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/{Z(

 

 

 

 

 

 

 

 

HOLLY’S

COUNTRY SEATS:

CONTAINING

LITHOGRAPHIC DESIGNS

FOR COTTAGES, VILLAS, MANSIONS, ETC, WITH THEIR
ACCOMPANYING OUTBUILDINGS;

ALSO,

Chantry, Q‘bglmlgns, 03in; fitilhinga, ifiuilmag $tutimt3,

ETC., ETC.

BY

HENRY HUDSON HOLLY.

ARCHITECT.

NEW YORK:
D. APPLETON AND COMPANY, 443 & 445 BROAD‘VAY.
1866.

 

  

- / * ' Entered, according to Act of Congress, in the year 1863, by
t ' D. APPLETON AND COMPANY,

 

In the Clerk’s Oflice of the District Court of the United States for the Southern District of New; York.

t A.‘"‘ , '. 1.»

' . . , '25"

 

 

 

 

T0

was @merimu ‘églmammm mt @whfimw,

THIS BOOK IS

RESPECTFULLY DEDICATED,

BY

THE AUTHOR.

 

Owing to the advance in labor and materials, since
this book was first published, in 1863, the estimates at

present are not to be considered as accurate.

.1

cut time, yet as business has so far become based upon a war
footing, the ball is kept rolling, and fortunes appear to be made
even faster than in times of peace. ‘

We did intend, as hinted in Design No. 1, giving with this
work a Treatise on Landscape Gardening, which, with maps, was
commenced under the auspices of Mr. George E. Waring, jr., late
of the Central Park; but that gentleman having accepted a com-
mission in the army, the plan was unfortunately abandoned.

The lithographic views, which are signed by Paul Schulze,

were in no way designed by him, but simply copied on stone

 

PREFACE.

THIS work was fully prepared for the press some two years
since, and was about being put into the hands of publishers, when
the “War for the Union” broke out, and seemed for a time to
paralyze any new enterprise; the author, therefore, thought
proper to postpone the publication, until affairs should be in a
more settled state, which, although not fully realized at the pres-
ent time, yet as business has so far become based upon a war
footing, the ball is kept rolling, and fortunes appear to be made
even faster than in times of peace. ’

We did intend, as hinted in Design No. 1, giving with this
work a Treatise on Landscape Gardening, which, with maps, was
commenced under the auspices of Mr. George E. Waring, jr., late
of the Central Park; but that gentleman having accepted a com-
mission in the army, the plan was unfortunately abandoned.

The lithographic views, which are signed by Paul Schulze,

were in no way designed by him, but simply copied on stone

 

 

 

vi PREFACE.

from drawings by the author. One or two of these, in a few of
the copies, have a slight mistake in the ground plans, which was

not discovered until a small number were printed.

HENRY HUDSON HOLLY,

Architect.
NEW YORK, Jan. 18!, 1863.

CONTENTS.

 

 

PAGE
SOME ACCOUNT OF THE HISTORY OF ARCHITECTURE, . . . 1
INTRODUCTORY CHAPTER, ._._ . . . . . .21
A rural home contrasted with city life. The expense of maintaining a coun-
try place. The selection of a site. The approach. Model houses. Styles to
be employed. Materials. “ Truthfulness in building.” Procuring a plan.
The advantage of an architect.
D E S I G N N o . 1 .
GATE LODGE, . . . . . . . . 33
Style of architecture. Description of plan. Where a gate lodge is appro-
priate. Subordination to mansion.
D E S I G N N o . 2 .
ALTERATION OF A COTTAGE, . . DR. C. \V. BALLARD. 37
The difficulties of altering an old house. Carpenters’ architecture, and its
results. ,
W'gncttc. OLD HOUSE BEFORE ALTERATION.
W'gnctte.~—ORNMIENTAL WELL CURB.
The well and its associations.
D E S I G N N o . 3 .
A CHEAP COTTAGE, . . JOHN W. SHEDDEN, Esq. 41

Erroneous ideas with regard to beauty as connected with expense. De-
scription of exterior. The veranda. The bay Window. The ridge orna-
0

4-1

viii CONTENTS.

ment. Description of interior. How to keep the chambers cool in summer.
Deafening.

DESIGN No. 4.

COTTAGE ON VILLAGE LOT, . . . at Stamford,>Ct.

Description of plan. The roof. Contrast Of light and shade. The advan-
tage of various colors in architecture. The colors to be employed in painting
a country house.

DESIGN N0 5.
A SWIss COTTAGE, . . . . .

Peculiarities of the design. The advantage of frequent communication with
the architect. Motive and explanation of plan. The danger of altering a
design Without consultation.

DESIGN No. 6.
FRENCH VILLA,

Description of plan. The veranda. The roof. Names for country places.

DESIGN NO. 7.

IIALF TIMBER SHOOTING LODGE,

The “forest primeval.” The strength and-durability of this style. The
plan.

DESIGN No. 8.

ALTERATION OF A COUNTRY IIOUSE, . J. R. KEARNEY, ESQ.
The features Of the alteration. The roof. The library. The balcony.
Vignettc.—TIIE HOUSE BEFORE ALTERATION.

Vigncttc.—ALTERATION OF A STABLE, . J. IIOWLAND, ESQ.
Description of plan. Harness rooms.

DESIGN No. 9.

A SQUARE STONE HOUSE, . . DR. J. II. T. COCKEY.

The site. Position of chimneys. Description Of plan. How a square house
may be made to appear irregular.

PAGE

59

65

CONTENTS.

DESIGN No. 10.

A ,TUDOR VILLA, . . . J. D. BEDFORD, ESQ.

Its characteristics. Adaptation to the surrounding scenery. Description
of interior.

DESIGN N0. 11.

A STONE COTTAGE, . .

The advantage of the country in times of adversity. Description of plan.
The drawing room a superfluity in cottages. The disadvantage of living on
flats. The duty of collecting a library.

DESIGN No. 12.

THE VILLA,

The advantage of building with the idea of future enlargement. HOW we
get our erroneous ideas of cost. The way to make an approximate estimate.

DESIGN No. 13.

A SQUARE IIOL’SE WITH ‘VING,

Description of plan. Motives of internal treatment. The employment of
sculpture and painting.

DESIGN No. 14.

AN IRREGULAR HOUSE WITH VERAJSDA ALL ROUND, .

How to get a view in all directions. The advantages of this plan over a
square one. Description of plan. A window over fireplace. The observa-
tory.

DESIGN No. 15.

A SQUARE HOUSE WITII IRREGULAR ROOF,

A comparison between the Old Puritan and Dutch, and the present styles
of architecture. A hope for the future. Architecture and the sister arts.
The effects of parks on rural taste.

Vignette—A RL'sTIo SUMMER IIOUSE AND GATEWAY.

PAGE

69

73

79

83

89

93

X CONTENTS.

DESIGN NO. 16.

PAGE
AN ITALIAN VILLA, . . . O. BENEDICT, ESQ. 97
Situation. Material. Description Of plan. Gas in the country. Furnaces.
D E S I Gr N N o . 1 7 .
A COTTAGE ORNEE, . . . . 101
Advantages of roof, balcony, and terrace. The plan. Enclosed stairs.
The plan susceptible of alterations.
D E S I G N N 0 . 1 8 .
REMODELLING OF A COUNTRY HOUSE, . J. IIOWLAND, ESQ. 105
The fallacy of buying improved country places. I
Vig'netpi0.—TIIE IIOUSE BEFORE ALTERATION.
Vz'gnczfta—IOE AND SUMMER HOUSE COMBINED.
HOW to build an ice house.
D E S I G N N O . 1 9 .
A GOTHIC VILLA, . . . MRS. T. D. XVIIEELER. 109
The adaptation of this style to villas. Description of plan. Plumbing.
D E S I G N N O. 2 0.
THE MANSION, . . . . . . . 113
Description of plan. The use of natural woods in internal finish, and furni-
ture appropriate thereto.
Vignette.—-RUSTIO BRIDGE, . . . Central Park.
Wgnezftc.—-BOAT IIOUSE.
D E S I G N N 0 . 2 1 .
ITALIAN VILLA, . . . . A. E. TWEEDY, ESQ. 117

Cement brick, how to make and lay them.

CONTENTS.

DESIGN No. 22.

TUDOR VILLA, . . . . W. R. FOSDICKE, ESQ.

Symmetrical arrangement of the rooms. The veranda. How to guard
against rats and vermin. Where outside blinds are inappropriate. Sliding
and folding sash. ‘

DESIGN No. 23.

A REGULAR VILLA WITH PICTURESQUE OUTLINE, . . .

The entrance porch. Interior arrangement.

DESIGN No. 24.

AN IRREGULAR STONE VILLA,

Built fireproof. Ventilation. Heating—steam and hot air. Anthracite
and bituminous coal grates.

DESIGN No. 25.

CASTELLATED VILLA,

Should be adopted with great caution. Historical description of a castle.
Style of architecture after Edward I. The effects of the introduction of gun-
powder. Interior arrangement.

DESIGN No. 26.

THE GROUP,

How to treat buildings on a small amount of ground to give the idea of
greater extent. Finials and ridge ornaments of practical utility.

DESIGN No. 27.

AN OLD ENGLISH VILLA,

First development of domestic architecture in England. Combination of
styles in this design. The interior. Views from the house. Material. Ivy
and other Vines, where appropriate and how to cultivate them.

Xi

PAGE

121

125

129

133

139

143

Xil CONTENTS.

DESIGN No. 28.

PAGE
ENLARGEMENT OF A COUNTRY HOUSE, . G. A. HOYT, ESQ. 147
Objections to altering old buildings. Difficulties attending same and un-
satisfactory results. Description of alterations. HOW to obtain light for
basement.
Vignette—THE HOUSE BEFORE ENLARGING.
D E S I G N N o. 2 9 .
ITALIAN MANSION, . . . . . . . 151
Development of rural taste. The exterior and surroundings. The interior.
D E S I G N N o . 3 0.
THE TERRACE, . . . . . . . . 155
City architecture. HOW to secure elegance and artistic effect. How to
make all the buildings in a block harmonious. Mistakes of speculators.
Legislation with regard to street architecture.
D E S I G N N o . 3 1 . .
THE MILL, . . . . . Hyde Park. 159
Utility may always be combined with beauty. Saw mills considered nuisan-
ces. How to remodel an old mill to make it useful and ornamental. The
reservoir tower. Advantages of seclusion.
D E S I G N N o. 3 2 .
EARLY ENGLISH CHAPEL, . . . . . . 161

Poetic ideas connected with rural churches. The influence of modest and
retired places of worship. The characteristic churches of our country. ‘ The
influences under which they are built. Truthfulness in building churches.
The plan. The bell.

CONTENTS.

DESIGN N0. 33.

DECORATED CHURCH,

Why Catholic places of worship present a. more pleasing appearance than
those of other denominations. Cruciform plan. East window. The use of
gablet Windows. The chimney.

DESIGN No. 34.

RAILWAY STATION,

Railways the grand modern civilizing influence. The advantage of beauty
in railway stations. What they generally are. The railway stations of
Europe. How to prevent accidents.

xiii

PAGE

165

169

 

HOLLY’S

COUNTRY SEATS.

 

SOME ACCOUNT OF THE HISTORY OF
ARCHITECTURE.

ARCHITECTURE, “the first and noblest of the arts,” arose with the first
wants of mankind. With their earliest ideas of self-dependence, we may
reasonably suppose men began to look around them for shelter and pro-
tection alike from heat and cold. The refuge of caves and natural exca—
vations could suffice for their uses only while in the most savage state.
The first step toward civilization was to create artificial habitations—to
build. How rude and insufficient must have been these first attempts we
may well judge, when we consider what structures sheltered the descend-
ants of these primeval builders even within the memory of history, and
the cabins and huts even now dwelt in by some remote tribes of the wil-
derness. What plans they adopted, what systems of construction, if any,
they pursued, can only be conjectured. The origin of architecture, like
all other antediluvian sciences, is involved in obscurity. We know from
its nature that it is eminently a progressive science ; and, tracing it back-
ward, stop by step, we may arrive at an approximate idea of its earliest
feeble efforts. Such a retrospect is not only instructive, but encouraging,
reminding us, as it does, of the errors of the rude infancy of architecture,
and compelling us to respect the innate strength and manifest destiny of

an art which, through innumerable difficulties, could steadily advance
3

2 IIOLLY’S COUNTRY SEATS.

from primeval simplicity to its present perfection, where it claims the
highest rank among the noblest of human sciences, and points to menu-
ments of its success, not surpassed in excellence by those of any sister art.

The probability is, that nothing more substantial than wood, the skins
of beasts, or other equally simple materials, formed the primitive dwell-
ings of mankind. Scripture informs us that Cain built a city ; but that it
was constituted of anything more permanent than tents is doubtful. Not
till the building of the Tower of Babel, do we hear of the use of any
more noble material. In this case we are told that burnt brick and slime
were used, and it is probable that some previous experience in the work—
ing of these materials had been obtained in the erection of less important
structures. We next read of the city of Babylon; but the account is
brief and unsatisfactory, throwing no light upon the subject.

The next styles which arose were the Persian, Egyptian, and Indian,
the former of which is sometimes called Persepolitan, from Persepolis, in
which city are found the principal remains of this style. It bears some
resemblance to the other two in general character, but differs materially
in detail. In each country we find temples of considerable extent, and
sepulchral chambers, or catacombs, hewn out of the solid rock, and the
walls adorned with hieroglyphics, the records of an advanced state of
civilization. In Egypt these structures contain numerous apartments,
while in Persia they are comparatively small, but excel in elaborate por-
ticos richly embellished with sculpture. Another similarity consists in
the massive proportions of these rock-hewn temples and tombs, all seem-
ing to point to a common origin. The sculpture of Persia and Egypt is
also of like character—stiff, formal, and exceedingly laborious; and this
fact, in connection with the arrow—headed characters common to both
styles, presents a good argument in favor of their relationship.

Egypt, like other primeval nations, has its history shrouded in mys-
tery, and, like that of early Rome, so entangled with the web of mythol-
ogy, that it is impossible to distinguish truth from fable. It is, therefore,
a matter of uncertainty which of these nations should receive the credit
of the earliest attention to architecture; but, judging from the specimens
found in the ruins of Babylon, it would seem to be due to that city—these
being of a ruder construction than those of Egypt and India, and bearing

HOLLY’S COUNTRY SEATS. 3

intrinsic evidence of greater antiquity. For thesame reason we would
place Egypt second in point of time.

