New Orleans and its environs; the domestic architecture, 1727-1870

JEW ORLEANS

AND ITS ENVIRONS

THE DOMESTIC ARCHITECTURE

1727- 1870

W H

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NEW ORLEANS

AND ITS ENVIRONS

THE DOMESTIC ARCHITECTURE

1727-1870

BY

ITALO WILLIAM RICCIUTI

PHOTOGRAPHS
BY

RUDOLF HERTZBERG

With an Introduction by

TALBOT FAULKNER HAMLIN

WILLIAM HELBURN, INC.

NEW YORK, N. Y.

Copyright, 1938

William Helburn, Inc.

New York

Reference

958855

25 '88

INTRODUCTION

EW ORLEANS is unique among the cities of the United States. Climate
and history have combined to make its people and its life different from
those of other towns, and its architecture, always a sensitive expression
of both factors, has necessarily developed its own characteristic forms,
full of a special flavor. Yet, until now, these forms have remained largely unpublished.
Nathaniel Courtland Curtis has brilliantly sketched the architectural history of New
Orleans, in New Orleans, Its Old Houses, Shops, and Public Buildings (Philadelphia
and London, J. B. Lippincott Co., 1933), but the limitations in a book of that kind
prevented the extensive illustration of details necessary to give the architect and the
interested layman a comprehensive knowledge of the forms themselves. This book of
Mr. Ricciuti, with photographs by Rudolf Hertzberg, thus comes at a peculiarly
opportune time, and for the first time through its pages the reader may gain an ade-
quate idea of the real architectural wealth which New Orleans contains. It is an admir-
able complement to Mr. Curtis's work ; in addition, its myriad pictures contain a vast
fund of information and inspiration in themselves.

New Orleans was the country's first melting pot. French, Spanish, French again,
and finally American, it has received gifts from many peoples and cultures. Yet both
Spaniard and Frenchman built with such a sure eye to its climate and site and con-
ditions, that it is always definitely American. Its Cabildo (built in 1795) may resemble
the motives and the proportions shown in the drawings for the Casas Reales at Ante-
quera in Mexico (1781) preserved in the archives of the the Indies in Seville; but
the same archives show a military commander's house in Baton Rouge (1788), which,
in its wide-spreading verandah and hipped and gabled roofs, is a characteristic
Louisiana form. Similarly, the old Ursuline Convent, later used as an archbishopric,
finished in 1734, may recall to us the gracious buildings of many a provincial French
town; yet the early French houses, in their windows, their stairs, and their arrange-
ments, are at least as American — or, rather as New Orleans-like — as they are French.
You will find here neither the Spanish Baroque of Spain or Mexico, nor the manoirs
and hotels of France; instead, the place from the very beginning stamped upon its
buildings its own special character, from the small, one-story houses built in stuccoed
half-timber, to the later high fronts gay with scrolled iron-work.

NEW ORLEANS AND ITS ENVIRONS

The same thing happened when, after New Orleans had become a part of the
United States, immigrants poured into it from the North and the East. New Orleans
was a dream city, then; cotton trade was booming, population was growing by leaps
and bounds; despite floods and yellow fever, the flood of wealth was more important,
the economic exuberance more attractive. Yet, as men from New England, New York,
the entire Atlantic Seaboard came in on the tall ships that lay along the levees, as
men from western Pennsylvania and Ohio and Illinois came floating down the river,
the locality placed its stamp on them quite as much as they changed it, and though
the front of the Grima house, built in 1830, has the red brick walls, the many-paned
windows, and the white door of far-away New England or New York, its plan and its
appointments are those of the regular New Orleans house. Each of these waves, and
each of these peoples left a solid residue in architectural form, as they did in the
population of the city, so that no other city anywhere has its character.

One examining these photographs is surprised, first, I think, by the strong
"colonial" and classic revival character of the architectural detail. Two terrible fires,
one in 1 788 and one in 1 794, account partly for this, for they swept away much of the
early Spanish and French Building, so that the city today, even in its older parts, is
the product largely of the American period since 1813, and the whole Garden Dis-
trict dates almost entirely from the great cotton boom days of 1830-1850. One enters
an oval arched passage that gives a view of an almost tropical court beyond ; the door
through which one passes may have the delicate leaded side-lights and fan-lights of
the North. Within, in the cool high living rooms, one comes with surprise upon a
mantel which might grace a house in Massachusetts or early Ohio. On Chartres and
on Royal Streets are houses the fronts of which — save for the ubiquitous balconies-
might be found in Greenwich Village. Even in the cast iron work, so famous as to
make the name, "New Orleans", almost synonymous with its lacy elegance, study
reveals again and again motives identical with those of Charleston, Philadelphia, or
New York.

There are two chief reasons for these similarities : the settling in New Orleans of
architects and builders with a northern background, and the importation and wide
use of such builders' and architects' handbooks as those of Benjamin and Lafever. A
characteristic case is that of James Gallier, Senior. Born in Ireland, trained as builder
and architect in Ireland and England, he came to New York in the spring, 1832, and
worked as an architect and draftsman there, and in Boston, for some two and a half
years; for one of these he was a partner of Minard Lafever. Disappointed in the
opportunities offered in New York, he went to New Orleans in the fall of 1834, and
rapidly became one of its busiest and most prosperous architects, the designer, for
instance, of the City Hall. His son followed him, and between the two the Gallier

NEW ORLEANS AND ITS ENVIRONS

family contributed not a little to the appearance of New Orleans. Through Gallier,
moreover, the Dakin family came to New Orleans. James Dakin had been a pupil,
and later a partner of Alexander Jackson Davis in New York, where Gallier had made
his acquaintance, and he, like Gallier, had a son who followed him in the profession.
Thus these two families, with training and background English and northern, joined
with the French de Pouilly and the Freret family in making New Orleans what it is.

The evidence of the use of the architectural handbooks of Benjamin and Lafever
— especially the latter — is wide-spread. Mantels, door, window, and dormer details,
decorative plasterwork can again and again be traced to plates in these works. Some
of the marble mantels are so similar, in fact, to mantels in New York, that one is led
to wonder whether or not they were imported, ready-made, from some outside source,
on the northern seaboard; or whether both northern and southern examples came
from the same European manufactory, and the books merely copied them! Some of
the cast iron balcony work may also have been shipped from the north, from one of
several northern foundries ; but we know that much of ijt was cast locally from patterns
or sections of the work brought in from elsewhere.

A.

Thus, out of the combined influences of France, Spain, England, New England
and New York, New Orleans developed that peculiar and characteristic architectural
expression which forms so great a part of its charm. It is good to have these New
Orleans buildings and their details at last so carefully photographed. This book is a
valuable record of a unique city and a unique portion of American culture.

