and front and re-
turned on the two ends;
while the carpenter took
pains to leave a standing flange at the back over
which the siding was broken, thus providing a
sort of flashing, but executed entirely in wood!

OLD FRONT DOOR.
HINGHAM

Later in the i8th cen-
tury, the American build-
ers began to secure the
"Carpenter's Handbooks,"
first published in England
about 1 756, and from these
they developed new de-
tailsfarmoreeasily, merely
adaptingthemtothesome'-
what simplified conditions
and requirements of the
American village or town
in which they lived and
worked. Later, the de-
mand for these practical
builders' assistants became
so great that at least one
volume was reprinted in
this country; being com-
piled and issued by a cer-
tain Asher Benjamin, an
architect in Greenfield,
Massachusetts, in 1797.

For a number of years
the plan developed few
changes, except in so far as they were demanded
by special or larger requirements imposed by
the owner. The house on page 6 is of this

SHUTE HOUSE.
MASS.

THE JOHN DOCKRAY HOUSE, WAKEFIELD, R. I.
Built in the early part of the i8th century.

o graph by Frank Ct'usiiis

THE WHITE PINE MONOGRAPH SERIES

THE TYLER HOUSE AT WAYLAND, MASS. Built previous to 1725
A typical example of a farmhouse with a room on each side of entrance and a central chimney.

THE GUSHING HOUSE AT H1NGHAM, MASS.
Built in the early part of the i8th century, probably in 1730; a good example of the simple farmhouse type.

NEW ENGLAND COLONIAL HOUSES

THE OLD BEM1S HOUSE, WATERTOWN, MASS.
Built about 1750

THE STEARNS HOUSE, BEDFORD, MASS.
Built from a design by Reuben Duren, Architect.

THE WHITE PINE MONOGRAPH SERIES

simple type, save that it presents the less usual
composition of one window on one side the
center door balanced by two upon the other;
the single window being four lights wide (or
twenty panes in all) where the others are of three
wide, or fifteen lights.

A very ancient house in-
deed was the oldDoak house
at Marblehead, which un-
fortunately has disappeared.
Aside from the simplicity

— almost the crudity — of
the execution of its archi-
tectural details, the age of
this building is evidenced
by many other indications
only to be recognized by
the architect or antiquarian.
Nevertheless, its definite at-
titude of dignity, of aloof-
ness, should be apparent to any passer-by, and
it is this quality, sometimes, as much as any
other, that arouses our admiration for these
early Colonial masterpieces. They achieve so
perfect, if unconscious, a relation of parts — the
proportion of opening to

wall space and of glass divis-
ion; the architraves around
the opening to window area;
the cornice to the roof de-
sign and the wall height—
that it often seems impos-
sible to improve the structure
as a whole. Even though
single details sometimes ap-
pear crudely executed by
local workmen, it yet re-
mains an open question
whether mere improvement
in execution or in refinement
— if attempted — would be as
well related, and harmonize
as well with the complete
design.

The gambrel roof type —
always difficult to proportion

— was used by the early
builders with the greatest
freedom, and with a perfect

sense for the right relation of parts. Sometimes
thegambrel is flattened and ample in proportion,
at others the gable appears more restricted
and the proportions made for greater dig-
nity and height. It is this latter aspect that is
more appropriately found on the larger houses
to which this variation of the roof of Mansart
was occasionally applied, although undoubt-
edly it was then, as now, best adapted to enlarge
the living space available on the second floor.

OLD FARMHOUSE, SOUTHBOROUGH, MASS

The Wadsworth House, sometimes called
the President's House, on the grounds of Har-
vard University, while of much larger size-
crowding three stories and an attic under its
capacious roof beams — has a gambrel of very
nearly the proportion of the
modest cape cottages. The
walls of this house were
"raised" on May 24, 1726,
although the side doorway,
the ell, and the two one-
story additions made on
each end are of later dates.
In the very well known
Royall House in Medford
were, besides the slavequar-
ters and the portion shown
inthe photographs, two ells,
one of which may have been
the earlier farmhouse that
stood upon this site. One of these ells was
burned only a few years ago. It is supposed
that the original farmhouse built here by
Governor Winthrop, soon after the settlement
of Medford in 1630, was incorporated into the
dwelling later built by John
Usher, after he came into
possession of the place in 1 677.
Despite its unaccustomed
surroundings, the Shirley-
Eustis Home in Roxbury
stands, only slightly removed
from its original site, as dig-
nified today as when it was
first built. An old news-
paper of 1 86s proclaiming a
sale of the house's contents
gives the date as 1743; and
adds the information that it
was built of oak framed in
England and of imported
brick — although three dif-
ferent sizes are now to be
found. The house was pur-
chased by Governor Eustis
in 1819, and it may be that
he added the two porches at
either end which have now
disappeared, but which were
so seldom found on early houses in the New
England Colonies. This house also has two
fronts; and, as in the Royall House, the drive-
way front again proves to be of the more interest
architecturally.

Although a little later than the middle of the
century, the Shute House at Hingham is so in-
teresting a type as to require consideration here.
The lot was bought in I7S4 and the house built
by 1762, and the ell is of later date.

tSlutcJv

.of-'

•OU _

•Windows

•HoUJ'E

JbuTHBOKQUGH

NEW ENGLAND COLONIAL HOUSES

SIDE ELEVATION

THE WADSWORTH HOUSE, CAMBRIDGE, MASS. Built in 1726

The way the front clapboards extend by and beyond the clapboarding across the
end gable, without corner boards or other finish of any kind, should be noted.

THE WHITE PINE MONOGRAPH SERIES

Entrance Detail
WADSWORTH HOUSE, CAMBRIDGE, MASS. Built in 1726

Pilaster and Cornice Detail
SHIRLEY-EUSTIS HOUSE, ROXBURY, MASS. Built about 1750

THE SHIRLEY-EUSTIS HOUSE, ROXBURY, MASS.

Built by Governor Shirley, about 1750. This house has two fronts — the principal one
originally facing the water; the south-side fronts upon the driveway turn and approach.

NEW ENGLAND COLONIAL HOUSES

West Doorway
"THE LINDENS," DANVERS, MASS. Built in 1745

Front Doorway
AN OLD HOUSE, HINGHAM, MASS. Built about 1760

THE ISAAC ROYALL HOUSE AT MEDFORD, MASS. Built in 1712
A small part of this house, built in 1631, is the oldest section of any house now stand-
ing in America. The principal portion of the mansion was not, however, built until
1732. The exterior of the front and back of this house is in the original White Pine.

THE WHITE PINE MONOGRAPH SERIES

Photograph by Julian Buckly

THE ROYALL HOUSE, MEDFORD, MASS. Entrance detail. Built in 1732

This door opened on the carriage courtyard, facing toward the old summer-house.

THE SHUTE HOUSE, HINGHAM, MASS.

HOW PROPERLY TO SPECIFY WHITE PINE

A BOOK OF WHITE PINE GRADING RULES

A> a result of requests that have come from
a number of members of the architectural
profession, a Book of Specifications covering
White Pine is now being prepared for publica-
tion, and will soon be ready for distribution, by
the White Pine Bureau, which represents the
Northern Pine Manufacturers' Association of
Minnesota, Wisconsin and Michigan, and the
Associated White Pine Manufacturers of Idaho.
This book will describe the various grades of
White Pine under the grading rules applying
thereto, and will set out in concise form, care-
fully indexed for quick reference, such practical
information as will be helpful in properly speci-
fying White Pine in each separate territory of
the United States.

Appreciating that each locality has, to some
extent, its own local manner of lumber grading,
and that it would be impractical to endeavor to

include in any one book oi specifications all of
these localisms, it was first learned, resulting
from a wide range of inquiry, that there are
three fundamental or basic sets of White Pine
grading rules which apply to all sections of the
United States, one at least of which is appli-
cable to the entire White Pine consuming ter-
ritory. These three sets of grading rules are
those used by the Northern Pine Manufacturers'
Association, with offices at Minneapolis, Min-
nesota, which cover the product of Minnesota,
Wisconsin and Michigan ; the Western Pine
Manufacturers' Association, with offices at
Spokane, Washington, which cover the prod-
uct of Idaho ; and the White Pine Association
of the Tonawandas, with offices at North Tona-
wanda, New York, which cover the product
of Minnesota, Wisconsin, Michigan and Idaho,
and also the White Pine product of Canada.

THE WHITE PINE MONOGRAPH SERIES

By the use, therefore, of these three sets of
grading rules, all local lumber dealers, though
perhaps using local grades, will be familiar with
one or more of these three sets of grading rules
and can intelligently furnish White Pine lumber
to the architect whose specifications are written
under them. In their application it will only be
necessary to first learn from any local lumber
dealer which one of the three sets of grading
rules applies to your particular territory, and
then write the specifications in accordance with
the grading rules applying thereto.

To further facilitate the architect's interpre-
tation of these grading rules, the Book of White
Pine Specifications will contain half-tone illus-
trations of each separate grade, these half-tones
being sufficiently large and sharp in detail as
to make it really possible to choose the grade
desired from the half-tone reproduction rather
than having it necessary to see the lumber
itself. As no grade of lumber can be definitely
represented by a single board, each grade will
be illustrated by using from six to eight repre-
sentative boards, twelve inches wide and six-
teen feet long, or their equivalent, placed side
by side and cleated for ease in photographing,
in this way insuring the showing of a really
representative grade.

The book will further suggest the approxi-
mate basic difference in price between the
grades for purposes of being helpful to the
architect in making the proper selection as to
cost, and will recommend from a practical
standpoint what each grade is best adapted for,
or in other words for what purpose it should
be used.

The desirability and usefulness of such a book,
painstakingly compiled as it will be, we believe
will be at once pertinent to all architects, and
will be most appreciatively received by them.

Of late there has become prevalent an impres-
sion that the supply of White Pine is practically
exhausted, and that what little remains can be
purchased only at exorbitant prices. Our pur-
pose in bringing these Monographs and the
forthcoming Book of White Pine Specifications
to you is to help us dispel this illusion, and to
assure the architectural profession that White
Pine is still abundantly available to-day, as it
always has been, and that it can be purchased
in all markets, with the possible exception of
the Pacific Coast States and the Southern States,
at a reasonable cost, when taking into con-
sideration its remarkable qualities as a struc-
tural wood. Architects generally, we believe,
know of White Pine's qualities, but not of its
availability.

For the outside covering of a house, even
after years of exposure under most exacting
climatic conditions, it lasts almost forever, and
does not shrink, swell, check, split, twist or
warp, all of which, when analyzed, means that
White Pine is the one perfect structural wood.

A copy of this Book of Specifications covering
White Pine will, when published, be sent to
all architects receiving this magazine, and to
any others making request for it.

WHITE PINE BUREAU,

MERCHANTS BANK BUILDING,

Representing ST' PAUL> MINNESOTA.

THE NORTHERN PINE MANUFACTURERS'
ASSOCIATION OF MINNESOTA, WISCONSIN
AND MICHIGAN, AND THE ASSOCIATED
WHITE PINE MANUFACTURERS OF IDAHO.

The subject of the third monograph will be the domestic architecture developed by the Dutch
in their colony of New Netherlands, with descriptive text by Aymar Embury II

Subject of Previous Number of

THE WHITE PINE SERIES OF ARCHITECTURAL MONOGRAPHS
No i. Colonial Cottages. Text by Joseph Everett Chandler

iiinnnmm

An Architectural
Monograph on '

Farm Houses o/
New Netherlands

^^Uam

•JH>

Prepared for publication by
TWhiteheadformerly&fitor
CfTheJArchitectural 'Record
and The &ricKb uilder.
J)2 Madifon ^\)e, NewYorK N. Y

Photograph by J. W. Gillies

THE VREELAND HOUSE AT NORDHOFF, NEW JERSEY. Detail, front entrance

An unusually good example of carpenter carving done with a gouge

O&WHTIZ PINL

ARCHITECTURAL MONOGRAPHS

ABI-MONTLY PUBUCftriON SUGGESTING TE
ARCHITECTURAL USES CF WHITE PINE AND ITS
AAILABLITY TODAY AS A STRUCTURAL WGDD

Vol.

DECEMBER, 1915

No. 3

FARM HOUSES OF NEW NETHERLANDS

<By AYMAR EMBURY II

Mr. Embury has devoted much sympathetic study to our early architectural history, and as an architect
has won wide-spread recognition because of bis ability to solve successfully the country bouse problem. His
contributions to the literature of Colonial Architecture include such well-known works as " Early American
Churches," "The Dutch Colonial House," " One Hundred Country Houses," etc. — EDITOR'S NOTE.

PHOTOGRAPHS BY FRANK COUSINS AND JOHN WALLACE GILLIES

CMC after the Colonial work of New Eng-
land and the South became well known
to the architects, and had become re-
garded by them as a suitable source from which
to draw precedents for modern work, the re-
maining examples of the work of the Dutch in
their colony of New Netherlands remained un-
noticed and neglected. It is not easy to dis-
cover why this should have been, since much
of it is in close proximity to New York City,
some of it indeed within the city limits, and
these examples are not inferior in charm, less
in number, or of a later date than the Colonial
work of Massachusetts and Virginia.

The settlement 'of New Netherlands ante-
dated by some years that of New England,
and its development was steady and rapid, the
Colonists pushing out from New York along
the river valleys and Indian trails which
formed the natural means of communication
in a country where roads were still to be con-
structed. Many of these early Dutch houses
still exist, and although the area in which they
occur is comparatively small, it must have
been, for a farming community, very thickly
populated and extremely prosperous. The age
of these houses cannot be determined with any
real accuracy, and while the earliest of them
appear to have been erected about the same
time as the earliest remaining examples in
New England or Virginia, the very natural
tendency to exaggerate the age of old work
has probably been not less apparent in New
Netherlands than in New England. The whole
question of the dates of old work is a rather
delicate one, and I have found in all parts of
the American colonies that the dates assigned
to old buildings were those at which some por-

tions of them had been built, although the en-
tire building might have been reconstructed
since that time.

In selecting the subjects for the illustrations
for this article, then, I have been unable to find
in many cases any real historic evidence as to
the dates of construction, and have been
obliged to accept family traditions or the rec-
ords of the local historic societies as guides,
and these dates are offered with reserve. The
fact is that in most cases the testimony as to
the age is probably no better than that given
me by a negro employee on one of the old
farms, who told me that the house was built
" so dog-gone long ago that there ain't nobody
remembers when she was built." I have gone
into this question of dates with some particu-
larity, because the determination of the sources
and progress of any style must rest primarily
upon the comparison of houses in their chrono-
logical order, assuming, of course, variances in
the style arising from local conditions. Now
while this evidence is very far from complete,
it is convincing on one point, namely, that the
Dutch early found their metier, and pursued
it substantially unchanged up to, and in some
cases even through, the period of the Classic
Revival. The difference between the earliest
of the Dutch houses and the latest is far less
marked than the difference between the early
and late houses of New England and the South-
ern Colonies, and without previous knowledge
as to the age of the remaining Dutch build-
ings, it would be practically impossible to pick
certain of them out as being the prototypes of
the style and others as examples of the style
developed.

The most curious thing about the architec-

THE WHITE PINE MONOGRAPH SERIES

ture of New Netherlands
is that which strikes us in
the other colonies, name-
ly, the almost complete
renunciation by the Colo-
nists of ideals, processes
and precedents of their
mother-country. The
Dutch houses in Long
Island and New Jersey
resembled nothing but
themselves, and wereeven
more radically different
from the work of the
Dutch in Holland than
they were from the work
of the other Colonists.
This difference is not
alone a question of ma-
terial, which might be ex-
pected in a new country,
but is also a question of
form and of detail. The steep-pitched roofs of
Holland were here transformed into low gentle
lines, and the narrow flat cornices of the
mother-country were replaced by broad over-
hanging eaves, from which Classic treatment
in general was absent. It was an architecture
altogether autochthonous, and not the less in-
teresting for that reason.

The characteristics of the Dutch work are
by this time fairly well known: the houses are
for the most part one story in height, with low
curved overhanging eaves on the front and
rear, and an almost total suppression of cor-
nices or rake moldings on the gable-ends. The
earliest buildings apparently had single pitched
roofs; the gambrel form, so common in these
colonies that the
term " Dutch roof"
has become synony-
mous with " gam-
brel," was a thing
of later develop-
ment, although to-
ward the latter part
of the seventeenth
century it already
had become custom-
ary; but aside from
thisonechangeinthe
roof shape, appar-
ently the only va-
riation from type
was the gradual in-
troduction of a piaz-
zaor stoop under the
overhanging eaves;
and this, too, must

SHENKS-CROOK HOUSE, BERGEN BEACH
FLATLANDS, N. Y. Built 1656

LAKE TYSEN HOUSE, NEW DORP, STATEN ISLAND, N. Y.

have occurred at a very
early date.

The materials in the
Dutch work were those
used in the other colonies :
shingles and clapboards,
stone and brick for wall
covering, and hewn tim-
bers for the frames. These
materials were, however,
mingled together with
much more freedom than
we customarily find in the
other colonies, and were
perhaps treated with a
little better realization of
the artistic effect possible
from careful selection of
materialsand appropriate
treatment of their sur-
faces than was elsewhere
the case. I do not know
of any material used in Colonial times which
was so beautifully handled as the red sandstone
from which the bodies of many of the houses in
Bergen and Hudson Counties in New Jersey
were built. The entrance sides of the houses
were invariably better finished than the others,
and were usually of coursed ashlar with either
fine picked or four cut surfaces, small joints
and neatly cut sills. The lintels were flat
arches, often of wood and with wooden carved
key blocks, painted and sanded to represent
stone. The other sides of these buildings were
of rougher stone or of wood or of brick, han-
dled with a facility and playfulness which in
no way detracted from the dignity and attrac-
tiveness of the whole building.

We find the same
motive in most of
the houses still re-
maining. Each con-
sists of a central
mass with one or two
wings, invariably
placed on the gable-
ends, but it is prob-
able that the ori-
ginal houses were
single rectangular
blocks which now
constitute the cen-
tral portions or in
some cases are now
the wings, to which
the main bodies of
thehouses have been
added.
The materials va-

FARM HOUSES OF NEW NETHERLANDS

ried with the location: in Long Island the ex-
teriors were of wood, generally white pine shin-
§les but sometimes white pine clapboards; in
taten Island and New York they were some-
times of stone whitewashed or stuccoed, and
sometimes of shingles, stone apparently having
been used where it was not too hard to cut,
and wood used elsewhere. In New Jersey,
where the fields were covered with erratic gla-
cial drift of red sandstone, and had to be cleared
before cultivation, the bodies of the houses
up to the second-story line were generally built
of this stone, with the gable-ends, roofs and
wings of wood. This red sandstone split readily,
was easy to work, and hardened upon exposure
to the air, and was therefore chosen in many in-
stances; but it is a curious side-light upon the
knowledge of our ancestors to find that people
who could work stone so beautifully as the
Dutch had no mortar which was durable
when exposed to the weather, and the stone
walls were therefore protected by overhanging
eaves of wood, while the wooden walls needed
no such shelter.

The roof shape adopted by the Dutch made
dormers unpractical for light in the second
story; and as metal for flashing, so essential
around dormers, was scarce and difficult to ob-
tain, dormers were usually, if not invariably,
omitted, and evidently in those houses which

now possess them they were added at a date
far later than that of the construction of the
main building. The second stories of these
houses were therefore lighted at the two gable-
ends only, and in several of the old buildings
which remain in their original condition I have
found that the second-story bedrooms were
formed by partitions only, no ceilings having
been constructed, so that there was a through
ventilation of air from one end of the house to
the other over the tops of the bedrooms. The
framework was in general constructed in the
same manner as in the other colonies: it was
of the post and lintel type. I n the earliest times
the bodies of the walls were built of thick
planks set edge to edge vertically; the inner
sides of these planks were adzed to give a mor-
tar clinch, and the shingles or clapboards for
the exterior were nailed to the outside. The
custom of filling in between the posts with
studs was probably begun as early as 1725,
and the spaces between the studs were often
filled with brick or small stone laid up in clay;
sheathing was then applied much as it is to-
day, and the outside shingled or clapboarded,
although in some instances the buildings were
stuccoed directly on the studs and masonry
filling between them, without sheathing or lath.
The earlier houses had little interesting de-
tail, and, curiously enough, much of what there

THE BERGEN HOMESTEAD, FLATLANDS, BROOKLYN, N. Y. Built about 1655

THE WHITE PINE MONOGRAPH SERIES

was was strongly reminiscent of Gothic. The
doorways, for example, in the old Verplanck
house at Fishkill, New York, are not dissimi-
lar from the English Elizabethan type, and
hexagonal and octagonal columns were used in
very many cases. The later houses, probably
through the influence of the New England
work, had considerable attention paid to the
treatment of the doorways, the cornices and
the window openings, and some of the Dutch
doorways and cornices are among the most
interesting Colonial works still remaining.
The cornice of the main part of the Board
House (which dates from 1790), for example,
illustrated on pages 8 and 9, has a narrow frieze
decorated in the Chinese-Chippendale manner,
and the cornice of the wing shows an extremely
interesting combination of dentil course and
fluting; both cornices are rich, vigorous and
refined. Several of the other houses have
doorways carved as elaborately as could be
done by a carpenter with the tools then at his
command; the use of the gouge to form ro-
settes and other decorated forms being the
marked characteristic. An excellent example
of this is the doorway of the Vreeland House,
which, though late in period, is much more
Colonial than Neo-Grec in sentiment.

The Dutch uses of ornament were charac-
terized, however, by the same freedom from
traditions as were the masses of their houses;
and indeed the pervading sentiment of all the
Dutch work is one of spontaneity and disre-
gard for precedent, rather than the adherence
to formulae customary in New England.

The Dutch houses had not, as a rule, very
much pretension to stylistic correctness; they
were charming rather than beautiful, and
quaint rather than formal. This quality makes
them especially adapted for precedents for
small country houses of to-day, just as the
symmetrical dignity of the Colonial work of
New England and the South lends itself to
larger and more expensive residences which
may be termed "mansions."

Certain of the Dutch forms, especially that of
the roof, cannot be readily used, the flat slopes
of the Dutch work admitting little light and
air in the second story; but the other shapes
of gambrel, which were used practically all over
the United States, and of which there are ex-
amples existing at such widely separated points
as Castine, Maine; Annapolis, Maryland; and
New Orleans, Louisiana, can be harmonized
with the spirit of the Dutch work with profit
to our architectural design.

ROADSIDE FARM HOUSE NEAR PEARL RIVER, NEW JERSEY
Note the use of "Germantown hoods," and the fact that wings are added to the ends only

THE BOARD-ZABRISKIE HOUSE, ON THE PARAMUS ROAD,
NEW JERSEY. Date, 1790, carved in lintel of a cellar window

Note the Chinese-Chippendale ornament in the cornice of
main house. Dormers, wing and railing probably added later

THE BOARD-ZABRISKIE HOUSE, ON THE PARAMUS ROAD,
NEW JERSEY. Detail of west wing at right angle to road

Of all houses in this section none is more charming; the
interest lies both in the composition and beautiful detail

THE WHITE PINE MONOGRAPH SERIES

THE ACKERMAN ( BRINCKERHOFF) HOUSE, HACKENSACK, NEW JERSEY
Date, 1704, carved in end of chimney. Interesting use of columns under the overhang in the center only

THE LEFFERTS HOUSE, FLATBUSH, BROOKLYN, NEW YORK

Present house dates partly from before 1776 and partly from a century earlier. A portion of the house was
destroyed by the British in the battle of Long Island, but was soon rebuilt on its undamaged beams

FARM HOUSES OF NEW NETHERLANDS

JOHN PETER B. WESTERVELT HOUSE AT CRESSKILL, NEW JERSEY. Date about 1800
An almost perfect example of the full development of the style

THE VREELAND HOUSE AT NORDHOFF, NEW JERSEY

The wing dates from the i8th century; the body of the house was added about 1825,
and is extremely interesting in detail, as may be seen in the frontispiece illustration

THE WHITE PINE' MONOGRAPH iSERIES

THE ANDREW MARRING HOUSE AT NORTHVALE, NEW JERSEY. Rebuilt 1805 and 1838

JAN DITMARS HOUSE AT FLATLAND NECK, BROOKLYN, N. Y. Date about 1800
While this house is built entirely of wood, it is interesting to note that
the proportions and type are exactly similar to the Harring house above

FARM HOUSES OF NEW NETHERLANDS

THE VAN NUYSE-MAGAW HOMESTEAD, FLATLANDS, BROOKLYN, N. Y. Built about 1800

A DUTCH HOUSE ON LONG ISLAND. Early igth Century

Here the gambrel roof is above two full stories; unusual near New York. All existing examples thus
designed have cornices and detail resembling the work of New England rather than other Dutch houses

THE DOORWAY OF THE LEFFERTS HOUSE ON FLATBUSH AVENUE,
FLATBUSH, L. I. Built in the iyth century, rebuilt about 1780

An extremely interesting doorway, showing the freedom
with which the Dutch builders used Classic motives

HOUSE ON ESTATE OF MRS. GLENN STEWART, LOCUST
Alfred Hopkins, Architect, New York, N. Y.

VLLEY, L.

A STATEMENT, BASED ON NEW YORK MARKET PRICES OF TO-
DAY, APPLYING TO THE HOUSE BUILT FOR MRS. GLENN STEWART,
LOCUST VALLEY, NEW YORK. ALFRED HOPKINS, ARCHITECT

S White Pine has withstood every test where a structural wood is exposed to the weather,
architects naturally concede a preference for its use, and its cost therefore becomes the
determining factor. For the outer covering of a house the cost is relatively very small in
comparison with the total investment, and may be very misleading. To illustrate this clearly
we give below a comparatiye statement of actual costs, painstakingly computed in order not
to mislead, as between White Pine and substitute woods, based on New York market prices of
to-day, figured for the house illustrated above.

Labor and Materials

General Contract:

Excavation and Masonry
Rough Lumber
Outside and Inside Finish
Carpenter Labor
Sheet Metal Work
Lath and Plaster
Painting and Glazing

Heating

Plumbing

Electrical Work

Hardware

Lighting Fixtures

Marble and Tile Work
Total

THE cost of this house with its entire
Outer Covering and Inside Finish of
White Pine was only $5,150.00. Had
a Substitute Wood been used for the Exterior

Using White Pine
for Exterior Woodwork

iOOO.OO
785.00

950.00

850.00

1 20.00

450.00

300.00

200.00

375.00

75.00

125.00

60.00

Using Substitute Woods
for Exterior Woodwork

i,I50.00

.00
785.00

836.00
850.00

120.00

45O.OO

300.00

200.00

375.00

75.00

I25.0O

6O.OO

i,O36.oo

Surfaces the cost would have been $5,036.00,
a difference of only $114.00. This small dif-
ference of $i 14.00, or but a little over 2% of
the total investment, determined between the

THE WHITE PINE MONOGRAPH SERIES

use of White Pine or Substitute Woods for the
Outer Covering.

The example here chosen to illustrate com-
parative costs between White Pine and Sub-
stitute Woods may be termed an inexpensive
house, not necessitating elaborate hardware,
plumbing, lighting fixtures, etc., and the total
cost was therefore
very small. Had the
building been more
elaborately finished
the percentage of
difference which de-
termined the use of
White Pine would
have been reduced
to about i*/3%, as
has been demon-
strated by many
cost compilations
for various types of
houses.

The same com-
parativecost figures
apply with slight va-
riations to all territories in the United States,
with the possible exception of the Pacific Coast
States and extreme Southern States, where the
use of White Pine is perhaps not commercially
practical. Later there will be published com-
parative figures covering other territories to
substantiate this statement further.

The selection of a structural wood is too
frequently determined by its price perthousand
feet, and not by its true worth for the partic-
ular purpose for which it is to be used. The

HOUSE ON ESTATE OF MRS. GLENN STEWART, LOCUST VALLEY, L
Alfred Hopkins, Architect

first cost of White Pine is higher in price than
that of other structural woods; but when con-
sidering those distinctive qualities possessed by
no other wood where exposure to the weather is.
to be the test, it is in the end the most eco-
nomical. With mitres that will not open, and
grain that will not lift, White Pine forever

"stays put," and
does not shrink,
swell, check, crack,,
split, twist, or warp
under the most ex-
acting climatic con-
ditions, and lasts
almost forever. De-
spite an impression
of its scarcity, White
Pine is still abun-
dantly available to-
day, as it always has
been, in any quan-
tity or quality de-
sired, and can or
should be pur-
chasable in all mar-
kets. If the lumber dealers supplying you or
your clients at any time are unable to furnish
it, we would appreciate the opportunity of be-
ing helpful to you in securing it.

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.

The subject of the fourth monograph will be Houses of the Middle and Southern Colonies,
with article on the Colonial Renaissance by Frank E. Wallis

Subjects of Previous Numbers of

THE WHITE PINE SERIES
OF ARCHITECTURAL MONOGRAPHS

No. i. Colonial Cottages Text by Joseph Everett Chandler

No. 2. New England Colonial Houses. Text by Frank Chouteau Brown

••^•••MHB^HBBiHBBilMBliSlBBBlSMSSfl^

An Archtte ctural
Monotfrap]

Houses | r"*"

JoutherjB
Colonies!

1 1

/r Texf Ay

<^: FRANK. E WALLIS :^>
<Prepared for publication by
%//"<?// TWhiteheadformertyEditor
of The^Architectural l^ecord
and The FtricKb uilder
1)2 "MadjfooZtte. MewYorK N. Y.

"HOMEWOOD/'NEAR BALTIMORE, MARYLAND.
Front Portico. Built in 1809

Detail of

Photograph by Julian Biickly

An example of the second phase of the Southern Georgian. There is an individuality in the
planning of these Maryland estates to provide for offices, servants' quarters, tool houses, etc.
These were built as story-and-a-half wings, and connected with the main house by one-story
corridors. This general scheme was as well adapted to town use as it was to the country house

P1NL SERIES^5

ARCHITECTURAL MONOGRAPHS

A BI-MONTLY PUBLICATION SUGGESTING TE
ARCHITECTURAL USES CF WHITE PINE AND ITS
/MMLABLITY TODAY" AS A STRUCTURAL W3DD

Vol. 1 1

FEBRUARY, 1916

No. 1

THE COLONIAL RENAISSANCE

HOUSES OF THE MIDDLE AND SOUTHERN COLONIES

By FRANK E. WALLIS

Mr. Wallis is as well known to the architectural profession for bis researches into historic American
architecture as for his genial personality. His were the first books published on Colonial work, and
made familiar to us Westover, Shirley, Brandon, Carter's Grove, and other important manors in the
South, now so well known. The examples of the wood-built houses which illustrate this Monograph
have been selected without regard to the species of wood of which they were constructed. — EDITOR'S NOTE.

SINCE the latter days of the eighteenth
century, the first indication of architec-
tural sanity was that rejuvenescence or
regeneration of the spirit which must have been
behind the earlier expressions of architecture
in America. Even though we must accept the
English Georgian parentage, this Georgian or
Colonial happens to be the only style or method
which the colonists understood or desired.
That this period architecture was interwoven
in our fabric of free government, that it housed
the conception and completion of our Constitu-
tion, and that it formed a stage background
for our Fourth of July orations and the per-
orations of our politicians, must prove to our
ultimate satisfaction that Colonial is our na-
tional style of architecture.

The renaissance of Colonial happened at the
psychological moment, as all the rebirths in
architecture have happened; for while the few
architects — and they were few, those of the mid-
dle nineteenth century — were content and com-
placent in their fraternal association with the
carpenter, there happened to be a small per-
centage of this baker's dozen of architects who
revolted at this immoral association with that
"cocotte" of good taste.

Among these few objectors were the original
members of the firm of McKim, Mead & White,
for I have found records of sketching trips in
the late seventies by Wm. B. Bigelow and by
Charles F. McKim; trips made through the old
towns of New England, where entire streets of
fine examples of the early work had been
neglected and undiscovered for more than half
a century. There had been a few sporadic at-
tempts tostudy theseexamples before this time,

but these attempts were confined mostly to
the research work of antiquarians and to a few,
a sad corporal's guard, of the small number of
practising architects.

These two men of the old firm of McKim,
Mead & Bigelow had the prior knowledge of
the fine examples of Colonial, and, I believe,
with few exceptions, were the first architects
to succumb to the charms of the old traditions.

It was about this time, too, that Arthur Little
of Boston printed a series of pen and ink
sketches for private circulation. This book,
unfortunately, has disappeared from the ken of
man. I remember, however, the great pleasure
which the study of this early set of drawings
gave me when I began my wanderings in the
pleasant land of Colonial architecture.

I was not more than fifteen years of age
when the fondness for these old buildings first
inspired me, and during the succeeding seven
or eight years I measured and made drawings
of the old New England work on holidays and
after office hours, during which my time was
occupied in tracing and designing those illus-
trious so-called "Queen Annes" which were
actually accepted by architects and laity alike
as the supreme expression of good taste in
architecture.

The fellows who joined in this quest are to-
day scattered throughout the country; indeed,
a few of them have mounted au del. I fre-
quently wonder if Cormer of Seattle, or Charlie
Coolidge of Boston, ever remember the rape of
the staircase in the old north end of Boston,
when we youngsters bribed the complacent
tenant to watch for the landlord, and then,
with a prepared substitute and a stair-builder.

THE WHITE PINE MONOGRAPH SERIES

picked out and carried away bodily that beauti-
ful twisted newel-post with the varying carved
balusters and mahogany rail. " Pop" Chandler,
in whose office we installed the stolen trophy,
had numerous fits when we informed him that
"a kind lady had given the thing to us." The
draughtsmen of the office of that time have
since become fat and portly architects, such men
as Longfellow and Austin, Ion Lewis and dear
old Billy Barry, who in himself was a most
delightful Colonial expression. His sketches of
ships and of old
compositions of
eighteenth-century
buildings were mas-
terpieces; he knew
the intimate detail
of a dentilled turn
in the cornice, the
habitsof clapboards
and rake-moldings,
and the customs
and manners of
gables and dormers
as few other men
knew them.

Inordertogather
sufficient funds for
a European trip, it
occurred tome that
possibly I might
acquire such with
a few carefully
measured drawings
of good examples
of the Colonial.
The plan seemed
good and the lay-
outs were not diffi-
cult; but I smile
to-day when 1 re-
member the rocky
path ahead of that
unsophisticated youngster who expected to
achieve Spain and Italy through the easy by-
paths of Colonial drawings.

Ware of the American Architect would not
even look at the proffered sheets; Col. Meyer
of the Engineering Record wanted to cut them
up, though this big-hearted man tried to sell
them for me and offered them to Comstock in
New York. This effort was more hopeless than
the other with Ware in Boston. Then there
comes on the screen that fine old soul whose
memory many architects still adore — "Pop"
Ware, then in Columbia. These drawings sug-
gested something to him, and his students were
permitted to look them over as inspirations for
their own summer work. After Prof. Ware

"DOUGHOREGAN MANOR," HOWARD COUNTY, MARYLAND
Home of Charles Carroll

had put his seal of approval on these sheets,
they were demanded by and sold to the Ameri-
can Architect. To-day they form a part of the
Georgian Period.

I have wondered in my later days at the diffi-
culties which 1 had encountered in disposing
of these drawings, realizing, of course, that the
profession at that time had little, if any, appre-
ciation of the charm and fitness of that phase
which has since come to be known as Old Colo-
nial. I have never been able to comprehend

the "Old," though
I have been told by
one of the grand-
fathers of the pro-
fession that I, my-
self,was responsible
for this false ap-
pellation. I wish
here todisclaim the
credit for the mis-
nomer, and will
hereafter, being re-
lieved of thisanach-
ronism in phrase-
ology, insist that
Colonial is the only
correct and proper
label for those
beauties of the
eighteenth century
which we to-day
know with such in-
timacy.

On my return
from the European
trip I was amazed
and delighted to
find a representa-
tive of Col. Meyer
on the dock, a con-
tract in his hand,
and with a demand
Wallis be looked
this commission

from the virile West that

up and sent South. With

and sufficiently financed, I began my journey

south, much as Sir Galahad did in his search

for the Holy Grail.

I had been face to face with the great ex-
pressions of Europe, and had talked withVedder,
with Abbey, and with others in the ateliers of
the E. D. B. A. I knew the museums of Ma-
drid, of Florence, of Paris, and of London; the
streets and alleys of all of those Spanish, Italian,
and French cities where architecture is at home,
and where the street gamins and the proletariat
are in complete accord with the architectural
expressions of their fathers. With the memories
of the old world fresh in my mind, and with add-

HOUSES OF THE MIDDLE AND SOUTHERN COLONIES

ed experience and know-
ledge, this Southern trip
was much the same to
me as those side jour-
neys which I had made
into Brittany, Provence,
and through the byways
and alleys of the archi-
tects' paradise.

The Southern journey
led to Fells Point in
Baltimore, to Annapolis,
Fredericksburg, Va., Wil-
liamsburg, and York-
town, among others.

I sailed up the York
River to Rosewell in a
log dugout. How we got
there I do not know, but
this 1 remember with
pleasure, as I remember
the constant courtesy of
those Virginia folk, that
those at Rosewell permit-
ted me to sketch the
beautiful details of that
supreme expression in
architectural history
without any objection.

"THE WILLOWS," GLOUCESTER, NEW JERSEY

The walls were built of three-inch planks dovetailed together

at the corners. Built about 1720

I encountered some op-
position in Fredericksburg
when I essayed so politely
to ingratiate myself in
the good graces of the
pra-nde dame who pre-
sided as chatelaine over
Kenmore, but without
success, until the sugges-
tion of the hotel man
tempted me to try the
husband while the wife
was absent. Those of you
who read this, coming
out of Boston and remem-
bering Dizzy Bridge just
about where the Public
Library now stands, will
chortle with glee when 1
tell you that because I
had been in swimming at
Dizzy Bridge 1 was ad-
mitted into the fraternity
of old friends by this most
charming gentleman. He
joined with me in getting
results before his wife re-
turned.

It is a fact that archi-

"MONTEBELLO," NEAR BALTIMORE, MARYLAND. Built in 1812

The* detail, both exterior and interior, was extremely minute in scale and departed far from
classic traditions. This house resembles " Homewood " both in scale and character of moldings

THE WHITE PINE MONOGRAPH SERIES

lecture does catch some of the characteristics
of those people who create it; the manners and
customs of the people, who must necessarily
express themselves in brick, wood, and stone
and color, must be and are reflected in the
buildings. Because of this fact, and because
of that other fact that the people of this middle
South were more often gentlemen than other-
wise— gentlemen not only because of their
social assurance, but gentlemen because they
were sportsmen in every sense of the word,—
their architecture shows the reflection; or,
rather, their architecture is the physical ex-
pression of their own thought and point of view.

There must have been a homey, seignorial
atmosphere about the great manor-houses in
the heyday of their youth and power that would
shame our modern Fifth Avenue magnates, if
that were possible. The facades of Westover,
Shirley, Brandon, etc., are simple, gentle, and
assured, as only the facades of men and women
who have assurance of place and family may
be gentle and simple. I once saw a thorough-
bred girl on the back of a thoroughbred horse,
coming up the sward from the James to a
thoroughbred house — that of Carter's Grove:
a perfect picture and a most natural conclusion,
for the house was in the class with both Diana
and the horse. And these other types might
be, and indeed must be, accepted as the progeny
of the more stately and dignified chateaux of
the great landowners of Colonial times, for here
we find the same completeness, the same con-
straint against over-adornment.

The streets in the little villages of the South
are lined with these charming and restful homes,
and you will also find in the type which we will
call the outhouses of the great mansions, the
same care in design and the same restraint in
composition and ornament which are illustrated
in the charming Williamsburg, Falmouth, and
Fredericksburg examples: all of them supreme
in their place, and all of them creating a restful
atmosphere such as you may find between the
covers of "Cranford."

Have you read "Cranford"? If you have,
you may possibly appreciate the charming

ladies at Harwood House, Annapolis. If you
know this classic, the story of the flower-garden,
the dinner to which these charming ladies in-
vited the wanderlust youngster, the sweet
appreciation of his quest, will appeal to you,
even though you have not been invited to
church service, as I was invited, — invited to join
them in their old high-back pew.

Was George Washington a finer and broader
man because of his life at Mount Vernon, or
was Mount Vernon and its type, such as we
know them, beautiful because of the desires of
those old worthies who cussed and smoked and
tippled, meanwhile fighting our battles and
planning our independence from George of
England?

We may find Georgian examples through the
shires of England. Cork has some of them;
Dublin also, and London is colored with its ex-
pression. Georgian, however, and not Colonial,
for our Colonial, the son of the Georgian, if
you please, has clapboards, porches in Doric
and Corinthian or near Corinthian, cornices
and modillions, or cornices ornamented with
the invention of our own native joiners; for
wood to these old men was a servant, and
they played in and out through the grain of
the woods for their curves and their applied
ornamentsinsuchfashionaswould have shocked
the stolid Britishers of the Georgian times.

The drawings and sketches made of the
Southern work suggested a book on the sub-
ject, and I was again commissioned to go
South, although this first book — and I believe it
was the first book published on the Colonial-
included sketches made in New England, etc.
Those other books of photographs and drawings
which followed this publication have added
tremendously to our knowledge of Colonial, and
in the later days the fellows who, like Deane,
Bragdon, Chandler, Brown, Embury, and
Bessell, have studied the varying phases and
who have written books and articles on the
subject, have placed the country under great
obligations, for these publications have served
their part in the development of good taste in
architecture.

The subject of the fifth monograph will be Domestic Architecture in Massachusetts,
1750-1800, with descriptive text by Julian A. Buckly

Subject of Previous Numbers of

THE WHITE PINE SERIES
OF ARCHITECTURAL MONOGRAPHS

No. i. Colonial Cottages Text by Joseph Everett Chandler

No. 2. New England Colonial Houses. Text by Frank Chouteau Brown
No. 3. Farm Houses of New Netherlands. Text by Aymar Embury II

HOUSES OF THE MIDDLE AND SOUTHERN COLONIES

"TUCKAHOE," GOOCHLAND COUNTY, VIRGINIA. Built about 1707

The scene of Thomas Jefferson's boyhood. It is the oldest of the James River frame
mansions. The house reveals an interesting plan which is I in shape: the library,
drawing-room and stair hall in one wing, with the ball-room connecting the rear
wing, in which the dining-room, bedroom and second stair hall are located

"TEDINGTON," SANDY POINT, CHARLES CITY COUNTY, VIRGINIA. Built in 1717

Named after a place in London. The house has massive walls of brick and from the
first floor is weather-boarded over the inside brick casing; known in Colonial days as a
" stock " building, and supposed to be indestructible. The estate is on the James River

THE WHITE PINE MONOGRAPH SERIES

AN EARLY COTTAGE, FALMOUTH, VIRGINIA
Long dormers with sharp-peaked gables are characteristic of the early Southern houses

TUCKER HOUSE, WILLIAMSBURG, VIRGINIA

The houses in this section followed the same general plan, the various departments
located in ells or extensions clustered in a rambling manner about the central
building. This house, like a majority of the Southern Colonial houses, has a bed-
room on the ground floor. The windows are glazed with small panes set in lead

HOUSES OF THE MIDDLE AND SOUTHERN COLONIES

HOUSE OF PEYTON RANDOLPH, WILLIAMSBURG. VIRGINIA
Mr. Randolph was the first President of the Continental Congress

HOUSE ON DUKE OF GLOUCESTER STREET, WILLIAMSBURG, VIRGINIA

Williamsburg was founded in 1632. It was the center of Colonial growth in the
South from 1698, when Governor Nicholson removed the seat of government from
Jamestown to this place. The town contains many excellent examples of low,
picturesque wooden houses built in the latter part of the seventeenth century

THE WHITE PINE MONOGRAPH SERIES

RISING SUN TAVERN, FREDERICKSBURG, VIRGINIA

There is a beautiful hall and stairway. All bedrooms have slanting
ceilings. Washington slept at this place when he came to visit his mother

MARY WASHINGTON HOUSE, FREDERICKSBURG, VIRGINIA

There are many interesting old houses in Fredericksburg, among them the frame
cottage in which Mary the mother of Washington lived and where she died

HOUSES OF THE MIDDLE AND SOUTHERN COLONIES

MOUNT VERNON MANSION, FAIRFAX COUNTY, VIRGINIA
Probably the most notable of Virginia plantations, the home of George Washington

WYE HOUSE, TALBOT COUNTY. MARYLAND. Built about 1780

The original manor-house was built in 1668 A fragment of this is now used as an outbuilding. The
main building contains the principal rooms and connects by corridors with one-story wings in which are
the library on one side and the domestic offices on the other. The whole facade is two hundred feet in length

THE WHITE PINE MONOGRAPH SERIES

"THE GLIBE," POWHATAN COURT, VIRGINIA

An example of the use of a large central dormer with smaller ones
on either side; characteristic of houses of this class in the South

DR. BILDERBECK'S HOUSE, SALEM, NEW JERSEY. Built in 1813

The bead-edged clapboard walls are painted yellow and the trim is white There has been an unfortunate
20th-century excrescence added at the side. The building is otherwise intact and as sound as when first built

HOUSES OF THE MIDDLE AND SOUTHERN COLONIES

GOVERNOUR EDEN HOUSE, EDENTON, NORTH CAROLINA. Built about 1750
The framed overhang construction is most unusual in the Southern colonies

THE PENDELTON HOUSE, NEAR RICHMOND, VIRGINIA

The early Virginia colonists built their houses of wood. A characteristic feature of these early houses was
the chimney at each end built outside the house wall for its entire height. The occurrence of the gam-
brel is not nearly so frequent as in the North, and there are few examples of framing with the overhang

SPRING HOUSE AND DAIRY, ESTATE OF GOODLOE HARPER,
BALTIMORE COUNTY, MARYLAND. Built about 1800

Pliotograph by Julian Buckly

Houses of this type were built near a spring or cold, swift-running brook. There is a sunken
trench all around inside the outside wall about 18 inches deep and 18 inches wide. The cold water
enters at one side of the house and goes out the opposite side. The water is regulated by a
gate so that it will not rise beyond the height of the milk jars, which are set in the trenches

ANNOUNCING THE FIRST WHITE PINE
ARCHITECTURAL COMPETITION

A SUBURBAN HOUSE TO COST $10,000 '

(Program on following page)

WITH the renewal of interest evi-
denced all over the country in the
architecture of our forefathers,
there has come an awakened appreciation
of the charm of the old houses and a desire
on the part of the architectural profession
to express in their designs to-day those inter-
esting features of mass and detail which char-
acterized the early buildings. There appears
to be a growing demand on the part of cli-
ents for homes which embody the charm and
delicacy of our colonial and early American
architecture, and this fact seems to make most
welcome the publication of data which will
further acquaint one with the subject. The
White Pine Series of Architectural Mono-
graphs has only just begun to present a record
of these beautiful and suggestive examples of
wood-built houses now remaining for our study
and emulation. The old buildings illustrated
are a testimony to the early architects' ability
in designing and a most convincing proof of the
enduring qualities of White Pine, used so exten-
sively for these houses. Perhaps no other wood
stands the passage of time as does White Pine.
The keen interest in these Monographs and the
work they areillustrating prompted the thought
that something more of real value might be ac-
complished if architects were given an incentive
to vie with one another in the creation of a
really American house of a given size. With this
in mind, the Editor of The White Pine Series
of Architectural Monographs hereby insti-
tutes an architectural competition. The object
of this competition is to encourage the study of
the wood-house problem, especially of the type
where delicacy of detail and refinement of mold-
ing can best be executed in White Pine.

