American House Styles PDF

AMERICAN

HOUSE
STYLES
A CONCISE GUIDE

JOHN MILNES BAKER, A.LA.

ISBN 0-393-03421-6 $19.95 USA
$24.99 CAN.
"Colonial " "Victorian," "Neoclassical," "Mod-

ern" — what distinguishes one architectural st>!c
from another? How and where did these different
styles develop? America has an abundance of fas-
cinating and varied house styles, as fascinating and

diverse as its people. When we explore our neigh-
borhoods and travel around the country, how do we
recognize the kind of architecture we see? Even
people interested in houses can rarely identify the
style of their own homes with any precision. This
unique book will allow readers to recognize the ar-
chitectural features and style of virtually any house

they encounter.
To create this guide, architect John Milnes Baker
designed a simple, two-story house with four bed-
rooms. From it he developed the basic plan for each
historical style — from the steeply pitched roofs of
Early New England Colonial houses to the turrets
and grand porches of the Queen Anne style, the
austere geometry of the International style, and to-

day's Postmodern multiple eclecticisms. By starting
each drawing with the same plan and adding the
essential characteristics of each style. Baker ensures
that the reader does not become confused by addi-
tions and later embellishments to the buildings.
Each section of American House Styles begins

with a historical overview of the period, followed
by a concise commentary on each style. The author
then highlights the specific design details that dis-
tinguish one style from another. He shows how dif-
ferent styles developed and what influenced their

development. His beautifully wrought elevation
drawings, each with a floor plan, illustrate the de-
tailsof style clearly and with precision.
Through an understanding of earlier styles,we
develop insights into the architecture of our own
era. Not only is it fun, but the study of architecture
also nurtures a critical sense and allows us to make
informed judgments about what is being built today.
Designed by John Milnes Baker
2-94
BOSTON
PUBLIC
LIBRARY
Digitized by the Internet Archive
in 2012
http://www.archive.org/details/americanhousestyOObake
AMERICAN HOUSE STYLES
A CONCISE GUIDE
Also by John Milnes Baker
How to Build a House with an Architect

AMERICAN HOUSE STYLES
A CONCISE GUIDE
JOHN MILNES BAKER, A.I.A.
W. W. NORTON & COMPANY

New York London
ACKNOWLEDGMENTS
Special thanks to Clarkson N. Potter, Helga Maass Potter, Kate Delano
Condax, Susan Elia, and Barclay Morrison. They all know the help they
gave me on this book and I am extremely grateful. I also want to thank
James L. Mairs and Cecil Lyon of W. W. Norton for their patience, encour-
agement, and support, and Nancy Palmquist for her care and judgment in
editing my manuscript.
My appreciation to Eugene Raskin for sharing his insights and observa-
tions on the sociology of architecture. I have never been sure where his views
stop and mine begin.
I also want to acknowledge my debt and gratitude to the late Paul Wescott
who introduced the history of architecture to The Hill School in Pottstown,
Pennsylvania; his survey course was unique in secondary schools. I have
never taken a course anywhere that had a greater influence on my life. He
deserves much credit for this book.
© 1994 by JOHN MILNES BAKER
All rights reserved. This book may not be reproduced, in whole or in part, in any form
(beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law
and except by reviewers for the public press), without prior written permission from
the publishers.
Printed in the United States of America
First Edition
Composition by The Sarabande Press, New York, New York
Book design and illustrations by John Milnes Baker
Library of Congress Cataloging-in-Publication Data
Baker, John Milnes, 1932-

American house styles : a concise guide / John Milnes Baker,
p. cm.
Includes bibliographical references and index.
1. Architecture, Domestic — United States— Themes, motives.
I. Title.
NA7205.B33 1993
728'.37'0973-dc20 92-42937
ISBN 0-393-03421-6
W. W. Norton & Company, Inc., 500 Fifth Avenue, New York, N.Y 10110
W. W. Norton & Company Ltd., 10 Coptic Street, London WC1A 1PU
1234567890
This book is dedicated to my wife, Liddy, for her untiring support
and her capacity for insightful comments and cheerful help while
still managing her own career and a household that often resembles a
bed and breakfast operation.

PREFACE
INTRODUCTION 11
1. EARLY COLONIAL 1600-1715 19

Early New England Colonial 1640-1715 22
Early Southern Colonial 1640-1715 24
2. COLONIAL 1600-1780 27
English 1700-1780 27
Dutch 1625-1800 29
Spanish 1600s- 1840s 30
French 1700-1825 31
3. GEORGIAN 1715-1780 33
New England 1715-1780 42
The Middle Atlantic 1715-1780 44
The South 1715-1780 46
4. THE YOUNG REPUBLIC 1780-1820 49

Federal 1780-1820 54
Neoclassical 1780-1825 56
5. AN EMERGING NATION 1820-1860 59

Greek Revival 1820-1850 64
Gothic Revival 1840-1860 66
6. THE PICTURESQUE 1840-1900 69

Swiss Cottage 1840-1860 74
Italian Villa 1845-1870 76
Italianate 1845-1875 78
Italian Renaissance Revival 1845-1860 80
Exotic Eclectic 1850-1875 82
Second Empire 1860-1880 84
Stick 1855-1875 86
Queen Anne 1880-1910 88
7. PALATIAL PALACES 1880-1930 91
Romanesque 1880-1900 94
Chateauesque 1885-1910 96
Beaux-Arts 1890-1930 98
Tudor 1890-1930 100
Second Italian
Renaissance Revival 1890-1930 102
Neoclassical Revival 1895-1950 104
8. INDIGENOUS STYLES 1880-1930 107

Shingle 1880-1905 110
Prairie 1900-1920 112
Craftsman 1900-1930 114
9. REMINISCENT STYLES 1880-1940 117

Early Colonial Revival 1885-1915 120
Dutch Colonial 1890-1930 122
Elizabethan 1910-1940 124
Spanish Mission 1890-1920 126
Pueblo 1900-1990s 128
Spanish Colonial Revival 1915-1940 130
Monterey 1925-1955 132
French Rural 1915-1940 134
0. THE MODERN MOVEMENT 1920-1960 137

Moderne 1920-1940 140
International 1930-1990s 142
Wrightian 1940-1960 144
Popular House Styles 1945-1990s 146
11. NOVELTY AND DIVERGENCE 1960-1990s 159

A Personal View of Recent Architectural Trends
GLOSSARY 165
SUGGESTIONS FOR FURTHER READING 179
INDEX 185
By and large [Renaissance] architects promoted that unity
of creative expression in any given country and period that
we call style.
—Hugh Morrison, Early American Architecture, 1952

PREFACE
Many books have been written on architectural styles— some deal-

and
ing specifically with houses. All tend to identify particular styles
invariably show representative examples of actual buildings. The
diversity of scale and building types, however, often diverts the focus
from the elements of the style to the type of building shown. The salt-
box, the Cape Cod, the octagon, the suburban four-square, and the
bungalow are often treated as styles when in fact they are really
building types. The subject can become very confusing.
Stylistic embellishments of American houses have tended to be
superficial veneers that often veiled inventive floor plans and com-
monsense designs for new American living patterns. The "content,"
as distinct from the "style," was apt to be more innovative than one
might suppose at first glance. This difference between style and
content — between the clothes and the person — is obviated by the
use of the same basic house plan throughout this guide.
As an architect who specializes in residential design, I can do
something that most architectural writers cannot: I can design a
simple two-story house with four bedrooms that would meet the
needs of a family today, and I can develop this basic plan in almost
any number of historical styles. By this technique, the essential
characteristics of a given style can be emphasized in each version of
the house.
The house plan used throughout this guide is basically a 44-foot
by 3 2 -foot rectangle. The ground floor includes a front entrance hall
and stairway, a living room, a dining room, and a kitchen with a good-
sized family sitting area. There is also a mudroom entry with ample
closets, a laundry room, a powder room, and convenient access to the
basement level. Four bedrooms are located on the second floor and
are arranged for convenience and privacy. The house is about 3,000
square feet and would have a garage connected at the mudroom
entrance.
The elements of the style — the massing, scale, proportion, and
character derived from the nature of the building materials, details,
and spatial flow — will all vary widely in the examples that follow.
Even people interested in houses can rarely identify the style of
their own homes with any precision. I hope this book will stimulate
an interest in looking at architecture, particularly houses, with a new
perspective and will help develop the basis for an informed critical
8 American House Styles: A Concise Guide
SECOND FLOOR
GROUND FLOOR
Scale: Vi6" = l'-0"
Preface 9
assessment of our man-made world. "Colonial," "Victorian," and

"Modern" (or is it "Contemporary"?) are imprecise terms. I also hope
this guide helps the reader sort out the myriad styles that have
enjoyed popularity throughout our history. Through an understand-
ing of earlier styles, we develop insights into the architecture of our
own era. Not only is it fun, but the study of architecture also nurtures
a critical sense and allows us to make considered and informed
judgments of what is being built today. We cannot legislate good
taste, but we can hope to understand what's wrong with so much of
our new building and perhaps do something about it.
The text is divided into chronological periods. An introductory
historicaloverview precedes a concise commentary on each style.
But before reading on I strongly urge the reader to review the
Glossary. There are many architectural terms that may be un-
familiar; not knowing them will limit the value of this guide.
J.M.B.
The art of a civilization, rightly interpreted, is a very precise
re/lectionof the society which produced it In architecture,
an art tied to practical purposes and executed always within
severe practical limits, this dialectical law is more marked
than in any other art.
— R. Furneaux Jordan, a concise history

of Western Architecture, 1984
11
INTRODUCTION
America is a country of immigrants. The early settlers brought with
them building techniques from their respective homelands and

house types that matched those left behind. The different social
conditions, as well as climate and terrain, however, influenced the
development of American houses that were distinct from their Euro-
pean prototypes. It is important to remember that our houses have
been shaped by their architectural forebears as much as we as
individuals are shaped by our genetic and cultural backgrounds.
Just as the predominant ethnic group in America from the 1600s
throughout most of the nineteenth century was British in origin, so
was our architecture. We declared our independence from Britain in
1776, but culturally we remained closely tied to English architec-
tural fashions. Even Jefferson's Neoclassicism and the Greek Revival
of the 1820s and 1830s followed trends set in the mother country.
In the preface to his extraordinarily popular Victorian Cottage
Residences, first published in 1842,Andrew Jackson Downing ob-
served: "The very great interest now beginning to manifest itself in
rural improvements of every kind, leads us to believe and to hope,
that at no distantday our country residences may rival the 'cottage
homes of England,' so universally and so justly admired." Downing
was an extremely popular and widely read proponent of country
houses. His books sold thousands of copies during the 1840s and
1850s and represented a prevalent attitude in this country. In his
preface to the 1980 Dover edition, Adolf K. Placzek said that Vic-
torian Cottage Residences was "one of the most widely used books in
American architectural literature." No history of the American
house in the nineteenth century can be separated from the English
architecture of the Victorian era. (Our use of the British term "Vic-
torian" is revealing.)
At their best our houses were simpler— not just smaller, which was
generally true— and less pretentious than those in England. The
principal differences developed from the greater extremes of our
climate. The porch, or verandah, became a feature of most American
houses because it helped to avert the heat of our summer sun and
keep the houses cooler. The British had no need for the porch.
The flexibility of our floor plans was another important difference.
Even in the 1820s we used recessed pocket doors to open a dining
room and parlor into one large space in warm weather or for enter-
12
View from driveway
A Shingle style house

designed by Walter Cook, 1887
Scale: 1" = 24'
The PhillipsHouse
Bellport, Long Island, New York, 1887
measured before demolition in 1960 by John Milnes Baker
Introduction 13
taining. The cozier spaces could be heated more easily with fire-
places or the new parlor stoves. Central heating in the form of central
warm-air furnaces was used here earlier than in Britain and it
worked more effectively with an open floor plan. While central
heating was not a concern in the design of large summer "cottages"
built by the wealthy after the Civil War, the plans of the Shingle
style houses often flowed in one continuous space from hall to parlor
to dining room. The British tended to have more rooms allocated for
specific uses. It is interesting to note that the the openness of our floor
plans seemed to grow in direct proportion to our confidence as a
nation.
By the turn of the century our houses were studied in European
publications and it for a European
no longer took a generation
innovation to become popular The Architectural Record was
here.
available to British architects after 1891 and, significantly, Frank
Lloyd Wright's (1867—1959) first retrospective was published in
Germany by the Wasmuth Press in 1910. This folio had consider-
able influence on architects abroad— particularly in Germany and
Holland— and practically no influence on architects in America.
From the end of the first decade of the twentieth century, America's
self-confidence seemed to waver and our architecture reflected a
taste for nostaligic revival of our own colonial styles as well as
historical styles from abroad. Neoclassicism never really dies and
continues to resurge with varying degrees of proficiency in each
generation.
Richard Morris Hunt (1827-1895) was the first American to
study at the Ecole des Beaux- Arts, a bastion of classical design in
Paris. He returned to this country in 1855 and France became an
increasingly important source of architectural inspiration. An in-
creasing number of Americans studied in Paris in the years following
the Civil War. Classicism won the day at the Columbian Exposition
in Chicago (Chicago's world's fair) in 1893, and the Beaux- Arts style
emerged in all its glory. Hunt's Beaux-Arts master plan gave a
cohesive order to the exhibition buildings. Except for Louis Sul-
livan's Transportation Building, virtually all the structures followed
classical designs and had a tremendous influence on the Neoclassical
revival which followed the fair. The innovative solutions to the new
high-rise buildings in Chicagoand the suburban houses by Wright
and his fellow proponents of the Prairie School were eventually
challenged by the revivalist movement after 1910.
14
House near Utrecht, Holland

by Robert van't Hoff, 1916
Proposed design for

Harold E McCormick, near Chicago
by Frank Lloyd Wright, 1907
Û^
H?f.
Villa Turicum Lovell Beach House,

Harold E McCormick House, Los Angeles, California
by Charles A. Piatt, 1908 byR. M. Schindler, 1922-1926
Introduction 15
Wright's grandly conceived design for Harold F. McCormick over-

lookingLake Michigan was ultimately rejected by the client and a
more acceptable eastern architect was retained. Charles A. Piatt
(1861-1933) designed a perfectly mannered Italian pallazzo for the
McCormicks, and the Prairie School lost its chance for social en-
dorsement by the monied establishment.
Most houses built in the period from 1910 through the crash of
1929 tended to be reminiscent in style. This creative lull lasted until
the Great Depression of the 1930s. It is interesting to note that
Wright's career was in eclipse during this same period. He spent the
years around the First World War inJapan creating the Imperial
Hotel in Tokyo. The few houses that he did during the twenties were
for strong-willed eccentric clients— mostly in southern California.
(The Millard, Barnsdale, Freeman, and Storer houses were all in
greater Los Angeles.)
The main innovative forces at work during this lull were signifi-
cant but not widespread. Irving Gill and R. M. Schindler's work in
California, for example, anticipated the Modern movement in isola-
tion. While Cass Gilbert tried to negate the efforts of the Chicago
School's search for an appropriate, inherent expression for the sky-
scraper by reverting to the Gothic style for his Woolworth Tower
completed in 1913, Bernard Maybeck's funky Christian Science
church in California and Wright's Unitarian Church in Oak Park,
Illinois, were the last fresh efforts in church design for another
generation. Spirited and competent but somehow soulless, the neo-

Gothic churches of Ralph Cram and Bertram Goodhue (for exam-
ple, St. John the Divine in 192 1) and James Gamble Rogers's Hark-
ness Tower at Yale (1931) seem self-conscious and forced in their
settings.
Walter L. Dodge House,

Hollywood, California
by Irving Gill, 1916
There were many competent architects who responded to the

more conventional or traditional tastes of the successful business
men of the day. As derivative as much of their work was these
talented and inventive architects designed beautifully scaled, liv-
able houses. Harrie T. Lindeberg, Delano & Aldrich, Mellor, Meigs
& Howe, and W. L. Bottomley were all outstanding in their field.
The House & Garden movement began in the early years of this
century. The notion of an ideal life in the country— a life involving
sports, animals, and growing one's fruits and vegetables— was new,
modern, and very American. The architects who served these clients
performed as much of a service for society as did those who em-
braced the minimalist aesthetic of the Modern school after 1929.
Red Gate
Seth Thomas House, New Vernon, New Jersey
by Harrie T. Lindeberg, 1926
Robert T. McCracken House, Germantown, Pennsylvania

by Mellor Meigs & Howe, 1920
Introduction 1
In the 1930s the Modern movement became firmly established

among the mainstream architects. Wright once again appeared on
the scene with his famous Fallingwater and his first of what he called
his"Usonian" houses for the Jacobs family near Madison, Wisconsin.
The development of the American house during the past half-
century is a fascinating drama; but first let us go back to the begin-
ning and a look at the early efforts of the colonial period.
Herbert Jacob's House, Madison, Wisconsin, 1937
Fallingwater
Edgar J. Kauffman House
Bear Run, Pennsylvania
by Frank Lloyd Wright, 1936
I have always felt that Fallingwater, Frank Lloyd Wright's only great
house using the characteristic elements of the International style, was
his comment to the Internationalists: "If that's what you want, boys, I'll
show you how it should be done!" The flat roofs, reinforced concerete
with bold cantilevers^ industrial windows, all part of the Modern
vocabulary, were used by Wright without compromising his own sense of
site and place— his sense of space.
It is altogether unlikely that such words as architecture and
style were even in the vocabularies of the early settlers,
much less in common usage.
—Marshall B. Davidson, The American Heritage History

of Notable American Houses, 1971
19
1 . EARLY COLONIAL 1 600- 1715
"Colonial," without "Spanish," "French," or "Dutch" to modify the

term, generally means English Colonial. The first English settle-
ments were established at Jamestown, Virginia, in 1607 and in
Plymouth, Massachusetts, in 1620 when the Pilgrims arrived on the
Mayflower. By the end of the turbulent years of the English Civil
War and Oliver Cromwell's Commonwealth in 1660 (the year King
Charles II was restored to the throne), thousands of settlers left
England for the New World. Of a total population in 1657 of barely
200,000, over ninety percent came from England, approximately six
percent from Holland, and the rest from all other countries com-
bined.* The Massachusetts Bay Colony drew largely from East
Anglia — Suffolk, Norfolk, Cambridgeshire, and Essex— and the
South drew more from the southern and western counties. Settlers
came for diverse reasons— many for religious freedom, some as
bonded servants, and most for economic gain.
The houses built in British North America in both the North and
the South during the seventeenth century were late medieval struc-
tures. More accurately, they were late Tudor and Jacobean build-
ings: asymmetrical, informal designs with steeply pitched roofs and
gabled ends. The builders used the same construction techniques as
were used in the farmsteads and modest village houses they had left
behind.
It may be helpful to remember that Queen Elizabeth I, the last
of the Tudor line, died in 1603, and James Stuart, King James VI of
Scotland, became James I of England. (His reign was known as the
Jacobean period.) Charles I followed in 1625 but was arrested in
1642 and executed in 1649. The Stuart line continued after Crom-
Commonwealth with the restoration of Charles II to the throne
well's
in 1660;it lasted until 1714 when Queen Anne died and was suc-
ceeded by George I, the first Hanoverian.

In England, the seventeenth century saw the beginning of the
English Renaissance in Inigo Jones's buildings in 1620, the Com-
monwealth under Oliver Cromwell from 1649 until 1660 when the
royal court sought refuge in Holland, and the flourishing of what was
sometimes called the "Wrenaissance" after the incredibly prolific Sir
*Colkert, Meredith B., Jr., Founders of Early American Families— Emigrants

from Europe 1607-1657 (Cleveland, OH: The Founders and Patriots of America,
1985), p. xxv.
Christopher Wren (1632-1723) in the late Stuart period. Dutch

influence was strong, and we should not forget that William of
Orange ousted James II in 1688. William ruled England (with his
wife Mary Stuart as William and Mary and after her death as
William III) until he died in 1702.
When the Pilgrims landed at Plymouth in 1620, Inigo Jones's
(1573-1652) Banqueting Hall in London was almost completed and
his house for the queen in Greenwich was still under construction
(see page 34). These were the first Renaissance buildings in Eng-
land, but they had no more impact on the early colonial houses in
America than the White House had on the California bungalow.
When Henry VIII broke with Rome in 1542 he dissolved the
monasteries. Their vast properties were subdivided into substantial
estates. Manor houses and tenant farmsteads went up in a surge of
building. Though large timber-framed houses were still built in the
forested counties of Warwickshire, Lancashire, and Cheshire, brick
became the most popular building material. Imported from Holland,
it was first used in East Anglia, and the Dutch soon introduced brick-
making there in the sixteenth century. Hampton Court near London

and Compton Wynyates in Warwickshire are both enormous Tudor
houses built of brick.
Coal was first used extensively for heat in the Tudor period.
Fireplaces with projecting chimney stacks were developed as a way
to exhaust the oily smoke above the roof. wood fires
In earlier days
were simply built on the floor of the great hall and the smoke allowed
to escape through vents at the top of the double-storied space.
Chimney stacks became an important decorative feature of the late
Tudor house and remained a key element in the early colonial
houses built here.
Windows were also expressive features in the Tudor and Jacobean
period. Large stone or wooden frames were built with mullions
separating the openings. (The wooden glazing bars in the sash win-
dow introduced from Holland in the late seventeenth century are
called muntins. They are often mistakenly called mullions which are
the structural posts between windows.) Operating sash were hinged
casements. Panes were small and held together by a lead framework
such as you might see in a stained-glass church window today. The
diamond-paned, leaded-glass casement window 'was incorporated
into our early houses. Glass had to be brought from England and was
very expensive; as a result, it occupied only a small percentage of the
Early Colonial 21
windows were
exterior walls. Except for restorations, original leaded
replaced with double-hung, wooden sash windows in the early eight-
eenth century. Exterior louvered blinds (incorrectly called shutters
today) were not used in England and were never a feature of the
early colonial house here. Shutters (at first solid boarding and later
paneled) were used for security but were not featured as a decorative
element or as a climate-control device.
Most early colonial survivors are restorations. Several still exist
and are open to the public. In a day's drive around Boston, one can
visit the towns of Ipswich, Salem, and the Ironworks at Saugus,
Massachusetts. Early houses in the South are fewer and more spread
out, but the Thoroughgood House near Norfolk, Virginia, and Ba-
con's Castle in Surry County, Virginia, are excellent examples.
Saugus Ironmaster's House,

Saugus, Massachusetts, c. 1680
Thoroughgood House, Norfolk, Virginia, c. 1650

22
EARLY NEW ENGLAND COLONIAL 1640-1715
The half-timbered houses of early New England were covered with a

beveled siding of wooden clapboards. Called weatherboarding in
England, it was relatively rare in the northern counties because
wood was increasingly expensive. The bountiful New England for-
ests, however, made wooden siding an obvious choice here and

provided the essential element of our early colonial houses that has
continued to this day. As in England, front doors were vertical boards
attached to an inner layer of horizontal boards; the outer surface
often had hand-wrought nails with their exposed heads forming a
decorative pattern— a subtle form of conspicuous consumption. The
more nails the more extravagance.
The steeply pitched roofs of the English thatched-roof cottage
were constructed here in the same manner, but thatch was quickly
replaced by split shingles, or "shakes," which fared better in our
severe winters. Window glass was usually set in diamond-shaped
patterns of leaded panes. Decorative embellishments were generally
subtle and understated; there were very few exceptions. One was the
massive central chimneys of stone or brick with their clustered flues;
another was the occasional "drop" or pendant under the jetted
overhang of the second floor. The houses were seldom painted but
were simply oiled or left to weather.
Typical floor plan Drop
By the end of the seventeenth century some buildings were being

Renaissance style. The Christopher Wren
built here in the classical
building at the College of William and Mary in Williamsburg, Vir-
ginia, was started 1695 and completed in 1702. Although it is
in
usually called Georgian, I have always had trouble using that term
for a building completed several years before the first George came
to the English throne. Stuart or even Restoration would be more
appropriate terms.
Early Colonial 23
EARLY NEW ENGLAND COLONIAL 1640-1715

24
EARLY SOUTHERN COLONIAL 1640-1715
The colonies of Virginia and Maryland were settled in the early

seventeenth century, and the houses were essentially transplanted
English structures. Brick made from the southern clay was the
common building material for substantial buildings.
The cross-gabled plan was typical of these early colonial houses
and diamond-paned, leaded windows were the norm. In contrast to
the central chimneys of New England, which retained the heat in the
cold climate, southern houses placed the chimneys at the gable ends
and usually separated the upper chimney stack from the building by
several inches. Coals were kept burning at all times, even in summer.
Some early houses, Bacon's Castle in Virginia for example, had
parapeted gable ends with the Flemish or Dutch gables characteris-
tic of East Anglia— an area with close ties to Holland in the early
1600s. Chimneys were elaborate compositions with each flue stack

separated from the others and often fluted with decorative motifs
following the Tudor precedent.
Though wood did not fare well in the hot and humid climate of the
South, frame houses were also built. They tended to be one-story
structures with raised basements. They had clapboard siding and
the roofs were shingled.
What are often mistakenly called Southern Colonial — columned
temples evoking images of Tara in the movie version of Gone with
the Wind— in fact were post— Revolutionary War buildings of the
antebellum days and were typically Greek Revival in style (see
page 64).
Chimney detail,
Typical "hall and parlor" plan Bacon's Castle, Surry County, Virginia
Early Colonial 25
EARLY SOUTHERN COLONIAL 1640-1715