Manetho informs us that the irruption of the [lg/76808, or shepherd-
kings, into Egypt, is supposed to have occurred at about the close of the
sixteenth dynasty, and that the seventeenth was under these monarchs.
It is at this time that the erection of extensive edifices is presumed to
have begun. The usurping shepherds were overpowered by the Pharaohs
about 2,000 years B. 0., and then commenced the rebuilding of those tem—
ples, the magnificent remains of which are the wonder and delight of the
traveller even to the present day.

The most noted erections are those Whose remains are found in the .
Egyptian cities along the Nile, and of these, especially Thebes and the
Island of l’ytie; yet all contain most interesting specimens of temples,
monuments, tombs, sphinxes, and pyramids, delicately sculptured in the
hardest granite, and ponderous and herculean beyond any subsequent
efforts of the chisel.

The next system, in chronological rotation, appears to be the Grecian,
the origin of which is almost as obscure as that of the nation itself.
Many authors claim for the Greeks great originality of design 3 yet there
is much reason to suppose them indebted for their first inspirations to the
sources we have specified. \Vhile denying, however, their originality in
architecture, we must admit that in their hands it attained its highest
degree of purity, chastity, and grandeur ; so that even to the present day
their architectural details are imitated, as far more refined and beautiful
than any which have since been invented. To this wonderful nation are
attributed the three principal orders of architecture, the Doric, Ionic,
and Corinthian.

The proportions of the first, we are told, were taken from the figure
of a man, its height being six times its diameter—the same ratio that a
man’s foot bears to his height. This order differs from the other two in
the absence of a base. Vitruvius fancifully says that the base was intro-
duced into the Ionic order to represent the sandal, or covering of a
woman’s foot, and that to the Doric, which represents the strong, muscu-
lar, barefooted man, this member is inappropriate.

It is not surprising that a people like the versatile and elegant Greeks

4 HOLLY’S COUNTRY SEATS.

should soon weary of a single stereotyped style, repeated with but slight
modifications in all their buildings, and long for a change in both order
and design. It was to meet this demand that the Ionic order arose. It
was invented by the Ionians, as its name implies. The Vitruvian account,
sufficiently poetical to be exceedingly improbable, is, “that in erecting
the temple of Diana, the proportions and dress of the Goddess were
studied. The diameter of the columns was made an eighth part of their
height; the base, with folds representing the shoe; the capitals, with
volutes, in form of the curled hair worn upon the right and left ; and the
cymatium, for the locks pending on the forehead from the crown; the
, flutes in the column are supposed to represent the folds in the drapery.”
Yet motives for all these features are found in the remains of Persepolis
and Egypt.

Although there are extant no examples of the Corinthian order at
Corinth, yet its name would seem sufficient to entitle that city to the
honor of its birthplace. Vitruvius’ account of the origin of its capital is
a well—known and pretty fable: “ Callimachus, an Athenian sculptor,
passing the tomb of a young virgin, observed an acanthus growing
around the sides of a basket, covered with a tile, and placed upon the
tomb ; and seeing that the tops of the leaves were bent downward, in the
form of volutes, by the resistance of the tile, he took the hint, and exe—
cuted some columns with foliated capitals, near Corinth, of a more slen-
der proportion than those of the Ionic, imitative of the figure and deli-
cacy of virgins.” Unfortunately, however, Egypt is full of the prototypes
of this composition.

These three may well be called the basis of all trabeated and columnar
architecture ; for, whatever changes have been wrought upon them—how-
ever much the originals may seem to be lost from view in the multitudi—
nous fancies of subsequent artists, still, divested of all their superfinities,
the later productions invariably reduce themselves to one of these.

In this connection it may not be inappropriate to speak of a most
remarkable fact in this art. The earliest monuments of the sister arts
have passed away; nothing is left, save tradition, by which to judge
of the first stages of their existence. The Grecian and Roman empires,
where the arts were most cultivated, have declined and fallen, and with

HOLLY’S COUNTRY SEATS. 5

them a great part of their history. Little remains even of description,
and still less of reality, to guide us in the study of their great achieve-
ments. But Architecture nevertheless has survived, an indelible, majes—
tic, and authentic record of their intellectual and moral culture, and the
progress of their civilization. It is an art which most closely and inti~
matcly unites the beautiful with the useful—a deliberate growth out of
the necessities of nations. \Vere its only object an aesthetic one, its earlier
monuments would long ago have disappeared ; for it is not in the nature
of man habitually to render immortal the “unsubstantial pageants” of
the mind. They will not build for beauty, but rather beautify in build-
ing. Therefore the adaptation of architecture to the wants of mankind is
not only the secret of its beauty, but of its durability also. We may cons
fidently expect that hereafter, as hitherto, this great art will keep pace
with the growing grandeur and magnificence of nations, and we may
anticipate architectural achievements which, in refinement, splendor, and
dignity, will surpass all that our researches in the past can give.

During the administration of Pericles, art made rapid strides. His
character, as described by Plutarch, coincides most remarkably with the
style of the temples erected by him. He is represented as exhibiting “ an
elevation of sentiment, a loftiness and purity of style, a gravity of coun-
tenance, jealous of laughter, a firm and even tone of delivery, and a
decency of dress which no vehemence of speaking ever put in disorder.”
Athens was at this time nominally a republic, but Pericles was in fact a
king; and when the people complained of his lavish expenditures, he
replied, “ Be mine, then, alone the cost ; but, mark ye, be mine alone the
glory. Not an Athenian shall be praised, not an Athenian obtain the
homage of worship by posterity, when it contemplates these enduring
monuments. Not to Athens shall belong the praise of those temples
raised to the honor of her deities. No ; my name alone shall be inscribed
on them, and the city Athens shall live only in the fame of the citizen
Pericles.” “ No l ” exclaimed the united voice of the people ; “ be yours
and ours the glory. Draw on the treasury as you will.” This anec-
dote well serves to illustrate the spirit which animated the Grecian
architect.

But it is in ancient Rome we must look for the greatest variety and

6 HOLLY’S COUNTRY SEATS.

magnificence in architecture. In the time of Romulus, the dwellings of
the inhabitants were of the rudest description. Ancus Martins was the
first king who commenced work on a larger and more substantial scale.
All succeeding rulers bestowed more or less attention upon this art.
When Greece was overrun by Roman legions, the conquered provinces
retaliated with their architecture, and in a short time overturned all pre-
vious systems in Italy, and became in art the masters of the conquerors.
Augustus may be called the Pericles of Rome. He it was who conceived
the idea of making it the most splendid city in the world ; and in his day
she attained her highest point of glory in this art. Architects flocked
from Greece to tender their services in beautifying the city, and, by their
aid, Augustus was able to see the realization of his dreams, and to boast
“that he found Rome built 'in brick, and left it in marble.” After Au-
gustus architecture fell into a decline, and did not revive until the reign
of Vespasian. The Coliseum, which was begun by him and finished by
Titus, still stands as one of the wonders of the world. Of all the build-
ings of ancient Rome, the Pantheon is perhaps most worthy of note. It
was erected by Agrippa, and, as the name indicates, was dedicated to all
the gods. This building will serve as an illustration of some principles of
Roman architecture, as distinguished from Grecian. Its decorations are
of the Corinthian order, and the interior is about 140 feet in height and
diameter. The roof is vaulted ; and it is in this system of construction—
that of the arch—that Rome can claim its only title to originality. The
dome is constructed of brick, rubble, and pumice stone, and has a clear
internal diameter of 1:10 feet, with a circular aperture at the top of 30
feet diameter, which supplies the whole building with light and air, there
being no windows. Around the inside walls are several niches, each
adorned with two columns composed of antique yellow marble, and the
whole interior lining of the walls, as far as the springing of the dome, is
of the finest marble.

\Vritcrs, in speaking of the Grecian orders, generally add to them two
others, said to have originated in Rome, viz., the Tuscan and the C0111-
positc. The former, of Etruscan origin, is in reality no more than a
clumsy imitation of the Doric, before the Greeks came to teach Rome the
true principles of that style; and the latter is a combination of the Ionic

HOLLY’S COUNTRY SEATS. 7

and Corinthian. The chief, if not the only merits of the Old Roman
architecture, are its variety and magnificent extent. It possesses little of
that strong, meaning, and simple elegance, that refined dignity, so charac-
teristic of the Greek school. Constructive expression and architectural
truth were evidently not its aims; and the noble columns supporting
massive entablatures in Greece, became here merely ornamental append-
ages. The arch sustaining all the weight, the columns stand idle and use-
less on either hand. Of the Romans it has been said, “They emblazoned
their imperial city with a thousand splendid errors.” Roman architecture
typifies Roman pride and ostentation. Here are triumphal arches with
has-reliefs, commemorative of the triumphs of kings and conquerors, and
designed to perpetuate their fame, but subserving no loftier purpose;
columns, to support only the memory of barbarous conquests; theatres,
stadia, and basilicas, to make more magnificent the daily life of a pre-
sumptuous and tyrannical people.

It has been said, and not without truth, that the arts are a mirror in
which we may see reflected the character of a people; and indeed, as
regards architecture, it is an indelible reflection. Every great era in the
world’s history has left its lasting image on the mirror of this art. If we
would know the secrets of the past, we have but to look on the monumen-
tal records of Architecture, Sculpture, and Painting. But, among all
political changes, none has had a more marked influence on every depart—
ment of art than the introduction of Christianity. On architecture, espe-
cially, has it left its indelible impress; and, through its inspiration,
medizeval builders in the midst of Dark Ages built temples of worship so
full of beautiful persuasion, that the people entered these gates of promise
and joyfully received the baptism of the new faith. Religion, indeed,
had always been the principal source—except, perhaps, in Rome—of the
highest architectural efforts; and in the idolatrous temples of Greece,
Egypt, and India, we may behold the most sumptuous expressions of
human intellect in art. But it was reserved for Christian architecture to
symbolize a higher aspiration, which only a faith revealed from the Deity
himself was capable of conceiving.

Thus originated what is called the Gothic, the first stage of which,
from its close relationship with Roman precedents, was known as the

8 IIOLLY’S COUNTRY SEATS.

Romanesque, including the Byzantine, Lombardic, Saxon, and Norman,
each of which we propose very briefly to describe.

Constantine was the first of the Roman emperors to embrace Chris-
tianity ; and, that he might with more freedom establish the new religion,
he transferred the seat of government to Byzantium. Here, in the effort
to throw off all influence of paganism, and to disclaim all connection
therewith, a new order of architecture was instituted. Christianity
rapidly achieved new triumphs, and spread far and wide, so that in a
little more than two hundred years, from Constantine to Justinian,
eighteen hundred churches were erected. Christianity soon extended
through the entire Eastern Empire, and everywhere this style of architec-
ture, which was the symbol and expression of the new dispensation,
accompanied its triumphant progress.

In the reign of Justinian, the Ostrogoths were driven out of Italy,
and, the Eastern and Western Empires being thus brought under the rule
of one sovereign, the way was opened for the introduction of Byzantine
architecture, which, however, did not gain a firm footing in the West till
the building of the famous basilica of St. Mark in Venice, in the latter
part of the tenth century, though Byzantine builders had been employed
in Italy, in works of less importance, many years before this. It is a
common error to suppose that Byzantine architecture ever became thor-
oughly acclimated in Italy. We do not think its efforts were over very
strongly felt outside of Venice, except, perhaps, in some matters of detail.
A natural confusion arises from the neglect of the fact, that both Byzan-
tine and Lombardic had a common origin, and therefore in many points
were identical. The pure Byzantine seems to have held sway in the East
' until the invasion of the Ottomans.

Mr. Hope, in speaking of the churches of Byzantium, says: “Arches
rising above arches, and cupolas over cupolas, we may say that all which
in the temples of Athens was straight, angular, and square, in the
churches of Constantine became curved and rounded, concave within and
convex without.”

The plan of the Byzantine church is what is called a Greek cross; that
is, having the arms of equal length. A double dome is placed over the
intersection of these arms, the ends of which are covered with conchas, or

HOLLY’S COUNTRY SEATS. 9

semi-domes, abutting against the main central cupola. The porticos are
invariably omitted, and semicircular arches are everywhere prevalent.

The Lombardic, which, like its rival, the Byzantine, had its origin in
the same early Christian Romanesque, derived its name from the circum-
stance of its prevalence during the supremacy of the Lombards in Italy,
and not from its invention being due to them ; since it was developed by
the native architects of Italy, and was most in vogue from the seventh to
the thirteenth century. The arts flourished in Italy under the Lombardic
government, which continued till the time of Charlemagne (A. D. 7 74),
during which period Central Italy became studded with churches and
baptistries. This style does not appear to have obtained in Rome.
Architecture received a severe check from the incursions of the Saracens
from the south, and the discords of rival princes of the north, and did not
recover until the eleventh century. From this, until the pointed style
was introduced in the thirteenth century, the Lombardic, though some-
what modified, especially prevailed. There are two features which prin-
cipally distinguished this from the Byzantine, viz., the bell tower, or cam-
panile, and the substitution of the Latin for the Greek cross, as a charac-
teristic form.

The Saxon was the first system of any importance in England, and
prevailed from the time of the conversion of the Saxons until the Norman
conquest. Doubtless it had its source in the style introduced during the
Roman supremacy, as it is hardly to be presumed that either Britons or
Saxons had any architecture of their own.

Gregory the Great is believed to have been the first to encourage
Christianity in England. We are told he gave permission to St. Augus-
tine to use the pagan temples for purposes of Christian worship.* lVithin
less than fifty years after the death of this great and successful propagand-
ist, the great cathedrals of London, Rochester, and York, and the Abbey of
Westminster, were erected, and the more modern structures now occupy-
ing the sites of these cathedrals are dedicated to the same saints. The
foundations still bear traces of the antique Saxon masonry.

* It is well to observe here, that all the earliest Christian temples of worship in Rome were
originally the ancient basilicas, or courts of justice, which were admirably suited for the forms of

the early ritual of the Church. From these basilieas are directly descended the later cathedral plans
with which we are familiar.