We owe a debt to White Pine for many of
the seventeenth and eighteenth century houses
which have been preserved to us in all their
pristine refinement of detail. The very same
quality of White Pine used in these early ex-
amples is obtainable to-day; and if we avail
ourselves of the privilege of building with it,
there may be created a domestic architecture
which we in turn may leave as a heritage for
the admiration of future generations.

There is an abundance of White Pine at your
disposal for all purposes of building. The soft,
even texture of the wood makes it delightful to
work, and you can be sure that it will stay

put. As long tests have demonstrated, White
Pine is truly the ideal wood for all work that
is to be painted, and for the outside covering
of. a house it has no equal. The workable
qualities of White Pine make it easy to pro-
duce crisply cut moldings of beautiful detail
for cornices, trim, etc., ensuring the designer
limitless possibilities in the expression of his
individuality.

Uninformed writers in the public and archi-
tectural press have called attention to and
bewailed the "fact" that the old-fashioned,
best quality White Pine is now scarce. This
impression is contrary to fact, and therefore
most unfortunate. White Pine is so abundant
as to be economical for every ordinary struc-
tural use, but is particularly urged for outside
exposed finish work, where it must withstand
the elements. The designer need not feel that
he is forced to place limitations on his design,
that he must be sparing in using White Pine
only for carved work; he should know that
there is plenty of White Pine for all outside
finish and will be for years to come.

It is hoped that the designs submitted in
this Competition will exhibit a careful study
of the particular problem, and that contes-
tants will consider the house one to be actu-
ally built of wood. Originality in design is
looked for, but attention is called to the fact
that this house is presumed to meet a practi-
cal need in every American suburb, and there-
fore should in all respects be a distinct im-
provement over the average house erected by
the speculative builder.

The Editor wishes to assure all contestants
that it is not the purpose to make use of the
resulting designs other than for exhibition or
the publication of a selected number in book-
let form. This booklet will not purport to
be a home-builders' "plan-book," but simply
a work suggesting how White Pine may appro-
priately be used, and a copy will be sent each
contestant. The August issue of The White
Pine Series of Architectural Monographs
will be devoted to the publication of the Prize
and Mention Designs. In every case where a
competitor's design is shown, his full name and
address will be given, and all inquiries regard-
ing his work will be forwarded direct to him.
It is planned to judge the submitted designs
on May i2th and i3th.

PROGRAM FOR AN ARCHITECTURAL COMPETITION
A SUBURBAN HOUSE TO COST $10,000

(INCLUDING GARAGE FOR ONE CAR)

OUTSIDE FINISH TO BE BUILT OF WHITE PINE

PRIZES AND MENTIONS
Premiated Design will receive
Design placed second will receive
Design placed third will receive
Design placed fourth will receive
Six Mentions

$750.00
400.00
250.00

IOO.OO

Architects and Architectural Draughtsmen are invited to enter this Competition
Competition closes at 5 p.m., Monday, May ist, 1916

PROBLEM: The subject is the design of a Suburban Res-
idence with a Garage to accommodate one car, both to be
built of wood, the outside finish, consisting of siding and cor-
ner boards ; window sash, frames and casings ; outside doors,
door frames and casings ; outside blinds ; all exposed porch
and balcony lumber; cornice boards, brackets, ornaments
and moldings; and any other outside finish lumber — not in-
cluding shingles — to be built of White Pine. The house is
to be located on a rectangular lot with a frontage on the
highway of 100 ft., and 200 ft. deep, the Northerly end of the
lot facing the highway. Running South from the highway
for a distance of 50 ft. the lot is approximately level, but
from this point takes a 10% grade to the South. There is
facing the South an unobstructed river view. It is assumed
that the adjacent lots are of similar dimensions and that
a restriction covering all this block provides that no house
be erected nearer than 30 feet from the highway property
line. The architectural style, plan arrangement, gardens, and
the location of the house and garage upon the lot, are left to
the designer. Provisions should be made for a living-room,
dining-room, kitchen, pantry, laundry, four master's rooms
and two baths, and one maid's room with toilet, and should
also include a piazza. The total cubage of the house, garage,
and porches must not exceed 50,000 cubic feet, and for the
purpose of this Competition the price per cubic foot is set
at 20 cents, this being the estimated cost at which houses of
the type specified can be built in almost every part of the
country.

JUDGMENT: The Jury of Award will base their judgment
on the effect of the design as a whole ; its appropriateness to
the given site; the degree of ingenuity shown in the plans;
and the fitness of the design to express the wood-built house.

IT IS REQUIRED TO SHOW: A pen and ink perspective
of the subject at ]^ inch scale, clearly indicating the design
and the character of the exterior finish. Plans of the first and
second floors, blacked in solid at the scale of 8 feet to the
inch, with the dimensions of each room given on the plan at
a size which can be plainly read even when reduced. In con-
nection with the first floor plan give the plot plan. Two
elevations at 8 feet to the inch. A key cross-section at a
scale of 8 feet to the inch showing height from basement
floor through all roofs. Detail drawings at % inch scale of
the entrance door or porch and of the fireplace side of the
living room. Three inch scale profiles of the main cornice,
doorway and other special exterior features to present the
design attractively. Graphic scales must be shown.

PRESENTATION : The drawings required are to be on too
sheets only. The size of these sheets is to be exactly 23 X 30
inches. Plain border lines are to be drawn so that the space
inside them will be exactly 2 1 % X 27^ inches. Whatman or
similar white paper is to be used unmounted ; Bristol board or
thin paper is prohibited. All drawings must be made in black
ink. Color or wash on the drawings will not be permitted.

All detail drawings to be shown on the second sheet. The
drawings are to be signed by a nom de plume or device.
It is especially required that the perspective shall be accu-
rately plotted and indication given as to vanishing points
and eye point. There is to be printed on the drawing, as
space may permit, " Design for a Suburban House and
Garage of White Pine." On the drawing, in a space meas-
uring 4X5 inches, enclosed in a border, is to be given, at a
size which will permit reduction, the contestant's calculation
of the total cubage.

COMPUTATIONS: The cubageof the house will be figured
from the basement floor, which shall be assumed to be at
least 8 feet below the first story level, and the full dimensions
of the first story, exclusive of the garage, to the average
height of all roofs. Porches, etc., will be computed at one
fourth actual cubage above ground level. Cubage will be
computed by two architects, not competitors, engaged by
the Editor The Jury will positively not consider designs
which exceed the prescribed cubage.

DELIVERY OF DRAWINGS: The drawing is to be en-
closed between stiff boards or rolled in a strong tube not less
than 3 inches in diameter, securely wrapped, and addressed to
Russell F. Whitehead, Editor, 132 Madison Avenue, New
York, N. Y., on or before May ist, 1916. In the wrapper
with the design is to be enclosed a sealed envelope containing
the true name of the contestant. The nom de plume chosen
by the designer must be placed on the outside of the sealed
envelope. Drawings sent by mail must be at the first class
postage rate as required by the Postal regulations.

Drawings submitted in this Competition are at owner's
risk from the time they are sent until returned, although
reasonable care will be exercised in their handling and keeping.

RECEIPT OF DRAWINGS: Designs will be removed from
their wrappers by the Editor, who will place a number upon
each drawing and the corresponding number on the enclosed
sealed envelope, for purposes of better identification. The
envelopes will be placed in the custody of the Editor, and
will not be opened until after the awards have been made.

JURY OF AWARD: HarrieT. Lindeberg, New York, N.Y.;
Benno Janssen, Pittsburgh, Pa.; Frank B. Mead, Cleveland,
O.; Frederick W. Perkins, Chicago, III.; and Richard B.
Derby, Boston, Mass., well known country house architects,
have accepted invitations to serve on the Jury.

THE PRIZE DESIGNS are to become the property of The
While Pine Series of Architectural Monographs, and the right
is reserved by this publication to publish or exhibit any or
all of the others.

RETURN OF DRAWINGS: Unsuccessful contestants will
have their drawings returned, postage prepaid, direct from
the Editor's office.

Contestants are requested to read the announcement on the
preceding page for other particulars

An Architectural
^Monograph™

Domestic Architecture

in Massachusetts

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HOUSE AT WAYLAND, MASSACHUSETTS. Detail of Entrance
Doorway. Built about 1800.

The trellis and seats are new, having been added by Ralph
Adams Cram, Architect, the present owner and occupant.

Photograph by Julian Buckly

Tfi&WttlTL PINL

ARCHITECTURAL MONOGRAPHS

A BI-MONTLY PUBLICATION SUGGESTING TE
ARCHITECTURAL USES CF WHITE PINE AND ITS
/MMLABLITY TODAY AS A STRUCTURAL W3DD

Vol. II

APRIL, 1916

No. 2

ARCHITECTURE IN MASSACHUSETTS

DURING THE LATTER PART OF THE EIGHTEENTH CENTURY

By JULIAN BUCKLY

The architectural profession is acquainted, it is believed, with Mr. Buckly's charming photographs of both
old and current work. Mr. Buckly began his camera wanderings at the time he was practising architecture
in Baltimore, and he has always been keenly interested in recording the work of his fellow-architects in New
York and Boston, where he has recently practised, by means of excellent photographs. — EDITOR'S NOTE.

PHOTOGRAPHS BY THE AUTHOR

OUTSIDE of that very early and almost
conjectural Colony house type that at
first reflected far more of the aspect of
its English Gothic predecessor than it hinted
at the lighter form of classical dwelling, there
was also the early and unpretentious "farm-
house." It was doubtless because of its simple
and economical lines that this type persisted
for so many years, — even, as a matter of fact,
until this very day, — although its late deriva-
tives are, unfortunately, so deficient in all its
original inherent attributes of beauty of propor-
tion and delicacy and refinement of moulding
and scale as scarcely to permit the relationship
to be now recognizable.

So these earlier dwellings, which were gener-
ally of the very simplest pitch-roof type, — the
low shed, with its eaves hardly above the
ground at the back, being in the most part a
later addition, — continued to reappear, for well
over a hundred years, as the houses of the "first
settlers" in new communities, springing up
along the New England coast and its inland
river valleys. They also persisted, till a much
later time, as the "farm-house" par excellence
throughout all New England.

To cover the development thoroughly, it is
perhaps necessary further to speak of the
houses of the humbler families, or those built
in the more sparsely settled communities, and
in those sections where the men were fisher-
folk or the farms sterile or sandy. Here a still
simpler kind of cottage, of one story, with a
low-pitched or gambrel roof, was simultane-
ously developing in use; but this "cottage
type" is so architecturally distinct and sepa-
rate a form that its consideration here would

but serve to confuse the reader interested in
tracing the development of New England Colo-
nial architecture — and so, having been men-
tioned, it will be left until it can be fully and
separately studied by itself.

To resume, this simple pitch-roof, farm-house
type, one room deep and two stories high, was
at first built exclusively with one ridge pole
and two end gables, making the simplest pos-
sible form of roof, unbroken by dormers, as it
then provided only an unfinished attic space
meagrely lighted from the gable ends. The
pitch of this roof varied greatly. A few very
early examples show the steeper pitch of Gothic
influence. Later it lowered naturally to more
nearly the Georgian proportion; though there
can be no doubt but that the builders of these
simple houses were more concerned to get just
that exact relation where the pitch was steep
enough to throw off the water from its shingled
slopes, with the use of the minimum factor of
safety, while it would still be low enough to
permit of the use of the shortest and smallest
rafter lengths allowed by a due regard for these
practical requirements, than to display any re-
gard for, or perhaps even knowledge of, the classic
precedent that had then recently become cus-
tomary and established in England. But the
roof pitch continued gradually to flatten as
time went on — a process in which the kind of
roof with two slopes, known generally as "gam-
brel," may somewhat haveassisted — untilat last,
well into the nineteenth century, — 1 830 or 1 840,
or thereabouts, — it arrived at the low slope ap-
propriate to the revival of the Greek influence
that, when first blending with its predecessor,
produced such beautiful and dignified results.

THE WHITE PINE MONOGRAPH SERIES

But as this very simple
yet beautiful farm-house
type did not always satisfy
the needs of those commu-
nities that were, by the end
of the eighteenth century,
growing decidedly more
prosperous, developing a
wealthy class that in their
turn at once demanded
more pretension and style
in their dwellings while be-
ing willing and able to ex-
pend more money upon
them, both the plan and the
architectural style of these
houses began rapidly to
change. In plan the house
first grew a service ell that
extended more and more,
as the prosperity of the
farm grew, until it often
ran slam into the big barn
itself. This was the almost
invariable method on the
farm, where land was plenty
and the living requirements of the family itself
changed but little from generation to generation.

Detail of Entrance.

FARM-HOUSE AT MILTON, MASSACHUSETTS.
The pilasters are an excellent example of chisel carving.

Sometimes this ell grew on
at the rear, sometimes it
extended at the side, some-
times it grew in two parts
(then generally termed
"wings") extending either
to right and left of the old
house, or, less frequently,
running backfrom each side
or end, making the "E"
shape plan.

In the Colonial village or
town, however, so simple
an "addition" met neither
the needs nor conditions
that were most likely to
exist. Land was more re-
stricted and expensive, and,
what was quite as impor-
tant, the growing social
amenities of family life re-
quired more than the old
two-room first-story plan.
It is true that at first it
was possible to retain one
of these rooms as a parlor
and turn the old dining-room into a separate
living-room, building a new dining-room and

OLD FARM-HOUSE AT MILTON, MASSACHUSETTS. Built before 1800.
An unusual element occurs in the old porch and in the projection of the first-story rooms.

DOMESTIC ARCHITECTURE IN MASSACHUSETTS

kitchen at the rear in an ell. But this was
merely an emergency measure, perhaps neces-
sary in temporarily fixing over the old house.
When the time to build a new one arrived, the
two-room plan of the old farm-house was exactly
doubled: the center hall was continued through
the house and two more rooms were built at
the back, one upon either side. Thus a parlor,
living-room, dining-room and kitchen were pro-
vided on the first floor; and, as the need of a
library or office came to be felt, the old method
of adding a new kitchen in an ell was again re-
sorted to; and once again the plan began to de-
velop and grow in this same way, following
much the same natural process, it should be
observed, as Nature has herself ordained for
the growth of the pollywog!

So, too, the exterior underwent changes at
the same time. The double depth of the house
— making it nearly square in plan — ran the old
pitched roof and end-gabled ridge pole so high
into the air as at once to introduce new possi-
bilities. Either its steep pitch could be retained
and the old unused attic be utilized as a third
living floor — an opportunity much needed by
some of the very generous families accruing to
the early settlers! — or the appearance of the
house could be obviously helped by again re-

ducing the rafter length (a practical and eco-
nomical aspect natural to these early builders),
thus lowering at once both the ridge and pitch
of the roof. This produced an end gable that
perhaps appeared rather awkward in propor-
tion to the Colonial carpenter's eye, trained to
a steeper slope; and so he probably at once
thought of the possibility of pitching his roof
from all four rather than from only two sides,
and the newer, more prosperous and capacious
square Colonial house type was born !

Typical of the "farm-house" group is the "old
red house" in Milton, now a part of the large
"Russell Farm"; and while its exact date is
not known, it is supposed to have been built
some time before 1800, by one Nathaniel Rob-
bins, and is distinguished from most of its as-
sociates by an unusual architectural feature in
the two projecting one-storied portions occur-
ring on both ends. Although from the outside
these might seem to be later additions to an
older house, internally they have every appear-
ance of having been built at the same time as
the rest of the structure. The cornice and dado
finish continue around the rooms without break,
while inside the room does not show the break
that outside allows the corner board to con-
tinue down and the projecting ell cornice to

THE GENERAL PUTNAM HOUSE AT DANVERS, MASSACHUSETTS.
The outer vestibule and railing are carpenter additions.

Photograph by Wilfrtd A . French

Built about 1744.

THE WHITE PINE MONOGRAPH SERIES

Detail of Pilaster.
THE HOOPER HOUSE AT H1NGHAM, MASSACHUSETTS.

butt against it, both refinements displaying
some evident skill and forethought on the part
of the builder. The difference is made up in
thickness of walls; the main house front wall
being furred-in to effect this purpose, as well
as to provide cheeks to take care of the inside
window shutters in the window reveals.

It is impossible to give a date to the porch.
Its unusually simple detail and close relation
to the old extension give every assurance of its
being contemporaneous, despite the fact that
it is so rare a feature of Colonial work. The
doorway is crude and archaic in some of its
chiseled carpenter-carved decoration, but all
the more interesting for that. Whether built at
an earlier date or not, this house could easily
pass as from twenty-five to fifty years older
than the date assigned it above.

The Emery House at Newburyport, built by
Thomas Coker in 1796, is an unusually clear
example of the simply planned front house with
the added rear ell. In this case the front part
has a gambrel roof, of exactly perfect propor-
tions, and the ell a simpler pitched roof, as
is often found when the ell's narrower width
brings the two rafters of the same pitch as the
lower slope of the gambrel to a ridge intersec-
tion occurring at the same point where the gam-
brers upper flatter slope begins. The outside
vestibule entrance, at the place indicated, is
unusual; and the vestibule, while, as usual, of
later date, is a good example of its kind. In

fact, much of the bare appearance of this house
is occasioned merely by its lack of blinds.

Another very similar example of the gambrel
roof type is the General Putnam House in Dan-
vers — in its present state representing approxi-
mately the period of 1 744 (although a claim has
been advanced that a portion of the house is
as old as 1648). This house has, in addition to
its low ell, a comparatively modern vestibule
with a characteristically modern carpenter's
version of a balustrade above it. This house
presents as much of a contrast as is possible to
the Dalton House at Newburyport. While
variously dated as being built from 1750 to
1760, the photograph of this house speaks for
itself, presenting an unusually spacious and
generous treatment of the gambrel roof slope
(now slated, while the house has a new end bay
and suspiciously widely spaced columns at the
entrance!). The whole design nevertheless
shows much more refinement of handling than
is apparent in the other example mentioned.

The Dummer House at Byfield, near New-
buryport, is a less well known example of a
prim New England type, of which the War-
ner House at Portsmouth is perhaps the best
known existing structure. As in the latter case,
it frequently has the brick ends that follow
naturally from dividing the old center chimney
and placing the fireplaces on the end walls.

Detail of Entrance and Pediment.

THE APTHORP HOUSE AT CAMBRIDGE, MASSACHUSETTS.
Built in 1760.

DOMESTIC ARCHITECTURE IN MASSACHUSETTS

Before turning to the houses of square plan,
let us look for a moment at the little house in
Hingham — also of L shape — locally known as
the "Bulfinch House." Local legend persists in
claiming that it is formed from the upper two
stories of an old house, once on Bowdoin, near
Bulfinch Street, in Boston, of which the lower
story had been of brick, which was taken down
in 1841, and this upper part rafted down the
harbor in parts on a packet, carried part way
up the hill, and re-erected on its present site.
The charming and unusual corner pilaster is,

the lower portion serving as the old shed, with
five beautiful arches, some of which are now
filled in.

The Apthorp House in Cambridge is an ex-
ample of the more stately type of square Colo-
nial house plan, of which the next two or three
houses mentioned are further variants. These
houses were oftentimes graced with roof balus-
trades, preferably along the upper roof deck.
As the chimneys with this plan were normally
placed on the outside wall, they also often had
brick ends. It is, in New England, the local

Photograph by Wilfred A. French

THE DALTON HOUSE AT NEWBURYPORT, MASSACHUSETTS. Built between 1750 and 1760.
This picture is of special interest as showing the house before its recent restoration.

at any rate, excuse enough for including the
house here! The sturdy simplicity of the door-
way is also suggestive of Bulfinch's hands.

The house built by Commodore Joshua Lor-
ing in 1757 in old Roxbury is a rarely dignified
and beautiful relic of a pre-Revolutionary man-
sion. The entrance was originally on the west
side, where two beautiful Corinthian pilasters
and capitals still show beneath a porch con-
struction put on at this end a number of years
ago. The present north doorway, opening on
the garden, might, solely because of its greater
refinement, also be suspected as a possible later
addition. At the back is a separate building,
designed for servants' rooms on the second floor,

representative of the "Westover" type that was
equally representative of the South. When
built for the occupancy of a Colonial bishop in
1760, it did not include the third story now
shown over the pediment in the photograph of
the entrance, although it was added very soon
afterward — according to one story, to serve as
the slaves' quarters. While removed from its
old site, and now surrounded by college dormi-
tories, it still appears to dignified advantage,
largely because of its foreground. It is inter-
esting to note how superior this doorway is,
in strength and decision of detail, to the simi-
lar treatment to be seen on the Longfellow
House, built at practically the same time —

( Continued on page 1 1 )

THE WHITE PINE MONOGRAPH SERIES

fro»i the Mary H. Northend Collection

THE GOVERNOR WILLIAM DUMMER HOUSE AT BYFIELD, MASSACHUSETTS.
An example of the prim New England type with fireplaces on the outer end walls.

THE EMERY HOUSE AT NEWBURYPORT, MASSACHUSETTS. Built in 1796 by Thomas Coker, Architect.

A good example of the New England gambrel roof type.

DOMESTIC ARCHITECTURE IN MASSACHUSETTS

1759 — and of pre-
cisely similar type,
standing barely three
quarters of a mile
awayon BrattleStreet.
Most beautiful and
aristocratic of all the
New England houses
of this kind, however,
was the old Tayloe
House in Roxbury,
near the Dorchester
line. Its details were
notable for their deli-
cacy and refinement,
while the house,
though of a regular
and consistently pop-
ular plan, yet pos-
sessed minor and un-
usual elements, in-
cluding a rounding
bay and two-story
porch at the rear.

An instance of a
house with a lateral
ell extension, although
of later date, is an old
owned by the architect

Detail, Entrance Vestibule.

THE BENNETT HOUSE, WAYLAND, MASSACHUSETTS.
This is a recent addition, as is generally the case where this feature is found

house at Wayland, now
, Mr. Ralph AdamsCram.

There happen to be
two fairly well known
examplesof old garden
houses in New Eng-
land : one the summer
house that, up to ten
or a dozen years ago,
stood back of the
Royall House in Med-
ford.on top of an arti-
ficial mound that, as
a matter of fact, en-
closed the old "ice-
house" of the estate.
While the summer
house has now nearly
disappeared, one sec-
tion of it still remains
and has been preserved
with thehopeof sooner
or later restoring it to
its accustomed site.
Along with this is
shown the so-called
"Tea House" belong-
ing to the Elias Has-
kett Derby estate, on
Andover Street at Peabody, supposed to have
been built in 1799 by Samuel Maclntyre.

THE BENNETT HOUSE AT WAYLAND, MASSACHUSETTS. Built about 1800.
Situated at the beginning of the Old Connecticut Path. This house, although late in date, is refined
and delicate in treatment. The outside vestibule composes harmoniously with the rest of the design.

THE WHITE PINE MONOGRAPH SERIES

From the Halliday Collection, Boston

THE CRAIG IE-LONGFELLOW HOUSE AT CAMBRIDGE, MASSACHUSETTS. Built in 1759 by Col. John Bassell.

While similar in general scheme to the Tayloe House (page 8), the detail is of a bolder type.
The doorway may also be compared with that of the Apthorp House (page 6).

The Garden Front.

THE LORING HOUSE AT OLD ROXBURY, MASSACHUSETTS. Built in 1757 by Commodore Joshua Loring.
Commodore Loring was chief naval officer in command of the King's ships in the Colonies

INTERPRETATION OF THE PROGRAM

THE WHITE PINE ARCHITECTURAL COMPETITION

(Program reprinted on following page)

IT is very gratifying to find that the While
Pine Monograph Series Architectural
Competition is creating so much real inter-
est both in the character of the problem and the
material in which it is to be solved, and that
it has been the means of extending the scope
and influence of the work which the Monograph
Series desires to accomplish.

A competition for a White Pine house must
of necessity appeal to the creative faculties of
the designer and stimulate the thoughtful use
of this most wonderful of all woods for the out-
side of a house. The limitless possibilities af-
forded, in working with White Pine, to express
one's individuality make the problem all the
more attractive to the designer. With the full
knowledge of the abundance of White Pine for
use to-day he need not hesitate to make liberal
use of this wood to produce a house which is fine
in mass and charming in quality, as judged by
its crisply and delicately cut mouldings for trim,
cornice, and other embellishments.

With the many expressions of interest in the
competition havecomecertainquestionsconcern-
ing the interpretation of the requirements of the
problem as stated in the competition program.
We are glad of this opportunity, therefore, to
make clear to contestants all those points about
which any question has arisen, in terms which per-
haps will be better understood, giving such fur-
ther information as to clarify all the conditions.

Under "PROBLEM": It is desired that the
design of the house be as complete in plan as
possible, and for this reason it was felt necessary
to specify that provision be made for a laundry
and a maid's room. It is not required that the
laundry be on the first floor, or that the maid's
room be on the second floor, unless the designer
so chooses. In case the laundry is placed in the
basement and the maid's room in the attic,
means of access to these rooms must be shown.

The location of the garage upon the lot is left
to the discretion of the contestant, and in this
connection the designer should be familiar with
all regulations governing this type of building.

Under "IT IS REQUIRED TO SHOW":
A plot plan is called for. This may be a key
plan at a scale chosen which will permit of an
attractive arrangement of the sheet. In show-
ing the house on the lot it is desired that the
plan arrangement of the first floor be indicated
thereon, and the points of the compass given
as well. Contestants are not required to show
the cellar or attic plan.

Under "COMPUTATIONS": It is necessary
to consider the basement as extending under
the entire first floor of the main portion of the
house. It has been the experience in other com-
petitions that a great many designers were able
to obtain a much larger house than could pos-
sibly be built at the prescribed cost, by taking
advantage of the fact that they called for exca-
vation under only a small portion of the house,
and that they were privileged, therefore, to use
the cubage gained in this way to enlarge the de-
sign. It is the hope of this competition that
all designs submitted can be actually built for
$10,000, and at the same time be practical in
every sense of the word.

The actual cubage of the garage shall be taken
in making up the total cubage of 50,000 cubic
feet. The statement, "exclusive of garage,"
means that it is not necessary to presume that
there is a basement under the garage.

The cellar walls, piers and other foundations
below the bottom of the first floor joists may be
assumed to be of stone, brick or concrete, as is
usual in this type of building.

There is no limit to the number of designs
that may be submitted by a contestant.

It is desired by the conductors of this compe-
tition that the greatest freedom shall be allowed
the designer in the selection of the architectural
style, the plan arrangement, and the location of
both the house and the garage upon the lot.
The conditions governing these items have been
purposely unrestricted and left to the ingenuity
of the designer. By this means he is free to
give scope to his imagination without feeling
hampered by burdensome conditions.

The subject of the sixth monograph will be Early Colonial Architecture in Connecticut,

with descriptive text by Richard B. Derby

Subjects of Previous Numbers of
THE WHITE PINE SERIES OF ARCHITECTURAL MONOGRAPHS

No.
No.
No. 3.

No. "

Colonial Cottages

New England Colonial Houses

Farm Houses of New Netherlands

Houses of the Middle and Southern Colonies.

Text by Joseph Everett Chandler
Text by Frank Chouteau Brown
Text by Aymar Embury 1 1
Text by Frank E. Wallis

PROGRAM FOR AN ARCHITECTURAL COMPETITION
A SUBURBAN HOUSE TO COST $10,000

(INCLUDING GARAGE FOR ONE CAR)

OUTSIDE FINISH TO BE BUILT OF WHITE PINE

PRIZES AND MENTIONS

Premiated Design will receive - $750.00

Design placed second will receive - 400.00

Design placed third will receive 250.00

Design placed fourth will receive - 100.00
Six Mentions

Architects and Architectural Draughtsmen are invited to enter this Competition

Competition closes at 5 p.m., Monday, May ist, 1916

PROBLEM: The subject is the design of a Suburban Res-
idence with a Garage to accommodate one car, both to be
built of wood, the outside finish, consisting of siding and cor-
ner boards ; window sash, frames and casings ; outside doors,
door frames and casings ; outside blinds ; all exposed porch
and balcony lumber ; cornice boards, brackets, ornaments
and moldings ; and any other outside finish lumber — not in-
cluding shingles — to be built of White Pine. The house is
to be located on a rectangular lot with a frontage on the
highway of 100 ft., and 200 ft. deep, the Northerly end of the
lot facing the highway. Running South from the highway
for a distance of 50 ft. the lot is approximately level, but
from this point takes a 10% grade to the South. There is
facing the South an unobstructed river view. It is assumed
that the adjacent lots are of similar dimensions and that
a restriction covering all this block provides that no house
be erected nearer than 30 feet from the highway property
line. The architectural style, plan arrangement, gardens, and
the location of the house and garage upon the lot, are left to
the designer. Provisions should be made for a living-room,
dining-room, kitchen, pantry, laundry, four master's rooms
and two baths, and one maid's room with toilet, and should
also include a piazza. The total cubage of the house, garage,
and porches must not exceed 50,000 cubic feet, and for the
purpose of this Competition the price per cubic foot is set
at 20 cents, this being the estimated cost at which houses of
the type specified can be built in almost every part of the
country.

IT IS REQUIRED TO SHOW: A pen and ink perspective
of the subject at % inch scale, clearly indicating the design
and the character of the exterior finish. Plans of the first
and second floors, blacked in solid at the scale of 8 feet
to the inch, with the dimensions of each room given on
the plan at a size which can be plainly read even when
reduced. A key plot plan showing first floor plan of house. Two
elevations at 8 feet to the inch. A key cross-section at a
scale of 8 feet to the inch showing height from basement
floor through all roofs. Detail drawings at % inch scale of
the entrance door or porch and of the fireplace side of the
living room. Three inch scale profiles of the main cornice,
doorway and other special exterior features to present the
design attractively. Graphic scales must be shown.

PRESENTATION : The drawings required are to be on too
sheets only. The size of these sheets is to be exactly 23 X 30
inches. Plain border lines are to be drawn so that the space
inside them will be exactly 21 % X 27^ inches. Whatman or
similar white paper is to be used unmounted ; Bristol board or
thin paper is prohibited. All drawings must be made in black
ink. Color or wash on the drawings will not be permitted.

COMPUTATIONS: The cubage of the house will be figured
from the basement floor, which shall be assumed to be at
least 8 feet below the first story level, and the full dimensions
of the first story, exclusive of the garage, to the average
height of all roofs. Porches, etc., will be computed at one
fourth actual cubage above ground level. Cubage will be
computed by two architects, not competitors, engaged by
the Editor. The Jury will positively not consider designs
which exceed the prescribed cubage.

DELIVERY OF DRAWINGS: The drawing is to be en-
closed between stiff boards or rolled in a strong tube not less
than 3 inches in diameter, securely wrapped, and addressed to
Russell F. Whitehead, Editor, 132 Madison Avenue, New
York, N. Y., on or before May ist, 1916. In the wrapper
with the design is to be enclosed a sealed envelope containing
the true name of the contestant. The nom de plume chosen
by the designer must be placed on the outside of the sealed
envelope. Drawings, sent by mail must be at the first class
postage rate as required by the Postal regulations.

Drawings submitted in this Competition are at owner's
risk from the time they are sent until returned, although
reasonable care will be exercised in their handling and keeping.

JURY OF AWARD: HarrieT. Lindeberg, New York, N.Y.;
Benno Janssen, Pittsburgh, Pa.; Frank B. Mead, Cleveland,
O.; Frederick W. Perkins, Chicago, 111.; and Richard B.
Derby, Boston, Mass., well known country house architects,
have accepted invitations to serve on the Jury.

THE PRIZE DESIGNS are to become the property of The
White Pine Series of Architectural Monographs, and the right
is reserved by this publication to publish or exhibit any or
all of the others.

RETURN OF DRAWINGS: Unsuccessful contestants will
have their drawings returned, postage prepaid, direct from
the Editor's office.

Contestants are referred to the preceding page for added information
and interpretation of the program

An Architectural
Monograph

Houses o
Connecticut

k£2££K1

Text by

RICHARD B DERBY

Prepared for publication by
%//"<?// TWhiteheadformerty&itor
of The Architectural Record
and The T^ricKb uilde r
1)2 MadfonXVe. NewYorK N. Y.
t<)/6

THE COLTON HOUSE, LONGMEADOW, MASSACHUSETTS.
Detail of Entrance Doorway.

Photograph by H. O. Warner

ARCHITECTURAL MONOGRAPHS

A BI-MONTLY PUBLICATION SUGGESTING TE
ARCHITECTURAL USES CJ WHITE PINE AM) ITS
AMIABILITY TODAY AS A STRUCTURAL W3DD

Vol.

JUNE, 1916

No. 3

EARLY HOUSES OF THE CONNECTICUT VALLEY

By RICHARD B. DERBY

Mr. Derby, of the firm of Derby &> Robinson, A rchitects, of Boston, has designed ninny quaint and artistic examples of dwellings which adhtrt
strongly to precedent and closely follow our early Colonial traditions. It is believed that these charming structures will find a permanent place in
the evolutionary history of our domestic work and will do much toward bringing the ideals of the profession to a greater height.— EDITOR'S NOTE.

PHOTOGRAPHS BY JULIAN BUCKLY AND OTHERS

PREFACE

THE Connecticut Valley was first settled
by exiles from Massachusetts in 1636.
The original settlements in Springfield
and other communities in Massachusetts and
also in the so-called "river towns" of Connecti-
cut, Hartford, Windsor and Wethersfield, broke
up from time to time, and the seceders formed
new settlements along the river valley at other
points. At the same time the first settled towns
were augmented by the arrival of new members
from the coast. Within a comparatively short
time territory was intermittently occupied be-
tween, say, Northampton and Wethersfield,
over a distance of one hundred miles or so.
Their first dwellings were merely cellars, which,
however, speedily gave place to a kind of house
which became typical of the so-called first
period work. The plan of these houses was
little more than two rooms on either side of the
chimney, in front of which was the stair lead-
ing out of the hall into which the front door
opened. The second story was the same as the
first, although in some cases the rooms were
slightly larger by reason of an overhang. This
early plan was altered by the addition of a shed
on the rear, making the typical plan of the sec-
ond period, and this again was altered to make
the third period by raising the addition a full
two stories, and by the consequent change in
roofing to the gambrel.

Thence we have shift to the two end chim-
neys, altering their positions and occupying
such a place with regard to the rooms that the
resultant plan resembles two of the earlier plans
put side by side, with a hallway running be-
tween them. These types overlapped each other
in various ways, but eventually gave place as
essential types to the Greek influence, which
began to be felt, perhaps, around r8oo.
The Connecticut Valley work had some few

characteristics of its own, due to local material
or the importation direct from England of
craftsmen working in slightly differing meth-
ods. The chimneys, for instance, were largely
built of stone, since stone was plentiful and
brick, of course, was not. The brick ovens
which we find inserted in the chimneys were
not, as a rule, contemporary with them. The
summer beams ran from chimney to end wall,
as in the houses of the Plymouth colony, in-
stead of parallel with the chimney girt, as in
the early houses of other communities. The
use under the overhang of both drop and bracket
is a Connecticut characteristic, as are also the
brackets under the gable, though the use of
brackets under the verge board is not uncom-
mon elsewhere. Perhaps the most striking
characteristic of this Connecticut Valley work
in the matter of design is to be found in the
entrance treatment of the houses. The doors
themselves were double doors, paneled in a
manner not elsewhere to be found. One writer
refers the paneling to Jacobean precedent.
The frames around these also were markedly
distinctive. Three types stand out, all of which
are broad, of course, by reason of the wide
door openings: the frames which have the flat
entablatures, those with simple pediments, and
those with broken pediment frames, which are
perhaps more typical than the others. On the
detail of all of these, particularly the latter,
much careful workmanship is lavished. It
varies from a kind which follows precedent to
that which is unique, much of the latter being
pure inspiration on the owner's or builder's
part. It would seem as if the builders of the
earlier houses found much entertainment in ex-
ercising their ingenuity upon the detail of their
entrances, without, however, departing from
their general type.

THE WHITMAN HOUSE, FARMINGTON, CONNECTICUT.
Noteworthy as an example of the overhang construction with original drops and stone chimney.

THE WILLIAMS HOUSE, EAST HARTFORD, CONNECTICUT.
, : Characteristic of Connecticut third period work.

AN LOVES any material that he has
worked upon in proportion to its re-
sistance to his efforts of bending it to
his will, — assuming that he has not attempted
the impossible or the absurd with reference to
the task at hand. This is why the hand-hewn
timber of our old houses is better than the two
by four sawed stud or the six by eight post. 1
can very well believe that the first settlers in
Connecticut took their timbers for their houses
with them, as they are said to have done. They
had wrought upon them with their own hands,
and had a certain affection for them on this ac-
count, and what is equally important, the tim-
bers had an affection for the men who had
worked them. The frames of our present
houses are a pretty good example of efficiency
in the economic and modern sense. Its loads
have been carefully appraised and distributed
proportionately over the members which it sup-
ports, so that the strain and stress on each of
these is just precisely what each one will bear,
and never more or less. This may be all right,
as no doubt it is from the scientific or the eco-
nomic point of view, but it represents for me a
very low order of efficiency.

1 look at the ten by twelve corner posts in
the summer kitchen of my great-grandfather's
old home, and I wonder whether he knew that
four by six posts would have done the work of
these. Perhaps he did, and perhaps he did not,
and perhaps he did not care whether it would
have done the work or not ; but I feel sure that
he would never have had the satisfaction out of
our smaller post that he must have experienced
from the ten by twelve. My great-grand-
father had the reputation in his district of being
able to square the butt of a log more perfectly
than any one else around, and he left a better
stump in his wood lot than his neighbors did.
I am sure, therefore, that he applied himself
with great care to the corner posts, beams and
rafters of his own home, that he had a de-
fensible pride in the result of his handiwork,
and that he never could have had this pride in
any four by six. The affection which he had
for his timbers was returned by them, and is
being returned to-day. I get back some of it
always when I look at the smoky corner posts,
or when I lie on the bed in the unfinished attic
and let my eyes wander over the hand-hewn
rafters.

Connecticut settlers of 1636 forged their way
westward from Massachusetts through un-
charted forests. They cut their own paths, ex-
cept, perhaps, for short distances, where they
found an Indian trail making in their direction.
Besides their axes they must have carried arms;
for, though the Indians were politically friendly,

they were hardly to be trusted in every case.
They must have carried, too, some provisions
and their camping outfits, for they did not
know that they would always have luck in find-
ing food, and they were quite uncertain in what
places or at what times they would pitch their
tents. It is hardly to be believed, therefore,
that they carried timber along with the other
things on their backs, or that they added this
to the burdens of their horses. It is not in-
credible, however, that, the Connecticut Valley
once reached, they had their timbers brought
in the vessels which made the first long voyage
around the cape and up the river to the place
of their abode. They were engaged primarily
in clearing and planting, and, no doubt, their
energies were fully occupied with these exer-
tions.

The first houses, as we know, were merely
cellars dug in the side of a hill, the walls lined
with stone or logs; the roofs simply lean-tos
brushed or thatched. These crude shelters
gave place to better habitations in compara-
tively short time. The very early dwellings
were likely built of White Pine, and in certain
instances of oak, squared and bored and ready
to be raised and pinned together.

Fetching timber from Massachusetts could
hardly have continued long. It was too much
like bringing coals to Newcastle. The timber
was abundant, and the craftsmen instinct must
have cried aloud to exercise itself.

We are not acquainted with the aspect of
the forest which these settlers looked out upon,
and we do not know precisely the feelings which
the native trees engendered under the condi-
tions which obtained ; but some of us are not so
young but that we have seen native forests,
and the impression these have made upon us
(though of a later time and under widely
changed conditions) is not perhaps so very dif-
ferent from that made on the earliest inhabi-
tants of Western Massachusetts and Connecti-
cut. I myself remember very well the primeval
forests of the Alleghany Mountains in Pennsyl-
vania. I remember when I first rode over
them on a tote-team, and later tramped my
way, with pack on back, beneath the pine and
hemlock. The lowest branches of these trees
were far above me. I should hardly dare to
guess how far, but I can recollect distinctly that
the rhododendrons which flourished in the dusk
below them interlaced their lowest branches
several times my height above my head, and
the blossoms of the topmost branches must
have been thirty or more feet in height. The
butts of the trees themselves were huge, and
the whole effect or feeling (one does not observe
the forest) for me was the same that I get from

THE WHITE PINE MONOGRAPH SERIES

looking at a lofty mountain. I do not wish to water, whence it could be splashed or floated
try to match my strength against a mountain, to the saw-mills. These lumbermen had both
and I did not (as I now remember) wish to strength and genius for this work, and no doubt

build myself a cabin
of these trees.

This was not the
feeling, however, of
the men who worked
among them. These
trees, or the making
of them into timber,
was their life. They
were not depressed
but rather tempted
and exhilarated by
the size and number
of them; it was their
pride, like my great-
grandfather's, to
square a butt with
axes or to notch one
so exactly that the
tree would fall precise-
ly where they meant
it should. They saw
only the tree that could be felled and subdivided,
barked and piled on skidways and later take its

THE WAIT HOUSE, SOUTH LYME, MASSACHUSETTS.
Unsymmetrical placing of the windows.

the earlier settlers had
it also. In addition,
they had an instinct
for building their
homes.

The earliest houses
which they built have
not come down to us.
The I ndians, who were
friendly for the first
years, took the war-
path, and the life of
the settlers for per-
haps a hundred years
included a constant
warfare for defense
amongitsother duties.
As the whites increased
in number they were
more able to pro-
tect themselves. The
first settlements were
frequently destroyed. Springfield was burned
in 1675 and Deerfield met the same fate twice,

booming way for miles along the frosty slide to — smaller places even more frequently. Men,

OLD HOUSE AT FARMINGTON, CONNECTICUT.
Gambrel of the third period with plan of the first period.

EARLY HOUSES OF THE CONNECTICUT RIVER VALLEY

women and children were butchered by scores from the earliest type of house and has the
and many were carried into captivity. One hand-hewn timbers put together according to
writer* has said: "There is hardly a square the Iogic"and efficiency of this early time. The

acre and certainly not
a square mile of the
Connecticut Valley
that has not been
tracked by the flying
feet of fear, resounded
with the groan of the
dying, drunk the blood
of the dead or served
as the scene of toils
made doubly toilsome
by an apprehension of
danger that never
slept." In spite of
this the towns grew
slowly, for the inhabi-
tants— such of them
as were left — came
back and rebuilt their
homes.

Most of these houses
we find were doubt-
less built not earlier than 1650, and 1 myself feel
reasonably sure only of work as many as ten
years later. This, of course, was modeled

THE THOMAS LEE HOUSE, EAST LYME, MASSACHUSETTS.
Original part of house built about 1660.

examples of the first
period are to be found
mostly in Connecti-
cut, and even here in
the southern part of
the valley. After
these, as we go north,
we find examples of
the two succeeding
periods, and in the
northern part of the
Connecticut Valley we
find examples of the
Greek influence. This
does not mean that
the late work is found,
but rather that the
earlier work is not
found ( or at least
that I have not found
it ) in the northern
part. Here in the val-
ley, as elsewhere in the country, we find the
earlier builders the craftsmen of their own

* Holland, " History of Western Massachusetts."

THE DEMFNG HOUSE, WETHERSFIELD, CONNECTICUT.
Center doorway with one window on either side.

THE WHITE PINE MONOGRAPH SERIES

houses, and here as elsewhere we find the crafts-
men limited to the work of the building craft.
In proportion as time advanced and the settle-
ments increased in size, people pursued more
and more strictly their own business, and more
and more called in outsiders, who were builders
only, to construct their houses for them. This
meant that the builders, in fulfilling all their
obligations, economized their time by milling
their logs instead of squaring them by hand.
They used nails instead of wooden pins and used
manufactured nails instead of hand-wrought
ones. In this way they got more and more out
of touch with the materials in which and with
which they worked, and so, of course, they had
less affection for them. The good old beams
were first cased and then entirely concealed
behind plaster, being reduced in size to meet
merely structural needs. Interest became cen-

tered in the things that were apparent outside
as well as inside the house, and this tendency
continued until we to-day are giving our
interest and attention to the detail which
superficially appears.

It would be interesting to do an old house as
the old men would have done it, and it is likely
that most architects would welcome a chance
to do this if it offered. Big White Pine timber
grows abundantly to-day, though no longer in
the East and at our very doors, but the facilities
of transportation may almost do away with the
handicap of this condition. Let some big
lumberman offer us his large timbers and see
whether this may not result in a reversion
in some degree to older architectural types.
These types, when added to our present ones,
would furnish a broader basis of tradition on
which to build our future native work.

THE ELLSWORTH HOUSE, WINDSOR, CONNECTICUT.
Two-story end treatment is interesting. Classic proportions for columns have
been disregarded, resulting in a delicacy which is peculiarly appropriate to wood.

THE WHITE PINE MONOGRAPH SERIES

HOUSE AT HILLSTEAD, FARMINGTON, CONNECTICUT.
Excellent but rather sophisticated example of type of house which embraces
elements of design from several periods, all probably earlier than itself.

HOUSE OF GOVERNOR RICHARD GRISWOLD, BLACKHALL, CONNECTICUT.
An unusual and interesting composition in spite of the regrettable bay.

Built 1800.

EARLY HOUSES OF THE CONNECTICUT RIVER VALLEY

THE HORATIO HOYT HOUSE, DEERFIELD, MASSACHUSETTS
Excellent example of Connecticut Valley variety of a type of house common to New England.

THE FRARY HOUSE, DEERFIELD, MASSACHUSETTS.
North portion built in 1683. An L variety of the above Hoyt type of house.

THE WHITE PINE MONOGRAPH SERIES

THE FRARY HOUSE, DEERFIELD, MASSACHUSETTS.
Detail of Side Entrance Doorway.

Excellent in proportion and in well-executed detail.

THE WHITE PINE OF THE NEW ENGLAND STATES,

NEW YORK, PENNSYLVANIA, MINNESOTA,

WISCONSIN, MICHIGAN, AND IDAHO

ITS COMPARATIVE QUALITIES

By ALLISON W. LAIRD
General Manager, 'Potlatch Lumber Company, 'Pot/atch, Idaho

WITH INTERPOLATED STATEMENT BY HOWARD F. WEISS,
DIRECTOR UNITED STATES FOREST PRODUCTS LABORATORY

THE White Pine used in building our first
New England homes was grown in the
New England States, New York and
Pennsylvania. Since then the trend of White
Pine production has gradually been westward,
and to-day the major portion of the White Pine
distributed in the markets of the United States,
and also exported, comes from Northern Minne-
sota, Wisconsin and Michigan, and the far
western district of Northern Idaho. The habitat
of the true White Pine seems to have been con-
fined to three districts in the United States and
to a small portion of Eastern Canada, and while
widely separated and distinctly different in to-
pographical features, and in climatic and soil
conditions, yet each has produced in almost
identical quality that species of tree known as
"White Pine."'

Numerous species of Pine are now being
marketed under the name of "White Pine,"
these being variously called "California White
Pine," "Oregon White Pine," "Mexican White
Pine," etc., but the White Pine of the Eastern
States, of Minnesota, Wisconsin and Michigan,
and of Idaho, is the only true White Pine other
than the Canadian product to-day being mar-
keted under that name.