* •

.* t

' TALBOT HAMLIN

• Columbia University

AUTHOR'S FOREWORD

JO BOOK using New Orleans either as background or principal theme has
ever been able to escape its architecture. Yet, up to now no book has
appeared which has done for the unique old architecture of this city that
which has been done for the remains of the old buildings of other places.
No previous attempt has been made to present an illustrated record of this archi-
tecture for use as a reference work for architects and draftsmen.

Being an architect, the lack of such a work was doubly noticeable to me, and
resolving that something could be done about it, I began the task of gathering material
—a task which would have been undertaken with reluctance had it not been for the
encouragement and help received from the publishers of this book. Once begun, a
sense of duty and a sort of patriotism had often to be called on to bolster up drooping
enthusiasm as the months went by and the material accumulated, oh so slowly.

In gathering the material into book form, the reference character of the work
was kept constantly in mind. Only buildings and details which possessed architectural
merit were included, little or no attention being paid to historical, romantic or literary
connections ; consequently many buildings which are the mecca of visitors and tourists
were omitted. Also, in an effort to cater to the contemporary interest in small buildings
and dwellings and in order to keep the volume down to a reasonable size, concentration
was almost entirely on structures of a non-public nature.

For easy reference it was believed feasible to keep photographs of building
exteriors separate from various details such as iron work, doors, staircases, etc. Mea-
sured drawings of several of the illustrations found in the earlier pages have been
placed at the end of the book. This arrangement has one disagreeable feature, the
scattering of various parts of one building throughout the book. Chances are, however,
that details of a specific kind will be more in demand than all the details of any one
house. Nevertheless, whenever such a scattering occurs, attention is always called to
those plates which illustrate other parts of the same building. Details have been
arranged in chronological sequence as much as possible so that development and
evolution may be traced. As for the exteriors of buildings they have inevitably fallen
into three main groups, so sharp is the definition separating them. Occasional over-

NEW ORLEANS AND ITS ENVIRONS

lapping of one group into another exists but is always of minor importance, New
Orleans having been saved for the most part from that ingrowing development which
throttled the historic architecture of so many American cities. These three main
groups — The Vieux Carre, The Garden District, and the Plantations — have been
arranged as nearly as possible in their natural order of evolution. It is hoped that the
following of the very obvious architectural development from page to page will give
as much pleasure as was found in weighing the value of and judging the evidence
which established precedence of one building over another.

All of the photographs shown herein were taken expressly for this purpose by
Mr. Hertzberg. Mr. Hertzberg's help was invaluable also in the preparation of the
measured drawings.

The great majority of the measured drawings were taken from the valuable
material gathered by the Louisiana Division of the Historic American Building Survey
and made available through the courtesy of Mr. Richard Koch of this city, director
of the project. Mr. Koch's kindness saved much time and work and knowing the care
and thoroughness with which the project under his direction is being carried out there
was not the slightest hesitancy in accepting the authenticity of whatever material was
used.

I am also greatly indebted to Mr. Nathaniel Courtland Curtis and his book, New
Orleans, Its Old Houses, Shops and Public Buildings. I am so much in sympathy with
Mr. Curtis's opinions that it is suspected that many of the ideas which I believe to be
my own are actually more his than mine, or at least have their roots well planted in
his writings and teachings.

Mr. Stanley Clisby Arthur's recent book on New Orleans has also proved invalu-
able. This work, result of painstaking study of notarial records, will inevitably be con-
sulted by anyone whose interest lies in the architecture of the "French Quarter",
as the Vieux Carre is called by New Orleanians.

Finally, in giving thanks, Mr. Hertzberg and I would be definite in assigning
the place of honor to those good and courteous people who allowed us to photograph
and measure their houses. Any hospitality which can still be gracious in the face of
such utter disregard for the privacy and sanctity of the home, moving of furniture,
strewing of electric wires and floodlights, removal of pictures and hangings, blocking
of doorways and general disruption of the quiet and peace, deserves far greater reward
than can possibly be satisfied by the mere mention of gratitude.

New Orleans — 1938 ITALO WILLIAM RICCIUTI

GENERAL DESCRIPTION

HEN in 1718, he was confronted with the need of a new trading post for
John Law's Compagnie de I'Occidente, Jean Baptiste de Bienville found
that the site upon which was to grow the city of New Orleans presented
several distinct advantages. Three were of great importance; it possessed
that which was lacking in the sticky morass which was most of South Louisiana, dry
ground; it was accessible by two waterways, the Bayou St. John and the more danger-
ous Mississippi River; and the fact that the spot was well known to the Indians of
the surrounding country as the home of the Houmas, making it excellent trading
ground for the Compagnie just granted a twenty-five year charter of free trade in the
province by the Due d' Orleans, regent of France.

Fifty men, under Sieur Le Blonde de la Tour, cleared and laid out the town—
in rectangles, barely more than 100 in number. In the center facing the Mississippi
and commanding the magnificent view which the broad sweep of the river gives at
this point, was placed the town square later called the Place d'Armes, still later
Jackson Square, the vandals of commerce and politics having long since substituted
railroad tracks and dirty wharf sheds for vista and cool breezes. To the rear of the
square was to be the church, the school and the government house.

The first houses were rudely built of split cypress slabs and palmetto thatched.
Only rarely were clay plastered logs used. A sandy clay found along the banks of the
river soon served for the manufacture of a soft brick, easily crushed. The weakness of
the early brickwork led to the then rampant Briquete entre Poteaux, construction
shown on Plate 1. In this type of construction a framework of heavy cypress timbers,
giving structural stability to the building, was filled in solid with the soft brick. There
are some examples of this "half-timber" mode of building which used adobe instead of
brick for the filling in. The soft brick which eroded so easily was bonded by a mortar
made from lime secured from clam shells found in nearby Lake Pontchartrain and the
numerous bayous in the vicinity — this mortar, excellent if kept dry, becomes chalky
and useless if exposed to the weather. The problem was solved by covering the brick-
work with a coating of plaster. The same plaster covers the majority of brick buildings
of the Vieux Carre today — for later when brick and mortar were of more durable
character the habit of plastering brick walls had become so firmly rooted that to leave
brickwork uncovered was tantamount to leaving a building naked.

NEW ORLEANS AND ITS ENVIRONS

The later buildings of the first French domination were usually one story, built
flush with the sidewalk, and had wide projecting roof overhangs protecting sidewalks
from the rain and glaring sun. The rooms facing the street were occupied by the shop
of the business man who lived with his family in the rear or in a wing which flanked
the small secluded court. Later the introduction of dormer windows made it possible
for the heretofore waste space under the sloping roof to be used for living quarters.

In 1768, over the protest and rebellious objections of the French colonials much
of Louisiana, including New Orleans, was turned over to Spain, Louis XV in a secret
treaty six years before having ceded the territory to his cousin Charles III of Spain.
This change so despised by the colonials was nevertheless the signal for a decided
freshness in the architecture of the town. Permission of free trade with France and
the American Colonies did much to bring money into the city and consequently stimu-
late building. Houses for the first time looked toward an occasional comfort outside
the purely rudimentary necessity for shelter. Slight ornamentation became apparent
in cornices and after the addition of dormers they too came to be outlined by mouldings
Later these dormers became full second stories, low-ceilinged as yet, but serving to
give better accommodations as living quarters. Thus the architecture of New Orleans
began to come of age.