4

10 HOLLY’S COUNTRY SEATS.

The Norman was the Lombardic transplanted into the north of
France, and there receiving characteristic modification from the manly
energy of the people, and the necessities of the ruder climate. It went
over to England with the conquerors, and soon prevailed everywhere
throughout the island, absorbing those features of the Saxon style which
had in them enough of the elements of life to render them worth preserv-
ing. It much resembles the Lombardic, differing from it especially in the
absence of the dome or cupola, nor has it the low pedimental roof extend-
ing over the whole facade. The sloping arcade in the gable is absent, as
likewise the tiers of external galleries or arches. Circular windows are
more common, nor do we meet with the peculiar projecting porch, hav-
ing its columns resting on the backs of animals. Other of its details
agree with the Saxon in its massive proportions, the shape of its arches
and piers, and its general construction. It is, however, a much more eul—
tivated style than any of the Romanesque schools. It flourished in Eng-
land from the middle of the eleventh to the end of the twelfth century.
After the arrival of \Villiam of Normandy, churches were erected in
almost every city, village, and hamlet, throughout the island. The latter
period of this style has been termed the Semi-Norman, and is important
as forming a connecting link between the Romanesque and the Pointed,
or Gothic, its principal medium being the pointed arch, which was first
introduced about the time of Richard I., when the Crusaders, who are
sometimes supposed to have brought this arch from the East, gave a new
impulse to Christian architecture. The origin of this pointed arch has for
a long time been a subject of controversy; and the minds of archzeolo-
gists appear now to be pretty generally inclined to the belief that it was
not an importation, but a natural constructive development from the old
round arch, dimly foreshadowed, a century before it prevailed, so exten-
sively as to be the leading feature of a new system of architecture.

This Gothic or Pointed style, which grew out of and immediately suc-
ceeded the Semi-Norman, was expressive in the highest degree of the then
prevailing religion. All lines now tended upward, and each member
appeared expressive of some mark of the Christian faith. The plan of
the church was a cross, which also appeared conspicuous in its various
details. Trefoil arches and panels, typifying the Trinity.‘ soon became

HOLLY’S COUNTRY SEATS. 11

prominent. The substantial buttress, which gave strength to the walls,
now ran above the roof, and finished with a pinnacle. Instead of heathen
domes, the Christian spire towered upward, pointing to the heaven of
which Faith whispers. Mr. \Vightwick, in alluding to this beautiful
thought, says: “ All that you saw ere you entered the gate of Constan-
tinal Rome, only sought to inform you of the grandeur and the grace be-
longing tO those idolatrous creations, which, however lofty, still maintain
but a horizontal course with Earth : nor was it till the genius of Pointed
Design expanded itself in the glowing atmosphere of Christianized Europe,
that Architecture aspired to raise the eye above the level of mere human
perfection, and to give it a ‘ heaven-directed’ aim. Then sought she, in the
long vistas and mounting spires which distinguish the wondrous temples
of Germany, France, and Great Britain, to symbolize the ever-vanishing per—
spective of Eternity, and the infinite altitude of the Creator above his crea~
tures. Their lofty pillars seemed rather to spring from the earth, than to
rest upon it; their aspiring arches, instead of downward pressure, expressed
upward continuity; and those windowless walls, which in the Heathen tem-
ple remained in stubborn solidity to exclude the light, were now pierced
on all sides to admit the beams of divine day. Now sought they to typify,
by the sobered splendor of emblazoned glass, how, through the many-
colored medium of mystery, heaven poured its dazzling rays, in mercy
dimmed for mortal eyes. N ow, sought they, in their cruciform plan, to
exhibit a symbol of the Everlasting sacrifice, and in their central crown—
ing tower, an abiding monument of Salvation; whilst, like ever-soaring
piety, upward and still upward rose the ‘ star—y-pointing ’ spire, to seek its
finial in that heaven where alone the soul’s consummation can be sought.”

The words of Coleridge, in comparing the Classic and Gothic modes
of architecture, are remarkable: “The Greek art is beautiful. \Vhen I
enter a Greek church, my eye is charmed, and my mind elated; I feel
exalted, and proud that I am a man. But the Gothic art is sublime. On
entering a cathedral, I am filled with devotion and with awe ; I am lost:
to the actualities that surround me, and my whole being expands into the
infinite; earth and air, nature and art, all sweep up into eternity, and the
only sensible impression left is, that I am nothing.”

If, in describing the various eras of Gothic architecture, we seem to

12 HOLLY’S COUNTRY SEATS.

lay too little stress on its continental developments in France, Germany,
and Italy, we are not to be understood as undervaluing the latter. On
the contrary, we are ready to state that these continental developments
were always in advance of the English a quarter of a century or more,
and in quality and quantity perhaps, in magnificence and costliness, far
surpassed those of our mother country. But the limit to which we have
restricted ourselves in this brief historical sketch, scarcely permits our
following the progress of architecture everywhere, and so we have thought
proper to confine our attention to the English, as being nearer our own
sympathies, less likely to confuse our readers with a multitude of exam-
ples, and, at the same time, containing all the essential characteristics,
signally expressed, which constitute mediaeval or Gothic architecture.

It is the custom to divide English Gothic as follows: Early Ezgle'slz,
from A. D. 1189 to 1307, or during the reigns of Henry 11., Richard 1.,
John, Henry 111., and Edward I. Decorated Zillglislz, from A. D. 1307 to
1377, or during the reigns of Edward 11., Edward 111., and Richard II.
Perpendicular English, from A. D. 1377 to 1-160, or during the reigns of
Henry 1V., V., and V1.

The first of these, which we shall call the style of the thirteenth century,
is distinguished by long and narrow lancet-headed windows, employed
singly or collectively ; being in the latter case separated by narrow piers.
The heads are decorated with concentric tables or dripstones. The buttresses
have much greater projection than in the Norman examples, where they
were rarely larger than the pilasters of the classic temples. Large columns
of this style are seldom seen, save in the form of a series of small ones elus-
tered. Examples of this period are exceedingly beautiful, simple, and
elegant in design, and delicate in execution, equally applicable to the mod— ,
est village church and the noble abbey or cathedral; remarkable in the
one case for unpretending simplicity, and in the other for solemn and
majestic grandeur.

The second of these divisions, which is called the Decorated, or middle
pointed Gothic, may be classed as the style of the fourteenth century. This
period excels all the others in point of beauty. It not only rivals the pre-
ceding in chastity, but surpasses it in richness, without being overbur-
dened with the extravagant and umneaning ornamentation of the styles

HOLLY’S COUNTRY SEATS. 13

which followed. In this the narrow, lancet—headed windows, grouped
together, as in the former style, and separated by narrow piers, are clus~
tered into one imposing window, with one arch surmounting the whole and
filled up with tracery, composed in the most graceful combinations, in
which are introduced cuspidatious or foliations in nearly every possible
variety. The increased richness of these windows warranted a correspond-
ing decoration of the entire building. Enriched crockets, or bunches of
carved leaves, were soon employed, running up the sloping angles of gables
and spires, and terminating in an ornamental finial which surmounted the
whole.* These ornaments, though chaste, were still superfluous, and soon
degenerated into extravagant, unmeaning decoration, the invariable pre-
cursor of declining art. This was soon evident in the Perpendicular, whose
origin dates at the close of the fourteenth century, and which prevailed till
the almost total disuse of Gothic architecture in England. It was character-
ized by its excess of ornaments, forming a marked contrast with the former
styles. The term Perpendicular was given it on account of the peculiar
arrangement of the traccry in the Window heads, and in the panels with
which every surface was filled, this tracery being composed exclusively of
upright bars connected by foliated heads. This name has, however, been
objected to as of only partial application, and .the term Horizontal sug-
gested as more appropriate and significant of the general tendency of the
style ; and this idea seems well founded, for here, instead of the uplifted arch
and the uniform upward tendency, alluded to as features of the preceding
styles, we have the depressed arch, low roof, square-headed windows and
doorways, square hood mouldings and horizontal transoms, all impartng a
flat and level appearance. Even spires were abandoned, elaborately fin-
ished towers being substituted, which were sometimes surmounted by
lanterns.

King’s College Chapel, Cambridge, and Henry the Seventh’s Chapel
at \Vestminster, are the most elaborate examples in England of the Per-
pendicular system. It is worthy of note that this style is so prevalent
among the collegiate buildings of England, especially at Oxford and Cam-
bridge, as, through association, to have become almost classic. Few eras

* For an early English design of the thirteenth century, see No. 32; While Design No. 33 is of
the Decorative, or fourteenth century.

14 HOLLY’S COUNTRY SEATS.

of building are so open to criticism as this; but its practical results are
such that, perhaps, no other one is so endeared to the hearts of the English
people. This may be owing partly to the fact that the Perpendicular, un-
like the other styles, was not derived from the Continent, but is exclusively
English in all its characteristics; the contemporary style in France being the
Flamboyant, where the tracery seems to wave and flare like the wildest
flames; and in Germany, the Geometrical, the tracery being composed
merely of geometrical lines, infinitely combined from angular and circu-
lar elements, and foliated. The cathedrals of Beauvais, St. Ouen, and part
of Rouen, may be considered the representative buildings of the Flamboy-
ant ; while those of Cologne and Strasburg occupy the same position in the
geometrical style of Germany.

Domestic architecture in England may be said to have arisen in the
time of Henry VII. With his reign was inaugurated an entire change in
the life and habits of the English people. “Tith his marriage the feuds of York
and Lancaster ceased, and a long season of peace seemed about to follow
the internal discords which had distracted the reigns of his predecessors.
Previous to this period, domestic architecture had scarcely an existence,
save in the form of fortified castles. Henry VIII. did much to revolution“
ize the art, for during his reign the Reformation was established in Eng-
land, and the sacrilegious plunder and destruction of monasteries and reli-
gious houses, carried on under his orders, discouraged the erection of now,
while it removed the old examples. But, while he was thus a destroyer
of the works of antiquity, he was a liberal patron of the new architecture,
and erected many palaces and civic buildings.

It is not surprising that, when a monarch initiated a movement of this
kind, his subjects should continue it. Foremost in such works, therefore,
was the great Cardinal \Volsey, by whose power and lavish expenditure
were built some of the noblest residences and collegiate buildings in
England.

Many novel features were introduced into domestic architecture to
meet the new exigencies of the improved social life of those days : among
the most prominent of these are bay and oriel windows, chimney stacks,
roof ceilings, and panelled wainscots around interior walls.

The Italian style did not prevail extensively in England until some

HOLLY’S COUNTRY SEATS. 15

time after it had been established in France under Pierre Lcscot, Philibert,
Delorme, Jean Bullaut, and other architects of celebrity. In the reign of
Henry VIII., and more especially in that of Elizabeth, owing to the in-
creased intercourse with the Continent, Italian details began to work their
way into English architecture. It was evident which way the finger of
art was pointing. As the mixed architecture of Constantine formed a
connecting link between heathen “ classic ” and 'Christian “ Gothic,” so the
Elizabethan stood between Christian “ Gothic ” and the revival of the old
classic forms. It has been remarked that, in the mausoleum of VVestmino
ster, the pointed style expired in a blaze of glory. It was like the setting
of the sun, whose lingering rays play around and illuminate the mountain
tops, when their great source has sunk below the horizon.

Holbein initiated the fashion for reviving the styles of Italy in Eng-
land; and when Elizabeth ascended the throne she found her architec-
tural realms distracted by a most fierce civil war. The buildings erected
in her time are but so many lasting records of desperate actions between
the antagonistic principles of the Gothic St. Peter’s at York and the classic
St. Peter’s at Rome.

Perhaps the first indication of a tendency to revive the classic orders
was exhibited by Arnolfo di Gambia dd Colle, in his design for the Cathe-
dral of Florence, which, however, is essentially an Italian Gothic composi-
tion in sentiment. But little progress was made in this direction till the
time of Brunelleschi, who built the famous dome over that cathedral, and
who maybe said to be the father of the Italian style. From this period, the
beginning of the 15th century, this style extend ed rapidly throughout Italy.

Italian Renaissance may be divided into three classes, named, from the
cities in which they prevailed, Florentine, Roman, and Venetian. That of
Florence is peculiar, especially that of her palaces. Strong, massive, and
severe, they are rather fortresses than the residences of peaceful merchants.
Nor was this appearance needless and deceitful ; for the strength of these
mansions was requisite for defence in the midst of the civil strifes and com-
motions which disturbed the peace of the State until the time of the
Medicis. Florentine buildings excel in dignity those of Rome and Venice,
but fall far short of them in lightness and elegance; they are inferior in
refinement of detail, but surpass all others in imposing boldness.

16 IIOLLY’S COUNTRY SEATS.

“The buildings of Florence,” says a French author, “ appear to be not
the work of ordinary men. We enter them with respect, expecting to find
them inhabited by beings of a nature superior to ourselves. Whether the
eye is arrested by monuments of the age of Cosmo de Medici, or of the
times which preceded or followed it, all in this imposing city carries the
imprint of grandeur and majesty. Frequent revolutions oblige the chief
parties to consider their personal safety, along with the magnificence of
their dwellings. Externally, they are examples of skilful union of grace
with simplicity and massiveness. After Rome, Florence is the most in-
terestng city to every artist.” ‘

The edifices of modern Rome are of a very different character from
those of Florence ; they do not possess the massive appearance of the latter,
but are distinguished for an air of lightness and elegance. This style forms
a connecting link between the Florentine and Venetian ; for, while on the
one hand it is less heavy and severe than the former, it is, on the other,
not so gay and slight as the latter. Bramante, perhaps, was the founder
of this style, and the principal examples are the great basilica of St. Peter’s
and the Farnese palace ; the former of which may justly be considered the
great achievement of Renaissance. The original design was furnished by
Bramantc, but was altered by almost every architect employed upon the
building. Bramante commenced the erection, but did not proceed far
with the work ; the body of the church being the work of Pcruzzi and San
Gallo; the dome, of Michael Angelo and Fontana; the have and west
facade, of Carlo Maderno ; the colonnades, of Bernini. The plan was orig-
inally a Latin cross, which was changed by Michael Angelo into a Greek
cross, and again to the Latin form by Carlo Maderno, called by an indig-
nant and caustic critic, “the wretched plasterer from Como.” A few of
the dimensions of this building may not be uninteresting, and, in giving
them, we shall compare them with those of St. Paul’s, of London.

ST. PETER’S. sr. Inu'L‘s.
Whole length of church and porch, . . . . 720 foot. 500 feet.
Breadth of front with turrets, . . . . . 3G4 “ 180 “
Diameter of cupola, . . . . . . . 189 “ 1-15 “
Height from ground to top of cross, . . . . 4371} “ 370 “

Top of highest statue on front, . . . . .' 176 “ 135

HOLLY’S COUNTRY SEATS. 17

As before stated, the Venetian Renaissance is characterized by its
preeminent lightness and elegance. San Michele or Sansovino may be
said to have been the founder of this school, and they were followed by
Palladio, Scamozzi, 630. Good examples of these are the Library of
St. Mark, the Pamphili palace, Verona, and the Chapel of St. Bernardino.