That the comparative qualities of White Pine
from the widely separated territories of the New
England States, New York, Pennsylvania, Min-
nesota, Wisconsin, Michigan, and Idaho, may
be presented in an authoritative and unpreju-
diced way, herewith is appended a statement
by Mr. Howard F. Weiss, Director United
States Forest Products Laboratory, — Mr. Weiss
being the chief technical expert on all forest
products for the United States Government,
and an acknowledged national authority on all
subjects pertaining to wood:

"The White Pine (Pinus strobus) grown
years ago in the New England States and
m Pennsylvania analyzes botanically and in
other particulars the same as the White
Pine to-day being cut in Minnesota, Wis-
consin, and Michigan, other than the slight
differences that result from the changed
climatic and soil conditions in the widely
separated territories in which it is grown.
Also does Idaho White Pine, though botani-
cally called Pinus monticola, analyze almost

identically like the White Pine of the New
England States, Pennsylvania, Minnesota,
Wisconsin, and Michigan, the climatic and
soil conditions of Idaho here again in some
slight degree differentiating it from the
White Pine of the East and of the Middle
West. In other words, for practical use
the White Pine of the New England States,
Pennsylvania, Minnesota, Wisconsin, Mich-
igan, and Idaho is so similar that it can be
used interchangeably with very satisfactory
results."

The White Pine (Pinus strobus) of the New
England States, New York and Pennsylvania,
and of Minnesota, Wisconsin and Michigan, is
alike characterized by its extreme softness, ease
of working, strength, durability, its ability to
stay in place after once being fitted, its freedom
from pitch or objectionable acids, and its con-
sequent remarkable qualities as a structural
wood, especially for outside uses.

The White Pine formerly cut in the East and
in the North Central States was of large growth
and of exceptional quality, — of soft, almost
corklike texture, — and there is still remaining
a large feetage of this same high quality of
timber in Northern Minnesota and Wisconsin.
White Pine lumbering operations are to-day
being carried on in the virgin forests the same
as they were generations ago, and not, as has
sometimes been supposed, from so-called second
growth or cut-over lands. While the White
Pine produced to-day in Northern Minnesota
and Wisconsin, and the White Pine grown
years ago in New England, is or was all cut
from virgin forests, it must not be supposed
that all White Pine from any one locality,
either in the East or Middle West, is of equal
quality. The choicest of old growth White Pine
does not grow alone in, nor is it identified with,
any one locality, the White Pine of highest
quality and the coarser types usually growing
together, oftentimes intermixed, in the same
general territory. Some territories naturally
produce a larger and some a lesser percentage
of the choicer qualities, but no one territory
produces it all; and while all White Pine pro-
ducing territories are alike contributors, yet all
differ in the relative percentage each is able to
furnish in the higher and the lower grades.

THE WHITE PINE MONOGRAPH SERIES

Idaho White Pine (Pinus monticola) is a true
White Pine, differing only slightly in certain
characteristics from the White Pine (Pinus
strobus) of the New England States, New
York, Pennsylvania, Minnesota, Wisconsin, and
Michigan. In fact, all botanists are not agreed
that there is a botanical difference.

Idaho White Pine is hardy and grows in thin
and rocky soil in mountainous districts, or in
rich volcanic ash, the growth being dense and
intermingled with Fir and Tamarack. The rain-
and snow-fall are heavy and conditions have
produced an exceptionally tall, round tree, with
little taper and few and strong limbs. The
large old growth White Pine in this district
furnishes the same quality of soft, cork White
Pine as was the distinguishing trait of the
Eastern White Pine. The second or younger
growth White Pine furnishes what is known
under the grading rules as so-called "White
Pine Common" lumber, this younger growth
White Pine producing remarkably straight-
grained, sound and small-knotted lumber, show-
ing evenness of grain close up to the knot defect,
and the same general appearance throughout
the entire length of the board. The freedom of
the trees from large limbs renders the lumber
comparatively free from large, coarse knots,
those which do appear being of the pin-knot
variety.

It seems unnecessary to dwell on the merits
of Clear White Pine, but so-called White Pine
"Common" lumber, or in other words White
Pine that carries knots, should be pains-
takingly described for the reason that if this
particular character of lumber was thoroughly
understood its practical uses would be greatly
broadened. In house construction, for exterior
finish, in porches, cornices, siding, and other out-
side trim, or for any use where the wood is to
be covered with paint, the better grades of this
so-called "White Pine Common Lumber" are —
after shellacking its small, sound knots — almost
the equal in actual service of Clear White Pine
lumber. Unfortunately White Pine trees do not
produce "Clear" lumber wholly, and a large
part of the tree carries defects, the most prev-
alent being knots. Knots are not the result
of a diseased or defective tree, but are really
the limbs and branches of the tree. An open

forest in its freedom of growth produces large-
limbed trees and consequently large-knotted
lumber. In denser, more heavily shaded forests
the trees become self-pruning, the small limbs
growing stuntedly and dropping off at an early
period in the tree's life, this in result producing
small-knotted grades of lumber.

In general, the marked characteristics of all
White Pine, whether from the Eastern States,
the Middle West, or from Idaho, are softness
of texture, evenness of fiber, closeness of grain,
absence of unruly cross-grain, ability to stand
extremes of weather, hot or cold, wet or dry,
without deterioration or rot, and an absence of
any tendency to open at the joints, to warp or
to creep, after once being put into place. It
shrinks less than any other structural wood, is
very light, and while it does not possess in
pieces of equal dimension the strength of some
of the harder, heavier woods, weight for weight
it has no equal. For pattern work or the most
delicate wood -carving it is the first choice of all
wood -workers.

White Pine in its freedom from resin or pitch
or from objectionable acids and oils takes paint
or enamel finish perfectly. It absorbs and grips
the paint, but does this economically, and holds
its coat of paint longer and more perfectly than
any other wood, hard or soft.

Commercially speaking, the New England
States, New York, and Pennsylvania formerly
furnished, and in later years Michigan, Wis-
consin, and Minnesota have furnished the
great and seemingly exhaustless supply of White
Pine lumber up to a comparatively recent date.
About ten years ago Idaho White Pine began
to appear in the markets and has since competed
in friendly rivalry. A close analyzation of the
comparative qualities of the White Pine from
the East, Middle West, and from Idaho results
in finding only those slight differences which
are due to changed climatic and soil conditions
in the widely separated territories. For all
practical purposes, however, the White Pine
grown in any of these three White Pine pro-
ducing territories is identical, and can be used
from any one district, or interchangeably if de-
sired, by the most discriminating and exacting
of architects or builders, with an absolute as-
surance of satisfactory results.

The seventh monograph will be devoted to the publication of the Pri^e and Mention designs
in the While Pine Architectural Competition, with the report of the Jury of Award.

Subjects of Previous Numbers of
THE WHITE PINE SERIES OF ARCHITECTURAL MONOGRAPHS

Vol. I
Vol. I
Vol. I
Vol. II
Vol. 11

O O O 0 O

Z Z Z Z Z

Colonial Cottages

New England Colonial Houses -

Farm Houses of New Netherlands

Houses of the Middle and Southern Colonies

Domestic Architecture in Massachusetts

Text by Joseph Everett Chandler
Text by Frank Chouteau Brown
Text by Aymar Embury II
Text by Frank E. Wallis
Text by Julian Buckly

An Architectural
MONOGRAPH

SVBVRBAN HOVSE

AND GARAGE

Competitive Drawings

With report of the Jury of Architects

TUchardTJ Derby fBenno Jans sen
HarrieT Ltndeberg : Frank B Meade
"Frederick WPerkins

Trepared for Tublic&tion by

'RuffellFWhitehe&ctformer/yMtor

of The Architectural Record

and The Brickb uilder

132 Madison^vc-NewYorlcN.Y

1916

•rrrrrn

^rrrrrrn

PtR-iPLCTIVL VlLW OF E.NTR-ANCE. SIDE.

DESIGN FOR,
A SVBVR.BAN
HOV5L AND
GARAGE TO
BL BVILTOF
WHITL PINE

ESTIMATED

MAIN HO V5E.
bOTH WINGS [THE.
PORCH &E.ING FIO
VR-tD AT IT5 FVLL
CVbAGL]
GAFIAGF_
PEfLGOLA [FIGVR.LD
AT J/4. ACTVALCV6AGL

TOTAL CVbAGL 48,335

ESTIMATED GQ/"T iO

TOTAL COST J. 9 ,fe«o6

10,897
2.43O

FIRST PRIZE DESIGN

Submitted by R. S. Raymond and H. Brookman, New York, N. Y

PINL SERIES^

ARCHITECTURAL MONOGRAPHS

ABI-MONTLY PUBLICATION SUGGESTING TE
ARCHITECTURAL USLS CT WHITE PINE AND ITS
AALABLITY TODAY AS A STRUCTURAL W3DD

Vol.

AUGUST, 1916

No. 4

REPORT OF THE JURY OF AWARD

THE WHITE PINE ARCHITECTURAL COMPETI-
TION FOR A SUBURBAN HOUSE AND GARAGE

Judged at theBiltmore Hotel, New York, May 12 and 13, 1916

THE PROBLEM : The subject is the design of a Suburban Residence with a Garage to accommodate one car, both to be
built of wood, the outside finish, consisting of siding and corner boards ; window sash, frames and casings; outside doors,
door frames and casings; outside blinds; all exposed porch and balcony lumber; cornice boards, brackets, ornaments and
moldings; and any other outside finish lumber — not including shingles — to be built of White Pine. The house is to be
located on a rectangular lot with a frontage on the highway of 100 ft. and 200 ft. deep, the Northerly end of the lot fac-
ing the highway. Running South from the highway for a distance of 50 ft. the lot is approximately level, but from this
point takes a 10% grade to the South. There is facing the South an unobstructed river view. It is assumed that the ad-
jacent lots are of similar dimensions and that a restriction covering all this block provides that no house be erected nearer
than 30 feet from the highway property line. The architectural style, plan arrangement, gardens, and the location of the
house and garage upon the lot, are left to the designer. Provisions should be made for a living-room, dining-room, kitchen,
pantry, laundry, four master's rooms and two baths, and one maid's room with toilet, and should also include a piazza.
The total cubage of the house, garage, and porches must not exceed 50,000 cubic feet, and for the purpose of this Competi-
tion the price per cubic foot is set at 20 cents, this being the estimated cost at which houses of the type specified can be
built in almost every part of the country.

THE problem proposed seems to have
been particularly interesting to the
competitors if the number and excel-
lence of the submitted designs may bear testi-
mony. There were three hundred and sixty-six
contestants and when the nom de plume enve-
lopes were opened they disclosed the names,
not only of leading designers and draughtsmen
the country over, but of principals whose
names are by-words in connection with resi-
dence architecture.

The very precise and clear conditions and
requirements given in the program left no
doubt as to the intention of its author, who
wished above all to present a definite problem,
which while it gave all possible variety in
scope and treatment was still governed by
specific conditions so that the judges might con-
sider the various plan solutions upon an exact
parity. It was considered unjust to permit
the contestant to assume his own points of the
compass and different grade relations. It is
interesting to note that even when the contest-
ants were restricted to exactly one problem
a wide variety of plans were developed.

Your jury in making the awards based their
judgment, as prescribed by the program of the

competition, upon the effect of the design as a
whole, its appropriateness to the given site, the
degree of ingenuity shown in the plans; and
the fitness of the design to express the wood-
built house. The drawings, however, were
considered not alone from the design point of
view but rather design combined with the re-
quirements of a good, common-sense, livable
house, and the jury at all times endeavored to
balance their ideas between the artistic and the
practical.

After carefully considering all the designs
submitted, the judges agreed upon about one
hundred from which to select the four prize
and six mention drawings. This next task
proved much more difficult than the first step
and consumed the better part of two days.
Designs which exceeded the prescribed cubage
were of course eliminated from consideration as
well as those which, for some reason or another,
failed of uniform excellence. Either the plan
was weak or the competitor failed to regard
his house as a suburban dwelling built upon a
lot with improved property on either side. Then,
too, there were designs which were distinctly
country house in type and therefore unsuitable
for a suburban district where the close building

THE WHITE PINE MONOGRAPH SERIES

on adjoining property would ruin their livable-
ness. There were many schemes which, al-
though they came within the cubage, were ob-
viously too pretentious to be built for anywhere
near the prescribed cost. All these defects
were carefully analyzed and regretfully taken
into consideration in eliminating the designs.
While the prize drawings and those admitted
to mention are each most creditable to the
authors, none were without faults and the ob-
ject of this report is to give constructive criti-
cism as well as praise.

FIRST PRIZE. The requirements of the program
were met in a most direct manner, the general
plan allowing of ample space both to the east
and the west, an important consideration
especially in a comparatively narrow lot if the
house is to feel the freedom the location sug-
gests, and taking full advantage of the exposure
to the south. The plan is excellent, giving
liberal space on the first floor, indoors and out.

Every room of importance has a southerly
exposure. A feature of the second floor plan is
that each bedroom has two exposures and that
the four rooms connect directly with baths,
with possible privacy for the owner. The
position of the stairs to the attic is unfortunate,
making it necessary to pass through the main
second floor hall to reach them from the back
stairs. This, however, in a small house of this
type is not of great importance.

The exterior speaks of its material — wood.
The design is simple in form and construction
and most frankly expressed the Ten Thousand
Dollar house. The jury was particularly pleased
with the presentation of the design and the
beauty of the detail. The garage is nicely iso-
lated by service yard fence and would not
interfere with the morning sun.

SECOND PRIZE. The design is most excellent,
particularly the north elevation, and the details
show great refinement and a feeling for beautiful
proportion. Here again the exterior is un-
questionably wood, with the exception of the
entrance door, which suggests stone rather than
wood. The house is well placed on the lot, with
possible criticism of the garage so near the side
line. It was thought that the design was too
pretentious in feeling for the prescribed cost.
The plan is very livable but not as thoughtful
and as well arranged as the first prize. The
porch and balcony arrangement is admirable.
It is to be regretted that the author took two
corners on the second floor for maid's room and
one for closet. The matter of opening study
into porch is optional and has advantages and
faults either way, equally true of opening bed-

room over study on to balcony. There is no
entrance to attic.

THIRD PRIZE. This house has a very charm-
ing exterior of good wood design. The street
elevation is much more interesting, however,
than the garden elevation and the house takes
up too much width of the lot. The garage is
also placed too near the property line. The
plan is well arranged on the first floor but
noticeably lacking of cross draft in bedrooms
on the second floor. Only two of the master's
bedrooms face to the south, and only one of
these has two exposures. Making a passage of
the child's room from the maid's room to front
hall is questionable. No means of getting to
the attic, where much storage space is available,
has been provided.

FOURTH PRIZE. The exterior of the house
shows a marked appreciation of good wood de-
tail, and is altogether very finely done. The
position on the lot may be criticized as it forces
the garage to the front. The garage is not suc-
cessfully placed in relation to the house, and in
design is ordinary and far below the standard
of the house. The sloping roof to the south,
although charming exteriorly, was done at the
expense of the bedrooms. The plan of the first
floor is good, — the wide opposite openings from
hall into dining-room and living-room are,
however, noticeably bad features, spoiling the
privacy of a good room. The second floor suf-
fered by the use of only threedormers, the practi-
cal solution perhaps calling for a sacrifice on the
exterior. Cross draft is lacking in all bedrooms,
with only one dormer in each. There is no stair-
way to attic, where much room is available.

MENTIONS. The six drawings are presented as
of equal merit. They are of a high standard
of excellence, but from a practical standpoint
were not considered as good as the prize de-
signs. No attempt was made to place them in
any sort of order.

It is the opinion of your jury that the con-
testants in the White Pine Architectural Com-
petition are to be congratulated on the thought
which they gave to their work. It was very
satisfactory to the jury to be privileged to con-
sider so many designs of unquestionable archi-
tectural quality and superb draughtsmanship.
There must be a personal benefit to be derived
by the care and time which each one gave to
the consideration of the problem and the ma-
terial in which it was to be executed.

RICHARD B. DERBY
BENNO JANSSEN
HARRIE T. LINDEBERG
FRANK B. MEADE
FREDERICK W. PERKINS

Jury
of

A SUBURBAN HOUSE AND GARAGE

iSCALl DtTML
OF MAIN

5OVTH LtVATIQN

WLSt ELEVATION

DL5IGN FOF^A
SVBVUBAN HOV5L

AND GARAGE.
OF WHITE PINL
SHEET SHOWING THE.
ELEVATIONS • SECTIONS
AND IMPORTANT DE--
TAIL5 OF TH E. HOV5L

i SCALE. DE.TAIL Of

CVR.VLD

OF PtDIMtNT

ENTA&LATVR.E.-

PILA5TE.P~ CAP-

TfLIWv & PANE.L

MOVLD OF DOORi

3A' 5 GALE DLTAIL OF ENTRANCE.

•

JtCTION THR.VMAIN rtOyt.

51CTIONTHR.V WINC/

DETAIL OF
tA5L OF
PILA5TE.R-

5CALE. Dt-TAIL LLLVATION Of- LIVING R.O 6 M

FIRST PRIZE DESIGN, Detail Sheet

Submitted by R. S. Raymond and H. Brookman, New York, N. Y.

THE WHITE PINE MONOGRAPH SERIES

OT MANTEL IK LIVING IK)OM

DESIGN rOI^A SUBURBAN HOUSE
AND GARAGE OF WHITE PINE

SECOND PRIZE DESIGN, Detail Sheet

Submitted by Alfred Cookman Cass, New York, N. Y.

A SUBURBAN HOUSE AND GARAGE

DESIGN fOR^A SUBIH^BAN HOUS£
AND GARAGE OF WHITE PINE

SUGGESTED BY P1NUS STRPBU5

SECOND PRIZE DESIGN

Submitted by Alfred Cookman Cass. New York, N. Y.

THE WHITE PINE MONOGRAPH SERIES

LIVING
COPLNICEL,.
ILL

MANTHL
StfLLf

ENTRANCE DETAIL

LLELVATION Of f I EX- PLACE.. Si DH. Of LIVING ROOM

• E. N 0 • t L HVAT I O N

£ CALLS

TtilL ELC.VATION? tati.
fOC. plUDflLLS ^=L

ftTAILf ft^

MAIN House. 33,000

WING 7,ie&

PORJOHEIS \.-L4Z.

GAItAQL 3.S 00
TOTAL

THIRD PRIZE DESIGN, Detail Sheet

Submitted by Lewis Welsh and J. Floyd Yewell, New York, N. Y.

A SUBURBAN HOUSE AND GARAGE

f^'SWaBSSSSSgSBSHSBaBai

CAST VANNING PONT js INCHES

LINt ¥<tSI VANISHING ROINT
Z INCKK |*OW, fcOUlte. LINE.

DESIGN TOR A

SUBURBAN HOUSE
AND GARAGE

OF "WHITE PENL

• FIRST • F LOOR- PLAN -

THIRD PRIZE DESIGN

Submitted by Lewis Welsh and J. Floyd Yewell. New York, N. Y.

THE WHITE PINE MONOGRAPH SERIES

•To-DEL-DuiLT-or
V/fflTL-

FOURTH PRIZE DESIGN, Detail Sheet

Submitted by R. J. Wadsworth, Philadelphia, Pa

A SUBURBAN HOUSE AND GARAGE

O -s"

— -a

en J2

UJ IE

G a-

N §

£1

THE WHITE PINE MONOGRAPH SERIES

DETAIL nf LIVING R. O OM

SCALE

DESIGN FOJiASULBURBANHOU5E£/ GARAGE OF WHITE PINE

MENTION DESIGN, Detail Sheet

Submitted by C. M. Foster and W. M. Smith, New York, N. Y.

A SUBURBAN HOUSE AND GARAGE

•*— q| _ ^iciZaSTIiiraSSSS^

DESIGN F OIL ASURBUHBAN HOUSE £/ GARAGE OF WHITE PINE ?B"!S

MENTION DESIGN

Submitted by C. M. Foster and W. M. Smith. New York, N. Y.

THE WHITE PINE MONOGRAPH SERIES

ETAIL OF EMTRANCE

TO HE WILI ©F WEITE FIME

MENTION DESIGN, Detail Sheet

Submitted by J. Ivan Disc, New York, N. Y.

A SUBURBAN HOUSE AND GARAGE

YANKEE
LE

M.AY 1. 1«16-

COMFETIT

T© BE BVILT OF WEUTE PIME

MENTION DESIGN

Submitted by J. Ivan Disc, New York, N. Y.

THE WHITE PINE MONOGRAPH SERIES

W'netn *i'»

tra'nce Door

MENTION DESIGN, Detail Sheet

Submitted by Conrad A. Albrizio, New York, N. Y.

A SUBURBAN HOUSE AND GARAGE

MENTION DESIGN

Submitted by Conrad A. Albrizio, New York, N. Y.

THE WHITE PINE MONOGRAPH SERIES

MENTION DESIGN, Detail Sheet

Submitted by John A. Tompkins and Harry Brodsky, New York, N. Y.

A SUBURBAN HOUSE AND GARAGE

' DESIGN'FOR
A- SUBURBAN -HOUSED OARAGE- OF< WHITE- PlNEl-

*W4- TQg *

"" r! "

BOW

SO.POKCH 472

fNKANCEPOO 75

KlTWINq 4145

575Z
CHIMNLVS

TOTAJ. 4S&87

MENTION DESIGN

Submitted by John A. Tompkins and Harry Brodsky, New York, N. Y

THE WHITE PINE MONOGRAPH SERIES

•5 u

<3J «J

>— I °5

z I

o ?

A SUBURBAN HOUSE AND GARAGE

££^ ^" *^> i

H
Z

THE WHITE PINE MONOGRAPH SERIES

A SUBURBAN HOUSE AND GARAGE

THE AIMS AND PURPOSES OF THE WHITE PINE
SERIES OF ARCHITECTURAL MONOGRAPHS

PLANS FOR FUTURE ISSUES

A EAR ago we ventured to hope that through
our Series of Architectural Monographs
we might have the good fortune to gain
the attention of the architectural profession in
order further to acquaint them with White Pine
—its qualities — its availability — and its cost.
Nothing could more fittingly emphasize this
basic message than the contents of this our
seventh monograph — the results of an architec-
turalcompetition which brings home graphically
to every practicing architect the fact that, for
a subject so useful and frequent as a $10,000
suburban house, White Pine is not only a
medium of artistic expression, but is available
to-day and is economical.

Six numbers of the Monographs have been
issued during the year as planned; and as we
start the second year nothing could be more
encouraging than the realization that in these
crowded and eventful days we have not missed
the goal for which we strove. Grateful as is
this realization, we are not beguiling ourselves;
we have had so many tributes from those whose
attention we sought to attract, couched in the
superlative of praise, that we feel justified in
thinking we have obtained an audience.

We have aimed to renew and to hold the
architects' interest in White Pine lumber, first
by contradicting the amazing misconception
which has existed in the minds of so many, that
the supply of White Pine was exhausted, and
secondly by performing a real service through
our Series of Architectural Monographs. These
are planned to be useful to the architect at
once as a source of authoritative information
and a work of reference crammed with meaty
suggestions. We have aimed to establish and
maintain confidence between the architectural
profession and the manufacturers of White
Pine, feeling that the tie that binds is our ef-
fort to sell and their desire to obtain that King
of Soft Woods which embodies all the virtues
of other soft woods without one of their short-
comings.

The Wbiie Pine Series of Architectural
Monographs has been developed with much
thought and care. Both the illustrations and
text have been selected not only with the ut-
most study but by dint of extended travel, in
order to provide a medium of information both
dignified and pleasing. Quality rather than
quantity, we have felt, would count in the end.

A veritable mine of valuable material has
been unearthed in out-of-the-way places for fu-
ture issues of the White Pine Series. Adhering
to the Monograph idea of devoting each issue to
a particular subject, we will continue to cover
fields which have hitherto been untouched ex-
cept in perhaps one or two exclusive architec-
tural books. All sections of the country where
work of high architectural merit is to be found,
and which is universally applicable to present-
day problems, will be exploited and published
under properclassificationforaccurate reference.
After the work in the different geographical
divisions, compiled chronologically according
to periods, has been completed, it will then be
our purpose to study each instructive architec-
tural feature of a building by means of Com-
parative Details. Already accurate measured
drawings are being prepared, supplementing
specially made photographs, for the purpose
of aiding all students of architecture in these
comparisons. These later issues promise to be
most interesting and will offer a wonderful op-
portunity for those endeavoring to solve some
particularly detailed problem.

These announcements for future issues, we
hope, will give reason for gratitude that a
work so exhaustive within its limits, so authen-
tic and sincere, should have been planned while
it is still possible to measure and to write
at first hand of those masterpieces of early
American wood-built homes which have stood
for centuries as monuments of history and
models of architecture.

WHITE PINE BUREAU,

MERCHANTS BANK BUILDING,
SAINT PAUL, MINNESOTA

Vol.
Vol.
Vol.
Vol.
Vol.
Vol.

The subject of the eighth Monograph will be "Old Woodbury and Adjacent Domestic
Architecture of Connecticut," with descriptive text by Wesley S. Bessell.

Subjects of Previous Numbers of
THE WHITE PINE SERIES OF ARCHITECTURAL MONOGRAPHS

No.
No. 2.
No. 3.
No. i.
No. 2.
No. 3.

Colonial Cottages - Text by Joseph Everett Chandler

New England Colonial Houses - - Text by Frank Chouteau Brown

Farm Houses of New Netherlands - - Text by Aymar Embury II

Houses of the Middle and Southern Colonies Text by Frank E. Wallis

Domestic Architecture in Massachusetts - Text by Julian Buckly

Early Houses of the Connecticut River Valley Text by Richard B. Derby

AnArchitectural
Monograph

On OLD WOODBVRY&)

^Adjacent Domestic Jlrchitecture
in Connecticut

Text

WESLEY S BESS ELL :-

or Tublic&tion by
Kuf fa JIFWhitehead former^ Mtor
of The Architectural Record
and The Brickb uiJder

THE SILES HOUSE, LOWER WOODBURY, CONNECTICUT. Detail of Entrance.

An example of the two-story motif with pedimented entrance which
was employed in Connecticut in the prerevolutionary houses.

3&WHIT

ARCHITECTURAL MONOGRAPHS

ABI-MONTLY PUBLIG^ION SUGGESTING TE
ARCHITECTURAL USES <T WHITE PINE AND ITS
yVALABLITY TODAY AS A STRUCTURAL W3DD

Vol. II

OCTOBER, 191(i

No. 5

OLD WOODBURY AND ADJACENT DOMESTIC
ARCHITECTURE OF CONNECTICUT

By WESLEY S. BESSELL

The old Connecticut Jwtts.es hare had special study by Mr. Bessell. His water-color sketches and measured drawings of these masterpieces o,
Colonial architecture have proved a source of inspiration to thf architectural profession. His writings are an ardent plea for the correct interpre-
tation and design of the architecture of our forefathers. Mr. Bessell is well known in New York as a designer, hailing been in the offices of
Charles A. Rich, Theodate Pope, Frank £. Wallis and others. He is at present a practising architect in New ) 'ork and the architect for the

new Mount I'ernon Seminary at Washington, D.C. — EDITOR'S NOTE.

PHOTOGRAPHS BY JULIAN BUCKLY AND THK AUTHOR

THE period of our Colonial architecture
does not seem very distant when it is
viewed in comparison with the history of
architecture of the world, and yet in the short
three centuries between then and now great
changes have taken place to make our modern
architecture a conglomerate mass of uninterest-
ing work. Why this unfortunate development
should have been permitted to take place when so
many examples of the best of our seventeenth
and eighteenth century dwellings remain all
about us for our guidance and emulation is a
source of wonderment to all thinking persons.
The rapid growth of the country both in size
and wealth may have robbed us of the desire to
express ourselves in terms as simple and sweet
as those of our forefathers, but why we should
have absolutely lost the spirit of the older
homes is hard to understand.

Perhaps if we step back to the town of Wood-
bury in the pleasant little Naugatuck Valley of
Connecticut and picture it at the beginning of
our Revolutionary struggles we may gain a
concise idea of the spirit that then existed but
which unfortunately seems to have long since
been snuffed out. If we could have been in this
quaint town one Sunday morning long ago we
could not help but have become imbued with
its atmosphere. It was a clear, bright morning,
one long to be remembered by the inhabitants.
The British at Boston had already marched out
and met the minute-men, and now the men
and boys of Wood bury expected to depart in
order to join Washington's command, and on

this particular Sunday, just after service at the
North Church, a band of men were to leave
their homes, some for long periods, others for
all time. As the bell tolled in the belfry of North
Church, which Hezikiah Platt had designed and
built and whose history was to be written in later
times, fate decreed that one Jonathan, son of
Hezikiah, was here to take leave of Sally Orton,
daughter of William Orton . Outlined above the
trees the North Church spire stood, dignified,
pure white, and delicate of design. In the play
of light and shadow, the pilastered front sup-
porting the pediment in which the green blind
spread in fan-like shape blended well with the
blue and pale yellow facings of the Continental
army uniforms so proudly worn by the boys of
Woodbury. Sally and Jonathan were wont to
take leave, for they were childhood sweethearts,
and the Orton house was soon no longer to have
Jonathan Platt swing on the picket gate and call
to Sally, and then hide behind the stately rose
bush that covered its entrance. Just beyond this
scene stood the Orton House with its quaint
wooden doorway and rough stone door-step,
which had served to bind these two. Grown to
sweet maidenhood, she had opened this same
door for him, for his tap on the knocker was as
well known to Sally as his laughter, and if in her
anxiety to answer that knock she upset the
candle-holder from its lodging place, we can
now forgive her for the charred lace work that
suffered for her haste. When once inside the
stair hall with its stairway of turned balusters
and newels, carved scrolls at the open end of

THE WHITE PINE MONOGRAPH SERIES

the strings, one could see that it was all the
work of the elder Platt. Jonathan was ushered
into the parlor. Here he could gaze upon the
handiwork of his parent by way of a panelled
mantel and wainscot, but his gaze rested not
long on his father's labors, but upon a pretty
face in a poke bonnet, and strange as it may
seem, the work of one Hezikiah Platt was no
longer thought of. Hezikiah Platt was respon-
sible in his small way for many of the buildings
of Woodbury, for he had built for one Abner
Lockwood the house at Long Hill where the

Benjamin had been their architectural guides,
and they could not break from the tradition
that had been established.

The soldiers from Woodbury left by the post
road on this memorable Sunday — left behind
all that was theirs, the places their fathers and
they had created out of wood and masonry.
Shaded streets grew narrow as they passed by
the old tavern in the bend of the road where
they were lost to view. Over a rise they could
still see the North Church spire, quietly nes-
tling in the beautiful valley; and by the church

THE ORTON HOUSE, WOODBURY, CONNECTICUT. (Home of Sally Orton.)

road turns sharp on its way to Sandy Hook, and
the Siles House in lower Woodbury with its
pedimented entrance, and then the Judson
House, and the Bostwick House, with its simple
entrance flanked by well proportioned windows
on which the blinds gave a charming color
against the white pine clapboards. Yes, the
elder Platt had played an important part in
the building up of Woodbury, but as things
were reckoned then, his houses were but of a type,
exemplified by others, similar in design but dif-
ferent in detail, and no one thought but of this
kind of house, for had they not all lived the
simple life, and why should they not carry out
the portrayal of what life was to them in their
homes of wood? Beatty Langley and Asher

sat Sally Orton, not daring to raise her head,
for her very life had gone forth, and Wood-
bury's youth and manhood, and particularly
Jonathan Platt's, were now facing a duty made
necessary by oppression, a duty that meant, if
well done, the keeping of home and family to-
gether— the homes they had built with their own
hands, the homes that they had worked for and
in which they had taken so much pride. These
must stand, must exist, for they were part of
themselves. Had not Absalom Turnbull, the
village smith, forged the hinges and moulded
the knobs on those houses, was not the timber
hewn from the clearing and run through the
saw by their hands? And so it was that the work
of our forefathers, created in mind and mod-

OLD WOODBURY AND ADJACENT DOMESTIC ARCHITECTURE

elled in wood, was now to be protected by such
men who, going forth to preserve their handi-
work, counted not the cost.

This spirit existed at that time, this spirit
still exists, but why has the present generation
lapsed into a don't-care feeling regarding what
home is or can be made? Why do we who
sally forth nowadays, familiar as we are with
these works of our forefathers, permit the
atrocities committed by the so-much-per-yard
mills and ten-dollar-per-house, profit-taking
contractors? Home does not mean much

strange to say, this is what he thinks is beauti-
ful. One wonders what Jonathan Platt, going
forth to protect, and Sally Orton, remaining in
the background to keep in order for his home-
coming the old Orton house with its hollyhocks,
foxgloves, and boxwood hedge, with its quiet
simplicity, would think if they could view these
modern so-called homes. One cannot help but
wonder also if the man of to-day has lost the
desire for beauty or if it has only been taken
away from him by the constant presentation of
something hideous. Let us hope that the latter

HOUSE AT WOODBURY, CONNECTICUT. (Jonathan Plan's Home.)

to these concerns. The pride taken in and
thought given to his buildings by Hezikiah
Platt do not interest them. Their chief
thoughts and interest are commercial ones, and
the houses which they produce are usually sad
and material examples of what not to do. The
beautiful villas with special mention of "Colo-
nial" style advertised for sale by our present
day get-rich-quick-build-a-house-over-night re-
alty developers are the blight of our architec-
tural development. How one wishes the word
"villa" had never existed, and that it might
constitute a crime to desecrate the word "colo-
nial."

This is what we see to-day — this is what the
average citizen is buying and building, and,

is the case, and that there are numerous Jona-
than Platts and Sally Ortons, and that all that
is needed for the betterment of our domestic
architecture is the removal of the evil manner
in which it is created.

Jonathan returns to Woodbury after having
served his country well, and Sally is there to
greet him. Of course the boxwood hedge is
larger, and the rose bush almost hides from
view the gate, but all is the same upon his re-
turn as far as the house is concerned. The de-
scendants of Jonathan and Sally, taking up
where they left off, continued the work of their
fathers, for did not the Dennings and Captain
Asubel Arnold build according to tradition?
Their houses on the bend of the road are pure

THE WHITE PINE MONOGRAPH SERIES

Colonial. And until the
Greek revival there was no
departure from a general
type; even with the ad-
vent of the Neo-Grec it
was so woven into these
older creations that no
real damage was done,
but after this period chaos
ran rampant, and as a re-
sult we find the nonde-
scripts which unfortu-
nately are with us to-day,
the so-called Elizabethan,
Gothic and Queen Anne
houses with their paper
doily edging and verge
board scalloping in imita-
tion of pantry shelving
paper.

Unfortunately this pe-
riod acted like a blight on
America's architecture,
for it fastened itself to the
pure examples which fell
into its hands, and to-day
it is difficult to find a

Detail of Cor

THE IABES BACON HOUSE, WOODBURY,
CONNECTICUT.

In this example a bead takes the place of a stile
between the panels. The panel mould miters with
the lowest member of the overhang mouldings.

house, either old or new,
which is free from its rav-
ages.

It is with a great deal
of inward satisfaction
and pleasure, however,
that we note that the
descendants of Jonathan
and Sally are again rising
to meet and prevent such
conditions from going on
unchecked. To-day there
is a refreshing influence
at work in our midst for
the construction of houses
for these descendants. A
new Jonathan Platt and
Sally are taking up the
work where the former
left off. Our architecture
is assuming a definite
character, and surely will
be benefited by the care-
ful study being made by
this new generation of
architects, who are delv-
ing into the beauties of

(Continued on page If)

THE JABES BACON HOUSE, ON THE LOWER ROAD, WOODBURY, CONNECTICUT.

One of the earliest Woodbury houses of the double overhang
type. The clapboards are fastened by boat nails left clearly
exposed and painted over. The porch is of much later date.

OLD WOODBURY AND ADJACENT DOMESTIC ARCHITECTURE

THE LOCKWOOD HOUSE, CROMWELL, CONNECTICUT

The main house is over two hundred years old. The gambrel-
roofed ell composes nicely with the single-pitch roof of the house

10LSE NEAR SANDY HOOK, CONNECTICUT. ON THE SOUTHBURY ROAD.

Typical of the early eighteenth-rentury houses of the lean-to variety in this section.
The window are divided into twenty-four lights. The original gutters were of wood

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OLD WOODBURY AND ADJACENT DOMESTIC ARCHITECTURE

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the older examples, obtaining in their work
those qualities and that spirit of quaintness
known as America's gifts to the architecture of
the world, which have been so long neglected by
those responsible for our domestic architecture.
This Colonial architecture of our forefathers is
again about to come into its own ; indeed, there
are to-day many instances where we may dis-
cover work which is faithful in every way to
the best of our early traditions. There is a
reversion to a consideration of those subtle
qualities which produced the many homes of
past centuries that possess a charm that age

alone cannot give, but which is the result of that
true art of the Colonial builders whose lives
were expressed in the design of their dwellings.
It is to be hoped that this interest which is be-
ing manifested in the best of the old examples
of house-building will prevent any further
spread of past building evils. That these evils
can be removed is certain, but it needs the sin-
cere and untiring help of every one, both in the
profession and out. Cosmopolitan America
can and should develop a type, and that type
may readily have the Colonial traditions as a
basic principle.

llSlITTIlllll

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11151

Photograph l<y Lewis E. Welsh

THE SANFORD HOUSE, LITCHFI ELD, CONNECTICUT.

THE WHITE PINE MONOGRAPH SERIES

OLD SLAVE QUARTERS OF THE BACON HOUSE, WOODBURY, CONNECTICUT.
This building is now used as a tea house.

OLD HOUSE AT RIDGEFI ELD, CONNECTICUT.
The lines of the porch roof have been softened by a very happy treatment.

OLD WOODBURY AND ADJACENT DOMESTIC ARCHITECTURE

THE MARSHALL HOUSE, WOODBURY. CONNECTICUT.

The wing is the original house and is over two hundred and thirty years old. The row of two-story columns
of the living-porch is characteristic of this section and a pleasing method of handling the piazza problem.

THE BOSTWICK HOUSE, SOUTHBURY, CONNECTICUT.
The fenestration is excellent for a small house and the detail of cornice and window trim very carefully designed.

THE BOSTWICK HOUSE, SOUTHBURY, CONNECTICUT. Detail of Entrance Porch.

A good example of this type of porch with wood-paneled soffit of the hood. The seats at the side are modern.

THE AVAILABLE SUPPLY OF WHITE PINE TIMBER

By FREDERICK E. WEYERHAEUSER

Office of Frederick Weyerhaeuser, Saint Paul, Minnesota

WITHIN the past few months, while
discussing methods of advertising, a
business acquaintance asked, "Why
advertise White Pine when the supply is so
nearly exhausted?" The question reveals a
wide-spread misunderstanding as to the avail-
able quantity of White Pine timber, — a misun-
derstanding which is not surprising when one
recalls the statement of-,
ten repeated some five
years ago by a leading
exponent of conserva-
tion, that the supply of
timber of all kinds in
the United States would
be consumed within
twenty-five years. Such
a statement must leave
the impression that if
our timber supply is so
nearly gone, then surely
White Pine, the build-
ing wood most useful
and most desired, must
remain in only very lim-
ited quantities. With-
out anything even ap-
proaching accurate in-
formation covering the
vast timbered areas of
the United States, it is
not so surprising as it is
unfortunate that such unfounded statements
are made.

How inadequate have been the estimates of
standing timber is shown by an experience of
my father, the late Frederick Weyerhaeuser.
When he began manufacturing White Pine lum-
ber at Rock Island, Illinois, in 1859, he looked
about for a dependable source of logs for the
saw-mill. Black River in Wisconsin was the
nearest stream from which to draw, but he was
advised by well-informed loggers to go further
North to theChippewa River, because the Black
River timber supply was already nearly ex-
hausted. As a matter of fact, logs in consider-

KREDERICK E. WKYERHAEUSER

able quantities were driven down the Black
River for forty years afterwards.

While it may seem incredible, as early as
1650 fears were expressed that the very large
foreign trade would soon deplete the supply of
White Pine timber, which was then cut mainly
on the Piscataqua River in Maine and New
Hampshire. In 1880 Professor Sargeant, in
connection with the cen-
sus of the United States
of that year, estimated
the Minnesota White
Pine timber supply to
be 8, 1 70,000,000 feet,
but sixteen years later
General C. C. Andrews,
Minnesota State Fire
Warden, estimated the
supply at 16,840,000,000
feet, more than twice
the amount reported by
Professor Sargeant.

It would of course be
absurd to argue that
the supply of White
Pine timber is as great
as it was years ago, or
that White Pine manu-
facturers could long sup-
ply the United States
with its entire lumber
requirements. But for
the many uses in house construction for which
White Pine excels, there is unquestionably an
abundant supply for generations to come.

The United States Forest Service in Janu-
ary, 1915, estimated the stand of White Pine
timber in this country by groups of States as
follows:

Northeastern States
Middle Atlantic States
Idaho
Lake States

Total

Unfortunately the estimate of the Forest Ser-
vice covering the Lake States includes what is

16,400,000,000 feet
5,900,000,000 "
24,540,000,000 "
12,000,000,000 "
58,840,000,000 "

THE WHITE PINE MONOGRAPH SERIES

commonly known as " Norway Pine," the total
being 18,400,000,000 feet; but it is probably
safe to assume that of this amount 12,000,000 -
ooo feet is White Pine, and in the above com-
putation it is so tabulated.

Attention is also called to the fact that these
figures do not include Western Yellow Pine,
which is often advertised and sold under such
names as California or Oregon White Pine.
While Western Yellow Pine is a wood of excel-
lent merit for many uses, it must not be con-
fused with the true White Pine, the "Pinus
Strobus" of the Eastern States and the "Pinus
Monticola" of the States west of the Rocky
Mountains.

In addition to the above figures there is a
considerable amount of true White Pine in
Montana, Washington and Oregon, and also
in British Columbia, which province alone is
estimated to have something over two billion
feet. Our Eastern retail markets also draw
heavily upon the White Pine of Eastern Can-
ada,— the provinces of Ontario and Quebec
being credited with billions of feet, while all
of the Maritime Provinces contain consider-
able tracts of White Pine scattered through
their vast forests of Spruce and Hemlock.

Mr. Henry S. Graves, Chief Forester of the
United States, calls attention to the truly
startling fact that after logging has been going
on for approximately 200 years in New Eng-

land and New York, the seven States within
that territory were in 1915 credited with 16,-
400,000,000 feet of White Pine, in some instances
the third and even the fourth crop being avail-
able to log. Timber grows rapidly in the At-
lantic States, but the possibility of reproducing
White Pine in Idaho and in our North Pacific
Coast States is certainly no less promising.
However, disregarding the annual growth and
reproduction of White Pine timber, together
with the possibilities of increasing such repro-
duction through proper scientific forestry
methods, and also disregarding the Canadian
supply, 59,000,000,000 feet of available White
Pine timber still standing in the United States
is an amount that almost staggers the imagi-
nation. Under present-day methods of manu-
facture, the lumber produced from this amount
of White Pine timber would provide a fence of
inch boards 600 feet high around the world at
the equator, or would build complete 2,500,000
houses of average size.

No attempt is made in this article to dwell
or even touch upon the individual and distinc-
tive merits of White Pine as a building wood,
its sole purpose being to bring to the architec-
tural profession such facts as will be convinc-
ing proof of the abundant supply of White
Pine timber to-day available for their use and
to dispel any erroneous impression as to its
scarcity.

The subject of the ninth Monograph will be "Old Maryland Houses," with
descriptive text by Charles A. Ziegler, Architect

Subjects of Previous Numbers of
THE WHITE PINE SERIES OF ARCHITECTURAL MONOGRAPHS

Vol.
Vol.
Vol.
Vol.
Vol.
Vol.
Vol.

I,
I,
I,
H,
II,
II,
II,

No.
No.
No.
No.
No.
No.
No.

3-
I.

Colonial Cottages

New England Colonial Houses

Farm Houses of New Netherlands

Houses of the Middle and Southern Colonies

Domestic Architecture in Massachusetts

Early Houses of the Connecticut River Valley

A Suburban House and Garage

Text by Joseph Everett Chandler
Text by Frank Chouteau Brown
Text by Aymar Embury 1 1
Text by Frank E. Wallis
Text by Julian Buckly
Text by Richard B. Derby
Report of Jury of Award

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AnArchitectural
^MONOGRAPH

* Colonial ^Architecture ^^e
SHORE ^MARYLAND

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CW7</J Text by
^CHARLES A ZIEGLERs*

Trep&red for "Publication by

KuffellFWhiteheadformer/yMtor

of The&rchitectural Record

and The Brickbuilder

132 Madison5lve.NewYorkN.lC

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BEVERLY" ON THE POCOMOKE RIVER, MARYLAND. Detail of Porch.

The curious treatment of the transom above the door occurs on both entrances.

7WHT

ARCHITECTURAL MONOGRAPHS

A BI-MONTLY PUBLICATION SUGGESTING TE
ARCHITECTURAL USES CF WHITE PINE A^ ITS
AALABLITY TODAf AS A STRUCTURAL WOOD

Vol. II

DECEMBER, 1910

No.

COLONIAL ARCHITECTURE OF THE EASTERN

SHORE OF MARYLAND

Br CHARLES A. ZIEGLER

As Chairman of the Philadelphia Chapter, American Institute of Architects' Committee on Preservation of Historic Monuments, Mr. 7.iegler

has devoted much time and careful study to the architecture of the early A merican settlers, especially those examples remaining in the Middle

Colonies. Mr. Ziegler is a member of the firm of Duhring, Okie &* /.ieglcr. Architects.— EDITOR'S NOTE.

PHOTOGRAPHS BY PHILIP B. WALLACE AND THE AUTHOR

TO the student of architecture who has
perused the "Architectural Monograph
Series" published by the White Pine
Bureau, it must have become apparent that
the matter has been treated from a standpoint
that is quite original and refreshing. Even the
closest student of the early manner of building
in America must have found much that was
new in the development of the styles as illus-
trated in the less familiar examples presented,
many of which are not generally known even
to the architect.

Numerous volumes have been published,
illustrating the larger and more important
works of the " Colonial Period," but with the
simpler structures, so logical and full of refine-
ment, we are not so familiar ; and yet these
simpler buildings are perhaps the best evidence
we have of how innate and unaffected was the
art of proper building among the early colonists.

It requires no very unusual mind to compile
in a fairly satisfactory manner a structure com-
posed of odds and ends selected from that vast
storehouse of accumulated " Architectural
Styles," even if the fragments are used in a
manner never intended by the brain that orig-
inally conceived it ; but to create from very
crude material, without the use of ornament
and very often of mouldings, buildings that
command our admiration today, bespeaks a
natural and unstilted art that was popular and
entirely devoid of affectation.

Victor Hugo in his "Notre Dame" states
that Architecture lost its function as recorder
of human history in the 1 5th century when
Gutenberg invented the printing-press. This

seems like a very abstract hypothesis and is
perhaps somewhat abstruse, but his argument
that before the art of printing was perfected
men expressed their highest aspirations in build-
ing forms is quite sound. That architecture is
crystallized history, or, as Viollet le Due has
said, "Art is the measure of civilization," is
only another way of stating Hugo's eloquent
argument.

Just why architecture in America deteriorated
so woefully in the middle of the igth century
it is difficult to say, but this deterioration is
itself a record of a marked change in the in-
tellectual development of a people. In the
evolution of our national life, we have reached
the era where the striving for ultimate efficiency
(some call it Kultur) has eliminated the art
sense as a popular movement and has substi-
tuted as a lure commercial enterprise. Center-
ing about our cities are great whirlpools of
humanity that draw upon the countryside until
it is barren of all but the indigent and young,
and a few, very few, of those who still have
visions of a golden age and dreams of a higher
provincialism. There are, however, beyond the
whirlpools, quiet eddies not affected by the
great commotion, which although they do not
gather the flotsam and jetsam of the sea, never-
theless retain that which was committed to
their care in perfect contentment.

Those who have succumbed to the lure of the
road feel instinctively the witchery of such
environment : the long lane of spreading trees
arching overhead like the vaulting in some
ancient nave, with the sun-flecked roadway
running between, where you raise your foot

THE WHITE PINE MONOGRAPH SERIES

from the accelerator
and permit thepulseof
the motor to beat nor-
mally again; the neat
whitewashed houses
behind green foliage,
and the kindly, slow-
moving people who
always seem to have
so much time at their
disposal.