Emigrants to the New World, like their middle and lower
class countrymen who stayed at home, neglected matters of
style and fashion in favor of more elementary, practical, and
traditional construction.
—Marshall B. Davidson, The American Heritage History

of Notable American Houses, 1971
{
27
COLONIAL 1600-1780
ENGLISH 1700-1780
Toward the end of the seventeenth century many changes occurred

in the appearance of our colonial houses. They no longer had an old-
world medieval look. Double-hung windows (often called "sash win-
dows") had recently been introduced into England from Holland and
soon found their way here. They were used almost exclusively by
1715. The panes were small, about 6 inches by 8 inches with 1 -inch-
thick muntins. Older houses were usually retrofitted with the new
windows and the colonial house assumed a very different look from
its earlier period.
Roofs becameless steep — about 38 degrees instead of 50 degrees
or more — and chimneys no longer had the clustered mass of their
late-medieval prototypes. They were still large and centrally located
in New England until well into the eighteenth century at which time
the floor plan acquired a central hallway and chimneys were moved
to either side of the house.
The original seventeenth-century rectangular "hall and parlor"
layout was usually enlarged with the addition of a lean-to shed at the
back creating the familiar saltbox shape. By the turn of the century
saltboxes had become so standard that they were built with the long
Plan
Typical
t-r —
sloping roof as a deliberate element.
T-r
Typical
Center hall
Saltbox
PS Colonial
The equally familiar Cape Cod cottage evolved (not just on Cape
Cod) as a one-story or one-and-a-half-story house. Originally these
houses were built without dormers. Shingle siding was common,
although clapboard siding continued to be used. Incidentally, these
houses were rarely painted white before the nineteenth century
when the Greek Revival craze swept the country.
What makes these houses Colonial, as opposed to Georgian, is
their lack of fancy ornamentation. Embellishments of eaves, window
heads, and door surrounds with even vestiges of classical details
would make them Georgian or Georgian Colonial.
28
COLONIAL HOUSES
Double pile house —

Two rooms deep on both floors
Southern house
ENGLISH
Urban house
Urban row house
DUTCH
29
DUTCH 1625-1800
New Netherland was founded in 1625. It extended from the Dela-

ware River to what roughly corresponds to the New York/New En-
gland border. New Amsterdam and Fort Orange were renamed New
York and Albany after the English seized the colony in 1664. (Al-
though the Dutch regained New Netherland, they traded it for what
is now Surinam in a 1674 treaty.)
The Dutch tradition placed the gabled end of their houses toward
the street where it provided access to storage in the attic. Holland
had no forests by the sixteenth century and brick was their principal
building material. It was also used extensively in New Netherland.
The bricks were often brought in ships' holds as ballast. Windows
were casements in the early houses, but double-hung sash windows
became the norm after 1715. Parapeted brick gables were the
standard for the attached urban rowhouse. What has become identi-
fied as Dutch Colonial was supposedly derived from the Flemish
farmhouse with its flared gambrel roof, but even this theory is open
to debate.
The Dutch effectively won their independence from Spain by
1609 (the same year that Henry Hudson claimed the river that bears
his name for the Dutch West India Company). Though nominally a
monarchy, Holland was the first nation to be ruled by burghers in the
form of the Estates General. Holland was essentially a mercantile
country and trade was the source of wealth rather than the English
notion of landed estates. They were a tolerant people and Holland
became a refuge for Huguenots from France, Pilgrims from En-
gland, and Jews from Spain. The Dutch were never comfortable with
the strict dictums of Renaissance architecture, which to them was
associated with an authoritarian form of government and an aristo-
cratic social order. Comfort, privacy, and a sense of domesticity were
ideas developed by the Dutch in this era.* Dutch building had a
great influence on English architecture in the early seventeenth
century. Flemish or Dutch gables were popular Jacobean features in
England, as were brick, double-hung sash windows, and solid
shutters.
*See Rybczynski, Witold, Home, A Short History of an Idea (New York: Viking,
1986).
30
SPANISH 1600s-1840s
Spain came to the New World to find riches and to save souls. The
Spanish had a mission of the sword as well as a mission of the cross.
They founded missions throughout what is now our Southwest as
well as Florida and California. Their churches were often elaborate
architectural achievements, particularly in Texasand Arizona.
Ponce de Leon first attempted to found a colony in Florida at St.
Augustine in 1513 but it failed. The colony founded at Tampa,
however, succeeded in 1528. (This was one hundred years before
the Massachusetts Bay Colony.) Missions proliferated throughout
the Spanish territory during the eighteenth century. The architec-
ture varied from crude huts to elaborate Baroque churches with
intricate detail. The oldest house in America built by Europeans was
the Governor's Palace erected in Sante Fe, New Mexico, in 1609. It
was the prototype for the Pueblo style (see pages 128—29). There are
three other residential legacies from the Spanish era. The Spanish
Mission churches inspired the Spanish Mission style (see pages 126-
27), the one-story California ranchos built after 182 1 sired our ranch
houses (see page 148), and the blending of the New England colonial
and the Spanish casa resulted in the Monterey style (see pages 132—
33).
Governor's Palace, Santa Fe, New Mexico, 1609-1614

31
FRENCH 1700-1825
In the mid-eighteenth century the French colonial territory ex-

tended from the Alleghenies to the Rocky Mountains and from
Labrador and Hudson's Bay to the Gulf of Mexico. France controlled
virtually all of the Great Lakes and the entire Mississippi River.
Considering the size of the French domain, it is surprising that so
little architecture of the colonial days has survived. The French built
forts and trading posts but not new towns. There are no early
surviving buildings in Detroit or St. Louis, and New Orleans was
practically destroyed by fires before 1800. With the exception of the
galleried plantation house, French colonial architecture had almost
no impact on subsequent house styles. Remember that the British
prevailed in the French and Indian Wars which ended in 1763, and
Jefferson made the Louisiana Purchase from the French in 1803.
Early seventeenth-century French-style houses were generally
rectangular in plan and had no interior hallways. They had steeply
pitched hip roofs. Sometimes a gallerie or verandah was included
under the main roof or was sheltered by a roof with a shallower pitch.
In damp locations the main floor was elevated several feet above
grade. In the larger plantation houses in Louisiana this basement
became an entire story and contained storage and utility space.
Most of these survivors had French doors and galleries. The mid-
nineteenth-century cast-iron balconies seen in New Orleans were
chronologically Victorian and had no precedent in France. The
gallery reappeared about 1830 as a feature of the Greek Revival
house in the antebellum days of the "New South."
Parlange, Pointe Coupee Parish, Louisiana, 1750

. . . the Georgian, with its formal symmetry and finer
materials and delicately executed ornament, was the
expression of a wealthy and polite society
—Hugh Morrison, Early American Architecture, 1952
I
33
3. GEORGIAN 1715-1780
When the Great Fire of London consumed the city in 1666, Sir
Christopher Wren (1632-1723) was the architect chosen to rebuild
it. The conflagration virtually put an end to the medieval city,
and the classical forms of the Renaissance predominated in its
reconstruction.
With the restoration of Charles II to the English throne in 1660 the
Renaissance style flourished. The houses built in this era were
generally restrained, dignified, and refined classical buildings which
served as the prototypes for the best of the Georgian architecture in
the American colonies.
Queen Anne was the last of the Stuart monarchs. She died in 1 7 14
and was succeeded by George I— the beginning of the Georgian era.
With the exception of a few lavish Baroque essays built during her
reign, like Sir John Vanbrugh's Blenheim Palace and Nicholas
Hawksmoor's Castle Howard, most Queen Anne houses were rela-
tively modest. It was the character of these late Stuart houses that set
the tone of the American Colonial Georgian period.
Throughout our Colonial Georgian era, very little of the the actual
English Georgian architecture even reached North America until
after the Revolution. Our Federal and Neoclassical architecture then
borrowed from the English Georgian styles of the mid-eighteenth
century.
Two important influences shaped the character of English residen-
tial architecture of our Georgian period. One was the Dutch architec-
ture of the late seventeenth century with its use of brick and
contrasting sandstone, hipped roofs, and domestic scale. The other
was the Palladian movement. Renaissance classicism bloomed under
Wren but the self-conscious and rigid Palladianism evolved during
the reign of George I. The English translation of Andrea Palladio's
Four Books of Architecture and the first part of Colen Campbell's
Vitruvius Britannicus, an elaborate treatise with Palladian designs
recommended for Britain, were published in 1 7 15. Both books had a
formidable influence on residential architecture.
To understand Georgian architecture one must know something
about Andrea Palladio (1518-1580), who was one of the most influ-
ential architects of.all time. A native of Vicenza, his country houses
inland from Venice were unlike anything that had been built before.
They inspired generations of architects, dilettantes, and scholars.
34
STUART ARCHITECTURE
Queen's House, Greenwich, England, by Inigo Jones, begun 1617
Squerryes Court, Mompesson House,

Westerham, Kent, c. 1680 Salisbury, Wiltshire, 1701
Belton House, near Grantham, Lincolnshire, 1684-1688

Georgian 35
His innovations became gospel for British architects from Inigo

Jones and Sir Christopher Wren in the seventeenth century through-
out the Georgian era of the eighteenth century. His influence was felt
in the American colonies and is still in evidence today even if in
vestigial form.
AMERICAN GEORGIAN
American Georgian houses built after 1715 were based on the Stuart
architecture of late seventeenth-century England.
illilil
Westover, Hunter House,
near Charles City, Virginia, 1 734 Newport, Rhode Island, c. 1 746
Wentworth-Gardner House, Corbit House,

Portsmouth,New Hampshire, 1 760 Odessa, Delaware, 1 772-1 774
M
I
A House at Cefalto for
'The Magnificent Signor Marco Zena'
from Palladio's Second Book
Plate XXXII
Tulip Hill, Anne Arundel County, Maryland, 1 745-c. 1 785

Georgian 37
By the mid-sixteenth century, Venice had become an immensely

wealthy independent city-state. The new humanistic doctrine fos-
community with a cultured upper class that was
tered an intellectual
distinctly separatefrom Rome. The Venetians even developed an
empathy with the Protestantism that was emerging in northern
Europe. It was in this milieu that Palladio found an outlet for his
talents.
What was so special about Palladio and why was he different from
other Renaissance architects?The inventor of a new kind of country
house — one that became the prototype for the eighteenth-century
English estates and the plantation houses of the American South —
he codified a personal adaptation of the ancient classical orders and
developed a system of harmonic proportions for his spaces. His
sophisticated farmhouses for an educated agrarian class were rural
structures that incorporated the functional components of a working
farm into ordered and controlled compositions. Even the attic space
of many of his houses was used to store hay! The now- familiar five-
part composition — central block with symmetrical dependencies
connected by hyphens— was Palladio's innovation and was one at-
tribute of his work that was widely imitated by his followers.
The other two principal features that characterize Palladio's work
were his use of the central pedimented portico to emphasize the
importance of the entrance facade and the reintroduction of the
dome in a domestic building. Both features had long been associated
with religious buildings and were as strange as a church steeple
would be on a suburban house today. He incorporated these ele-
ments into his designs to infuse his houses with a sense of "grandeur"
and "magnificence" (two of his favorite words). He felt obliged to
justify the use of both the pediment and the dome by explaining in
his Four Books of Architecture that they were originally derived
from domestic structures (hence the word domus) and were therefore
a legitimate use of the forms.
Palladio also used a mundane finish material on these grand
houses: plain stucco or plaster instead of cut stone. The plain sur-
faces were painted warm earthy tones which infused them with a
richness of light and color that was more akin to the vernacular
architecture of Italy than to the pallazzos of Rome and Florence.
These were inexpensive materials, and their simplicity was a subtle
counterpoint to the richness of his details.
interesting that a handful of country villa/farmhouses and a

It is
single anomalous belvedere, the Villa Capra (Villa Rotunda) near

Venice, would launch Palladio's name into western residential archi-
tecture. His word was spread with almost evangelical flame by his
English proponents in the eighteenth century. Many of his admirers
had traveled to Italy and seen his work. His four-volume treatise on
architecture included many of his own designs as well as measured
drawings of ancient Roman buildings. As a writer he was a first-rate
public relations expert and it was his books, as much as his actual
buildings, that lead to his great renown. Lord Burlington (1694-
1753) was his single most important promoter in Britain in concert
with Colen Campbell (d. 1729). Both built houses based on the Villa
Rotunda.
Villa Emo, Fanzolo, Italy, by Palladio, 1559
Villa Capra (Villa Rotunda),

Vicenza, Italy,
by Palladio, 1556-1570
Merev/orth Castle, Kent, Chiswick,

by Colen Campbell, 1 723 Lord Burlington's House, Middlesex, 1720s
Georgian 39
Before examining the various styles that derive from classical

prototypes,I want to focus on one detail that is often constructed
incorrectly— always to the detriment of classical design. The differ-
ence is not generally understood or appreciated.

Throughout the eighteenth and nineteenth centuries there were
pattern books that provided builders with classical details based on
accurate, measured drawings of actual classical buildings. The two
drawings below show the right and the wrong way to construct the
cornice. If one is going to use the details, it might as well be done
correctly. Asher Benjamin stated, though admittedly not all that
clearly, in his 1827 edition of The American Builder's Companion,
"It is to be observed, that the cymarecta and fillet above it, of the
cornice, are always omitted in the horizontal one of the pediment;

that part of the profile being directed upward to finish the inclined
cornices." Though somewhat verbose, the author is specific in his
instruction that the S-shaped crown molding, the cymarecta, caps
the top of the pediment and is not returned on the horizontal corona.
CORNICE DETAILS
cyma This is the only place the crown

(cyma molding should be positioned.
Note that the crown molding —
the cymarecta— follows up the
rake above the upper part of the
"split" or "hinged" fillet and not
on the lower part just above the
horizontal corona.
RIGHT
sloped
corona
cymatium
(cymarecta)
r cymarecta
Though you often you see this
and uninteresting
detail, it is flat
fillet
when compared to the correct
corona classical standard. It places the
emphasis on the horizontal
portion of the pediment rather
WRONG than on the rake.
CLASSICAL ORDERS
There are five Renaissance orders.
The Composite order, however, is
extremely rare and is quite similar in
proportion and scale to
the Corinthian.
All L.D.s = 18" Scale: l/t = l'-0' Greek Doric
TUSCAN 8 3A Lower Diameters ROMAN DORIC 10 L.D.s
The component parts of the classical orders are all proportioned to the
diameter of the lower part of the column. Columns curve inward for the
upper two-thirds of their height. (All the orders shown here have the
same lower diameter of 18 inches.) (See page 1 71)
Georgian 41
All L.D.s = 18"
Scale: W= l'-O"
IONIC 11V4 Lower Diameters CORINTHIAN I2V2 L.D.s
The columns vary from seven to ten L.D.s in height. The entablatures
are one-quarter the- height of the column,and the divisions of the archi-
trave, frieze,and cornice are governed by strict rules. The Greek Doric
order was 7*/4 L.D.s and the column only 5*/2 and had no base.
42
GEORGIAN - New England 1715-1780
Whether built in the North, the South, or the Middle Atlantic

colonies of Delaware, Pennsylvania, or New York, the same simple
formality epitomized this new popular style. Symmetry, aligned
windows, and accepted conventions based on Renaissance prece-
dent for all the basic component parts of the house characterize the
American Georgian style. The proliferation of English pattern books
served to ensure a unanimity or consistency of design throughout the
colonies. There were regional differences based on available mate-
rials,cultural patterns, and social attitudes, but the variations were
all on a basic theme.
Roofs were either gambrel, gabled, or hipped. The gambrel was
much more common in New England than in the other regions. The
illustration shows the gambrel roof on a house one could find in
Portsmouth, New Hampshire, Newport, Rhode Island, or up the
Connecticut River Valley.
The New England Georgian house of the mid-eighteenth century
usually had a distinctive paneled door accentuated by classical
pilasters and capped by a well-proportioned, pedimented entabla-
ture. A transom light, either rectangular or half-round, was common,
but neither side lights nor elliptical fanlights appeared until after the
Revolution.
Windows were surrounded by molded architraves and capped
with classical crown moldings or cornices. The eaves, by definition,
had classical cornices often with modillions on the soffits. The upper
windows were usually set just below the eaves and were the same
size as the lower windows. Divided lights were set in 1 -inch-thick
muntins and were 6 inches by 8 inches or 8 inches by 10 inches at
the largest. Glass was still imported and still very dear. After 1 750
the balustrade was introduced and was generally set high on the roof.
Neither louvered blinds nor shutters were a feature of the New
England Georgian house. Louvered blinds were introduced late in
the eighteenth century and probably came from the South.
Georgian houses generally did not have covered porches at the
front door.There might be pilasters framing the doorway with an
entablature above projecting a few inches from the face of the wall,
but no roof supported by columns. Whenever an entry porch ap-
pears on a Georgian house it was probably added after the Revolu-
tionary War.
Georgian 43
GEORGIAN -New England 1715-1780

44
GEORGIAN -The Middle Atlantic 1715-1780
Stone was the most common building material in Pennsylvania and

the Delaware Valley. Unlike New England, lime was readily avail-
able and the settlers— who came mostly from the midlands of
England— were accustomed to masonry construction. Philadelphia
was by far the largest city in the colonies at that time and certainly
had the finest architecture. Though he never actually settled there
himself, William Penn brought architect/builders with him to his new
colony. Most of the settlers were Quakers and came from the Penine
moorlands.
Somewhat heavier moldings and details were seen on these build-
more massive
ings than in the other colonies— perhaps to reflect the
quality of the stone. The fully pedimented gable with its horizontal
corona returned across the gabled ends. The cornice was often highly
decorated with modillions and dentil work.
Though paneled shutters were introduced in the colonial period,
louvered blinds came in quite late and were often seen just on the
upper floor. Even today around Philadelphia you will see white
shutters on the lower story and dark-green louvered blinds above.
A distinctive feature of the Pennsylvania house was the "pent" —
an appended roof that was secured or hung from the wall above
without brackets or posts to support it. Called a "pentice" in En-
gland, it was common in the midlands. Sometimes the pent extended
all the way across the face of the building and, as shown in the
illustration, occasionally with a pedimented portion that empha-

sized the front doors and diverted the rain from the porch below.
The double-hung windows,
typical of all Colonial Geor-
gian houses, tended to be "6
over 6" (that is, 6 panes in the
upper sash and 6 panes be-
low), 6 over 9, or 9 over 12
with 1 -inch-thick muntins.
Generally the glass size was
still fair
1 *- small — 6 inches by
8 inclk or only slightly
larger.
House with pent

Georgian 45
GEORGIAN -The Middle Atlantic 1715-1780

46
GEORGIAN -The South 1715-1780
Brick was by far the most common building material in the southern
colonies for large houses, usually laid in Flemish bond (alternating
headers and stretchers). The hip roof, while sometimes used fur-
ther north, predominated in the southern colonies. The influence of
the restrained late- Stuart style of residential architecture was at its
peak in the plantation houses of the Virginia tidewater prior to the

Revolution.
As in the English prototype,window panes were small, the mun-
tins at least 1-inch thick,and the exterior casings rather narrow. The
major decorative elements were featured at the eaves in the form of
classical cornice detail often enriched with modillions and occa-
sionally a pedimented doorway with a well-proportioned transom
light. Semi-circular transoms were common as were rectangular
ones. Remember that sidelights and elliptical fanlights were not used
in any of the colonies until after the Revolution. The Brewton House
in Charleston, South Carolina, built between 1765 and 1769, is "the
only undoubtedly authentic example of this motive in a pre-
Revolutionary house."*
The best examples of the style
can be seen in Virginia. The Wy-
the House at Williamsburg (1755)
is an excellent example. Also
Stratford, Carter's Grove, and
Westover, all built between 1725
and 1753. Mount Airy, finished in
1762, was copied from English ar-
chitect James Gibbs's Book of Ar- Mount Airy,
chitecture and is pure Palladian. Warsaw, Virginia, c. 1762
Although most southern Colonial Georgian houses were brick,
Mount Vernon is the most notable exception. It was timberframe
with wooden siding. But even there, when Washington remodeled
the house in 1757, he not only simulated masonry by incising the
boards to look like stone blocks, but he actually textured the siding
with a paint mixed with sand (see page 52).
Morrison, Hugh, Early American Architecture (New York: Oxford University

Press, 1952; Dover, 1987), p. 416.
Georgian 47
GEORGIAN -The South 1715-1780

More so than ever in the colonial period, buildings were now
not only frameworks in which to live and work; they were
also provocative projections of what Americans wanted to be.
—David P. Handlin, American Architecture, 1985

49
4. THE YOUNG REPUBLIC 1780-1820
The Treaty of Paris in 1783, seven years after our Declaration of

Independence, confirmed our nationhood but not our sense of na-
tionality. There were too many disparate forces to be merged to
expect a spontaneous social order that encompassed all our differ-
ences. Benjamin Franklin admonished at the time, "Say, rather, the
War of the Revolution. The War of Independence is yet to be
fought." Democracy was still a dubious and volatile experiment.
There was no White House and no capitol dome to symbolize our
unity. Philadelphia, not Washington, was the nation's capital for over
ten years. After a brief time in New York, the capital was located in
Philadelphia from 1790 until 1801. William Penn's Quaker town
had grown to be the largest city in the confederation— over 70,000
inhabitants and, next to London, the largest English-speaking city in
the world. New York trailed by 10,000 and Boston had a mere
25,000 inhabitants. Strongly Tory during the Revolution, Philadel-
phia remained a patrician city and still felt comfortable with the late
Georgian architecture of the mother country as did Boston, New-
port, Salem, Charleston, and most other centers of commerce.
Not every colonist supported the Revolution— perhaps as many as
a third of the population were loyalists even as late as 1800. When
war broke out between England and France in 1793 there was a
strong British sentiment among the Federalists. Jefferson's Republi-
cans, more like the Democratic party of today, favored France.
George Washington warned against our involvement in the quarrels
of foreign nations in his farewell address in 1796. Our failure to heed
his sagacious advice did much to polarize society in the years that
followed, in a time when the former colonies needed cohesion.
This was also a time of financial crisis. The federal debt in 1 790
was $54,000,000. On the other hand the government owned enor-
mous amounts of land confiscated from the British Crown as well as
individual loyalists' holdings. This land was made available to an
increasing number of freeholders both in the former colonies and in
the hinterland. The Northwest Ordinance of 1787 affirmed the
equality of new states entering the union and was a great incentive to
settlers who could move to the frontier with confidence that their
rightswould be protected. New states soon followed the original
Vermont in 1791, Kentucky in 1792, and Tennessee in
thirteen:
1796 were formed from federally owned territories or those sections
where all disputed claims were withdrawn by the former colonies.