But Palladio is our model among Italian artists. His style, termed the
Palladian, was soon adopted throughout a great part of the Continent, and
introduced, in the reign of James I., into England by the celebrated Inigo
Jones. In the early part of his practice, this architect had followed the
mixed style before described as the Elizabethan, but on his return from a
journey to Italy in 1619, he brought back with him the manner of the
Palladian school, in which his principal works were executed, as the per-
tieo of old St. Paul’s, Whitehall palace, York stairs, and the church of St.
Paul, Covent Garden. Few of the works of his genius new remain ; most
of them having been destroyed by the great fire of 1666, or removed to
make way for succeeding improvements. This great fire gave an opening
for the newly adopted style of architecture, which perhaps would never
otherwise have been obtained. Nor was it a small advantage that it re-
ceived the favor of Sir Christopher \Vren, who was undoubtedly a man of
superior attainments in his profession.

Space will not allow us to enumerate the sixty churches, the palaces,
and other public and private buildings erected by him ; but we cannot pass
over his claqf (l’oezwrc, the Cathedral of St. Paul, without some brief de-
scription. This magnificent edifice not only furnishes us with a remarkable
specimen of constructive skill, but with a grand example of Italian archi-
tecture, as applied to sacred purposes.

Tradition informs us that the site of this building was, at the time of the
Roman rule in England, occupied by a temple dedicated to Diana. How-
ever this may be, it is certain that one of the earliest Christian churches in
England was erected on this spot by King Ethelbert, who had been con~
verted by St. Augustine. This church was destroyed by fire in 961, but
was immediately rebuilt. In 1087 it was again consumed in a conflagra—
tion, which laid waste the greater part of the metropolis. At this time
Maurice, Bishop of London, conceived the grand design of erecting the

magnificent edifice which preceded the present cathedral. This was again
5

18 HOLLY’S COUNTRY SEATS.

much injured by fire in 1135, which consumed all of the building that was
combustible. The enterprise of the age was not, however, to be repressed,
even by such repeated disasters; for, in 1221, the central tower was fin-
ished, and in 1229 Bishop Niger undertook to rebuild the choir in a new
style of architecture and with enlarged dimensions; this was completed in
1210. This edifice, previous to James I., had been twice struck by light-
ning and had undergone many changes and repairs; but in his reign it
was found to be in a dilapidated condition, and, though large sums of
money were collected and material provided for its repair, nothing was
done till the reign of Charles 1., when Inigo Jones was appointed to super-
intend the work, which was begun in 1633, and in the course of nine years
a magnificent portieo was erected on the west front, and the building
newly cased in stone. During the time of Cromwell, however, the build-
ing was nearly ruined by being converted into stables and barracks. The
regular government of the church being restored with the succeeding mon—
arch, the Dean and Chapter proceeded immediately, under the direction of
Sir John Durham, to remove all traces of the eneroachments begun in
1663. Three years later, this unfortunate building again fell a prey to the
flames, which consumed the roof, and so weakened the walls that they
were deemed incapable of repair. It was determined to erect a new build-
ing, which was commenced in 1675, and in 1710 the last stone was laid by
Mr. Christopher Wren, son of the architect. Thus, through a series of
most unexampled misfortunes, this church was completed in thirty-five
years, under the direction of one architect, and, by a remarkable coinci~
dence, of one master mason, Mr. Strong, and under the auspices of one
bishop of London, Dr. Henry Compton.

Of all \Vren’s pupils, only one attained great eminence, Nicholas Hawks-
more, one of whose churches, that of St. Mary, Woolworth, is of consider—
able merit. The next architect of note, practising this style, was James
Gibbs, the architect of St. Martin’s-in-the-Fields and St. Mary’s-le-Strand,
both of which present many good features. Passing by many architects
of less note, we may mention Sir \Villiam Chambers, who greatly excelled
his contemporaries, and many of his predecessors of this school. His
greatest work is Somerset House, a description of which we regret being
compelled to omit.

HOLLY’S COUNTRY SEATS. 19

Meanwhile, the French Renaissance was brilliantly developing itself in
innumerable palaces and churches and civil buildings. In the palaces,
especially, are displayed the most original invention and profoundest
knowledge of the art of design ever lavished upon the Renaissance. It
would be impossible to enumerate and detail all the examples of this era
in France, but we would especially signalize the royal Chateaux and pal-
aces of Blois, Chambord, Chinonceaux, Fontainebleau, the Tuileries, and
the extensions of the Louvre.

The London club houses exhibit some of the most happy attempts at
Italian architecture, and are far preferable to ecclesiastical edifices built in
this style; a fact arising not so much from the respective merits of the
architects employed, as from the better adaptation of the style for that par-
ticular class of buildings. It has also of late been adopted for private
mansions, both in town and country, for which it seems particularly fitted ;
but for ecclesiastical structures, colleges, &c., the Gothic designs are rapid-
ly superscding the Italian, while for public buildings for government, and
other secular purposes, the Grecian is generally regarded as preferable,
though in the great Parliament Houses of London the Perpendicular style
has been imitated by Sir Charles Barry.

Architecture, in our own country, has never taken any stand, or re-
ceived especial attention till within the past few years. But in this brief
time it has made unprecedented progress, and bids fair to advance at a
much more rapid rate, so that before another century rolls by we shall
undoubtedly be able to show an architecture which will be capable of taking
its stand by the side of the great historical architectures of the world. To
attain this end, we must not be mere copyists of those who have gone before.
\Vhile we cull from the structures of all ages and countries those fea-
tures which are applicable to our requirements, we must reject those which
to us are without meaning or use, and, at the same time, add Whatever may
be suggested by the necessities of climate, habits, and education.

To us, then, architecture becomes the most important of the arts, as by
it we are destined to express in monumental language our worthiness to
occupy a place among the civilized nations of Christendom, and by every
consideration, therefore, we urge that it receive, in our colleges and schools,
that attention and cultivation to which it is eminently entitled. A knowl-

20 HOLLY’S COUNTRY SEATS.

edge of this art is abroad deemed no less essential than, among us, is that
of music or any accomplishment. In England, the youth who could not
tell what style of architecture prevailed in any given country would be re-
garded as we would regard the American lad who is ignorant of an impor-
tant era or event in our history.

Thus have we, briefly as might be, attempted some description of the
rise and progress of this important art. Its details are far too extensive to
be more than glanced at in our space, and our only object has been to main-
tain and illustrate the idea that architecture is an art which, as its founda-
tions are laid in utility, is eminently progressive. A retrospect of its his—
tory cannot fail to impress the thoughtful student with the idea that its
triumphs under so many and great difficulties demonstrate most satisfac-
torily its manifest destiny to continue its majestic growth and expansion,
as we grow and expand in all the arts of peace and prosperity. Conscious
of our own inability worthily to display the beauties of our subject, we
shall be amply repaid if by our effort any degree of attention may be at~
tracted to this subject and, in the mind of our reader, our original position
sustained, however imperfectly—that “ architecture is the first and noblest~
of the arts.”

ADVANTAGES OF A COUNTRY LIFE.

IN this country, like those of Europe, more especially that portion
inhabited by the Anglo-Saxon race, the inclinations of the people, save
where perverted by unwholesome education, seem decidedly in favor of a
rural life ; already there are many families of culture and refinement who
spend all their days in their country homes, or, if they leave them, they do
so only for a few months in winter, when nature, disrobed of her more
pleasing ornaments, with scourges of snow, and sleet, and bitter cold,
drives even her most constant votaries to seek the social comforts of the
city. But it is a source of rejoicing when they are reached by the
march of spring from the dissipation and the artificialities of town life to
the simpler and purer pleasures which she gives. There is another class,
which, though compelled to spend the business hours of the day in the
city, gladly hasten when these are over to peaceful homes, removed from
the bustle and turmoil of the crowded town. This manner of living is
becoming very popular, especially among the business community; and
now that we have so many and ready means of communication between
cities and their suburbs for many miles around, and at so trifling an ex-
pense, it is rather to be wondered at that more do not adopt it. The Oh-
j ection that too much time is thus lost in travelling to and fro is not well
founded, since it actually requires but little more to reach a country place
twenty miles from town than to go from an office in \Vall Street to a resi-
dence in the upper part of the city.

It seems scarcely necessary at this day to bring forward any formal
arguments in favor of country life. It has beecn the favorite theme of

22 IIOLLY’S COUNTRY SEATS.

philosophers and poets in all times. Its pure and elevating influences, its
comfortable ease, its simplicity and cheapness, have been urged again and
again in grave essays and pleasant pastoral and bucolic meditations. Yet
there is one consideration to which we, by permission, wish briefly to draw
the attention of our readers. \Ve refer to that of health. It is often de-
clared that the human race, at least in this countr ', is degenerating ; and
there appears to be some foundation for this remark as applied to our
large towns. \Ve look at a tall, muscular, well-developed form, in all its
rare physique, rather as the heritage of some heroic past than an expres-
sion of life such as we now lead, which seems rather to produce a
weak-eyed, narrow-chested race, with sallow complexions, weak constitu-
tions, and, in short, but little physical force. \Ve rather run to brains, and
are content to read the exploits of Achilles and Hector in our classics,
rather than emulate their strength and prowess. “re touch with delicate
hands the great, rude armor in the Tower, and wonder at the huge-limbed
generation which were it as we do our silk and broadcloth. \Ve are thus
forced to inquire why so marked a deterioration has taken place. It has
been said that we Americans are not acclimated in this New ‘Vorld ; that
this decline has been constantly going on from the (lays of our forefathers.
But we need not go back far in time or deep in science to account for this
change. The secret lies in our artificial lives. lVe do not breathe enough
of the pure, fresh air of heaven; the little exercise we take is spasmodic
and business-like ; and, worse than all, we are irregular in our habits, i111-
prudent in diet and exposure, and indulge too freely in the well—known dis-
sipations of city life. In many cases, perhaps in the majority, the leaving
of town in the summer is but another phase of the same life, with simply
a change of scene from the, city to some fashionable watering place, with a
repetition of the routine of dress, suppers, and late hours. Such life is
unnatural and injurious, simply because it is artificial. If, then, we would
leave the city, not for fashion, but for prudence ; if we would really recupe-
rate our strength and energies, we must seek the repose of a genuine coun-
try-home, and those remedies which nature provides with a. lavish but
never-failing hand.

Let us presume that, influenced by these and the many other considera-
tions which will suggest themselves to the intelligent reader, it is decided

HOLLY’S COUNTRY SEATS. 23

to build a home somewhere in the country. Where shall it be? A home-
stead—for we would not build for ourselves alone, but for those who may
succeed us—naturally suggests a place somewhat isolated and independent,
rather than a residence on the street of a country town or village: it should
be complete in itself, liberal in extent, and free from all intrusions—in fine, a
little principality. Do not suppose that such a country home can be secured
only by the wealthy, and that those of more moderate means can expect
nothing better than a house, elbowed by neighbors, in the closer suburbs
of a town, or at most a lot in a village, where one must be content with
half an acre of land, and submit easeand domestic quiet to the scrutiny of
tattling gossips and the curiosity of the vulgar. The inconveniences and
petty annoyances of such life are so well known, that one of limited means,
who would make himself a home in the country, would do well to inquire
if it is necessary to submit to them, or if they cannot economically be
avoided.

It is generally thought that the establishment of a country place, with
several acres of land, involves a great original outlay and a large increase
of taxes, which, added to the interest on the investment, makes a heavy
rent; that a residence of this kind involves the necessity of keeping a
horse and conveyance of some kind, and a man servant to take care of
them. Now we reply by reminding our readers, that six, acres in the
country can generally be had for a smaller sum than half an acre in a vil—
lage, with a proportional difference in taxes. Again, we may safely con-
sider that the produce of a little farm, if prudently managed, will not only
support both man and horse, but, with attention, can be made a source of
profit, and supply to its owner many luxuries of a superior kind and at
little cost. Moreover, in improving the place and elaborating its culture,
he obtains a nobler profit than this—an inheritance of happiness and e011-
tcnt for his children.

Our country abounds in most interesting and picturesque scenery,
embracing ocean, river, lake, and mountain, easy of access, habitable and
healthy; and, though filled with delightful villa sites, is too frequently
suffered to remain neglected and unpeopled in its choicest nooks. Those
proposing to build in the country, are much more likely to select some
spot destitute of almost every natural embellishment. There appears to

24 HOLLY’S COUNTRY SEATS.

be little appreciative aptitude for the association of homes with natural
beauty. If the ground is entirely level, free from rocks, hills, dales, water,
and trees, it is claimed and occupied quite as readily as some site equally
accessible and adorned with all the picturesque or gentle loveliness of na-
ture—perhaps even more so. People like to visit such places, but they
will not live there. A fine view and romantic scenery seem to be second-
ary considerations to other and less elevated advantages, such as neighbors,
proximity to railway stations, &c. It must be granted, however, that rural
taste has greatly improved since the days of Downing. Until the present
time the professions of architecture and landscape gardening have been
nearly new among us, and practised mostly by strangers ; but now that so
many young Americans of intelligence and culture are studying and as—
suming these professions, we may reasonably hope to see more interest
taken in them, and the happy revolution, so long delayed, at length realized
and effected.

Giving these reflections their due weight, let us now proceed to select
a site. Accessibility, neighborhood, and health, are, of course, primary
considerations, and in most instances it would be improper to sacrifice any
of these, even to the desire to live in the midst of natural beauty. Fortu-
nately, however, we are rarely obliged to go far before we find plenty of
locations which combine natural beauty with all the practical advantages
we can wish for. We are naturally attracted by fertility of soil; but if
we do not propose to establish a productive farm, simply for the sake of its
productiveness, it would be well to inquire, before settling in any such
locality, about the healthfulness of it; for the most fertile spots are fre-
quently the most insalubrious. Burton, in his “Anatomy of Melancholyff
quaintly draws our attention to this fact. “ The best soil commonly yields
the worst air; a dry, sandy plat is fittest to build upon, and such as is
rather hilly, than a plain full of downs ; a cotswold country, as being most
commodious for hawking, hunting, wood, waters, and all manner of pleas—
ures.” After enumerating many such tracts of land, he goes on to say
that Stephanus, a Frenchman, agrees with “ Cato, Varro, Columella, those
ancient rusticks,” in the idea that the front of a house should “stand to
the south,” and approves especially of “ the descent of a hill south
or southeast, with trees to the north, so that it will be well watered; a

HOLLY’S COUNTRY SEATS. ‘ 25

condition in all sites which must not be omitted, as Herbastein incul-
cates.”