It was in such an
atmosphere as this
that we found our-
selves when, at the
instigation of the Editor, we made the long de-
layed motor trip through Maryland in quest of
the Colonial.

Founded in 1632 by Lord Baltimore, Mary-
land in many ways exhibits in its architecture
the tendencies of the Cavalier stock that came
with him to America to escape persecution
abroad. There is no feeling of arrogance or
ostentation about the work, in fact, rather a
refinement that denotes gentility ; but, lack-
ing the spirit of thrift possessed by the Puritans,
their houses possess a spaciousness not usually
found in the North. They laid out large planta-
tions, kept many slaves who tilled the fields and

COCKRAN'S GRANGE, NEAR MIDDLETOWN, MARYLAND

raised the excellent
thoroughbred stock ;
they entertained lav-
ishly and were often
ruined by their ex-
cesses, as the records
show.

It is not, however,
the object of this
article to treat of the
larger and more fami-
liar houses, but rather
of the work done on
the fertile peninsula
best known to the
natives as the Eastern Shore of Maryland. This
peninsula, sometimes referred to as the " Land
of Evergreens," rich in its agricultural pursuits
and ravaged very little by the wars that have
raged about it, contains many quaint old towns
that possess much of the charm of earlier days
and innumerable old farmsteads, many of which
are still owned and operated by descendants of
the original settlers.

One of the most characteristic of these planta-
tions is Beverly, situated on the Pocomoke
River near the northern boundary of Virginia.
Although possessing considerable architectural
merit, I believe that this building has never

BOURKE HOUSE, NEAR CENTREVILLE, MARYLAND.
Characteristic approach to the Maryland farm-house.

THE WHITE PINE MONOGRAPH SERIES

been illustrated in any architectural publication
before, although mentioned by several authors.
It was a very pleasant surprise to me to come
unexpectedly upon so excellent an example.
The property has been the seat of the Dennis
family of Maryland for over two hundred years.
Dannock Dennis received the patent to the
original estate, containing over one thousand
six hundred acres, from Charles II in 1664, and
it has remained the homestead of this family
for nine generations.
The first house erected on the plantation was

this sort, as illustrated in the photographs of
Cockran's Grange near Middletown and the
Bourke House at Centreville.

In wandering through Maryland one is very
much impressed by the beauty of these lanes
leading up to the white farm buildings, usually
so well grouped and surrounded by orchards and
shade trees. The illustration of the farm-house
near Chestertown on page 9 gives some idea of
the effect of these interesting white buildings
among the trees. This building also conveys
some idea of the simplicity of the detail and the

"BEVERLY" ON THE POCOMOKE RIVER, MARYLAND.
The approach to this gateway is about one mile long.

destroyed by fire in the i8th century, the pres-
ent building being erected in 1774. The old
family coach with iron steps, leather springs and
seats for lackeys still remains in the carriage-
5hed, and the old family graveyard with its stone
tablets recording the passing of nine generations
still nestles among the huge shade trees near the
house. A broad avenue about one mile in
length, flanked by large red cedars, leads to the
old road at the eastern end of the plantation.
These long shaded lanes are a very characteristic
feature of the landscape in Maryland, even the
simplest farms having splendid approaches of

excellent massing of these simple farm-houses.
Many of the smaller houses seen along the
roadside might well serve as models for the
moderate-sized houses that are being erected
throughout the country in such atrociously bad
taste; in fact, one is strongly impressed by the
superiority of the crudest negro quarters in
Maryland as compared with the average me-
chanic's home in more progressive sections.
The roofs are always just the right pitch with
only cornice enough to perform the proper
functions of a cornice, and these with very sim-
ple mouldings, if any. The cornice was seldom

(Continued on page 10)

COLONIAL ARCHITECTURE OF EASTERN SHORE OF MARYLAND 7

FARM-HOUSE NEAR WESTOWN, MARYLAND.

EARLY FARM-HOUSE ON MARYLAND STATE ROAD.

THE WHITE PINE MONOGRAPH SERIES

OLD SLAVE QUARTERS ON MARYLAND STATE ROAD.

STEPHENS HOUSE, GALENA, MARYLAND.

COLONIAL ARCHITECTURE OF EASTERN SHORE OF MARYLAND 9

OLD HOUSE NEAR KINGSTON, MARYLAND.

OLD FARM-HOUSE NEAR CHESTERTOWN, MARYLAND.

THE WHITE PINE MONOGRAPH SERIES

OLD HOUSE NEAR CECILTON, MARYLAND.
Showing characteristic method of enlarging the building from generation to generation.

carried up the gable ends, these being usually
finished with a face-board over which the
shingles project slightly. The chimneys were
always of brick and usually very generous in
size. The gambrel roof is seldom seen in this
section. In enlarging the houses it was usual
to prolong the main axis of the building, pro-
ducing long, low lines with roofs at different
levels. Very often the addition was larger than

the original building, as in the old house near
Cecilton, above, where we have three distinct
divisions, the smaller section being probably the
original. Sometimes, however, wings were car-
ried out to the rear, as in the old house near
Kingston, below, but the treatment of the
intersection of the roofs and grouping of gables
was always somewhat similar and forms one of
the charms of these simple buildings.

OLD HOUSE NEAR KINGSTON, MARYLAND.
Another example showing interesting development of additions.

THE WHITE PINE MONOGRAPH SERIES

The Stephens House at Galena, page 8,
formerly Georgetown Cross Roads, wasoriginally
a log cabin and is reputed to be two hundred
years old. As was very often the case where
the early settlers became more prosperous and
sought more commodious surroundings, the
building was extended and the entire construc-
tion covered with White Pine siding, and with
this protection many excellent examples of the
first nouses erected in this country have been
preserved.

The road running past this building is a por-
tion of the Maryland State Road, which runs
the entire length of the Eastern Shore and
is one of the most excellent roads imaginable
and one that the architectural student might
profitably make use of if he would see evidence
of the fact that a proper sense of proportion
was a common heritage in the early days
of our history, and not possessed solely by
the designers of the more pretentious Georgian
examples.

TWO OLD FARM-HOUSES NEAR POCOMOKE CITY, MARYLAND.
It is interesting to note curious fence-posts which show the English influence.

DETAIL OF RIVER ENTRANCE, "BEVERLY" ON THE POCOMOKE RIVER,
MARYLAND.

The ironwork was brought from England about 1775. The arched
device for carrying the lantern ring over the steps is very unusual

RIVER FRONT, "BEVERLY" ON THE POCOMOKE RIVER, MARYLAND.
The covered cellarway is common in the Maryland houses.

WHAT GRADE OF WHITE PINE SHALL I SPECIFY?"

IN THE OFFICE of every architect whose
practice includes the design and super-
intendence of representative American
homes, the thirst for accurate information makes
all authoritative literature concerning building
materials, and specification data aimed to
facilitate their proper use, most welcome.

White Pine has been intimately known by
architects for generations. They have had
opportunities without number of familiarizing
themselves with the workable and lasting qual-
ities of White Pine in their building operations,
and they have always recognized this wood as
pre-eminent for out-of-doors, where exposure to
the elements has been the test. They know
White Pine, but the one unsolved and as yet
unanswered question has been to specify its
use correctly. Due to an unfortunate lack of
correct information, architects have been com-
pelled in most instances to use their own phras-
ing in stating the grade wanted, and this has
very naturally led to many misunderstandings
between the architect, the contractor, and the
client.

Unfortunately, up to the present time there
has been published no accurate treatise on
White Pine to which the architect could turn

for reference and dependable information re-
garding the different grades when writing his
specifications. The White Pine manufactur-
ers, though tardily, are now making every
effort to correct this omission. In October of
last year a brief prospectus of a contemplated
Specification Book was announced in the Mono-
graph Series, which it was hoped would be
worthy to take its place with other technical
books always at the architects' service. It had
been evident for a long time that there was a
crying need for a text-book covering the subject
of White Pine which would serve definitely to
establish a standard by which the architect,
the contractor, the retail lumber dealer, and
the wholesale manufacturer could work to-
gether with a perfect understanding of the
nomenclature of White Pine Grades and what
they stand for, and of the Grading Rules apply-
ing thereto.

The first announcement of the White Pine
Book of Grading Rules was made after the work
had been carefully studied and, it was supposed,
fully mapped out. Since that time the further
details in its compilation have delayed its
publication, but it is hoped that this delay will
be more than compensated for by the greater

THE WHITE PINE MONOGRAPH SERIES

perfection of the finished book, and that when
completed it will prove of inestimable value
to the architect as a working tool in his office.
It was again thought that the book would be
ready to distribute in September, and a second
announcement was made of its publication.
On further analysis, however, it was not yet
quite satisfactory to those having its prepara-
tion in charge. They wanted the work to be
as complete as it was possible to make it, and
to have its contents set forth in most accurate,
clear and concise form. The publication was,
therefore, postponed until this could be ac-
complished, which has now been done.

The White Pine Book of Grading Rules will
be distributed on February i, 1917, to those
architects receiving the White Pine Series of
Architectural Monographs and to other practic-
ing architects making request for it.

The book contains a mine of valuable in-
formation regarding White Pine. The archi-
tects' frequent question, " What Grade of White
Pine Shall I Specify ? " is fully and completely
answered. Everything concerning the technical
phase of the use of White Pine is included in
the work. It is fully illustrated by half-tone
reproductions, at one-inch scale, from photo-
graphs. As no lumber grade can be definitely
represented by a single board, each grade is '
illustrated by the use of from three to six
boards, placed side by side, showing in so far
as is practicable a really representative grade.
This method of showing the grades makes it
unnecessary actually to see the lumber itself

before writing the specifications, and helps the
architect to visualize the lumber to be used,
and in this way to prepare himself to judge
properly the chosen grade when delivered at the
job. If it so happens that the grade furnished
exceeds or falls short in quality of his mental
impression of it from the photographic repro-
ductions, his future specifications may be cor-
rected to conform with his newly acquired
knowledge of just what the grade should be.

Following the photographic reproduction of
each grade there are a " Description of Grade,"
"General Grade Distinctions," "Stock Sizes,"
" Recommended Uses," and " Approximate
Differences in Cost between Grades." Further
is included a separate tabulation of " Classified
Recommended Uses for White Pine in House
Construction," subdivided into three classes as
applied to houses of high, medium and low cost.
Also are included a "General Index," carefully
detailed for quick reference, " Instructions for
Use of White Pine Grading Rules," "White
Pine Terms and Their Meaning," "Description
of Recognized White Pine Lumber Defects,"
and " Comparative Qualities of White Pine
from the New England States, New York
and Pennsylvania, Minnesota, Wisconsin and
Idaho."

In short, the forthcoming Book of White
Pine Grading Rules is a text-book which should
take its place with other technical books in
every architect's office. We feel assured that
it will prove useful and will be welcomed by
the architectural profession.

The subject of the tenth Monograph will be Three-Story Houses of New England,

1750-1800.

Subjects of Previous Numbers of
THE WHITE PINE SERIES OF ARCHITECTURAL MONOGRAPHS

Vol. I, No.
Vol. I, No.
Vol. I, No.
Vol. 1 1, No.
Vol. 1 1, No.
Vol. 1 1, No.
Vol. 1 1, No.
Vol. II, No.

1. Colonial Cottages

2. New England Colonial Houses

3. Farm Houses of New Netherlands

1 . Houses of the Middle and Southern Colonies

2. Domestic Architecture in Massachusetts

3. Early Houses of the Connecticut River Valley

4. A Suburban House and Garage -

5. Old Woodbury and Adjacent Domestic

Architecture in Connecticut

Text by Joseph Everett Chandler
Text by Frank Chouteau Brown
Text by Aymar Embury II
Text by Frank E. Wallis
Text by Julian Buckly
Text by Richard B. Derby
Report of Jury of Award

- Text by Wesley S. Bessell

i • -i

An Architectural

MONOGRAPH on Old
Tlff^^totyHouses

ewEngland

xx' — o

Text by

FRANK CHOUTEAU BROWN
"Prepared for Tublic&tion by
'RujrellFWhiteheadformer/yfditor
of 77ze Architectural Record
and The Brickb uilder

THE CROWINGSHIELD HOUSE AT DANVERSPORT, MASSACHUSETTS. (1798-1803.)
Detail of Entrance.

The chaste simplicity and beauty of this entrance doorway and window overhead are well indicated
in this picture. Indeed, of all the three-story houses produced in this section, this dwelling
seems to be the most perfectly proportioned, and at the same time the simplest, example.

^sWHIT

ARCHITECTURAL MONOGRAPH

ABI-MONTLY PUBLICATION SUGGESTING TE
ARCHITECTURAL USES CF WHITE PINE AND ITS
AMIABILITY TODAY AS A STRUCTURAL W3DD

Vol. Ill

FEBRUARY, 1917

THREE-STORY COLONIAL HOUSES OH

NEW ENGLAND

This article was a part of the original manuscript on " Colonial Houses of Neiv England" contributed by Mr. Brown for the second number of
The Monograph Series. Because of the quality and quantity of the illustrations which had been collected and the limited space available in a
single issue in which to present them, the material was more closely classified and one Monograph devoted to the smaller houses of early date and
another to the three-story dwellings as herewith shown, Mr. Brown is an architect of Boston, Massachusetts. — EDITOR'S NOTE.

PHOTOGRAPHS BY JULIAN BUCKLY

THE Colonial dwellings of New England
group themselves naturally into three
definite physical classifications. There
is first the small cottage one story and a half
high, an early and more primitive type found
in the smaller and less wealthy communities or
in the country. This kind of cottage is typical
of certain sections, such as part of Maine and
Cape Cod; and certain fisher villages, such as
Biddeford Pool, Marblehead, portions of Glou-
cester and other towns. Some of these cottages
are essentially charming, but they possess little
value except the incidental detail for most
architectural work of the current day.

There is, secondly, the larger house of two
stories and roof, containing generally an attic
story. This house may be of the simplest pos-
sible type of pitch roof with end gable, typical
of the larger farmstead ; or, in order to provide
more space on the third floor, the gable may be
developed in the familiar gambrel roof. Or,
this same type of house may itself easily ex-
tend into the larger, more spacious and pre-
tentious abode of the landed proprietor, wealthy
merchantman or shipowner, where we find the
most beautiful architectural details that, for
delicacy, refinement and restraint, have not
elsewhere been equalled under any other con-
ditions on this continent and never surpassed.

In New England there was little tendency to
develop the type of mansion familiar through-
out the South. The central house with ex-
tended wings on both sides is rarely found,

except in some uncommon instances, such as the
Black House at Ellsworth, or the Governor Gore
mansion outside of Boston. On the other hand,
the unbalanced development of a big house
with one wing is very often seen, particularly
in such sections, for instance, as the Old Provi-
dence Plantations, or in Salem, or wherever con-
siderable wealth had come into the possession
of the leading merchants or families of that
time. In these more crowded and larger Co-
lonial cities, however, this wing extension gen-
erally developed at the back of the main house-
rather than extended parallel with the street
frontage — and there it often grew until it pro-
duced a well-defined enclosure surrounding a
servants' courtyard at the back or one side of
the main house. This tendency is definitely in-
dicated in the Royall House, and even more
clearly in some of the old Providence and Port-
land houses, or the Pierce-Nichols house at
Salem, for instance. While the New England
mansion of this type developed many interest-
ing details of handling, its general exterior archi-
tectural treatment remained nevertheless fairly
balanced and formal, and, within the rigid out-
lines prescribed by custom, no very great varia-
tion of design or parti was possible. It there-
fore came naturally to be that, when in New
England a still larger dwelling was demanded
by conditions, it rather took the form of the
three-story house than attempted to extend a
second ell or wing to balance the one formerly
thrown out,— and this type of dwelling, pos-

THE WHITE PINE MONOGRAPH SERIES

sessing peculiar architectural difficulties of its
own for solution, came soon to be recognized as
a third principal, characteristic type that dis-
tinguished some of the later houses of New Eng-
land that were generally built just previous to,
or immediately after, the year 1800. That the
type was not exclusively to be found in any one
locality is proved by the accompanying illustra-
tions, which have been selected purposely to
illustrate the considerable geographical area
from which the material was drawn, and have
intentionally avoided reproducing any of the

the entrance was published. This house was
built in 1 760 and was very soon after increased
by the addition of the third story in a treatment
that on its architectural side, by the way, is
sufficiently simple and direct to be quite con-
vincing.

The problem of undertaking to increase the
Colonial house to three stories in height and
retain its usual and nearly square proportions
in plan, is one that might well cause the archi-
tectural designer to pause and carefully regard
the difficulties presented by the problem of

THE HAVEN HOUSE AT PORTSMOUTH, NEW HAMPSHIRE. Built about 1800.

The porch and doorway, window caps and cornice
help to relieve the squareness of the design.

most familiar and well-known three-story struc-
tures in Salem, or selecting more than one or
two of the most important or suggestive ex-
amples from Portsmouth, Portland, or the other
larger New England communities.

In this connection it is perhaps instructive to
refer to two earlier Monographs, one contain-
ing the Isaac Royall House at Medford (Vol.1,
No. 2), which is distinctly of a foreign and more
palatial three-story type, suggesting the South-
ern treatment of the central buildingwith wings,
which dates from as early as 1 732 ; and the other
recalling the Bishop Apthorp House in Cam-
bridge (Vol. II, No. 2), of which only a detail of

making such a box-like structure attractive
and consistent with his Colonial ideals. Such
a square and uncompromising house as the old
Haven homestead at Portsmouth, for instance,
contains little architectural relief from its rec-
tangular proportions except such as is to be
found in the caps of the windows, the delicate
arched detail of the very broad and overhanging
cornice, and the balustrade, that, in the case of
the porch at least, has every suggestion of being
a more modern addition to the design. Here
the original builders evidently felt that they
could do no less than make a virtue of necessity
and so give to the porch and doorway all the

THREE-STORY HOUSES OF NEW ENGLAND

emphasis of dignity and height that the house
facade made possible, their only attempt at
diminishing the height being found in the low
third-story windows, only two panes of glass
high.

The Woodbury mansion near Portsmouth
indicates a more conscientious endeavor to
relieve the box-like exterior proportions of the
dwelling by the horizontal bands, the increase
in height of the first and second story windows,
and the balconies used across the front. Again,
dignity and simplicity, with great refinement

ment and simplicity in design and proportion.
Seen as it appears in these photographs, with-
out blinds or shutters, and largely minus paint,
it nevertheless commands attention and re-
spect from these very sterling qualities of a
majestic consciousness of innate beauty and
serenity of proportion and refinement of detail.
Rather earlier in date than most of these
other houses (as indicated by its bold and virile
moulding section and heavy window caps) is
Elmwood in Cambridge. With the fenestration
rather more gracefully composed, and with only

GOVERNOR WOODBURY MANSION NEAR PORTSMOUTH, NEW HAMPSHIRE.

Built in 1809 by Captain Samuel Ham. Purchased by Levi
Woodbury (Governor of New Hampshire 1823-1824) in 1839.

of proportion, are indicated, — particularly in
the details of the porch, where the balustrade
is even more obviously a modern addition, al-
though the roof balustrade with its halved
balusters seems more consistently to belong
to the original design. This house is greatly
favored by setting in a rather beautiful grove,
where the unkempt terraces and tree surround-
ingsadd greatly to itsinterestand attractiveness.
At Danversport still stands an old house,
much battered by wind and weather in its ex-
posed location, of less depth in plan than is
usual with the three-story house, and with far
more than the usual chaste beauty of refine-

what adventitious and incidental element of
balance is obtained from the porch on one side
and the one-story service wing on the other,
this house ventures sturdily to win approbation
solely by means of the rather unusual treatment
of entrance and second-story window overhead,
— which, in its present form at least, is largely
a conjectural reproduction of what may have
been its original design.

One of the most unusually interesting — and
also surprisingly little known — houses near
Boston is the Baldwin house at Woburn, which
is in some ways more pretentious and elaborate
in treatment and detail than any other example

THE WHITE PINE MONOGRAPH SERIES

of the three-story type to be found in the general
vicinity of Boston. The siding of this house is
entirely treated in imitation of the effect of
stone divisions; the corner pilasters are given
an entasis that is more nearly a "belly"; the
architraves impinge upon a delicately moulded
cornice; the roof balustrade is typical, in the
refinement of its baluster shape and halving, of
its comparatively old period; and finally, the
entrance feature and Palladian window — while
the former is somewhat injured by its extra

cap design is here laid aside for a sturdy and
bold virility that is, under the circumstances,
rather surprising. In this particular case an
incidental defect is noted in the fact that,
some time or other, the front columns of the
entrance porch have been replaced by crudely
turned shafts, and the bases of the former fluted
columns have been utilized in place of the pre-
sumably exposed capitals. The balustrade here
goes back to a break in the roof that suggests
a monitor deck treatment: rather a more con-

THE CROWINGSHIELD HOUSE AT DANVERSPORT, MASSACHUSETTS.

Built by Nathan Reed between 1798, when he purchased this part of Governor Endicott's old "Orchard Farm," and
1803, when he finished his term in Congress. The house was afterward owned by Captain Crowingshield and Captain
Benjamin Porter. In the pond in front of the dwelling the first owner experimented with a paddle-wheel steamboat.

width and both are in detail and size better
suited to a two-story than a three-story type
of house — yet remain nevertheless so interesting
and suggestive for the architect as to make it
nearly unique in importance among the treat-
ments of this type of house to be found in New
England.

At North Andover is an example of a Mclntyre
three-story house less well known than the ex-
ample in Salem itself. Mclntyre, when work-
ing on a house of this type, evidently followed
his book very closely for his proportions and
details, — the well-known refinement of his carv-
ing in mantelpieces and gate-posts and door-

sistent and plausible location for this mode of
roof adornment. The fence-posts of the gate
at the rear of the house were brought from
Salem to their present location, and are — as
was of course to be expected ! — also attributed
to the much over-worked and omnipresent
Samuel Mclntyre himself.

The John Peirce house at Portsmouth is
one of the well-known examples of this type
of structure; and, despite the abominable en-
trance porch, its chaste simplicity and beauty
of detail and moulding ornamentation amply
serve to retain its interest for the student of
good architecture.

(Continued on page 10)

"ELMWOOD," RESIDENCE OF JAMES RUSSELL LOWELL,
CAMBRIDGE, MASSACHUSETTS. Detail of Front.

The door itself is of recent inspiration, and some parts of the entrance feature are executed in new
woodwork. How far they exactly reproduce the original, it is of course impossible to determine.
This photograph clearly shows the omission of corner boards and treatment of siding at the angles.

THE WHITE PINE MONOGRAPH SERIES

Simplest — and most beautiful — of all the
houses of this type is the Boardman house at
Portsmouth. Evidently the designer had merely
in mind to carry out a design such as had been
elsewhere used on a brick fafade, substituting
plank boarding for the other material, and at
the same time greatly beautifying his whole
composition by the charming grade, attenuation
and refinement of the columns and pilasters in
the curved porch and recessed Palladian window
motif overhead. Such delicacy of moulding

treatment and simplicity of design as are here
shown would hardly be consistent with the
heavier material and the larger scale of a brick
dwelling, — but as it is, this house remains per-
haps the most beautiful, chaste and distin-
guished instance of the Puritan treatment of
this type of dwelling to be found in the New
England colonies, and so should serve as epi-
logue and apogee to this brief record and appre-
ciation of a type of Colonial dwelling unique and
restricted to this section of North America.

Subjects of Previous Numbers of
THE WHITE PINE SERIES OF ARCHITECTURAL MONOGRAPHS

Vol. I, No. i. Colonial Cottages.

Vol. I, No. 2. New England Colonial Houses.

Vol. I, No. 3. Farm Houses of New Netherlands.

Vol. II, No. i. Houses of the Middle and Southern Colonies.

Vol. II, No. 2. Domestic Architecture in Massachusetts.

Vol. 1 1, No. 3. Early Houses of the Connecticut River
Valley.

Vol. II, No. 4. A Suburban House and Garage.

Vol. 1 1, No. 5. Old Woodbury and Adjacent Domestic

Architecture in Connecticut.
Vol. II, No. 6. Colonial Architecture of the Eastern Shore

of Maryland.

THE COLONEL LOAMMI BALDWIN HOUSE AT WOBURN, MASSACHUSETTS

The owner was an important and influential officer in the early Colonies and thediscoverer and
improver of the Baldwin apple. The half balusters and odd belly on the corner pilasters,
along with their awkward height relation to the windows, are all to be noted in this view.

THE COLONEL LOAMMI BALDWIN HOUSE, WOBURN, MASSACHUSETTS.
Detail of Entrance.

The very delicate detail shown in this picture and the small scale of the rusti-
cated boarding seem inconsistent with the width of the entrance feature
and the size of the whole house. The glass division is novel and unusual.

DETAIL OF ENTRANCE PORCH AND DOORWAY, LANGLEY
BOARDMAN HOUSE, PORTSMOUTH, NEW HAMPSHIRE.

Although the beauty of detail of the Palladian window does not appear in
this photograph, it shows at least the delicacy, grace and beauty of the
attenuated porch columns, and the refinement of the detail in the cornice above
and in the equally refined mahogany door with its delicately moulded panels.

(Programme on Following Page)

THE interest manifested in the first White
Pine Series of Architectural Monographs
Competition was so great that we are
encouraged to offer to the architects and drafts-
men of this country a similar competition again
this year, choosing as subject a house of some-
what largersize than thefirst problem, and which
therefore offers to the
competitors greater op-
portunity for variety of
treatment. The prop-
erty on which the
house is to be placed
is indicated by the dia-
gram on this page,
which is to be consid-
ered a part of the pro-
gramme, and the con-
ditions of grade and of
restrictions are those
very commonly met
with in suburban work.
It is the desire of the
Editor of the White Pine
Series of Architectural
Monographs to present
a problem which may
not be considered too
easy, yet which is just
the sort of building
that one encounters
in every-day practice.
It is hoped that the so-
lution of this problem
will be of genuine prac-
tical interest to the
architects all over the
country, as well as of

great benefit to the con- DIAGRAM

testants. It is not the

intention of the White Pine Bureau to publish the
drawings submitted in the competition in such
form that people will be tempted to try to build
without the services of an architect. The prize
and mention drawings, however, will be published
in the August, 1917, number of the Monograph
Series, and a copy of this issue will be sent to
each competitor. Following the precedent es-
tablished last year, an exhibition of the draw-
ings will be held in some of the larger cities,
if the architectural standard of the designs
warrants it. One of the leading architectural
journals will also present a selected number of
the most interesting drawings. Where drawings
are exhibited or published, the contestant's full
name and address will be given, and all inquiries
regarding his work will be forwarded directly
to him.

The competition of 1916 showed that the
contestants felt . that designs following, on

the whole, old Colonial work would alone be
acceptable to the jury. We wish to assure
intending competitors that this was by no
means the case, nor should it be so con-
sidered at this time, although we believe
that the possibilities of wooden architecture
have in no other historic style been so fully ex-
ploited as in the Co-
lonial. We wish to
assure all competitors
that originality of treat-
ment will not be re-
garded with disfavor by
the jury, but that the
contrary is the case. It
has, of course, been the
aim of the White Pine
Monograph Series to
present to the architec-
tural profession of the
United States beauti-
ful and, where possible,
hitherto unknown ex-
amples of wooden Co-
lonial architecture, with
a view to demonstrate
to them the durability
of White Pine and its
plasticity of treatment,
which could, perhaps,
in no other way be as
well shown as by il-
lustrations of the splen-
did old eighteenth-cen-
tury houses which were
built of White Pine and
which form the back-
boneofthearchitectural
styles developed in this
country. Wehavehoped
that we might at the same time do a real ser-
vice to the architectural profession, since we are
fully aware of the extraordinary growth of in-
terest in this work in the United States, and
of the difficulty of obtaining adequate data re-
garding it. We have, therefore, been led to
publish as much as we could collect of the early
material which was of real artistic quality.

We wish, however, to repeat that the fact
that the Monograph Series has been entirely con-
cerned with examples of Colonial work should
not influence competitors in the choice of
style in which to work, and any variation of
treatment from the traditional which is sound
architecture and shows a proper regard for the
qualities of the material will, we are assured,
be welcomed by the jury.

The Jury of Award will meet at "The Green-
brier," White Sulphur Springs, West Virginia,
May i8th, to judge the submitted designs.

OF PLOT

The Wlniie Pine Monograph Series
SECOND ANNUAL ARCHITECTURAL COMPETITION

PROGRAMME FOR A HOUSE TO COST $12,500

OUTSIDE FINISH TO BE OF WHITE PINE

PRIZES AND MENTIONS

Premiated Design will receive $750

Design placed second will receive - $400

Design placed third will receive $250

Design placed fourth will receive $100

ist, 2nd, 3rd, 4th, 5th, and 6th Mention

Jury of Award

Charles A. Platt
John Russell Pope
Aymar Embury II
Charles Barton Keen
Wilson Eyre

All Architects and Architectural Draftsmen are cordially invited to enter this Competition
Competition closes at 5 p.m., Tuesday, May i, 1917

PROBLEM : The design of a residence, to be built of wood
(all the outside finish, consisting of siding and corner boards;
window sash, frames and casings; outside doors, door frames
and casings; outside blinds; all exposed porch and balcony
lumber; cornice boards, brackets, ornaments and mouldings,
etc., not including shingles, to be of White Pine), for all-year-
round occupancy by an American family with an annual in-
come of $5,000. The competitor shall assume that the
family is of average size and is one of taste and refinement,
and shall provide appropriate accommodations including out-
of-doors sleeping quarters.

The architectural style is optional and the plan arrange-
ment left to the ingenuity of the designer.

The house is to be located on a rectangular lot at the north-
east corner of two streets (see diagram on preceding page).
The lot measures i25'-o" on the Main street, which runs
east and west, and 2oo'-p" on the Secondary street, which
leads to the railroad station. It is assumed that there is a
restriction which provides that the house shall not be erected
nearer than thirty feet from the Main and twenty feet from
the Secondary highway property line, and that no building
may be placed within ten feet of the east or five feet from
the north lot line. The outlook is equally desirable in all
directions and the neighboring houses of the usual hetero-
geneous character of design obtaining in towns, small cities or
suburbs of large cities. Contestants are referred to the
diagram on page 1 5 for the various grade levels of the lot.

The total cubage of the bouse and porches must not exceed
55,000 cubic feet.

The house must be one that can be built for $12,500,
and the design must therefore be of such character that
there may be no doubt about its cost.

IT IS REQUIRED TO SHOW: A pen-and-ink perspective
of the subject at %. inch scale clearly indicating the character
of the exterior finish. Plans of the first and second floors
at y% inch scale, blacked in solid, with the dimensions of each
room given in good-sized figures. Two elevations at l/&
inch scale. A cross section at % inch scale showing height from
basement floor through all roofs. A key plot plan at small
scale showing what is in the contestant's mind as the desir-
able development of the entire property. Detail drawings
at ^ inch scale of the entrance feature and of the fireplace
side of the dining-room. Profiles of the exterior details at
3 inches scale, in sufficient number to present the subject
adequately and attractively. Graphic scales must be shown
in all cases.

JUDGMENT: The Jury of Award will consider the archi-
tectural merit of the design and the ingenuity shown in the
development of the plans; the fitness of the design to express
the wood-built house; the appropriateness of the design to
the given site, and whether, even if the house is within the
prescribed cubage, it can be built for $12,500.

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 21^ x 27^ inches. Whatman 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 BLACK ink. Diluted black ink is partic-
ularly prohibited. 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 accu-
rately plotted. There is to be printed on the drawings as
space may permit: "DESIGN FOR A WHITE PINE
HOUSE TO COST $12,500." The drawings are to be
signed by a nom de plume or device. On the sheet containing
the floor plans, in a space measuring 4x5 inches, enclosed
in a plain border, is to be printed the contestant's calculation
of the total cubage.

There is no limit to the number of designs that may be
submitted by a contestant.

COMPUTATIONS: The cubage of the house shall be the
actual number of cubic feet shown by the design, computed
from the basement floor to the full height of flat roofs;
or, if pitch roofs, the finished portions of the attic should be
included, or those parts which might be finished. All measure-
ments are to be taken to the outside of the walls and founda-
tions. One-story open porches shall be figured at % actual
cubage above ground level. One-story wings or bays, how-
ever, or enclosed sleeping porches two stories high shall be
figured at the actual cubage.

The cubage of each design will be carefully checked by an
architect and a contractor engaged by the Editor. The fury
will positively not consider designs which exceed 55,000 cubic
feet or which do not in all other respects conform to the condi-
tions of the programme.

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. WHITEHEAD, EDITOR,
132 MADISON AVENUE, NEW YORK, N. Y., to reach
him on or before Tuesday, May i, 1917. Enclosed with
the drawings is to be a sealed envelope bearing on the out-
side 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 removed from
their wrappers by the Editor, who will place a number upon
each drawing and the corresponding number on the enclosed
sealed envelope for purposes of better identification. The
envelopes will be placed in the custody of the Editor, and
will not be opened until after the awards have been made.

THE PRIZE DESIGNS are to become the property of The,
While Pine Series of Architectural Monographs, and the right
is reserved by this publication to publish or exhibit any or
all of the others.

RETURN OF DRAWINGS: Unsuccessful contestants will
have their drawings returned, postage prepaid, direct from
the Editor's office.

Contestants are referred to the preceding page for plot diagram and other particulars

AnArchitecti^ml

RAPH/^Eirfy

rWith Text by
eADDISON B LeBOUTlLLIERj

Trepared for 'Publication by
'RuffellFWhiteheadformer/yMtor
of Tlie Architectural Record
and The Brickbuilder

132 Madison'Bve.NewYork.N.Y

1917

THE PHELPS HOUSE, ANDOVER HILL, MASSACHUSETTS. 1809-1812.
Detail of Doorway and Entrance Porch.

This view shows the delicate detail of the fluted porch columns and
architraves, the turned bed moulds and carved Doric entablature.

T&WHITE,

ARCHITECTURAL

PINL

SERIES^

LONG GRAPHS

Vol. Ill

ABI-MONTLY PUBLICATION .SUGGESTING TE
ARCHITECTURAL USES CF WHITE PINE AM) ITS
A/ALABLITY TODAY AS A STRUCTURAL WED

APRIL, 1917

No. 2

THE EARLY WOODEN ARCHITECTURE OF
ANDOVER, MASSACHUSETTS

Bj>ADDlSON B. LEBOUTILLIER

Mr. Le Boutillier was born in the western fart of New York State. He began his architectural practice in Chicago and did some work in connection
with the World's Fair. He went to Boston and after practising for himself for a while became a member of the firm of Fisher, Ripley and
Le Boutillier. Besides his architectural work he has done a number of interesting designs for book-plates, covers, etc., and since taking up his rtsidince
in A ndover, several years ago, he has made a considerable study of the architectural history of this old Massachusetts town. — EDITOR'S NOTE.

PHOTOGRAPHS BY JULIAN A. BUCKLY

TH E towns of Andover and North Andover,
situated in the valleysof the Merrimac and
Shawsheen Rivers and occupying about
one-sixth of the territory of Essex County, are
historically and architecturally interesting, as
since their foundation in 1646 they have been
typical of New England tradition and civilization.
The early settlers, coming from Cambridge,
Salem, Ipswich and Rowley, werea hardy, thrifty
and pious people, many of whose dwellings for-
tunately remain to reflect their prosperity.
Therefore, in this community may be traced,
by existing examples, the development of New
England wooden architecture, from the humble
farm houses of the seventeenth century to the
stately mansions of one hundred years ago.

From the original settlement of scattered
farms the town grew and prospered, in spite of
hardships, I ndian wars and the witchcraft frenzy.
Many of the citizens became rich, as riches were
counted in those days, and with their wealth
came comforts, leisure and learning of the true
New England type. ' ' The town had a grammar
and district school, two churches that were
crowded on Sunday and weekly lecture days.
There was a social library in the North Parish
and on the whole the town of Andover was as
flourishing as any inland town of the Common-
wealth."

In 1778 Phillips Academy was founded, and
some years later Andover Theological Seminary.
These were established upon Andover Hill, at
that time a rocky upland pasture. Around this

nucleus there grew up in the space of fifty years
a remarkable group of houses, whose occupants
left names well known in history, literature and
theology. Here, in 1782, Judge Phillips, the
founder of the Academy, built his fine three-
story "mansion house" — which, until its de-
struction by fire, was the finest house on the
Hill. The finest remaining house, and one of
the show places on the Hill, is the " President's
House," built for Dr. Griffin, at that time
president of the Seminary. It appears that
the donor, Mr. William Bartlet, of Newbury-
port, gave Dr. Griffin carte blanche, and, happily
for us, he took him at his word, for the result,
as will be seen by the illustrations (frontispiece
and page 9), is an exceptionally fine example of
wooden architecture. Even the detail view of
the porch and doorway gives little idea of the
scale of this design. It may, perhaps, be parti-
ally grasped by noticing that the screen door is
cut a couple of feet below the top of the open-
ing— that being evidently considered as pro-
viding ample height for ordinary occupants to
pass in and out — as indeed it does! The pro-
portion of the house is so well kept, the detail
of the porch and house cornice, the arched
windows and doors, so delicate and beautiful,
that the spectator is unable to realize the un-
usual height of the story — unusual even at the
comparatively late date of this example.

The two towns were formerly one (originally
called "Cochichawicke"), the first settlements
being at what are now called North Andover

THE WHITE PINE MONOGRAPH SERIES

and "Frye Village," where more examples of
houses of the olden type are to be found.

Of course the "Governor Bradstreet House"
in North Andover is one of the most famous of
early Massachusetts dwellings. While many
of its rooms have been repanelled and ceiled,
one or two still retain the old English type of
panelling that proves its great antiquity. Only
its somewhat retired location prevents this
house from being far better known than it is,—
especially as it lies almost across the street from

the same year as the house, presumed to have
been begun immediately after the former dwell-
ing was destroyed by fire in July, 1666. Tra-
dition states this was the home of Simon Brad-
street, who came to America with Governor
Winthrop in 1 630 and was one of the first settlers
of Andover. He built the first mill on the
"Cochituate," near its junction with the Merri-
mac River, in 1644, thus founding the milling
industriesof Lawrence, Massachusetts. He after-
wards returned to Salem, when he is supposed to

"GOVERNOR BRADSTREET HOUSE," NORTH ANDOVER, MASSACHUSETTS.

Built in 1667 by one of the first settlers of Andover, Simon Bradstreet, afterwards Deputy
Governor and Governor. It was also the home of the first woman poet of America, Anne
Bradstreet, and survived several Indian raids. The sash in the lower windows are not original.

the old Phillips House, with its entrance door-
way set off-center of the facade, and its un-
usually capacious and hospitable gambrel slopes,
—a dwelling which would be of interest to
many tourists because of its associations with
Phillips Brooks. To architects it may — per-
haps— serve as some palliation to record that
the present end veranda was added by the late
H. H. Richardson.

The Bradstreet House is the only dwelling
now existing from the first fifty-year period of
Andover's settlement. Its frame is of massive
timbers, its walls are lined with brick, and the
two huge elms in front are supposed to date from

have relinquished this house to his son, Col.
Dudley Bradstreet, as the dwelling was cer-
tainly known to belong to him until his death
in 1702.

In the "South Parish," now the town of
Andover, is the Abbot farm house, standing
beside the old brook — and the newer railroad
embankment — at the left of the track just as the
train approaches the Andover station. With
its service courtyard thrown out around the
wonderful old elm that overhangs the road, it
makes as beautiful and picturesque an old New
England farm house as can anywhere be found
—despite the fact that the old brick of the

THE WHITE PINE MONOGRAPH SERIES

chimney has since been plastered and the old
window sash removed or changed.

Of the gambrel roof type of house this locality
furnishes numerous examples, many of them
with that short upper slope which seems always
to provide a certain quaintness of aspect. This
is to be noted in three or four of the present
illustrations — in one case, at least, in the earlier
type with small windows, and in another and
later example (shown on page 7) with an un-
usually fine and sturdy hand-worked cornice.

Even the small Colonial cottage is represented

along the range of sheds added at the rear. This
Swift House is itself a particularly sturdy and
successful example of later Colonial type, with
its interesting monitor roof treatment and virile
detail. The same sturdy character of detail ap-
pears in the Abbot House doorway on Central
Street, with the Greek fret worked into the soffit
of the pediment of the cornice and its squat
bellying frieze. The Newman House, on Andover
Hill, possesses an especially well worked
out order, and the entrance and second-story
Palladian window archway are enriched by

THE PHILLIPS HOUSE, NORTH ANDOVER, MASSACHUSETTS.

Built by the Honorable Samuel Phillips in 1752. The porch covers two end doorways, both with
pediments and toplights. The one in the center of the gable had also pilasters and supporting brackets.
The smaller door, just at the back wall, had only a surrounding architrave but boasted eight panels.

by a charming example — now a tea-room — in
Andover village; while the old Abbot tavern,
with its historical associations, although it has
now little of the exterior aspect of its previous
use, yet preserves two examples of that partic-
ular local type of outer vestibule, frequently
to be found in Andover, where, apparently, the
side arched window was a favorite touch of
some late Colonial builder.

Not only this tavern but the little tea-room
and the old Swift House on Central Street both
carry this type of arch at the sides of the vesti-
bule. In the latter house it is also worked into
the pediment over the entrance door, as well as

ornamental patterns carefully grooved by a
carpenter's gouge in the way that is often found
in local work.

Andover also provides several examples of
the three-story house type, of which the
Kittredge House is the only instance that has
been utilized in this Monograph. At the time
of its construction this house had no equal for
elegance in the whole "North Parish," and it
was rivalled only by Judge Phillips's mansion,
then recently built — and since destroyed— in
the "South Parish." "The lofty ceilings, great
hall and broad staircase, heavy door and pon-
derous brass knocker, the avenue of trees leading

EARLY WOODEN ARCHITECTURE OF ANDOVER, MASSACHUSETTS

to the front entrance, still mark it as a stately
home, of a courtly period when the aristocratic
ideas of old-country traditions still held in the
style of livingand social customsof theColonies."
Oddly enough, despite the fact that there
still exist in Andover so many old dwellings, no
one of the several early houses of worship built
by the settlers has come down to the present
day. The first "meeting house" is supposed to
have been built near the old "North Burying
Ground," where in 1669 a "new meeting house"
was built "with upper and lower galleries," and
another church was built in 1 709 in the Andover
"South Parish." This last church stood until
1734, when a second building was erected and
occupied until 1 787, along with a parsonage — a
gambrel roof house now occupied as a private
residence. Although not illustrated in this Mon-
ograph, its quaint construction long made it one
of the most interesting of old Andover houses.
Unfortunately, this meeting house was demol-

ished in 1835, the porch removed to the manu-
facturing village near the Merrimac and fitted
up as part of a dwelling house, while the pew
walls made a unique fence in the front yard of
a neighboring house, west of the common.

However, all the old churches have disap-
peared, and so only the old dwellings of the
town — many more examples than it was possible
to illustrate in these pages — remain to provide
an architectural background into which can be
read the history of a New England farming
community and its gradual progression from
prosperous early Colonial to more recent times.
Fortunately, the modern tremendous milling
industries that settled in this district — making
Lawrence so famous and ugly! — chose newer
sites, and so the portly old farm houses of the
several earlier scattered settlements have been
spared to delight us with a virile architectural
beauty that we can appreciate even while we
fail in equalling it to-day!

THE COL. JAMES FRYE HOUSE, NORTH ANDOVER, MASSACHUSETTS. Built about 1730.

The windows, and perhaps the porch, are more modern. A huge elm — a famous land-
mark planted in 1725 by Chaplain Frye — stood near this house until quite recently.

THE WHITE PINE MONOGRAPH SERIES

THE MANNING HOUSE, ON PORTER ROAD, ANDOVER, MASSACHUSETTS. Built in 1758.

"COL. SAMUEL JOHNSON HOUSE," NORTH ANDOVER, MASSACHUSETTS.
This house was built by Capt. Timothy Johnson, and by him given in 1771 to Col. Samuel Johnson, his son.

EARLY WOODEN ARCHITECTURE OF AN DOVER, MASSACHUSETTS

1 1

OLD HOUSE AT ANDOVER, MASSACHUSETTS

Squire Jno. Kneeland occupied this house about 1796. Exact date of building unknown.
It is a charmingly informal cottage, now known as the " Rose Cottage Tea Room."

THE KITTREDGE HOUSE, NORTH ANDOVER, MASSACHUSETTS.

Built by Dr. Thomas Kittredge, surgeon in Col. Frye's regiment, in 1784. Attributed to Samuel Mclntyre.
At the time the walls of this house were " raised," Dr. Kittredge had colored slaves as servants.

THE OLD SWIFT HOUSE, ANDOVER, MASSACHUSETTS. Built in 1795.
Detail of Side Doorway and Vestibule.

An unusually fine example of the type of vestibule, with its small overarched
side window, that is distinctive of, and local to, the town of Andover.

THE SECOND ANNUAL WHITE PINE
ARCHITECTURAL COMPETITION

(Programme reprinted on following page)

THE creative faculties of the architectural
designer are appealed to at once by a
competition for a house to be built of
White Pine. There are limitless possibilities
afforded to express
one's individuality
when working with
White Pine, which has
been known for centu-
ries as a building mate-
rial which lends itself
very readily to all out-
side uses in house con-
struction, and can be
easily worked into
many attractive forms,
mouldings and other
embellishments. We
trust therefore that the
problem which is pre-
sented here will awaken
the imagination and
ingenuity of the con-
testants, and that the
resulting designs may
set a new standard of
excellence.

Jt is the desire of the
Editor of theWhite Pine
Series of Architectural
Monographs to present
a problem which may
not be considered too
easy, yet which is just
the sort of building

that one encounters DIAGRAM OF PLOT

in every-day practice.

It is hoped that the solution of this problem
will be of genuine practical interest to archi-
tects all over the country, as well as of great
benefit to the contestants. It is not the inten-
tion of the White Pine Bureau to publish the
drawings submitted in the competition in such
form that people will be tempted to try to build
without the services of an architect. The prize
and mention drawings, however, will be pub-
lished in the August, 1917, number of the

Monograph Series, and a copy of this issue will
be sent to each competitor. Following the
precedent established last year, an exhibition
of the drawings will be held in some of the

larger cities, if the ar-
chitectural standard of
the designs warrants it.
One of the leading ar-
chitectural journals will
also present a selected
number of the most in-
teresting drawings.
Where drawings are ex-
hibited or published,
the contestant's full
name and address will
be given, and all inquir-
ies regarding his work
will be forwarded di-
rectly to him.

The competition of
1916 showed that the
contestants felt that
designs following, on
the whole, old Colonial
work would alone be
acceptable to the jury.
We wish to assure in-
tending competitors
that this was by no
means the case, nor
should it be so consider-
ed at this time, although
we believe that the pos-
sibilities of wooden ar-
chitecture have in no
other historic style been

so fully exploited as in the Colonial . We wish to
assure all competitors that originality of treat-
ment will not be regarded with disfavor by the
jury, but that the contrary is the case, and any
yariationof treatment fromthetraditional which
is sound architecture and shows a proper regard
forthe qualitiesof the material will be welcomed.
The Jury of Award will meet at " The Green-
brier," White Sulphur Springs, West Virginia,
May 1 8th, to judge the submitted designs.

The

subject of the twelfth Monograph will be Old Homes of Newburyport, Massachusetts
With text by RICHARD ARNOLD FISHER, Architect

Subjects of Previous Numbers of
THE WHITE PINE SERIES OF ARCHITECTURAL MONOGRAPHS

Vol.
Vol.
Vol.
Vol.
Vol.
Vol.
Vol.
Vol.
Vol.
Vol.