After the War of 1 8 1 2 which Franklin might well have considered
,
"War of Independence," America was well on its way to

the real
becoming a self-sustaining nation. The Louisiana Purchase in 1803
nurtured the shared ideal of a manifest destiny so much a part of our
national psyche by mid-century. What about our architecture?
In the years before our independence the character of English
Georgian architecture had begun to change. Archaeological discov-
eries at Herculaneum in 1719 and Pompeii in 1 748 showed that the
classical orders had much greater variety than Palladio or Vignola,
another important architect who codified the classical orders, re-
ported in the sixteenth century or than Vitruvius recorded in classi-
cal Rome. The Neoclassicism that was spurred by Thomas Jefferson
drew not just from Palladio but also from the influential book Anti-
quities of Athens by Nicholas Revett and James Stuart, published in
England in 1 762. It is hard for us today to imagine that the use of one
Ionic capital instead of another would be considered revolutionary.
In fact, to a rigid Palladian, it was an extremely bold and unorthodox
step.
This classicism of the early nineteenth century is often called
Adamesque or the Adam style after Robert Adam (1 728— 1 792) and
his brothers who developed the style. They enjoyed the largest
and most successful architectural practice in Britain from 1760 to
1780. With offices in London and Edinburgh, they were also de-
velopers in the way we use the term today. Although they drew from
Palladio's work in their early years, their later work demonstrated a
freer interpretation of the classical orders, extensive use of decora-
tive panels, and, by American standards of the day, an excessively
gaudy use of colorand gilt in their interiors.
Typical Federal and Adam details

The Young Republic 51
George Washington enlarged Mount Vernon between 1775 and

1777 in the latest fashion. The new dining/reception room was pure
Adam (decorated much like Wedgewood china with Greek urns,
sheaves of wheat, and garlands of flowers). Also at this time Wash-
ington added the two-story portico on the river elevation. Rather an
anomaly, it is probably the single most recognized house in America.
Undoubtedly few would recognize it in its original form, for it started
life around 1735 as a typical one-and-a-half-story colonial farm-
house with a second story added in the 1 750s. It took its final form in
the Federal period (see illustration page 52).
The new freedom of the Federal period produced a lighter, more
attenuated architecture which featured bowed windows, gracefully
curved stairs, and tall 6 over 6 windows with delicate muntins only
3
/4-inch thick and large individual panes. Charles Bulfinch (1763—
1844) of Boston, Samuel Mclntyre (1757-1811) of Salem, Massa-
chusetts, and William Thornton (1759—1828) of Washington were
all proponents of this new and elegant expression of the late Renais-
sance ideal.
Thomas Jefferson sympathized with France in England's Napo-
leonic Wars (1799—1815) and looked to the continent for his archi-
tectural stimulation and prototypes for his interpretation of
Neoclassicism. France had supported us in our fight against England
and Jefferson was our minister to France from 1785 until the out-
break of their revolution in 1789. His Neoclassicism drew from the
original sources— true Roman buildings such as the Maison Carree
in Nimes — rather than work distilled by late eighteenth-century
British architects.
Whatever the political predilection of the architect, Federal and
Neoclassical houses shared many standards and infused their plans
and details with numerous innovations. Closets, as we know them,
appeared, along with butler's pantries and rooms with specific pur-
poses. No longer were rooms invariably rectangular; elliptical, oc-
tagonal, and circular shapes were introduced as well as curved or
bowed projections and octagonal bays. Service stairs and even in-
door privies began to appear. Jefferson eliminated ceremonial stair-
ways and even incorporated skylights into his designs.
By the end of the Federal period the classical idiom was recog-
nized as an American way of building and set the pace for the Greek
Revival of the next couple of generations. As settlers moved into the
hinterlands, the Federal style had no time to take root before the
11 i i 11 i x
c. 1735-1757
liBRun»D»tDamilflMiljmjmJnTinitiuuuauD\uiaûuflg|
B
^ ^
a 1758-1774
n
1775-1787
Mount Vernon was originally built about 1735 by George Washington's

father as a typical unpretentious colonial farmhouse. It was enlarged and
embellished with Georgian details in 1757-1758 and remodeled again
during the Revolution. It took its final form by 1787.
popular mania for the Greek orders became established. Most Fed-
eral houses were built in towns founded before the Revolution.
Though Andrew Jackson won the most electoral votes in the 1824
election, the votemoved to the House of Representatives and he lost
to John Quincy Adams. Four years later, however, Jackson won with a
clear majority of the nation behind him and was the first "candidate
of the common man." Jackson's Greek Revival house The Hermitage
was a symbol of the new age.
The Hermitage,
Andrew Jackson's home, near Nashville, Tennessee, built in the 1830s
54
FEDERAL 1780-1820
In the early Federal period, the colonies found expression in a

refined and elegant interpretation of the prescribed Georgian. Wil-
liam Hamilton's Woodlands just outside Philadelphia was among the
first houses tcTbe built in the new style. It was embellished with a
two-story portico in the late 1780s.
The Woodlands,
Philadelphia, 1787-1789
Window glass was now made in the United States and was available
in larger sizes. Three-story houses, with windows decreasing in
height on the upper floors, became increasingly common. Three-
quarter-inch glazing bars gave a new elegance to the Federal house
and the divided lights were often 10 inches by 12 inches or even
larger. Windows were elongated with the sills almost at the floor
level. Elegant balustrades were set just above the eave line and the
roof pitch was reduced to 4 in 12 and perceived as virtually flat. The
Palladian window, popular during the Georgian period, became
more delicate and was a common feature of the Federal house.
Charles Bulfinch returned to Boston from the London of the
Adams brothers in 1786 and did much to alter Boston in the Federal
period. The previous Georgian style deferred to the new influences
from abroad.
Front doors with elliptical fanlight transoms and decorated side-
lights became a feature of the Federal style. Wall surfaces were left
plain. String or belt courses and occasional plaques with swags or

sheaves of wheat might be the only decorative features. Considered
elegant and rich by many admirers, the original Adam interiors in
England were found by others to be garish and excessive in their
gilded details and use of multicolored marble. The Adam style here
generally showed more restraint and elegance in the understated
playfulness of curved bays, oval rooms, and sweeping stairways.
Some of the finest examples of the style can be seen in ports along
the East Coast with strong ties to England.
IS* 1 52+1 |i.fcl lit I lEl
tJ*kt Juwil, ImaibH. l.Jib.ii
FEDERAL 1780-1820
56
NEOCLASSICAL 1780-1825
Thomas Jefferson's architectural influence was pervasive through-

out the former southern colonies, particularly in Virginia. Palladian
principles and proportions influenced Jefferson. His first version
of Monticello featured a double portico — Roman Doric below and
Ionic above — and was decidedly Palladian in spirit.
Thomas Jefferson's first
version of Monticello,
1771
Federal orders were usually attenuated— the columns elongated and

the entablatures often one-fifth the height of the column, instead of
the one-quarter as in Palladio's standards shown on pages 40—41.
The Neoclassicists, on the other hand, adhered strictly to the for-
mulae of "correct" proportion of the Roman prototypes and took few
liberties with established precedent.
Palladio, however, was no longer the single dominant source for
classical orders. Even Vitruvius was found to have edited and cod-
ified the Roman orders to suit himself. Archaeological discoveries
continued to reveal wider variety in classical orders than had been
previously supposed and the Neoclassicists drew from a wider selec-
tion of precedent. They rarely presumed to distort the proportions of
the classical orders except in the subtlest way. Angled bays and tall
windows, similar to the Federal buildings of the North, and articula-

ted, symmetrical floor plans characterized the style. Introduced as a
Roman Revival but superseded by the late 1820s by the ubiquitous
Greek Revival, the style enjoyed a popular resurgence following the
Columbian Exposition in Chicago in 1893 (see page 104).
One encounters occasional vernacular examples of the Neoclassi-
cal style, invariably with badly proportioned forms. Any naive
attempt to imitate classical orders is the equivalent of pretentious
writing with no sense of grammar, syntax, or spelling.
NEOCLASSICAL 1780-1825
These two revival styles— the Greek and the Gothic —
represent the double portal through which American
architecture passed into a new age.
—Mary Mix Foley, The American House, 1979

59
5. AN EMERGING NATION 1820-1860
A British secret agent named Paul Wentworth reported at the end of

the Revolution that "the American states comprise not one but three
republics" and asserted that "the differences among these American
republics were greater than between European states."* He referred
to New England, the South, and the Middle Atlantic states.
Disparate as the new nation might be, a tremendous feeling of
optimism prevailed in the generation born after the Declaration
of Independence. ,The War of 1812 ended in 1815 with General
Andrew Jackson's victory at the Battle of New Orleans. Britain's
Napoleonic Wars came to an end as well and the seas were open once
again to American shipping. Ports around the world were receptive
to our fleets of clippers and America got on with the business of
building a nation.
The was disintegrating. By 1819 the United
vast Spanish empire
States had acquired western Florida and the rest soon followed.
Spain also surrendered its claim to the Pacific Northwest. By 1821
Mexico had won its independence and the Spanish lost, all claim to
North America. It was just a matter of time before the United States
would control all the former Spanish territories north of the Rio
Grande.
In 1823 the Monroe Doctrine gave expression to our sense of
separateness from Europe— not just as a nation, but as a hemisphere.
The American continents were "henceforth not to be considered as
subjects for future colonization by any European powers." America
was off limits; in return we would stay out of "internal concerns" of
European nations. We felt no compunctions, however, about annex-
ing Cuba and Texas a few years later. We developed a sense of
chauvinistic pride and our manifest destiny was assured.
The predominant ethnic group in America at this time was still
British in origin, though hardly cohesive. Initially immigration from
Europe was light. Only 300,000 settlers came in the first forty years
of independence. Less than five percent of the population in the first
three decades of the nineteenth century resulted from immigration.

After 1840, however, mass immigration increased, reaching a peak
of three million people between 1845 and 1855. This was the
*Fisher, David Hackett. Albion's Seed (New York: Oxford University Press,
1989), p. 829.
greatest proportional influx ever and had an incalculable effect on

our society. Eighty-five percent of all immigrants between 1820 and
1860 came from Ireland, Germany, and Britain — in that order. (It is
interesting that in the last decade of this century less than twenty
percent of all Americans have any British ancestry. Today, more
Americans descend from German forebears than any other ethnic
group— slightly over twenty percent.)*
Most immigrants headed to urban areas. The Irish and many
Germans were Catholic. "Popery" was considered incompatible with
American freedom and Catholics were regarded with suspicion by
the established Protestant families. Many of the newcomers were
poor and were not easily assimilated. The components of our melting
pot began to arrive but, as H. L. Mencken caustically remarked in
the 1920s, "the only thing that melted was the pot."
t $ For all the increase in our urban population, we were still an
agrarian society. Ninety-five percent lived on farms and towns re-
mained small. "As late as 1860 only one city in the south had a
V
4
> %?
crvjt
population of over 100,000; in 1840 only four cities west of the
coastal states had more than 10,000 people."f
We were also a restless nation. The movement west increased by
more than a third every ten years. The Erie Canal was completed in
1825 and the hinterland of America was suddenly more accessible
from the east. The first steamboat operated on the Mississippi in
1812. Cotton was never a viable export before that date and re-
mained essentially a coastal crop until well after the War of 1812.
England imported 20,000,000 pounds of cotton in 1784 — none of it
from the United States. That figure increased to 1.5 billion pounds in
1850 and 82 percent now came from the American South. In the
next decade that figure increased by two and half times and ac-
counted for more than all of our other exports combined.
Cotton quickly exhausted the soil and it was cheaper to buy new
land than to rotate crops. As Thomas Jefferson said, "It is cheaper for
Americans to buy new land than to manure the old." That land, of
course, lay in the "New South"— Alabama, Mississippi, and Louisiana.
With the diversity, growth, and energy of the early nineteenth
century, an interesting thing happened: we began to see ourselves as
the successors to the democracy of ancient Greece. Our Greek
*Ibid.
tKennedy, Roger G., Architecture, Men, Women, and Money (Cambridge, MA:
MIT Press, 1989).
An Emerging Nation 61
Revival style was surely the first national fad to sweep this country.
Like most architectural movements here, it started in England fol-
lowing their archaeological discoveries of the mid-eighteenth cen-

tury. Though these excavations kindled an interest in Greek
architectural styles in Britain, the English never seriously adopted
them to the extent that we did here. America felt both a kinship with
the democratic ideals of the fifth century B.C. and an empathy with
"themodern Greeks who fought their own war of independence from
the Turks between 182 1 and 1830. Our taste for Greek architecture
became almost a mania and the style was used for every building
type from state capitols to privies. New towns that sprang up in
.western New York State and across the Appalachians boasted Greek
names — Athens, Syracuse, Corinth, Sparta, and Ithaca, to name a
few.
The Greek Revival was actually the culmination of the Neoclassi-
cism which reached back before Rome to the original progenitor of
the classical idiom: the Doric, the Ionic, and the Corinthian orders
of the ancient Greeks. But the Greek Revival was essentially a rosy-
hued and rather romanticized view of the Athenian world. One of the
problems of embracing early Greece was the fact that it was a slave
state and abolition of slavery was fast becoming a concern in the
"TôrtnTThe importation of slaves had been abolished here in 1808
and England outlawed slavery in its colonies in 1833. The Greek
Revival, however, became a national style between 1830 and 1850,
and until 1860 in Alabama, Mississippi, and Louisiana when the
CiviTWar interrupted building development.
Andrew Jackson was the first U.S. president to have come from
"the people." He was the hero of the Battle of New Orleans in 1815
and was a popular president with whom the common people could
identify. He was also the first president to have come of Scottish-
Irish stock from the American backcountry frontier. The fact that
General Jackson had actually lived in a log cabin was an appealing
notion to most Americans; it was a theme that would be repeated by
politicians insubsequent generations. His Tennessee house, The
Hermitage, was a columned plantation house that fulfilled the ideal-
ized image of a proper Greek house (see page 53).
Benjamin Henry Latrobe (1764—1820) was one of our first archi-
tects. Born in England and trained on the continent, he emigrated to
America in 1 796. Though he has been credited with introducing the

Greek Revival style to the United States with his Bank of Philadel-
Andalusia, Nicholas Biddle House near Philadelphia,

Pennsylvania. Greek Revival additions to Benjamin
Latrobe's 1806-7 design by Thomas U. Walter, 1833-41.
This house in the Doric Order one of the most noted
is
Greek Revival houses in America.
Lyndhurst, Tarrytown, New York, by Alexander J. Davis,

1838-42, 1865-67. This is by far the largest of the Hudson
River Gothic Revival houses.
phia in 1 Greek mode did not appear much before

798, houses in the
the 1820s. John Haviland's The Builder's Assistant (1818, revised
182 1) was the first American publication to detail the ancient Greek
orders.Asher Benjamin revised his The American Builder's Com-
panion in 1827 and Minard Lafever published The Modern
Builder's Guide and The Beauties of Modern Architecture in the
Jjg>30s. These books stressed the merits of the Greek style. They
were widely disseminated and were largely responsible for the con-
sistency of design whenever the classical Greek mode appeared.
JThe architectural profession grew increasingly important during
this period. There was a growing need for public buildings as more
states were added to the Union and the population increased. William
Strickland (1788-1854), Ithiel Town (1784-1844), and Alexander
Jackson Davis (1803—1899) (who practiced with Town) all used
Greek forms. Davis later became enamored of the Picturesque styles;
his Gothic Revival work appeared in his Rural Residences in 1837
and in Andrew Jackson Downing's Victorian Cottage Residences and
The Architecture of Country Houses, both published in the 1840s.
One of the problems with classical architecture in general, and the
Gjeek Revival in particular, was its lack of flexible forms. Essen-
tially the style depended on the basic temple form and it could not
effectively serve all the demands that American building placed
upon it. It was a prescribed way of building with the same concern
with precedent that had affected the Georgian architects a few
generations before. The flexibility and "fitness of purpose" of the
~ Gothic Revival and the Italianate styles were much more suitable to
varied building complexes and creative massing of disparate forms.
Sentiment also began to shift in the 1840s from the romance of
^fiêRt^Greece to the romance of the Middle Ages.
The Gothic style was seen a generation earlier in England, around
_ 1800, as a Christian style — suitable for a Christian (Anglican) na-
tion. It had a moral Somehow, if one lived in a Gothic style —
tone.
that is, a Christian style — house, it would be conducive to leading a
moral life. That notion was prevalent here as well and in the 1840s
the Gothic Revival challenged the Greek Revival.
64
GREEK REVIVAL 1820-1850
Greek architecture was based on post and beam construction and

never featured the arch or dome so prominent in Roman building.
Greek temple architecture evolved in the fifthcentury B.C. with the
development of the Doric, Ionic, and Corinthian orders. Though
the latter was similar to the Roman, the Doric and Ionic were
somewhat more ponderous than their later versions. The Greek
Doric was only 7V2 lower diameters in height and had no base block
at the foot of the column. (Compare this with the Roman Doric shown
on page 40.)
Greek Revival houses usually oriented the gable end toward the
road. The roof pitch was lower than that in colonial houses and was
too shallow to permit dormers. The eave line was usually raised a
couple of feet above the attic floor and hopper windows were de-
signed to fit in the frieze just below the cornice. Light and ventilation
were provided in the attic by these low windows. Recessed entrances
with wide casings were common and usually featured sidelights and
rectangular transoms. Houses were usually either columned or em-
bellished with pilasters.
Though Greek temples were actually polychrome, Greek Revival
houses were always painted white. The symbolic purity of the stark
white house had universal appeal. The white clapboard house with
dark-green louvered blinds became a popular craze during the
Greek Revival period and has persisted to this day in the mistaken
notion that such a house is The southern plantation
"colonial."
house, idealized in the movie version of Gone with the Wind (though
not in the book) was a columned temple form— an example of the
Greek Revival style.
Tara, from the movie

Gone with the Wind
GREEK REVIVAL 1820-1850

66
GOTHIC REVIVAL 1840-1860
Sir Horace Walpole converted his country house Strawberry Hill in

Twickenham, near London, to a somewhat fanciful and superficial
version of a "Gothick" building in 1750. It heralded a taste for the
romance of the Middle Ages instead of the ancient world. Sir Walter
Scott's novels and his own hodgepodge of medieval fiction, Ab-
botsford (in Scotland not far from the English border), were widely
admired on both sides of the Atlantic.
Strawberry Hill, Twickenham, England, 1750-1776
Andrew Jackson Downing, the great taste maker of the 1840s,

promoted the Gothic Revival in his books on "cottage villas" pub-
lished in the 1840s. The Hudson River Valley was the perfect setting
for the kind of picturesque, rambling, "irregular" designs he en-
dorsed. Here the ecclesiastical associations were less important than
they were in Britain, and the Gothic was seen by anglophiles here as
simply an English style. It was the first of the so-called Picturesque
styles and symbolized a time of chivalry, of a romance with the past
in a world that was becoming increasingly mercantile and a time that
wasn't always so nice.
The Gothic Revival is appealing not as much for its stylistic
embellishments as for its more organic approach to design. The late
Gothic builders of the Tudor period were less concerned with formal,
stylistic dogma than they were with the celebration of craft and
utility. The Gothic Revival leads much more directly to a kind of
rational shaping of space that is an expression of the interior spaces.
Steeply pitched roofs with cross gables featuring carved verge
boards (sometimes called barge-boards) along the rakes and hood
moldings over the diamond-paned windows identify the style.
tall,
Vertical siding with earthy toneswas common and verandahs and

balconies embellished with brackets and railings featuring an exu-
berance of Gothic detail.
GOTHIC REVIVAL 1840-1860

The mingled quaintness, beauty, and picturesqueness of the
exterior when harmoniously complete, seem to transport
. . .
one back to a past age, the domestic habits, the hearty

hospitality, the joyous old sports, and the romance and
chivalry of which, invest it, in the dim retrospect, with a
kind of golden glow, which the shadowy lines of poetry
in
and reality seem strangely interwoven and blended.
—A. J. Downing, Victorian Cottage Residences, 1842
69
6. THE PICTURESQUE 1840-1900
The Picturesque movement was an expression of a nineteenth-

century philosophy of architecture and landscape design. It derived
from landscape paintings by artists who emphasized the harmony
and integration of man, buildings, and nature. Nicolas Poussin and
Claude Lorrain were mid-seventeenth-century painters whose
works were particularly admired for their picturesque qualities and
were a source of picturesque theory. Many of the styles that evolved
from this movement have been associated with the Victorian era.
The Gothic was the harbinger of the Picturesque styles. Real
Gothic architecture of the twelfth, thirteenth, and fourteenth cen-
turies derived its from an expression of its structural
intrinsic style
system. Walpole's "Gothick" Strawberry Hill was a new costume for
a fancy dress ball. The detailing had little or nothing to do with the
actual structure. His house was widely publicized and initiated a
fascination with the Gothic style that found its way to our shores in
the 1840s. The Greek Revival and the Gothic Revival were the
styles that bridged the change from the end of the Renaissance age to
the new industrial era of the modern world.
Attingham Park in Shropshire
Cronkhill, a small agent's house at
designed by John Nash (1752—1835) in 1802, was a key example of
the Picturesque in the form of a rural Italian villa. It was the first
interpretation of an idealized vernacular farmhouse from the popu-
lar picturesque landscapes and became the prototype of Italianate
villas in America.
The century— whether rigidly ortho-
classicism of the eighteenth
dox or loosely interpreted and adapted to residential scale— was no
longer the only accepted architectural mode. Words like "irregular,"
"adaptability," "informal," and "fitness of purpose" became the slo-
gans of the new Picturesque movement. The idea of a house in the
country became increasingly important for the English middle class.
The retreat, the romantic hideaway, and the pastoral shooting lodge
all satisfied a need of the successful mercantile class on both sides of
the Atlantic to escape from the realities of the source of their money.
This rejection of the formal, imposing, classical house opened up all
kinds of possibilities for inspiration and emulation.
The English publication of E. Gyfford's Designs for Elegant Cot-
tages and Small Villas and Small Picturesque Cottages and Hunting
Boxes in 1806 and J. B. Popworth's Rural Residences in 1818
reflected an increasing predilection for the quaint among the English

middle These books nurtured a taste for the Gothic retreat, the
class.
Swiss chalet, the Italian farmhouse, and the "cottage orne." With
such variety of style, unity was achieved in a cohesiveness of scale,
planning, and respect for the garden park.
Nineteenth-century England paid a tremendous price in social ills
for its industrial and commercial growth. The order, grace, and
dignity of the earlier Georgian era succumbed to a world of squalor,
human exploitation, and industrial blight. There were social
reformers— Charles Dickens, for one— who reacted against this new
reality. The English Arts and Crafts movement, encouraged by
William Morris (1834—1896), flourished in Victoria's reign after

1860 and in this country after 1890. It was also a response to the
negative aspects of the times and took the form of a romantic revival
of the arts and crafts of an idealized past. People sought Ye Olde
England, the good old days in an attempt to ignore the unpleasant
realities of the present.
One positive force was a movement in domestic architecture to-
ward a house for the then-modern age. In 1859 the designer William
Morris commissioned Phillip Webb (1831— 1915) to design a house
near London. The result, The Red House, was seen by Hermann
Muthesius as "the first private house of the new artistic culture, the
first house to be conceived and built as a unified whole inside and
out, the very first example in the history of the modern house."*
The Red House,

William Morris's house in Bexley Heath, Kent, by Philip Webb, 1859
*Muthesius, Hermann, The English House (Berlin: 1904; New York: Rizzoli
International Publications, 1979).
The Picturesque 71
The Red House set the tone for the work of Norman Shaw, W. E.
Nesfield, E. W. Godwin, B. Champneys, and J. J. Stevenson. They
were prominent among the principal architects in the so-called
Queen Anne movement in the latter half of the nineteenth century.
The term Queen Anne is really a misnomer and should not be
confused with the Renaissance style that prevailed during the first
fifteen years of the eighteenth century. The Victorian term, as Mark

Girouard put it in his excellent book Sweetness and Light— The
Queen Anne Movement 1860—1900, "was a kind of architectural
cocktail, with a little genuine Queen Anne in it, a little Flemish, a
squeeze of Robert Adam, a generous dash of Wren, and a touch of
Francois I."* Though mostly for rich clients, this new architecture
was less pompous than the classical and, with the use of warm red
brick, sash windows, and a Dutch intimacy of scale, provided the
source for much of the American Picturesque architecture toward
the end of the nineteenth century. It isimportant to note that the
American Queen Anne style quickly developed a very different
character from the English. To call it the American Queen Anne
would be a bit laborious but more appropriate.
Manor Farm, Hampstead,

by Basil Champneys, 1881,
isan example of
English Queen Anne.
William Carson House, Eureka, California, by Samuel and Joseph

Newsome, begun 1884, is the quintessential American Queen Anne.
*Girouard, Mark, The Queen Anne Movement 1860-1900 (Oxford: The

Clarendon Press, 1977; New Haven, CT: Yale University Press, 1984).
Sezincote, Colonel John CockerelVs house in Gloustershire

by his brother S. P. Cockerell, c. 1803
Royal Pavilion at Brighton by John Nash, c. 1818

The Picturesque 73
Queen Victoria succeeded George IV in 1837 and ruled until

January 1900. Her name has been associated with architecture
throughout that entire era even more in this country than it is in
Britain. The diversity of styles and character makes the term "Vic-
torian style" almost meaningless. There are no less than eight dis-
tinct styles that are called Victorian in popular parlance, and many
vernacular combinations could also be added to the list. In addition
to the Gothic Revival, the list includes the Swiss Cottage, the Italia-
nate styles, Exotic Eclectic, Second Empire, the Stick style, and
the Queen Anne. One of the aims of this chapter is to sort out the
principal styles that come under the general term Victorian so that
each one can be appreciated for its own particular qualities.
William Watts Sherman House,

Newport, Rhode Island,
by Henry Hobson Richardson,
1874, often considered
the American
first
Queen Anne
Griswold House, Newport, Rhode Island, by Richard Morris Hunt, 1863