It is an erroneous idea to suppose that your house must necessarily be
approached by the highway. If you own to the main road, you may, of
course, have your gate entrance on your own land; if not, you have only
to obtain a right of way from your neighbor, and continue your carriage
road through his grounds. There is rarely any difiiculty in the way of
obtaining this privilege. In selecting a site, it is well to have higher
ground on the northern and western sides to screen your house in winter
from chilling winds. Do not allow picturesque rocks, or wild forest trees to
influence your decision against any site, as, in case such features appear too
rude for your notions of the elegant repose and gentleness which should
surround your domicil, your landscape gardener can always reconcile them,
domesticate them, as it were; in short, make them beautiful and appro-
priate; and your architect, if a man of taste and education, can arrange your
house to combine gracefulness with any peculiarities of country, and give
it such character as will be congruous with surrounding scenery.

It is well to warn our readers against adopting any plan of a model
house, or the design in some book, which there may present a pleasing ex-
terior, without careful consideration of its adaptability to their grounds.
Such designs may, perhaps, be suitable in every respect for their intended
site; but when placed on a different one, may be quite the reverse. In
the one case, the kitchen, hall, and minor offices may occupy the least dc-
sirable exposures, and obstruct no views, but by their position shelter the
house from wind and storm; in the other, all may be changed. Kone of the
advantages of the new situation will be improved. The drawing room,
perhaps, looks out upon the farm yard ; the dining room, with a fine bay
window, from which originally might have been enjoyed three distinct
views, commands an uninterrupted prospect of the stable, the kitchen gar-
den, or some low, flat, and uninteresting country; while really the only
pleasantly situated room is, fortunately for the servants, appropriated to
their avocations. So, too, the external appearance of the house may be
little fitted for its new position. It may be Italian in style, adapted to a
level, grassy lawn, pleasantly shaded by majestic elms and maples. Your

site. however. is perhaps picturesque, covered wildly with oak, and cedar,
(3

26 HOLLY’S COUNTRY SEATS.

and larches, full of sudden surprises of form and color. To place an Italian
Villa here, is like adorning a Wigwam with the Venus de Milo. Let us
rather, for such a locality, adopt motives from the irregular Gothic, with its
pointed roofs, lofty towers and chimneys, and varied outline; or from some
other congenial styles.

Though architecture is comparatively so new, and has received so little
earnest and serious attention from us as a nation, that we can scarcely be
said to have any styles or systems peculiarly our own, yet there have
grown out of our necessities certain idiosyncracies of building and design,
which are doubtless in the way of establishing that leng—dreamed—of aim,
an American style. In the absence of such a style, we have been too apt
to borrow bodily and without change from those of foreign countries,
which are the expressions of the especial needs and social conditions of those
countries and those alone. It is certainly our duty to introduce from abroad
methods and manners of design, so far as. they meet our wants. But it
would be worse than folly, in building an English cottage, for example, not
to have a veranda, because its prototypes in England have none ; we have
an actual need for such an appliance in our dry and sunny climate, and it
is out of such need that must proceed a distinctive feature of American
cottage architecture. While, therefore, we avail ourselves of all the good
points of the different styles, and make ourselves familiar with them, we
should not so venerate as to fear to change them when we find that our
necessities require it.

Thus, doubtless, we are building up styles of our own, taught, as
other founders of styles have been, by precedents in older countries or
times. Our climates, habits, and materials differ enough from those of
Europe to demand different architectural arrangements and treatments.
For instance, most of our country abounds in timber, a most excellent
building material. In this respect we differ from Europe, where wood is
much more rare and expensive. Yet, in our careless and blind way, we
have proceeded to copy in this material, as exactly as we can, the details
of foreign architecture, which were intended to express the constructive
capacities of stone or brick. The temples of Greece, built of marble, with
their ponderous shafts, entablatures, and pcdiments, have all been repeated
in this country in wood, painted white, and blocked in courses to imitate

HOLLY’S COUNTRY SEATS. 27

stone, and often sanded to perfect the intended deception. So, too, with
the feudal castles of England; they are here revived, and, with their frown-
ing battlements and towers, are built of the same improper material. The
grand old massive cathedrals and churches of by-gone days have not cs-
caped the same indignity. How absurd it must seem to a stranger to see
a Roman arch, key-stone and all, imitated in wood, or a buttress of hollow
woodwork, or a simple cottage painted to resemble stone. Fortunately, our
people are awakening to the folly of this unmeaning imitation, and where
stone is adopted it is treated as stone, and where wood is employed we are
properly beginning to show details adapted to the material, such as pro-
jecting roofs and framed brackets descending from the rafters, with a
lighter and more fitting construction of verandas and balconies.

But there are some portions of our countr ', as in most of the Eastern
and Middle States, where wood is by no means abundant. In many lo—
calitics we have barely enough left for shade, and some of the finest sites
have been stripped of their luxuriant and noble growth of trees. lVe have
been wastefully extravagant of our timber, and should now sometimes be
at a loss for building materials, had not nature provided another near at
hand, and in such profusion that we are really compelled to use it or to
remove it from our way. This, we need hardly say, is stone, which is
constantly growing in favor and use.

People who build in the country are often like those who plant trees,
whose full luxuriance they themselves can never expect to enjoy ; and the
children who come after them reap the benefit of the generous fore-
thought. then we have procured a rude piece of ground, cleared it,
planted it, beautified it, constructed the roads, and erected house, stable,
and all the fixtures of a homestead thereon, we cannot realize from its sale
the value of our time, trouble, and outlay. The reward is in the comfort
of our declining years, and the happiness of our descendants. A country
house is a c/zeap luxury, which we buy, build, or inherit for ourselves and
our children. Such being the intention, evidently it should be built of
the most durable materials. Nor is stone so expensive when we regard its
use in a proper light; nay, we may even say it is cheaper in the end.
Take, for example, Design No. 9, which cost about $5,000. The owner
says his house is perfectly dry, stands in the best manner, and requires

28 HOLLY’S COUNTRY SEATS.

much less fuel to warm it than he has been in the habit of using in frame
houses of the same size. With this may be compared a house very similar
and of about the same cost, but built of wood, whose owner declares that
he is obliged to paint the outside every two or three years to preserve the
woodwork and make it appear respectable. Frequent repairs are also
necessary on the exterior; some of the timbers have sprung, the floors are
uneven, and the walls and ceilings cracked. His roof, which is of shingles,
he says frequently leaks, and a new one will soon be required. These re-
pairs demand no small outlay each year, all of which, with the great at-
tendent inconveniences, might have been avoided, had he built of stone
with a slate roof. A prejudice has extensively prevailed against stone
houses on account of their dampness ; an objection which has not been un-
founded, but which is now wholly removed by building the outside walls
hollow ; that is, using brick furring within a few inches of the external wall,
and fastened to it by iron anchors. The old plan was to nail wooden strips
to the inside of stone walls, and lath and plaster upon these; but this
affords no protection from the dampness. Again, should the outside wall
settle, the plaster must be cracked, while the brick furring would settle
with the stone ; so, too, the wood furring is apt to shrink from having the
warm room on one side and the cold or damp wall on the other.

In Design No. 9, already alluded to, the brick furring is used, thus
making it a house within a house ; it has an outside stone wall 18 inches
thick, a hollow space of 3 inches, and a brick wall of 4 inches. The
plastering is done on the inside surface of the brick, consequently no lath-
ing is required, and but two coats of plaster instead of three. This avoids
the difficulties spoken of, and is proof from vermin and fire. The hollow
space acts as a perfect ventilating flue throughout the house, and by having
outside registers, which can be closed in cold weather, and a register at the
floor and ceiling of each room, a constant circulation may be obtained. It
is well to continue this hollow space up to the roof rafters, and the air, fol-
lowing the space between these rafters up to the scuttle between roof and
ceiling, will keep the attic perfectly cool in summer.

As to the durability of stone, no argument is, of course, required. “'0
have only to visit older countries to find walls which have stood hundreds
of yea 's, and there is no reason why we may not have them of equal dura-

HOLLY’S COUNTRY SEATS. 29

bility. There is an air of dignity and stability about a stone structure,
and age, so far from being destructive to it, serves only to increase its solid-
ity and improve its appearance. \Vhat can be more beautiful and pic-
turesque. than an old stone edifice, overgrown with moss and shaded by
noble trees, all indicating that time has but improved the work of art ’2
What would be the case with a wooden structure under similar circum-
stances? “Decay’s efi‘acing fingers” are constantly at work, and walls
of wood offer an effectual field for their labor. Frequent and expensive
repairs present but feeble resistance to the progress of dilapidation. The
building must crumble and fall in the process of a few generations. The
wood rots, the roof leaks, the walls and ceilings are cracked by the shrink-
ing and settling of the timbers. With such facts known to us, there can
be no doubt which of these two materials is the most suitable and econom-
ical. Moreover, vines, the pleasantest adormnents of a cottage wall, ivy
and woodbine, with which nature seems to take possession of the works of
our hands and tenderly take them to her bosom, cling without detriment
to stone, while, attached to wood, they are the readiest agents of decay.

But, whatever material you use, remember the maxim, “ Truthfulness
in building.” Let the treatment correspond with the substance with which
you build. Do not carve stone details out of wood, nor, with false pride,
attempt to make it resemble something else. Above all, do not try to hide
the face of stonework with plaster, painted to appear as if dressed. One
need never blush at any expression of truthfulness in his dwelling, how~
ever homely that expression may be; but falsehood and imitation givc
indisputable evidence of vulgarity of taste—snobbis/wwss is the modern
word.

Having selected the site and chosen the material, the next step is to
procure a design best suited to the wants and conveniences of your family,
improving the advantages of the finest exposures and views, protecting
yourself from the inclement points in winter, and excluding from sight the
objectionable portions of the grounds. And we cannot reiterate too often
the injunction, that in external treatment the house should harmonize
with the surrounding scenery. Can you furnish this design yourself?
Decidedly not, unless you have spent years in study and practice. 01', pos-
sessing good ideas yourself, can a carpenter or mason carry them into a

30 HOLLY’S COUNTRY SEATS.

successful realization? We think not, for such men, however excellent
their workmanship may‘be, cannot be supposed to sympathize with your
more refined notions of domestic elegance and comfort. They must, to a
certain extent, realize them, but they cannot understandthe sentiment
which should pervade a design, and are content to copy and imitate, in-
stead of composing and adapting according to the necessities of the
problem laid before them.

The planning of a country house is something so peculiar and intricate,
and demands careful study of so many outlying considerations, that none
but an architect can do it justice. In a city house, to produce a merely
respectable work, perhaps less judgment is required, as the process of de-
sign must be more or less conventional, and a certain degree of sameness is
unavoidable, the same lax 's and requirements holding good, to a large ex—
tent, in all cases. Each house must stand 011 a fixed street line, and the
general shape and arrangement must be somewhat similar. For the most
part, it seems that the only room for the architect to display his originality
is in elabO'ating his facade; and the restrictions of his street line, his
twenty.five feet front, the city ordinances, and the conventionality of his
plan, must act as a great check upon liberty of design. The only way in
which he can vary the external appearance of his house from that of his
neighbor, is in height of walls and stori‘s, in material, and the detailed
treatment of the uniform requirements. And even this variety must be
restricted by the necessity of so harmonizing the facade with those in its
neighborhood, as to prevent lines of one character, though good in them-
selves, from being nullified or injured by lines of another character, equally
good, which may exist in proximity.

\Ve do not mean to assert that all the buildings in a block should be
uniform in all particulars, for irregularity is one of the chief beauties of
architecture; but we do mean to say that one building should not be
erected without some regard to harmony with those in the neighborhood,
any more than a country house should be built in a style at variance with
the character of surrounding scenery. To illustrate this idea with respect
to harmonious city architecture, we would refer the reader to Design
No. 30.

In the country, however, we are not restrained by any of these laws,

HOLLY’S COUNTRY SEATS. 31

but. the field for design is as boundless as the variety of nature; and so is
it not in bad taste to build in the country, on some choice, picturesque, or
beautiful spot, a house thoroughly adapted to the city in all its details?
Yet this is the most popular mode of countr ' building. The vignette on
Design No. 18, shows somewhat of this tendency, except that the roofs
are usually flat, and that there are five windows in front. The interior
corresponds exactly with that of a city house ; having one large room with
sliding doors, and two windows at either end. Those, with the door, quite
overload the front, and give to it an unpleasant aspect of formality. There
is an obvious necessity for two windows in a city house, there being no
other access for light; but here, where side windows are always added,
giving twice the light that is obtained in a city drawing room, the rooms
become crowded with useless windows, which give ready access to an over-
plus of cold in winter and heat in summe ' ; and, as if to render the whole
thing more absurd, many of these unnecessary openings are covered all
the year round with blinds. No good reasons can be assigned for such
concessions to fashion, and nothing can justify the conversion of a quiet
rural retreat into a formal town-house. That others have done so, and con-
tinue to do so, is no excuse. From their folly let us learn wisdom.

The designs contained in this work are not intended for model houses,
to be copied for all localities, but simply to show how important it is to
have an original design adapted to the peculiarities of site, and how en-
tirely erroneous it is to stereotype houses, all over the country, as has been
the custom. Having selected your architect, let him visit the proposed site,
that with careful study he may discover all its natural advantages, its ex-
posures, its views, its facilities for drainage, &c., as also the disadvantages
with which he must contend. Make him acquainted with your general
wants, the height of your ceilings, the size and number of your rooms, and
what other little details you may wish to have carried out ; but the main
arrangement, both inside and out, you will do well to leave wholly to him.
This done, he will make you a sketch, embodying an architectural inter-
pretation or modification of your ideas, and submit it for your approval
and examination. Then, all further alterations and details of plan which
may be desired being thoroughly understood by both parties, the proper
working drawings will be made, subject to all the conditions of the amend-

 

32 ' HOLLY’S COUNTRY sums.

ed design, careful specifications and contracts will be drawn up, and the
Whole submitted to the competition of several contractors, all of whom are
known to be responsible. Thus the cheapest, readiest, and most effectual
means of putting your intentions into execution will be obtained. During
the progress of the work, in addition to these working drawings, consisting
of the floor plans and elevations, the architect will furnish enlarged detail
drawings, showing sections of external mouldings, &c., together with the
internal members not seen on the ether working drawings, and what other
constructive explanations may be needed. That the true intent and mean—
ing of the design may be carried out, it is essential that the architect
should super-intend the construction. He should Visit the building during
its erection, and explain the designs, and render the contractor all neces-
sary architectural information.’

 

 

‘ DESIGN N914

 

 

 

 

 

 

 

£273th
1‘

mumm___w¢ : A_ m J,_ -_ ““4

 

 

 

 

 

 

 

 

{59"

DESIGN

FIRST FLOOR PLAN.