I. No.

I, No.

I, No.
II. No.
II. No.
1 1, No.
II, No.
II, No.
II, No.
Ill, No.

Colonial Cottages ----------

New England Colonial Houses --------

Farm Houses of New Netherlands .......

Houses of the Middle and Southern Colonies -

Domestic Architecture in Massachusetts

Early Houses of the Connecticut River Valley - - - - -

A Suburban House and Garage --

Old Woodbury and Adjacent Domestic Architecture in Connecticut -
Colonial Architecture of the Eastern Shore of Maryland -
Three-Story Houses of New England ------

Joseph Everett Chandler
Frank Chouteau Brown
Aymar Embury 1 1
Frank E. Wallis
Julian Buckly
Richard B. Derby
Report of Jury of Award
Wesley S. Bessell
Charles A. Ziegler
Frank Chouteau Brown

The Wbiie Pine Monograph Series
SECOND ANNUAL ARCHITECTURAL COMPETITION

PROGRAMME FOR A HOUSE TO COST $12,500

OUTSIDE FINISH TO BE OF WHITE PINE

PRIZES AND MENTIONS

Premiated Design will receive $750

Design placed second will receive - $400

Design placed third will receive $250

Design placed fourth will receive $100

ist, 2nd, 3rd, 4th, 5th, and 6th Mention

Jury of Award

Charles A. Platt
John Russell Pope
Aymar Embury II
Charles Barton Keen
Wilson Eyre

All Architects and Architectural Draftsmen are cordially invited to enter this Competition
Competition closes at 5 p.m., Tuesday, May i , 1917

The architectural style is optional and the plan arrange-
ment left to the ingenuity of the designer.

The house is to be located on a rectangular lot at the north-
east corner of two streets (see diagram on preceding page).
The lot measures 12^-0" on the Main street, which runs
east and west, and 2oo'-o" on the Secondary street, which
leads to the railroad station. It is assumed that there is a
restriction which provides that the house shall not be erected
nearer than thirty feet from the Main and twenty feet from
the Secondary highway property line, and that no building
may be placed within ten feet of the east or five feet from
the north lot line. The outlook is equally desirable in all
directions and the neighboring houses of the usual hetero-
geneous character of design obtaining in towns, small cities or
suburbs of large cities. Contestants are referred to the
diagram on page 1 5 for the various grade levels of the lot.

The total cubage of the bouse and porches must not exceed
55,000 cubic feet.

The house must be one that can be built for $12,500,
and the design must therefore be of such character that
there may be no doubt about its cost.

IT IS REQUIRED TO SHOW: A pen-and-ink perspective
of the subject at ^ inch scale clearly indicating the character
of the exterior finish. Plans of the first and second floors
at l/% inch scale, blacked in solid, with the dimensions of each
room given in good-sized figures. Two elevations at ^
inch scale. A cross section at Y% inch scale showing height from
basement floor through all roofs. A key plot plan at small
scale showing what is in the contestant's mind as the desir-
able development of the entire property. Detail drawings
at & inch scale of the entrance feature and of the fireplace
side of the dining-room. Profiles of the exterior details at
3 inches scale, in sufficient number to present the subject
adequately and attractively. Graphic scales must be shown
in all cases.

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 2 i % x 27^ inches. Whatman 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 BLACK ink. Diluted black ink is partic-
ularly prohibited. 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 accu-
rately plotted. There is to be printed on the drawings as
space may permit: "DESIGN FOR A WHITE PINE
HOUSE TO COST $12,500." The drawings are to be
signed by a nom de plume or device. On the sheet containing
the floor plans, in a space measuring 4x5 inches, enclosed
in a plain border, is to be printed the contestant's calculation
of the total cubage.

There is no limit to the number of designs that may be
submitted by a contestant.

The cubage of each design will be carefully checked by an
architect and a contractor engaged by the Editor. The jury
will positively not consider designs which exceed 55,000 cubic
feet or which do not in all other respects conform to the condi-
tions of the programme.

RECEIPT OF DRAWINGS: Designs will be removed from
their wrappers by the Editor, who will place a number upon
each drawing and the corresponding number on the enclosed
sealed envelope for purposes of better identification. The
envelopes will be placed in the custody of the Editor, and
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 Monographs, and the right
is reserved by this publication to publish or exhibit any or
all of the others.

RETURN OF DRAWINGS: Unsuccessful contestants will
have their drawings returned, postage prepaid, direct from
the Editor's office.

Contestants are referred to the preceding page for plot diagram and other particulars

An ArchiteGttjml
MONQGRAPf*

Newbu

MassacFmse

With Text by

^RICHARD ARNOLD FISHED
'Prepared for publication by
tyf/ell TWhiteheadformer]y£cf/lor
yTheJZrchitectural Record
and The 'BricKbuildex
J)2 -MadifonXve. A/ewYorX N. Y.

THE GOVERNOR WILLIAM DUMMER HOUSE AT BYFIELD, MASSACHUSETTS.
Detail of Entrance and Front Facade.

The doorway is almost Jacobean in character, which is a type seldom found in
this vicinity. The house is now used by the Head-master of Dummer Academy.

TfeWMTTE PINL

ARCHITECTURAL MONOGRAPHS

A BI-MONTLY PUBLICATION .SUGGESTING TE
ARCHITECTURAL USES CF WHITE PINE AND ITS
/WMLABLITY TODAf A5 A STRUCTURAL W3DD

Vol.111

JUNE, 1917

No. 3

OLD HOUSES IN AND AROUND
NEWBURYPORT, MASSACHUSETTS

By RICHARD ARNOLD FISHER

Mr. Fisher was born in the Toivn of Brookline, Massachusetts, and has practiced architecture in Boston for the past sixteen years, at first by
hiinsflfand later as a member of the firm of fisher, Ripley and Le Boutillier. He has made a special study of early New England building!
ami has restored a number of old houses, in Boston and elsewhere in New England. — EDITOR'S NOTE.

PHOTOGRAPHS BY JULIAN A. BUCKLY

THE city of Newburyport lies a few miles
up-stream from the mouth of the river
Merrimack, which forms its harbour, and
was, at one period of its early and greater days,
second in importance only to Boston among
New England seaports. This was in the early
years of the nineteenth century, when Massa-
chusetts ships were to be seen in most of the
harbours of the world; in the year 1804 it is
recorded that the duties collected in Massachu-
setts exceeded even those of New York. This
was the time when Newburyport was at the
height of its prosperity, the receipts of its Cus-
tom House ranking third among Massachusetts
ports of entry, and its imports in a single month
reaching the value of more than three-quarters
of a million dollars. In the year 1805 its fleet
numbered one hundred and seventy-three ships
and other vessels of good size,exclusiveof smaller
craft not listed. Shipbuilding was also an im-
portant industry there, and at one period one
hundred vessels were under construction at the
same time. A number of frigates and sloops of
war were built in its yards, and later on some
of the swift clipper ships, such as the renowned
"Dreadnought," that made the American mer-
chant marine famous. One generally hears
that Newburyport was founded in 16*5, but,
strictly speaking, that is the date of settlement
of the town of Newbury, from which Newbury-
port was set off in the middle of the eighteenth
century. The two towns still form one com-
munity in a geographical and social sense.
The original settlement was not on the Merri-
mack, but on the shores of the Parker River, a

smaller tidal stream lying a mile or two farther
toward the South. The early settlers formed a
farming community, but the proximity of the
Merrimack led naturally to the upbuilding of
sea trade, and long before the time of the Rev-
olution it had become a shipping centre of con-
siderable importance. Its traffic was largely
with England and the continent of Europe,
while that of Salem was more with the East
Indies, a difference having its origin, it is said,
in the limitation set on the size of Newbury-
port ships by the depth of water over the bar
at the harbour mouth. The East India trade
demanded larger ships than Newburyport could
furnish, so Salem and Portsmouth were able to
develop this important trade at the expense of
the town on the Merrimack.

While there are interesting buildings in all
parts of the town, the chief architectural inter-
est of Newburyport lies in its High Street,
which, wide and straight, and shaded by elm
trees throughout its length of three miles, is one
of the most charming streets to be found any-
where in New England. It lies along "The
Ridge," a gentle rise of land roughly parallel to
the river, and many of the old houses on its
upper side stand on terraces well above the
street and have deep gardens behind them run-
ning back to pasture and farm land beyond.
A most interesting view of the town may be
had from the rear of some of the places on the
upper side of the High Street. Many of the
gardens have in them little arbours or summer
houses of lattice-work, that are as old as the
houses themselves. Several of the more im-

THE WHITE PINE MONOGRAPH SERIES

portant gardens, especially those that are ter-
raced, are of considerable interest and charm.
One passing through the town is impressed by
the large number of great, square three-storied
houses whose dignified aspect testifies to the
prosperity and good taste of their builders of
a hundred years ago and more. The houses
of this type were built, for the most part, be-
tween the Revolution and the War of 1812,
few of them antedating the Declaration of
Independence. Among the earliest and finest

Washington, Benjamin Franklin, John Han-
cock and other historical worthies, together
with several mythological characters and a
number of animals.

While houses of the square, three-storied
type are undoubtedly what give its predomi-
nant character to the town, there are notable
examples of the two-storied gambrel-roof type
as well, of which the Bradbury-Spalding house
in Green Street, built about 1790, is one of the
best. Much older is the house in State Street

-,\y

THE JAMES NOYES HOUSE, NEWBURY, MASSACHUSETTS.
Built in 1646. The doorways are additions made about 1830.

of the houses of this type are the Lowell-John-
son house and the Jackson-Dexter house, both
in the High Street. The latter house was the
residence of that eccentric merchant who called
himself "Lord" Timothy Dexter, around whose
name various legends have accumulated, among
them the story of a shipload of warming-pans
sent to the West Indies, where they were sold
at great profit as ladles for use in sugar re-
fineries. An old print shows how this house
looked in Timothy Dexter's time, when it had
a sort of forecourt between it and the street,
around which were ranged on high pedestals a
number of wooden statues representing George

now occupied by the Dalton Club. It is not
known just when this was built, but its builder,
Michael Dalton, bought the land in 1746,
which would place the date of its erection later,
at all events, than that. The boarding of the
front is coursed in imitation of stone. The in-
terior finish is very good and there is a particu-
larly fine staircase with twisted newels and
balusters. It was in this house that George
Washington stayed when on his journey through
the New England States. An unusual feature
of this house is the great breadth of its facade,
which made it possible to have five dormers in
the roof without any sense of crowding.

THE WHITE PINE MONOGRAPH SERIES

A still older type of two-storied house hav-
ing a plain pitched roof is the Short house,
No. 6 High Street, Newbury, which was built
soon after 1717, when the land was acquired
by Nathaniel Knight, and is given an unusual
character by the large square chimney in each
gable, the gable ends of the house being of
brick. The front door of this house is of a
kind unusual in that part of the country, with
its pair of doors and the narrow light over them.
These doors are undoubtedly the original ones
and are of interest on that account, as few

In Newbury and Oldtown and the outlying
portions of Newburyport are numerous farm-
houses of the simple and dignified type found
almost everywhere in New England, but the
individual character of Newburyport is chiefly
given by the square three-storied "Mansion
Houses," of which so many are found in the
High Street.

Newburyport, although to-day manufacturing
has taken the place of sea-borne commerce as its
chief industry, is less changed than most other
old towns of its importance, and one can easily

"LORD" TIMOTHY DEXTER HOUSE, NEWBURYPORT, MASSACHUSETTS. Built about 1772.
Showing the house as it at present stands in the High Street after the removal of the forecourt and statues.

existing outside doors in old houses are of the
period of the house itself. In many cases, not
only the doors, but their architectural frame-
work as well, have been replaced by later ones
much inferior in design and detail to the rest of
the building, so that one often sees on houses
that obviously date from the eighteenth century,
doorways of the pseudo-Greek type of 1830.

In the neighbouring town of Byfield, which
was formerly Byfield parish of the town of
Newbury, is the very interesting old house
which is now the residence of the head-master
of Dummer Academy. Its main entrance is
unlike any other in the neighbourhood, its pilas-
ters being ornamented with grape-vines carved
in quite high relief, and carrying carved brack-
ets which support the pediment.

form a good idea of how it must have looked in
the year 1800 when Timothy Dwight, President
of Yale College, visited it while on a tour
through the New England States, after which
visit he wrote :

"The houses, taken collectively, make a better
appearance than those of any other town in
New England. Many of them are particularly
handsome. Their appendages, also, are unu-
sually neat. Indeed, an air of wealth, taste
and elegance is spread over this beautiful spot
with a cheerfulness and brilliancy to which I
know no rival. . . . Upon the whole, few places
probably in the world furnish more means of a
delightful residence than Newburyport."

NOTE : Indebtedness for much information is gratefully ac-
knowledged to " Old Newburyport Houses," by Albert Hale.

OLD HOUSES OF NEWBURYPORT, MASSACHUSETTS

THE FOSTER HOUSE, NEWBURYPORT, MASSACHUSETTS.

Built about 1808. Note the wide corner-boards, the inter-
esting treatment of the deck and detail of the dormers

THE KNAPP-PERRY HOUSE, 47 HIGH STREET, NEWBURYPORT, MASSACHUSETTS.
Built in 1809. The wooden fence corresponds in design with railing around the deck of the house.

••BBP^T

THE MOULTON HOUSE, NEWBURYPORT, MASSACHUSETTS. Built circa 1810.

A stately example of the three-story Newburyport house.
The houses along the Ridge are of similar type.

THE SAWYER-HALE HOUSE, NEWBURYPORT, MASSACHUSETTS

Built during the latter part of the i8th century. Particularly
good cornice, dormer spacing, and broken scroll pediment.

THE SHORT HOUSE, NEWBURY, MASSACHUSETTS. Built in 1717.
Detail of Doorway.

These are among the oldest panelled doors in New England.

THE NELSON-WHEELWRIGHT HOUSE, NEWBURYPORT, MASSACHUSETTS.
An example of the smaller three-story house. The porch is obviously modern.

CHOOSING THE RIGHT WOOD

A PROBLEM WHICH CONFRONTS THE ARCHITECT TO-DAY

CMBER markets have, in recent years, be-
come complex. At the time the lumber
business first came into being in the
White Pine forests of New England, there was
little choice of woods. White Pine, almost
alone, supplied the market, and being fortu-
nately so well adapted to practically all build-
ing requirements, did its work admirably. But
as the industry has reached out into the vast
timbered areas of the north and south and west,
new woods have found their way into the mar-
ket, partly to compete with White Pine, the
recognized standard structural wood, and partly
to supply the greatly increasing demand for
lumber products. Many of these woods for-
merly were considered of little value because
comparatively little was known about them.
They all have their uses, however; all of them
possess inherent qualities which fit them for
these uses; yet none of them possess exactly the
same qualities or the same combination of qual-

ities. Hence the confusion which unfortunately
has resulted from a lack of proper appreciation
of the various qualifications of the many woods
from which the user has been forced to make
an unguided choice.

With so many different woods on the market,
with so many exacting requirements to be met,
and with so little definite information available
on the specific qualities and combinations of
qualities and adaptabilities of the many woods
offered for sale, there is little wonder that,
while lumber is being used and studied in a va-
riety of exacting circumstances, many mistakes
have been made — unintentional but costly ones
which, in some measure, have reflected damag-
ingly upon lumber in general. Lumbermen,
therefore, are at last awake to these conditions,
and by censoring each kind of lumber with re-
spect to the uses for which it is offered for sale,
they are endeavouring to protect the architect
and his clients from embarrassing and costly

THE WHITE PINE MONOGRAPH SERIES

mistakes. They are realizing that the future
of the lumber business demands a closer scru-
tiny of their sales, and that the thoughtless
practice of selling any wood for any purpose no
longer meets the modern standard of buying, a
standard based, not primarily on first cost, but
upon service and ultimate economy.

The White Pine manufacturers are standing
to-day in exactly this position with reference
to their product. Three centuries of building
experience have definitely determined the quali-
ties of White Pine, and the manufacturers are en-
deavouring through the medium of educational
publicity to direct it into those uses for which
it is not only by nature better adapted than
other woods, but for uses for which it is, price
considered, commercially practical from the
standpoint of the actual consumer. That the
architect may know what the recommended,
commercially practical uses for White Pine are,
and the various forms in which it is available
to him for those uses, and that he may specify
his White Pine wants in such a way as to elimi-
nate the possibility of misunderstanding on the
part of the contractor or the lumber dealer, the
manufacturers of White Pine, after more than
a year of painstaking effort, are but recently
presenting to the architectural offices a com-
plete and comprehensive text-book on White
Pine grades and their recommended uses. The
many months that have been consumed in this
compilation evidence their desire to impart to
the architect, in a manner creditable to them-
selves, the most accurate information possible
concerning White Pine as a building wood.

Unusual market pressure may, occasionally,

reduce in some markets the available supply
of White Pine, or in fact any kind of lumber.
Temporary shortage of dry stock is likely to
occur at times in all markets. But for the type
of building operations that require the best
lumber, there is and will be for generations an
ample supply of White Pine to meet these spe-
cial uses.

Economy, brought about by a more compre-
hensive understanding of its uses and qualities,
will dictate the lumber sales of the future. The
lumber manufacturers, realizing at last that
upon them rests the responsibility of standing
sponsor to the consumer for their particular
product or kind of lumber, are, through coop-
eration with the universities and the United
States Forest Products Laboratory, studying
their products, and endeavouring, by means of
educational campaigns, to offer the consumer,
for his guidance in selection, accurate informa-
tion on the qualities and adaptabilities of each
species of wood.

Retail lumber dealers of the future will not
only know more about the adaptabilities and
local economies of the different woods, but they
will be both able and willing, through a more
intimate knowledge of mill stocks and those
special items which result from mill operation,
to assist the architect, the contractor and the
owner more intelligently in the most economi-
cal selection, not only of the species and grades
of wood, but of the most adaptable sizes and
lengths.

A new day has dawned, it is hoped, upon the
buying and selling of lumber. It is of tremen-
dous importance to every user of wood.

The thirteenth Monograph will he devoted to the publication of the Pri^e and Mention designs in the
Second Annual White Pine Architectural Competition, with the report of the Jury of Award

Subjects of Previous Numbers of
THE WHITE PINE SERIES OF ARCHITECTURAL MONOGRAPHS

Vol. I,
Vol. I,
Vol. I,
Vol. II,
Vol. II,
Vol.

Vol. II,
Vol. II,
Vol. II,
Vol. Ill,
Vol. Ill,

No. i
No. 2.
No. 3.
No. i.
No. 2.
No. 3.
No. 4.
No. 5.
No. 6.
No. i.
No. 2.

Colonial Cottages ---------

New England Colonial Houses -------

Farm Houses of New Netherlands

Houses of the Middle and Southern Colonies ... -
Domestic Architecture in Massachusetts -----

Early Houses of the Connecticut River Valley - - - -

A Suburban House and Garage -------

Old Woodbury and Adjacent Domestic Architecture in Connecticut
Colonial Architecture of the Eastern Shore of Maryland
Three-Story Houses of New England
Early Wooden Architecture of Andover, Massachusetts

Joseph Everett Chandler
Frank Chouteau Brown
Aymar Embury 1 1
Frank E. Wallis
lulian Buckly
Richard B. Derby
Report of Jury of Award
Wesley S. Bessell
Charles A. Ziegler
Frank Chouteau Brown
Addison B. Le Boutillier

Mrnrrfffffffifffffffffif

•*•#•*•

An Architectural

MONOGRAPH

on a

WHITE PINE
HOVSE

Competitive Drawings

With report of the Jury of Architects

Aymar Embury E : Wilson Eyre:

Ch&rles BartonKe en : John Rus sell Pope

Alexander Trowbridge

"Prepared for Tublic&tion by

"Ruffe// F Whitehead formerly Editor
VT

or The y-lrchitectura/'R.ecord
and The Brickb tt ilder

IIS

T&WHITE, PINL

ARCHITECTURAL MONOGRAPHS

ABI-MONTLY PUBLIGKTION5UGGE5TING TE
ARCHITECTURAL USES CF WHITE PINE AND US
/MMLABLITY TODAf AS A5TRLJCTURAL W3DD

Vol. Ill

AUGUST, 1917

No. 4

REPORT OF THE JURY OF AWARD

THE SECOND ANNUAL WHITE PINE ARCHITECTURAL COMPETITION
FOR A HOUSE TO COST TWELVE THOUSAND FIVE HUNDRED DOLLARS

Judged at the Greenbrier, While Sulphur Springs, West Virginia, May 17 and 18, 1917

THE PROBLEM : The design of a residence, to be built of wood (all the outside finish, consisting of siding and cor-
ner boards; window sash, frames and casings; outside doors, door frames and casings; outside blinds; all exposed porch
and balcony lumber; cornice boards, brackets, ornaments and mouldings, etc., not including shingles, to be of White Pine),
for all-year-round occupancy by an American family with an annual income of $5000. The competitor shall assume that
the family is of average size and is one of taste and refinement, and shall provide appropriate accommodations, including
out-of-doors sleeping quarters.

The architectural style is optional, and the plan arrangement left to the ingenuity of the designer.

The house is to be located on a rectangular lot at the northeast corner of two streets. The lot measures 125' o" on the
Main street, which runs east and west, and 200' o" on the Secondary street, which leads to the railroad station. It is as-
sumed that there is a restriction which provides that the house shall not be erected nearer than thirty feet from the Main
and twenty feet from the Secondary highway property line, and that no building may be placed within ten feet of the east
or five feet from the north lot line. The outlook is equally desirable in all directions, and the neighboring houses of the
usual heterogeneous character of design obtaining in towns, small cities or suburbs of large cities.

The total cubage of the house and porches must not exceed 55,000 cubic feet.

The house must be one that can be built for $12,500, and the design must therefore be of such character that there
may be no doubt about its cost.

A' the meeting of the Jury, before examin-
ing any of the drawings, the Jurors gave
careful consideration to the fact that the
program did not definitely state the number and
sizes of the rooms required; and determined
unanimously the permissible latitude in number
and sizes of rooms to accommodate the family
as described. The Jurors agreed that, on the
first floor, two rooms of fairly large size besides
the dining room, were necessary to constitute a
complete and livable house; that variations in
habits of living would make permissible con-
siderable differences in the character of these
rooms; they also agreed that an adequate ser-
vice portion was a necessity. On the second
floor a minimum of three bedrooms and two
baths, one of the bedrooms to be large enough
for the comfortable permanent accommodation
of two persons, was thought requisite, together
with a sleeping porch for at least two persons,
besides either one or two maids' rooms and bath,
depending upon the size and character of the
house. They decided also that a cellar under

the main part of the house was essential to good
construction.

This interpretation of the program was faith-
fully observed in the consideration of the
drawings.

Unfortunately, a number of the competitors
did not seem to consider that the requirements
of the program as to the use of color and diluted
ink meant anything, and eleven drawings were
removed from consideration for one or the other
of these reasons. Sorne of the competitors man-
aged to figure the cubage of their buildings
within the requirements, by excavating the cel-
lar for a small part only ; but where the result of
such tabulation of contents produced a house
which manifestly could not have been built for
$12,500 in any portion of the country or at any
recent time, these plans were omitted from con-
sideration. Also, where competitors, by decep-
tive figuring of the cubic contents, made their
drawings appear to conform to the terms of
the program, where in reality they did not, the
designs were not considered. The total number

THE WHITE PINE MONOGRAPH SERIES

of drawings eliminated for these reasons was
seventeen and the Jury regrets exceedingly the
implication of these competitors that it would
not faithfully discharge its obligation in this
important respect.

In making the judgment, the Jury, in accord-
ance with the terms of the program, considered
first the architectural merit of the various
designs, and found to their regret that by so
doing most of the houses which were located on
the plot in the position which the Jury deemed
to be the best were not of sufficient architec-
tural excellence to be considered. The Jury was
unanimous in believing that the house should
be located toward the rear of the plot, with the
service wing and a possible garage at the interior
corner; the main rooms and the gardening or
other development of the grounds toward the
Main Street to the South, with the entrance
road to the house and garage at the North. This
would have given convenient access for automo-
bile traffic to the station, and would also have
given proper light, air and outlook to the prin-
cipal rooms. The plans finally selected by the
Jury for the first and second places were those
which were placed toward the front of the lot,
with the gardens at the rear, but were so ar-
ranged that certain of the rooms had both good
light and air to the South and in part a good
outlook to the North over the garden.

The Jury, after two sessions, were finally able
to reduce the number of plans under consider-
ation to twelve, and from these selected four
which seemed, in respect to all the qualities
mentioned under the heading "Judgment" in
the program, to be of all-round superiority.
The Jury found themselves unable to discrim-
inate between the eight remaining designs and
therefore decided to award all eight Mentions,
instead of six, as specified in the program.

FIRST PRIZE, Design No. 204: In regard
to the first requirement of the judgment (the
architectural merit of the design) the Jury con-
sidered that this competitor shows the combi-
nation of imagination and good taste essential
to successful country house design in a greater
degree than any other competitor. The placing
of the house on the property is excellent, though
not ideal; the treatment of the grounds, both
as shown in perspective and as on the plot plan,
is admirable. The details both of interior and
exterior show intelligence and knowledge, and
are of a type suitable to the limitation of cost.
The plan of the first floor as regards the prin-
cipal rooms and the placing of the porches is
excellent. The space allotted the service portion
is much too small and the arrangement is not
good, but weighing these matters against similar
features in other plans, this point was not

thought sufficient to vitiate the other good qual-
ities of the plan. The second floor is one of the
best submitted. The rooms are of good size, thor-
oughly ventilated and the arrangement en suite
of pairs of rooms on each end, with connections
to bath rooms and to the sleeping porches, is
most satisfactory. The waste of space in cir-
culation is small and the treatment of the
second floor corridor is such as to shorten its
apparent length, as far as possible.

While the Jury thought there were a number
of perspectives of at least equal merit from the
point of view of rendering, they felt that this
factor should not weigh in making a judgment
and because this competitor shows a perception
of charm and imagination to an unusual degree,
the Jury was unanimous in awarding this design
first place on all counts.

SECOND PRIZE, Design No. 224: This de-
sign was awarded the second prize for substan-
tially the same reasons that the first prize was
awarded to Design No. 204.

The placing of the house on the property is
good and the architecture of the building is
excellent. The Jury admired the treatment of
the one-story wings extremely, although they
regretted a certain heaviness in the dining porch
detail, and felt also that the sleeping porch is
too narrow. The position of the first-story
toilet is undeniably bad, because of its conspic-
uousness and because it opens on the dining
porch. The plan of the entrance hall is unusual
and susceptible of extremely interesting treat-
ment, possibly with arches over the entrance
to the stairs and the entrance to the dining
porch. The connection from the pantry to the
front door and also to the dining porch is
extremely good, the kitchen arrangement is
good and the closets on this floor are sufficient.
On the second floor the Committee felt that the
proportion of space devoted to each of the
principal rooms is correct, and that the arrange-
ment of the bath rooms is satisfactory. The rear
and side elevations are good, as are the details
of the main entrance and the wing.

Of all the designs submitted there is perhaps
none which so fully complies with the spirit of
the competition as regards material and cost.

THIRD PRIZE, Design No. 49: The
principal consideration which influenced the
Committee in making the award of third
place to No. 49 is the originality shown in
the informal handling both of the plot and of
the building itself. The house is extremely
well placed on the property; the garden
scheme is imaginative and interesting and the
grouping of the garage with the house is a
pleasant feature. By further development of

A HOUSE TO COST TWELVE THOUSAND FIVE HUNDRED DOLLARS

the scheme the garage could be entered under
cover afforded by an arcade. The position of
the house conforms fairly well to the Commit-
tee's opinion as to the ideal location. The ex-
terior shows an admirable adaptation of English
precedent to our materials. The Jury thought
that the two weak spots in the exterior were
the introduction of a rather unnecessary gable
over the amusing double arched entrance to
the garden, and the treatment of the sleeping
porch, which would cut the East gable badly;
but the simple, domestic, almost playful charac-
ter of the design was sincerely admired. The
plan is of a quite different type from most of
those presented, and the proportionate spaces
allotted to the dining room, the living room
and study are good, as are the locations of
these rooms with consideration to air, outlook
and surroundings. The kitchen is small, but
the other service portions are of sufficient size
to care properly for the domestic activities.
The second floor arrangement shows rooms of
irregular shapes, but with a proper proportion
of space to the probable requirements of the
family for whom the house is designed.

FOURTH PRIZE, Design No. 86: The design
placed fourth, in rendering is disappointing,
but a careful study of the elevations and of the
details convinced the Jury that the house would
build better than is indicated by the perspective.
The sleeping porch, always a difficult problem,
is well managed. The arrangement of the
servants' quarters on both the first and second
floors is admirable, although the disposition of
space on the first floor is not so happy as in
many other cases, and the Jury felt that it was
unnecessary to reduce the size of the den to
permit a service passage from the pantry to
the front entrance. The layout of the property
is satisfactory and in general the scheme shows
a careful consideration of all points and a just
balance of the several factors.

MENTION DESIGNS

The Jury felt that the Mention designs were
so nearly equal in merit that it would be un-
desirable to attempt to place them in order,
and felt likewise that all show qualities of one
kind or another of great interest, and that a
failure to appreciate the relative importance of
all factors was the sole reason for any one of
them not having been ranked higher.

Design No. 115: The competitor submitting
this drawing shows a knowledge of his architec-
ture and a power in classic Colonial which is un-
equaled by any other contestant, and the Jury
greatly regretted the fact that neither the first
nor the second floor plan, is up to the standard

exhibited in so many of the other designs. This
competitor has placed his house in the front of
the lot with a garden at the rear, affordingan out-
lookoverthegardenfromonlyoneof theprincipal
rooms (the library, which is the smallest of the
three), and on the second floor from the dressing
rooms and bath rooms only. The plot plan in it-
self is one of the best submitted, and had it been
completely revised so that the principal rooms
could have faced both to the South and the
garden, the design would unquestionably have
been considered for one of the prizes. The
division of the space in the second story into
four small bedrooms of equal size is manifestly
incorrect, and the balancing of a living room
and dining room of equal size in the first story
does not seem to the Jury proper or appropriate.
The Jury has gone thus far into the reasons for
its refusal to give this drawing higher standing,
because of its very great liking for the architec-
ture of the building as a whole, and because of
its regret that this should have been nullified
by the facts as above stated.

Design No. 195: The architecture of this de-
sign especially impressed the Jury. They found
practically nothing to criticise in the exterior
excepting that the design shows a quality of
stone rather than of wood. The plot plan is
fair, but the forcing of the plan to meet the
requirements of exterior is objectionable. The
separation of the breakfast porch by the thin-
nest possible screen from a service porch open-
ing on so formal a garden is not admired, nor is
the division of space in the first story into a
living room and a dining room of equal sizes
considered good. The service part is well
managed in the first story, but the Committee
felt that the house demands a possible second
servant's room, and did not feel that the main
bedrooms are as good as is necessary for a house
of this size.

The presentation of these drawings was most
masterly, especially in the rendering of the
elevations and perspective.

Design No. 44: In this house again the Jury
found the elevation to be superior to other
points. The quaintness and charm of the ex-
terior were very cordially admired, although
the North elevation shows a multiplicity of
motives which is disturbing, and the head room
in the bedroom No. 4, bath room and maid's
room is entirely insufficient. The disposition
of the house on the lot is only fairly satisfac-
tory. The property has been deliberately cut
in two, and while the treatment of the exterior
is such as to permit of an amusing handling of
the garden close to the building, the property
as a whole has not been used to the fullest ad-

THE WHITE PINE MONOGRAPH SERIES

vantage. The details throughout are admirable
and would indicate that the house could be
developed fully as well in reality as it appears
in the perspective.

Design No. 226: The architecture of this
house is of a character quite different from that
of most of the drawings submitted and the effort
made by the author to get away from the formal
and stereotyped motives was appreciated and
commended. The details of the building as
well as its elevations were admired, with the
exception of the treatment of the sleeping porch
and the open porch below, which are, in the
opinion of the Committee, quite too light and
frail to be properly coordinated with the archi-
tecture of the balance of the building. The
North elevation with the inadequate door and
dissymmetrical treatment does not show the
proper balance necessary to good design. The
plot plan is good, but the location of the entrance
door and path is not satisfactory, especially
since the service yard is in full sight of a person
entering the property.

Design No. 241: This design has an exterior
architecture as pleasing as any in the competi-
tion, but the disposition of the house on the
lot, while unusual, was considered by the Jury as
not properly utilizing so limited a space, since
the garden would necessarily be crowded and
difficulties would arise in adjusting natural
grades to the conditions indicated. The author
has endeavored to include too many units in the
plan, with consequent loss of space and loss of
value in each. This applies equally to both
floors. The single servant's room without a
bath room is manifestly inadequate for a house
of this type, nor is it possible to reach the attic
in the manner indicated.

The things which especially pleased the Com-
mittee in this plan are the delightful archi-
tecture and the capable manner in which the
most was made of details of a simple and
admirable type.

Design No. igg: The architecture, both as in-
dicated by the perspective of the garden side
and by the elevations as shown on the detail
sheet, is unusual, interesting and admirable.
The treatment of the property is good, assum-
ing that no vehicular entrance is necessary,
which seemed to the Jury a fair assumption. The
details, both as to exterior and interior, are ex-
cellent, and, except for what the Jury considered
a very important feature, the outdoor sleeping
accommodations, the plan is in many respects
the best submitted. The Jury does not consider
an upper deck proper outdoor sleeping accom-
modations, but otherwise the competitor has

fully recognized in plan the requirements for
what was stated to be in the program "The av-
erage American family of taste and refinement."
The service portion is especially good, and
one of the two maid's rooms is sufficiently
large to accommodate two persons, a desirable
feature not commonly found in the plans. The
second floor has an excellent principal bedroom,
two fair-sized bedrooms for children, and a
good guest bedroom. The enlargement of the
hall in front of the staircase in the second story
relieves the house from any cramped appearance,
and the locations of the bath rooms are good.
The Jury liked the exterior, but especially com-
mended the plan.

Design No. 194: The perspective shows a
house of agreeable proportions and admirable
shape, and had the competitor treated the rear
of his building with the same restraint shown in
the front he would have achieved a far more suc-
cessful result. The porch at the rear of the living
room and the garden porch should not, in the
opinion of the Jury, have been added at all;
they are obviously included to secure more space
in the second story, which should have been
done by better planning. The treatment of the
sleeping porches is the best, both as to archi-
tecture and plan, which appears in the compe-
tition, and the Jury felt that the treatment of
the sleeping porches indicated on these drawings
is the correct solution of what has hitherto been
a very difficult problem. Such porches are
coming to be practically rooms with a large
proportion of openings and a waterproof floor,
and this competitor was one of the few who
appreciated the fact.

The arrangement of the plot plan with the
garage at the rear of the garden, and the sug-
gestion of garden treatment, is admirable,
while the use of the garage as a terminal feature
is excellent. The plan of the drive is bad — it
unnecessarily cuts up the property on all sides,
and would make dust and noise in the dining
room, breakfast room and living room.

Design No. 193: The plot plan of this house
shows a very interesting utilization of the grade
conditions, which permit the competitor to de-
press his entrance drive so that the house may
be entered from vehicles under cover in the rear
without interfering with the vista across the
lawn. Possibly a reception room in the base-
ment might have improved this feature. The
main floor plan is good, the service portion
well developed, and the principal rooms of
agreeable character. In spite of the irregular
form of the first floor plan it is not the opinion
of the Jury that the effect would be disagreeable.
The exterior is in general good, with the excep-

tion of the treatment of the large window on the
staircase with a key block of disproportionate
scale. The side and front elevations are good,
especially with reference to the sleeping porches,
and the detail of the exterior is well managed.
The detail of the dining room is not considered
to be in harmony with the character of the
building and is exceedingly disappointing- to
the Committee.

The Jury extends to the contestants in the
White Pine Architectural Competition its sin-
cere congratulations upon the high architectural
standard attained by the majority of the de-
signs. Many of the schemes not awarded either
Prize or Mention are sufficiently interesting

to warrant study. It is, therefore, gratifying
to learn that a selection of these is to be pub-
lished in The Architectural Review in a late
fall number.

As a whole the Competition brought forth a
collection of drawings which will make an
interesting contribution to the general subr
ject of planning and designing small wood
houses.

AYMAR EMBURY II "1

WILSON EYRE Jury :

CHARLES BARTON KEEN > of

JOHN RUSSELL POPE Award

ALEXANDER B. TROWBRIDGE J

"PRESIDENT'S HOUSE" AT WHITE SULPHUR SPRINGS, WEST VIRGINIA.

This house was used by President Madison during his visits to White Sulphur Springs. Practically all the
old Southern watering-places were built in this manner, the occasional two-story building connected by long
one-story ranges, with a piazza so constructed that one could be always under cover. It was, perhaps, from
these groups that Jefferson derived his scheme for the University of Virginia. The ranges were never more
than one room deep, so that through ventilation was insured, and most of the rooms were not connected,
family accommodations being provided by two-story buildings, or by small detached one-story buildings containing
three or four small rooms side by side. The dining-room and recreation rooms were in the central building.
The architectural interest of what is known to most people as purely a pleasure resort led to the selection of
White Sulphur Springs for the Judgment, and not the least pleasing function of the Jury was the examination
of this old work, dating as it does from 1760 to 1820, and including many varieties of early wooden architecture.

THE WHITE PINE MONOGRAPH SERIES

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PERSPECTIVE, -CARD EN SIDE

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FORAWITEPINE HOUSE

SECOND PRIZE, Design No. 224

Submitted by Jerauld Dahler, New York, N. Y.

A HOUSE TO COST TWELVE THOUSAND FIVE HUNDRED DOLLARS n

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DESIGN FORAWHTTE PIKE HOUSE

SECOND PRIZE, Design No. 224, Detail Sheet

Submitted by Jerauld Dahler, New York, N. Y.

THE WHITE PINE MONOGRAPH SERIES

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FOURTH PRIZE, Design No. 86

Submitted by Sotaro Y. Ohta, New York, N. Y.

A HOUSE TO COST TWELVE THOUSAND FIVE HUNDRED DOLLARS 15

3"3CALE CETAIi
Of MAIN CORNICE

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Submitted by Sotaro Y. Ohta, New York, N. Y.

THE WHITE PINE MONOGRAPH SERIES

DESIGN -FOR. A
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MENTION, Design No. 115

Submitted by Richard M. Powers, Boston, Mass.

A HOUSE TO COST TWELVE THOUSAND FIVE HUNDRED DOLLARS 17

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Submitted by Richard M. Powers, Boston, Mass.

THE WHITE PINE MONOGRAPH SERIES

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WHITE- PINE -HOUSE

TO COST $12,5OO.
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MENTION, Design No. 195

Submitted by Louis J. Farmer, New York, N. Y.

A HOUSE TO COST TWELVE THOUSAND FIVE HUNDRED DOLLARS 19

'Destjn JPor*
WHITE- PINE -HOUSE

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Submitted by Louis J. Farmer, New York, N. Y.

THE WHITE PINE MONOGRAPH SERIES

A HOUSE TO COST TWELVE THOUSAND FIVE HUNDRED DOLLARS

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MENTION, Design No. 241

Submitted by Daniel Neilniger, New York, N. Y.

A HOUSE TO COST TWELVE THOUSAND FIVE HUNDRED DOLLARS 25

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Submitted by Daniel Neilniger, New York, N. Y.

THE WHITE PINE MONOGRAPH SERIES

44550
EA5TWINC 7102
GARDEN PORCH 1075
WL5T PORCH 726
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• DE/IGN FOIL A WHITE PINE HOY/E TO CQ/T
TWELVE THOY/AND FIVE. HVNDHED DOLLAR-

MENTION, Design No. 199
Submitted by Satterlee & Boyd, New York, N. Y

A HOUSE TO COST TWELVE THOUSAND FIVE HUNDRED DOLLARS 27

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TWELVE T HO WAND FIVE HVNDf^ED

MENTION, Design No. 199, Detail Sheet

Submitted by Satterlee & Boyd, New York, N. Y.

THE WHITE PINE MONOGRAPH SERIES

A WHITE PINE HOVSE

MENTION, Design No. 194

Submitted by Benj. Schreyer, New York, N. Y.

A HOUSE TO COST TWELVE THOUSAND FIVE HUNDRED DOLLARS 29

A WHITE PINE HOVSE

MENTION, Design No. 194, Detail Sheet

Submitted by Benj. Schreyer, New York, N. Y

THE WHITE PINE MONOGRAPH SERIES

MENTION, Design No. 193

Submitted by C. M. Foster and W. M. Smith, New York, N. Y.

A HOUSE TO COST TWELVE THOUSAND FIVE HUNDRED DOLLARS 31

DETAIL OF DINING ZOOM "

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Submitted by C. M. Foster and W. M. Smith, New York. N. Y.

THE WHITE PINE SPECIFICATION BOOK

CONTAINING

CLASSIFIED RECOMMENDED USES FOR WHITE PINE IN HOUSE
CONSTRUCTION AND WHITE PINE STANDARD GRADING RULES

SINCE the painstaking architect is under
continual pressure for time in which to
perform his various daily duties, it may
not be amiss to remind him that the use of the
WHITE PINE SPECIFICATION BOOK, recently
sent to his office, is most simple, and the infor-
mation disseminated most valuable. There are
only three rapid references to be made to insure
concise and comprehensive use of the book.
First — the General Explanatory Preface should
be read, then Instructions for the Use of this
Book, which in turn refer to Classified Recom-
mended Uses for White Pine in House Construc-
tion. In these three briefly covered subjects is
embodied all that is necessary to make this
manual a practical reference book on White Pine
—all other subject matter being supplemental
thereto; and through the foregoing simple pro-
cedure the busy architect can obtain the facts
necessary to specify definitely the grade of
White Pine lumber suitable for any given use.
If, however, there be a desire to study care-
fully the White Pine Grading Rules, the book
contains complete information on the entire
subject.

In the compilation of the WHITE PINE
SPECIFICATION BOOK, it was realized that any-
thing less than full and complete information
covering a subject so involved as lumber
grades would be inadequate, superficial, and
perhaps even misleading. For this reason this
SPECIFICATION BOOK purposely has been made
a most fully detailed resume of the subject, de-
signed to supply the architect with complete and
dependable data which can be absolutely relied
upon, not forgetting a most carefully prepared
cross-index to insure quickest possible reference.

With the care exercised in its preparation, it
is our hope and belief that the book will be
really prized in the drafting room for its effi-
ciency and in the specifications department for
the accuracy of its information.

As the book has been "Compiled for Archi-
tects' Use in Specifying White Pine Lumber,"
if there be any architect's office which has not
received it, may we be notified, that our over-
sight may be corrected?

WHITE PINE BUREAU,

MERCHANTS BANK BUILDING,

SAINT PAUL, MINNESOTA

The subject of the fourteenth Monograph will be "The Bristol Renaissance," showing examples of
domestic architecture in Rhode Island. Descriptive text by Joy Wheeler Dow, Architect

Subjects of Previous Numbers of
THE WHITE PINE SERIES OF ARCHITECTURAL MONOGRAPHS

Vol.

No.

Vol.

No.

Vol.

No.

Vol.

II,

No.

Vol.

II.

No.

Vol

1 1, No.

Vol.

II,

No.

Vol.

II,

No.

Vol.

II,

No.

Vol.

III,

No.

Vol.

III,

No.

Vol.

111,

No.

Colonial Cottages -

New England Colonial Houses -------

Farm Houses of New Netherlands ------

Houses of the Middle and Southern Colonies - - - -

Domestic Architecture in Massachusetts -----

Early Houses of the Connecticut River Valley - - - -

A Suburban House and Garage

Old Woodbury and Adjacent Domestic Architecture in Connecticut

Colonial Architecture of the Eastern Shore of Maryland -

Three-Story Houses of New England

Early Wooden Architecture of Andover, Massachusetts

Old Houses of Newburyport, Massachusetts - - - -

Joseph Everett Chandler
Frank Chouteau Brown
Aymar Embury II
Frank E. Wallis
Julian Buckly
Richard B. Derby
Report of Jury of Award
Wesley S. Bessell
Charles A. Ziegler
Frank Chouteau Brown
Addison B. Le Boutillier
Richard Arnold Fisher

rrffffffffffffffffffffrf

An Archite ct ural

MONO GRAPH 0/2

"Renaissance

^Prepared for 'Publication by

HuJfeUP Whitehead formerly Editor

of The Architectural Re cord

and The Brickb u iJder

1®

THE DE WOLF-MYDDLETON HOUSE, BRISTOL, RHODE ISLAND. Detail of East Front.
RUSSELL WARREN, ARCHITECT.

Built in 1808 by Hon. William De Wolf. Situated on the Papasquae
Road to Bristol Neck. Now the home of the Misses Mvddleton.

ARCHITECTURAL

MONO GRAPHS

A BI-MONTLY PUBLICATION SUGGESTING TE
ARCHTECTURAL USES CF WHITE PINE AN) ITS
A/ALABLITY TOW AS A STRUCTURAL W3DD

Vol. Ill

OCTOBER, 1917

No. 5

THE BRISTOL RENAISSANCE

By JOY WHEELER DOW

Mr. Dow is a natir'e of Greenwich Village, and a descendant of Thomas Dow — "Ye Wheelwright of Ipswich." As an architect,
naturally, he was attracted by the Genre Architecture of America, to which he has devoted much study. He believes that a story
should be woven, by the imagination, into every architectural creation. He believes that we have as excellent and distinctive a
Renaissance development as has England, France, Spain or Italy, albeit a development largely of wood. Besides many magazine
articles and the story "Miss Polly bairfax," Mr. Dow is the author of "American Renaissance,'

EDITOR'S NOTE.

also the Revised Golden Rule. —

PHOTOGRAPHS BY JULIAN A. BUCKLY AND THE AUTHOR

THE title for this number of the White
Pine Series of Architectural Mono-
graphs respectfully refers to a short but
brilliant art movement in Bristol, Rhode Is-
land, during the interregnum following the
grand epoch of Washington and his contempo-
raries, but before the banal, transitional times
inaugurated with General Jackson to the Presi-
dency in 1829. It is usual to call all architecture
erected in this country during this interregnum,
"Early Nineteenth Century Work"; but it has
seemed to me that an architectural development
at once so characteristic, so suffused with local
color as to make it dissimilar to any other con-
temporaneous work, yet so excellent all the
time, as was exploited by Russell Warren, archi-
tect, his apprentices and co-workers in Bristol, is
quite worthy of a classification by itself. It was,
indeed, a new school of Renaissance that fla-
grantly strayed from the rules of Vignola and
the Italian authorities, yet preserved the dra-
matic note — the story-telling note — without
which no architecture can succeed, and with
which all is forgiven, like —

"St. Augustine in his fine confessions
Which make the reader envy his transgressions."

The Bristol Renaissance was brought about
by a great influx of wealth to Bristol, the profits
of two highly remunerative commercial enter-
prises (or Mwcommercial, if you prefer) known
respectively as privateering and slave-trading.
It made L'Afcadio Hearn sad, when he visited
Martinique, to note the abysses of decay and
death out of which sprang the orchids and other
exquisite flora of the island. And that was only
vegetable dissolution of no very great conse-

quence. How would it have affected him had
he meditated upon those fetid cargoes of be-
trayed blacks stowed in ships which once plied
their trade between Africa and this country.
How does it affect us now, used as we are to the
harrowing details of present-day war, to be told
that out of this unholy traffic in flesh and blood
grew many of the charming Bristol houses?