74
SWISS COTTAGE 1840-1860
There is probably no more "picturesque" country anywhere, even

today, than Switzerland. In his 1823 book Rural Architecture, or a
Series of Designs for Ornamental Cottages, the Englishman P. F.
Robinson recommended the Swiss Cottage style for residential de-

signs. Andrew Jackson Downing suggested the Swiss Cottage style in
his Victorian Cottage Residences, saying that anyone "fond of the
wild and picturesque, whose home chances to be in some one of our
rich mountain valleys, may give it a peculiar interest by imitating the
Swiss Cottage, or at least its expressive and striking features."
For the English Switzerland was "Protestant and clean." It repre-
sented an idyllic land remote from their growing industrialization.
Dickens had a small chalet in his garden and Queen Victoria im-
ported one in 1853 as a playhouse at Osbourne, her retreat on the
There is even a tube stop on the London Underground
Isle of Wight.
thatcommemorates an 1840 tavern built in the style near St. John's
Wood. Few Swiss cottages survive from the nineteenth century. The
decorative details of the style, however, inspired much of the "gin-
gerbread" which encrusted vernacular interpretations of the various
Victorian styles.
In our era there is a perfect parallel to this escapist mentality.
Vermont's Stratton Mountain was developed as a ski area in the
early 1960s and nurtured an Austrian theme. The ski school was
Austrian and Tyrolean music contributed to the atmosphere. Most of
the "chalets" (not "ski lodges") looked like cuckoo clocks. They had
shallow pitched roofs and typically a second-floor balcony beneath a
gabled overhang. The railings had flat board balustrades with cutout
decorative motifs. Heraldic shields abounded. This storybook archi-
tecture provides an escape from the world of business for the city
executive today much as it did for his counterpart in the Victorian
age.
Swiss Cottage
from Andrew Jackson Downing's
The Architecture of
Country Houses (1850)
The Picturesque 75
SWISS COTTAGE 1840-1860
t=#
76
ITALIAN VILLA 1845-1870
John Nash designed Cronkhill in 1802. Other Italianate houses

based on the vernacular styles of northern Italy soon followed. They
became increasingly popular in England and of course soon caught
on here. Andrew Jackson Downing was the great proponent of the
style.
In Victorian Cottage Residences, published in 1842, Downing
wrote, "an Italian villa may recall, to one familiar with Italy and art,
by its bold roof campanile and its shady balconies, the
lines, its
classic beauty of that and smiling land." He also suggested that

fair
the "irregular" villa, through its "variety," would evoke in "persons

who have cultivated an architectural taste ... a great preference to a
design capable of awakening more strongly emotions of the beautiful
or picturesque, as well as the useful or convenient."
The villa as an English house type evolved in the eighteenth
century but found great popularity in the Regency period of 181 1-
1820. Larger than a cottage and more cohesive than most farm-
houses, the scale of a villa was appropriate for a family residence
generally set on a modest amount of land near a city.
The tower is the key feature of this style and distinguishes it from
the Italianate. Both styles have shallow pitched roofs with broad
overhangs decorated with carved brackets. Wall textures are usually
smooth, reflecting the original stuccoed surfaces. Tall windows, often
with rounded tops with prominent crown moldings, and informal
compositions with loggias and verandahs are typical of the style. The
Italian Villa style was inspired by the buildings in the painted
landscapes of the French Romanticists Lorrain and Poussin.
Cronkhill
Attingham Park, Shropshire,
by John Nash, 1802
The Picturesque 77
ITALIAN VILLA 1845-1870
If
78
ITALIANATE 1845-1875
The Italianate style was akin to the Italian Villa but did not feature a
tower. So popular was it during the 1850s and 1860s that it was even
called the American Bracketed style. (It was also called the Tuscan,
Lombard, and simply the American style.)
The decorative brackets that adorn the eaves of the Italianate
house immediately identify the style. They were simple consoles
either evenly spaced or often paired. The basic Italianate house style
was less complex than the Italian Villa style, and brackets and
verandahs were often added to older farmhouses to give them a
stylish uplift. Many Italianate houses were almost square in plan
with high ceilings. The shallow-pitched hip roofs were often capped
with a cupola or lantern at the very top. The attic was apt to have a
row of awning windows between the eave brackets, not only creating
additional head room but also making for a cool house in summer
when the breezes could blow through the cupola windows and draw
cooler air through the low attic openings.
An eccentric named Orson Squire Fowler wrote a book called The
Octagon House: A Home for All which was published in 1848 and
revised in 1853. He was responsible for a modest fad which swept
across the country for fifteen or twenty years. Some architectural
writers designate the octagon house as a separate style. It is actually
a building type, and most octagon houses were built in a simple
version of the Italianate style. Fowler's book is most entertaining
and is in fact full of sensible advice about building an efficient and

practical house.
An octagon house, c. 1860 Floor plan

The Picturesque 79
ITALIANATE 1845-1875
80
ITALIAN RENAISSANCE REVIVAL 1845-1860
It may seem odd to include this revival in a group of Picturesque

styles. Not houses have to be quaint, however, to be worthy of
all
portraiture. Though less fanciful than other popular styles it is just as

much a Victorian style and warrants inclusion.
Sir Charles Barry (1795-1860) designed the Traveller's Club
built inLondon in 1819 and it became the prototype of this Victorian
revival style. Simple flat facades, rectangular forms, and restrained
decorative features characterize the style. Surface textures were
smooth limestone or stucco. What columns were used were often
limited to the entrance porch. The assertive cornice was propor-
tioned to the overall height of the building. For example, if the Ionic
order was used in the cornice, its height would be approximately one-
thirteenth the height of the building from its base to the top of the
cornice. Balustrade balconies, string courses, and tall windows ex-
tending almost to the floor on the main level were common features.
The style was used for men's clubs throughout the second half of the
nineteenth century, and every town with any British roots that
boasted an athenaeum would have built it in this style. Infrequently
used for freestanding houses, it was and remained an urban or at
least a town style.
Perhaps the best examples of the Italian Renaissance Revival are
the brownstones built as blocks of row houses in New York City as
Manhattan expanded northward after the Civil War. Three land-
mark examples of the style are the Philadelphia Athenaeum (1847),
India House in New York City (1850), and the post office in George-
town, Washington, D.C., which was built as the customs house in
1857. Though none is residential, each has the scale and character of
a substantial house. This is perhaps the only style of the period that
exuded refinement with minimal use of columns for decoration.
Post Office
(former Custom House)
Gerogetown, Washington, D.C.
The Picturesque 81
ITALIAN RENAISSANCE REVIVAL 1845-1860

82
EXOTIC ECLECTIC 1850-1875
Most Picturesque houses in the nineteenth century drew from pre-

cedents in the dim and distant past. The love of the Picturesque was
so widespread and fashionable that no one considered the construc-
tion of a folly or fake ruin as eccentric. Rather,one had to create
something especially bizarre to appear exotic.
This romance with the past soon expanded to include stylistic
elements of remote lands. Moorish bazaars, Indian palaces, Turkish
mosques, and Oriental harems — alone or in combination — inspired
many fanciful houses. The British have always respected eccentrici-
ty — particularly among the upper classes; Americans have gener-
ally viewed it with suspicion. But we have had our share of eccentric
houses.
In 1803 S. P. Cockerell designed Sezincote in Gloucestershire for
a retired nabob of the East India Company. It was complete with
onion domes, minarets, and a flavor of India. John Nash's design for
the Prince Regent's Brighton Pavilion built between 1815 and 1822
was the apotheosis of Picturesque fantasy. It was an Indian dream
palace featuring a colossal assemblage of Islamic domes. (See page
72.)
My favorite American contributions to Exotic Eclecticism are
Samuel Sloan's Longwood and Frederick Church's Olana with its
Moorish embellishments. The first was an unfinished 1862 octagon
near Nanchez, Mississippi, and the other an 1874 fantasy overlook-
ing the Hudson River in New York.
Longwood, 1862 Olana, 1874

The Picturesque 83
EXOTIC ECLECTIC 1850-1875
-—-T"1fi
84
SECOND EMPIRE 1860-1880
Napoleon Napoleon Bonaparte), Napoleon Fs nephew,

III (Louis
became president of France in 1848. He appeared to practically all
the French people as a chauvinistic leader on a white horse who
would champion their interests over corrupt political opportunists.
Limited by the French constitution to one term, in 1851 he sum-
marily dismissed the assembly and seized power in a coup d'etat.
After declaring himself emperor, he remained head of state for
almost ten years.
Louis Napoleon transformed the old Paris into the city of grand
boulevards that we know today. He enlarged the Louvre between
1852 and 1857 and set the fashion for a new style. The mansard roof,
is the single key feature of the Second Empire style. It is a double-
pitched hip roof with large dormer windows on the steep lower slope.
The eave is commonly defined by substantial moldings and sup-
ported by Italianate brackets. There are also moldings capping both
the top of the first roof slope and the upper slope; the upper part of
the roof usually intersects with a flat roof over the middle of the
building. The effect of this construction was an entire usable floor at
the attic level. Named for the seventeenth-century architect Fran-
cois Mansart (1598—1666), the mansard roofs enlarged attic sup-
posedly provided an additional rental floor in Parisian tenements
where the zoning ordinance limited the number of stories.
It is puzzling that the official architectural style of an authoritarian
government would appeal to Americans. However, a mansard roof

now seems perfectly natural on a Vermont farmhouse. The style
remained extremely popular for twenty years before it was super-
seded by the Colonial Revival styles after 1876.
Typical mansard roof profiles

The Picturesque 85
SECOND EMPIRE 1860-1880

86
STICK 1855-1875
The Gothic Revival, the Swiss Cottage, and the Italianate styles
found impetus in European precedent. They were the initial Pictur-
esque styles. American designers soon created a new style, however,
that sought character from complexity of form and an inventive
expression of structure. In his Village and Farm Cottages published
in 1856, Henry W. Cleaveland captured the essence of this new and
energetic way of building: "The strength and character of the new
style depends almost wholly on the shadows which are thrown upon
its surface by projecting members." Cleaveland did not use the term
Stick style; that term was coined by Yale professor Vincent J. Scully,
Jr., a hundred years later.
The character of this style derives basically from steeply pitched

roofs and vaguely Elizabethan vestiges. The celebration of structure
in the flamboyant projections, brackets, and rafter tails was rein-
forced by the playfully sculptural quality. Sometimes evident are
fancy decorative details that were either invented wholly or derived
from such diverse sources as Swiss cottages and Oriental temples.
The principal feature of the Stick style is the pattern of wood
boards — vertical, horizontal, and sometimes diagonal— that sug-
gests a structural framework beneath the clapboard skin. This Eliz-
abethan half-timbered appearance may, in fact, not articulate the
actual structure, for balloon frame construction was in common use
by the 1850s and the suggestion of a braced frame is somewhat
illusory. It was a very popular style for churches during this twenty-
year period; indeed most towns on eastern Long Island have one.
Gervase Wheeler's Rural Homes was published in eight editions
between 1851 and 1869. It did much to promote the Stick style.
Even Richard Morris Hunt, best known for his French Chateaux,
designed perhaps the most famous Stick style house of all: the
Griswold House in Newport, Rhode Island, built in 1863.
Griswold House,
by Richard Morris Hunt, 1863
The Picturesque 87
STICK 1855-1875
88
QUEEN ANNE 1880-1910
The Queen Anne style is almost the quintessential style of Norman

Rockwell's America. Popular in its heyday, it has recently been
rediscovered and is often celebrated with wild "boutique" colors.
The style evolved in England as an outgrowth of the Arts and Crafts
movement of the mid-nineteenth century. The British government
built two half-timbered buildings at the Philadelphia Centennial
Exposition in 1876. These structures were the impetus for the
Queen Anne style in this country.
Henry Hobson Richardson's William Watts Sherman house built
in Newport, Rhode Island, in 1874 is usually considered the first
Queen Anne house by an American architect. It featured quasi-
medieval half-timbering, assertive chimneys, and a varied but
cohesive surface pattern — all deftly handled by one of our great
architects. The style quickly became popular here but was not
favored by architects. They generally preferred the Shingle style
which evolved from some of the same sources but used a more cogent
vocabulary. The Queen Anne style was promoted in publications like
the American Architect and Building News, our first architectural
magazine, and was sold precut by mail-order companies. Compo-
nents like knee braces, brackets, and spindles were also shipped
across the country to embellish older vernacular houses.
The American Queen Anne differed from the English in its exu-
berant use of scroll work and applied The English built brick
detail.
houses and Americans wood. The Carson House in California, be-
gun in 1884, is the ultimate example of the style (see page 71). Floor
plans were usually open and free-flowing. Double parlor doors were
popular as were corner fireplaces. America's love affair with the
porch or verandah found fulfillment in the Queen Anne style. Tur-
rets, towers, and fanciful gazebos characterized the style along with
varied shingle patterns and wall surfaces. One cannot call it the
Victorian style — it is simply one of many.
The term Eastlake is sometimes confused with Queen Anne. In
the 1870s and 1880s decorative components were mass produced by
mechanical lathes and jigsaws and were used to embellish eclectic
houses with fancy scrollwork, turned ballusters and porch posts,
beaded spindles, and sometimes even wrought-iron embellishments.
The English interior designer Charles Locke Eastlake (1833—1906)
disassociated himself from the style that bears his name.
The Picturesque 89
QUEEN ANNE 1880-1910

Not the Truth, but a big bankroll will make you free. And
being free you can build whatever you want.
—Alan Gowans, The Comfortable House, 1986
91
7. PALATIAL PALACES 1880-1930
In 1870 America had a population of forty million and over seventy

five percent still lived in rural areas. The full impact of the industrial
revolution was still toand the next forty years would be a
be felt,
period of enormous change. By 1910 the population had more than

doubled and almost half lived in cities and large towns. The eco-
nomic diversity of the country had never been greater nor the
complexities of our social structure more intricate.
"Between 1870 and 1900, the national wealth quadrupled (rising
from $30,400 million to $126,700 million and doubled again by
1914— reaching $254,200)." In 1892 "the Census Bureau estimated
that 9 per cent of the nation's families owned 7 1 per cent of the
wealth."*
With the influx of immigrants from abroad as well as the move-
ment to the cities from rural areas, our urban areas underwent
traumatic change. Ghettos formed in the inner cities, the suburbs
burgeoned for the middle and upper classes, and resorts and en-
claves were created for those who could afford the price. All this
emphasized the strata of our society— our differences rather than
our similarities. Technology and industry supported these changes.
The railroad had perhaps the greatest effect for it was both a physical
network of steel that bound the country together and a reflection of a
restless mobility unprecedented in the history of mankind. Local
commuter railroads like Philadelphia's "Main Line" transformed
rural farmland into areas of impressive estates that were syn-
onymous with privilege and upper-class status. The automobile
wasn't far behind in reinforcing this rural mobility and solving what
might have been one of the drawbacks of living apart from one's
neighbors.
Electricity, central heating, indoor plumbing, the telephone, the
typewriter, and the washing machine all became commonplace in
this era— and not just for the very rich. The American suburban
"four-square" and the bungalow soon sprouted up throughout the
new suburbs and small towns. Sears, Roebuck and Company, Alad-
din Redi-Cut Houses, and other companies sold thousands of modest
precut houses and shipped them by rail all over the country. In his
excellent book 772e Comfortable House, Alan Gowans pointed out
*Baltzell, E. Digby, The Protestant Establishment (New York: Vintage, 1966).

that between 1890 and 1930, "thanks to partial or total prefabrica-

tion, more houses were erected than in the nation's entire previous
history."* Most of these modest houses incorporated the same
amenities mentioned above and indeed provided a level of comfort
never really known before, regardless of the income level of the
owner.
Typical Four-Square
Even with the great diversity of architectural styles there was a

search for order, unity, and structure — reassurance that this incredi-
bly disparate land had a worthy history, a legitimate social order, and
a class hierarchy that reflected that order. Above the fray of na-
tionalistic pride stimulated by our centennial celebration in 1876
stood a newly formed social class bound together by enormous
wealth. Many within this group sought comfort and reassurance
from the power of their new-found money. Entree into exclusive
clubs, societies, and boards of philanthropic organizations —
hospitals, schools, universities, and religious foundations— was a
conspicuous reward for the work ethic and an almost Calvinistic
confirmation that one was a member of God's elect.
It was in the form of their houses that many of these "elect" chose
to display the evidence of their material success. In this same era the
Shingle style and the Colonial Revival were emerging, but these
styles were not ostentatious enough for the more blatant show-offs
and were only built by people who were less inclined to display their
material success so conspicuously.
Richard Morris Hunt; McKim, Mead & White; and Warren &
Wetmore were architectural firms that served immensely wealthy
clients. The apotheosis of the palatial palace was G. W
Vanderbilt's
chateau Biltmore, designed by Hunt and built in Ashville, North
*Gowans, Alan, The Comfortable House (Cambridge, MA: MIT Press, 1986).
Palatial Palaces 93
Carolina, in 1893. It cost over half of his inheritance which was

rumored to have been $6,000,000. Hunt had designed several Cha-
teauesque houses for other members of the Vanderbilt family. Mark
Twain's "Gilded Age" was in full bloom. This was the era of the "Four
Hundred," and there was a pervasive determination among the new
social class to establish an aristocracy of wealth. Daughters were
married off to titled Europeans and the Social Register was first
published in 1887 to be sure that everyone knew who everyone was
and what they belonged to. But most revealing was the architectural
expression of the age, in which was an implicit desire for social
stability. Besides the Chateauesque, the most popular opulent styles
were the Romanesque, Beaux-Arts, Tudor, Second Italian Renais-

sance Revival, and Neoclassical Revival. There were ample Colonial
Revival and even Shingle style houses of considerable size (the
Goelet house in Newport, Rhode Island, for example), but they
tended to be more restrained and were not used if one wanted to
really show off. Let's see why each of these styles was so well suited to
its purpose.
The Robert Goelet House,

Newport, Rhode Island, by McKim, Mead & White, 1882
94
ROMANESQUE 1880-1900
Perhaps "Richardsonian Romanesque" would be a better term for

this style. Henry Hobson Richardson (1838—1886) graduated from
Harvard in 1859 and then became the second American to study at
the Ecole des Beaux-Arts in Paris. He began his practice in New
York in 1865. In 1872 he won the competition for Trinity Church in
Boston and moved his practice there. The rectory of the church was
the first house ever built here in the Romanesque style.
Not a style for the masses, this pre-Gothic or English Norman style
mandated masonry construction. The massive rusticated walls and
semicircular arches made these houses expensive to build. Never a
popular residential style, even for those who could afford it, Roman-
esque houses were built for wealthy industrialists who considered
the fanciful chateaux and the Beaux-Arts classicism too arty or
frivolous for their tastes. Several Romanesque houses were built in
St. Louis, Chicago, Philadelphia, and New York in the 1880s and
1890s. A retrospective monograph of Richardson's work was pub-

lished in 1888 and gave impetus to the style, but the Columbian
Exposition in Chicago in 1893 was an effective advertisement for
Beaux-Arts classicism.
The most obvious characteristics of the Romanesque style are the
massive ashlar stonework, the half-round arches with neatly cut
voussoirs, and the bold and simple massing. Windows are mostly 1
over 1 with masonry mullions and transom bars. Even with its
turrets and multigabled composition, the style is more of a massive
masonry version of the contemporaneous Shingle style than the
more extravagant Queen Anne.
Though the Romanesque style was rarely used for freestanding
houses, one can find occasional row houses with Romanesque fa-
cades built of brownstone or Roman brick with terra-cotta details.
Ames Gate Lodge,

North Easton, Massachusetts,
by Henry Hobson Richardson,
1882-83
Palatial Palaces 95
ROMANESQUE 1880-1900
96
CHATEAUESQUE 1885-1910
Francis I became king of France Henry

in 1515, just six years after
VIII ascended the throne of England. They both died in 1547. Most
of the famous chateaux that were the models for our Chateauesque
stylewere built during Francis I's reign. Chambord, Blois, and
Chenonceaux are perhaps the best known; they all combined the late
Gothic style of fifteenth-century France with the new Italian Renais-
sance details just being introduced in France.
Although Richard Morris Hunt returned to the United States
from Paris before our Civil War, not even the most extravagant of his
clients were ready for so opulent and palatial a style until the 1880s.
At that time, however, it became the ultimate style for the conspicu-
ous display of wealth.
Too extravagant to be mannered in wood, Chateauesque mansions
were built of either smooth, flat Roman brick with narrow mortar
joints or smooth limestone. The dominant, steeply pitched roof was a
stylistic reference to the French Gothic as were the hood molds above
the windows and doors and the vestige of tracery featured in the
pierced railings of the balconies. The characteristic "basket handle"
arch above the front door was also a late Gothic detail and was a
common feature of the Chateauesque style. In contrast, the horizon-
tal string courses, pilasters, and the occasional round arch were all
Renaissance in origin.
So-called wall dormers — upper-story extensions of the exterior
wall that interrupt the continuity of the eave line— were characteris-
tic of the style as interpreted in the late nineteenth and early
twentieth centuries. Roof dormers were commonly used as well.
Rounded turrets, decorated pinnacles, and assertively fanciful
chimneys combined with spires, finials, and ornamental iron railings
to identify the style. Besides Hunt's Biltmore, smaller examples can
be found in St. Louis, Chicago, outside of Philadelphia, and in
Newport, Rhode Island.
CHATEAUESQUE 1885-1910
98
BEAUX- ARTS 1890-1930
The Ecole des Beaux- Arts in Paris was founded in the early eight-
eenth century and was the premier architectural school of the nine-
teenth century. America's first school of architecture was founded at
MIT in 1865.was soon followed by Cornell, Syracuse, Michigan,

It
and Columbia. All were patterned on the Paris prototype. But a year
or so in Paris was still considered an impressive social as well as
academic credential for most American architects— even those who
already held degrees.
By the late nineteenth century the school had a long-established
approach to design. The curriculum instilled in the students a feeling
for grandiose axial formality in both planning and composition,
articulation of building mass, and a predilection for pictorial extrav-
agance. The magnificently rendered presentations in plan, section,
and elevation captured the essence of their educational goal.
Heavy stone basements, coupled columns, grand staircases, deco-
rative swags, shields and garlands, and freestanding statuary all help
to identify the style.
In an era of rapid change and great diversity, the ordered symme-
try of the Beaux- Arts formality lent a sense of unity to an otherwise
disparate society. The Columbian Exposition in Chicago in 1893 was
a triumph of the Beaux- Arts classicism and was seen as the unveiling
of an American Renaissance. Classical forms, extravagant, yet con-
trolled by Hunt's cohesive plan, appealed to the successful business-
men of the day. Here the authority of French sophistication nurtured
the Gilded Age. In 1879 Mark Twain had observed that the French
"citizen requires 'glory'— that is the main thing; plenty of glory,
plenty of noise, plenty of show, plenty of masked balls and
. . .
fantastic nonsense." But of course not everyone liked Twain.

Palatial Palaces 99
BEAUX-ARTS 1890-1930
100
TUDOR 1890-1930
Some architectural writers call any house inspired by the English

Tudor, Elizabethan, and Jacobean (for James I) period "Jacobethan"
or even "Tudorbethan." have always thought those terms a little

I
patronizing. When used for buildingson college campuses in the

1920s this style was often called "Collegiate Gothic" which somehow
seems less patronizing. One wonders why the style was not called
Neo-Tudor or Tudor Revival.
Elizabeth I was the daughter of Henry Tudor— that is, Henry
VIII. She died in 1603 and was the last of the Tudor line. Tech-
nically, then, Jacobean architecture was not Tudor even though the
styles have much in common. This guide uses the term Tudor for
masonry or stucco buildings, Elizabethan for half-timbered struc-
tures, and Jacobean for masonry structures with Dutch or Flemish
gables. Though a bit of an oversimplification, this terminology is
prevalent and helps to keep the styles straight.
The Tudor parapeted gables, large leaded windows detailed with
stone mullions and transoms, and the characteristic Tudor arch all
help to identify this style. Projecting oriel window bays were com-
mon in the originals and were incorporated into these early
twentieth-century neo-Tudor houses.
Remember that at the turn of the century the predominant ethnic
group in the United States was still British in origin. The successful
businessman who chose to build a substantial house could easily
identify with the early English manor house and all its associated
values. The Beaux-Arts and Chateauesque styles were too affected
for many solid Anglo-Saxon Protestants, and the Romanesque,
though certainly masculine, failed to evoke the image of the English
landed gentry that seemed the inevitable reward for a successful
businessman with British roots. By the 1930s the Tudor style had
become a symbol of success for persons of any ethnic background.
Palatial Palaces 101
TUDOR 1890-1930
r^
h=^l
102
SECOND ITALIAN RENAISSANCE REVIVAL 1890-1930

This was the first of the so-called "Mediterranean" styles and was
based on the palaces of the sixteenth- and seventeenth-century

Italian Renaissance. Symmetrical stone or stuccoed structures with
red tiled hip roofs and substantial cornices supported with brackets
or consoles were typical of these houses. They generally had more
varied facades than houses of the early Italian Renaissance Revival
of the mid-nineteenth century. Entrances were often marked with
either a projecting portico or a recessed loggia emphasized with an
arched Palladian motif.
The Villard house (1887) in New York by McKim, Mead & White
was a harbinger of this style, but the Renaissance Revival wasn't
used for residences much before 1890. The Breakers, Cornelius
Vanderbilt II's house in Newport, Rhode Island, was designed by
Hunt and was completed in 1895. It was certainly the apotheosis of
this style. Rich in its varied facade yet ordered in its superimposition
of classical orders, the building exemplifies the grandiose assertion
of the Italian pallazzo.The illustration shown is simpler in its details
and more representative of most houses of this style.
As more and more Americans studied at the Ecole des Beaux-Arts
and took the "grand tour" throughout Europe they saw palaces
firsthand. Previously examples were only seen distilled in pattern
books of the earlier Victorian era. After the First World War stone
veneer construction was perfected and an increasing number of
more modest examples of the style appeared. But it remained essen-
tially a pretentious style. Lacking the charm of the Italianate or
Italian Villa styles which were usually built of wood, these Renais-
sance Revivals always seem like a visiting grandee who never adapts
to the American scene— who manages to keep his accent and clings
to the security of his European manner. He is perhaps always a lit-
tle bit suspect and more at ease in Palm Beach than in Northeast
Harbor.
SECOND ITALIAN RENAISSANCE REVIVAL 1890-1930

104
NEOCLASSICAL REVIVAL 1895-1950
For those who found the excessive monumentality of the Beaux- Arts
classicism too ostentatious, the Neoclassical Revival was a viable
alternative. Some of the smaller pavilions at the Columbian Exposi-
tion in 1893 inspired this revival. Though grandly assertive with its
characteristic two-story classical portico — usually featuring the

Ionic or Corinthian order— the style was generally restrained in its
use of decorative details. The wall surfaces were smooth and plain
and the moldings had little depth. Builders as well as architects, at
least in the first quarter of the twentieth century, showed a concern
for correctly proportioned classical orders.
Pilasters or possibly subtle quoins might appear at the corners of
the building, but without great emphasis on shadow and depth.
Symmetry was important and the portico usually dominated the
central section of the facade. Blinds were not initially associated with
this style.
Before 1920 hipped roofs were common and classical proportions
were respected. From the mid-twenties on the general trend was
toward side-gabled buildings and a much less fastidious replication
of the classical orders.
When well done, these houses had a certain dignity, but the line
between dignity and pomposity was tenuous at best. The Neoclassi-
cal Revival style was apt to exceed that subtle boundary and become
pretentious. This became increasingly evident when the architec-
tural detailsand proportions diverged from the classical standards.
Some of the most grotesque, tasteless, and nouveau-riche buildings
offered by speculative builders today are pale shadows of the Neo-
classical Revival. One can often see the pretense carried to absurdity
when a makeshift portico is slapped on the facade of a raised ranch or
pseudo-colonial. Unfortunately it is not an uncommon sight.
NEOCLASSICAL REVIVAL 1895-1950