. Carriage Gate.

. Gate for foot passengers.
. Entrance Porch.

. Main Hall.

. Kitchen, 15 x 20.

. Sitting Room, 15 x 20.

. Stairway Hall.

mqacwpcomm

. Rear Entrance Porch.

THIS design may serve the double purpose of a Gate Lodge
and Farm House, though the drawing was rather intended for the
former, and to represent an entrance to grounds on which we pro-

pose to erect a mansion.

The architecture is of simple character, suitable for the ad-
junct of a neat and spacious Villa, yet sufficiently pretentious'to

No.1.

SECOND FLOOR PLAN.

9. Stairway Hall.
10. Bath Room, 6 x 7.
11. Chamber, 13 x 15.
12. “ 12 X 16.
13. “ 13 X 15.
14. Linen Closets.

. prepare us for yet greater elegance as we proceed.

There are but two rooms on the first floor—the one a kitchen,
and the other a sitting room or parlor. These two rooms, being
opposite each other, are entered by folding doors, which when
open communicate through the hall, thus throwing the entire floor

into one suite.

34. HOLLY’S COUNTRY SEATS.

The stai *s, it will be observed, are located in such a manner as
to leave the main hall unobstructed, thus removing the thorough-
fare from the body of the house ; which object is also facilitated by
a rear entrance on first floor and basement.

The second floor is very spacious, being much larger than the
first on account of its projection over the entrance porch. By
this means we have an additional chamber, making three in all
each provided with a closet. On the right is a large linen closet,
While on the left is placed what may be deemed an unusual and
a bath room.
Certainly there is the truest and most humane economy in pro-
viding servants and all those under our protection with the means

 

perhaps unnecessary convenience for a gate lodge

of enjoying the great blessing of cleanliness, which is the first ad-
vance to civilization, refinement, and self-respect.

The windows of this second story are somewhat elevated, but
are so placed to avoid cutting through the wall plate, or hori-
zontal beam 011 which the roof rests, thereby weakening the build-
ing and increasing the expense.

\Vith reference to Gate Lodges it may be remarked, that for
places of moderate size such an appendage is pretentious and in-
appropriate. Too frequently we meet with an ostentatious lodge
standing but a few pares from a modest dwelling, displaying a sin-
gular disregard of the obvious proprieties of life, without the ex-
cuse of usefulness. \Vlien the domain is extensive, and the resi—
dence properly located at a distance from the highway, an en-
trance lodge is highly appropriate and necessary, not only as a
home for the gardener or farmer, where one of the family may
always be in readiness to open and close the gates 011 the arrival
of carriages, but as a protection to the place from the trespass of
improper persons. Lodges may not be considered objectionable
features when attached to places situated near the road, if the

HOLL "S COUNTRY SEATS. 35

grounds are so planned and planted as to afford a proper amount
of retirement from observation, and through the contrivance of
the landscape gardening are made to appear more ample than
they are. It is proposed to presently treat this subject of arti-
ficial perspective more at large.

Gate Lodges, as well as all other outbuildings, should, in their
architectu'ral treatment, partake somewhat of the style of the
dwellings to which they are subordinate, but should in all cases
be of a much simpler and perhaps of a more rustic character, as is
befitting their modest office in the duties of household hOSpitality.

fibz‘imate.—A Gate Lodge of this character could be built,
under favorable circumstances, for from $800 to $19003“

* The following estimates include simply the masons and carpenter‘s contracts.

 

 

 

 

 

 

 

a;

 

DESIGN N9 2.

 

.; VI

w:

lwa a

DESIGN NO. 2.

THE architect, in the discharge of his duties, is called upon to
perform many severe tasks, but none more arduous than that of
remodelling a country house, where he has to contend with the
blunders and conventional distortions of “ carpenters’ architec-
ture,” to develop harmony out of discord, beauty out of ugliness,
elegance out of the commonplace. Consider, reader, how you
would appal an artist of recognised ability by applying to him to
finish a picture commenced by one who had no more exalted idea
of art than what might be acquired in the aesthetic meditations of
house and sign painting; how you would shock a Hosmer or
Powers by presenting for the finishing touches of their delicate
chisels some rude sculpture attempted by an ordinary stonecutter.
\Vould not the enthusiastic devotee of art wonder at your apply-
ing to such a source at the first, and still more when you would
have him. remodel and give to the ill-used marble character and
expression? Would he not, with all the eloquence inspired by
his profession, remonstrate against your course in employing at
the outset so inferior an artist, and earnestly set forth the difficulty
of overcoming the many radical errors of the inexperienced tyro?
\Vould he not justly fear the injury he might do his own reputa-
tion by undertaking it at all 2 Yet every day do we see men of
wealth, and sometimes of intelligence, applying to ignorant build-

", ”WV—W .v.

38 HOLLY’S COUNTRY SEATS.

ers, self-styled architects, to furnish designs for cottages, villas, or
even mansions of great pretension.

For in that very worthy class of mechanics, some one may be
found in every town, whose ambition or conceit has so led him
astray from his true path, that we find him rushing in where art-
ists might fear to tread, and leaving such traces of his folly as ren-
der the whole neighborhood hideous with the whims of his untu-
tored imagination. He may “draught a plan” which on paper
will deceive the eye of the client, and actually persuade him into
the delusion that, as it is the composition of a “practical man,” it
will appear well when erected. For manyhave thus unfortunately
built in haste, and repented at leisure.

The usual resort in such cases, after the building is spoiled, is
to apply to an architect of recognized ability to remodel the work.
With perplexed brain the professional man sets about his expen-
sive and diflicult task of correcting that which,had it in the outset
been properly done, would have saved both himself and the owner
much vexation and annoyance.

Design No. 2 represents a cottage which the author remodelled
for Dr. C. \V. Ballard, at Noroton Darien, Conn. The original
structure, which is shown in the vignette at the left, was purchased
by its present owner of a farmer, and is a good specimen of the
small farm houses or cottages of Connecticut. Devoid of beauty,
grace, or expression, pinched and contracted in all its features,
placed usually in the most unattractive spot, directly on the road,
with a formal avenue of cherry trees leading up to the door. These
structures are indefinitely multiplied in the rural districts, and are
the natural homes of a thrifty and enterprising, but unimaginative,
tasteless, and perhaps overworked people.

The ceilings are low, and the rooms small, crooked, and with-
out ventilation; green wooden shutters adorn the windows, and

HOLLY’S COUNTRY SEATS. 39

the outer walls, if painted at all, are sure to be of a staring white
or a brilliant red; yet within the shadow of the humblest of these
cottages have been born and reared some of the most distinguished
men of our history. Perhaps there still exist, under such unprom-
ising shelter, many “hands which the rod of empire might have
swayed.” Let it be our task to surround them with such refining
influences as will render them better fitted for the higher and
nobler life, and will smooth for them the upward path. Let us, in
short, give them homes which may refine and elevate as well as
shelter.

Yet, when a man of true taste and refinement comes in posses-
sion of so unpromising a subject as this, our drawing, we think,
proves that with no considerable expense, effects of a striking and
elegant nature may be produced, and the wholly unprepossessing
building, under proper hands, be made comparatively a model of
beauty no less than of convenience.

The vignette on the right represents an ornamental well curb,
and shows how that appendage, ordinarily so awkward and un-
gainly, may be made a pleasing feature of the grounds, and an
earnest of the elegant hospitality of the residence to which it is
attached. The well, ever grateful in its associations with memo-
ries of dripping coolness, in the parched summer time, of mid-day
repose, and of many an office of friendship in the presenting of
the cup of cold water to the weary traveller, should always be
adorned with the most affectionate fancies at our command.

 

 

 

Schulzs, d-l

Pau‘

3 .

DESIGN N?

 

 

 

 

 

 

 

 

 

 

 

G

L—LJJ-LL.‘_1 l 3 4 .

DESIGN NO. 3.

FIRST FLOOR PLAN. SECOND FLOOR PLAN.
1. Veranda. 8. Hall.
2. Sitting Room, 15 x 16. 9. Linen Closet.
3. Dining Room, 15 x 16. 10. Bedroom, 13 x 16.
4. China Closet. 11. “ 15 x 16.
5. Closet (Dumb Waiter). 12. “ 8 x 14.
6. Hall.
7. Porch.

IT is often imagined by those who desire to build economically,
that beauty is an extravagance in which they cannot indulge, and
therefore that a cheap cottage can necessarily have no pretensions
to elegance, and barely suflice for the cemfort and shelter of its
occupants: no higher aim is attempted. This error arises from the
false but prevalent idea that beauty and grace are entirely ex-
traneous considerations, rather matters of ornament than pro-
portion and symmetry of parts. For this reason many small
houses, whose owners wish to render them objects of taste, are
loaded down with unmeaning and expensive decorations, or so
frittered away with cheap and ready expedients of boards sawn,
cut, planed, and otherwise tortured into utter uselessness and

absurdity, that the entire building becomes subordinate to its
8

42 IIOLLY‘S COUNTRY SEATS.

appendages, and the arrangement of its important masses is
entirely lost sight of.

When the architect is called upon to design a very cheap
building, he must be content to express his art in the fitness and
proportion of all its parts; he must combine beauty with the
strictest utility. Thus in this design, which was prepared for a
gentleman in Connecticut, we have availed ourselves of the ne-
cessity of providing an artificial shade by simply projecting the
eaves; this at once gives to the cottage a pleasant expression of
shelter. The windows naturally require more protection from the
sun and rain than the walls, and, therefore, over these the eaves
are extended one foot more than elsewhere, and in consequence of
this extra projection require brackets for support.

The veranda in our climate has become a national feature, and
is certainly a most useful as well as ornamental appendage to a
house. In this particular instance its introduction adds much to
the beauty and comfort of the cottage. An ornamental rail pro-
tects its sides, while strong timber brackets assist in supporting
the superincumbent weight.

The bay window, always a charming feature, blends harmo-
niously with the design, and, by its intervention, breaks up a
formal regularity of wall, both outside and in. Though of small
dimensions, it not only materially enlarges the actual size of the
room to which it is attached, but apparently, through the per-
spective effect always produced by an outward break of this kind,
opens a much larger space within than it really does.

These then, it will be observed, are matters of practical utility
in protection, construction, and comfort, and the only feature that
seems superfluous is the ornament on the roof. This, it is
granted, according to strict rules of economy, might be omitted,
for there can be no other than an aesthetieal use attributed to it,

HOLLY’S COUNTRY SEATS. 43

especially as the chimney, from its central position, has the effect
of relieving the roof and sustaining the soaring tendency of the
lines; still, to project a pattern like this against the sky on any
ridge, certainly gives a very desirable and emphatic quality of
crispiness to the design.

The first floor is arranged with sitting and dining rooms; the
latter having two closets, one for china, and the other containing a
dumb waiter which communicates with the kitchen below. The
second floor comprises three good bedrooms and a linen closet.
This story, for purposes of economy, is low, the side walls being
six feet high to the roof, whence the ceiling starts at an angle,
somewhat less than that of the roof, making the ceiling flatter
and forming an air space between it and the roof, which pro-
tects the rooms from external changes of atmosphere. This ob-
ject is also facilitated by the ceiling being deafened, thus making
these rooms as comfortable as if they had an entire story over
them.

It will be seen by this that we contrive to obviate that great
objection commonly entertained against houses of a story and a
half in height, that the bedrooms are like ovens in summer, and
like refrigerators at other seasons. We would take advantage of
this opportunity strongly to recommend the use of deafening in all
floors; as it is not only serviceable in preventing the passage of
sound from one room to another, but in binding the floors together
and rendering them stiffer and more solid. Little expenditures
like these, judiciously made, will never be regretted when the
house is finished, since they soon pay for themselves in a saving of
fuel, to say nothing of the protection they give from dampness,
heat, and cold.

Estimates—This design, though on a somewhat larger scale,

in sun—-

44 HOLLY’S COUNTRY SEATS.

was built for John W. Shedden, Esq., on the Morris and Essex
Railroad, about one mile beyond South Orange, N, J. With
an arrangement as shown, it would cost from $800 to $1,000,
being of about the same dimensions as design No. 1.

 

 

 

 

 

 

 

DESIGN

N9

 

__._J.._._._ . _. J

 

m

 

 

DESIGN NO. 4.

FIRST FLOOR PLAN. SECOND STORY PLAN.
1. Entrance Porch. 10. Hall.
2. Hall. 11. Linen Closet.
3. Terrace. 12. Chamber, 15 x 18.
4. Library, 15 x 18. 13. 2 Do. 16 x 25.
5. Dining Room, 19 x 25. 14. Do. 17 X 24:
6. Closet.
7. Do.
8. Drawing Room, 17 x 24.
9. Terrace.

THIS design is for a cheap cottage, with commodious accommo-
dations, and of pleasing external appearance, uniting economy
and convenience. It was intended for a Village lot in Stamford,
Conn, of 75 feet frontage, of which the principal facade of the
house was to occupy 25 feet, giving an equal space on either side.
The house is of two stories, with a basement and attic, affording a
spacious drawing room, library, and dining room on the first floor,
with six large chambers 011 the second and in the attic. The bed-
rooms for servants, with kitchen and store cellars, are in the base-
ment. The kitchen communicates with the dining room by a dumb
waiter, through one of the closets in the latter apartment. The
opposite closet in this room is intended for china and table linen
A large linen closet is shown 011 the second story. Instead of veran-

46 HOLLY’S COUNTRY SEATS.

das we have adopted terraces with canopy roofs over them, sup-
ported by brackets, which are much more economical than posts
or columns, though perhaps not as commodious. The entrance
porch, which is at the side, has a balcony over it, with access
from the second story hall.

One peculiarity of this design is the truncated or “ gambrel”
roof, used to give space to the upper rooms, and to lessen the
apparent height of the structure, which, if composed of three en-
tire stories, would be too lofty for the amount of ground it occu-
pies. This expedient also gives a pleasing variety to the lines of the
roof, a feature usually so bare of interest. This differs from the
common “ gambrel” roof of New England farm houses and home-
steads, in the projection of the eaves, and in the truncation of the
gable ends, which makes a hipped roof of the upper slope, giving
to the general outline a pleasant resemblance to the rustic hay-
rick, and affording a more immediate shelter to the gable windows
from the sun and rain. The decorated barge boards at the eaves
produce shadows, relieve the walls, and serve as a protection to the,
sides of the house, thus forming a useful and ornamental appen-
dage, often cheaper than brackets. The ballustrades of perforated
plank, around the balconies and terraces, partake of the style of
the house, corresponding with the barge boards, and contributing
to the harmony of the design.