But let us not look upon an unavoidable cir-
cumstance too gloomily, nor yet uncharitably.
Have you ever tried to grow vegetables in your
garden? Does not your experience controvert
the exaggerated idea of the Socialist about the
fertility of the earth? Have you not come to
believe that the man with the axe, standing be-
fore his rude cabin, vignetted on the five-dollar
bills, has arrived at about as high a state of
civilization and comfort as he can, unless, in-
deed, he goes in for a little genteel privateering
and slave-trading — in gentler words, a little
robbing of Peter to pay Paul? And how may
we, who go into ecstasy over the irresistible mag-
netism of these Bristol houses, — who covet the
carved details of their doorways, their parapet
rails with eagles and other ornament, their en-
trancing garden walls and gates, their interior
graces, the elliptic stairways, the refined cornices
and wainscots, — ever hope to possess anything
in the way of a home half as satisfying, unless
we have resources besides an axe and two willing
hands, unless the necessities of other people make
this dream of life possible for us? If it has to
be — why, then, all right; only we much prefer
that circumstances beyond our control divert
the efforts and earnings of others to our gain,
rather than our own planning and cupidity.

Never mind; the Samuel Mclntyre of Bristol

THE WHITE PINE MONOGRAPH SERIES

DOORWAY ON HOPE STREET, BRISTOL, RHODE ISLAND.
Typical of the Bristol Renaissance.

— Russell Warren — did his part, and, I imagine,
got very little of the plunder. John McComb
received scarcely a draughtsman's salary for de-
signing New York's beautiful City Hall which
everybody raves over. A painting by Troyon of
two very ordinary milch cows recently fetched
some fifty thousand dollars at an art sale. Well,
the City Hall is like a cubical Troyon. It has
three dimensions, and should have been worth to
the city inestimably more than if it were a mere
veneer of pigment upon canvas for the Metro-
politan Museum. McComb's honorarium for
this piece of work alone should have been — a
competency. Why is it that so many great archi-
tects have fared so meanly? Why have their
very names been obliterated from their work,
while the work itself becomes more and more
celebrated?

I do not know that Russell Warren was quite
so much of a dilettante as was his contemporary,
Samuel Mclntyre, in Salem; that he was a mu-
sician as well as an architect: but he had the same
impeccable taste, the same intuitive refinement,
the same psychology which made it a cardinal
principle of his atelier to express with clean and

aromatic White Pine as much family devotion,
sacrifice and bienseance — which alone make life
worth living — as possible. He could not help it
if some of his nouses afterward became the
scenes of tragedies (as Alice Morse Earle once
wrote me they did), or that the owl fiacres of
Paris and Vienna are no busier upon question-
able errands than have been those of Bristol.
Wealth brutalizes the same as does poverty;
only, I should say, more swiftly and surely.

M. Gabriel, the architectural talent of Louis
XV, who produced the Pompadour theatre at
Versailles, — constructed of White Pine and other
woods for acoustic effects, — may have been a
very devout and exemplary person, although in
the pay of a dissolute king. Russell Warren
gave to Bristol chaste and honest architecture,
thereby imparting to the town the indefinable
charm of its home atmosphere, as well as most
of its historic value — two material assets which
have become evanescent in many of the older
cities and villages of New England in the path
of a ruthless commercialism. Let us be thank-
ful that Bristol remains intact — a show town of
the old regime.

Unlike other show towns, however, the life of

DOORWAY, CORNER OF UNION AND HIGH STREETS,
BRISTOL. RHODE ISLAND

THE BRISTOL RENAISSANCE

Bristol does not focus about its common, but
ranges up and down Hope Street, an incompara-
ble highway affording unexpected glimpses of
the water of Narragansett Bay at every cross
street, and ending in a marine prospect scarcely
inferior to that of a drive out of Naples. If
you go down to the wharves close at hand, you
will spy across the water two very imposing
estates — the De Wolf-Myddleton and De Wolf-
Mudge, respectively. They are on the Papas-
quae road to Bristol Neck, another drive of no
less enchantment. It is pretty, also, over at
Mount Hope — only, don't stop there: for that
would mean social extinction. As the vergers of
the cathedrals of Europe are fond of pointing
out to you the little inaccuracies of the mediaeval
builders, without prejudice to the wonderful
structures themselves, only lending additional
interest thereto, I will tell you that the two great
columns of the water front of the De Wolf-
Myddleton house have square capitals fitted
upon round shafts, but which are up so high
from the platform of the portico, that undoubt-
edly, it was hoped, nobody would notice them.
They tell you that "Captain Jim De Wolf" — the
most unscrupulous and successful of his contem-
poraries— planned to build a young Trianon on

DORCH 6;
RHODE

6 HOPE STREET.
ISLAND.

DOORWAY, CAPTAIN SPRAGUE HOUSE ON HOPE STREET,
BRISTOL, RHODE ISLAND.

the west side of Bristol Common; and I have
seen lengths of building stone half buried in the
grass there, that tradition says were to face the
foundations of the main pavilion. His semi-
rural manse just off Church Street, erected in
1803, was, however, where he lived at the time
he fitted out the privateer Yankee, that terror to
the commerce of Great Britain, but a gold-mine
in prize-money to many an American sailor.
From here he used to journey all the way to
Washington to attend Congress, in a family state
coach. When I visited the "Captain Jim" house,
now many years since, some sinister influence
seemed to be silently at work. Perhaps, it is only
fitting for its legend, that a dramatic conflagra-
tion should have occurred in the last act.

One hundred years ago, the amplification of
the cupola motive was carried to excess in Rhode
Island, all prototypes being finally eclipsed by
the Norris house at Bristol. The cupola came
within three feet of covering the entire roof:
and yet the Norris house is particularly nice
with its double parapet rail. The Villa Doria
Pamphili at Rome has an amplified Rhode Is-
land cupola; but will you contend that the pro-
portions of this villa are as successful as those of

THE DE WOLF-MYDDLETON HOUSE, BRISTOL, RHODE ISLAND.
Detail of West Front and Entrance.
RUSSELL WARREN, ARCHITECT.

THE BRISTOL RENAISSANCE

the Norris house, even
if it be considered the
finest of Roman vil-
las, and was erected
by Pope Innocent X
for his nephew, Prince
Pamphili. We should
refuse to be Raspu-
tined in matters of art,
though friends betray
their apprehension in
exclaiming, "My dear,
my dear, you have —
courage!" It does take
courage to compare a
wooden Colonial ex-
emplar with any one
of the Italian palaces
of the Renaissance,
and more courage to
insist that the former
has the better lines
and proportion. Ver-
balizing the name of
the Russian monk, or
instancing the influ-
ence that Svengali
exerted over Trilby, is

Detail of West Front.
THE DE WOLF-MYDDLETON HOUSE, BRISTOL, R. I.

sufficient, however, to
visualize the only ne-
mesis there is to dread.
The splayed lintels
of wood placed over
the windows of so
many of the Bristol
houses, however, in
imitation of construc-
tive masonry, are a
distinctly false note
of design; but Russell
Warren was not re-
sponsible for this, be-
cause it was done all
over Rhode Island be-
fore his time. Even
the stately mansions
in the neighborhood
of Benefit Street in
Providence did not
escape. The window
heads of the De Wolf-
Colt house are legiti-
mate, although I never
approve of such lofty
windows dominating
(Continued on page 10)

THE DE WOLF-MYDDLETON HOUSE, BRISTOL, RHODE ISLAND. Water Front.
Russell Warren gave to Bristol chaste and honest architecture, thereby
imparting to the town its indefinable charm of home atmosphere.

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THE WHITE PINE MONOGRAPH SERIES

an admirably proportioned doorway with Co-
lonial transom and side-lights, as is shown by
illustration below. I was told by Colonel Colt
that the late James Renwick, architect, always

De Wolf-Colt house is far more successful on the
exterior than it is in the interior. Surmounting
the cornice is the characteristic Bristol parapet
rail, broken by raised sections at regular inter-

THE DE WITT-COLT HOUSE, BRISTOL, RHODE ISLAND.
Built in 1810. It has a remarkable attic portico.

commended this elevation, and thought that the
shallowness of the portico — shallow for its great
height — enhanced a certain successful effect that
otherwise could not have been attained. The

vals, — to dignify the panels, I suppose, — and
unlike any other rails of the Colonial school.

The most beautiful parapet rail of the Bristol
Renaissance is the one which crowns the cornice

THE BRISTOL RENAISSANCE

SIDE ELEVATION AND GARDEN.

THE MORICE-BABBIT HOUSE, BRISTOL, RHODE ISLAND.
The house is flush with the sidewalk, its garden rail a continuation of
the front wall. Built by Mr. Morice in the early nineteenth century.

THE WHITE PINE MONOGRAPH SERIES

THE NORRIS HOUSE, BRISTOL, RHODE ISLAND.
Date about 1810. Celebrated for its exaggerated amplification of the Rhode
Island cupola motif until it covers, practically, the entire roof of the building.

THE CABOT-CHURCHILL HOUSE, BRISTOL, RHODE ISLAND.
"House with the Eagles."

THE BRISTOL RENAISSANCE

of the Cabot-Churchill house (House with the
Eagles). The four eagles, one poised over each
corner, were carved out of wood, according to
tradition, by sailors of the intrepid Yankee, of
which Captain Churchill was sometime master.
A century's vicissitudes have not fazed them.
The Morice house, standing just over the way,
could have no rail, because of the introduction
of a flattened gable and lunette window into its

have no idea what use could have been found
for quite so many dependencies. These are the
things, however, which bespeak each one help-
ing to drag the "coach" up-hill, instead of add-
ing his own weight to the toil and fatigue of the
straining team. They bespeak rising betimes
and helping with the fires, the wood-chopping —
helping with the breakfast. Yes, the kitchen is
the engine-room of the ship of life, and demands

Detail, House on Hope Street.
CARVED WOOD CAPITALS.

Detail, Parker-Borden House.
HOUSES IN BRISTOL, RHODE ISLAND.

hip roof; and the front door opens not into an
imposing hall, which one might naturally expect,
but into a tiny entry from which a corkscrew
staircase "goes up like lightning," as a carpenter
would say, after the manner of the old witch-
houses in Massachusetts — the Capen house at
Topsfield and the Saltonstall house at Ipswich.
But there is no house in Bristol which sounds
the dramatic home note with a truer ring than
does the Morice house, the domestic offices of
which extend to the rear, seemingly, in endless
sequence — laundry, dairy, coal-bins, woodshed,
tool-house, smoke-house maybe — I am sure I

our keenest solicitude, so very little carelessness
here may upset the plans of a lifetime. Unless
an architect has this breakfast feeling, I doubt
if he will ever succeed with the plan of a dwell-
ing-house.

I am not afraid to say it, at a time, too, of the
strictest censorship, that a selfish, fallacious,
don't-miss-anything-in-life philosophy is indi-
rectly responsible for seventy-five per cent, of
the ill-advised architecture that is erected, which
is a pity the more when the draughtsmanship
that is taught in our schools is so painstaking
and good.

THE PARKER-BORDEN HOUSE, BRISTOL, RHODE ISLAND.

THE CIVILIZATION OF COLONIAL NEW ENGLAND
REFLECTED IN WHITE PINE

By LAMONT ROWLANDS

^ice-President, The C. A. Goodyear Lumber Company, Chicago, Illinois

THE cultural longings of a people express
themselves in the fine arts; their achieve-
ments in literature, painting, sculpture
and architecture record what manner of men
they are, and reflect the true state of their civili-
zation.

Art has been defined as "man's expression of
his need for the beautiful." So fundamental is
this need that there are traces of it from the very
beginnings of man's struggle upward: true evi-
dence that he is fashioned in the image of God,
for nothing is more ennobling and more uplift-
ing than the striving for the beautiful. And, in
turn, nothing has so great a moral influence on a
people as the truly beautiful in literature, art
and architecture.

For this reason the architecture of Colonial
New England — and the dominant part that
White Pine played in it — is of more than pass-
ing interest. New England represented the
highest cultural achievement among the Col-
onies. It was not the richest territory, the cul-
ture of the individuals may have been no higher
than in other sections, but conditions were more
favorable to the cultural development of the
community. It was more homogeneous, being
settled almost entirely by the English, whereas
the middle Colonies embraced a mixture of races
—English, Dutch, Swedes, Germans, French; it
was more thickly settled than the southern
Colonies, which were also almost entirely Eng-
lish.

The architecture of Colonial New England is
not, however, a slavish following of English
precedents. It was tempered by the sojourn of
the Puritans in Holland and by the changed
conditions of their environment in the new
country. It is a curious fact that historians have
only recently begun to trace the influence of
other than English institutions on Colonial in-
stitutions, although other influences than Eng-
lish have always been apparent in the architec-
ture of the period.

The part that White Pine played in the archi-
tecture of New England was not altogether acci-
dental. The men who settled there came from
parts of England where wood construction was
almost universal. They were familiar with
wood — they knew how to use it; and so natu-
rally in their new surroundings they turned to
wood, although stone and clay were to be had in
every settlement.

What joy must have been theirs to find such
a wood as White Pine! — abundant on every
hand, readily yielding to their rough tools,
quickly providing in their first log cabins both
shelter from the weather and protection from
the savages.

There is something about White Pine that in-
spires. It has always had a fascination for men
who handle it. Of no other wood do lumbermen
speak with such admiration — almost reverence.
"Good old White Pine" — there's a lot of real
sentiment bound up in that phrase.

Following the log cabin stage came the be-
ginnings of American architecture, based on
precedents brought from overseas, yet full of
originality, full of expression of the strong Puri-
tan character, and admirably adapted to their
needs. The new country made its impress on
Colonial architecture just as it did on Colonial
literature. Necessity and utility were the domi-
nant influences.

Nevertheless there is a rugged beauty in those
early White Pine houses and churches that truly
expresses the Puritan's love of home and rever-
ence for God. Recall some of the old New
England houses — the sturdiness, the fearlessness,
yes, the faith and hopefulness they express. Se-
vere, to be sure; crude, perhaps — yet pure in line,
well balanced and well proportioned — above all,
simple and dignified, and built by an honest
craftsmanship to endure; despite their short-
comings, so fundamentally correct architectu-
rally that they are to-day an inspiration to ar-
chitects who are once again trying to develop a
typical American architecture.

The second period of Colonial architecture
began with the first quarter of the eighteenth
century, when the economic development of the
Colonies had brought affluence to many families
in New England. Men now had time to think
of the finer things of life, and possessed the
means to acquire them. The new country had
been subdued, it had been made safe, necessity
and utility were no longer the governing con-
siderations. In this period, which continued
until the early part of the nineteenth century,
when American architecture degenerated to the
ignoble depths from which it is only now rising,
were built those stately mansions and those
noble churches which still stand in all parts of
New England.

The Georgian style influenced the builders of

THE WHITE PINE MONOGRAPH SERIES

this period. Once again the architecture of Eng-
hand is drawn on, but, as in the earlier days,
adapted rather than reproduced. Instead of the
severity of the earlier buildings we find a con-
scious effort to adorn the exterior. Ornamental
details add a grace and charm hitherto almost
entirely lacking. The Colonists have become
more worldly, the sternness of the pioneers has
softened — the indomitable spirit of the Fathers
remains, but under happier conditions it ex-
presses itself in a happier vein; and while the
new architectural style is no longer simple, it
still retains the dignity of the old.

The Georgian style in England was for the
most part executed in stone, but the builders in
New England held to the material with which
they were thoroughly familiar. Their White
Pine was especially adaptable to its intricate
details. With infinite patience and love for their
craft they wrought those beautiful doorways,
delicate mouldings, splendid cornices, and grace-
ful columns that still excite our admiration.
Their interiors, too, they embellished with their
admirable panelling, stairways and doorways,
and their exquisite mantels and mouldings.

If we had no other record of Colonial New
England than its architecture we could still trace
its material and social progress. In an unbroken
line, the succession of homes from the crude
farm-house of the earliest period to the more
pretentious mansions of the later period tell the
story of the economic development, the struggle
with the Indians and the daily life of the fore-
fathers. The churches tell us of their divine
aspirations, and represent their spiritual life.
Together the houses and churches truly express
the purity, the simplicity, the sternness, the
strength of character, the unconquerable will,
the love of home and love of God of the Pilgrim
Fathers, "the greatest moral force the world
has known"; step by step they unfold the mas-
tery of the new country, the material progress,
and the development of the social life, culmi-
nating in the era of prosperity, culture and
refinement at the close of the Colonial period.

Fortunate, indeed, that this story was recorded
in so durable a material as White Pine. What
good fortune for us that the forefathers found
such a wood awaiting them on "the stern and
rock-bound coast." And what a lesson to us in
the selection of woods for home-building!

Subjects of Previous Numbers of
THE WHITE PINE SERIES OF ARCHITECTURAL MONOGRAPHS

Vol. I, No. i. Colonial Cottages

Vol. I, No. 2. New England Colonial Houses

Vol. I, No. 3. Farm Houses of New Netherlands - •""."."

Vol. II, No. i. Houses of the Middle and Southern Colonies -

Vol. 1 1, No. 2. Domestic Architecture in Massachusetts

Vol. 1 1, No. 3. Early Houses of the Connecticut River Valley

Vol. 1 1, No. 4. A Suburban House and Garage -

Vol. II, No. 5. Old Woodbury and Adjacent Domestic Architecture in

Connecticut .-_

Vol. 1 1, No. 6. Colonial Architecture of the Eastern Shore of Maryland

Vol. Ill, No. i. Three-Story Houses of New England - - - -

Vol. 1 1 1, No. 2. Early Wooden Architecture of Andover, Massachusetts

Vol. 1 1 1, No. 3. Old Houses of Newburyport, Massachusetts -

Vol. Ill, No. 4. A White Pine House to Cost |i2, 500.00 -

Joseph Everett Chandler
Frank Chouteau Brown
Aymar Embury II
Frank E. Wallis
Julian Buckly
Richard B. Derby
Report of Jury of Award

Wesley S. Bessell
Charles A. Ziegler
Frank Chouteau Brown
Addison B. Le Boutillier
Richard Arnold Fisher
Report of Jury of Award

l ll mMHffffffiiffiif

An Archite ctural

MONO GRAPH

EARLY KY E1MNGJ

ofNanMcKet,

Trepared for 'Publication by

Tluf fell FWhitehead formerly Editor

of The Architectural 'Record

and The Brickb u ilder

MadisonTive.NewYork N.Y.

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MANSION, CORNER OF MAIN AND PLEASANT STREETS,
NANTUCKET, MASSACHUSETTS.

3&WHITE, PINE

ARCHITECTURAL MONOGRAPHS

A BI-MONTLY PUBLICATION SUGGESTING TE
ARCHITECTURAL USES CF WHITE PINE AN) 05
AMABLITY TODAf AS A STRUCTURAL W3DD

Vol. Ill

DECEMBER, 1917

No. 6

THE EARLY DWELLINGS OF NANTUCKET

Bv J. A. SCHWEINFURTH

Mr. Schiveinfurth was born in central New York. He practiced architecture in Cleveland, Ohio, and for
some years lias been located in Boston. Massachusetts. Of him the late William E. Chamberlain, architect,
of Boston, said, "He is a master of the fourth dimension," and the late Frank E. Kidder, architect, of Den-
ver, Colorado, ". . . a master of the light and pathos of our craft." — EDITOR'S NOTE.

PHOTOGRAPHS BY JULIAN A. BUCKLY

ON the diamond-leaded panes of the win-
dows in a certain ancient manor house in
Old England, one reads this inscription:

GOD

BY THIS MEANS

HATH SENT

WHAT I ON THIS

HOUSE HAVE SPENT

and: -r -r

ALL PRAYSE BE UNTO HIS

NAME THAT GAVE ME

MEANS TO BUILD THE SAME

l638

This is accompanied by a couple of screws of
tobacco and several pipes — indicating that to-
bacco did it.

On this quaint old island of Nantucket, all that
is left to indicate the source of the one time
wealth which built the fine old houses and man-
sions, are the numerous weather vanes bearing
a whale, "right" or "sperm," which appear in the
most unexpected places, giving an unmistakable
"local color" to many a very interesting vista.
There is, also, the characteristic "Captain's
Walk" — a simple balustraded platform sup-
ported on posts resting on the sides of the gabled
roofs, built to obtain a view of incoming and
outgoing vessels. For in those days a whaling
cruise often lasted years, and the homecoming
was a matter of the very greatest interest to all.
If one looks through the collection of the Nan-
tucket Historical Society, and studies certain
musty old volumes in Nantucket's most ad-
mirably conducted Public Library, there will

gradually emerge certain historical facts explain-
ing the peculiar character which distinguishes
the Colonial work here, from that existing any-
where else.

Nantucket was from its earliest days an At-
lantic outpost far from the mainland. Its peo-
ple, who were mostly English, from their very
isolation became an independent, self-sufficient
folk, almost a law unto themselves. More than
one commission was sent from the mainland to
set them right with their Colonial Governors
who claimed authority over them. Quakerism
was brought over from England, and from that
time on the history of Nantucket is the story of
the rise and fall of the Quakers. These people,
so named according to Fox, the eminent English
missionary of their sect, because at the mention
of their Maker's name every one should tremble,
were at first a simple folk, making much of
personal liberty and man's natural rights, which,
however, did not keep them from owning slaves
both red and black; nor, while strongly advo-
cating temperance, prevent them from taking in-
toxicating drinks. Adopting forms of speech
designed to be a protest against caste, they did
not protest against such caste. "While they
ruled, it was like unto the days of Noah — all
Quakers were safe within the Ark, and all out-
siders were drowned in a Sea of Sin."

Many joined their church because they paid
no salaries to their preachers, and their meeting-
houses were of the simplest style, free from all
ostentation, as were their laws; the dues, there-
fore, were light, and these characteristics natu-
rally were reflected in their simple, plain archi-
tecture. It is this simplicity of form, this ab-

THE WHITE PINE MONOGRAPH SERIES

sence of small and enriched detail, together with
a simple but well-proportioned mass, with a mas-
tery of the "fourth dimension," — things which
did not cost a great deal of money, but which did
require some expenditure of thought, — that im-
press one to-day as he wanders through the weed-
grown streets, which are bathed in such brilliant
sunlight as one gets only on a sunny day at sea;
for this island is anchored thirty miles out at
sea, with the Gulf Stream only sixty miles away.
Standing on the boisterous beach at 'Sconset
looking over the tumultuous breakers toward the
East, the nearest land is Spain.

tain rule-of-thumb following of Greek precedent,
influenced by hands and hearts which have
builded many ships; a certain tightness, of ship-
shape-ness; newel posts, rails, etc., suggest the
crude but strong and rugged work of the ship's
carpenter. They look as if they had weathered
many a salty storm and stress, and yet inexpen-
sive— there is no ostentatious display. As Qua-
kerism declined, and fortunes began to be made
rapidly in whalebone and oil, the wealthy "Sea
Captains" built more imposing mansions, such
as the two porticoed houses on Main Street at
the corner of Pleasant Street — two veritable

TWO HOUSES IN MAIN STREET, NANTUCKET.

The one nearer, the Kent House, is, all things considered, one of the best of the small houses in Nantucket, with
typical doorway; it has the clean-cut, chaste effect of Greek work, and is totally devoid of all effort. The body of
the house is a beautiful warm gray, the finish white; it is remarkably well kept up by a very appreciative owner.

The accompanying illustrations give clearly
a suggestion of the strong clear light and deep
transparent shadow on sun-flecked clapboards,
cornice and doorway of many of the houses.
There are the simplest expedients adopted to
obtain these shadows — for example, one often
finds over a door or window a seven eighths of
an inch board projecting about four inches, often
with no bed mould, giving just the right pro-
jection for an effective shadow. There is a cer-

classic temples in white pine — one in the Greek,
the other in the Roman feeling.

In Nantucket's palmy days it ranked third in
the list of the wealthiest towns of Massachu-
setts— after Boston and Salem. Her churches,
"built out of full pockets and with willing
hearts," were well filled with solid wealthy men.
The Unitarians were said to be "so wealthy that
they could have built their churches of mahog-
any, and gilded them all over."

THE EARLY DWELLINGS OF NANTUCKET

THE WHITE PINE MONOGRAPH SERIES

THE MARIA MITCHELL HOUSE IN VESTAL STREET, NANTUCKET.

Erected in 1790. Birthplace of the great astronomer — one of the famous women
of America. This shows a good example of the "Captain's Walk" on the roof.

'DUTCH CAP" HOUSE IN MAIN STREET, NANTUCKET. Known as the "Bucknam House."

THE EARLY DWELLINGS OF NANTUCKET

These were the times when Nantucket counted
in the affairs of the great world. Its bold sea-
men, its enterprising and skilful merchants and
whale hunters brought to it fame and fortune.
Earlier in its history it had sent to England
with a cargo of oil, etc., the two vessels, the
"Beaver" and the "Dartmouth." Loaded with
tea, they sailed on the return voyage to Boston,
where was held the historic "Boston Tea Party."
All but a very few chests of tea were thrown

Square a few steps down a quiet weedy little
lane, there nestles a discreet doorway with the
legend "Somerset Club" over its chaste portal.
In the rooms of the Nantucket Historical So-
ciety, among the relics testifying to this Island's
past greatness, one may read the very interesting
Log books of the bold whale hunters. These are
often quaintly illustrated — sometimes with the
number of whales taken on the day of entry,
each drawn out in solid black. A few extracts

HOUSE ON ACADEMY HILL. Known as the "Captain Roland Gardner House."

A brilliant white house with deep green blinds and surrounded
with very dark green foliage, giving a very opulent color effect.

overboard. The remaining ones were taken by
the Captains to Nantucket, and disposed of ad-
vantageously and with some discretion. This is
the tradition as set forth by some of the descend-
ants of these "Sea Cap'ns," sitting about the
huge coal stove set in a circular sawdust arena,
protected by a gas-pipe foot-rest, in the center of
the "Captains' Room" in the ancient Rotch
Building at the lower end of the Town Square.
Just opposite is the very exclusive Union Club,
which boasts of its works of art. And across the

from the Sea Journal of Peleg ("Pillick") Folger
will give an illuminating sidelight on the char-
acter of these men. It will be inferred that "Pil-
lick" was what is known in our times as a "good
sport" — quoting consoling or congratulatory
texts, according to whether the day was a profit-
able one or not.

''July ist. Nantucket bears N.E. 324 miles.
We had a good breakfast upon meat and
doboys & we are all merry together. A

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THE EARLY DWELLINGS OF NANTUCKET

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slippery kind of breeze — only we wish we
could get some spermaceti."

'July 8th. This day we spy'd Spermacetis
& we kill'd one. If we get whale enough
we may be able to go home in a fortnight.
'Death Summons all men to the silent
grave.' "

'July gth. Lat. 36-18 Longt. 73-0. Noth-
ing remarkable this 24 hours only dull
times and Hot weather & no whales to be
seen. Much toil and labour mortal man is

And after hard weather and no whales:

"And so one day passeth after another &
every Day brings us nearer to our Grave
and all human employments will be at an
end."

This Island during its long career suffered
many disasters at home as well as in its ventures
on the far seas. On a fine midsummer day in
the year 1846, as usual, the coopers, spar makers,
riggers, sail makers, and iron smiths were making

THE DYER HOUSE, No. 9 MILK STREET, NANTUCKET.

This is one of the most interesting houses in the town and is remarkable for its color and proportion. In rambler
rose season there is a mass of crimson and green against a background of pinkish gray with white finish. This
house is owned by some very appreciative "off-islanders" and has been kept up with a great deal of loving care.

forced to endure & little profit to be got
out of it."

"and we struck a large Spermaceti and
killed her ... and we hoisted her head
about 2 foot above water and then we cut
a scuttle in her head, and a man got in
up to his Armpits and dipt almost 6
Hogsheads of clear Oyle out of her case
besides 6 more out of her Noddle. He
certainly doth but the right that mingles
profit with delight."

harpoons, lances and knives, the cordage factories
turning out ropes and rigging — all noisily ply-
ing their trades — the busy wharves alive with the
loading of stores and unloading of cargoes of oil,
and the huge drays rumbling over the cobbles
with their great casks of sperm oil or huge bun-
dles of whalebone bound for the commodious
warehouses. Now the great bell in the Old
South belfry booms out an alarm; the great fire
which is to mark the decline of the Town's pros-
perity is raging. The intense heat from the
burning burst the casks and hogsheads of oil,
and their fiery contents spread a burning flood

THE WHITE PINE MONOGRAPH SERIES

DOORWAY IN QUINCE STREET, NANTUCKET.

The body of the house is a light gray with white finish. The
door is of the most vivid emerald green with a brass latch; the
lattice supporting a rambler rose bush and with a golden door-
mat on a rose pink brick sidewalk makes a riot of brilliant color.

over the harbor. In twenty-four hours the
flames swept clean an area of thirty-six acres in
the center of the Town, impoverishing more than
two hundred families.

After this blow, from which the Town never
recovered, the use of 'lard oil for illuminating
began to be popular, and the recently discovered
mineral oils of Pennsylvania brought a flood of
oil which completely submerged the whale oil
industry. So the business of whaling, in which
so much of the capital of the people was invested,
declined rapidly. Tl.c more enterprising men
left for the mainland — some for California in
the Gold Rush of '49. The last whaling ship left
the port in 1869. In time, a stranded ship and a
poor old widow were quoted as fit emblems of
this quaint old seaport town.

Its population of real Nantucketers of about
three thousand is swelled in a good season
by from seven to ten thousand "off-islanders,"
among these being many seekers after health; its
peculiar breezes which blow all day long, its sea
air and its mild and fairly stable temperature of
not over 82°, while on the mainland the ther-

mometer reaches 100° and over, make it a fa-
vorite retreat for nervous invalids and seekers
after sleep and rest.

The residents say that many of the fine houses
were taken apart and transported by schooners
to the mainland, and there re-erected — some
landing in the vicinity of New York City. The
white pine used almost exclusively in these
houses is said by some to have come from Maine,
which is not far away, by others to have grown
on the Island; and they point to huge rotting
stumps sometimes unearthed in certain wet
places about the Island.

Most of the doors used were of but two panels
— and sometimes one — the panels being in one
piece often over twenty-five inches wide. In the
Maria Mitchell house there is a white pine door
three feet wide and six feet high and about one
inch thick, painted white, made up of two pieces,
one piece being twenty-seven inches wide, stand-
ing perfectly free from warping, and fitted with
fine wrought-iron strap hinges, and a massive
polished mahogany latch and fittings, giving to
this white door an air of elegance, and all no
doubt the work of some good old ship carpenter.

PORCH OF ONE OF THE EARLY EIGHTEENTH-
CENTURY HOUSES OF NANTUCKET.

Showing peculiar cornice with heavy consoles simply sawed
out of white pine planks.

THE EARLY DWELLINGS OF NANTUCKET

DOORWAY, CORNICE, ETC., OF A LITTLE HOUSE ON
ACADEMY HILL, NANTUCKET.

While the photographer was proceeding without haste to "get"
this house, the owner, in carpet slippers and shirt sleeves, ap-
peared, and with some show of feeling inquired: "Now what is
the matter of this house? All you fellows are photographing it
and drawing it and sketching it and measuring it. What is it?"
"It" was the moulded pilasters, the finely proportioned doorway,
the cornice with its inexpensive but effective sawed tongues, and
the lintels over the windows.

The sashes in this house are of white pine a
scant inch in thickness, with muntins one inch
wide enclosing panes of glass about six inches
wide by eight and three-eighths inches high; the
doors, in general, being about two feet four
inches wide, and fifteen sixteenths of an inch
thick, of two panels in height, — so it will be seen
no pine was wasted.

The interior partitions were usually not sup-
porting partitions, the floors being carried by
heavy beams mortised into heavy girts, corner
posts, etc., which were exposed and painted. The
partitions were, therefore, mere curtains, being
made of unplaned seven eighths inch pine boards,
eight to ten inches wide, with two or three inches
of space between each, set vertically and nailed
at floor and ceiling. In this was worked the door
frame and then it was lathed and plastered on
both sides, making a perfectly durable partition
for such low-studded rooms — not over two and
three eighths inches thick, and withal very rea-

sonable in cost, compared with our massive two
by four stud partition in these days of reckless
waste. The plastering is uncommonly hard and
durable. Though economical in most ways, the
builders of those early days were lavish in the
use of bricks, the chimneys usually being large
and massive; and in the basement of old houses
one often sees curious methods of brick arching
and vaulting, the mortar used appearing to be a
sort of light clay, crumbling to the touch, but
having been serviceable for over a hundred years.
Nantucket's streets are quiet now. Many of its
best houses are owned by "off-islanders" from far-
away prosperous cities, who occupy them only
in the vacation season. The hum of the busy
shops is heard no more — and the deep rumble of
the heavily laden dray with its huge hogsheads
of oil bumping over the cobbled streets has
given way to the rattle of the beach wagon with
its summer visitors, passengers bound for the
bathing beach or the melancholy ride across the
somber moors, to where the huge rollers, after a
journey of three thousand miles across the
stormy Atlantic, break on this bleak and barren
shore.

Entrance Porch.

THE FOLGER HOUSE IN CENTER STREET,
NANTUCKET.

PORCH OF THE MIXTER HOUSE ON ACADEMY HILL, NANTUCKET.

This shows, besides some peculiarly grooved detail, the remarkable decorative effect of Eng-
lish ivy, which flourishes well in Nantucket, and day lily leaves against a clear warm gray
clapboarded house. The white pine clapboards have a suggestion of a bead on their edge.

A NEW FACTOR IN WHITE PINE

SERVICE

How long can you keep up the standard of ar-
chitectural interest in the White Pine Mono-
graph Series?

Is there enough White Pine lumber left to war-
rant this effort to promote its use?

Does the Monograph Series produce actual sales
of White Pine?

Architects have asked these questions continu-
ously since the inception of the Monograph
Series three years ago. Let us answer them here,
in order that the policy which animates our work
may be better understood.

Fifteen Monographs have been issued. Each one
has given the architect photographic evidence,
never before published, of the good taste and
craftsmanship of our forefathers as home-build-
ers. They built their houses of White Pine.
True, this wood was in their back-yards, but
they chose it, not so much for its accessibility as
because of its inherent merits. That they made
a wise selection from the wide choice of woods
before them is proved by the pictures which we
have presented in this Series.

Houses throughout New England, New Nether-
lands and along the eastern shore of Maryland,
built during the later part of the Seventeenth
Century and the Eighteenth Century, have been
illustrated by photographs made especially for
the Monograph Series. So thorough has been
the work to date that there naturally arises this
first question as to the future source of data that
will be of equal interest and value to the archi-
tect.

It is very gratifying to announce that the end is
nowhere in sight. The states of Maine, New
Jersey, New Hampshire, Pennsylvania and Ver-
mont contain much work which has hitherto re-
mained unshown to the profession. The lower
Delaware, the Mohawk and Genesee Valleys are
filled with wood-built houses of high architec-
tural merit. The towns of Marblehead, Litch-
field, Providence and Newport have examples of
domestic architecture erected centuries ago which
are universally applicable to present-day prob-
lems. Add to these examples of buildings, classi-
fied geographically and chronologically according
to periods, the "close-up" study of comparative
details by means of accurate measured drawings,
and it would appear that the Monograph Series

could promise to keep up its architectural inter-
est for some time to come.

That we are right in assuming that we have
aroused an interest in the White Pine Mono-
graphs is evidenced by the three thousand four
hundred and ten requests for title-page and
index of the first and second volumes, furnished
to architects who contemplated binding their
copies for permanent service and use.

The second question, "Is there enough White
Pine lumber available to warrant our effort to
promote its use?" was forcibly answered by Mr.
Frederick E. Weyerhaeuser in Volume II, Num-
ber 5 of the Monograph Series. He stated that
"it would be absurd to argue that the supply of
White Pine timber is as great as it was years ago
or that the White Pine manufacturers could long
supply the United States with its entire lumber
requirements. But for the many uses in house
construction for which White Pine excels there is
unquestionably an abundant supply for genera-
tions to come." The statistics and figures given
by Mr. Weyerhaeuser to prove his statement
should be welcomed by the architectural profes-
sion, who have been under the false impression
for some years past that White Pine was scarce
and very expensive, and so have been specifying
substitute woods in its place, notwithstanding
that they have always considered White Pine the
best of all soft woods.

The continued availability of White Pine is more
than a matter of statistics, convincing as they
are. As one source of supply is cut over, new
sources of supply develop. While they are more
remote in point of miles, the development of
transportation makes them less remote in point
of time. All the sources supply the same White
Pine, which is indigenous to a strip which has cli-
mate and soil as constant factors. It is a great
mistake to assume that the New England White
Pine, from which such old landmarks as the Fair-
banks House were built, is not the same White
Pine as is available to-day, the same in natural
characteristics, and in all the factors which make
White Pine an excellent wood.

Does such literature as the Monograph Series
produce actual sales of White Pine?

Do the Goodrich road markers, dotting the whole
country, produce actual sales of Goodrich Tires?

THE WHITE PINE MONOGRAPH SERIES

How can John Wanamaker and Marshall Field
afford to provide rest rooms and day nurseries in
which never a purchase is solicited?

How can a leading manufacturer and refiner of
railway lubricants afford to sell, not so many
gallons of grease to American railroads, but
merely contract to keep every piece of rolling
stock properly lubricated for a given period?

Why is it that the Griffin Wheel Company no
longer sells wheels but wheel service on a mileage
basis?

The answer to all these questions is the same:
There has been a rapid evolution in American
business of recent years, to the great advantage
of the consumer, and to the equal benefit, al-
though less easily perceived, of the seller. If the
lumber manufacturers have been backward in
this development, they are none the less willing
to acknowledge and subscribe to its worth right
now.

The White Pine Monograph Series is simply one
evidence that the lumber manufacturers have
caught step with the times. They realize that no
longer is it their function merely to sell White
Pine, a tangible commodity. They realize that
no longer is it enough that White Pine, because
of its intrinsic qualities, does deliver on the job.

They know that to-day their function is the de-
livery to the consumer, to his agents and to his
professional advisers of all the White Pine ser-
vice which it is their privilege to supply. They
know now that White Pine itself is merely a com-
modity-alibi for a far-reaching service.

As related to the consumer's professional ad-
visers, the architectural profession, White Pine
service means not alone the crisply cut mould-

ings, the weather resistance, the ability to hold
paint, nor any of the many other qualities in-
herent in the wood itself, which make up the
White Pine service delivered on the job.

As related to the architect, the fullest measure of
White Pine service must go back of that. It must
include all the help the manufacturers can offer
to the architect in selecting the grades of the
commodity which will best suit his particular
purpose, and in seeing that he is shown how to
assure the fact that his needs are carried out by
the building contractor and the retail lumber
dealer. This service they have tried to deliver
through the White Pine Specification Book, con-
taining Classified Recommended Uses for White
Pine in House Construction and White Pine
Standard Grading Rules, and they are constantly
striving to make service just as integral a part of
their finished product as the grain of the wood
itself.

Furthermore, White Pine service must include
inspiration before the job. The cordial reception
with which these Monographs have been met
from all classes of the architectural profession
proves that they are in a measure delivering in-
spiration. In the accomplishment of that, this
third question is answered, for inspiration before
the job is just as much a part of that service
which the manufacturers sell as a board of
White Pine itself. They are glad to acknow-
ledge their complete realization that to-day they
are not merely offering White Pine, but a definite
service, one part of which is the product known
as White Pine. With this confession in mind,
they beg of you to regard the Monograph Series
as something for which they desire your heartiest
cooperation, not only in use but in criticism, as
they do of White Pine lumber itself.

Subjects of Previous Numbers of
THE WHITE PINE SERIES OF ARCHITECTURAL MONOGRAPHS

Vol. I, No. I. Colonial Cottages

Vol. I, No. 2. New England Colonial Houses

Vol. l,No. 3. Farm Houses of New Netherlands - -

Vol. 1 1, No. i. Houses of the Middle and Southern Colonies -

Vol. II, No. 2. Domestic Architecture in Massachusetts

Vol. II, No. 3. Early Houses of the Connecticut River Valley

Vol. 1 1, No. 4. A Suburban House and Garage -"-.---

Vol. 1 1, No. 5. Old Woodbury and Adjacent Domestic Architecture in

Connecticut ----

Vol. II, No. 6. Colonial Architecture of the Eastern Shore of Maryland

Vol. 1 1 1, No. i. Three-Story Houses of New England -

Vol. Ill, No. 2. Early Wooden Architecture of Andover, Massachusetts

Vol. II I, No. 3. Old Houses of Newburyport, Massachusetts -

Vol. 1 1 1, No. 4. A White Pine House to Cost $12,500.00 -

Vol. I II, No. 5. The Bristol Renaissance

Joseph Everett Chandler
Frank Chouteau Brown
Aymar Embury II
Frank E. Wallis
Julian Buckly
Richard B. Derby
Report of Jury of Award

Wesley S. Bessell
Charles A. Ziegler
Frank Chouteau Brown
Addison B. Le Boutillier
Richard Arnold Fisher
Report of Jury of Award
Joy Wheeler Dow

Mfifrfrriffrffffffffffffffffff

An Architectural
Monograph

°" M ARE LE H E AD «

Its Contribution to Eighteenth and Early
Nineteenth Century American Architecture

"WlthTextby
"WILLIAM TRVMAN MLDRICH

^Prepared for publication by
Duffel I TWh\teheadformerly£ditor
ofThe<51rchitectural ^ecorcf
and The Br/ cKb uilde r

1)2 "Madifon^e. NewYorK N. Y.

THE LEE MANSION, MARBLEHEAD, MASSACHUSETTS. Entrance Porch Detail.

Formerly the home of Col. Jeremiah Lee. This house is now in the possession of
the Marblehead Historical Society, and is filled with mementos of historical value.

T&WHITE, PINE,

ARCHITECTURAL MONOGRAPHS

ABI-MONTLY PUBLICATION SUGGESTING TE
ARCHITECTURAL USES CJ WHITE PINE AND ITS
/VALABLITY TODAf AS A STRUCTURAL W3DD

Vol. IV

FEBRUARY, 1918

No. 1

MARBLEHEAD

ITS CONTRIBUTION TO EIGHTEENTH AND EARLY NINETEENTH
CENTURY AMERICAN ARCHITECTURE

By WILLIAM TRUMAN ALDRICH

Mr. Aldrich, a member of the firm of Bellows and Aldrich, was born in Washington, D. C. After his gradua-
tion from the Massachusetts Institute of Technology he went to Paris, where he received the Architecte
Diplome par le Gouvernement. Upon his return to America, he worked with Stone, Carpenter and Wilson,
of Providence, and with Carrere and Hastings, of New York. In the midst of active practice, he is able to
devote much time to the work of the Society for the Preservation of New England Antiquities, of which he
is a Trustee. — EDITOR'S NOTE.

PHOTOGRAPHS BY JULIAN A. BUCKLY

FROM the time of the earliest settlement in
1629 the townsmen of Marblehead, Mas-
sachusetts, have shown qualities, in times
of hardship and stress, of a very high order.
Wars, sickness, fires and storms have all at vari-
ous times sorely tried this little community and
have developed a people justly distinguished for
their fortitude and courage. The daily familiar-
ity with danger and suffering of the men in the
fishing fleet made a splendid training for the
part they were to play in the wars of the Revo-
lution and of 1812, and the pride in this tradi-
tion of service was nobly sustained by the later
generations in the time of the Civil War. Nor
are the men of to-day one bit less patriotic and
willing to do their share. Out of all proportion
to its size and wealth has been Marblehead's
contribution to the store of early American his-
tory and legend, and the names of many of its
men and women are part of the country's best
heritage.

Salem is but four miles away and of course
has somewhat eclipsed in popular interest its
smaller neighbor, and the splendor of its Colo-
nial architecture of the early nineteenth century
has appealed to the imagination of architects
and laymen more strongly than the humbler
dwellings of the near-by town. But there is a
tremendous amount of material to be found on
the hilly, rocky peninsula of Marblehead, not
only to satisfy the seeker for picturesqueness and

literary associations, but also for the study of
early American architecture. While the penin-
sula which is called Marblehead is about four
miles long and from two miles to a mile and a
half wide, the town itself, where almost all the
old buildings are to be found, is perhaps two
miles long by half a mile wide and extends along
the harbor side. The site is very hilly and
irregular and the coast-line very rocky. So the
streets must needs wander about in a most de-
lightfully casual way, and the houses must face
every which way and the yards both back and
front are necessarily restricted and form most
charming terraces and gardens. The same char-
acteristic steep streets descending to the water
and tiers of houses rising above one another that
have given Genoa and Naples and Quebec so
much of their charm are here repeated on a
smaller scale. The houses, while they are all
free-standing, as befits this sturdy and indepen-
dent people, are nevertheless built closely to
gether for their mutual comfort and neighborli-
ness. The irregularities of site have resulted in
a greater variety of plan in many of the houses
than can be met with in most of our New Eng-
land communities, where the town sites are al-
most uniformly flat.

As seen from the harbor or from the causeway
that connects Marblehead Neck with the main-
land, the silhouette of the town presents a picture
unrivalled in this country for beauty of sky-line.

THE WHITE PINE MONOGRAPH SERIES

Abbot Hall, with its exceedingly graceful spire,
was admirably designed and placed as a climax
to the rising lines of the town. The shipping in
the harbor (Marblehead is probably the most ac-
tive yachting centre in the country), the trees,
and the wonderful variety of roofs and chim-
neys, all together make charming patterns within
the long, harmonious contours of the hills.

like the House of Seven Gables in Salem, or the
Cooper-Austin house in Cambridge, which im-
mediately attracts the visitor's attention as an
example of the earliest period of Colonial. By
far the greatest number of dwellings date from
the period of Marblehead's greatest prosperity,
the middle of the eighteenth century.

The Revolution took a heavy toll of Marble-

A HOUSE ON THE SEA FRONT, MARBLEHEAD, MASSACHUSETTS.

Back of this austere old house appears a bit of Marblehead's
harbor, which is one of the finest along the New England shore.

There is no New England town which shows
so many old houses in a single coup d'oeil.

The most prevalent type of house is the
wooden clapboard one with gable or gambrel roof
and generous brick chimneys. Even the more
pretentious houses on Washington Street are of
wood; in fact, there are only five or six old houses
to be found that are built of brick. While there
are several houses dating from before 1700, there
is not one whose exterior aspect remains in a form
typical of the seventeenth century, and not one

head's resources in wealth of men and money,
and we find few examples of the later period of
Mclntyre and after.

Although the houses near Abbot Hall and on
Washington Street are large and in a sense pre-
tentious, and the Lee Mansion is one of the finest
mansions in New England of its period, in gen-
eral it is the homes of people of modest and
humble circumstances that leave the most per-
manent impress on the memory of the observer.
Even the richer houses are almost entirely de-

THE WHITE PINE MONOGRAPH SERIES

A HOUSE ON STATE STREET, MARBLEHEAD, MASSACHUSETTS.

111! ilillllllil

; ' ' ' ' : ' ' ' ' * ' ' ' ' ' ' ; M I '• I! M I M I II •

THE BOWEN HOUSE, MARBLEHEAD, MASSACHUSETTS.
One of the oldest houses in the town. It is situated on the corner of Mugford
Street near the Town House. A glimpse is afforded of the irregularity of the land.

MARBLEHEAD

void of carved ornaments and any elaboration
of detail. In a word, austerity is the distin-
guishing characteristic of building in Marble-
head.