But it was actually the disastrous fires of 1788 and 1794, razing more than nine
hundred buildings, which gave the greatest impetus to building. Unfortunate as those
fires were to archaeology (they all but wiped out the old town) the building reforms
and their stimulus to build in an entirely new manner proved invaluable in the
architectural development of the city. Moreover wealth was accumulating, for New
Orleans was now growing rapidly in importance as a commercial port through the
development of the Middle West. Heretofore construction had more or less followed
French colonial habits even into the Spanish era. Now, however, over the smoking
ruins of the burned city appeared an architecture whose paved courtyards, massive
arched doorways with their ponderous doors, iron-barred windows and wrought-iron
balconies had a Spanish flavor which went well with the French heritage and the
colonial exigencies of the place. Professional and business men of the community soon
had the ostentation to build full two story and two story and a half houses. They still
found it convenient to keep to the old plan of making their places of business and
their residences in one building, but a more gracious social life among the colonials
demanded that greater attention be paid to those rooms to be used for receiving and
entertaining.

The primitiveness of the buildings slowly and surely disappeared, until the turn
into the nineteenth century — when New Orleans was undergoing an astonishing

NEW ORLEANS AND ITS ENVIRONS

change from Spanish to French and finally into American hands all within three years
—saw the city standing on the threshold of an architectural development which
within thirty years blossomed into a robust style, unique, truly indigenous. A style
which can be called neither French nor Spanish nor Colonial even though these three
influences are strongly distinguishable. The mannerisms of these three influences were
combining into attitudes so strongly defined as to mark a truly independent style, an
architecture whose determining factors were not traditional nor romantic but were
those very factors which have always been the springboard of great architecture;
climatological conditions, topography, local materials, and the social customs and
cultural tastes of the times.

The chief factor was climate. New Orleans has a nine-month summer with pre-
dominant southeast moisture-laden breezes contributing to a humid subtropical cli-
mate. The winters are mild, slight freezes occurring about three times a year. For
these general conditions the houses of this period were excellently suited. Courtyards
shaded by high brick walls and wide-spreading banana leaves; cooling draughts
through lofty-arched carriage drives; wide fanlight windows admitting the river
breezes through broad halls and high-ceil inged rooms; long "galleries" shielding from
the intense glare and thick brick walls excluding the heat of the street; everything
was calculated to cool and refresh.

In plan the more important mansions followed fairly closely a single scheme.
The main wing faced the street and contained on the ground floor the shop or counting
room and above, the apartment of the owner. An arched flagstoned carriage drive
flanking the shop led from the street to the courtyard. To one side and at the end of
this passageway an open arcaded vestibule gave access to the gracefully sweeping
staircase leading to the well-proportioned rooms of the floor above. At the head of
the stairs an ample stairhall landing, enriched by wide fanlight windows, looked down
on the brick or flagstone paved courtyard with its low bordering flower beds abundant
in subtropical plants and its small cast iron fountain splashing cooly in the shade of
oleander and camphor trees. It is here in these Vieux Carre courtyards that the
Spanish were most successful in breaking through the stubbornness of French influence
on the architecture of the city — a stubbornness which prevails to the present day.

On the rear of the main wing and extending along one side of the courtyard was
the garfonniere; a name which came to be given because of its function as quarters
for the younger members of the family and their friends- and to take care of whatever
overflow of guests there was from the main house. The garfonniere was always of two
and sometimes three floors, each with its balcony overlooking the court, these floors
seldom on the same level as those of the main house. The connection between the two

NEW ORLEANS AND ITS ENVIRONS

was effected by means of little runs of stairs. The ground floor of this wing was given
over to kitchen, service rooms and stables.

Entrance to the carriage passageway was through a massive door with hand-
wrought hinges and cast knocker. A small door cut in one of the leaves of this large
door was used for ordinary occasions when the full opening of the door was not only
unnecessary but cumbersome.

The facades, setting flush with the sidewalks, were simple but excellently propor-
tioned and of good scale, great care always being taken in the disposition of openings.
The usual smoothly troweled plaster predominated in wall finishes. Long balconies,
or "galleries" as they are called in the city, ran the full width of the building at the
principal floor level. The supporting brackets, the railings and watershed supports of
these balconies were of beautifully wrought iron often of decided Spanish pattern.
Monograms together with other indentifying marks of the owner were cleverly inter-
woven into geometrical and stylized floral designs. The early wrought iron was im-
ported, possibly from Spain, there being no then known deposits of iron ore in the
vicinity. Much later local craftsmen began to work iron comparable to the imported
product. Up to this time the use of cast iron for "galleries" was negligible. Later, after
about 1830, the material came into such popularity that it is no exaggeration to say
that buildings had "cast iron facades", as one authority puts it. Even though the
effect of all this cast iron, such a distinguishing feature of old New Orleans architec-
ture, is generally pleasing in its often-mentioned "lace-like" appearance, it can hardly
be compared with the earlier wrought iron for sheer beauty and grace of design. Early
architects achieved, however, extremely happy effects in cast iron by using motifs
inspired by the luxuriant plant life of their own climate. The live oak, the rose vine
and the morning glory are only a few among the infinite variety of designs produced at
this time.

The consistent growth of the city meanwhile had caused more and more im-
portant houses to be built on the very fringe of the old town, along Rampart,
Esplanade and Canal Streets. Numerous fortune-seeking Americans, lured by the
advantageous situation of the city and the stories of fabulous riches and pleasures,
began to settle in New Orleans. The antipathy of the Creoles to the newcomers caused
most of these Americans to settle on the upstream side of the town in what was then
the Faubourg Ste. Marie, and by 1850 many mansions had been built on the American
side of Canal Street. With the pre-civil war prosperity of 1850-60 came a great boom
for this section, later known as the Garden District. By this time, too, the wave of
classical interest which had carried the Greek Revival on its crest had broken over
the entire cultural element of the city. Two architects, a Frenchman, J. N. B. de

NEW ORLEANS AND ITS ENVIRONS

Pouilly, and an Irishman, James Gallier, Sr., were doing the most distinguished work.
To the latter can be attributed much of the finest Greek Revival architecture in the
city. The houses along Esplanade and Rampart Streets as well as several within the
confines of the old square itself now assumed a different character. Cast iron was
everywhere, covering the entire faces and much of the sides of buildings, Greek motifs
being used extensively in their design. Great pains were taken in the correct use of
the orders in the design of doorways. In the detailing of cornice mouldings great care
was taken to adhere to Greek profiles. Brick was still the favorite material and plaster
covered the surface of most of the "Creole" buildings. The influence of the Georgian
architecture of the eastern states was asserting itself strongly, however, and many of
the new buildings displayed many characteristics which cannot be called indigenous
to New Orleans. Among these was the practice of leaving brick exposed.