One great advantage architects possess in this country is the
strong contrast of light and shade produced by our clear atmo-
sphere, which assists materially in producing good effects in build-
ing. The introduction of irregularities, such as projections of
roofs, canopies, verandas, and bay windows, together with the in-
terseetions of gables, dormers, and the height of chimneys, serve to
break up the bare formality of the usual barn-like outline, and to
obtain the ever varying sentiment and expression which the

HOLLY’S COUNTRY SEATS. 47

great Architect never fails to give to all his rocks and hills. Light
and shade are the happiest instruments of design, and most easily
procured in our climate, and are ever ready to give new life and
spirit to forms properly managed for their play. The repetition
of the perforated barge boards in shadow against the walls, ever
making new interpretaions of its patterns, shows how tenderly and
delicately nature assists the sympathetic architect.

In cities, where the great value of land almost precludes the
designer from availing himself of opposing masses of light and
shade, which can be produced in emphasis only. by costly irregu-
larities of plan, and large reéntering angles of outer walls, it seems
necessary to resort to some other expedient where delicacy of line
is not considered a sufficient substitute for the more massive effects
of 071 z'aro-o-s'curo. The luxurious and sensuous Mahometans, not
content with the more serious and sober habits of the North in de-
sign, not only were in the habit of breaking their sky lines with
pierced parapets and 1in patterns, with swelling domes, with end-
less pinnacles and fantastic minarets, to a degree never thought of
elsewhere, but availed themselves of strong and vivid contrasts of
bright colors. It would be well for us to take a lesson from the
Eastern nations in this respect, and while we repudiate perhaps, as
undignified, any complete adaptation of their endless fancies of
form, to study their picturesque use of external colors, and let the
walls of our cities assume new life and meaning by contrastng
tints of various bricks and stones, and the introduction of brilliant
tiles and slates of different quarries. This source of design, if used
with discretion in our Metropolitan structures, would effect the
happiest results, and preserve their architecture from inanity and
insipidity. But in the country, where growth of shapes and forms
is unchecked by any considerations of economy of space, it seems
almost superfluous to use decorative external color to any very

48 IIOLLY’S COUNTRY SEATS.

great extent, certainly, we think, never for its own sake, as in the
town; but so far as it may serve to protect wooden surfaces, to
assist in giving expression to form, and to harmonize masses with
the nature around, its employment is of great value. It is, then,
important to know by What rule we are to be governed in the use
of colors under these circumstances. It is evident that the general
tint covering the plain surface of a small house surrounded by
trees, should be light and cheerful, warm in its tone, and of a
neutral rather than positive character, as the latter very readily
harmonizes with nature. But do not fall into the opposite extreme,
and paint your house white, which is no color at all, always cold
and glaring, and makes an ugly spot in any landscape; we find
nothing there to warrant so forcible an intrusion. A white build-
ing might not be so objectionable in the city, where we have no na-
ture to assimilate to and work with; but in the country nothing
but snow and chalk cliffs are white, and these put out the eyes by
their intensity. Choose, then, any of the hundred soft, neutral
tints which may afford to your house the cheerfulness or dignity it
may require. These are to be determined especially by its loe: -
tion and size. A house of large and commanding proportions,
occupying a conspicuous position in the scenery, would present a
ludicrous appearance if painted a light color; while one of smaller
size, subordinate to its natural surroundings, and well shaded by
trees, would, if painted dark, give an impression of gloom.

Having selected the general tint, the trimmings should be of a
darker shade of the same, or a deeper color, to give them promi-
nence, and assist in bringing out the design. The roof, when not
covered with slate, should resemble it somewhat in color, and the
Window blinds, when used at all, should be darker even than the
window dressings, and should assimilate in color to the general
tone of the house.

HOLLY’S COUNTRY SEATS. 49

It is always advisable to consult the architect as to his Views
in this matter of color, since an improper application of paint
might quite nullify the effect of his design, and render that ridicu-
lous which was intended to be dignified, small which was intended
to appear large, and obtrusive Which was intended to be modest
and retiring.

By a judicious subordination of various tints, many errors and
incongruities of style may be lessened or quite concealed, and the
good points of design be properly emphasized and made to assume
a worthy prominence in the composition.

.Esz‘z'mm‘a—This design would cost, under favorable circum-
stances, about $3,000.

 

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N9 5,

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DESIC

 

 

 

 

 

 

LLALAA;A

DESIGN No. 5.

FIRST FLOOR PLAN. SECOND FLOOR PLAN.

1. Veranda. 12. Hall.

2. Main Hall, 9 x 18. 13. Bedroom, 16 x 18.
3. Drawing Room, 18 x 20. 14. Do. 15 x 18.
4. Veranda. . 15. Linen Closets.

5. Balcony. 16. Closets.

6. Staircase Hall. 17. Do.

7. Store Room. 18. Bedroom, 18 x 20.
8. Butler's Pantry.

9. Dining Room, 16 x 18.
10. Balcony.

11. Library, 15 x 18.

THIS cottage, designed for some secluded valley in a Wild and
mountainous region, is irregular in its plan and very much broken
in its sky lines, in order the nearer to assimilate to the character of
the scenery amidst Which it is placed, and to form a natural part
of it, according to the principle we have already touched upon.
Considering these things, we have instinctively adopted some mo-
tives from the Swiss Chalet, in which galleries, very projecting
caves, and great extent of roof are the prevailing features.

A gentleman, by frequent communications With his architect,
necessarily to a very great extent imprints his own character upon
his house, and this is one of the most important aesthetic ends of

52 HOLLY’S COUNTRY SEATS.

the art, and proves how possible it is to express in a manner even
the most delicate idiosyncracies of human character. It is the
duty of the architect, studying the desires and needs of his client,
carefully to manage the design in all its parts, so as to fit into and
harmonize with the lives to be spent under its roof.

Thus a house of this kind, we think, will at once impress the
beholder with the conviction that it is the habitation of a gentle-
man of small family and limited means, yet possessing education
and refinement, and an appreciation so delicate for the scenery
amidst which he lives that he would have his very dwelling-place
sympathize with it, and be a fit companion for its rocky undula-
tions and its forests of pine and hemlock.

The library, occupying the central portion of the house, shows
that this is his favorite room, from which he can easily approach
his drawing room on the one side or his dining room on the other.
Evidently he is rather a man of nice literary taste than a close
student, for this apartment is too liable to intrusion and household
noise to serve the purposes of a study, strictly so considered. The
size of his drawing room indicates his fondness for society, and the
arrangement of the folding doors, by which the entire firs t floo1
may be thrown into one apartment, gives evidence of genei ous
hospitality and large social qualities.

The dining room opens into a spacious butler’s pantry, con-
taining a dresser for table linen and china, also a sink with hot
and cold water, and a dumb waiter communicating with a similar
pantry below, connected with the kitchen. Over this pantry, in
the second story, a bath room might be made; but none is here
introduced on account of the expense. The dining room and
kitchen chimney is placed partly outside to give more room within,
at the same time relieving the external plainness and forming one
of the architectural features of the house.

HOLLY’S COUNTRY SEATS. 53

The balcony from the dining room window forms a shelter
over the kitchen door, which, on account of the descent of the
grade in this direction, is entirely above ground, making a fine,
light, and dry kitchen, connecting with the store cellars and ser-
vants’ apartments, also on this floor.

A kitchen arranged in this manner is better than one on the
same level with the dining room, as in the latter case the erection
of an additional building is necessary, increasing the expense, and
being inconvenient by reason of the distance to the store cellars.
By this arrangement also, the servants have apartments so removed
that they are not brought into immediate contact with the family;
and if the floor is deafened the noise and disagreeable odors from
the kitchen are more effectually excluded from the main house.
The admirable plan now generally in use, for dumb waiters, ren-
ders them noiseless, and obviates entirely the necessity of passing
up and down stairs for each article required. WVhen possible, it is
well to have the dumb waiter communicating between the cham-
ber floors and kitchen, or laundry, to carry clean or soiled linen,
&c. ; this arrangement renders back or servants’ staircases almost
unnecessary.

The bedrooms on the second story have each a closet (with
another in the hall for linen), and fireplaces, with a studied arrange-
ment for the furniture, a matter too often neglected in planning a
house. Nothing is more common than to see sleeping apartments
so constructed that no place is left for a bed without interfering
with a door, window or fireplace, no place in the dining room for l
a sideboard, no place in the drawing room for a piano or sofa, no
place in the library for bookcases, and no place in the dressing
room for a toilet table. I

This also proves the danger of altering an architect’s design
without his consent, since there are always certain meanings and

54. HOLLY’S COUNTRY SEATS.

intentions for every detail, however trifling, obvious to none but
the originator. To change a door or Window, therefore, is very
apt to interfere with some internal or external feature of the
design. If the architect is consulted, he can usually devise a way
to carry out any alteration Without interfering With the arrange-
ments of the general plan.

 

Estimate.
$2,500.

A building like this could be erected for about

 

 

‘\J

DESIGN

 

ll

LUJJJLLLLL...__L_.___ _.L_.___l

 

DESIGN No- 6.

FIRST FLOOR PLAN. SECOND FLOOR PLAN.
1. Veranda. 7. Staircase.
2. Hall, 13 x 19. 8. Hall.
3. Drawing Room, 15 x 19. 9. Linen Closet.
4. Library, 15 x 19. 10. Bedroom, 15 x 19.
5. Veranda. 11. Do. 15 x 19.
6. Dining Room, 15 x 22. 12. Do. 15‘x 19..
7. Staircase. 13. Do. 12 x 13.

WE recommend this design, not only for the agreeable and
elegant effects of its exterior, but also for its economical and simple
yet commodious arrangements Within. The entrance porch, which
is apparently distinct, acts as an enlargement of the veranda, of
which it is a part. The hall serves as a large sitting room, and
communicates with the drawing room by folding doors, While the
stairs, which ascend through the tower, from basement to attic, are
so secluded, as to obviate the necessity of a private staircase.

It must be admitted that to enter at once into a large hall,
treated somewhat like one of the living. rooms of the house, and
perhaps with a wood fire blazing cheerfully on one side in a wide
open chimney, gives to the stranger the impression-of generous

"ere-«rvm rf‘wfi' w. W

 

56 HOLLY’S COUNTRY SEATS.

hospitality and cordial greeting, as if the house itself at once had
received him into its arms. This is frequent in England.

The dining room has a bay window, and communicates with
the library by folding doors. The second story has a linen closet
and four good bedrooms, and the attic has similar rooms. The
windows throughout have deep embrasures and broad sills, which
are 15 inches from the floor. With cushions, these form con-
venient and pleasant seats, and assist in furnishing the room.

The veranda, it will be observed, is rather limited, yet as a
greater portion is 011 the east side of the house, it is in the shade
the most of the day. It should always be remembered that where
there is but one veranda it should be placed on the shady side of
the house. Great mistakes are often made in painting the veranda
roof a light color, for the purpose of coolness. But actually the
effect is directly the reverse, the light tones reflecting the heat
into the chamber Windows. It is true that the roof is thus left
cool, but it is no advantage, since if the rooms within are hot we
care little how cool the veranda roof may be. The roof here, as
over all parts of the house, is of dark slate, a material especially
harmonious with. brick or stone houses. When slate is used, how-
ever, sufiicient steepness should be obtained to shed the water,
while flat roofs should be covered with metal. The main roof
here has, on account of its steepness, no gutter at the cornice, as
the water is nearly all collected from the flat on top, in gutters at
the curb of the roof. The objection often holds good, against
towers arranged like the one in our design, that the snow will
lodge between it and the main roof, and cause leakage. But by
reference to the plan it will be seen that, in order to give entrance
to the attic, this space must be filled up by a passage, the roof of
which, not shown in this perspective, prevents such a lodging
place. Expedients of this kind should always be resorted to in

IIOLLY’S COUNTRY SEATS. 57

our climate, since picturesque vallies or internal angles of this kind
are apt to leak.

We would take advantage of this opportunity to advise the
application of some distinctive name to every detached country
house, however small, since it cannot be distinguished by a num-
ber, as in town. The name should, of course, be suggestive of
some fact connected with the house, its owner, or its location, and
should be original, or at least not copied from any in the vicinity.

\Ve would offer, as names not yet become common among us,
the following taken from country seats in England, which may
serve as suggestions :

Arborfield, Brook Cottage, Elmwood, Highmont,
Ashhill, Brookvale, Fern Hill, Ivy Cottage,
Ashfield, Brookfield, Fern Cottage, Ivy Hill,
Ashridge, Brook Hill, Forest Hill, Laurel Cottage,
Ashdalc, Brookwood, Glen Villa, Lawn Cottage,
Bayfield, Blithefield, Glenfield, Longwood,
Bayswater, Chestnut Cottage, Glen Cottage, Mayfield,
Baythornc, Claremont, Greenhill, Myrtle Cottage,
Beach Cottage, Cliff Hall, Grove Cottage, Melrose,
Beach Hill, Clifi' Cottage, Grove Park, Moss Side,
Beachsidc, Crow’s Nest, Harewood, Moss Cottage,
Beech Hill, Cedars, Hasclwood, Oak Bank,
Beech Land, Clifton, Hawthorne, Oak Hall,
Beechwood, Dale Park, Hawkswood, Oak Cottage,
Beltwood, Daisy Bank, Hayfield, Oak Hill,
Berry Hill, Doveridge, Highwood, Oakfield,
Birchwood, Eaglchurst, Highlands, Oakwood,
Bloomfield, Edgehill, Holly Cottage, Oaklands,

The Briars, Elm Cottage, Holly Grove, Oatlands,
Broadlands, Elm Grove, Holly Hill, Oldbrook,
Broadfield, Elmstead, Homewood, Oldfield,

10

 

58

Oriel Cottage,
Raven Hill,
Ravensdale,
Ridge Cottage,
Ridgwood,
Ringwood,
Rosedale,
Roseland,
Roseberry,
Rushbrook,
Rockingham,

HOLLY’S COUNTRY

Sedgebrook,
Sedgefield,
Shelbrook,
Shoreham,
Shrubhill,
Spring Cottage,
Spring Grove,
Spring Hill,
Springwood,
Strawberry,
Summer Hill,

SEATS.

Summerfield,
Sunning Hill,
Thorne Hill,
Thorne Grove,
Underelifi',
Vine Cottage,
Walnut Springs,
\Valnut Grove,
Waterside,
\Vedgewood,
Westbrook,

VVestfield,
VVestwood,
‘Villow Cottage,
\Vinfield,
VVoodbines,
\Voodeote,
Woodfield,
\Voodhill,
\Voodford,
Woodlands,
\Voodside,

Estimate—This design, if built of stone, would cost about
$4,500.