But it must not be thought that bareness and
monotony are the necessary accompaniments of
this very democratic simplicity so expressive of
what we like to think is or was the best side
of American character. I believe nowhere will
there be found more varieties of gables, cornices

boast of exceedingly effective cupolas and the
Col. Jeremiah Lee Mansion is embellished with
a pediment on its main facade. Otherwise the
roofs of Marblehead are of a soul-satisfying sim-
plicity; even dormers are a great rarity, the few
there are being later additions, with the exception
of the house on Mechanic Street shown in the il-
lustration on page 8. These three rather heavily
moulded dormers in the gambrel roof are prob-
ably of the same date as the house. There are,

THE KING HOOPER HOUSE, MARBLEHEAD, MASSACHUSETTS.

Formerly the residence of "The Honorable Robert Hooper, Esq.," one of the wealthiest merchants of New
England before the Revolution. "King" Hooper, as he was called, lived in princely style for those days.
Some of the highest dignitaries of the land were entertained in the large banquet hall in the third story.

and doorways, or better examples of interior fin-
ish and panelling.

The gambrel roofs vary in angles from very
steep and narrow to certain examples of low,
wide gambrels, where one wonders how the flat-
ter pitches can be kept from leaking. In the
same way a designer may find precedent for
gable roofs from twenty degrees all the way up
to sixty degrees inclination. There are very
few hipped roofs. The two Lee houses both

on the most interesting old Governor Bradford
house in Bristol, Rhode Island, three dormers in
a gambrel roof that are almost identical in size
and detail with the Marblehead examples, and
both houses are of about the same date.

The verge boards up the rakes of the gables
and gambrels are narrow and kept close in to the
clapboards with only a slight moulding at the
edge of the shingles. This lack of raking cor-
nice or projection gives a distinction to all the

> 2

E-2

•5 o

MARBLEHEAD

HOUSE ON WASHINGTON STREET, MARBLEHEAD, MASSACHUSETTS.

HOUSE ON TUCKER STREET, MARBLEHEAD, MASSACHUSETTS.

THE WHITE PINE MONOGRAPH SERIES

Doorway
HOUSE ON FRANKLIN STREET, MARBLEHEAD,

MASSACHUSETTS.

It appears that the hall wainscoting cap has been repeated on
the pilasters on the outside of the main entrance.

roofs which is lost by any designer who departs
from it.

The older cornices are simple as can be, and
are without any decorative feature; but later
there is a fascinating variety of moulded cor-
nices with dentils and modillions all worthy of
careful study. What a lesson this town teaches
in the value of cornices of small projection and
few members.

Clapboards cover the walls of almost every
building, but we find several instances of wood
boarding cut to imitate stone in a simple rus-
ticated pattern, on all sides as on the Lee man-
sion, and only on the front as on the King
Hooper house. Corner boards are the rule,
varying from four to eight inches in width.

The exterior window trims vary greatly and
are of great interest. In many cases the second-
story trims are charmingly composed with the
bed mouldings of the cornice. Often the first-
story windows have little cornices of their own.
The very satisfying quality of the window sashes
and blinds is due to careful thought by some one

in years gone by, and they can be most profit-
ably studied by modern designers.

The Doric order was evidently invented for
Marblehead, as all but two or three of the front
entrances are adorned with it in the form of
column or pilaster. The two Lee houses flaunt
the gay Ionic, and on Franklin Street there are
two extraordinary doorways of the early nine-
teenth century flanked by delightfully quaint
pilasters of a curious composite type, tapering
downward to their plinths. Especially interest-
ing, too, is the enclosed entrance porch on a
house in Lookout Court, with its elliptical fan-
light, reeded pilasters and grooved ornaments.
So many of the houses are built on the sidewalk
line that there are many interesting examples of
recessed doorways with the steps in the recess.
The illustration shows an excellent early nine-
teenth-century one. Most characteristic are the
various treatments of outside steps made neces-
sary by the steep grades met with everywhere.

The interiors of these alluring houses are fully
as interesting as the exteriors. No good Ameri-
can should fail to see the truly exquisite rooms
and the wonderful staircase of the Lee Mansion,

Entrance Porch.

HOUSE ON WASHINGTON STREET, MARBLEHEAD,
MASSACHUSETTS.

MARBLEHEAD

Doorway.

GENERAL JOHN GLOVER HOUSE, MARBLEHEAD,
MASSACHUSETTS.

Built in 1762. The home of the famous Revolutionary general.

which is without a peer in this country. Nor
should he fail to see the King Hooper house, to
appreciate the wholesome beauty of the second-
period panelling and fireplaces of this fine ex-
ample.

There are other buildings in town of special
interest — the old Town House, the Powder House
of 1750, and the old North Church, each worthy
of a visit, as is the burial-ground, to remind us
of the frailty of us humans and of the fact that
our forefathers used to make better lettering
than we do.

By all means, gentle reader, visit Marblehead,
and you will profit greatly thereby; spend at
least a day if a layman, and at least a week if
you are an architect. Read up in Mr. Road's
History the stories of Mugford the brave
sailor who captured the British transport "Hope"
when in command of the American schooner
"Franklin," of Agnes Surriage and Sir John
Frankland, of Gerry and Storey, of the gallant
General Glover and his regiment, whose soldiers,

according to tradition, rowed Washington across
the Delaware River on that famous wintry night,
December 25th, 1776. Read the real story of
Skipper Ireson, that much maligned seaman,
whom Whittier immortalized in the same poem
in which the women of Marblehead are unjustly
given the role of avenging furies. Poor Ireson!
He was given the ride on the rail in the tarry
and feathery coat, but not by the women of
Marblehead. The perpetrators of this outrage
were fishermen of the town whose indignation
had been aroused by the stories of the crew of
Ireson's schooner, who had forced him against
his will to abandon the other craft in distress.
Ireson's crew were at fault and shifted the blame
to their skipper when the story came out. Learn
how completely American a Massachusetts town
has been and always will be. Just imagine — the
curfew tolls every evening at nine and the boys
and girls celebrate Guy Fawkes day every No-
vember fifth with bonfires and a procession!

Entrance Porch.

THE COL. WILLIAM R. LEE MANSION,
MARBLEHEAD, MASSACHUSETTS.

Like the Col. Jeremiah Lee Mansion, this house is also sur-
mounted by a cupola. The parlor was elaborately
decorated by an Italian artist.

HOUSE IN LOOKOUT COURT, MARBLEHEAD, MASSACHUSETTS. Detail of Entrance.
The elliptical fan-light and reeded pilasters give to this very old house a distinct architectural character.

The While 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

$750
$400
1250
$100

Jury
of Award

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

All Architects and Architectural Draftsmen are cordially invited to compete

Competition closes at 5 p.m., Wednesday, May i, 1918

Judgment, May 77 and 18, 1918

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
the designer some
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 thsm
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 rockv.and you will see that

THE WHITE PINE MONOGRAPH SERIES

my own plot has those characteristics. My site is on
the east side near the no th end, and contains a blunt
point from which a view is obtained looking sou h-
west, down the lake for seve.al miles; the prevailing
breeze is from that direction. The scenery ac oss 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
buil later, to contain a moto -boat, and to have a
landing for row-boats, with perhaps a small tea-house

0 lookout shelter connected with it. This is not to be
built now, and I me.ely mention it because of its prom-
inent position on the property. Just back of my site
is a load which runs through a typical American com-
munity, and I wish my house to be appropriate to that
village, and not to partake too much of the cabin or
so-called bungalow design from the mere circumstance
that it is on the lake.

"I do not want to spend more than $5000 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

1 have to spend.

"I need a good-sized living-room, not smaller than
1 5' x 24', with a fireplace large enough for big logs, and
a dining-: oom, connecting, if possible, with a porch
where meals could be served. I 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, I would like it. I 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 made
— 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 blinds; 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.

"I 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 % inch scale clearly indicating
the character of the exterior finish. Plans of the first
and second floors at y% 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 ^ incn scale of special feat-
ures and of the fireplace side of the living-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.

JUDGMENT: 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.

The Jury positively will not consider designs which
exceed 38,000 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 21^x27^ 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
BLACK 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 VACATION SEA-
SON." The drawings are to be signed by a nom de
plume or device. On 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 corrugafed 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 i, 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-
petitor. 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 a-e 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 Augusf, 1918,
number of the Monograph Series, a copy of this issue
being sent to each competitor.

Where drawings are published or exhibited the con-
testant's full name and address will be given and all
inquiries icgarding his work will be forwarded to him.

RETURN OF DRAWINGS: Unsuccessful contestants
•Will have their drawings returned, postage prepaid,
direct from the Editor's office.

An Architectural
Monograph

PROVIDENCE
Its Colonial Houses

JVOHMAN M I SHAM
'Prepared for publication by
uffell TWh'iteheadformerly&Jltor
'of TheS^rchilectural 'Record
and The ttricKb uilder
1)2 •MadfonXtfc. NewYorK N. Y.

COLONEL JOSEPH NIGHTINGALE HOUSE.

Detail of Front.
1792.

P1NL SERIES^

ARCHITECTURAL MONOGRAPHS

A BI-MONTLY PUBLICATION SUGGESTING TE
ARCHTECTURAL USES CF WHITE PINE AND ITS
/MMLABLITY TODAY AS A STRUCTURAL W3DD

Vol. IV

JUNE, 1918

No. 3

By NORMAN MORRISON ISHAM, F.A. [.A.

Other contributions to the literature of Colonial architecture by Mr. Ishatn include, "Early Rhode Island
Houses," "The Homeric Palace," etc. He has practiced architecture in Providence since 1892 and has been
instructor in architecture in Brown Unit'ersity and head of the architectural department of the Rhode Island
School of Design. — EDITOR'S NOTE.

PHOTOGRAPHS BY JULIAN A. BUCKLY

NEARLY every man and boy in eighteenth-
century Rhode Island turned, early or
late, to blue water. Sailor or fisherman,
sea captain or merchant, they all drew their liv-
ing or their wealth from the ocean, and even the
great cotton spinning industry of the early nine-
teenth century was sustained, in its beginnings,
by fortunes made on the sea.

The wealth which this traffic brought to all
the older ports of the Colonies was reflected in
their building, and Providence, as a busy harbor,
has a heritage of Colonial houses which, if it is
not so well known as that of Salem or Ports-
mouth— indeed, it is scarcely known at all out-
side of Rhode Island itself and imperfectly there
— may still claim to rival that of the others and,
in some ways, to surpass it.

The town was settled on the slope of a high,
steep hill, and at the foot of the hill a straggling
street, following the shore of the river. This, the
present North and South Main Street, still exists.
Here stood the houses of the early town, with one
room only, or with two rooms side by side and a
great stone chimney at the end of the building
toward the hill. A dwelling of this kind still
forms a part of the eastern end of the Pidge
house, on North Main Street, the end at the right
of the front door.

Across the river was a narrow neck of land,
quite marshy, even an island at some stages of
the tide, along which went the Indian trail to the
Narragansett and the Pequot countries.

There were no houses on this western bank
till the opening of the eighteenth ceniury, when

the quaint cottages of the preceding age of farm-
ers began to give way, from age, fire and change
of fashion, to the finer, more classic dwellings of
the now predominant trading class.

One of the survivors of these early dwellings
of the newer type is the Christopher Arnold
house, on South Main Street, built about 1735.
It has a central chimney against which the stairs
in the narrow entry are placed. There is a room
on each side of this entry, while behind the
chimney is the kitchen with a smaller room at
each end. The doorway is the oldest in Provi-
dence, as, indeed, the house is the oldest now
standing on the "Towne Street." The almost
Jacobean character of the rosette and the flower
on its stalk was probably carried over from the
carving on the older furniture. The overhang in
the gable is noticeable. This may have been
brought about in the same way as the similar
overhang in the house which once stood next to
this on the north — by building up on the end
cornices of a hip-roofed house. That is to say,
Providence once had its quota of the hip roofs of
the early part of the century, like those still to
be seen in Portsmouth and in Newport.

Another house of about 1740, also with a
gable overhang, is the Crawford, further north,
on the opposite or east side of the street. This
has a very remarkable door with large, bent-over
leaves above the caps of its pilasters, and the
curious bending up of the back band in the mid-
dle of the lintel, a characteristic of early work
which seems to be a reminiscence of the school of
Sir Christopher Wren. Doors like this are rare.

THE WHITE PINE MONOGRAPH SERIES

The only other I know
is in Hadley. They
are derived from some
of the bracketed Eng-
lish forms.

The central chim-
ney plan which has
just been described
remained in fashion
almost up to the Greek
Revival, though the
houses grew larger,
lost their quaintness
and acquired more
dignity. Dwellings of
the type were built
even after 1800. The
plan was no longer
the tip of the fashion,
however. The second
quarter of the century,
especially the years just before 1750, and, of
course, even more the years just before the Revo-
lution, when the money from privateering in the
Old French War was flowing into the town, saw
the rise and spread here, as in the rest of
New England, of the central-entry type of plan
— that in which a long hall runs through the

CHRISTOPHER ARNOLD HOUSE.

South Main Street.

Circa 1735.

house from front to
back, with two rooms
on each side. Most of
the houses of this kind
in Providence are of
brick; the wooden
house of early date on
that plan is not com-
mon. At any rate, it
has not survived in
any numbers. It is to
be seen in its glory,
for Rhode Island, in
Newport and not in
Providence. The great
house at the corner of
North Main Street
and Branch Avenue
may be of this date,
as may the Olney tav-
ern at the corner of
Olney Street, once Olney's Lane; but, as a rule,
the houses seem simply to have been a larger
and finer grade of the central-chimney scheme,
with more elaborate interior woodwork which is
often very excellent.

There was little building in Providence dur-
ing the Revolution — there was too much distress

PIDGE HOUSE.

North Main Street (Pawtucket Avenue), View from Southwest.
East End, circa 1700; West End, circa 1745.

PROVIDENCE AND ITS COLONIAL HOUSES

in the community for
that. The British were
at Newport a large
part of the time, and
the whole colony was
an armed camp. When
once the struggle was
over the town came
into a period of great
prosperity. Before the
war it had been the
smaller place, New-
port the larger and
more important as well
as the more wealthy.
Now the British occu-
pation had ruined
Newport and Provi-
dence forged ahead.
The earlier trade,
which had provided
the wherewithal to
build houses like the Crawford and the Arnold,
was with the West Indies. Now the East Indies
were levied upon, and the trade with them and
China employed a fleet of ships and enriched
many merchants, some of whom succeeded in

Detail of Doorway.

CRAWFORD HOUSE, SOUTH MAIN STREET.
Circa 1740.

holding what they ac-
quired in this lucra-
tive traffic while others
had the opportunity
of musing on the
fickleness of fortune.
The houses of this
time are often three
stories in height,
though two is still the
common number, and
after 1815 the three-
story house is rarely
built. The rooms are
much larger and higher
in the greater three-
deckers, and in all
dwellings the distance
"between joints" in-
creases considerably.
There is generally a
garden door on one
side, sometimes with a porch, and the projecting
porch on the front comes into fashion. Some-
times the porch has tall columns, and the piazza
with the same "colossal orders" is not unknown.
About 1800 — earlier in brick houses — a new

CAPTAIN GEORGE BENSON HOUSE.

North Side of Angell Street. Now the Grosvenor House.
Circa 1786.

THE WHITE PINE MONOGRAPH SERIES

BURROUGH HOUSE.

North Side of Power Street.
Circa 1820.

BOSWORTH HOUSE.

East Side of Cooke Street.
Circa 1820.

PROVIDENCE AND ITS COLONIAL HOUSES

arrangement appears in the plan. The central-
entry type just described had generally only two
chimneys, one between the two rooms of the
pair on each side of the entry, or hall, as we
should call it. The new plan put a chimney in
the outer wall of each room. This brought the
fireplace nearly opposite the entrance to the
room from the hall and left two walls free of
windows and even of doors for the furniture.
These houses are often three stories high, but the
majority are of two stories.
The finest wooden specimen of the great

Colonies, a great credit to its unknown designer,
stands on a lot a little to the north of that on
which John Jones Clark, the other partner in the
firm of Clark and Nightingale, had already
built a large three-story house, long ago de-
stroyed by fire. It was the last word in monu-
mental housework in its day. It marks the end
of a period, too, for almost everything that
comes after it is lighter in detail and presents
no such appearance of weight and character
as this.
The house has a fine front porch with the

JASON WILLIAMS-CROUCH HOUSE.

North Side of George Street.
Circa 1800.

three-storied mansion with the central entry and
interior chimneys is the house which Colonel
Joseph Nightingale built in 1792 (frontispiece
and illustration on page eight) on the east side
of the new thoroughfare, called Benefit Street,
which ran along parallel to the Main Street
about half way up the hill, and which received
its name because it was to be a great relief to
the congested old village on the waterside. If
the street is crooked it is because it had to re-
spect the old family burial grounds — one of them
still exists — which lay in its path.

This magnificent dwelling, the best wooden
house in Providence and one of the best in the

usual brown-stone steps and platform, all in
front of a central mass which projects slightly
from the main body of the faqade. The door
has a toplight and sidelights, one of the earliest
instances of the use of them. Over the porch is
a Palladian window, while the window over this
again, in the third story, is plain like the others
on that floor. Above the cornice of the project-
ing central motive is a pediment the tympanum
of which is filled with glass. There are heavy
bevelled quoins at the corners, and the windows
have them also, with rusticated voussoirs in
their flat arches above which are moulded cor-
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THE WHITE PINE MONOGRAPH SERIES

nices. The main cornice is very well profiled
and is in good proportion to the whole height.
Even the fronts of the Palladian modillions are
carved.

The roof is hipped, as is the case with all the
houses of this type, and is surmounted by a
small curb which is roofed with gables, of which
that in the front, at least, has a glazed tym-
panum. The balustrade of the main roof has
regular balusters with top and bottom rails and
posts capped with well-shaped urns. The upper
roof has a balustrade of Chinese pattern; that
is, with plain sticks between the rails, intersect-
ing in a pattern.

The house was originally square with three
rooms on the north side of the entry. The addi-
tions on the south are later. There was prob-
ably a garden door here as there was in the
Clark house, perhaps with a porch, too, as Clark
had.

Another firm of merchants was Snow and
Munro. Snow had a town house which stood on
Westminster Street, but which is now removed
to a much less dignified street behind its old
location and has become a store-house after en-
joying the high estate of a laundry. It is still
an imposing wreck, although raised in the air
and shorn of its front door, its chimneys and
its balustrades.

An even more interesting house was that
which Snow built for his country home, out on
the Cranston road, about two miles from the
Great Bridge, from which all distances were
reckoned in Providence. This had very light
detail, with tall slim columns for its front porch,
which was of the whole height of the house, and
others, equally tall, for the piazzas, of which
there was one on each side of the building. It
fell into disuse and was pulled down some years
ago.

To go back a little, when Captain George
Benson retired from the firm of Brown, Benson
and Ives, he built the house which stills stands at
the top of the hill on the north side of Angell
Street and which ranks among the two-story
houses of the town at the end of the eighteenth
century as its contemporary, the Nightingale,
does among those of three stories. Here is the
porch on its brown-stone platform, and here is
the garden door also. The influence of the steep
hill on the treatment of Providence houses is well
illustrated, too. We shall see it again, later, in
the Dorr house (illustrated at top of page fifteen).
The balustrade on this roof is of the regular

baluster type, a characteristic of all these larger
houses.

Another Providence merchant, Edward Dex-
ter, built on George Street the house now on
Waterman Street, owned by Dr. Day. The
building was sawed in two and each half moved
up the hill, separately, to the present location,
where they were reunited. Any one who is skep-
tical— the moving took place within the memory
of men now living — may see the saw-cut in the
entablature of the porch.

In this house, built in 1799, we find pilasters
used to support the gable at the cornice level in
the center of the facade, a treatment of which
there is but one other example in Providence.
The corners of the house have the ordinary
quoins. The windows are surmounted each by
an entablature and pediment. The balustrade
here differs from those previously described in
having alternate blocks of balusters and solid
panels. The balusters come over the windows,
the panels over the piers.

It will be noted that the house is of the exte-
rior chimney type — that is, the fireplaces are on
the outer walls of the rooms — with the usual
rather flat hip roof. One cannot help seeing, too,
the delicacy of the detail, the lightness of it all
as compared with that of the Benson house.

Another four-room exterior-chimney house, of
somewhat simpler type, is the Diman house on
Angell Street, built by Ebenezer Knight Dexter
in 1800 or 1801. The sun parlor and the porch
are, of course, modern. The old doorway had
been removed, and that now in place was taken
from a beautiful summer house which once stood
in the old garden.

Of the simpler dwellings one very interesting
example is the Bosworth house on Cooke Street,
a straightforward solution of its problem, with
excellent proportions and quiet detail, much of
which is concentrated upon the doorway, which,
with its rusticated elliptical arch and jambs, is
a recognized type among Providence entrances.

An even simpler house standing on Power
Street, very near the Bosworth, is the Burrough
house, with its monitor roof and still another
type of doorway quite common about 1820.

These Providence doors are sometimes criti-
cized as too much alike, because we do not have
here the elaborate late porches of Salem.
Porches, it is true, are not common here. They

PROVIDENCE AND ITS COLONIAL HOUSES

1 1

HOUSE ON SOUTH STREET.

View from Northwest.
Circa 1810.

PADELFORD HOUSE.

South Side of Benevolent Street.
Circa 1815.

THE WHITE PINE MONOGRAPH SERIES

Doorway.
HOUSE ON CHESTNUT STREET.

Providence, Rhode Island.

exist, as the photographs of this article show, but
they are few in number. The reproach, however,
comes from lack of observation. There are
many types of doorway, all interesting, and the
different examples of each type vary more than
might be supposed.

There are doors without the orders, though
they are not common. The Williams-Crouch
house has almost the only really classical one,
and that is not early. It has merely the archi-
trave, with crossettes, the frieze and pediment,
but these elements are very simply and beauti-
fully combined.

Then there are the doors with the orders —
columns or pilasters. The oldest of these — it is
one of the oldest in the Colonies — is that in the
Arnold house. I know of nothing just like it,
though a leaf and rosette of the same type occur
in the interior of a house in southern Rhode
Island. This type ruled till after 1800 and
lingered in a modified form till 1820 or 1825.
The early examples have an entablature above
the lintel, with or without a pediment. Gener-
ally the order has a pedestal with a panel the
top of which is curved. As a rule, there are
glazed lights immediately over the door and
these were sometimes of bull's-eye glass — that is,
were cut from the centers of crown glass sheets.
A door at the top of Constitution Hill had these

— the last specimens in Providence — till a fire
destroyed them a few years ago. The back band
of the architrave is, in these oldest doors, turned
up in the center of the frieze. Later the frieze
follows Palladio and takes the cushion form.

After a time the round toplight with fan
tracery comes into use, and the entablature is
done away with over the door opening, while it
remains above the columns or pilasters, and the
arch is thus allowed to come up into what would
be the tympanum. This entablature over the
pilaster is sometimes very elaborate, as in the
two instances on Arnold Street.

Another doorway, on the same street, has
brackets over its narrow panelled pilasters. Over
all is the usual entablature and pediment. There
is one doorway similar to this on Arnold Street,
and one on North Main, but neither is as good.
These seem to be the only examples of a rare
and very interesting type.

On the corner of Benefit and Bowen streets
stands the house built by Sullivan Dorr in 1810
or 181 1, and now owned by Mrs. Sayles. (Illus-
trated at top of page fifteen.) It varies some-
what even from the late line of Colonial work

Doorway.
CHRISTOPHER ARNOLD HOUSE.

South Main Street.
Providence, Rhode Island.
(Illustration of full elevation at top of page four)

PROVIDENCE AND ITS COLONIAL HOUSES

Doorway and Tracery.

DODGE HOUSE. GEORGE STREET

Providence, Rhode Island.

which we have been following, but, perhaps for
that very reason, it is of great interest.

The house consisted, originally, of a main
block which had a central motive and two short
wings. The present addition to this is readily
discerned in the photograph. Attached to one
side of this main body was an ell to which, in
turn, were joined the sheds and, further on, at
right angles, the stable and carriage house.

As the block faced south the length lay east
and west, that is, against the slope of the hill.
The problem was to adjust the various parts of
the house and its dependencies to the rather
steep grade. This was done with great skill.
The house was set well above the street and a
high wall of cut granite, pierced by a flight of
steps at the gate and crowned by a wooden
fence, was built to retain the level of the garden
terrace in front of the main part of the building.
The floor of the main house and that of the ell
are on the same level, but the underpinning of
the house is high, while that of the ell is very
low, so that the courtyard level is above that of
the garden and is reached by a flight of steps
through the fence which separates the two. The
hill was cut away to allow this court to extend
as well as to gain a place for the stable group,
which is backed up against the slope, so that
its second story is but little above the ground
on the uphill side.

The porch of the house is very striking, with
its clustered columns made to represent Gothic
piers and the delicate cusped work in the archi-
trave. Equally interesting — indeed, more so — is
the translation of the staid Palladian window
into terms of clustered columns and cusped orna-
ment. The effect on the whole is excellent, a
commentary on what good proportion will do
for a design.

The coves in the cornice are of composition,
highly ornamented with an incised pattern. The
balustrade, too, is worked out in a manner which
is different from the ordinary and which accords
with the house. The centerpiece cannot be orig-
inal.

In all these houses. we can see that the stan-
dard of workmanship was very high in Provi-
dence; as it was, indeed, in all Rhode Island.
The details, too, are generally very correct and
well designed. There is evidence all through
the work in the city that skilful and painstaking
workmen wrought upon the building of its
homes. What they have left behind them ranks
high in the architecture of the old Thirteen
Colonies.

Doorway.
SOUTH SIDE OF ARNOLD STREET.

Circa 1800.
Providence, Rhode Island.

EBENEZER KNIGHT DEXTER HOUSE.

North Side of Angell Street. Now the Diman House.
Circa 1800.

SULLIVAN DORR HOUSE, PROVIDENCE, RHODE ISLAND.

Circa 1810.

GROWTH AND SERVICE

By A. I. KELLOGG

Mr. Kellogg may, perhaps, be called the Dean of White Pine Salesmen. In his association with White Pine
as the District Representative, Weyerhaeuser Sales Company, Minneapolis, Minnesota. Mr. Kellogg receives
daily ei'idence of the service this remarkable wood is rendering. As a result, White Pine lumber has, very
evidently, won his high regard and real affection. — EDITOR'S NOTE.

THE object of life is growth; the purpose
of life is service. The character and
quality of a service rendered are the
measure of its value. Both growth and service
are inseparable expressions of the Law of Life
and demonstrate the perfect cooperation of the
forces operating in obedience to the command of
Him who made.

Growth is that expression of the Law of Life
controlling or governing the expanding physical
development of every living organism, forcing it
toward, or into, that state, or condition, of
physical maturity qualifying it to render the
definite, specific service it was created to per-
form in protecting, sustaining and maintaining
human life. It is nature's means to an end, — the
end being the uses of service.

Service is fulfilment of the Law of Life ex-
pressed in the action of use. It is that conform-

ity to the established order which, impelling man
to action through the factor of need, has made
possible the intellectual growth and progress of
the human race since it began approaching its
ultimate objective, — an objective foreseen of the
Great Architect when He gave man dominion
over all things and decreed that: "In the sweat
of thy face shalt thou eat bread."

In exercising his privilege of dominion, man
has gathered experience, accumulated knowledge,
overcome the obstacles in the path of his prog-
ress, discovered the uses to which each organism
is best adapted, utilized the contents of nature's
storehouse, developed processes for their conver-
sion into commodities useful to man; established
methods and practice; evolved a mighty system
of trade and commerce and multiplied his oppor-
tunities and powers to serve the peoples of earth.
And in the doing of all these works man has,

THE WHITE PINE MONOGRAPH SERIES

consciously or uncon-
sciously, conformed to the
law made and provided
for that specific purpose,
— the Law of Life which
guides, directs, shapes and
moulds man's intellectual
growth and progress to
the end that he may labor
within the orbit of his
greatest usefulness and
render intelligent service
to his fellow men.

Growth, a vital factor
in all activities of men, is
clearly illustrated in the
development of the lum-
ber industry from the
days when the broadaxe
and the whipsaw were the
only means of production
up through the various
stages of progressive im-
provements in the pro-
cesses of manufacture to
the great sawmills of the
present day, electrically
equipped and driven. And
there stands out, sharply
defined against the back-
ground of history, the close relationship existing
between the settlement and growth of America
and the development and progress of the lumber
industry, which, more than any other factor,
made our national growth possible. Indeed, the
growth of the industry has kept exact pace with
the needs of a growing nation and force-
fully illustrates the truth that "improvement

A. I. KELLOGG.

is the order of the age."
And our forests of
White Pine! How faith-
fully have they rendered
the definite, specific service
a wise and loving Father
created them to perform!
The products wrought of
their noble bodies have
sheltered and protected
the lives of men beneath
the roof-trees of homes
both great and humble;
provided the cheering
warmth of hearthstone
fires; nurtured the spirit
of peace and contentment
and fostered and pre-
served the morals of home
and of country, influencing
the thoughts and decisions
of men and breeding that
courage of conviction
which gave birth to the
Declaration of American
Independence and the im-
mortal words of Lincoln's
Gettysburg Address; made
possible the rapid settle-
ment of America and the
welding of her peoples into a mighty nation
whose mission it is to fight the battles of human-
ity in order that the principles upon which she
is founded may be preserved to our posterity.

Forests of America, and the men of vision
and courage whose intelligent, lifelong services
made these forests available to man, I salute
you !

The nineteenth Monograph will be devoted to the publication of the Pri^e and Mention designs in
the Third Annual White Pine Architectural Competition, with the report of the Jury of Award

Subjects of Previous Numbers of

THE WHITE PINE SERIES OF ARCHITECTURAL

Vol. I, No. i. Colonial Cottages . . . .

Vol. I, No. 2. New England Colonial Houses ------

Vol. I, No. 3. Farm Houses of New Netherlands

Vol. 11, No. i. Houses of the Middle and Southern Colonies -

Vol. 11, No. 2. Domestic Architecture in Massachusetts -

Vol. II, No. 3. Early Houses of the Connecticut River Valley -

Vol. II, No. 4. A Suburban House and Garage -..----

Vol. 1 1, No. 5. Old Woodbury and Adjacent Domestic Architecture in

Connecticut

Vol. 1 1, No. 6. Colonial Architecture of the Eastern Shore of Maryland -

Vol. Ill, No. i. Three-Story Houses of New England

Vol. Ill, No. 2. Early Wooden Architecture of Andover, Massachusetts

Vol. Ill, No. 3. Old Houses of Newburyport, Massachusetts

Vol. Ill, No. 4. A White Pine House to Cost |i2, 500.00

Vol. Ill, No. 5. The Bristol Renaissance

Vol. Ill, No. 6. The Early Dwellings of Nan tucket -----

Vol. IV, No. i. Marblehead

Vol. IV, No. 2. Some Old Houses on the Southern Coast of Maine

MONOGRAPHS

Joseph Everett Chandler
Frank Chouteau Brown
Aymar Embury II
Frank E. Wallis
Julian Buckly
Richard B. Derby
Report of Jury of Award

Wesley S. Bessell
Charles A. Ziegler
Frank Chouteau Brown
Addison B. Le Boutillier
Richard Arnold Fisher
Report of Jury of Award

Joy Wheeler Dow
. A. Schweinfurth
William Truman Aldrich
C. Howard Walker

AnArchitectural

MONOGRAPH

on, a,
WHITE PINE HOUSE

FOR.THE
VACATION SEASON

Competitive Drawings

With report of the Jury of Architects

Claude Bragdom Wm^ldams Delano

HughMGGarden: J Harleston Parker

Howard Sill

Prepared for publication by

%//"<?// TWhiteheadformerlyfifltor

of The^rchitectural Record

and The ttricKb uilder

1)2 'MadfonXile. NewYorK N. Y.

•rrrrrn

mrnma

FIRST PRIZE, Design No. 161

Submitted by Richard M. Powers, Boston, Mass.

ARCHITECTURAL MONOGRAPHS

A BI-MONTLY PUBLICATION SUGGESTING TE
ARCHITECTURAL USES <T WHITE PINE AM) ITS
/MMLABLITY TODAY AS A STRUCTURAL W3DD

VOL. IV

AUGUST, 1918

No. 4

REPORT OF THE JURY OF AWARD

THE THIRD ANNUAL WHITE PINE ARCHITECTURAL COMPETITION
FOR A HOUSE FOR THE VACATION SEASON

Judged at the Biltmore, New York, N. Y., May 18 and ig, 1918

THE 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 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 southwest, 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 I 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 I merely mention it because of its prominent position on the property.
Just back of my site is a road which runs through a typical American community, and I wish my house to be
appropriate to that village, and not to partake too much of the cabin or so-called bungalow design from the mere
circumstance that it is on the lake.

"I do not want to spend more than $5000 for the house. If the size and number of rooms which I consider
necessary indicate a larger house than it is possible to build for that amount under normal building conditions,
you may suggest dual use of certain of the rooms. I 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 1^x24', with a fireplace large enough for big logs, and a
dining-room, connecting, if possible, with a porch where meals could be served. I 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 per-
mit of a room for billiards, etc., without too much excavation, I would like it. I 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 woujd have no
objection to having sleeping quarters on the ground floor. A sleeping porch is essential. The service 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 made —
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 1 leave to you. By outside finish
I mean siding and corner boards; window sash, frames and casings; outside doors, door frames and casings;
outside blinds; all exposed porch and balcony lumber; cornice boards, brackets, ornaments and mouldings, etc.,
not including shingles. Plastering is not necessary in all the rooms and we shall attend to the wall covering
ourselves.

"I 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 entrance from the road."

THE series of competitions instituted by
the WHITE PINE ARCHITECTURAL MONO-
GRAPHS, while frankly part of a campaign
to popularize the use of white pine, has never-
theless the ulterior and more altruistic objects of
raising the standard of domestic architecture; of
discovering and encouraging new talent, and of
providing for the prospective house builder a
point of departure, at least, in his enterprise. The

whole thing is part of a larger movement on the
part of the manufacturers and the building
trades generally, — a movement which is a hope-
ful sign of the times, for it is educative in the
broadest sense of the word.

The third Annual Architectural Competition
elicited two hundred and four sets of drawings.
The programme called for a different type of
house from those previously demanded, and the

THE WHITE PINE MONOGRAPH SERIES

general failure on the part of most of the com-
petitors to perceive this is the outstanding fea-
ture of the competition. The solutions, taken as
a whole, indicate an almost painful absence of
direct, synthetic, logical thought. The competi-
tors showed a disposition to evade the main
issues and stress things non-essential; they over-
taxed their fingers and under-exerted their
brains; in general, they failed in honesty. Never-
theless, out of so many solutions, it was possible
to select a sufficient number to justify the White
Pine Bureau in its admirable effort.

As in all such competitions, there was a wide
diversity of conceptions and style, and the com-
mittee endeavored to show such catholicity of
taste as should do justice to these divergent
views. It was forced to exclude some sincere and
thoughtful efforts on account of a perhaps small
but significant indication of a blind spot in the
brain, as it was also forced to admit certain
others in spite of evident obliquities of intellec-
tual vision. The judges persisted at their task
until all were in substantial agreement, their
only serious differences of opinion being the re-
sult of a difference of point of view as to what
particular aspect of the whole matter should be
emphasized.

THE FIRST PRIZE of $750 was awarded
to Design No. 161, by Richard M. Powers, with
full knowledge that the decision would, per-
haps, be criticized as having been swayed by the
really wonderful adroitness and aesthetic feeling
manifest in the rendering. The judges feel, how-
ever, that their collective conscience is clear of
this charge, because, while the rendering is un-
deniably beautiful, it is also undeniably true.
The house itself is simple; direct and logical. It
has an unmistakable wood character, it occupies
its point of land as though it had a right there.
Moreover, it is clear from the plan and from the
scale elevations that the other views would be
quite as satisfactory as the particular one chosen,
a thing which can be said of very few of the
designs submitted. The author has shown an
indifference, almost amounting to perversity, for
certain economical considerations with regard to
the number and construction of the chimneys,
and this almost lost him his chance of a prize.
His effort to get fireplaces in every bedroom, a
thing not called for, expected, or even desired,
has led him into structural complications of a
wholly unnecessary kind; the judges took the
view that in actual execution adjustments and
eliminations could be made which would leave
the general conception intact. This solution ex-
hibits a high order of ability in planning, design-
ing and rendering. The presentation calls for

the very highest commendation. It is rare that
artistic skill of such a quality is combined
with such practical good sense as is shown by
the floor plans. Most of the practical solutions
were painfully deficient in any sense of purely
aesthetic values, while the "snappy" drawings
too often served only as cloaks for flagrant ar-
chitectural sins.

THE SECOND PRIZE of $400 was awarded
to Design No. 1 32, by Otto Faelten and Donald
Robb. This design composes charmingly and
fits the site to admiration. It has just the right
character, being neither too rustic nor too formal
to comply with the conditions in this respect.
The plan is excellent, although it is of a type
which would lend itself more naturally to a pro-
gramme less restricted in the matter of expendi-
ture. Compressed within the limits of the cubage
called for, it is too contracted, particularly in its
service part. The absorption of the authors in
the purely aesthetic aspect of the problem has led
them to sacrifice practicality and sound construc-
tion here and there. The end gable of the main
roof has no sufficient support; the floors of the
open sleeping porches coming over the dining
room and living room are bad, as is the flat roof
on the long dormer. These are matters of which
the artistic temperament is always highly impa-
tient, but they are of the greatest moment to
people who live in the house. Many of the com-
petitors showed a disposition to sin flagrantly
in similar directions. They did not attack their
problem honestly and directly, but approached
it from the point of view of the camoufteur in-
tent upon deceptions.

THE THIRD PRIZE of $250 was awarded to
Design No. 23, by Olaf Shelgren. The author of.
this design did not yield to the temptation to be
picturesque, and therefore avoided many of its
pitfalls. The result is a design somewhat bleak
and bare, but admirably honest and straightfor-
ward. This particular design proved a storm
center in the deliberations of the committee, one
member contending that it was the only solution
which deserved any prize at all, on the ground
that none of the others could be built for $5000.
An analysis of the programme, however, reveals
the fact that any plan which comes within the
required cubage is eligible for a prize, and that
while the economic aspect of the whole matter
is never to be lost sight of, it is, after all, only
one of several factors. In the last analysis it is
perhaps the judges' "estimate of the contestant's
real ability" which scores most heavily. TheThird
Prize design stands high on the first two counts
insisted upon in the programme: "The ingenuity
shown in the development of the plans to meet

A HOUSE FOR THE VACATION SEASON

run

"" . THE SOVTH ELEVATIOK

DESIGN f~

A WHITE PINE HOUSE FOR. ,
THE WCATION SEASON

SUBMITTED By ( ( 0'

THE F1R.EPLACE SIDE OF THE LIVING RM

FIRST PRIZE, Design No. 161, Detail Sheet
Submitted by Richard M. Powers, Boston, Mass.

THE WHITE PINE MONOGRAPH SERIES

the client's needs as he has stated them," and
"The fitness of the design to express the wood-
built house." In meeting the third condition it
is less successful, for it has no really vital rela-
tion to the given site, of which the perspective
gives no suggestion. The recessed piazza with
the overhang supported only on slender posts
would be unhappy in execution, — almost like a
mouth with a missing tooth. The sleeping porch
is not expressed on the exterior with sufficient
frankness. It would have been better to have
made a single feature of the two superimposed
porches. The roof is admirably simple and the
single chimney a great economical advantage.
The honesty of the whole thing, and its respect
for the client's interest and wishes, are in sharp
and pleasing contrast with the bulk of the solu-
tions submitted. The plan is compact and well
arranged, though the maids' rooms are too small,
even for a small house.

THE FOURTH PRIZE of $100 was awarded
to Design No. 100, by Russell Barr Williamson.
This is frankly of that Western school of which
Mr. Frank Lloyd Wright is the most popular
exponent, and Mr. Louis Sullivan the originator.
This type of house, though somewhat outre to
Eastern eyes, has distinct merits, both from the
point of view of practicality and picturesqueness.
It does not deserve all of the cheap jokes passed
upon it by its detractors. People who live in
these houses insist that they do not feel as though
they were living in a sleeping-car. If we do not
want the architectural tree to die of dry-rot, we
should welcome these alien grafts, however wild
and wanton their growth or however strange
their bloom. This Fourth Prize house fits its
site to admiration. The plan is distinctly good,
the occupants would have, in Irvin Cobb's im-
mortal phrase, "no more privacy than a gold-
fish," but that is only our happy American way
of living openly. Let us be glad that we have so
little to conceal. The house suggests all kinds of
profound readjustments — in clothes, in furniture
and other human accessories — but the commit-
tee, with every disposition to change their psy-
chology imaginatively in order to be at home in
such a house, could not bring themselves to the
point of desiring to sit in front of the living room
fireplace.

MENTION DESIGNS

THE Mention designs naturally consist of such
as failed, for one reason or another, to get into
the winning class. They had their individual
advocates on the committee, who one by one
were overruled. The following commentary is
based upon no order of precedence of one over
another:

No. 4, submitted by E. J. Maier and T. E.
King, has a charm and originality not easily to
be denied. It seems to be in sympathy, however,
with a different sort of landscape than the one
prescribed. It is too mannered for a vacation
house on such a rugged site. The plan, while
possessing admirable and unusual features, has
grave faults. It would have been better to have
thrown the living room and the loggia together.
The dormers in the wing are too small, both from
an aesthetic and from a practical point of view.
The sleeping porch should be accessible from the
hall, or, at any rate, from the largest bedroom.
The separation of the guests' bedrooms from
those of the family is the finest feature of the
plan. The rendering deserves especial commen-
dation, even in a competition in which the stan-
dard in this particular is extraordinarily high.
It was the often-expressed regret of the judges
that some of the thought and skill which went
into the presentation had not been directed
toward the more important matters of arrange-
ment and design.

No. 86, submitted by Paul R. Williams, shows
a good grasp of the elements of the problem. It
fits the site charmingly, is neither too free nor
too formal, but the Palladian feature of the din-
ing porch and the most unhappy dormers of the
roof impair the beauty and unity of an otherwise
interesting design.

No. 84, submitted by Jerauld Dahler, shows a
nice feeling for the essentials of a design, but is
somewhat too symmetrical and formal to con-
form to the spirit of the place. It is urban in
feeling and would look better on a level site — as
shown — than on the slope of a hill. The author
has overstressed that part of the programme
which suggests that the design be appropriate to
a village as well as to the country. In plan the
floor of the sleeping balcony, coming as it does
over the living room, shows a disregard for the
fundamentals of direct and sound construction
in this type of a house.

No. 112, submitted by Antonio di Nardo, ex-
ceeds the cubage on a careful recomputation, and
according to the terms of the programme should
therefore receive no consideration whatever, but
the design, plan and presentation are all so good
that it forced itself upon the consideration of the
judges with a power which could not be denied.
In a spirit of regret, but in fairness to the other
competitors, the judges cannot give it anything
more than this passing word of praise.

No. 1 1 8, submitted by T. C. Pomphrey and
W. R. Ralston, is interesting and important
chiefly on account of its authors' departure from
the other contestants in the matter of location.
The house is placed far down the hill ; in fact, on

A HOUSE FOR THE VACATION SEASON

the beach. This undoubtedly has its advantages,
which are made the most of, but such a location
would involve expensive and unnecessary fills on
the shore side, or else grades too steep to be prac-
tical. The two covered porches divide the design
unpleasantly and possess no outweighing advan-
tage.

No. 124, submitted by Milton Rogers Wil-
liams, also exceeds the cubage, but the judges on
that account could not deprive the other com-
petitors of such an admirable example of beauty
and restraint as this design shows. Neither No.
112 nor No. 124 exhibit any particular regard
for the peculiarities of the site.

No. 165, submitted by L. E. Welsh and J. F.
Yewell, makes a truly beautiful picture, but there
are grave faults in it, when carefully considered
with regard to construction and livableness. The
sleeping porch is — to put it brutally — absurd
from a practical standpoint. One would get more
air and light in any of the bedrooms than in such
a sleeping porch. The weight of the second story
rear wall and of the main roof come directly
upon the ceilings of the hall and gun room.
Structural difficulties of this sort can of course
be dealt with, but where they are incurred for
the sake of mere picturesqueness, they cannot be
justified.

No. 167, submitted by J. H. Phillips, is seduc-
tively simple and picturesque in the perspective,
but the plan has been contorted and the other
elevations show that the author had in mind the
winning of the competition on these points at
the sacrifice of other considerations. The roof
lines of the rear are complicated to a degree and
in certain respects the plan, the elevations and
the section fail to correspond.

ALTHOUGH the duties of the jury cease at this
point, there remain a few of the designs relegated
to the discard, which, by reason of some special
excellence, plead for a word in passing.

No. 3, submitted by Hubert G. Ripley, is won-
derfully presented, but its architecture is too pre-

tentious to conform to the spirit of the pro-
gramme. No. 1 54, submitted by Porter W. Scott,
would have been better if the author had frankly
abandoned every attempt at "constructed archi-
tecture" in the porches and let the simple spirit
of the rest of the design have its way there as
well. He has failed to reconcile convincingly
these two elements in his design. The rendering
of Nos. 3 and 1 54 are among the best submitted.
No. 127, submitted by J. T. Thomson and J. P.
Wilson, is in this particular the most remarkable
submitted, with the exception of the First Prize
design. It owes so much of its appeal to its
elaborate system of stone walls, steps and gar-
dens— is, in fact, so largely a thing of masonry
rather than of wood, that it could not receive the
consideration to which it was clearly entitled on
other less essential counts. No. 108, submitted
by Edwin J. Schmitt, Jr., is remarkable for its
rendering. The style is hard and unbeautiful,
but original and strong. No. 123, submitted by
Arthur W. Coote, had its advocates for a high
place, by reason of the qualities exhibited in the
Third Prize design; but the combination of wood
and stone is clearly unhappy, besides being un-
necessary, and the whole design, though full of
merit, is not, after all, convincing. Nos. 105, 174
and 175 are all of the same general type — a good
type enough, but rather strained in their particu-
lar relations. The authors (Harry L. Skidmore,
Eugene D. Monticello and Charles F. Mink,
respectively) should rather have sought out a
free solution instead of trying to adapt their
new libretto to an already popular tune. No.
178, submitted by Carl Bradley and Herman
Brookman, is well planned and designed, but the
chosen scheme is too ambitious for this type of
house; that is, there is too little regard for econ-
omy.

CLAUDE BRAGDON "1
WM. ADAMS DELANO Jury
HUGH M. G. GARDEN I of
]. HARLESTON PARKER Award
HOWARD SILL

THE WHITE PINE MONOGRAPH SERIES

J)ESJGN FOKA

WHITE PINE HOUJE

FOJt, THE

VACATION BEATON

tNT) E.UVATIO'N

ENTRANCE POKCH DETAIL
•utj

LIVING1 -K,OOA\ FIT^E.TLAC£-

SECOND PRIZE, Design No. 132, Detail Sheet
Submitted by Otto Faelten, New York, N. Y., and Donald Robb, Boston, Mass.

A HOUSE FOR THE VACATION SEASON

CV^AG'E

MAIN HOUSE- Iff TLOOK 1)568

MAIN HOU5E- 2r? FLOOK S 768

KITCHEN WING 4913

•DETACHED WING 4847

COVERED MJfAGE 533

BASEMENT 5911
TOTAL

QES/GW FOR. A

WHITE PINE HOUSE

VACATION J-EAJON

•Y

'YPR.EJ*

SECOND PRIZE, Design No. 132
Submitted by Otto Faelten, New York, N. Y., and Donald Robb, Boston, Mass.

THE WHITE PINE MONOGRAPH SERIES

A HOUSE FOR THE VACATION SEASON

i i

THE WHITE PINE MONOGRAPH SERIES

Ei-frVATIOrt OP flEErPUCE 1H

FOURTH PRIZE, Design No. 100, Detail Sheet
Submitted by Russell Barr Williamson, Kansas City, Mo.