The houses, used entirely as residences now, were larger, their principal floor
raised from two to five feet above the street level. Small runs of stone steps led to the
sidewalk through a small vestibule, open and re-entrant, in the face of the building.
Generally an "L" in plan, the principal wing on the street rose higher than the
service wing to the rear.

The interiors contained rooms of almost monumental proportions. Three elements
were given great prominence on the first floor: the staircase, usually placed opposite
the entrance door and at the end of the central hall ; the double parlor, rooms identical
in treatment and separated by a massive set of paneled sliding doors ; and the carved
marble mantels which graced every room in the house save those used for servants.
Treatment of the bed rooms of the second floor was almost as careful as that accorded
the parlors and dining room on the first floor. Cornices were always accented with
plaster mouldings. The center of the ceilings of the more important rooms were in-
variably enriched by well designed rosettes of plaster. Doors and windows were treated
alike, the window casings carrying clear to the floor with a panel treatment under the
sill. The deep reveals of window openings often ingeniously concealed shutters which
folded back out of sight when not in use.

Floors were usually of wide planks of pine or cypress painted a dark brown which
became almost black with frequent polishing.

In plot plan the houses of the Garden District differed somewhat from those of
other sections built during the same period. Being blessed with more room they
usually were set far back from the property lines leaving areas for large informally
planned gardens and lawns, usually on fills about one foot or so above the level of
the sidewalk. The bases of stone walls or iron fences did double duty as retaining

NEW ORLEANS AND ITS ENVIRONS

walls for these fills. Cast iron was used extensively and here gained its most intelligent
function. The plant motifs of the designs made an excellent and admirable transition
from the walls of the buildings to the foliage of the surrounding gardens. The result
was a complete wedding of the house to its entourage. Large "galleries", one for each
floor, covered the entire front and back and occasionally part of the sides of the
building. These "galleries" were supported either by cast iron panels or by doric
pilasters the full height of the facade. This latter, however, was properly a develop-
ment of the plantation type of house which had an evolution all its own.

During the early days of the city a small settlement sprang up around the boat
landing on Bayou St. John. Large plantations lined the banks, plantations which
have long since been subdivided into city blocks, leaving the residences of their
owners standing disconsolate among puny neighbors. These houses, with their broad
verandahs and high hipped roofs, have a peculiar West Indian aspect, possibly dictated
by the memories carried to New Orleans by immigrants many of whom came from
the West Indies. Whatever the reason, the plan and arrangements of these houses
were admirably suited to the climate and to the exigencies of plantation life. Of two
stories they followed the Latin custom of placing the important floor on the second
level, the ground floor serving the approximate functions of a basement. Hipped roofs
extended over the broad "galleries or verandas which often completely surrounded
the house. Small turned wooden columns with square base and capitals supported
the overhang. These columns were set over the large plaster-covered brick piers, either
square or round, of the ground floor.

Usually staircases were on the inside and given a prominent place in the plan.
The rooms of the principal floor above were of stately and elegant proportions,
numerous French doors opening onto the "galleries" being the only windows in most
of the rooms.

The "raised basement" of this type of house shared with several examples in the
"Quarter" and the Garden District in giving to New Orleans a development uniquely
indigenous. The water-soaked condition of the soil made the building of subsurface
basements an impracticable procedure. The problem was solved by raising the whole
house to allow room for a basement above the ground level. Several examples still
stand today in every section of the city which date from the earliest times of New
Orleans. In the "Quarter", Madam John's Legacy, illustrated in the frontispiece, the so-
called "Beauregard House", Plate 16, and the house on Dauphine Street whose iron
ballustraded staircase is shown on Plate 55, are the principal examples. In the Garden

MAIM

NEW ORLEANS AND ITS ENVIRONS

District, Madam Chaffraix's House, Plate 32, the Maginnis House, Plate 28, and
indeed most of the houses in the section are raised considerably above the ground. Of
the latter plantations, the Hurst Plantation, now the Ike Stauffer home, illustrated
in several plates of this book, is the outstanding example. It is this characteristic
which marks the chief difference between the plantation houses of Louisiana and
those of the northeast states of Southern tradition where the plantation houses had
their principal floor at the ground level or very nearly so.

Later, plantation houses in Louisiana, influenced by the Greek Revival and by
the American influx, lost much of their original characteristics. In the vicinity of New
Orleans several examples of plantation houses of the period of greatest development
are standing. Usually of stately proportions these buildings have columns, generally
plastered brick, extending two full floors. These columns often surrounded the building,
Doric or Ionic capitals supporting the overhang of the roof which extended to shelter
the second floor "gallery". Often a belvedere crowned the meeting of the roof hips
coming from the four corners of the building.

In plan a centrally located hall extended from front to back on both floors. A
mahogany handrailed staircase connected the two halls — if the staircase was on the
interior. When outside stairs were used they were of simple design and usually led
directly to a fine doorway at the front end of the second floor hall. The disposition of
rooms followed fairly closely the same arrangement as the earlier houses mentioned
^ above. Mantels, usually of marble, sometimes of wood, were delicately carved. The
& plaster cornices and center rosettes of the important rooms were of interesting profile
^0 of Greek derivation. Door and window casings were treated alike, wood paneling being
CV used between the window sills and the floor. In the later examples the mouldings of
the door and window cases represented intricately woven leaves and garlands making
a framing of indescribable elegance.

tf\

i By the 1860's cotton had completely supplanted the Port as New Orleans' chief

economic reliance, the opening of the Erie Canal and the building of railroads having

'• diverted tons of produce from the Middle West to the Atlantic Seaboard. But with

the shift to cotton came absolute dependence on slavery and the surrender of New

Orleans to the Federal Forces in the War of Secession in 1 862 marked the end of the

. city's greatest period of prosperity. Perhaps it was just as well for already the dread

$— symptoms of architectural decadence had begun to show themselves. Coarse detail

rj and coarser ornament forecast the beginning of that period so aptly called by someone

/^ "the dark ages of American architecture", a period which New Orleans like most

JO
^

NEW ORLEANS AND ITS ENVIRONS

other American cities far from escaped. In the past few years, after three quarters of
a century of "gingerbread" and "facade builders", it is gratifying to note the return
to New Orleans of architecture which, though totally different in outward forms,
seems to be motivated by the same simple formulas of living comfort which gave to
the "Courtyard Houses" of the Vieux Carre, the houses of the Garden District and
the Plantation Houses in the vicinity so much of their charm.

LIST OF PLATES

NEW ORLEANS AND ITS ENVIRONS

PLATE
Frontispiece — "Madam John's Legacy," Vieux Carre.