The redundant must be pared down, the superfluous
dropped, the necessary itself reduced to its simplest
expression, and then we shall find, whatever the organization
may be, that beauty was waiting for us.
—Horatio Greenough, Structure and Organization, 1852

107
8. INDIGENOUS STYLES 1880-1930
The 1876 centennial exposition in Philadelphia triggered an interest

in our nation's history and a sense of self-confidence and chauvinistic
pride. No less than half of the most significant national patriotic and
genealogical organizations were founded in the years between 1876
and 1896. Historical societies were formed in every old town. An
American way of life — more "informal," "healthier," and "whole-
some"— was conducive to an architecture that was subordinate to
and showed deference to our regional landscape and varied terrain.
We did not have to import standards of design; we had developed
the clipper ship and the yacht America, the trotting wagon, the Astor
House (New York's first modern hotel), and the great Croton Reser-
voir. All were innovative and functional designs of exceptional utility
and extraordinary beauty. Horatio Greenough (1805—1852) re-

minded us as early as 1843 that in art and esthetics "the first
downward step was the introduction of the first inorganic, nonfunc-
tional element, whether of shape or color."*
The Queen Anne and the Colonial Revival styles evolved in the
1880s and 1890s. They had derived from the more formal late
Georgian and Federal styles but did not appeal to many Americans
across the economic scale. Neither did the more pretentious Euro-
pean imports. Three distinct indigenous styles evolved, each in a
different part of the country — one in the Northeast, one in the
Midwest, and one in southern California— the Shingle style, the
Prairie style, and the Craftsman style.
1) The Shingle style evolved in the Northeast as a cohesive,
unified architectural mode inherently endowed with a sculpturally
rich character that was distinctly American. While showing some
influences from the English Queen Anne and the work of Norman
Shaw (1831-1912) and his followers, Shingle houses demonstrated
a mature style that drew from colonial precedent but with an entirely
new sense of space, site, mass, and surface texture.
McKim, Mead & Bigelow designed a large house on Lloyd Neck
on Long Island's north shore for Mrs. A. C. Alden in 1879. It
predated Richardson's Stoughton house in Cambridge, Massachu-
setts, by three years and is the best candidate for the first landmark
*Greenough, Horatio, American Architecture, quoted in Hugh Morrison, Early

American Architecture (New York: Oxford University Press, 1952; Dover, 1987).
Shingle style house. Vincent Scully said in his book The Shingle
Style that this house "is one of the simplest and most coherent of any
of the country houses built in America in the period before 1880."*
Unfortunately the house was remodeled sometime in the early twen-
tieth century and given a brick veneer. In popularity, the Shingle
style was superseded by the revival styles around the turn of the
century.
Fort Hill,
Mrs. A. C. Alden House, Lloyd Neck, Long Island, New York
by McKim, Mead & Bigelow, 1879-1880
The same firm, but with Stanford White now a partner, produced
the Bell and the Goelet houses in Newport, Rhode Island, in 1882
and the Low house in Bristol, Rhode Island, four years later. All were
landmark Shingle style houses. In the mid- 1880s they turned their
efforts away from the Shingle style and launched the Colonial Re-
vival with their Appleton house in Lennox, Massachusetts, and the
Taylor house in Newport, Rhode Island.
2) The Prairie style was developed by Frank Lloyd Wright and his
fellow architects in Chicago at the turn of the century and Wright
was its most accomplished proponent. Considered "too outre" by
eastern architects who favored the historical or traditional styles, the
Prairie School flourished until theend of the First World War; it has
come to be appreciated in recent years as a style very much our own.
3) The Craftsman style evolved with the bungalow craze which
began in California in the late 1890s. The word "bungalow" appar-
ently derives from the Hindi word bangala meaning "of Bengal."
The term was used to describe the one-story cottages with deep
verandahs used by the British officers in India during the days of the
Raj.
*Scully, Vincent J., Jr., The Shingle Style (New Haven, CT: Yale University
Press, 1955).
Indigenous Styles 109
Gustave Stickley published The Craftsman magazine from 1901

until 1916; it promoted houses that were "based upon the simplest
and most direct principles of construction" and often featured the

work of the Greene brothers. Charles S. and Henry M. Greene of
Pasadena, California, were the first architects to echo the English
Arts and Crafts movement in America and demonstrate the architec-
tural potential of the Craftsman style. Some architectural writers
call the Greene brothers' houses "Western Stick" or the "California
style," but Craftsman seems a more appropriate term. Though lack-

ing the sophistication of the Prairie style, the Craftsman interiors
shared many characteristics— banks of windows, low profiles, open
flowing floor plans, inglenooks, and the use of decorative banding
with a predisposition for the horizontal.
Though they were submerged in the tide of reminiscent styles
shortly before the First World War, all three of these styles, in their
lack of borrowed or imported features, shone in their time as a
beacon of rationality in a period of excess and disjointed eclecticism.
H. A. C. Taylor House,
by McKim, Mead & White,
1885-1886
Low House, Bristol, Rhode Island, by McKim Mead & White, 1886
110
SHINGLE 1880-1905
The term Shingle style (like "Stick style") was coined by Yale pro-
fessor VincentJ. Scully, Jr., and was the title of his excellent book,
The Shingle Style, published in 1955. He traced the development of

this style from its evolution in the years following our centennial
celebration in 1876. Drawing from various genetic forebears— the
Queen Anne, the vernacular colonial styles, and the contemporane-
ous Colonial Revival— the style blossomed as something new and
fresh. The Shingle style was not just a new set of superficial stylistic
elements, but an organic style with a character derived from an
open, fluid plan. The sculptural expression of inner volumes was
given a cohesive unity by the naturally weathered shingle siding.
Lower courses— not exposed portion of the foundations
just the
but sometimes the entire story— were often made of masonry.
first
Smooth bricks with Vs-inch mortar joints were commonly used in

suburban settings, but often rustic stonework was employed in rural
areas. Casement windows or double-hung sash windows were used
and the sash was sometimes painted a cream color in contrast to a
darker trim. Window trim was generally dark green or left natural.
Unfortunately, many surviving shingle houses were highlighted with
white in the Colonial Revival of the 1920s.
The architectural vocabulary used was vernacular but the actual
compositions tended to be literate, articulate,and carefully edited.
an architect's style when fully realized— ordered, disciplined,
It is
and comfortable with a sense of casual dignity. Many Colonial

Revival houses were sided with shingles— but usually with corner
boards and four-square massing and so do not really qualify as
Shingle style.
Incidentally, Frank Lloyd
Wright's Oak Park house that
he built for himself in 1893
was Shingle style.
Frank Lloyd Wright's own house, 1893

SHINGLE 1880-1905
112
PRAIRIE 1900-1920
Less than a decade after he built his own Shingle style house in Oak
Park, Frank Lloyd Wright developed a new and distinct regional
style: the Prairie style. It featured open planning; shallow-pitched
roofs with broad, sheltering overhangs; bands of casement windows,
and a strong horizontal
often with abstract patterns of stained glass;
emphasis. The siding was usually stucco, either off-white or an
earthy tone, with decorative banding that echoed the low horizon of
the midwestern prairie. Porte cocheres and raised porches extending
out from the main core of the house were typical features of the style.
Prairie houses grew in popularity during the first decade of the
twentieth century and had many promoters. By 1910 there existed a
definite vocabulary that defined a natural house that was sympa-
thetic to the regional landscape. The school invented new decora-
tive motifs and rejected all details that derived from European
precedent.
Though popular in theMidwest, the Prairie style offended east-
ern establishment architects who were promoting the reminiscent
styles, particularly the Colonial Revival. The 1918 jury for "A House
for the Vacation Season," competition patronizingly awarded fourth
prize for the single Prairie style submission with the comment that
"it did not deserve all the cheap jokes passed upon it by its detrac-
tors." The jury also compared Prairie houses to railroad sleeping
cars and warned that the occupants would have "no more privacy
than a goldfish."
White Pine Series, 1918

PRAIRIE 1900-1920
P=
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t
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114
CRAFTSMAN 1900-1930
The Craftsman style originated in California in the 1890s. Gustave

Stickley promoted the style in his magazine The Craftsman which he
started in 1901. It is occasionally referred to in a derisive manner as
the "Bungaloid style." Though the bungalow craze started in Califor-
nia as well, a bungalow is a building type and not a style.
The style is characterized by the rustic texture of the building
materials, broad overhangs with exposed rafter tails at the eaves, and
often extensive pergolas and trellises over the porches. Stone was
never laid in a coursed ashlar pattern, but in a more random texture
of rounded cobblestones. The lower portion of a wall was often
battered or sloped near the ground. In the illustration, the porch
columns are also tapered. The shingles on the second floor alternate
with one course 2 inches "to the weather" and the next one 7Vi inches
exposed. Windows might be double-hung or casement, sometimes
The color and tone of the house
with different-sized window panes.
derive from natural materials and an earth-toned stain applied to the
wood. The Greene brothers' houses in southern California are per-
haps the most elaborate examples of the style; they were the ultimate
in refined craftsmanship.
The Craftsman style persisted throughout the 1920s in summer
camps and modest suburbs throughout the country. Sears, Roebuck,
Aladdin Redi-Cut, and other manufacturers of precut houses
shipped Craftsman style houses wherever there were train tracks
to carry them. People could simply pick a house out of a catalog
and send away for it. The house came complete with doors, trim, and
even plumbing. Everything, in fact, but the foundation, the well, and
the septic system!
Typical bungalow
CRAFTSMAN 1900-1930
^=*P^
ISiTl-i
hp=* DUL
Among wealthy women, the real tastemakers, gardening
supplanted elaborate costumes and decoration as a mark of
feminine gentility and culture.
—Mark Alan Hewitt, The Architect & the American
Country House, 1990
117
9. REMINISCENT STYLES 1880-1940
Much of our architecture after the Civil War reflected the enormous
success of American entrepreneurs. While the architectural excesses
were exemplified by the apotheosis of the Queen Anne style— the
Carson house in Eureka, California — and the palatial mansions of
the Gilded Age, these excesses produced two basic responses. One
was a search for the good life in a rural setting; the other was a step
backwards into a simpler age for the character of American houses.
The Arts and Crafts movement in England had its counterpart here
in the Shingle style, the Prairie style, and the Craftsman style, all of
which evolved as a reaction against the excessive eclecticism of the
late nineteenth century. Whether the houses were of a formal tradi-
tional style or an interpretation of the more regional vernacular
styles, the early decades of this century nurtured a new American
way of living, much less formal than the English. There was a search
for a comfortable rural life on farms — at least on weekends and
during the summer months— where gardening and sports became a
part of our lives.
In the period from 1910 to 1929 — a time of prodigious house

building— the Colonial Revival styles prevailed. The House and
Garden movement flourished and the palatial palaces of the 1890s
were viewed by most taste-makers as vulgar, pretentious, and osten-
tatious. The established class had money, leisure, and an interest in
the good life. Life was less restricted — sports, riding, tennis, and golf
included women — and houses became more a part of the landscape
rather than an assertion of dominance over it. The Country Club
founded in Brookline, Massachusetts, in 1882 was the first of many
golf and tennis clubs. Corinthian yacht clubs (where owners handled
their own boats rather than having professional crews) sprang up
along the Atlantic coast, and the Garden Club of America was
founded in 1913.
House and Garden, Country Life in America, House Beautiful,
The Craftsman, and the White Pine Series of Architectural Mono-
graphs were popular periodicals of the day. The White Pine Series
sponsored a number of architectural competitions for house designs
and the jury always included such distinguished residential archi-
tects as William Delano, Harrie Lindeberg, and Cass Gilbert. It is
interesting, and I think revealing, to examine the attitudes of these
juries around the time of the First World War. In praising the
submissions in 1916, the jury admired "simple, direct, and logical

solutions," complimented "artistic skill" combined with "practical
good sense," and encouraged "fitness of purpose" and "direct sound
construction." "A good common sense livable house" should be "sim-
ple and dignified," "simple" but "full of charm." "A wise use of simple
materials and simple forms is another sign of good taste which is
rapidly coming into favor." "The exterior is so quiet and so simple as
to have the charm that goes with all restrained work."
In commenting on American houses in 1918, the jury said, "we
have completely avoided the pit falls of over-loaded ornament and
the straining after something new, which has injured the architecture
of both France and England and absolutely vulgarized any shred of
good taste in Germany." Though admittedly "doing the most re-
strained and most conservative work," they emphasized that "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." In doing so they awarded fourth prize
in 1918 for a vacation house to a Prairie style design cribbed from
Frank Lloyd Wright's Allen House, built in Wichita, Kansas, in
1917. (See the illustration on page 112.)
Mark Alan Hewitt, in his excellent book The Architect & the
American Country House, said that it is time that these reminiscent
houses "again be regarded as they were by the critics in their day, as
key examples of a building type that contributed uniquely to mod-
ern American architecture."* The architects of these houses found in
simple regional architecture prototypes for the twentieth century.
Even the rural vernacular styles of the English Cotswolds and
countryside of Normandy were more comfortably at home on our
shores than were Greek and Roman temples, Oriental harems, or
spaceships from another galaxy. Why? Because they were of the land
and were simple and direct vernacular solutions to similar kinds of
architectural problems.
Good sound organization of space, an understanding of site plan-
ning, and "simple, direct, and logical solutions" are independent of
style. The admonishments of the White Pine jurists are as appropri-
ate today as they were seventy-five years ago. It doesn't mean that
we must copy specific details or imitate historical styles, but there is
*Hewitt, Mark Alan, The Architect & the American Country House (New
Haven, CT: Yale University Press, 1990).
Reminiscent Styles 119
much to be learned by studying the works of the architects who

responded to the conservative domestic programs of their clients and
found inspiration in the unpretentious and even modest rural struc-
tures both here and abroad.
Country Life in
America first appeared
in 1901 and continued
as a popular magazine
into World War II— its
last issue was published
in 1942. It stressed a
theme of a genteel rural
life.
The August 1925

The
issue featured
Arthur E. Newbold
estate on Philadelphia's
"Main Line" by Mellor,
Meigs & Howe, which
epitomized the French
Rural style— often
called Manoir or
AUGUST 1925 _50 CENTS
Normandy Farmhouse.
120
EARLY COLONIAL REVIVAL 1885-1915
The centennial exposition in Philadelphia in 1876 stimulated a

chauvinistic pride in our country. Though the Queen Anne style and
the Shingle style both were popular in the 1880s, architects and
pattern books encouraged a retrospective view of our late Georgian
and Federal styles. These neo-Georgian and Adamesque revivals
were much larger buildings than their prototypes. Their designs
were freely drawn from or inspired by their late eighteenth-century
predecessors and were only reminiscent of the earlier styles. Win-
dows were generally larger than in the originals and usually had
divided lights only on the upper sash. No actual Colonial or Federal
/-- house ever used paired windows; their appearance is usually an
instant clue to the age of the house. Great liberties were also taken
with proportions and scale.
In 1877 Charles Follen McKim and his partner William Ruther-
ford Mead made a "colonial" tour through New England with Stan-
ford White who was soon to become their partner. They were looking
for inspiration from our American architectural heritage. Their
design for the Misses Appleton house in Lennox, Massachusetts, in
1883-1884 was perhaps the first major Colonial Revival house. The
Taylor house, another early example of the style, was also built by
them in Newport in 1885-1886.
The Early Colonial Revival borrowed eighteenth-century details
and applied them to simplified Queen Anne houses. By the early
1900s, however, architects began to produce more "authentic"
houses in the Colonial styles. Sometimes it is hard to tell the differ-
ence but for the predilection for paired windows and the ubiquitous
side porch on Colonial Revival houses. The opening of restored
Williamsburg in the 1930s gave a tremendous impetus to the revival
of Southern Colonial styles and the "center hall colonial." What real
estate people call "colonial" is, for the most part, a style from the
early nineteenth century. The ubiquitous, stark-white house with
green or black louvered blinds was typical of the Greek Revival style
and did not appear until the 1820s.
EARLY COLONIAL REVIVAL 1885-1915

122
DUTCH COLONIAL 1890-1930
What is generally called Dutch Colonial is a house with a gambrel

roof where one or both of the lower slopes flares at the eaves in a
gentle curve. Though the gambrel roof was used in New England
from the earliest days, the upper roof pitch is longer and steeper than
the Dutch prototype. The Dutch made the lower portion of the roof
longer and with a shallower pitch.
English Dutch
With the possible exception of Dutch tiles around the fireplace
openings, most details of the Dutch Colonial Revival follow the
standard Colonial Revival patterns and are indistinguishable from
them. Shutters with a decorative hole instead of louvered blinds
were fairly common. The hole was apt to be cut in the shape of a half-
moon, a pine tree, or a bell. Dormers either were separate roof
structures or were a continuous element for nearly the full length of
the building.
It is curious that the prototypes of the Dutch Colonial Revival
were built throughout the Hudson River Valley and New Jersey but
were not replicas of any house built in Holland. Scholars simply do
not agree whether the characteristic roof of this Revival style was an
adaptation of a Flemish farmhouse or was an original type devel-
oped here as an amalgamation of several colonial building patterns
borrowed from the English.
Aymar Embury II (1880-1966) was a New York architect who did
much to promote the style after 1910. He attempted to create a more
"authentic" version of a colonial house than one would find in a
Sears, Roebuck and Company or an Aladdin Redi-Cut catalog. The
actual stepped-gabled, brick buildings of New Netherland were
never revived in a twentieth-century adaptation of the style.
DUTCH COLONIAL 1890-1930
i
124
ELIZABETHAN 1910-1940
Next to Colonial Revival, theterm Tudor is used to describe a

greater range of house types than any other. In real-estate parlance,
almost any front-gabled house with a steep roof and a large chim-
ney is called Tudor. Elizabethan is used to describe half-timbered
houses that derive more from the cottage or farmhouse than from the
mansion.
The cross-gables, steeply pitched roofs, large chimney stacks with
clustered flues or even spiral designs, all help identify the style. Tall
windows with mullions and transoms framing casements with leaded
glass are also typical features. The lower story is often brick and the
floor framing of the second floor is projected out on the exterior a foot
or so as it was in our early New England colonial houses. The two
styles actually share the same architectural genes. The half-
timbered effect— whether real or suggested by applied boards —
confirms the style. Many Americans visited Stratford-upon-Avon
and saw Anne Hathaway's cottage which was the apotheosis of the
Elizabethan cottage, complete with thatched roof.
The Elizabethan style became very popular after the First World
War and continued to be built through the Depression years. Though
it went into eclipse in the forties, it resurged in the seventies and
eighties in a kind of pseudo-style. Called Neo-Tudor, its fake half-
timbering is never convincing and has more of the quality of a stage
set than a real house. I have never understood why anyone would
want to live in a stage set.
Anne Hathaway's Cottage

ELIZABETHAN 1910-1940
126
SPANISH MISSION 1890-1920
Just as the East was looking to its colonial past for architectural
precedent and Colonial Revival work proliferated, the Southwest
looked to the Spanish architecture of its colonial era for inspiration.
The Spanish Mission churches with their Baroque parapeted gables
and fanciful wall dormers were the impetus for the Mission style.
The dominant curved parapet specifically identifies this style. Red
tile roofs, projecting eaves with exposed rafter ends, and open por-
ches with square or rectangular piers are all typical characteristics.
The Mission style started in California but soon spread when the
Santa Fe and Southern Pacific Railroad adopted the style for their
stations and resort hotels. It gradually spread east and crops up in
surprising places. For example, the railway station and adjoining
commercial buildings in Ridgewood, New Jersey, are all Spanish
Mission style with green tile roofs. After the Panama-California
Exposition in San Diego in 1915, which featured the Spanish Colo-
nial architecture, the Spanish Colonial Revival gained further impe-
tus and the Spanish Mission style became simply one of many
eclectic styles that derived from original Spanish colonial prece-
dents.
It is important to note that the term Spanish Mission should not be
confused with the mission furniture popularized by Gustave Stick-
ley in his Craftsman magazine in the early 1900s. Mission furniture
was an Arts and Crafts style promoted by artisans and manufactur-
ers who "had a mission" to simplify and improve furniture design.
Mission furniture might well be called "craftsman" as it comple-
mented the architectural design of the Craftsman and Prairie styles.
Typical mission church c. 1 700

f=>
SPANISH MISSION 1890-1920

128
PUEBLO 1900-1990s
J. C. Schweinfurth's Hacienda del Pozo de Verona in Pleasanton,

California, designed for Phoebe Apperson Hearst in 1898 was the
firstmajor residential commission designed in the Pueblo style. The
single most important indicator of the style is the projection of roof
beams a foot or so out from the adobe wall. They are called vigas.
The prototype for the Pueblo style was the Governor's Palace built
in Sante Fe, New Mexico, in 1609 (see page 30). It was a blending of
the local Indian building techniques with Spanish planning and
details. A one-story adobe structure about 800 feet long, it had a
covered porch, called aportales, extending almost the entire length
of the building. The porch roof was a wood framework supported
by wooden posts capped with bracket capitals (no arches, domes, or
vaults). The patio side faces a lush garden— a Spanish contribution
to this composite style.
Indian pueblos were multistoried structures made of sun-dried
clay. The flat roofs were framed with straight poles. Smaller saplings
were laid crosswise to the poles, and the entire framework of the roof
encased in clay. If the vigas were prominent features so were the
rainwater spouts, called canales, which also projected from the build-
ing and became another identifying feature. The Indians who inhab-
ited these structures composed stable agricultural tribes who built
pueblos as early as the ninth century. San Geronimo near Taos, New
Mexico, was built about 1540. The Indians used the inner rooms to
store supplies. Originally there were no doors at the lower level and
people climbed ladders for access to the upper level. With the
ladders removed, the buildings became effective forts with ample
supplies to resist attacks.
The Pueblo 1920s and 1930s and is still
style proliferated in the
common in the seems a much more appropriate style
Southwest. It
than the pseudo-Mediterranean pallazzos that are promoted by

many developers in that area.
Vigas Canales
PQ
PUEBLO 1900- 1990s
Q^f?
130
SPANISH COLONIAL REVIVAL 1915-1940
The 1915 Panama-California Exposition in San Diego was designed

by Bertram Grosvenor Goodhue (1869—1924), an influential propo-
nent of Spanish Colonial architecture adapted to the twentieth
century. The climate and cultural heritage made the style eminently
Southwest— California, Arizona,
suited to the New Mexico, Texas,
and even Florida.
The red tile roofs, the simple forms subtly embellished at door-
ways, and the ornamental ironwork serving as protective barriers
over windows were common details. The House & Garden move-
ment in the East,which encouraged the concept of the house as a
part of its own landscaped domain, had its counterpart in the South-
west. The simplicity of a Spanish courtyard with shade trees, hang-
ing baskets, and flowering shrubs can hardly be surpassed.
Not all Spanish Colonial Revival houses managed to recreate the
romantic character of a true hacienda. In too many instances subur-
ban houses of no architectural distinction were identified as "Span-
ish" by the use of tile roofs, stucco walls, heavy wooden doors, and
perhaps some ornamental ironwork. Very popular in the 1920s and
1930s, the style's popularity declined after the Second World War.
The most lasting legacy of the Spanish Colonial Revival as a
national type was the one-story house which we know as the ranch
house. Its characteristic U-shaped floor plan with a protected patio in
the courtyard derives from the California ranchos of the 1830s.
Ranch house c. 1835

SPANISH COLONIAL REVIVAL 1915-1940
-nbf'-J
132
MONTEREY 1925-1955
More than ten years before gold was discovered at Sutter's Mill,
California, Yankee merchants were sailing around Cape Horn and
trading with the Spanish along the southern Pacific coast. In 1821
the Mexican government started granting huge tracts of land to
Spanish entrepreneurs to encourage private ranching. The 1830s
and 1840s was a prosperous era and there was a lively trade in hides
and tallow Monterey, Santa Barbara, and San Diego became impor-
tant ports (San Francisco not until 1849).
Thomas Larkin, a Boston merchant, built a house for himself in
Monterey 1837 which blended the basic two-story New England
in
colonial house with Spanish adobe construction. Virtually all pre-
vious Spanish colonial houses were one story. This innovation com-
bined with double-height roofed correctors (porches) around the
structure to create a new style. The gently sloped roof was often
covered with wood shingles instead of tile and served to protect the
adobe walls — another innovation in the Spanish territory.
Interior fireplaces, kitchens, and glazed windows were all new
features in the California landscape. Though redwood was available
for house construction, people continued to build with adobe. They
found that it was much cooler during the summer, and in the colder
months the thick walls absorbed heat during the day and slowly
radiated it during the night. This was the most fundamental princi-
ple of passive solar heating at work.
In the 1920s the compulsive search for colonial precedent led to a
revival of the Monterey style. Interpretations of the Monterey style
house can now be found in every part of the country.
Thomas Larkin House, Monterey, California, 1837