A HOUSE FOR THE VACATION SEASON

Fuz' A WttiTt PINE: HOUJE-
Tut VACATION JtAJON-

FOURTH PRIZE, Design No. 100
Submitted by Russell Barr Williamson, Kansas City, Mo.

THE WHITE PINE MONOGRAPH SERIES

^/Jp^ -• ' '-., *$/%$ •

A HOUSE FOR THE VACATION SEASON

THE WHITE PINE MONOGRAPH SERIES

A HOUSE FOR THE VACATION SEASON

?M%&&>£3$>y&\ M

M\^

THE WHITE PINE MONOGRAPH SERIES

DtTAIL E.LLVATION Of LNTR.ANCE.

SIDE C.LLVATION

DESIGN IOH A WHITE PINE HOUSE FOR THE VACATION SEA5ON

MENTION, Design No. 84, Detail Sheet
Submitted by Jerauld Dahler, Washington, D. C.

A HOUSE FOR THE VACATION SEASON

CUBAGL
MAIN HOUSE.(EXCAVATED)
2rx38'X26' 2672S

WINGS (DNEXCAVAItl)
aOsii'XWXl?^ 6616

iOLV.WINQ ADDITION
rfX5^'XII' 647

LIVING POUCH
^(I4'X20'XII'J 1027

DINING POE.CH

719

TOTAL. CUBIC rtn 37937

U Io< 3>»». •

DESIGN FOR A WHITt PINE HOUSE TOR THE VACATION SEASON

MENTION, Design No. 84
Submitted by Jerauld Dahler, Washington, D. C.

THE WHITE PINE MONOGRAPH SERIES

DOORWAY
SECTION

MAIN ENTRANCE
ELEVATION

PORCH
DETAIL

SCALE5

5 IDE ELEVATION

AND LAKE ELEVATION

i° f 4

MAIN ENTRANCE ELEVATION
AND END OF LIVING ROOM

CELLAR UNDER KITCHEN
MAIDS ROOM AND PANTRY

38E5

.SIDE ELEVATION

DESIGN FOR A WHITE PINE HOUSE

MENTION, Design No. 112, Detail Sheet
Submitted by Antonio di Nardo, New York, N. Y.

A HOUSE FOR THE VACATION SEASON

i i f i

j^- :H

LIVING ROOM P f

""•"" W

DESIGN FOR, A WHI PINE HOU5E

FDR THE VACATION SEASON

MENTION, Design No. 112
Submitted by Antonio di Nardo, New York, N. Y.

THE WHITE PINE MONOGRAPH SERIES

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A HOUSE FOR THE VACATION SEASON

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THE WHITE PINE MONOGRAPH SERIES

M A J N
C O R./M 1 C L

INCH OCALL

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SCAJ. L FOR 4/4 INCH <5CALt DETAiLO iniiiini

MINOR,
CORAJ 1C L6

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ROAD LLLVATION

V& INCH OCALE |° , , , I6, , , , |f, , , I1?, , , I

I C jN FOR
FOR THE

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THE WHITE PINE MONOGRAPH SERIES

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DESIGN FOR. A WHITE PINE HOUSE
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DESIGN No. 3

Submitted by Hubert G. Ripley, Boston, Mass.

DESIGN No. 178
Submitted by Karl Bradley and Herman Brookman, New York, N. Y.

A HOUSE FOR THE VACATION SEASON

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THE WHITE PINE MONOGRAPH SERIES

DESIGN No. 108
Submitted by Edwin J. Schmitt, Jr., New York, N. Y.

Subjects of Previous Numbers of
THE WHITE PINE SERIES OF ARCHITECTURAL MONOGRAPHS

Vol. I, No. i. Colonial Cottages

Vol. I, No. 2. New England Colonial Houses

Vol. I, No. 3. Farm Houses of New Netherlands -

Vol. II, No. i. Houses of the Middle and Southern Colonies

Vol. 1 1, No. 2. Domestic Architecture in Massachusetts -

Vol. 1 1, No. 3. Early Houses of the Connecticut River Valley -

Vol. 1 1, No. 4. A Suburban House and Garage

Vol. 1 1, No. 5. Old Woodbury and Adjacent Domestic Architecture in
Connecticut ---------

Vol. 1 1, No. 6. Colonial Architecture of the Eastern Shore of Maryland

Vol. 1 1 1, No. i. Three-Story Houses of New England - - - -

Vol. Ill, No.2. Early Wooden Architecture of Andover, Massachusetts

Vol. Ill, No. 3. Old Houses of Newburyport, Massachusetts -

Vol. III,No.4. A White Pine House to Cost $12,500.00 ...

Vol. Ill, No. 5. The Bristol Renaissance --,-----

Vol. 1 1 1, No. 6. The Early Dwellings of Nantucket -

Vol. IV, No. i. Marblehead

Vol. IV, No. 2. Some Old Houses on the Southern Coast of Maine

Vol. IV, No. 3. Providence and Its Colonial Houses - - - -

Joseph Everett Chandler
Frank Chouteau Brown
Aymar Embury II
Frank E. Wallis
Julian Buckly
Richard B. Derby
Report of Jury of Award

Wesley S. Bessell
Charles A. Ziegler
Frank Chouteau Brown
Addison B. Le Boutillier
Richard Arnold Fisher
Report of Jury of Award

Joy Wheeler Dow
. A. Schweinfurth
William Truman Aldrich
C. Howard Walker
Norman M. I sham

An Architectural

MONO GRAPH onEat-ty

* ' «-

ouses o

Prepared for publication £y

tyffell TWhite/ieadformerly£c/i'tor
of The^Architectural Record
and The "RricKb uilder
J)2 MadifonXVe. MewYorK N. Y.

y^^si^g.

THE MILLER HOUSE, LUDLOWVILLE, NEW YORK. Detail of Doorway.

JULIAN A. BUCKLY

1872-1918

JULIAN A. BUCKLY

JULIAN A. BUCKLY, ARCHITECT, THE ARCHITECTURAL
PHOTOGRAPHER AND OFFICIAL PHOTOGRAPHER FOR
THE WHITE PINE MONOGRAPH SERIES, DIED IN BOSTON
ON JUNE 24, 1918. HIS CAREER OF CONSPICUOUS ARTIS-
TIC ACHIEVEMENT UNFORTUNATELY WAS TERMINATED
IN THE MIDST OF INVALUABLE SERVICES TO THE AR-
CHITECTURAL PROFESSION.

BY HIS TALENTS AND TRAINING MR. BUCKLY WAS ESPECIALLY
FITTED FOR HIS CHOSEN WORK. HE HAD A LONG AND VARIED
ARCHITECTURAL EXPERIENCE IN SEVERAL OF THE BEST OFFICES
OF BOSTON, PITTSBURGH, BALTIMORE AND NEW YORK. HIS INTER-
EST IN PHOTOGRAPHY BEGAN VERY EARLY IN HIS OFFICE EXPERI-
ENCE, AND, REALIZING THE ARTISTIC POSSIBILITIES OF THE WORK,
HE FINALLY DECIDED TO DEVOTE HIMSELF EXCLUSIVELY TO MAK-
ING PHOTOGRAPHS OF ARCHITECTURAL SUBJECTS. HIS SERVICES
WERE SOUGHT BY ARCHITECTS OF NATIONAL REPUTATION AND
HIS WORK HAS BEEN FAMILIAR FOR YEARS TO FOLLOWERS OF THE
ARCHITECTURAL PRESS.

BUCKLY'S PICTURES, IN ADDITION TO BEING BEAUTIFULLY COM-
POSED, ALWAYS BROUGHT OUT THE ARCHITECTURAL INTEREST OF
THE SUBJECT. HIS WORK FOR THE MONOGRAPH SERIES EXHIBITS
THIS QUALITY TO A MARKED DEGREE. ONE CAN TURN THE PAGES
OF PAST NUMBERS AT RANDOM AND SEE IN HIS PICTURES A HAPPY
FACULTY OF COMBINING RARE PICTORIAL QUALITY WITH AN AR-
CHITECTURAL STORY. NONE BUT AN ARCHITECT WOULD HAVE
MADE THE PICTURE OF THE HOUSES ON FRANKLIN STREET IN THE
MARBLEHEAD NUMBER; ONLY AN ARTIST COULD HAVE MADE THE
PICTURE 'OF THE OLD ABBOTT FARM-HOUSE IN THE ANDOVER
NUMBER.

HIS SENSE OF COMPOSITION AND VALUES AND HIS UNERRING FAC-
ULTY OF BRINGING OUT THE ARCHITECTURAL QUALITY OF HIS
SUBJECTS HAVE GIVEN TO HIS WORK OF RECORDING OLD HOUSES
AND TO THE CONTEMPORARY WORK OF HIS CLIENTS THE UTMOST
INTEREST AND CHARM. HE WAS A MASTER OF THE TECHNIQUE OF
HIS ART.

THESE QUALITIES IN HIS WORK WERE BUT A REFLECTION OF THE
MAN HIMSELF. HE WAS MODEST IN THE EXTREME ABOUT HIS
WORK AND HIS CHARM OF MANNER AND HELPFUL INTEREST IN
THE WORK OF ARCHITECTS MADE HIM A WELCOME VISITOR IN
MANY OFFICES.

IT IS WITH GREAT REGRET THAT WE RECORD THE FACT THAT
BUCKLY'S WORK IS DONE, AND IT IS WITH DEEP SORROW THAT WE
REALIZE THAT A GENTLE FRIEND AND A FINE ARTIST HAS PASSED
AWAY.

Tfi&WftlTL PINE,

ARCHITECTURAL MONOGRAPHS

ABI-MONTLY PUBLICATION SUGGESTING TE
ARCHIXCTURAL USES CT WHITE PINE AND ITS
AVAILABILITY TODAY AS A STRUCTURAL WGDD

Vol. IV

OCTOBER, 1918

No. 5

EARLY WOOD-BUILT HOUSES OF
CENTRAL NEW YORK

By CARL C. TALLMAN, A. i. A.

The early architecture of the New England States has long been studied with interest and to the advantage of present-day design;
that of Central New York, while just as interesting, has but recently received the attention to which its charm entitles it. Mr.
Tollman, a lifelong resident of Auburn, has made the old houses of this -vicinity his special study. — EDITOR'S NOTE.

PHOTOGRAPHS BY THE AUTHOR

IN the year 1828, prior to which time almost
all of the post-Colonial buildings in Central
New York had been erected, — for the Greek
revival had then begun to assert itself, — a gentle-
man from Scotland, one James Stuart, accom-
panied by his wife, passed through this section
upon the first leg of a three-years' tour covering
most of the parts of
the United States then
inhabited.1 To the
author Mr. Stuart's
narration of stage-
coach episodes and his
description of the vil-
lages of Central New
York seem to create an
atmosphereof theearly
days which hardly
could be equalled by
a present-day writer.
Ninety years ago the
villages must have pre-
sented a chaste and
dignified appearance,
unspoiled by motley
groupings of almost
all the known styles

of architecture and "carpentecture" which in later
years were planted heterogeneously amidst the
unassuming post-Colonial structures. Probably
the simple character of the villages was not
greatly disturbed by the Classic revival, which
held sway until about 1845, although the de-

so-called
improve-

1 "Three Years in North America," by James Stuart,
lished in Edinburgh, 1833.

Pub-

signers of that period aimed at more pretentious
edifices. Their work, however, failed to possess
that subtle charm which the earlier builders had
managed to incorporate in their structures. It is
not necessary to dwell at length upon the horrors
that succeeded the decline of the Greek revival
and the lack of appreciation of the old work

which became mani-
fest when
"modern"

ments were intro-
duced. Suffice it to
say that from the au-
thor's observations the
post-Colonial build-
ings of Central New
York have suffered
more at the hands of
"progress" than have
those in any other sec-
tion of the country.

Let us then go back
to the early days, tak-
ing our seats upon the
stage at Utica in com-
pany with our narra-
tor:

From 30tb of August to 1st of September, 1828.
From Utica to Auburn.

"We found the stage partly filled before we
prepared to take our seats, — half an hour before
sunrise, — and did not reach Auburn2 until nearly

1 The distance from Utica to Auburn is seventy-five miles.

MAP OF CENTRAL NEW YORK.
Showing James Stuart's Route.

THE WHITE PINE MONOGRAPH SERIES

sunset. The morning
was very hot, but we
had some welcome
showers in the fore-
noon, after which the
heat became much
more tolerable, the
road indifferent, and
frequently not in the
best line; but our
charioteers drove
pretty steadily at the
rate of seven miles an
hour. Therewere many
wooden bridges over
creeks, — the name
given to small rivers
in this country, — and

the rapid driving of our cumbersome machine
down the hills to those bridges was at first rather
appalling; but the drivers got on so fearlessly,
and at the same time seemed to have their horses
so well in hand, that we very soon thought our-
selves as safe as in an English stage coach. Our
route led us through a good country, diversified
with hill and dale, and considerable hollows, —
mucji excellent land, all cleared and settled within
the last thirty or thirty-five years. We passed

HOUSE AT VERNON CENTER, NEW YORK

many thriving vil-
lages, — towns we
should call most of
them: New Hartford,
Manchester, Vernon,
Oneida, Lenox, Chit-
tenango, Manlius,
Jamesville, Onondaga,
Marcellus, and Skane-
ateles, adjoining a lake
of the same name.
The valley of Onon-
daga is exceedingly
beautiful, and the
town neat and clean
looking, with a hand-
some opening and
piece of fine sward in

its centre. We were in the neighborhood of two
small settlements of Indians.1 In one place, the
children of the Indians followed the stage a long
way to get a few cents from us. Everything has
a thriving appearance in this district — crops good
— and we have also to-day seen many patches of
buckwheat. Farm-houses, generally with a por-
tico, piazza, or balcony on one side, and a few
locust trees or Lombardy poplars about the

1 Onondaga Indian Reservation.

REAR PORCH.

HOUSE AT VERNON CENTER, NEW YORK.

Photograph by Owen F. Scott

EARLY WOOD-BUILT HOUSES OF CENTRAL NEW YORK

buildings, and in all
cases large orchards
at this season laden
with fruit. Near the
house, and sometimes
in the orchards, is the
burying-ground of the
family, marked by the
erection of a few
grave-stones.

"We breakfasted at
Vernon, seventeen
miles from Utica, this
morning, and had even
more than an abun-
dant American break-
fast set before us.
Onondaga is the usual
place for dining on
this journey; but a party of militia on duty
there had, I presume, partaken of our dinner;
for we were told that we must wait for some
time. This we were unwilling to do; and, having
got a lunch of cheese and bread, we delayed our
chief meal until we reached the coffee-house hotel
at Auburn.

"Auburn itself is situated on the outlet of the
Oswesco1 Lake, conveniently for manufactures,

1 Owasco.

WARD
Sennett, Cayuga County

and is a thriving
place, with a popula-
tion of about 4000.
It might have been
the Auburn of Gold-
smith, but for its nu-
merous manufacturing
establishments, and for
its being the situation
of one of the two
great state prisons of
the State of New
York. There are
printing offices, and
various newspapers
here, as at all the vil-
lages; one of the pa-
pers devoted entirely
to religious discussion
and intelligence.2 There are several hotels; one
of them, a splendid-looking house, contains
about 200 beds.

"Nowhere in this country has there been a
more complete change since the revolution, than
in that part of it where we are now travelling, in
point of general improvement of population, and
the comforts of living and travelling."
Continuing with the diary:

2 Auburn Theological Seminary was founded in 1818.

lillllj

SOULE HOUSE,
New York. Built 1814.

HOUSE ON WEST SIDE OF SKANEATELES LAKE, NE\\

Built circa 1818.

THE WHITE PINE MONOGRAPH SERIES

HOUSE AT ELBRIDGE, ONONDAGA COUNTY, NEW YORK.
Built circa 1815.

HOUSE, 544 SOUTH MAIN STREET, GENEVA, NEW YORK.
Built by Dr. Mandeville, 1800-1818.

EARLY WOOD-BUILT HOUSES OF CENTRAL NEW YORK

From 2nd September to 9tb September.

"Soon after our visit to the Auburn prison,1
we left the very comfortable family hotel at that
village in the stage for Ithaca, at the head of the
Cayuga Lake, in order to have a look at the vil-
lage of Aurora, on the eastern side of the lake,
and to see a little more of the lakes than we
should if we had adhered to the direct western
road, which passes the outlets or northern ends
of those lakes. The lakes are parallel to each
other, about thirty-three or thirty-five miles

houses, but a number of detached, clean-looking,
and apparently comfortable small villas, inclosed
in courts, or spots of garden ground ornamented
with a few weeping willows or locust trees.

"We passed many good farms, some of them
recently brought into cultivation, on which the
usual processes of house-building, and inclosing
by strong wooden rails, were in progress.

"Ithaca is a very flourishing village, the centre
of several great roads, with a population of be-
tween 3000 and 4000, and buildings in rapid
progress.

THE MILLER HOUSE, LUDLOWVILLE, NEW YORK.

long, and two miles broad; our route is by the
eastern side of the Cayuga Lake to Ithaca, and
thence by the western2 side of Seneca Lake to
Geneva on its northern extremity.

"We proceeded by the western road as far as
the outlet from Cayuga Lake, where there is a
wooden bridge remarkable for its length, above
a mile, and thence by the east side of the lake to
Aurora, which is charmingly situated on rising
ground above the lake, and is considered an
eligible place of residence, on account of the
beauty of the surrounding scenery, and cheap-
ness of the necessaries of life. The village does
not consist of a connected street, or rows of

1 Auburn prison built 1817.

1 Mr. S. is in error here. A subsequent reference to the vil-
lage of Ovid shows that the route was on the eastern side of
Seneca Lake.

"We pursued our journey on the 5th towards
Geneva. The only village we passed on our
way to Geneva was Ovid, with its handsomely
situated church, and fine piece of green turf be-
tween the church and hotel. The American vil-
lages are generally announced to you by the
spires of their churches peeping through the trees.

"The situation of Geneva on a terrace above
the lake is very delightful, as well as command-
ing, and the village, containing some good
houses, and a population of 2000 or 3000, seems
an agreeable place of residence, more cheerful
looking, and the landscapes and views more
pleasing, than any of our resting places since
leaving the vale of the Mohawk.

"Early on the yth September, we proceeded
to Canandaigua, on the lake of the same name,

THE PHELPS HOUSE, NORTH MAIN STREET, CANANDAIGUA, NEW YORK.
Detail of Side Elevation. Built circa 1813.

THE GRANGER HOUSE, NORTH MAIN STREET, CANANDAIGUA, NEW YORK.
Front Elevation. Built circa 1816.

THE WHITE PINE MONOGRAPH SERIES

sixteen miles distant from Geneva, through a
very fertile district; it is considered the most
beautiful village in the State of New York; pop-
ulation about 3000. It rises gradually for above
a mile from the lake, with an extensive opening
for the public buildings in the centre of the
street. I am not sure, if I admire the situation
more than that of Geneva, but the style of the
houses is decidedly superior. There is more
appearance of their having been designed and
set down with taste than I have ever observed
elsewhere. In short, advantage has been taken

ever. Second, where their charm has been ap-
preciated,— and consequently their original ap-
pearance preserved free from serious alterations,
—the early houses stand out as examples of
domestic architecture worthy of becoming the
source of inspiration for modern home-build-
ers. Instances of such appreciation are to
be seen in Canandaigua and Geneva perhaps
to a greater extent than in other villages and
cities, although here and there throughout
the territory are to be found scattered examples
which have been spared. No architect — in fact,

TWO HOUSES ON MILL STREET, ITHACA, NEW YORK.
The one on the right was moved to its present location recently to clear original site for a business block.

of the ground, and of its relative situation with
the lake, to place them on the fittest spots. They
are generally separate and distinct dwelling-
houses, their exterior painted perfectly white,
and they recede from the street of the village,
the sides of which are shaded with trees, inclosed
in neatly laid out gardens. Some houses are
large, and too good to be denominated villas."

Having caught a glimpse of the country and
the principal villages as they appeared ninety
years ago, let us rapidly retrace our journey in
order to observe the present condition of the old
houses. A careful survey to-day points out two
facts very clearly. First, where roofs have been
maintained reasonably weather-tight the old
buildings invariably are found to be as sound as

no layman, if he possesses an interest in such
matters, and it is evident on the whole that the
layman's appreciation is continually increasing
— should miss the opportunity of visiting Ge-
neva and Canandaigua when he is in their vicin-
ity. No guide is needed to point out the
delightful old houses in these towns, but in the
remainder of the territory the tourist must travel
many miles always with his eyes wide open, —
for the interesting examples of early architecture
are not always apparent to the casual observer.
The interest of such a tour, however, is not con-
fined to architecture, for the country in the
vicinity of the Finger Lakes, with its combina-
tion of natural scenery and well-developed
farms, is wonderfully beautiful.

EARLY WOOD-BUILT HOUSES OF CENTRAL NEW YORK

THE THOMAS BEALS HOUSE, NORTH MAIN STREET, CANANDAIGUA, NEW YORK.

Built circa 1815.

HOUSE ON SOUTH MAIN STREET, GENEVA. NEW YORK.
Built in 1820 by Charles A. Williamson

THE WHITE PINE MONOGRAPH SERIES

The oldest houses are to be found mostly on
or near the original turnpike. Colonel William-
son (whose house at Geneva is illustrated herein)
is authority for the following in reference to the
road from Utica, via Cayuga ferry and Canan-
daigua, to the Genesee River at Avon: "This
line of road having been established by law, not
less than fifty families settled upon it in the
space of four months after it was opened."
Though the road was probably laid out in 1794,
it seems not to have been constructed for some
time, for in June, 1797, Col. Williamson repre-
sents the road from Fort Schuyler to the Genesee
as little better than an Indian trail. It was,

main road east and west follows the old turn-
pike the greater part of the distance, but from
Chittenango to Auburn the present state road
lies to the north of the old route, passing through
Syracuse, which in the days before the Erie Canal
was but a small hamlet reached by a spur of the
old road from Onondaga. Upon the completion
of the Erie Canal in 1825, villages naturally
sprang up along its banks. The early architec-
tural development in these villages, however,
lacked the charm of the earlier work along the
turnpike.

The author will not attempt a classification,
or division into periods, of the many variations

THE DR. CARR-HAYES HOUSE, GIBSON STREET, CANANDAIGUA, NEW YORK. Built 1826.

however, so far improved subsequently, that on
the 3oth day of September, 1799, a stage started
from Utica and arrived at Genesee in the after-
noon of the third day, and from that period it is
believed that a regular stage has passed between
these two places. In the year 1800, a law was
enacted by the legislature of the State for making
this road a turnpike. The work of construction
was commenced without delay, and completed
in a short time.

The work illustrated herein has been selected
mainly from that part of the country which lies
near the old turnpike, following Mr. Stuart's
deviation around Cayuga Lake. To-day the

of style which are to be found in this terri-
tory. As a result of the diversified origin of the
early settlers, one sees evidences that the early
builders were inspired by Colonial buildings in
various older settlements nearer tidewater, from
New England to Maryland and Virginia. While
buildings of frame construction predominate,
many old stone and brick structures, with white
pine trim, are to be found.

The author hopes that the few examples herein
illustrated will help to bring about a closer study
of the early buildings of Central New York, so
that their story may be added to the records of
Colonial and post-Colonial research.

EARLY WOOD-BUILT HOUSES OF CENTRAL NEW YORK

THE BALDWIN HOUSE, SOUTH STREET, AUBURN, NEW YORK.

Built circa 1838.

THE BOODY HOUSE, ROSE HILL ON SENECA LAKE.
Opposite Geneva, New York. Built circa 1835.

HOUSE AT VERNON, NEW YORK. Detail of Doorway.

WHITE PINE--AND WHERE TO USE IT

INTRODUCTION

This article introduces a series designed to help the architect in the proper use and specification of White Pine. The results »f
an investigation vie conducted clearly indicate that such a series will be of real service to the profession.— EDITOR'S NOTE.

THE changed conditions which have come
about in American life have brought new
responsibilities to all of us. We have
ceased to be a nation of "wasters." Thrift and
economy have taken the place of squandering
and extravagance; and by all the signs of the
times we shall never again return to_the profli-
gacy of our national youth.

There have, from time to time, in this country
been spasmodic efforts toward "conservation";
but the new times are putting a new construction
on the meaning of this principle. We are now
beginning to understand conservation in its
broader and truer aspect.

Take the lumber industry, in which every ar-
chitect has a direct interest. Lumber manufac-
turers, whether justly or unjustly, have been
accused of wasting a great essential national re-
source. It is only recently, however, that conser-
vationists have turned their attention to the
equally extravagant waste through the improper
use of lumber. The keen eye of the analyst has
found the "user" as culpable as the manufac-
turer. .

Yet there is nothing to be gained by recrimi-
nations, unless out of a frank discussion of the
facts there may come a cooperation between the
users and manufacturers of wood which will
enable this vital natural resource to render its
most efficient service to the nation.

Obviously the burden in the proper direction
of the intelligent use of lumber falls on the manu-
facturer, rather than on the user, for with the
manufacturer lies the responsibility of delivering
full value and service in the product which he
sells.

No one is really to blame for the misuse of
wood, for it is only recently that a sufficient fund
of experience with various kinds of woods has
accumulated to show us their proper — and im-
proper— uses. As it would be impossible, in the
scope of this series of articles, to cover the entire
range of woods in the markets to-day, we shall
necessarily confine the discussion to the proper
use of White Pine.

We feel that we need hardly explain our mo-
tives in frankly considering with the architects
the proper and intelligent specification of White
Pine. For more than three years we have,
through the Monographs, presented the merits of
this wood in a straightforward, frank and honest
manner, with no desire to have White Pine used

where another wood might give better service,
or where a cheaper wood might give as good ser-
vice.

That in the past we have perhaps not been
specific enough, was forcibly brought to our at-
tention through the answers which came to us
in response to a questionnaire which we sent to a
thousand architects last spring.

It was apparent from these responses that
there is still a confusion in the minds of many
architects as to whether or not Idaho White Pine
has the same qualities as the White Pine of New
England and the Lake States; — that many archi-
tects are still having difficulties in getting White
Pine when they specify it; — and that they are still
specifying White Pine in general terms which are
meaningless both to the contractor and the lum-
ber dealer, such terms as "clear, kiln dried, mer-
chantable grade of White Pine, free from large
and loose knots, sap and other structural de-
fects,"--"No. i" or "No. 2 White Pine" — or sim-
ply, "Clear White Pine."

Practically all the White Pine in the market
to-day comes from the Lake States and Idaho,
and the future supply must come almost entirely
from the ample forests in the latter region. The
fact, however, that this White Pine comes from
Idaho does not mean that it is not true White
Pine. This subject was thoroughly discussed in
an article in Vol. II, No. 3, of the Monographs.
In that article there appeared the following state-
ment of Mr. Howard F. Weiss, who at that time
was Director of the United States Forest Prod-
ucts Laboratory and who is recognized nation-
ally as an authority on all subjects pertaining to
wood:

"The White Pine (Pinus strobus), grown
years ago in the New England States and in
Pennsylvania, analyzes botanically and in
other particulars the same as the White Pine
to-day being cut in Minnesota, Wisconsin, and
Michigan, other than the slight differences
that result from the changed climatic and soil
conditions in the widely separated territories
in which it is grown. Also does Idaho White
Pine, though botanically called Pinus montic-
ola, analyze almost identically like the White
Pine of the New England States, Pennsyl-
vania, Minnesota, Wisconsin, and Michigan,
the climatic and soil conditions of Idaho here
again in some slight degree differentiating it
from the White Pine of the East and of the

THE WHITE PINE MONOGRAPH SERIES

Middle West. In other words, for practical
use the White Pine of the New England States,
Pennsylvania, Minnesota, Wisconsin, Michi-
gan and Idaho is so similar that it can be used
interchangeably with very satisfactory re-
sults."

Why there should be a "scarcity" of White
Pine in the territory in which it can be economi-
cally distributed — and that means the whole
country, with the exception of the Pacific Coast
and Southern States — is beyond our comprehen-
sion. The supply is ample; and all through the
White Pine territory there are wholesale yards
with comprehensive stocks, from which the local
dealer can economically buy in less than car-load
lots such items as he may not have in stock, and
get prompt deliveries.

True, there are some dealers who for one rea-
son or another do not carry White Pine and who
trade on the general notion that there is no more
of the "good old-fashioned White Pine"; but
that is no reason why any architect who wants
White Pine — and will be insistent — cannot get it.
In every locality there is at least one dealer who
wants to be of real service to his community. If
your contractor does not know such a dealer, the
White Pine Bureau is at all times ready to be of
assistance in finding him.

The specification of the proper grade of White
Pine — in order to get just the grade which will
answer the requirements most economically,
without the needless waste of money and of a
natural resource — is necessarily a complex prob-
lem. This subject was thoroughly covered in the
White Pine Specification Book which was sent to
all architects last year, and if it were consistently
used there would be no occasion for the am-
biguous and extravagant "blanket clauses" which

still find their way into specifications to-day. It
is nothing short of extravagance to specify
"clear" White Pine where a lower grade will an-
swer the purpose fully as well and be consider-
ably less in price.

It is now obvious, however, that a short cut is
needed by which the information contained in
the Specification Book can be readily and easily
incorporated in the architect's specifications. To
supply this short cut we shall in the succeeding
issues of the Monographs present three sets of
specifications, stating by standard manufac-
turers' grades the proper uses of White Pine in
house construction; this presentation will natu-
rally also be applicable to other forms of con-
struction.

These specifications will conform to the three
cost factors that enter into the erection of every
building and on which the Specification Book
was founded:

CLASS i. Houses of the highest grade where
Quality is first and Cost a second-
ary consideration.

CLASS 2. Houses of medium grade where
Quality and Cost are being equally
considered.

CLASS 3. Houses of cheap construction
where Cost is first and Quality a
secondary consideration.

Following this data, the series will be con-
tinued by a discussion in detail of the experience
which has established the superiority of White
Pine for those uses for which it has been recom-
mended. It will, therefore, be the purpose of
these articles to consider fairly and honestly the
proper use of White Pine from the standpoint of
the architect and his client.

Subjects of Previous Numbers of
THE WHITE PINE SERIES OF ARCHITECTURAL MONOGRAPHS

Vol. I, No. i. Colonial Cottages ---

Vol. I, No. 2. New England Colonial Houses

Vol. I, No. 3. Farm Houses of New Netherlands -

Vol. II, No. i. Houses of the Middle and Southern Colonies

Vol. II, No. 2. Domestic Architecture in Massachusetts ...

Vol. 1 1, No. 3. Early Houses of the Connecticut River Valley -

Vol. II, No. 4. A Suburban House and Garage -----

Vol. 1 1, No. 5. Old Woodbury and Adjacent Domestic Architecture in

Connecticut

Vol. II, No. 6. Colonial Architecture of the Eastern Shore of Maryland

Vol. 1 1 1, No. i. Three-Story Houses of New England -

Vol. Ill, No. 2. Early Wooden Architecture of Andpver, Massachusetts

Vol. Ill, No. 3. Old Houses of Newburyport, Massachusetts -

Vol. 1 1 1, No. 4. A White Pine House to Cost |i2, 500.00

Vol. 1 1 1, No. 5. The Bristol Renaissance

Vol. I II, No. 6. The Early Dwellings of Nantucket -

Vol. IV, No. i. Marblehead ---

Vol. IV, No. 2. Some Old Houses on the Southern Coast of Maine

Vol. IV, No. 3. Providence and Its Colonial Houses -

Vol. IV, No. 4. House for the Vacation Season - - - - -

Joseph Everett Chandler
Frank Chouteau Brown
Aymar Embury II
Frank E. Wallis
Julian Buckly
Richard B. Derby
Report of Jury of Award

Wesley S. Bessell
Charles A. Ziegler
Frank Chouteau Brown
Addison B. Le Boutillier
Richard Arnold Fisher
Report of Jury of Award
Joy Wheeler Dow
J. A. Schweinfurth
William Truman Aldrich
C. Howard Walker
Norman M. Isham
Report of Jury of Award

AnArchttectural

MON GRAPH

Prepared for publication by
Whi

hltehead formerly&litor
The^rchitectural 'Record
and The "EtricKb uilder
1)2 -MadfonXVe. NewYork N. Y.

THE GENERAL STRONG HOUSE, VERGENNES, VERMONT.

Vol. IV

A BI-MONTLY PUBLICATION SUGGESTING TE
ARCHITECTURAL USES <T WHITE PINE AND ITS
/MMLABLITY TODAf AS A «STRJJCTURAL \M3DD

DECEMBER, 1918

No. 6

COLONIAL ARCHITECTURE IN VERMONT

By GEORGE S. CHAPPELL

Again we are fortunate in having in Mr. Chappell another close student of the domestic architecture of the Colonists. After
graduating from Yale, Mr. Cltappell continued his studies at the Ecole des Beaux-Arts until 1902. Since then he has been prac-
tising architecture in New York, for a time in partnership with Charles Ewing and at present independently. — EDITOR'S XOTE.

PHOTOGRAPHS BY KENNETH CLARK

CURIOUS and interesting indeed is the
invariable accuracy with which the
architecture of a particular locality
mutely spells its history. Not less engaging is
this historic aspect when its lesson lies not on
the surface but deeply buried in the meshes of
circumstance which must first be explored before
arriving at glimmerings of the truth. Such is
the case with the fair Green Mountain State.
The architectural history of Vermont is yet to
be written. It exists, doubtless, not only in the
noble houses which have been preserved, but
likewise in the town records of many a valley
village, — records, praise be, which are gradually
being crystallized into useful collections by the
beneficent agencies of various societies of por-
tentous and dignified titles, such as the "Society
for the Preservation of New England Antiqui-
ties." But, as yet, the historians have said little
specifically of the charming towns west of Con-
necticut which, by leaps and bounds, are attain-
ing a national pre-eminence as foci of rest and
recreation for thousands of brain-fagged ur-
banites.

Other sections of what we may properly call
our Colonial country have had, each, their
scribes. The coast towns, without exception,
accessible by main railway lines and the more
alluring water routes, have long stood as mile-
stones on the itinerary of the zealous draughts-
man, the prying historian and, last but by no
means least, the man behind the camera. Who,
among the architectural profession or in the
splendid brotherhood of kindred souls to whom
our old houses are precious, vital things, can

look back with aught but keenest pleasure to the
occasional visit of that rare character, Frank
Cousins, whose valuable records of Salem, Ports-
mouth, Newburyport and Marblehead were
invariably illumined by his quaint anecdotes
and observations? The very accent of the man
went with the pictures, and his point of view
and method of what I can only tactfully term
"distribution" were in wonderfully refreshing
contrast to the cock-sure briskness of many a
brick merchant, refrigerator vendor or miscella-
neous patent-pusher who, in normal times, form
an unending line at the outer portals of an office.

"Are these pictures for sale, Mr. Cousins?"
I asked him, at our first meeting.

His reply was preceded by a look of gentle
surprise and reproach which I shall never forget.

"No, Mr. Chappell . . . no, — they are not
for sale. I am merely showing them to you. I
will leave them here. I know you will enjoy
them, and I give them to you. You will note
that they are numbered. Keep what you find
most interesting, — later, perhaps, if you wish
to make me a present, you may mail me a check.
What a lovely mantel that is in the Peabody
house! I had to bribe Mrs. Peabody with two
baskets of Northern Spies before she would let
me photograph it," etc.

In Dutch Colonial, Long Island and New
York, along the Georgian River James, in
Charleston and Savannah, — up and down the
coast have ranged the recorders of our historic
past, — but of Vermont we find nothing. It is,
then, with a peculiar elation that I have under-
taken this little monograph, with something of

THE WHITE PINE MONOGRAPH SERIES

THE OLD CONSTITUTION HOUSE, WINDSOR, VERMONT.

HOUSE AT MIDDLEBURY, VERMONT.

COLONIAL ARCHITECTURE IN VERMONT

the feeling of a humble explorer, a traveller into
"green fields and pastures new" in our frag-
mentary world of architectural letters.

The mass impression, the total result, is per-
haps the most trustworthy gauge of value by
which to standardize an appreciation. In many
cases this is extremely difficult. New England
Colonial architecture, in the general sense of the
term, runs a wide gamut of expression from the
early iyth century survivals — in many ways the
most absorbingly interesting of our relics — to
the late i8th century period whose delicate life

colonies, waged for years a most desperate
struggle for her political existence. Planted be-
tween the great and vague grants of the Colonies
of New York and New Hampshire, the green hills
and valleys between the Connecticut and the
Hudson were a veritable no-man's-land, con-
stantly in dispute, constantly changing hands ac-
cording to who drew the last map or last had the
ear of the King's Council, and, consequently, con-
stantly neglected. While thriving towns were
being built in the defined areas of Massachusetts
and Connecticut, the wildernesses of the interior

THE GENERAL STRONG HOUSE, VERGENNES, VERMONT.

was finally crushed out by the heavy hand of the
Greek revival. Each type and phase must be
considered and appraised separately, for they
are distinct links in the chain.

In Vermont, however, we find a striking
homogeneity of architectural expression, an al-
most unvarying type which makes it possible
to judge the value of this little known contribu-
tion by a single standard.

This brings me, by a very devious route, I
must confess, to the thought expressed in my
initial paragraph, namely, that this very homo-
geneity must perforce have its reason in the
actual history of the State. Nor is this reason
far to seek or hard to find. We forget, perhaps,
that Vermont, more than any of our original

were left to the Indians and the animals. It
was not until 1724 that the first white settlement
in the present State of Vermont was founded at
Fort Dummer, south of Brattleboro. The real
tide of emigration did not set in until 1760, be-
tween which period and the outbreak of the
Revolution a bitter controversy was waged be-
tween the hardy pioneers who had pushed into
the forests, and the more calculating governors
of the coastal communities who saw in such ex-
ploration only an enlargement of their own
boundaries. So acute did this quarrel become
that Governor Tryon of New York formally
placed a bounty of £150 on the head of no
less a person than Ethan Allen, who, later, at
Ticonderoga, blazed his way to a glory which

THE WHITE PINE MONOGRAPH SERIES

has sufficiently dimmed the luster of his former
powerful antagonist.

Throughout the entire Revolutionary War.
Vermont fought nobly as an independent, un-
official group of settlers, and it was not until
1791 that she was finally formally admitted into
the Union, — a belated recognition which, in the
light of her splendid history and services, we
should not hesitate nowadays to term "a raw
deal."

Be that as it may, here is the plain explana-
tion of Vermont's singleness of style in her early
architecture. Of the very earliest, the iyth

dwellings, the period of the sturdy Georgian
detail of Deerfield and Longmeadow, was still
too early for the fluctuating, battledore-and-
shuttlecock existence of the struggling colony.
Vermont came into full architectural being just
after the transition in styles had been effected
which parallels interestingly what has happened
recently in New York City and, in lesser degree,
throughout the entire United States. In a word,
the first Adam craze was on,: — perhaps not the
very first, but leaving the great original out
of the discussion, the first architectural Adam
was certainly the great popular style of the'

HOUSE AT WINDSOR, VERMONT.

century and early i8th century type, there is
practically none. It was not until the State was
recognized and established that its staunch citi-
zens began to build the dignified homes which
we find in the lovely villages of Rutland, Wind-
sor, Middlebury, and Vergennes.

The architectural derivation is as clear as the
historical reasons for it. One has but to turn
the pages of Asher Benjamin's delightful
"Country Builders' Assistant, fully explaining
the Best Methods for striking Regular and
Quirked Mouldings" to see the hand of time
pointing with no uncertain finger at the skilful
carpenter of Greenfield whose name is writ
large over the entire State of Vermont.

The period subsequent to our first stark

new State. It was between 1773 and 1798 that
Robert and James Adam published the splendid
series of engravings of their undying monuments
to a phase of English architecture which stands
for the utmost delicacy and refinement of Britain
as clearly as Louis Seize indicates the culture of
France. This was the fount from which Asher
Benjamin drew his inspiration. His vessel was
no royal tankard, but the water it held was pure.
Far from being a servile copyist, he translated
the proportions of cornice and column from
terms of stone to wood with a niceness of judg-
ment and delicacy of appreciation of the mate-
rial he was working in that has earned him an
undying and enviable place in the architectural
history of America.

S
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THE WHITE PINE MONOGRAPH SERIES

Strange, how history
repeats herself! The
Ritz hotels, the Stattler
hotels, the many new
apartment houses on
Park Avenue, in New
York, — everywhere we
are rushing to Adam,
it is a fad, a phase, a
transitory enthusiasm,
but it will leave charm-
ing results behind it. If
I were asked to coin a
modern expression for
the early architecture of
Vermont, I should say
they did "wooden Ritz"
— and I think I should
be understood.

It is a sophisticated
art, but an art still sound
and vigorous. Canons
of judgment in these
matters are peculiarly
personal, and my indi-
vidual rating of our na-
tional periods gives first
place to the earlier, more na'ive structures in
which the broader elements of mass and propor-
tion, fenestration and austere profile seem to fall

Cornice Detail.

THE WAINWRIGHT HOUSE,
MIDDLEBURY, VERMONT.

into a harmony that is
inevitable and was, prob-
ably, unconscious. Ver-
mont is not without her
examples of this chaste
style, as in the old Con-
stitution House in Wind-
sor, illustrated on page 4,
built in 1777, and hap-
pily restored with a rev-
erent regard to the an-
cient law of severity.

More characteristic by
far, however, are such
bits of pure Adam detail
as the charming door of
the Sherman Evarts
House, also in Windsor,
illustrated on page 12,
or the ingenious inter-
laced frieze on one of the
stately residences of
Middlebury, known as
the Wainwright House,
which strikingly illus-
trates the addition to a
classic background of a motive which could be
properly executed in wood, and wood alone.
Less fortunate, but of singular interest in illus-

HOUSE AT CASTLETON, VERMONT.

COLONIAL ARCHITECTURE IN VERMONT

trating a subtle approach
to the decadence of over-
refinement, is the curious
porch of the Meecham-
Ainsworth House in
Castleton, illustrated on
page 13, where we see
the ingenuity of the skil-
ful workman combining
three types of arches, the
semicircle, the elliptical
and the stilted, in a single
motif. Far more than
the usual refinement in
design and proportion
are found in the General
Strong House at Ver-
gennes, Frontispiece and
page 5. Here General
Strong lived while he
and Macdonough were
building the fleet which
won the Battle of Lake
Champlain.

In general, we may say
of the Colonial architec-
ture of Vermont that it
was a true and dignified expression of the eco-
nomic conditions of its period, nor can we ask
more of any generation. In its studious devel-

Cornice

THE SHERMAN
WINDSOR,

opment of classic orna-
ment and general excel-
lence of taste it goes far
to rebut the quaint as-
sumption of J. Norman,
an earlier precursor of
Asher Benjamin, who
prefaces his hand-book
with the encouraging
statement that architec-
ture should be univer-
sally practiced, as it is
"so easy as to be ac-
quired in leisure times,
when the Business of the
Day is over, by way of
Diversion."

I herewith formally
pin upon Mr. Norman's
breast a medal, proclaim-
ing him to be the great
originator of that vast
army of home-builders
who firmly believe that
they planned their own
houses and that the ar-
chitect merely drew some
white lines on blue paper putting on some figures
and arranged the staircase so that it did not end
in the living-room fireplace.

Detail.

EVARTS HOUSE,
VERMONT.

THE SHERMAN EVARTS HOUSE, WINDSOR, VERMONT.

THE WHITE PINE MONOGRAPH SERIES

ENTRANCE DETAILS.

HOUSE AT MIDDLEBURY,
VERMONT.

THE SHERMAN EVARTS HOUSE,
WINDSOR, VERMONT.

ENTRANCE DETAILS.
THE JOHONNOT HOUSE, WINDSOR, VERMONT. HOUSE AT CASTLETON, VERMONT.

THE FULLERTON HOUSE, WINDSOR, VERMONT. Entrance Detail.

WHITE PINE-AND WHERE TO USE IT

SPECIFICATION CLAUSES FOR A HOUSE OF THE HIGHEST GRADE

WHERE QUALITY IS FIRST AND COST A

SECONDARY CONSIDERATION

Prepared by LOUIS ROBERT HOLSKE

Specification Writer for McKim, Mead &• White, Architects

In the introductory article to "White Pine— and Where to Use It," it was stated that a short cut was needed to help the architect to
incorporate the information contained in the White Pine Standard Grading Rules Book into his specifications. It is hoped that
the data presented in this article is in such form as to be not only of value, but also of practical use.— EDITOR'S NOTE.

THOUGH there is no universal form of
specification for a given building, each
architect having his own method of in-
dicating the requirements as to material and
workmanship, the White Pine Bureau offers the
following Specification for White Pine, which
may be incorporated into any form in current
use. In working it out it has been borne in mind
that to be of use to architects it must be as con-
cise as possible. Clause A will be common to
the specifications for the three classes of house.
The application has been divided into three
clauses, B, C, and D, for structural, exterior and
interior uses respectively. C and D could
readily be united in the interest of greater
brevity. This, however, would be affected by
the classification adopted by the architect in
writing his specification. Some architects clas-
sify everything in woodwork under Carpentry,
others divide it into Rough Carpentry, Exterior
Finish and Interior Finish, etc.

The fact has often been emphasized that
"blanket clauses" are ambiguous and that their
interpretation invariably adds appreciably to
the cost of the structure. In spite of the fact
that there are comparatively few instances
where it is necessary to use absolutely Clear
White Pine, architects often make the mistake
of specifying "Clear White Pine" for all uses,
where in many cases a lower grade would be
more suitable and considerably less expensive.
The client would have as satisfactory and as
durable a house; the architect would gain pres-
tige through creating a house which combines
maximum quality with proper cost. Clear
White Pine for sash, doors and blinds, however,
does not come in this category, as sash, doors
and blinds are products of factories and are cut
from White Pine stock which yields the required
amount of clear wood, although the nomen-
clature of the grade from which it is cut is not

"Clear." This grade is known as "White Pine
Factory Lumber" and is essentially for cutting-
up purposes, or other shop uses where sections ot
clear lumber are required.

There are three fundamental sets of White
Pine Standard Grading Rules, one or more of
which is familiar to all White Pine wholesale
and retail lumber dealers throughout the United
States. The architect should determine which
of these three is applicable in the territory of
the contemplated building before writing his
specification. Any contractor or local retail
lumber dealer should be able to give him this
information. The architect can then specify
the grades under whichever of the three sets
applies. It may be found that White Pine is
sometimes sold by lumber dealers under local
names, although the dealer has purchased the
lumber from the manufacturers under one of the
three standard sets of grades. Every dealer must
therefore know the grades as called for in the
accompanying Specification, and there is no ex-
cuse for any confusion or misinterpretation.

While White Pine is the wood par excellence
for all construction uses, there may be, perhaps,
a question as to the advisability of specifying it
for general framing purposes. Clause B of the
model Specification states the grades which
should be used if it is decided to build of White
Pine throughout. There are other structural
woods, lower in cost and almost equal to White
Pine, for sills, posts, girders, etc., but for studding
and framing for doors and windows it is par-
ticularly recommended. There is no shrinkage
nor swelling, no warping nor twisting, in White
Pine, and a door or window hung in a White
Pine frame will not stick or bind, nor will the
plaster crack. In these cases the slight extra
first cost is more than offset by the future sav-
ing in repairs.

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BINDING SECT. JUH 1 0 1966

NA The Monograph series, records

1 of early American architecture

M63

v.l-A

cop. 2

PLEASE DO NOT REMOVE
CARDS OR SLIPS FROM THIS POCKET

UNIVERSITY OF TORONTO LIBRARY

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