VIEUX CARRE HOUSES

"Lafitte's Blacksmith Shop" ......... 1

Illustrations of Two Cottages ......... 2

Illustrations of Two Cottages ......... 3

Illustrations of Two Cottages ......... 4

Illustrations of Two Cottages ......... 5

Story-and-One-half Cottage, St. Ann St. (left) 6

Chesneaux House (right)

"Patio Royal" 7

Marchand House (left) .......... 8

"Absinthe House" (right)

Residential-Business Building, Toulouse St. (left) ..... 9

Residential-Business Building, Barracks and Royal St. (right)

Porte-Cochere Entrance, Royal St. (left) . . . . . . . 10

Porte-Cochere Entrance, Casa Flinard (right)

Gargonniere, Casa Flinard (upper left) ...... 11

Street Facade, Royal St. (upper right)
Fanlight Windows, Maison Jacob (lower)

Gargonniere, Toulouse St. (left) . . . . . . . . 12

Gargonniere, Orleans St. (right)

Gargonniere, Grima House . . . . . . . . . 13

Languille House ........... 14

Old Louisiana Bank (left) 15

Girod House (right)

"Beauregard House" (upper) . . . . . . . . . 16

Courtyard Kitchen, Grima House (lower)

Grima House ........... 17

LePrete House ... 18

La Branche Building (left) . .19

Miltenberger Building (right)

LIST OF PLATES

PLATE

"Le Petit Salon" 20

Two Illustrations of Two-and-One-half Story Buildings .... 21

Two-and-One-half Story Buildings, Esplanade Ave. ..... 22

The Gauche House (lower) . . . . . . . . .23

GARDEN DISTRICT HOUSES

Two Story House, Coliseum St. (upper) ....... 23

Two Story House, First St. ......... 24

Logan House ........... 25

Forsyth Residence ........... 26

Two Story House, St. Charles Ave. ........ 27

Maginnis Residence .......... 28

Dameron House ........... 29

Side View of Main Building, Bradish Johnson House .... 30

Servant's Wing, Bradish Johnson House (upper) . . . . .31

Garden Wall, Bradish Johnson House (lower)

Madam Chaffraix's Home ......... 32

Robinson House ........... 33

PLANTATION HOUSES

"Spanish Custom House," Bayou St. John ...... 34

Ducayet House, Bayou St. John . . . . . ... 35

Blanc House, Bayou St. John ......... 36

Thomas Toby House, Garden District . . . . . . . 37

"Delor Sarpy," New Orleans (upper) ....... 38

"Ormond," St. Charles Parish (lower)

Column Detail "Elmwood," Harahan ....... 39

Column Detail "Three Oaks," St. Bernard Parish (left) . . . .40
Column Detail "Ormond," St. Charles Parish (right)

"Three Oaks," St. Bernard Parish . . . . . . . .41

"The Hermitage," Geismar ......... 42

"Rene Beauregard," St. Bernard Parish ....... 43

"Seven Oaks," Westwego ......... 44

"Evergreen," Wallace .......... 45

"The Shadows," New Iberia ......... 46

"The Shadows," New Iberia ......... 47

"Oak Alley," Donaldsonville ......... 48

LIST OF PLATES

PLATE
"Hurst," New Orleans .......... 49

"Uncle Sam," Convent .......... 50

IRONWORK

Wrought I ron Balcony, Old Gaz Bank, Vieux Carre (upper) . . . 51
Wrought Iron Balcony, "First Skyscraper," Vieux Carre (lower)

Wrought Iron Panel, Casa Correjolles, Vieux Carre (upper) . . . 52

Wrought Iron Panel, Vieux Carre (lower)

Two Illustrations of Wrought and Cast Iron Balcony Details, Vieux Carre . 53

Wrought Iron Brackets, "Patio Royal," Vieux Carre (left) ... 54

Wrought Iron Bracket, Girod House, Vieux Carre (right)

Railing Detail, Xiques House, Vieux Carre (upper) . . . . . 55
Garde de Frise, Dejean House, Vieux Carre (lower left)
Railing Detail, Dejean House, Vieux Carre (lower right)

Two Illustrations of Wrought and Cast Iron Balcony Details, Vieux Carre . 56

Cast Iron Balcony Details, Vieux Carre (upper) ..... 57

Cast Iron Balcony Details, "Casa Miro," Vieux Carre (lower)

Cast Iron Panel Detail, Vieux Carre ....... 58

Cast Iron Balcony Detail, Pontalba Building, Vieux Carre (left) . . 59

Cast Iron Balcony Detail, Le Prete House, Vieux Carre (right)

Cast Iron Balcony and Fence, Gauche House, Vieux Carre ... 60

Stable Gate, Robinson House, Garden District (upper) . . . . 61
Entrance Gate and Wall, Vieux Carre (lower)

Entrance Gate, Bradish Johnson House, Garden District .... 62
Entrance Gate, The Robb House, Garden District ..... 63

DOORWAYS

Entrance Door, Vieux Carre ......... 64

Porte-Cochere Door, Chesneaux House, Vieux Carre .... 65

Door, Old Louisiana Bank, Vieux Carre (left) ...... 66

Door, Vieux Carre (right)

Two Illustrations of Porte-Cochere Doors, Vieux Carre .... 67

Brigot House, Vieux Carre (left) ........ 68

Vieux Carre (right)

Vieux Carre ............ 69

Blanc Plantation (left) 70

"Beauregard House," Vieux Carre (right)

Hurst Plantation (left) 71

"Oak Alley" (right)

LIST OF PLATES

PLATE
Grima House, Vieux Carre, ... ..... 72

Gallier House, Vieux Carre (left) . . ..... 73

La Laurie House, Vieux Carre (right)

Two Illustrations of Doors in Vieux Carre. ...... 74

Bienvenue House, Vieux Carre (left) ....... 75

Vieux Carre (right)

Vieux Carre ............ 76

Garden District (left) 77

Fosyth Residence, Garden District (right)

Logan House, Garden District ........ 78

STAIRCASES

Courtyard Stair, Marchand House, Vieux Carre ..... 79

Girod House, Vieux Carre ......... 80

Bienvenue House, Vieux Carre . . . . . . . .81

Loubies House, Vieux Carre ......... 82

Casa Flinard, Vieux Carre (left) ........ 83

"The Shadows" (right)

Two Illustrations of Staircase in Labatut-Puig House, Vieux Carre . . 84

Stair Turn, "Oak Alley" (left) 85

Newel, "Oak Alley" (right)

"Destrehan" (left) . . . 86

Grima House, Vieux Carre (right)

Robinson House, Garden District (left) ....... 87

Bradish Johnson House, Garden District (right)

INTERIORS

Two Illustrations of Drawing Room Mantels, Casa Flinard, Vieux Carre . 88
Drawing Room Mantel, Girod House, Vieux Carre ..... 89
Four Illustrations of Typical Mantels, Vieux Carre ..... 90

Mantel "The Shadows" (upper) . . . . . . . .91

Mantel "Three Oaks" (lower)