MONTEREY 1925-1955
134
FRENCH RURAL 1915-1940
Americans who studied at the Ecole des Beaux-Arts in the nine-

teenth century studied classical architecture— particularly the gran-
diose classicism associated with the school. As the revival styles
caught on here prior to the First World War, the rural vernacular
architecture of the French countryside became an important in-
spiration for our residential architecture. The steeply pitched hip
roof with subtly flared curves at the eaves, the circular stair towers,
and the substantial but uncoursed stonework had tremendous ap-
peal to Americans. Many of our soldiers came back from the war
with an appreciation of the rural beauty of France. Young artists,
writers, and architects went to France in the twenties and our love
affair with France continued. H. D. Eberlein's Small Manor Houses
and Farmsteads in France published in 1926 and Samuel Cham-
berlain's Domestic Architecture of Rural France in 1928 were popu-
lar resources for residential architects.
Philadelphia was particularly receptive to these rural French
houses. Normandy Village in Chestnut Hill and the work of Mellor,
Meigs & Howe on the Main Line were particularly important.
Arthur Meig's idyllic farm complex for Arthur E. Newbold, Jr., in
Laverock appeared on the cover of Country Life in America in 1925
and captured the essence of the movement (see page 119).
In our desire to identify house styles with a particular time and
place which we feel express feelings about ourselves, we use names
like "Normandy farmhouse," "French Provincial" (although that
term has come to imply something pretty vulgar in recent years), or,
for the anglophile, the "Cotswold cottage." One or two small details
can suggest one style over another when in fact the basic houses are
quite similar. All are basically forms of a comfortable country style.
FRENCH RURAL 1915-1940

Education has been described as the process of learning to
defend oneself against unnecessary information. Since there
is no such thing in architecture as unnecessary information,
all architects automatically consider themselves as educated
to the highest degree. This is a comforting delusion, but has

been known to lead to impressive fiascoes.
—Eugene Raskin, Architecture and People, 1974
137
10. THE MODERN MOVEMENT 1920-1960
The essence of modern architecture is rationalism. Spaces are

planned to and are defined by structural systems
suit their functions
that exploit the efficiency of contemporary materials and innovative
building techniques. Logic precludes such artificial dictums as for-
mal symmetry and extraneous ornament that, as professor Eugene

Raskin once said, "chattered at us in their neoclassical jargon." New
shapes, plain surfaces, and unfamiliar structures evolved not just as a
new aesthetic but also as simple common sense.
Le Corbusier's (1887—1965) description of the house as a "ma-
chine for living in" captured the essence of the Modern aesthetic in
Europe. His book Vers Une Architecture was first published in Paris
in 1923 and translated into English in 1927. He articulated the view
of the post—World War I European architect. The Bauhaus, founded
in Weimer, Germany, in 1919, was the academy of this new architec-
ture. It moved to Dessau, Germany, in 1926 and flourished as the
High School for Creative Art under Walter Gropius until 1928 and
later under Mies van der Rohe (1886-1969). When Hitler came to
power in 1934, Gropius emigrated to England. Three years later he
moved to Cambridge, Massachusetts, where he became head of the
School of Design at Harvard. Numerous disciples came to America
with him— among them Marcel Breuer, who stayed to practice in the
East, and Mies who became head of the Illinois Institute of Technol-
ogy. All these architects embraced a machine aesthetic which, while
appropriate for commercial and corporate programs, seemed— in its
pure form— antithetical to residential design. These International-
ists rejected all applied ornament, scorned any reference in form or
detail to historic or traditional styles, and promoted mass-produced

factory components as the essence of the new aesthetic. I remember
in the late fifties hearing Boston architect Serge Chermayeff quip in
his terse British intonation that "Mies van der Rohe discovered
marble, steel, and glass back in 1920 and he's been polishing the hell
out of them ever since!"
What came to be recognized as "Modern" was a rather stark new
style. But its underlying logic was not always understood. Stripped-
down buildings had a superficial modern appearance but were in fact
often inefficiently planned and badly constructed. A building is bad
not because it looks "too modern" but because it is perhaps not
modern enough. If an architect fails to consider the psychological
needs of the client as well as the physical needs, his or her buildings
can never be truly functional.
A utilitarian structure may work well — a chicken coop, a gas
station, or an airplane hangar, for example, are efficient— but it can't
be considered architecture, certainly not good architecture, unless it
transcends its physical functions and encompasses the needs of the
psyche as well. If, for example, people are rarely taller than 6 feet,
why have ceilings any higher than 6 feet 6 inches? That is high
enough to accommodate anyone but a member of the New York
Knicks. The answer, of course, is that we need breathing room. We
would feel claustrophobic in such a compressed space. In the same
way, we expect floors to be level, doors and windows to be vertical,
and spaces to be proportioned to an innate sense of scale that is part
of our very nature. Also, most of us crave some kind of architectural
enrichment. In The Comfortable House, Alan Gowans observed that
"any and all buildings above the utilitarian level have style (whether
high style, popular/commercial, vernacular or vestigial). Style, and
the sense of ornament that is an integral part of it, seems to fulfill an
intrinsic human need. Repressed, that need comes out in vulgarized
forms."* One look at an occupied dormitory room on any college
campus and you will see the gratification of that human need fulfilled
with gusto.
Intended as a panacea for a decadent society in Germany after the
First World War, Modern architecture of the European variety
never became popular here for residential design. It is ironic that the
machine aesthetic became an elitist avant-garde architecture among
sophisticated urbanites for weekend retreats and was never em-
braced by the majority of American homeowners. The notion of
"starting from zero" was too cerebral for most Americans and the
Modernists' reasons for rejecting all precedent in our houses was
patently absurd. The International style was usually tempered
somewhat inAmerican applications— the existence of a pure, geo-
metrically sculptural phenomenon that was at odds with its environ-
ment is fortunately rare in this country. Such houses are usually an
affront to nature and the community, much like a rude and assertive
boor who enjoys making a spectacle of himself wherever he goes or a
religious fanatic with a missionary zeal.
In the celebration of the machine — of man's dominance over
nature— there is an inherent arrogance. Glass boxes can be heated
*Gowans, Alan, The Comfortable House (Cambridge, MA: MIT Press, 1986).
The Modern Movement 139
and cooled by mechanical means (technology), but usually at great

expense. There are more inventive ways of evolving a design that is
at thesame time more compatible with its surroundings— both natu-

ral and man-made (native ingenuity). A more organic approach to
architecture is just as modern but not as strictly ideological in its
rejection of all traditional conventions. The Bauhaus architecture, as
it came to be promoted here, failed to encompass a broad enough
range of human needs and was eventually superseded by a more

inclusive approach to architectural design, Mies van der Rohe's
epithet "Less is more" became scorned in the 1960s as "Less is a
bore" even by many former believers, and Postmodernism appeared
on the scene.
140
MODERNE 1920-1940
Architectural programs in the modern age required new approaches

to basic design. The elevator and the skyscraper went hand in hand;
so did the automobile and the motor lodge, and the infinite changes
in our house design with the advent of washing machines, dish-
washers, telephones, and vacuum cleaners. The publication of Frank
Lloyd Wright's houses in Europe in 1910 started the movement
toward an international sharing of architectural ideas. Charles Ren-
nie Macintosh in Scotland; Charles F. A. Voysey in England; Henri
van deVelde in Belgium; Peter Behrens and J. M. Olbrich in Ger-
many; Adolph Loos in Austria; H. P. Berlage and J. J. P. Oud in
Holland; and Augueste Perret and Tony Gamier in France all
searched for solutions to new architectural problems and for ways to
use new materials and new methods of production in the years before
the First World War.
In the years after the war architects saw a chance to contribute to
a new and better world. True modern architecture involved a new
way of thinking which meant rejecting most conventional design
standards.
New buildings devoid of ornament, with plain surfaces and the
latest in plate-glass windows, often had the appearance of modernity
but were frequently just stripped-down versions of old building
types. More often than not they were as badly planned and as
inefficient as the old.
Moderne— or, in its more disparaging term, Modernistic— was
really a case of superficial styling. Buildings were pseudo-modern,
simply dressed in a new set of clothes. I don't mean to denigrate the
Moderne style, but simply streamlining buildings, adding glass
block, featuring lally columns and maybe a wraparound window or
two is really more At least most of the time.
style than substance.
Art Deco sometimes called Modernistic and can be confused

is
with Moderne. Actually it is a style of ornamant (like Eastlake in the
late nineteenth century) which was popular in the 1920s and 1930s
for office buildings, movie theaters, and apartment houses. It is easy
to identify by its frets, zigzags, chevrons, and angular, stylized floral
motifs usually set in low relief in decorative panels. The style was
virtually never used in houses.
MODERNE 1920-1940
142
INTERNATIONAL 1930-1990s
The term International style was coined in 1932 when H. R. Hitch-

cock and Philip Johnson organized an exhibit of modern architecture
at the Museum of Modern Art in New York. Their book, The
International Style: Architecture Since 1922, was published as a
corollary to the exhibit. Both had a tremendous influence on the
course of modern architecture in America.
There were three basic attributes of the style: 1) The structure
changed from load-bearing walls to a skeletal frame with an exterior
skin (a thin curtain wall of glass and insulated panels) which became
a barrier to the elements but not part of the structural system.
Volume replaced mass as the main design consideration. 2) The
exterior of a building should express the nature of the inner struc-
tural core and the spaces that structure defined. The building's
character was consequently not determined by such artificial con-
symmetry and ornament. 3) Any and all decoration
ventions as axial
or ornament was omitted from the design. Even window and door
surrounds were as inconspicuous as possible; surfaces were plain and
pure white.
Neither Schindler's Lovell House (1922-1926) nor Gill's Dodge
House (1914-1916) on pages 14 and 15 could be considered Inter-
national style. The first was more concerned with the massing of
separate forms, and the second was too sculptural in its celebration of
cantilevered construction. Both were modern, but neither was ide-
ological enough to be called International. In contrast, Le Cor-
busier's Villa Savoye (1928-1930) near Paris was featured in the
MOMA exhibit. It captured all of the characteristics of the Interna-
tional style and remains undoubtedly the quintessential example of
the style.
Villa Savoye, 1929

INTERNATIONAL 1930-1990s
144
WRIGHTIAN 1940-1960
Frank Lloyd Wright was almost seventy in 1936 when he designed

Fallingwater. His first so-called "Usonian" house for the Jacobs fam-
ily near Madison, Wisconsin, was finished the following year (see
page 1 7). His commissions had been sporadic during the twenties
but the Administration Building for the Johnson Wax Company in

Racine, Wisconsin, as well as Wingspread, a house for Mr. Johnson,
both in 1937, sparked a whole new career which flourished un-
diminished until his death in 1959 at the age of ninety-two. His
energy and fresh ideas assured his place in the development of
modern architecture even had these later buildings been his first
commissions.
The houses Wright designed in the forties and fifties, which num-
bered no less than 150, incorporated natural materials in a way that
made his houses an integral part of the site. He almost invariably
used coursed stone or brick, tall French doors, flat or shallow-pitched
roofs, oftenwith a dentilled fascia, and extensive parapeted railings
built up of overlapping boards. Wright introduced mitered glass at
exterior corners and avoided contained spaces. He always stressed
that he "destroyed the box" by the use of cantilevered construction
where corner posts were structurally unnecessary; this allowed a
sense of spatial freedom. He developed designs with strong geo-
metric shapes and explored the design possibilities of hexagons
(using a thirty/sixty degree triangle) and circular forms.
Wright inspired many young architects and his legacy lives on.
Unfortunately, too many of his followers produced mannered designs
that only superficially reflected his work. "Wrightian" should never
really be considered a style; rather it should be thought of as a way of
building. Wright used the term "organic" to describe his work. It
defies precise definition— a quality which is at the heart of all great
art. And the majority of Wright's houses are indeed works of art.
"What we call organic architecture is no mere aesthetic nor

cultnor fashion but an actual movement based on a
profound idea of a new integrity of human life wherein art,
religion, and science are one: form and function seem as one,
of such is democracy." —FUN, 1953
WRIGHTIAN 1940-1960
146
POPULAR HOUSE STYLES 1945-1990s

CONTEMPORARY AND TRADITIONAL
Building boomed after the Second World War. Generally developers

built small Cape Cods, ranch houses, or modest two-story cottages.
There was no particular concern for style and there were few preten-
tious houses. Even custom builders used the same basic layouts —
maybe a little larger all around but still quite spartan compared to
the luxurious accommodations which have been standard since the
early 1980s.
The four-square and the bungalow, which met the housing needs of
middle America from the turn of the century to the Depression
years, were abandoned in favor of basic English colonial styles and
ranch houses evolved from Spanish prototypes. All designs tended to
be based on American precedents. The economic depression of the
1930s and the ideology of modern architecture had both made
sufficient impact on Americans before the war to obviate the need
for fancy details. These postwar houses were termed "Minimal
Traditional."*
By the early 1950s, new designs began to appear: the split-level;
the raised ranch; variations on Williamsburg colonials, "center hall
colonials," and garrison colonials and the two-story Contemporary
that owed some of its character to the Prairie style and to the
detailing of the single-story ranch house. Though modern amenities
were certainly incorporated into the new houses, the modern styles
imported from Europe were considered suspect by most Americans.
Architects generally embraced the rationale of modern architecture
and favored so-called Contemporaries, while builders tended to be
wary and stuck to more reminiscent designs. Californians were
perhaps the exception; they always seemed open to new ideas.
Today, builders continue to offer what they perceive the public
wants: anything associated with the old rather than the new. It does
not seem to matter how inept the planning or how gross the details as
long as the house has divided lights in the windows, French doors
instead of sliders, and a prominently pitched roof. And, of course,
the more molding on the inside the better. Perhaps this is a desire
for the accoutrements of stability and permanence in a rootless
*McAlester, Virginia and Lee, A Field Guide to American Houses (New York:
Knopf, 1984/89).
Popular House Styles 147
society. One thing, however, is certain: the general public has repu-
diated the International style in favor of something homier and
more livable.
Builders are quick to reflect the taste of the times, and a hodge-
podge of historic eclecticism prevails today. Architects, on the other
hand, have generally been less responsive to the public's predilec-
tion for reminiscent architecture and have persisted in promoting
experimental and eccentric designs. Postmodernism's professed
"contexturalism" and "inclusivism" are largely illusionary. A cutout
of a column stuck on the facade of a house does not make it compat-
ible with a 1840 Greek Revival house next door. Perhaps a synthesis
of the two positions holds more promise. Architects are often per-
ceived as too contemporary or too Postmodern with proper justifica-
tion in many instances— too much style and not enough content.
As this book is a guide to American house styles, what follows is a
collection of the principal popular styles offered by builders and
developers since the end of the Second World War, as well as some
that have been favored by architects. All the houses shown have the
same floor plan as the ones in the previous chapters, but here a
breezeway and garage are also included.
As an architect I naturally
have my own credo. The com-
ments and observations with
respect to the following exam-
ples are strictly personal.
They reflect my bias for styles
that are unpretentious and
generally show a deference
Ground floor plan
for regional architecture, the
locale, and natural surroundings.I purposely omit the term "Con-
temporary" as a because it is too imprecise to mean

distinct style
anything. It has negative connotations for some and positive images
for others when in fact there is probably more common ground
between the two than one would initially expect.
"Regional" is a term that might be used more. To me it implies a
respect for regional character and vernacular conventions which can
spark creative architectural designs that are new and fresh and
responsive to the program requirements of a client and yet comple-
ment the existing community and terrain.
MINIMAL TRADITIONAL 1935-1950

A compromise style of the Depression years. Usually one story or one-
and-a-half stories, multigabled with little or no decorative details. Often
suggestive of the Tudor houses of the 1920s with a front facing gable
and a fairly large chimney but with a much shallower roof pitch.
Ranch Split-Level
RANCH and SPLIT-LEVEL 1950-1965

These are not really styles; they are building types and can appear in
any number of costumes. So prevalent during the 1950s and early
1960s, they cannot be omitted from this guide. Most have fixed blinds
(that probably could not even cover the window), fancy porch posts or
wrought-iron supports, and contrasting brick veneer on the front.
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NEO-COLONIAL REVIVAL 1950-1970s

The real-estate developers' staple, they are invariably pale re/lections of
the original prototypes. Roof pitches are usually too low and windows
badly proportioned. Unlike the Colonial Revival houses of the 1920s,
here there isno reverence for the past. With aluminum siding, fixed
vinyl blinds, and a little brick veneer to dress up the entrance side, they
are the quintessential "phony colonies."
WILLIAMSBURG COLONIAL 1950-1990s

Colonial Williamsburg opened in the early 1930s and this one-and-
Southern Colonial has been popular ever since. With sym-
a-half-story
metrical facades and fairly steeply pitched roofs with dormers, these
houses are usually of either clapboard or brick.
MIESIAN 1950-1965 (rare)

Ludwig Mies van der Rohe (1886-1969) espoused the dictum that
"Less is more" and designed elegantly spartan buildings. The Seagram
Building in New York (1954-58) is his most famous work. Unconcerned
with climate, site, and natural forces, some of his admirers designed
houses using his sense of modular steel frame construction. Philip
Johnson was his most devoted follower and his famous 1949 Glass
House in New Canaan, Connecticut, is the most successful example of
this style.
BRUTALISM 1960-1980 (even rarer than Miesian)

Though its rugged and frank use of exposed poured concrete,
"brutal" in
brickwork inside and out, and massive sense of scale, the name sup-
posedly derives from British architect Peter "Brutus" Smithson who was
an early proponent of the style. Rarely seen in houses, the Boston City
Hall by Kallman, McKinnell & Knowles (1961-68) is the best example
of the style.
BUILDER'S CONTEMPORARY 1960-1985

Builders adopted the simplified details and massing of architects' con-
temporary designs. Vertical siding or clapboards with natural stains,
large windows, and numerous skylights were all characteristic of the
style. Roofs were usually hipped or hipped in combination with low-
pitched gables.
MANSARD 1960- 1990s

The modern builder's interpretation of the French roof was another
cliche that caught on 1960s and
in the is still fairly common. It bears lit-
tle resemblance to the Second Empire style of the 1870s. Smooth stucco
walls with decorative quoins, double front doors, and arched windows
with louvered blinds are typical features of this style.
SUPERMANNERIST 1960-1970s
An exuberant Postmodern style characterized by eccentric massing,
whimsical fenestration, and decorated with flamboyant colors and bold
graphics. House numbers, for example, might be boldly featured. The
facades often resemble huge advertising displays.
NEO-SHINGLE 1960- 1980s

An unfortunate term given to the first of the so-called Postmodern varia-
tions, these architect-designed houses derived from vernacular pro-
totypes and often used shingles. Though sometimes crisp and unself-
conscious, they were more and perversely iconoclastic, dis-
often obtuse
daining convention in favor of mannered eccentricity.
BUILDER'S SHED 1965- 1980s

The multidirectional shed roof— a vernacular form — was widely used by
architects in the 1960s and was soon imitated by builders across the
country. Diagonal siding with brown stain and aluminum sliding win-
dows were typical. Usually there was no projecting overhang or fascia at
the eaves and the massing was often complex.
POSTMODERN 1960s- 1990s

The term applies to any of the architect-designed houses that incorpo-
rate details and features from a checklist of trendy cliches. Stylized clas-
sical references and vernacular buildings blend in an amalgamation of
affectation. Pastel colors, stripes, and eccentricity characterize the style.
NEO-CLASSICAL REVIVAL 1965-1990s

Neo-Neoclassical Revival would be a better term. The two-story portico
is the key feature of this style. The disfigured classical orders are inept
reflections of the early nineteenth century and turn-of-the-century pro-
totypes. It is sad to see classical orders reduced to such pathetic
imitations.
NEO-TUDOR 1965- 1990s

"Tudor" is usually applied to almost any front-gabled house with a
steeply pitched roof, a prominent chimney, and fake half-timbered
boards. These houses are rarely built of stone as the more "authentic"
Tudors were in the 1920s. Mock-Tudor or Mock-'bethan would perhaps
be more appropriate terms.
NEO-MEDITERRANEAN 1970-1990s
The term applies to almost any vaguely Spanish or Italian Renaissance
house with a red tile roof (usually simulated), stuccoed walls, some
round arched windows and doors, and a fancy front door. Common in
the former Spanish territories of California, the Southwest, and Florida,
they are inappropriately built throughout the country
NEO-FRENCH ECLECTIC 1975-1990s

The 1970s heralded a rejec-
revival of various "traditional" styles in the
tionof modern architecture and a search for a more pretentious old-
house look. The segmented arches over the windows and doors and the
decorative quoins are characteristics of this style. Front doors are apt to
be elaborately embellished with classical motifs.
NOUVEAU TRADITIONAL 1980s- 1990s

No style has yet evolved that so grossly and blatantly expresses the os-
tentatious and pretentious excesses of an era than these eclectic excres-
cences that have become the staple of "upscale" developers.
DECONSTRUCTIONIST 1980s-1990s
A sort of Post-Postmodernism, these designs are novel, quirky, and per-
versely eccentric. On the level of civil liberties, I am
glad we are permit-
ted to express ourselves in public, but I would prefer that free speech
was verbal rather than quite so permanent— even in California where
the style originated.
NEO- VICTORIAN 1980- 1990s

Renewed interest in Queen Anne houses of the late nineteenth century
has launched the usual surge of imitations. Some of the excesses of the
1980s found expression in the revival of elaborate spindlework, scrolls
and brackets, and the architectural vocabulary of the late Victorian era.
AMERICAN VERNACULAR REVIVAL 1980-1990s

Unpretentious regional architecture can be an excellent starting point for
new designs for our era. Good planning can comfortably complement the
vernacular folk architecture of the disparate parts of this country to cre-
ate contemporary houses that will never seem dated.
The term Post-Modernism caught on as the name for all
developments since the general exhaustion of modernism
itself.
. It told you what you were leaving without
. .
committing you to any particular destination.

—Tom Wolfe, From Bauhaus to Our House, 1981
159
1 1 . NOVELTY AND DIVERGENCE 1 960- 1 990s
A PERSONAL VIEW OF RECENT ARCHITECTURAL TRENDS
Since the early 1960s many architects have attempted with varying
degrees of success to create a new "postmodern" architecture. C.
Ray Smith's Supermannerism—New Attitudes in Post-Modern Ar-
chitecture offers an articulate explanation of this phrase. Smith says
that this new architecture of the sixties is characterized by "a system-
atic manipulation of established principles, its alteration of scale, its
reordering of surface detail . . . expanded to include the vernacular,

the anonymous, and such elements of our ordinary life or popular
culture as comic books."*
It requires a considerable intellectual adjustment (at least for me)
to leap from the underlying rationalism of modern architecture to
such an arbitrary and capricious approach to design. The results are
not just whimsical— that I could understand— they are simply per-
verse.Windows are often randomly placed with no consistency of
pattern or evenwindow type. They sometimes appear to have been
bought at a jumble sale of odds and ends. (It is almost the same as
hanging pictures in your house at odd locations and purposely off
horizontal.) Details are apt to be self-consciously awkward as if put
together by an inexperienced do-it-yourselfer rather than a master
craftsman. Siding is often mismatched and combined in bizarre
ways; shingles may be
used on one wall and clapboard or occa-
sionally cheap composition siding on another even when cost is not a
primary factor. I have seen several instances where part of a house
may actually be left unpainted as if the house was not yet finished.
The studied awkwardness of this design philosophy is self-conscious
and contrived.
Robert Venturi (b. 1925) was the standard-bearer for the legion of
reformers who embraced this new fashion. It was an architecture that
purported to be "inclusivistic," witty, and amusing and its propo-
nents evocative, daring, and profound.
In lauding a Venturi house in Chestnut Hill, Pennsylvania, Smith
wrote: "Inside, the most celebrated of his design jokes is a stair that
leads to nowhere; it can be used as a large whatnot and as a ladder to
*Smith, C. Ray, Supermannerism—New Attitudes in Post-Modern Architecture

(New York: Dutton, 1977).
aid in washing a window, but otherwise it has no function. It is,
nevertheless, a gantry to the sky, an infinity stair that is a clear

symbol of our age."
I believe I am as receptive as the next person to new ideas, but I
have yet be persuaded that I am missing something really impor-

to
tant here. There is so much attention given to the novel, the quirky,
and the slick that one has to remember that many dedicated, tal-
ented, and inventive architects simply do not subscribe to the gospel
of Postmodernism or any other fad that happens to come along.
There are counterparts today to the talented architects of the 1920s
whom Mark Alan Hewitt described as working "quietly to create a
large oeuvre almost unnoticed by anyone save their appreciative
clients." In contrast to these professional men and women, there
were others who "strutted society's stage like Tartuffes"— men who
were the prototypes of "the avant-garde propagandist, the master of
public relations, which the architect of today continues to emulate."*
Perhaps it is time to have some quietly competent, simple, livable
houses again and give less adulation to buildings that strive desper-
ately to be different in the mistaken belief that they are truly
innovative. Originality comes from within a person, and a solution to
an architectural problem is found in the nature of the problem itself.
Too much recent architecture seems less concerned with comple-
menting an existing community of buildings than standing apart
with a patronizing air of condescension.
Even the words used to describe houses have changed. Houses are
no longer charming, comfortable, livable, or homey; they are witty,
amusing statements. But isn't wit inherently spontaneous? The
quick retort, the sudden quip, and the zinger inevitably pale when
given architectural permanence. It's like having to listen to the same
wisecrack repeated ad infinitum.
Deconstructionism, the latest of the new fads, celebrates struc-
tures that are made to look like they are about to fall down. Perhaps
it is the artist/architect commenting on the shortcomings of our
societyand a reflection of the hopeless prospects for the future.
Should we as architects really reflect the problems in our social
structure by designing chaotic-looking buildings? I think it is a
lowering of standards at a time when positive leadership is needed.
*Hewitt, Mark Alan, The Architect & the American Country House (New
Haven, CT: Yale University Press, 1990).
Novelty and Divergence 161
There is a chasm between self-styled avant-garde architects and the

public. The essence of this gap was captured in a letter to the editor
in the November 1992 issue of The Atlantic magazine, from a reader
named Elizabeth Frazer: as I've come to expect from architects
". . .
and their cohorts, function and utility lose out to form's designs,
whims, and egos." She is not alone in her view.
It is an unfortunate impasse because this is a time when builders
and architects should be working together more than they do. It is a

time when factory-built housing is desperately needed and could
benefit from creative contributions from competent architects who
are concerned with creating simple, low-key designs that will blend
together in cohesive communities and not always fight for attention
as do the most distinctive and conspicuous of the lot. Is it really so
gauche to find comfort in simple, unassertive surroundings that wear
well in changing seasons and adapt to our moods throughout the
course of our domestic lives? Mies's "Less is more" became "Less is a
bore" in Postmodern parlance. An appropriate twist now might be
"More is a bore."
There is a need today for responsible use of our remaining rural
areas. Cluster or conservation zoning encourages the preservation of
open space to the benefit of the developer and the community. One
need only visit the hamlets in the English Cotswolds to see how
effective clustering can be. It has worked for hundreds of years in
Britain and still sets a worthy standard.
Unfortunately, most houses we live in today are badly planned,
devoid of inherent character, and deficient in fundamental design.
The 1980s saw a plethora of pretentious monstrosities that "upscale"
developers think will attract buyers by a blatant "curb appeal." The
new proliferation of witty statements by trendy architects can be just
as offensive. In fact, I'm not sure which is the more grating of the two.
But I have more faith in the American public and believe there is
another way.
What is the answer? Let me use the analogy of language. There
are several helpful books on how to write effectively: William
Zinsser's On Writing Well, Clarkson Potter's Writing for Publication,
and of course Strunk and White's The Elements of Style. They all
give the same advice and admonishment: Writing is communication.
We write effectively when we write concisely, clearly, and succinctly.
We should avoid adverbs when a terse verb works, favor the active
tense and not the passive, and avoid business jargon and trendy
cliches. Writing style— that personal touch— evolves in good writers

by their effective use of the English language. If you have something
to say, say it crisply and simply so the meaning will be clear and the
text fun to read.
The analogy should be evident. There is a language of architec-
ture, and structures should say what they mean. The Gothic cathe-
dral, for example, is simple in that there is almost nothing
superfluous or extraneous in its design. All elements are defined and
emphasized by the articulation of the structure. When the more
floral embellishments of the tracery disguise the structural system,
the style overwhelms the substance and the building loses clarity
and power and strength which derives from
definition. It loses that
the celebration of its Words like "honest," "cohesive,"
essence.
"unity," and "straightforward" should still have a place when discuss-
ing architecture, and a deference to natural surroundings and com-
munity is still appropriate.
In the 1980s our colloquial expressions lost vigor and snap. "Like"
and "ya know" are endemic in our vernacular and the near future
doesn't look promising. People with little or nothing to say try to
disguise that fact by the use of excessive verbiage. Ask any teacher
who corrects written examinations!
Much of the architecture of the eighties was a visual equivalent of
verbosity. "Ya know, like, let's use a column. It doesn't have to do
anything, but let's just use it." "Better yet, lest anyone think we
wanted to use a column of a recognizable order, let's distort its
proportions and shape it so grotesquely— maybe even just make a

silhouette out of plywood and now we can really show our disdain for
the public, sneer at the past, and be comforted that we have made a
statement worthy of our era."
It is my hope that the houses built in the coming years
will be
simpler and less pretentious than we saw Houses
in the eighties.
should have more substance than style; plans should be more thor-
oughly developed than the ones in most plan books or than most
developers offer to the public. The character of houses should be less
self-conscious and less intrusive than most architects produce today.
Throughout our history, our best houses have derived elegance
from simplicity, dignity from restraint, and richness from subtle
diversity. There should always be a place in our communities for
comfortable, livable houses that express the character of the region,
the site, and the people who live in them. A good house has integrity
Novelty and Divergence 163
of design rather than a jumbled collection of glitzy gimmicks. Let's

not worry so much about what particular style our houses are; let's
trust that they will simply have style — an inherent, intrinsic style
that derives from the nature of the materials used and an expression
of the spaces defined. Above all, let's build houses that live comforta-
bly with their surroundings, are courteous to their neighbors, and are
deferential to the environment. I believe our American houses can
continue to provide the comfort and sense of well-being that they
have in the past. The need to show off will be less important to a
society that is increasingly comfortable with itself, one that is en-
riched by a knowledge of our history and a greater appreciation of
our architectural heritage.
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Some architectural terms found in the glossary

165
GLOSSARY
adobe: an Arabic word for the sun-dried clay bricks used by the
Spanish in the Southwest. The Indian structures were sun-dried
clay as well but were usually not in the form of bricks.
arcade: a series of arches supported by columns or piers.
architrave: 1) the lowest of the three parts of a classical entablature.
2) the exterior casing or molding around a window or door.
art nouveau: a style of decoration and architectural detail popular in
the 1890s featuring sinuous, floral motifs.
ashlar: a kind of smooth-faced stone masonry with even horizontal
and vertical joints.
astylar: a building without columns or pilasters.
balloon frame: a structural system or framework evolved about 1830
using standardized lightweight lumber where 2-by-4 studs ex-
tended from foundation to roof. Supposedly invented in Chicago
by George Washington Snow, it replaced cumbersome heavy tim-
ber and braced framing and was made possible by the availability
of inexpensive nails. After the Second World War it was generally
replaced by the western or platform frame which was constructed
one story at a time.
baluster: a post or spindle supporting a handrail on a stairs or
balcony railing.
balustrade: a section of low "fencing" consisting of intermittent
supporting posts and horizontal rails with balusters or crossbars in
between.
barge-board: a board, often elaborately carved, attached to the
projecting edge of a gable roof. Also called a verge-board. Com-
mon to the Gothic Revival, Elizabethan, and Tudor styles.
Baroque: the late phase of Renaissance architecture which origi-
nated in Italy in the early 1600s and spread throughout Europe.
It is characterized by its energetic, curvalinear, and grandiose
design.
batter: the slight inward slope sometimes given to a wall, tower, or
pier.
bay: a projected portion of a building, as in a bay window. Also the dis-
tance or span between two principal column lines or framing
members.
bay window: a window or band of windows that projects from the face
of a building within a structural bay.
166
STRUCTURAL TERMS
lintel^ keystone voussoirs
~
FT
post & beam cantilever round arch corbel

(trabeated) (overhang) (Roman)
lancet arch Tudor arch Syrian arch bracket
tympanum J *T^~ cupola
^^ UdLL
^n
dependency hyphen portico
FIVE PART PALLADIAN COMPOSITION
BRICK BOND
I
I
I
i
I
1
1
(
1
STONE SIDING
m
Epg
common dressed clapboard quoins
II I III !|
English
r
ashlar
8h
/
ML U f/SffSSSSSSS/// fa
4
sis
Flemish cobble board &
\1
batten pilasters
Glossary 167
belt-course: a horizontal band on the facade of a building, usually

indicating the floor level behind it. Also called a string course, it is
sometimes placed just below the windows.

belvedere: a pavilion or building constructed as a place to enjoy an
engaging view. It can be anything from a gazebo in a small garden
to Palladio's Villa Capra (page 38).
berm: an earth embankment placed against a masonry foundation
wall, or simply an elongated mound of earth.
beveled siding: horizontal overlapping boards that are thinner at the
top than they are at the bottom. (See clapboard.)
blind arch: a shallow, windowless niche or recess in a wall that is
defined by an arch.
braced frame: a system of timber framing incorporating the major
components of heavy timber framing at corners as well as the tops
and bottoms of walls but depending on long diagonal braces at the
outside corners for lateral stability. Knee braces are eliminated
and lighter weight studs are used approximately two feet on center
as intermediary structural supports.
bracket: any strut or angled support of a shelf, beam, overhang, or
projecting roof.
bracket capital: a heavy, squared timber making a tee on top of a
timber post extending a foot or so under the girder which it
supports. Found in the Spanish Southwest where they were often
embellished with decorative curves.
broken pediment: a classical pediment which does not close at the
top. It was a feature of Baroque architecture and was incorporated
into some late Stuart and Georgian work.
bungalow: a one-story house with large overhangs and a dominating
roof. Generally in the Craftsman style, it originated in California
in the 1890s. The prototype was a house used by British Army
officers in India in the nineteenth century. From the Hindi word
bangala meaning "of Bengal."
buttress: a to add strength and
masonry projection from a wall to
resist theoutward thrust of a roof or vault above.
campanile: a bell tower usually attached to or near a church.
canales: (Spanish) projecting gutters or spouts built to carry rainwa-
ter away from the face of a building. Prominent in Pueblo style
houses.
cantilever: a projecting or overhanging beam, slab, or portion of a
building with no visible means of support.
168
ARCHITECTURAL TERMS
ROOF TYPES
gable gambrel hip(ped) mansard
dJ
parapeted
LnJJ in
Flemish or cross shed
n
gable Dutch gable gable
WINDOWS head transom light
casing
transom
muntins
sash -
sill
—
M
double-hung mullion
I
stile .
<zzz^
455.
rail
jy
awning hopper casements with transom
Palladian or
Venetian window oriel bay window
Glossary 169
capital: the top part of a classical column. (See entablature.)

cartouche: a fancy oval or oblong decorative device usually embel-
lished with swags or garlands.
casement window: an operating window hinged on one side which
swings either in or out (usually out).
cement: a powder of calcined (burned) rock or stone used to make
concrete. Portland cement was first made in Portland, England.
clapboard: (pronounced "kla-bord") overlapping horizontal boards
used as siding on wood-framed houses. It is often wedge shaped
with the narrower edge along the top and is called beveled siding.
In England it is called weatherboarding.
classical: referring to the formal architectural style of ancient Greece
or Rome or to the styles which derived from these prototypes.
clerestory: (pronounced "clear-story") a series of windows placed
high in a wall. Evolved from the Gothic churches where the
clerestory appeared above the aisle roofs.
cobble: (cobblestone) a naturally rounded, uncut stone usually eight
to twelve inches in diameter.
column: a supporting post, generally round. In classical orders the
column consists of base, shaft, and capital (page 42).
common bond: brickwork where a row of headers is placed between
five or six courses of stretchers. (See Flemish bond.)
concrete: a mixture of cement, water, sand, and stones (called aggre-
gate) which hardens to a stonelike consistency.
console: a small bracketlike member placed at the soffit of a cornice
or roof overhang. Implies a double or shallow S curve in profile.
Contemporary: any modern house that derives its character from
the nature of its own materials and structure rather than from
traditional or derivative stylistic expressions.
corbel: a projecting stone or a succession of stone or brick projecting
from a masonry wall which supports a beam, shelf, or balcony.
Corinthian order: the most elaborate of the classical orders (page 41).
cornice: the upper portion of a classical entablature. Also the pro-
jecting decorative molding placed at the top of a wall or pillar or at
the eave line of a roof. (See entablature.)
corona: the horizontal member just below the crown molding in a
classical entablature. (See entablature.)
cottage orne: a rustic, romantic Victorian house using tree trunks
and branches as columns and brackets.
1 70 American House Styles: A Concise Guide
course: the continuous level range of brick or masonry throughout

the face or faces of a building.
crenellation: the notched parapet or battlements at the top of a castle
wall.
cross-gabled: front- and rear-facing gables at right angles to the main
an end-gabled building.
axis of
crown molding: the cymarecta cap molding at the top of a classical
cornice (page 39).
cupola: a small turretlike structure projecting above a building's
roof. Usually glazed but can be louvered. (See lantern.)
cymarecta: the double-curved crown molding that often caps a clas-
sical cornice. (See entablature.)
cymatium: the crown molding that caps a classical cornice (often a
cymarecta).
dentils: small rectangular blocks placed in a row, like teeth, as part of
a classical cornice. (See entablature.)
dependency: an outbuilding or wing of a house usually connected to
the main house by a hyphen that forms part of a five-part composi-
tion promoted by Palladio.
Doric order: the earliest and simplest of the classical orders (page 40).
dormer: a glazed structure with its own roof that projects from the
main roof of a building or is a continuation of the upper part of a
wall so that the eave line is interrupted by the dormer.
double-hung window: a pair of superimposed wooden sashes that are
offset so as to slide up and down within the same frame. Called a
sash window in Britian.
Dutch gable: a masonry gable that extends above the roof as a
parapet and is either stepped or given a fanciful curved profile.
Also called a Flemish gable.
eave: the lower edge of a roof which projects beyond the face of the
wall.
egg and dart molding: a decorative molding in classical cornices that
resembles alternating egg-shaped ovals with downward-pointing
darts.
English bond: brickwork where each course alternates between one
row of headers and one row of stretchers. (See Flemish bond and
common bond.)
entablature: the top portion on a classical order supported by col-
umns which forms the base for the pediment. It consists of the
architrave, the frieze, and the cornice (page 41).
Glossary 1 71
CLASSICAL
ARCHITECTURAL
TERMS
cymatium
sloped corona
split fillet
dentils
bacus
capital
lfl Q Q PL
echinus
V.
/ 72 American House Styles: A Concise Guide
entasis: the slight inward curve or taper given to the upper two-thirds
of a classical column.
eyebrow dormer: an arched roof dormer with no side walls; the roof
simply curves to follow the arch of the window
facade: the front or principal elevation of a building. Sometimes
other elevations are called facades, but the term usually refers to
the front.
fanlight: a semicircular or elliptical transom window above a door-
way. Introduced in the Federal period, it is an identifying feature
of the Federal or Adamesque house.

fascia: the finish board which covers the ends of roof rafters.
fenestration: the window openings of a building. Often includes
exterior door openings as well.
festoon: a carved loop or garland of leaves and flowers suspended
between two used to embellish or decorate a building.
points,
fillet: a small square molding directly above the corona and the
crown molding on a classical cornice. When there is a pediment the

fillet is "hinged" or "split"— one horizontal along the horizontal
corona and one diagonal between the crown molding and the
sloping corona of the cornice.
finial: a decorative ornament affixed to the top of any pointed roof or
architectural feature.
Flemish bond: a distinctive pattern of brickwork where the headers
(ends of the brick) alternate with the stretchers (sides of the brick)
and where each course is staggered so that a header is always
centered above and below a stretcher. Common in Georgian build-
ings both here and in England. (See English bond and common
bond.)
Flemish gable: see Dutch gable.
fluting: the parallel, vertical, concave grooves incised along the
length of a column. The Tuscan column was actually the only
order to omit fluting.
foliated: floral decoration, specifically the use of leaves.
folly: a whimsical or romantic structure built with no utility other
than to enhance a garden or view. Popular in the eighteenth and
nineteenth centuries as gazebos, grottos, and even ruins. From the
French folie meaning delight or favorite abode rather than the
commom use of the word meaning foolish or stultified effort.
four-square: the name given to the simple, square-shaped house built
in profusion as middle-class housing between 1900 and 1930.
Glossary 1 73
frieze: the middle section of a classical entablature— between the

architrave and the cornice (pages 40—41). It is also the name of
any long, horizontal section at the top of a wall just below the
ceiling, or the eave line if it is exterior.
gable: the triangular portion of a wall defined by the sloping edges of
the roof and a horizontal line between the eave line. Can also be a
gabled dormer.
gable roof: a pitched roof that ends in a gable.
gambrel roof: a ridged roof having two slopes on each side where the
lower slope is steeper than the upper.
garrison colonial: a neo-colonial revival of the Early New England
Colonial clapboard house featuring the jetted or overhanging
second floor and usually diamond paned windows.
grade: the ground level around a building.
hacienda: (Spanish) an estate devoted to agriculture. Arancho would
be comparable but devoted to stock raising.
half-timber: a timber-framed building where the infill of nogging or
wattle and daub is left exposed to the weather as opposed to being
covered by clapboards as was common in New England.
head: the top section of a window, door, or other opening.
hip: the sloping ridge formed by the intersection of two adjacent roof
planes.
hipped roof: a roof comprised of four or more sloping planes that all
start at the same level.

home: an occupied primary resident or dwelling place.
hood molding: a molding placed above a window or door that turns
downward at the end and then turns horizontal again for a very
short distance.Common to Gothic buildings or styles that evolved
from the medieval era. Also called a drip molding.
hopper window: an inswinging window hinged at the bottom.
horseshoe arch: an arch shaped like a horseshoe — common in Syria
and the Far East. Appears in Exotic Revival houses in the 1850s—
1880s. Also called a Syrian arch.
house: a building constructed as a residence or dwelling.
hyphen: the portion of a five-part Palladian composition that con-
nects the main central block to the two flanking dependencies.
Ionic order: the second of the classical orders (page 41).
jamb: the sides of a door, arch, or window opening.
jetty: the overhanging cantilever or projection of an upper story in
front of the facade of the story below it.
knee or knee brace: a short diagonal framing member in timber-

frame construction connecting a vertical post with a horizontal
beam and by triangulation makes the connection laterally stable.
lally column: a concrete-filled pipe column.
lancet arch: a pointed arch, characteristic of Gothic architecture.
lantern: another term for a cupola.
leaded glass: a window comprised of small panes of glass held
together by lead strips called cames.
lean-to: a shedlike structure with a single sloping roof built against a
house or barn.
light: a pane of glass, as in a window light, or the whole sash, as in a
skylight.
lintel: a load-bearing beam which
spans a door or window opening.
loggia: a pillared gallery or porch open on at least one side. Usually
an integral part of the building's mass rather than an appended
porch.
mansard roof: a roof having two slopes on all four sides. The lower
slope can be curved but is always close to vertical and the upper
slope is always close to horizontal. Named for the French architect
Frangois Mansart ( 1598- 1 666) but popular in the Second Empire
style of the 1850s. (The English consider a mansard roof syn-
onymous with a gambrel roof which has a double-sloped roof on
two sides rather than on all four.)
masonry: stone, brick, or concrete block construction.
medallion: a round or oval-shaped decorative device used in plas-
tered ceilings but also used as an embellishment on the exterior of
elaborate Baroque buildings.
modern: a house built with twentieth-century skills and materials.
Usually means contemporary but could be a modern
reproduction.
modernistic: a derogatory term for a copy or imitation contempo-
rary. Particularly pertinent to Moderne buildings of the 1920s
and 1930s.
modillion: a small ornamental bracket used in series in the cornice of
the Corinthian and Composite orders.
mortise and tenon: a joint or connection in wood construction
consisting of a squared-off cavity (mortise) made to receive a
projection on the end of a piece of wood (tenon).
mullion: a vertical post, frame, or double jamb dividing two window
sashes or large panes of fixed glass. Not to be confused with
muntin.
2
Glossary 1 75
muntins: the cross pieces dividing the panes of glass within a window
sash. Often incorrectly called mullions.
nave: the large central volume of a church or cathedral flanked by
side aisles. From the Latin navis for ship or naval,
nogging: the brick infilling between the timbers of a timber-framed
building,
octagon: an eight-sided building usually with a hipped roof popu-
larized by Orson Squire Fowler in the 1850s. (See page 78.)
order: any of several specific styles of classical architecture,
oriel window: a bay window on an upper floor usually associated with
late medieval buildings,
orne: see cottage orne.
Palladian: the architectural interpretation of classical architecture
by Italian Renaissance architect Andrea Palladio (1518- 1580), or
any classical style based on his work. Lord Burlington and Colen
Campbell established Palladianism as the principal English style
in the first half of the eighteenth century. It had an important
influence on the course of American colonial architecture in the
second half of the eighteenth century,
parapet: the extension of a masonry wall above the roof line,
parti:(pronounced "par-tee") the architect's resolution of a design

concept — a basic layout. All the designs in this guide have the
same parti,
patio: (Spanish) an open courtyard. The word has come to mean
almost any ground-level area used for outdoor living,
pediment: the triangular gable defined by the crown molding at the
edge of a gabled roof and the horizontal line between the eaves.
pent: a small shed roof attached to the wall of a house without
brackets. Common in Pennsylvania,
pergola: an arbor oropen structure constructed of wood and serving
as a framework upon which vines grow,
piazza: an obsolete term for a broad verandah.
Picturesque: the romantic styles of architecture usually associated
with most of the Victorian era based on the seventeenth-century
paintings that idealized man's relationship to nature,
pilaster: a flat rectangular column attached to the face of a building—
usually at the corners — or as a frame at the sides of a doorway,
pitch: the slope of a roof, usually given in degrees or as a ratio of
height to a base of twelve — as in a 4 to 1 2 or a 6 in 12 pitch or 4 : 1
or 6:12.
plate: the horizontal framing member at the top of a wall,

plinth: the projecting base or block of a wall or column,
podium: a low wall or base serving as a platform for a building,
porch: a covered platform, usually with its own roof, attached to a
building serving as a covered entryway or as a covered living area.
(See verandah.)
portal: a doorway or entrance gateway,
porte cochere: a covered entrance porch for carriages, called a
carport since the introduction of the automobile,
portico: a roofed entrance usually with columns,
pueblo: a communal building made of adobe by the Indians in the
Southwest,
quoin: the dressed or finished stones at the corners of a masonry
building. Sometimes faked in wooden or stucco buildings,
rafter: a sloping roof beam,
rail: a horizontal frame of a door, window sash, or panel. (A vertical
frame is called a stile.)
rake: the slope or pitch of the gable end of a roof or rafter.
Renaissance architecture: the styles of architecture based on classi-

cal prototypes which evolved in Italy in the fifteenth century and
spread throughout Europe in the following three hundred years. It
culminated in the late eighteenth century with the Georgian
architecture of the British colonies in North America,
reveal: the side wall next to a recessed door or window,
ridge: the horizontal line formed by the juncture of two sloping roof
planes,
riser: the vertical surface of a stair. (The horizontal surface is called a
tread.)
rococo: the fanciful style of decorative interior architecture which
evolved in France around 1720 during the reign of Louis XV.
rusticated: masonry cut in large rectangular blocks and set in deep
joints, giving a bold and assertive accent,
saltbox: a house squarish in plan with two stories at the frontand one
story at the rear, having a short sloping roof on the front and a long
sloping one on the back.
Syrian arch: see horseshoe arch,
tenon: see mortise and tenon,
terra cotta: a baked clay material similar to brick but usually shaped
in the form of tiles, decorative panels, or sculpted nonstructural
features.
Glossary 177
timber frame: a structural framing system incorporating large

wooden members cut from tree trunks and shaped into square or
rectangular sections with mortise and tenon joints held together
with wooden pegs called trenals (from "tree-nail"). The frame is
laterally braced with strategically placed knee braces.
trabeated: a structure based on post and beam construction as
opposed to arched or vaulted construction.
tracery: the decorative pattern of supporting mullions in a Gothic
window.
transom: the horizontal divider separating a large lower window
from a smaller window above it.
transom window: a window or light above a door or window.
tread: the horizontal surface of a stair. (The vertical surface is a riser.)
Tudor: the English architectural style of the sixteenth century.
turret: a circular or polygonal projecting bay or structure usually
with a steep pointed roof.
Tuscan order: the simplest of the five Roman classical orders and the
only one that has smooth columns rather than ones with fluting
(page 40).
tympanum: the triangular area within the moldings of a pediment.
Usonia: Frank Lloyd Wright considered this a better name for the
United States. It suggested United States of North America and
obviated confusion with any country in South America or the
Union of South Africa. He attributed the term to Samuel Butler
though the word does not appear in any of his novels. Wright
referred to his modest, flat-roofed houses of the late 1930s as his
Usonian houses.
vault:an arched or domed structure.
verandah: a covered porch used for sitting and entertaining.
vernacular: regional architecture with no stylistic pretensions. Non-
architected rural buildings.
viga: (Spanish) the projecting beam ends or roof rafters of a Spanish
or Indian pueblo.
volute: the spiral scroll-shaped capitals of the Ionic order. Also the
spiral curved terminus of a handrail.
voussoir: the wedge-shaped stone or brick used to form an arch or
vault.
wattleand daub: a mixture of sticks and clay used to fill the space
between the structural members of a timber-framed structure.
weatherboard: an English term for clapboard or beveled siding.
179
SUGGESTIONS FOR FURTHER READING

1. GENERAL COMPREHENSIVE SURVEYS
Aslet, Clive. The American Country House. New Haven and Lon-
don: Yale University Press, 1990.
Aslet, Clive, and Powers, Alan. The National Trust Book of the
New York: Viking, 1985.
English House.
Burchard, John Ely, and Bush-Brown, Albert. The Architecture of
America; A Social and Cultural History. Boston: Little, Brown,
1961.
Cook, Olive. The English Country House: An Art and a Way of Life.
London: Thames and Hudson, 1974.
Davidson, Marshall B. Notable American Houses. New York: Amer-
ican Heritage Publishing, 1971.
Downing, Antoinette E, and Scully, Vincent J., Jr. The Architectural
Heritage of Newport, Rhode Island, 1640-1915. 2nd ed. New
York: Clarkson N. Potter, 1967.
Foley, Mary Mix. The American House. New York: Harper & Row,
1980.
Girouard, Mark. The Victorian Country House. London: Oxford
University Press, 1971.
Handlin, David P. American Architecture. New York: Thames and
Hudson, 1985.
Historic American Buildings Survey, National Park Service, U.S.
Department of the Interior. What Style Is It? A Guide to Ameri-
can Architecture. Washington, D.C.: The Preservation Press,
1983.
Jordan, R. Furneaux. A Concise History of Western Architecture.
New York: Harcourt, Brace Jovanovich, 1984.
McAlester, Virginia, and McAlester, Lee. A Field Guide to Ameri-
can Houses. New York: Alfred A. Knopf, 1989.
Morrison, Hugh. Early American Architecture. New York: Oxford
University Press, 1952; Dover Publications, 1987.
Moss, Roger W. The American Country House. New York: Henry
Holt & Company, 1990.
Muthesius, Hermann. The English House. New York: Rizzoli, 1979.
(Originally Das englische Haus. Berlin: 1904/5.)
Nicholson, Nigel. The National Trust Book of Great Houses of
Britain. London: Granada Publishing, 1983.
Reid, Richard. The Georgian House. London: Bishopgate Press,

1989.
Rifkind, Carole. A Field Guide to American Architecture. New
York: New American Library, 1980.
Risebero, Bill. The Story of Western Architecture. Cambridge, MA:
MIT Press, 1979/85.
Roth, Leland M. A Concise History of American Architecture. New
& Row, 1979.
York: Harper
Stamp, Gavin, and Goulancourt, Andre. The English House 1860-
1914. U.K.: Faber & Faber, 1986.
Sturgis,Frank E. American Architecture: Westchester County, New
NY: North River Press, 1977.
York. Croton-on-Hudson,
Whiffen, Marcus. American Architecture Since 1781. Cambridge,
MA: MIT Press, 1969/92.
Walker, Lester. American Shelter, an Illustrated Encyclopedia of the
American House. Woodstock, NY: Overlook Press, 1981.
2. EARLY COLONIAL
Cummings, Abbott Lowell. The Framed House of Massachusetts

Bay, 1625—1725. Cambridge, MA, and London: Belknap Press
of Harvard University Press, 1979.
Forman, H. Chandlee. Early Manor Houses and Plantation Houses
of Maryland. 2nd ed. Baltimore: Bodine and Associates, 1982.
Forman, H. Chandlee. Maryland Architecture: A Short History
from 1634 Through the Civil War. Cambridge, MD: Tidewater
Publishers, 1968.
Isham, Norman M., and Brown, Albert F. Early Connecticut
Houses. New York: Dover Publications, 1965.
Kelly, J. Frederick. The Early Domestic Architecture of Connecti-
cut. New York: Dover Publications, 1924/63.
Schuler, Stanley. Old New England Homes. Exton, PA: Schiffer
Publishing, 1984.
3. COLONIAL AND GEORGIAN
Ackerman, James S. Palladio. U.K.: Penguin Books, 1966.