Bed Room Mantel, Robinson House, Garden District (upper) ... 92
Dining Room Mantel, Robinson House, Garden District (lower)

Library Mantel, Robinson House, Garden District (upper) . . 93

Drawing Room Mantel, Freret House, Garden District (lower)

Door and Transom "Oak Alley" (left) ....... 94

Door and Transom, "Casa Miro," Vieux Carre (right)

Door and Transoms, "Casa Miro," Vieux Carre — Three Illustrations . . 95

LIST OF PLATES

PLATE

Door Detail, "Beauregard House," Vieux Carre (left) .... 96

Double Parlor Door, Labatut-Puig House, Vieux Carre (right)

Double Parlor Door, "The Shadows" (left) ..... 97

Double Parlor Door, Grima House, Vieux Carre (right)

Double Parlor, "The Shadows" ...... .98

Double Parlor, Labatut-Puig House, Vieux Carre ..... 99

Double Parlor, Forsyth Residence, Garden District .... 100

Two Illustrations, Door Details, Forsyth Residence, Garden District . . 101

Door and Window Detail, Grima House, Vieux Carre (left) . 102

Entrance Door Detail, Grima House, Vieux Carre (right)

Curved Door in Stairhall, Robinson House, Garden District (left) . 103

Corner of Drawing Room, Robinson House, Garden District (right)

Window Detail, Hurst Plantation (left) 104

Entrance Door Detail, Hurst Plantation (right)

Hall, Hurst Plantation (left) ... 105

Door Detail, Hurst Plantation (right)

Three Illustrations of Plaster Rosettes . . . . . . .106

Four Illustrations of Plaster Cornices ....... 107

CORNICES and DORMERS

Three Illustrations of Dormer Details, Vieux Carre and Plantations . 108

Two Illustrations of Dormer Details, Vieux Carre . . . . .109

Two Illustrations of Plaster-on-brick Cornices, Vieux Carre . . . 110

Old Louisiana Bank, Vieux Carre . . . . . . . .111

Four Illustrations of Cornice Details, Vieux Carre . . . . .112

"The Shadows" (left) 113

"Le Petit Salon," Vieux Carre (right)

Thomas Toby Plantation (upper) .... . 114

Vieux Carre (lower)

"Oak Alley" (upper) .... . . 115

Hurst Plantation (lower)

Cornice and Window Detail, Hurst Plantation ... 116

Wood Cornice, Robinson House, Garden District (upper left) . . 117

Cast Iron Cornice, Robinson House, Garden District (upper right)
Madam Chaffraix's Home, Garden District (lower)

MEASURED DRAWINGS

Elevations, Lafitte's Shop, Vieux Carre ..... 118

Plan of Ground Floor, Lafitte's Shop, Vieux Carre . . . . .119

LIST OF PLATES

PLATE

Elevations, Casa Flinard, Vieux Carre . . . . . . .120

Floor Plans, Casa Flinard, Vieux Carre . . . . . . .121

Elevations, Ormond Plantation . . . . . . . .122

Floor Plans, Ormond Plantation . . . . . . . .123

Detail of Wrought Iron Balcony "First Skyscraper," Vieux Carre . . 124

Early 19th Century Wrought Iron . . . . . . . .125

Detail of Staircase, Gaily House, Vieux Carre . . . . . .126

Detail of Staircase, Ormond Plantation . . . . . . .127

Detail of Gallery Door, "Beauregard House," Vieux Carre . . . 128

Detail of Interior Door, Three Oaks Plantation . . . . .129

Detail of Exterior Door, Brigot House, Vieux Carre . . . . .130

Detail of Fanlight Window, Gaily House, Vieux Carre . . . . 131

Detail of Mantel, Gaily House, Vieux Carre . . . , . .132

Detail of Mantel, Casa Flinard, Vieux Carre . . . . . .133

Early 19th Century Cornices . . . . . . . .134

Dormer Details 135

NOTE; All numbers on Plates refer to additional illustrations or drawings of the

same subject.

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VIEUX CARRE

PLATE 2

Note Double Pitched Roof and Large Overhanging Eaves

DUMAINE STREET

Late 18th Century

This Cottage Has One of the Few Remaining Flat Tiled Roofs
Which, Shipped from Nantes, France, Were Used after the
Fires of 1788 and 1794

KERLEREC STREET

Late 18th Century.

NEW ORLEANS AND ITS ENVIRONS

VIEUX CARRE

PLATE 3

Cottage

Measured Drawing of Cornice, 1 34

Late 18th Century

ST. PHILIP STREET

Cottage

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PLATE 5

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PLATE 1

Early 1 9th Century

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CASA FLINARD

Street Facade

Early 19th Century

ROYAL STREET

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MAISON JACOB

These, with the Passageways and Courtyards Shown on the Facing Page, Are the
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PLATE 13

Built in the 1820's

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GRIMA HOUSE

NEW ORLEANS AND ITS ENVIRONS

VIEUX CARRE

PLATE 14

Back of Main Building from Courtyard

LANGUILLE HOUSE

Built about 1801

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PLATE 16

Date 1826
Francisco Correjolles, Arch.

"BEAUREGARD HOUSE"

Courtyard Kitchen

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GRIMA HOUSE

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PLATE 18

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The "Eastern" Influence on the Greek Revival of the Old Quarter
Additional Illustration. 113

"LE PETIT SALON"

Date 18 38

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ESPLANADE AVENUE

Built about 1840

NEW ORLEANS AND ITS ENVIRONS

GARDEN DISTRICT

PLATE 23

Typical Two Story House Mid 19th Century

COLISEUM STREET

Date 1856

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THE GAUCHE HOUSE

NEW ORLEANS AND ITS ENVIRONS

GARDEN DISTRICT

PLATE 24

Typical Two Story House
Additional Illustration, 77

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PLATE 27

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Date 1870
James Freret, Arch.

BRADISH JOHNSON HOUSE

NEW ORLEANS AND ITS ENVIRONS

GARDEN DISTRICT

PLATE 31

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BRADISH JOHNSON HOUSE

Date 1870
James Freret, Arch.

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Date 1870

James Freret, Arch.

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PLATE 33

Date 1864

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ROBINSON HOUSE

NEW ORLEANS AND ITS ENVIRONS

THE PLANTATIONS

PLATE 34

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Second Half 1 8th Century
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"DELOR SARPY", NEW ORLEANS

PLATE 38

Built about 1803

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"ORMOND", ST. CHARLES PARISH

Wings added sometime between 181 1 and 1819

NEW ORLEANS AND ITS ENVIRONS

THE PLANTATIONS

PLATE 39

Column Detail

Mid 19th Century

"ELMWOOD", HARAHAN

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THE PLANTATIONS

PLATE 46

Front of Main Building

An "Eastern" Georgian House, Not Typical
of Louisiana Plantation Buildings

Additional Illustrations, 47, 83, 91, 97, 98, 107 and 113

Date 1830

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THE PLANTATIONS

PLATE 50

Pigeonnier

Date 1836

"UNCLE SAM", CONVENT

NEW ORLEANS AND ITS ENVIRONS

IRONWORK

PLATE 51

Date 1800

OLD GAZ BANK, VIEUX CARRE

Wrought Iron Balcony Details
Measured Drawing, 124

Date 1811

"FIRST SKYSCRAPER"

NEW ORLEANS AND ITS ENVIRONS

IRONWORK

PLATE 52

Date 1834

CASA CORREJOLLES, VIEUX CARRE

Note Masonic Emblem Over Monogram
and Snakes Worked Into Side Panel

Wrought Iron Panel
Details on Balconies

VIEUX CARRE

NEW ORLEANS AND ITS ENVIRONS

IRONWORK

PLATE 53

Early 19th Century

VIEUX CARRE

Combination Wrought and Cast Iron Balcony Details

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IRONWORK

PLATE 55

Railing Detail Date 1851

J. H. B. DuPouilly, Arch.

XIQUES HOUSE, VIEUX CARRE

Garde de Frise

Railing Detail
Early 19 th Century
DEJEAN HOUSE, VIEUX CARRE

NEW ORLEANS AND ITS ENVIRONS

IRONWORK

Rosette and Arrow Design

PLATE 56

VIEUX CARRE

'Bow and Arrow" Design

Combination Wrought and
Cast Iron Balcony Details

VIEUX CARRE

NEW ORLEANS AND ITS ENVIRONS

IRONWORK

PLATE 57

VIEUX CARRE

Interesting Imitation of Wrought Iron Mannerisms
Additional Illustrations, 90 and 95

"CASA MIRO", VIEUX CARRE

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IRON WORK PLATE 60

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Date 1856

GAUCHE HOUSE, VIEUX CARRE

NEW ORLEANS AND ITS ENVIRONS

IRONWORK

PLATE 61

Stable Gates Date 1864

Additional Illustrations, 33, 87, 92, 93, 103 and 117 Attributed to James Gallier, Jr., Arch.

ROBINSON HOUSE, GARDEN DISTRICT

Entrance Gate and Wall

Built about 1857

VIEUX CARRE

NEW ORLEANS AND ITS ENVIRONS

IRONWORK

PLATE 62

Entrance Gate

Additional Illustrations, 30, 31 and 87

BRADISH JOHNSON HOUSE, GARDEN DISTRICT

NEW ORLEANS AND ITS ENVIRONS

IRONWORK

PLATE 63

Entrance Gate Built about 1850

THE ROBB HOUSE, GARDEN DISTRICT

* NEW ORLEANS AND ITS ENVIRONS

DOORWAYS

PLATE 64

Entrance Door and Transom

Late 1 8th Century

VIEUX CARRE

NEW ORLEANS AND ITS ENVIRONS

DOORWAYS

PLATE 65

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House Illustrated, 6

CHESNEAUX HOUSE, VIEUX CARRE

Date 1800

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DOORWAYS

PLATE 69

Date 1828

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DOORWAYS

PLATE 72

Built in the 1820's

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GRIMA HOUSE, VIEUX CARRE

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DOORWAYS PLATE 76

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DOORWAYS

PLATE 78

House Illustrated, 25

Mid 1 9th Century
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LOGAN HOUSE, GARDEN DISTRICT

NEW ORLEANS AND ITS ENVIRONS

STAIRCASES

PLATE 79

Courtyard Stair to Apartments Above
House Illustrated, 8

MARCHAND HOUSE, VIEUX CARRE

Date 1808

NEW ORLEANS AND ITS ENVIRONS

STAIRCASES

PLATE 80

Built about 1798

House Illustrated, 15

Additional Illustrations, 54, 89 and 109

GIROD HOUSE, VIEUX CARRE

NEW ORLEANS AND ITS ENVIRONS

STAIRCASES

PLATE 81

Date 1836

Additional Illustration, 75

BIENVENUE HOUSE, VIEUX CARRE

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PLATE 89

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House Illustrated, 15

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INTERIORS

PLATE 91

Mantel

House Illustrated, 46 and 47

Additional Illustrations, 83, 97, 98, 107 and 113

"THE SHADOWS"

Date 1830

Mantel

House Illustrated, 41
Additional Illustration, 40
Drawing, 129

"THREE OAKS" PLANTATION

NEW ORLEANS AND ITS ENVIRONS
INTERIORS PLATE 92

Bed Room Mantel Date 1864

ROBINSON HOUSE, GARDEN DISTRICT

Dining Room Mantel

Additional Illustrations, 33, 61, 87, 93, 103 and 117

ROBINSON HOUSE, GARDEN DISTRICT

Date 1864

NEW ORLEANS AND ITS ENVIRONS

INTERIORS

PLATE 93

Library Mantel

Additional Illustrations, 33, 61, 87, 92, 103 and 117

ROBINSON HOUSE, GARDEN DISTRICT

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FRERET HOUSE, GARDEN DISTRICT

Date 1864

Date 1864

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INTERIORS

PLATE 100

Double Parlor

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FORSYTH RESIDENCE, GARDEN DISTRICT

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CORNICES AND DORMERS

PLATE 108

VIEUX CARRE

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DELOR SARPY PLANTATION

VIEUX CARRE

NEW ORLEANS AND ITS ENVIRONS

CORNICES AND DORMERS

PLATE 109

VIEUX CARRE

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OLD LOUISIANA BANK, VIEUX CARRE

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THOMAS TOBY PLANTATION

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NEW ORLEANS AND ITS ENVIRONS

CORNICES AND DORMERS

House Illustrated, 48

Additional Illustrations, 71, 85, 94 and 106

PLATE 1 1 5

"OAK ALLEY"

House Illustrated, 49

Additional Illustrations, 71, 104, 105, 107 and 116

HURST PLANTATION

NEW ORLEANS AND ITS ENVIRONS

CORNICES AND DORMERS

PLATE 116

House Illustrated, 49

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HURST PLANTATION

NEW ORLEANS AND ITS ENVIRONS

CORNICES AND DORMERS

PLATE 117

Cast Iron Balcony

Wood Cornice

Additional Illustrations, 33, 61, 87, 92, 93 and 103

ROBINSON HOUSE, GARDEN DISTRICT

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MADAM CHAFFRAIX'S HOME, GARDEN DISTRICT

NEW O-R LEANS AND ITS ENVIRONS

MEASURED DRAWINGS

PLATE 118

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NEW ORLEANS AND ITS ENVIRONS

MEASURED DRAWINGS

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NEW ORLEANS AND ITS ENVIRONS

MEASURED DRAWINGS

PLATE 121

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COURTYARD

Brick Paving f 1D'-9V«-

Gallery - Shed Over-*1

GROUND FLOOR SECOND FLOOR

One -Sixteenth Inch Scale

CASA FLINAED -VIEUX CARRE FLOOR PLANS

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NEW ORLEANS AND ITS ENVIRONS

MEASURED DRAWINGS

PLATE 123

PORCH

10^0'— )— 10-0— -I— 10'-O"--t— • 10-0' •!• 9-9

SECOND FLOOR PLAN

^ -isy"! i

I— 9-9" — 4- — io'-o" •!• io'-o^— l^io- 0^-4^10-0"

FIRST FLOOR PLAN

Front and rear walls of main building are framed with 5"x5"rough studs, filled in with
brick. End walls are similar except that clay mud filling is used.