Architects' Emergency Committee. Great Georgian Houses of
America. 2 vols. New York: Dover Publications, 1933; 1937/70.
Suggestions for Further Reading 181
Howells, John Mead. The Architectural Heritage of the Piscataqua.

(1937) New
York: Architectural Book Publishing, 1965.
Mullins, Lisa C, ed. Architectural Treasures of Early America. 10
vols. Harrisburg, PA: National Historical Society, 1987.
Palladio, Andrea. The Four Books of Architecture. (1 738) New York:
Dover Publications.
Stoney, Samuel. Plantations of the Carolina Lowlands. New York:
Dover Publications.
Whiffen, Marcus. The Eighteenth-Century Houses of Wil-
liamsburg. Charlottesville, VA: University of Virginia Press,
1984.
4. FEDERAL, NEOCLASSICAL, AND GREEK

REVIVAL
Benjamin, Asher. The American Builder's Companion (1837). New

York: Dover Publications.
Hamlin, Talbot. Greek Revival in America. New York: Dover Pub-
lications, 1944/64.
Kennedy, Roger G. Architecture, Men, Women, and Money. Cam-
bridge, MA: MIT Press, 1989.
Kennedy, Roger G. Greek Revival America. New York: Stewart,
Tabori & Chang, 1989.
5. PICTURESQUE AND NINETEENTH CENTURY
Davis, Alexander Jackson. Rural Residences. New York: New York

University, 1837; DaCapo Press, 1980.
Downing, Andrew Jackson. Architecture of Country Houses. (1850)
New York: Dover Publications, 1969.
Downing, Andrew Jackson. Victorian Cottage Residences. (1842)
Fowler, Orson Squire. The Octagon House: A Home for All. (185 )
New York: Dover Publications, 1953/73.
Girouard, Mark. Sweetness and Light: The Queen Anne Move-
ment, 1860-1900. New Haven and London: Yale University
Press, 1977.
Holmes, Kriston, and Watersun, David. 77?e Victorian Express.
Wilsonville, OR: Beautiful America Publishing, 1991.
Vaux, Calvert. Villas & Cottages. (1864) New York: Dover Publica-
tions, 1970.
Zukowsky, John, and Stimson, Robbe Pierce. Hudson River Villas.
New York: Rizzoli, 1985.
6. INDIGENOUS STYLES
Brooks, H. Allen. The Prairie School: Frank Lloyd Wrightand His

Midwest Contemporaries. New York: W. W. Norton, 1972.
Lancaster, Clay. The American Bungalow, 1880s— 1920s. New York:
Abbeville Press, 1983.
Scully, Vincent J., Jr. The Shingle Style. New Haven: Yale University
Press, 1955.
Stickley, Gustav. Craftsman Homes. (Also More Craftsman Homes.)
von Hoist, H. V. Country and Suburban Homes of the Prairie School
Period. New York: Dover Publications, 1913/82.
7. PALATIAL PALACES
Folsom, Merrill. Great American Mansions and Their Stories. New

York: Hastings House, 1963.
Hunter, Julius K. Westmoreland and Portland Places: The History
and Architecture of Americas Premier Streets, 1888—1988. Co-
lumbia: University of Missouri Press, 1988.
Junior League of Greenwich. The Great Estates, Greenwich, Con-
1880-1930. Canaan, NH: Phoenix Publishing, 1986.
necticut,
Lewis, Arnold. American Country Houses of the Gilded Age. New
York: Dover Publications, 1886-87/82.
Randall, Monica. The Mansions of Long Islands Gold Coast. New
York: Hastings House, 1979.
8. REMINISCENT STYLES
Cortissoz, Royal. Introduction to Domestic Architecture (A mono-
graph of the work of Harrie T Lindeberg). New York: William
Helburn, 1940.
Embury, Aymar II. The Dutch Colonial House. New York: McBride,
Nast & Company, 1913.
Suggestions for Further Reading 183
Gowans, Alan. The Comfortable House. Cambridge, MA, and Lon-

don: MIT Press, 1986.
Hewitt, Mark Alan. The Architect & the American Country House
1890—1940. New Haven and London: Yale University Press,
1990.
Landmark Architecture of Palm Beach, rev ed.
Hoffstot, Barbara.
Ober Park Associates, 1980.
Pittsburgh:
Mellor Meigs & Howe. Mellor Meigs & Howe: A Monograph. New
York: Architectural Book Publishing, 1923/92.
Morgan, Keith N. Charles A. Piatt: The Artist as Architect. Cam-
bridge, MA: MIT Press, 1985.
Parrish Art Museum. The Long Island Country House 1870-1930.
Southampton, NY: The Parrish Art Museum, 1988.
Sclare, Liisa and Donald. Beaux- Arts Estates— A Guide to the
Architecture of Long Island. New York: Viking Press, 1975/79.
9. MODERN ARCHITECTURE
Ford, James, and Morrow, Katherine. The Modern House in Amer-
ica. New York: Architectural Book Publishing, 1940.
Hitchcock, Henry-Russell, and Johnson, Philip. The International
Style. New York: W. W. Norton, 1932/66.
Hitchcock, Henry-Russell, and Drexler, Arthur. Built in USA: Post-
war Architecture. New York: Museum of Modern Art, 1952.
Joedicke, Jurgen. The History of Modern Architecture. New York:
Frederick Praeger, 1959.
Kaufman, Edgar. Fallingwater, A Frank Lloyd Wright Country
House. New York: Abbeville Press, 1986.
Mock, Elizabeth B. If You Want to Build a House. New York:
Museum of Modern Art, 1946.
Pevsner, Nikolaus. Pioneers of Modern Design. New York: Museum
of Modern Art, 1949.
Sergeant, John. Frank Lloyd Wright's Usonian Houses: The Case for
Organic Architecture. New York: Whitney Library of Design— an
imprint of Watson-Guptill Publications, 1976.
Wolfe, Tom. From Bauhaus to Our House. New York: Farrar, Straus
8s Giroux, 1981.
Wright, Frank Lloyd. The Natural House. New York: Horizon Press,
1954.
10. POSTMODERNISM
Jencks, Charles. The Language of Post-Modern Architecture. New
York: Rizzoli International Publications, 1977/84.
Moore, Charles, Allen, Gerald, and Lyndon, Donlyn. The Place of
Houses. New York: Holt, Rinehart & Winston, 1974.
Scully, Vincent, Jr. The Shingle Style Today or The Historian's
Revenge. New York: George Braziller, 1974.
Smith, C. Ray. Supermannerism: New Attitudes in Post-Modern
Architecture. New York: E. P. Dutton, 1977.
Venturi, Robert. Complexity and Contradiction in Architecture.
(1966) New York: Museum of Modern Art, 1977.
11. SPECIAL
Baker, John Milnes, AIA. How to Build a House with an Architect.

New York: Harper &
Row, 1977/88.
Dunn, Alan. Architecture Observed, (laugh lines by America's fore-
most cartoon critic) New York: Architectural Record Books,
1971.
Lynes, Russell. The Tastemakers. New York: Dover Publishing,
1980.
National Trust for Historic Preservation. Masterbuilders: A Guide
to Famous American Architects. Washington, DC: Preservation
Press, 1985.
Raskin, Eugene. Architecturally Speaking. New York: Bloch Pub-
lishing, 1954/66.
Raskin, Eugene. Architecture and People. Englewood Cliffs, NJ:
Prentice Hall, 1974.
Rybczynski, Witold. Home: A Short History of an Idea. New York:
Viking Penguin, 1986.
Smith, A. G. The American House Styles Coloring Book. New York:
Dover Publications, 1983.
185
INDEX
Page numbers in italics indicate Bottomley, W L., 16
illustrations. Breakers, The (Hunt), 102
Breuer, Marcel, 137
Brewton House, 46
Adam, Robert, 50, 71 Brighton Royal Pavilion (Nash),
Adam 120
style, 50, 54, 72, 82
Allen House (Wright), 118 Brutalism, 150
American Bracketed style, see Builder's Contemporary, 146,
Italianate style 151
American Vernacular Revival Builder's Shed style, 153
style, 157 Bulfinch, Charles, 51, 54
Ames Gate Lodge (Richardson), bungalow, 7, 20, 108, 114, 114,
94 146
Andalusia (Latrobe), 62 Burlington, Lord, 38, 38
Appleton house (McKim, Mead
& White), 108, 120
Architectural Record, 117 California style, see Craftsman
Art Deco, 140 style
Arts and Crafts movement, 70, Campbell, Colen, 33, 38, 38
88, 109, 117 Cape Cod cottage, 7, 27, 28,
Atlantic, The, 167 146
Carson, William, House
(Newsome and Newsome),
Bacon's Castle, 21, 24, 24 71, 88, 117
Baltzell, E. Digby, 91 Carter's Grove, 46
Banqueting Hall (Jones), 20 Castle Howard (Hawksmoor), 33
Barry, Sir Charles, 80 "center hall colonial," 120, 146
Bauhaus, The, 137, 139 Chamberlain, Samuel, 134
Beaux-Arts style, 13, 93, 94, Chambord, 96
98-99, 100 Champneys, Basil, 71, 71
Behrens, Peter, 140 Chateauesque style, 93, 96-97,
Bell house (McKim, Mead & 100
White), 108 Chenonceaux, 96
Belton House, 34 Chermayeff, Serge, 137
Benjamin, Asher, 39, 63 Chiswick (Burlington), 38
Berlage, H. P., 140 Christian Science church
Biltmore (Hunt), 92, 96 (Maybeck), 15
Blenheim Palace (Vanbrugh), 33 Church, Frederick, 82, 82
Blois, 96 Cleaveland, Henry W, 86
Boston City Hall (Kallman, Cockerell, S. P., 72, 82
McKinnell & Knowles), 150 Colkert, Meredith, B., 19
186 Index
College of William and Mary Early Southern Colonial style,

(Wren), 22 24-25, 120
Colonial Georgian style, 33, 44 Eastlake, Charles Locke, 88
Colonial Revival style, 92, 93, Eberlein, H. D., 134
107, 108, 110, 112, 117, Elizabethan style, 124-25
122, 124, 149 Embury, Aymar, II, 122
Colonial style, 27-32 English Colonial, 27-28
Columbian Exposition (Chicago, Exotic Eclectic, 82-83
1893), 13, 56, 94, 98, 104
Compton Wynyates, 20
Cook, Walter, 12 Fallingwater (Wright), 17, 17,
Corbit House, 35 144
Cotswold cottage style, see Federal style, 33, 51, 53, 54-55,
French Rural style 56, 107, 120
Country Club, The, 117 Fisher, David Hackett, 59, 60
Country Life in America, 117, Fort Hill (McKim, Mead &
119, 134 Bigelow), 107, 108
Craftsman, The, 109, 114, 117, four-square, 7, 91, 92, 146
126 Fowler, Orson Squire, 78
Craftsman style, 107, 108, 109, Fraser, Elizabeth, 161
114-15, 117 French Colonial style, 31
Cram, Ralph, 15 French Provincial style, see
Cronkhill (Nash), 69, 76, 76 French Rural style
French Rural style, 119, 134-35
Davis, Alexander Jackson, 62, 63

Deconstructionist style, 156, 160 Garden Club of America, 117
Delano, William, 117 Gamier, Tony, 140
Delano & Aldrich, 16 Georgetown post office, 80
Dodge, Walter L., House (Gill), Georgian style, 27, 33-47, 50,
15, 142 54, 107, 120
Downing, Andrew Jackson, 11, Gilbert, Cass, 15, 117
66, 74, 76 Gill, Irving, 15, 15
Dutch Colonial Revival style, Girouard, Mark, 71

122-23 Glass House (Johnson), 150
Dutch Colonial style, 28-29 Godwin, E. W, 71
Goelet, Robert, House (McKim,
Mead & White), 93, 93,
Early Colonial Revival style, 108
120-21 Goodhue, Bertram Grosvenor,
Early Colonial style, 17-26 15, 130
Early New England Colonial Gothic Revival style, 62, 63, 66-
style, 22-23 67, 69

Index 187
Governor's Palace (Santa Fe), 30, Italian Villa style, 76-77, 102
30, 128
Gowans, Alan, 92, 138
Greek Revival style, 11, 27, 51, Jackson, Andrew, 53, 53, 61
53, 56, 61, 62, 63, 64-65, Jacob, Herbert, House (Wright),
69, 120, 147 17
Greene, Charles S., 109, 114 Jacobean style, 19, 20
Greene, Henry M, 109, 114 Jefferson, Thomas, 51, 56, 56
Greenough, Horatio, 107 Johnson, Philip, 142, 150
Griswold House (Hunt), 73, 86, Johnson Wax Company
86 Administration Building
Gropius, Walter, 137 (Wright), 144
Gyfford, E., 69 Jones, Inigo, 19, 20, 34, 35
Hacienda del Pozo de Verona Kallman, McKinnell & Knowles,

(Schweinfurth), 128 150
Hamilton, William, 54, 54 Kennedy, Roger G., 60
Hampton Court, 20
Harkness Tower (Rogers), 15
Hathaway, Anne, Cottage, 124, Lafever, Minard, 63
124 Larkin, Thomas, 132, 132
Haviland, John, 63 Larkin, Thomas, House (Larkin),
Hawksmoor, Nicholas, 33 132
Hermitage, The (Jackson), 53, Latrobe, Benjamin, 62, 63
53, 61 Le Corbusier, 137, 142, 142
Hewitt, Mark Alan, 118, 160 Lindeberg, Harrie T, 16, 16,
Hitchcock, Henry Russell, 142 117
House & Garden, 117 Longwood (Sloan), 82, 82
House & Garden movement, 16, Loos, Adolph, 140
117, 130 Lovell Beach House (Schindler),
House at Cefalto (Palladio), 36 14, 142
House Beautiful, 117 Low House (McKim, Mead &
Hunt, Richard Morris, 13, 73, White), 108, 109
86, 86, 92, 93, 96, 98, 102 Lyndhurst (Davis), 62
Hunter House, 35
India House, 80
International style, 137, 138, Manoir style, see French Rural
142-43 style
Italianate style, 63, 69, 78-79, Manor Farm (Champneys), 71
102 Mansard style, 151
Italian Renaissance Revival Mansart, Francois, 84
style, 80-81 Maybeck, Bernard, 15
188 Index
McAlester, Virginia and Lee, Neoclassical style, 11, 33, 50,

146 51, 56-57, 61
McCormick, Harold K, House Neo- Colonial Revival, 149
(Piatt), 14 Neo-French Eclectic style, 155
McCormick, Harold E, Project Neo-Mediterranean style, 155
(Wright), 14 Neo-Shingle style, 152
McCracken, Robert T., House Neo-Tudor style, 124, 154
(Mellon Meigs & Howe), 16 Neo- Victorian style, 157
Mcintosh, Charles Rennie, 140 Nesfield, W. E., 71
Mclntyre, Samuel, 51 Newbold, Arthur E., estate
McKim, Mead & Bigelow, 107, (Mellor, Meigs & Howe),
108 119, 134
McKim, Mead & White, 92, 93, New England Georgian style,
93, 102, 108, 109, 120 42-43
"Mediterranean" style, 102 Newsome, Joseph, 71
Mellor, Meigs & Howe, 16, 16, Newsome, Samuel, 71
119, 134 Normandy Farmhouse style, see
Mereworth Castle (Campbell), French Rural style
38 Normandy Village, 134
Middle Atlantic Georgian style, Nouveau Traditional style, 156
44-45
Mies van der Rohe, Ludwig,
137, 139 octagon house, 7, 78, 78
Miesian style, 150 Olana (Church), 82, 82

Minimal Traditional style, 146, Olbrich, J. M., 140
148 Osbourne, 74
Moderne style, 140-41 Oud, J. J. P., 140
Modern style, 16, 17, 137-45
Mompesson House, 34
Monterey style, 30, 132-33 Palladio, Andrea, 33, 36, 37, 38,
Monticello (Jefferson), 56, 38, 46, 56
56 Panama-California Exposition
Morris, William, 70 (San Diego, 1915), 126, 130
Morrison, Hugh, 46, 107 Parlange, 31
Mount Airy, 46, 46 Perret, Augueste, 140
Mount Vernon (Washington), 46, Philadelphia Athenaeum, 80
51, 52 Philadelphia Centennial
Muthesius, Hermann, 70 Exposition (1876), 88, 107,
120
Phillips House, The, 12
Nash, John, 69, 72, 76, 76, 82 Picturesque styles, 66, 69-89
Neoclassical Revival style, 93, Placzek, Adolf K., 11
104-5, 154 Piatt, Charles A., 14, 15
Index 189
Popworth, J. B., 70 Second Empire style, 84-85,

Postmodernism, 139, 147, 152, 151
153 Second Italian Renaissance
Potter, Clarkson N., 162 Revival style, 93, 102-3
Prairie School, 15 Sezincote (Cockerell), 72, 82
Prairie style, 107, 108, 109, Shaw, Norman, 71, 107
112-13, 117, 118, 146 Sherman, William Watis, House
Pueblo style, 128-29 (Richardson), 73, 88
Shingle style, 13, 88, 92, 93, 94,
107, 108, 110-11, 117, 120
Queen Anne style, 71, 73, 88- Sloan, Samuel, 82, 82
89, 107, 110, 120, 157 Smith, C. Ray, 159
Queen's House (Jones), 20, 34 Smithson, Peter "Brutus," 150
Social Register, 93
Southern Georgian style, 46-47
ranch house, 30, 130, 130, 146, Spanish Colonial Revival style,
148 126, 130-31
Raskin, Eugene, 137 Spanish Colonial style, 30
Red Gate (Lindeberg), 16 Spanish Mission style, 30, 126-
Red House, The (Webb), 70, 70, 27
71 split-level house, 146, 148
Renaissance style, 22, 29, 33, Squerryes Court, 34
40-41, 71 St. John the Divine, Cathedral of
Richardson, Henry Hobson, 73, (Cram), 15
88, 94, 94, 107 Stevenson, J. J., 71
Richardsonian Romanesque Stickley, Gustave, 109, 114, 126
style, see Romanesque style 86-87
Stick style,
Robinson, P. E, 74 Stoughton House (Richardson),
Rogers, James Gamble, 15 107
Roman Revival style, 56 Stratford, 46
Romanesque style, 93, 94—95 Stratton Mountain (Vermont), 74
Rybezynski, Witold, 29 Strawberry Hill (Walpole), 66,
66, 69
Strickland, William, 63
saltbox, 7, 27, 28 Strunk and White, 162
Saugus Ironmaster's House, 21 Stuart architecture, 34, 35
Schindler, R. M., 14, 15 Sullivan, Louis, 13
Schweinfurth, J. C, 128 Supermannerist style, 152
Scott, Sir Walter, 66 Swiss Cottage style, 74-75
Scully,Vincent J., Jr., 86, 108,
110
Seagram Building (Mies van der Tara (Gone with the Wind), 64,
Rohe), 150 64
6
190 Index
Taylor house (McKim, Mead Villa Turicum (Piatt), 14

White), 108, 109, 120 Vitruvius, 50, 56
Thomas, Seth, House Voysey Charles F. A., 140
(Lindeberg). 16, 1
Thornton, William, 51
Thoroughgood House, 21, 21 Walpole, Sir Horace, 66, 66,
Town, Ithiel, 63 69
Transportation Building Walter, Thomas U., 62
(Sullivan), 13 Warren & Wetmore, 92
Traveller'sClub (Barry), 80 Washington, George, 46, 51,
TrinityChurch (Boston) 52
(Richardson), 94 Webb, Phillip, 70, 70
Tudor style. 19, 20, 93, 100- Wentworth-Gardner House, 35
101, 124, 154 Western Stick style, see
Tulip 36
Hill, Craftsman style
Twain, Mark, 93, 98 Westover, 35, 46
Wheeler, Gervase, 86
White Pine Series, 112, 117-18
Unitarian Church (Wright), 15 Williamsburg, Colonial, 120
Usonian houses (Wright). 17 Williamsburg Colonial style, 146,
149
Wingspread (Wright), 144
Van deVelde, Henri, 140 Woodlands (Hamilton), 54, 54
Van't Hoff, Robert, 14 Wool worth Tower (Gilbert), 15
Vanbrugh, Sir John, 33 Wren, Sir Christopher, 20, 22,
Venturi, Robert, 159 33, 34, 35
"Victorian" style, 73 Wright, Frank Lloyd, 13, 14, 15,
Villa Capra (Villa Rotunda) 17, 17, 108, 110, 110, 112,
38
(Palladio), 38, 118, 140, 144
Villa Emo (Palladio), 38 Wrightian style, 144-45
Villard House (McKim, Mead & Wythe House, 46
White), 102
Villa Savoye (Le Corbusier), 142,
142 Zinsser, William, 162
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AMERICAN

JOHN MILNES BAKER, A.LA.

"Colonial " "Victorian," "Neoclassical," "Mod-

cinating and varied house styles, as fascinating and

chitectural features and style of virtually any house

and grand porches of the Queen Anne style, the

austere geometry of the International style, and to-

Each section of American House Styles begins

ferent styles developed and what influenced their

Designed by John Milnes Baker

How to Build a House with an Architect

JOHN MILNES BAKER, A.I.A.

W. W. NORTON & COMPANY

© 1994 by JOHN MILNES BAKER

Library of Congress Cataloging-in-Publication Data

Baker, John Milnes, 1932-

bed and breakfast operation.

1. EARLY COLONIAL 1600-1715 19

4. THE YOUNG REPUBLIC 1780-1820 49

5. AN EMERGING NATION 1820-1860 59

6. THE PICTURESQUE 1840-1900 69

8. INDIGENOUS STYLES 1880-1930 107

9. REMINISCENT STYLES 1880-1940 117

0. THE MODERN MOVEMENT 1920-1960 137

11. NOVELTY AND DIVERGENCE 1960-1990s 159

SUGGESTIONS FOR FURTHER READING 179

—Hugh Morrison, Early American Architecture, 1952

Many books have been written on architectural styles— some deal-

assessment of our man-made world. "Colonial," "Victorian," and

— R. Furneaux Jordan, a concise history

America is a country of immigrants. The early settlers brought with

them building techniques from their respective homelands and

View from driveway

A Shingle style house

Scale: 1" = 24'

House near Utrecht, Holland

Proposed design for

Villa Turicum Lovell Beach House,

Wright's grandly conceived design for Harold F. McCormick over-

generation. Spirited and competent but somehow soulless, the neo-

Walter L. Dodge House,

There were many competent architects who responded to the

Robert T. McCracken House, Germantown, Pennsylvania

In the 1930s the Modern movement became firmly established

Herbert Jacob's House, Madison, Wisconsin, 1937

—Marshall B. Davidson, The American Heritage History

1 . EARLY COLONIAL 1 600- 1715

"Colonial," without "Spanish," "French," or "Dutch" to modify the

ceeded by George I, the first Hanoverian.

*Colkert, Meredith B., Jr., Founders of Early American Families— Emigrants

Christopher Wren (1632-1723) in the late Stuart period. Dutch

making there in the sixteenth century. Hampton Court near London

Saugus Ironmaster's House,

Thoroughgood House, Norfolk, Virginia, c. 1650

EARLY NEW ENGLAND COLONIAL 1640-1715

The half-timbered houses of early New England were covered with a

ests, however, made wooden siding an obvious choice here and

Typical floor plan Drop

By the end of the seventeenth century some buildings were being