Three-Sixty-Fourths Inch Scale

ORMOND PLANTATION- FLOOR PLANS

NEW ORLEANS AND ITS ENVIRONS

MEASURED DRAWINGS

PLATE 124

SECTION

END ELEVATION CORNER DETAIL

Three- Quarter Inch Scale

FRONT ELEVATION

FIRST SKYSCRAPER-VIEUX CARRE

IRON BALCONY

Illustration, 51

NEW ORLEANS AND ITS ENVIRONS

MEASURED DRAWINGS

PLATE 125

SHUTTER STOP

TYPICAL SHUTTER HOOKS

Quarter Size

DOOR BOLT

Half Size

DOOR HINGE

Etl

PORTE COCHERE DOOR HINGE

One- and- One -Half Inch Scale

EARLY 19TH CENTURY WROUGHT IRON

NEW ORLEANS AND ITS ENVIRONS

MEASURED DRAWINGS

PLATE 126

DETAIL OF BRACKET

One-and-One-Half Inch Scale

SECOND FLOOR PLAN

One-Eighth Inch Scale

SECTIONS

SECTION A-A

One-Quarter Inch Scale

FIRST FLOOR PLAN

Inch Scale

GALLY HOUSE- VIEUX CARRE

DETAIL OF
STAIRCASE

Additional Drawings, 131, 132 and 135

NEW ORLEANS AND ITS ENVIRONS

MEASURED DRAWINGS

PLATE 127

Wrought
Iron

STRING HANDRAIL AT WALL

Half Size

ELEVATION Three-Quarters Inch Scale

ORMOND PLANTATION SORSTAIRCASE

House Illustrated, 38
Additional Illustrations, 40
Additional Drawings, 122 and 123

NEW ORLEANS AND ITS ENVIRONS

MEASURED DRAWINGS

PLATE 128

TRANSOM BAR Half size

B~B INTERIOR j EXTERIOR

Half Size Half !nch Scale

D-D
Half Size

BEAUREGARD HOUSE-VIEUX CARRE

DETAIL OF
GALLERY DOOR

House Illustrated, 16

Additional Illustrations, 70 and 96

NEW ORLEANS AND ITS ENVIRONS

MEASURED DRAWINGS

PLATE 129

oc

ELEVATION

One -Half Inch Scale

D-D

THREE OAKS PLANTATION

INTERIOR DOOR

House Illustrated, 41

Additional Illustrations, 40 and 91

NEW ORLEANS AND ITS ENVIRONS

MEASURED DRAWINGS

PLATE 130

A-A

All Sections Half Size

ELEVATION

One- Half Inch Scale

COLUMN
DETAIL

Quarter Size

BRIGOT HOUSE -VIEUX CARRE STEMORDOOR

Doorway Illustrated, 68
Measured Drawing of Cornice, 134

NEW ORLEANS AND ITS ENVIRONS

MEASURED DRAWINGS

PLATE 131

Plaster

An Sections
Quarter Size

Brick

A-A

B-B

INSIDE ELEVATION

Plaster

n

3-.10v4"

PLAN Three -Eighths Inch Scale

GALLY HOUSE- VIEUX CARRE SSSiiff,

FANLIGHT WINDOW

Drawings, 132 and 135

NEW ORLEANS AND ITS ENVIRONS

MEASURED DRAWINGS

PLATE 132

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SECTION A-A

Half Size

SECTION B-B

One-and-One-Half Inch Scale

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PLAN

Three - Eighths Inch Scale

COLUMN DETAIL

Half Size

GALLY HOUSE- VIEUX CARRE

DETAIL OF
MANTEL

Measured Drawings, 126, 131 and 135

NEW ORLEANS AND ITS ENVIRONS

MEASURED DRAWINGS

PLATE 133

SIDE&FRONT
ELEVATIONS

Breast of
_ Chimney -^ _
5- £

Shelf Line

c-c

One-and-One-Half
Inch Scale

PLAN

Three-Eighths Inch Scale

DETAIL
OF MANTEL

CASA FLINARD-VIEUX CARRE

Illustrated, 88

Additional Illustrations, 10, 11 and 83

Drawings, 120 and 121

NEW ORLEANS AND ITS ENVIRONS

MEASURED DRAWINGS

PLATE 134

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Wood

THOMAS TOBY HOUSE-GARDEN DISTRICT

Plaster
on Brick

COTTAGE-VIEIIX CARRE

1

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Soft Red
Brick

BRIGOT HOUSE - VIEUX CARRE

Three Quarters Inch Scale

c-
"S

EARLY 19TH CENTURY CORNICES

Illustrations of Thomas Toby House, 37 and 1 14
Illustration of Cottage in Vieux Carre, 3
Illustration of Doorway, Brigot House, 68
Additional Drawing, Brigot House, 130

NEW ORLEANS AND ITS ENVIRONS

MEASURED DRAWINGS

PLATE 135

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All Sections on
One-and-One-Half Inch Scale

FRONT 8c SIDE \L
ELEVATIONS V-

Three-Eighths Inch Scale \~

GALLY HOUSE-VIEUXCARRti

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FRONT
ScSIDE
ELEVATIONS

Three-Eighths Inch Scale

DELOR SARPY PLANTATION

DORMER DETAILS

Additional Drawings, Gaily House, 126, 131 and 132
Dormer Illustrated, Delor Sarpy House, 108
Delor Sarpy House, Illustrated, 38

JOHN F. OSBOURNE, INC.
BALTIMORE, MD.

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/6i2 - /« Jaffe oames <<tt<<o7y !^ftutj<ao<i'<a horxn. afjjuiis XI7-

of -fiance.

1718 — JSienvitle founds 'J^f/ouveUtOilearys'-
I72B —' ^£yy/i#e$a&2ca3seUe'a^^t.veaJ wives/at tfk. ,
/763 - ffieaty of Patis cedes J&uisiana. to '
l788-l7W-<7ii£s destioy a fat^e pa.it o/ the city-
1801 - j^ubiaoa ceded bac/l (o <Jpatr>--
1803 - Purchase o/j(s.u\3ianabij the United States i
1812 ~ Jiiil steamboat descends flississippi Rut-L-

^aacjiaoa admitted to the Unioi> .

Sections of

5.E. LOUISIANA

PLANTATION HOUSES

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