 

 

DESIGN N97.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

   

 

 

 

   

DESIGN No. 7.

FIRST FLOOR PLAN. SECOND STORY PLAN.

1. Entrance Porch, 9 x 10. 13. Hall.

2. Vestibule. 14. Chamber, 13 x 18.
3. Coat Closet. 15. Do. 15 x 20.
4. Main Hall. 16. Bath Room, 8 X 8.
5. Library, 15 x 18. 17. Chamber, 15 x 17.
6. Drawing Room, 15 x 20. 18. Do. 15 x 18.
7. Veranda. ' 19. Linen Closet.

8. Do. I 20. Tower Staircase.
9. Kitchen, 15 x 17.
10. Sink Room, 10 x 10.
11. Butler’s Pantry, 7 x 10.
12. Dining Room, 15 x 18.

THERE seem to be two classes of people who delight in an
occasional retirement to the wildest, most picturesque, and un-
frequented spots; who find it necessary, at certain intervals, to ap-
proach nature, when she abandons herself to her most fantastic and
savage moods; to hear her great heart beating in the midst of her
grandest solitudes, and to partake of the rude fare of the abounding
wilderness. The man of letters and high culture yields to this im-
pulse with the strong desire of recuperating his intellect at the
very fountains of knowledge, of freeing himself from the dust of

~ N v#~'-~"' —'~ ” rvcr

60 IIOLLY’S COUNTRY SEATS.

books, and of catching new emotions and intelligible ideas from
the secret spirit whispers of the “forest primeval.” The man of
the world, on the other hand, seeks the same scenery, weary of his
routine of dissipation, to obtain a new zest for his life amidst the
bounteous freshness of nature, in the fish of her wandering moun-
tain brooks and lovely lakes, and in the wild game of the endless
woodland. Mount Desert, Moosehead Lake, the Adirondacks, and
the Saguenay have all in turn been the savage Meccas of pale pil-
grims who have followed the adventurous trail of the Indian, the
hunter, the backwoodsman, and the artist, and sought with them
refreshment, consolation, health, and the pleasures of delightful
novelty.

In all these places—in the wildest and most picturesque of
them—we find these pilgrims, not content with a brief, homeless
tarrying there, building their huts and hunting lodges, and shoot-
ing boxes, for more convenient and easier sojourn in the summer.
The philosophers of Cambridge and the sportsmen of Gotham have
not only, like Cowper, longed

“ for a lodge in some vast Wilderness,
Some boundless eontiguity of shade,”

but have made a prophecy of their desires and set up their rude
household gods in the bosom of the Adirondacks, and by the forest
borders of Lake George. Sunnysides and Idlewilds and Clover-
nooks are arising in abundance far from the trodden paths of
travel; peaceful vine-clad fortresses for protection against the raids
of 67267722'68, and of all the world’s follies, gaities, and dissipations—
strongholds of homely, hearty hospitality, where the prodigal son
may go back to the bosom of nature and find her affections un-
changed, and her kind indulgence the same as in the pleasant asso-
ciations of his childhood.

HOLLY’S COUNTRY SEATS. 61

To meet requirements of this kind, we have prepared the ac-
companying design, adapted equally well for a hermitage or shoot-
ing lodge. The style adopted is that usually termed the “half
timber ; ” in which the framing is allowed to appear externally and
form the prominent decorative characteristic of the structure,
while between the timbers there is a filling in of brick nogging or
rough cast. The effect of this method of construction is highly
pleasing, the wall surface being constantly relieved by this ex-
pression of wood construction, which is not merely suggestive of
strength, but actually increases the firmness of the building. EX-
amples of this style are constantly found in England and on the
Continent; it is universal; many of them date back to quite a re-
mote antiquity. Their stability is only exceeded by their pictu-
resqueness and venerable beauty. The traveller will remember
with what quaint freaks of form and color they hang over the mar»
row streets of Chester and Rouen.

The chimneys in this design are carried up to an unusual
height, which, with the tower and the gables rising one above the
other, strongly partakes of the character of the wooded mountain
scenery around, while the broad spread and irregular contour of
the roofs are in sympathy with the undulating sweep of valleys and
prairie lands.

As we approach this house, the first feature that attracts our
attention is the porch leading to the front door. This is quite
spacious, admitting the gathering of family groups under its shelter,
thus taking the place of a formal veranda, and with the strength
of its crossing and supporting timbers bearing its harmonious part
in the general sentiment of the design. \Ve enter the vestibule,
which is separated from the main hall by an arch. This hall be-
gins at the tower and runs to the rear of the house. The main
stairs, commencing at the vestibule and ascending through the

“7"‘715‘8 'F ""x m

62 HOLLY’S COUNTRY SEATS.

tower, afford a landing on each story up, to the observatory. The
dining room, which is on the left, has a china closet, and commu-
nicates with the kitchen through a large butler’s pantry, which
also serves as a store room. The kitchen is provided with a
spacious sink room.

The second story contains four bedrooms, a bath room and
linen closet.

In arranging the rooms on the principal story, we have had
constant consideration of the fact that they were intended not for
any such formal hospitalities as balls or féte-S, but rather for that
internal domestic comfort, that (Zolcefar 712.6721? and abandon which
the occupant came into the wilderness to find. Here the broad-
cloth coat or silk dress becomes a myth, and the bachelor’s cigar
knows no housekeeper’s tyrannical limitations.

Estimate.——This design, if built plainly, would cost about
$3,000.

 

 

 

,. .\
.3139 NM"

 

DESIGN N° 8

 

DESIGN NO. 8.

THE accompanying cottage, which is the residenCe of John R.
Kearney, Esq, at Rye, N. Y., was originally as shown in the vi-
gnette at the left, but was enlarged and altered to its present ap=
pearance from plans submitted by the author. The great defects
of the old house were a want of relief from monotony and absence
' of shadows. In order to obtain these results in the altered design,
the roofs were extended, and the projecting gable thrown up at
the long unbroken side, while the little one-story addition served
to create an irregularity upon the ground. The ornament upon
the eaves was removed and placed upon the ridge, the chimney
altered in design, and the gables surmounted by finials.

The site it occupies is quite picturesque, and rocks and wild-
wood form the principal features of the scenery. In order to
create a harmonious design, rustic work was introduced for the
verandas, balconies, and supports of gables. '

The vignette at the right represents a stable belonging to John
Howland, Esq., at Belle Point, Darien, Conn, which was altered
from an ordinary farm barn to its present appearance.

The stable itself is in the basement; the first floor is occupied
by carriage house, tool house, grain and store rooms, with an apart-
ment for a servant, and above these is the hay loft.

The feed is received in the basement through “shoots” which

6a HOLLY’S COUNTRY SEATS.

are convenient to the horses. This stable is‘ provided with two
loose boxes and four stalls. These are paved with brick, the rest
of the floor being of stone. There are two ventilators connecting
with the lantern 011 the roof.

With regard to harness rooms, we would suggest that they be
made larger than they usually are, and with some means of
heating them to prevent the cracking of the harness by cold.
Here, too, is a smoking room for gentlemen in the morning,
and which may also serve as a pleasant resort for male servants
in the evening.

 

 

 

DESIGN N99.

 

 

20 4-0

Illll'll'l' 1 l 1

DESIGN NO. 9.

FIRST FLOOR PLAN. SECOND FLOOR PLAN.
1. Veranda. 9. Hall.
2. Hall. , 10. Chamber, 12 x 14.
3. Drawing Room, 17 x 20. _ 11. Do. 15 x 16.
4. Library, 12 X 13. 12. Do. 8 x 11.
5. Veranda. 13. Do. 15 X 16.
6. Staircase. 14. Do. 13 x 16.
7. Dining Room, 16 x 17. 15. Attic Stairs.
8. Parlor, 16 x 20.

THIS design, which is alluded to in Chapter II., was executed
at Rye, N. Y., for Dr. J. H. T. Cockey. It is charmingly located,
overlooking the windings of a pleasant stream through a beautiful
bit of country. The grounds comprise about twenty acres, and in
the centre is a natural mound, on which the house was built.

On excavating for the cellar, it was found that a few feet from
the surface was a solid ledge of rock. Here was an obstacle not
easily overcome, the only resort being a tedious process of blasting.
The rock, however, proved of such excellent quality for building,
as to obviate the necessity of quarrying elsewhere, and the sand
and water being close at hand, no transportation of material was

requisite. The rock foundation, also, it will be readily perceived,
11

68 HOLLY’S COUNTRY SEATS.

country, by simply breaking the lines of the roof, and by certain
contrivances of detail, giving the Whole an entirely different aspect,
and adapting it thoroughly to its new condition of site.

Jils'z‘z'nmz‘er—This design was built by contract for $4,500.

 

 

.-. -
Paul bchuvlc do:

 

DESIGN NO. 10.

FIRST FLOOR PLAN. SECOND FLOOR PLAN.

1. Veranda. 14. Hall, 8 x 16.

2. Vestibule, 9 x 10. 15. Chamber, 9 x 9.

3. Coat Closet. _ 16. D0. 15 x 17.
4. Hall, 9 x 16. 17. Do. 15 X 17.
5. Drawing Room, 19 x 19. 18. D0. 9 x 13.
6. Library, 15 x 19. 19. Hall.

7. Green House. 20. Bath Room, 13 x 19.
8. Sewing Room, 9 x 13. 21. Linen Closet, 6 x 6.
9. Servants’ Staircase. 22. Bedroom, 10 x 10.
10. Dining Room, 19 x 20. 2'3. Do. 10 x 10.

. China Closet.
. Kitchen, 15 x 16.
. Woodshed, 12 x 16.

HHH
ODLOH

SUCH picturesqueness and diversity of feature, as characterize
the treatment of this little villa, are well adapted for association
with the wild, romantic scenery of many parts of our country, es-
pecially on those abrupt and rugged slopes so common along the
banks of the Hudson.

This structure, which was designed as a residence for J. D.
Bedford, Esq., is situated on one of these slopes, at Nyack.

Its style is strictly Tudor, the same so frequent in those choice
localities among the lakes and mountain districts of England.

 

70 . HOLLY’S COUNTRY SEATS.

The variety of its Skylines, obtained by a careful composition of
clustered chimneys, gabled roofs and pointed finials, is in harmony
with the rugged character of the scenery around it; while its
broad veranda, bay window, and greenhouse serve to assist its
irregularity of outline on the ground, and to relieve the monotony
of formal and unsympathizing walls. The little. gable at the right
breaks up and relieves the long extent of cornice on that facade,
and the chimney produces the same effect upon the ridge. The
pyramidal form of the group is effected by the towering of the
. observatory in its central position, and the Whole produces in the
general picture some resemblance to the peculiar features of the
landscape itself. The design is chiefly commendable for its conven-
ience and its proper conformity with its immediate surroundings.
Another composition of equal merit, yet Wholly difl‘erent in
architectural character, may be found ‘in Design No. ‘29. Here
may be seen an example of the horizontal tendency of those classic
structures whose representations awaken so many pleasing memo-
ries in the mind of one who has traversed the sunny plains of
Italy; but agreeable as they may be in a level region, a due at-
tention to fitness admonishes us that an edifice designed after their
manner, would be quite inappropriate in the more rugged portions
of our country. And why is this? We reply that an article of
apparel, which is highly becoming to one person, proves frequently
quite the reverse to another, and thus, in order to be tastefully
attired, one must take into consideration form, complexion, and
features, and then select garments of a corresponding color and
shape. This, though a homely comparison, is precisely analogous
to the immediate question; a building, therefore, to be an object
of art, should conform in shape, color, and feature with the country
around. Thus the level, unbroken lines of the Italian villa, so
decidedly in harmony with the smooth, placid character of its

HOLLY’S COUNTRY SEATS. ‘ 71

native land, would be as greatly out of place amid the wild, im-
posing grandeur of the Catskills, as would the rude beauty of the
Gothic on the fair plains of Italy.

The interior of this building is more unique than extensive.
The entrance, which is in the tower, opens into a spacious vestibule,
provided with a coat closet, and is separated from the main hall by
an arch, where folding doors may be placed in winter. The hall
is also of good size, the staircase being in an alcove at the side,
under which a sofa may be properly placed. The first apartment
at the right is the drawing room, which has a bay window, and
connects with the library by doors on either side of the fireplace:
sliding doors might be introduced and the rooms thrown together
at pleasure. The library has suflicient space for books, and is con-
nected vith a small greenhouse on the south side, which may be
heated in winter by simply opening the glass doors by which it
communicates with the library. It is protected from external cold
by double glazed sashes: the floor and ceiling being deafened and
the panels backed with brick. At the end of the hall is a small
room, which may serve as a sewing or smoking room, or private
office. The dining room and kitchen occupy the wing, which has .
its ceiling lower than the main part of the house; an arrangement
peculiar, perhaps, but according with the taste of the owner. The
upper portion of this wing is occupied by two bedrooms, a linen
closet, and bath room, while there are four good chambers in the
main house.

The main hall is lighted fromabove, and the observatory stairs,
commencing at the second floor, ascend to the third and fourth
stories of the tower, from whence is obtained a fine view in all
directions.

Estimate—“7e believe the. estimates on this design were
$3,500.

 

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DESIGN NO. 11.

FIRST FLOOR PLAN. SECOND FLOOR PLAN.
1. Entrance Porch. 11. Hall.
2. Hall, 9 x 24. 12. Bedroom, 16 x 23.
3. Library, 16 x 23. 13. Linen Closet.
4. Dining Room, 16 x 20. 14. Bedroom, 13 x 15.
5. Butler’s Pantry. 15. Do. 16 X 20.
6. Kitchen, 17 x 19. 16. Bath Room.
7. Veranda. 17. Bedroom, 13 x 19.
8. Do.
9. Servants’ Staircase.

. Main Staircase.

H
O

NOTWITIISTANDING the general prosperity of our country and
the rapidity and ease of acquiring wealth, yet in the midst of the
fluctuations of commercial life, there is a constant liability to
serious loss, if not entire reverses of fortune. It is sad to think
that our own firesides, though far removed from the immediate
hustle and keen anxieties of the exchange, are ever sensitive to the
mismanagements or misfortunes of a single venture on the danger-
ous ocean of trade. By these, many families are driven from their
luxurious mansions in the town to less pretending homes in the
country. These families, thus prostrated by the changes of a day,

reared in the midst of the refinements of luxurious ease, and sur-
12 ,

74 HOLLY’S COUNTRY SEATS.

rounded by the golden opportunities of wealth, have, perhaps,
under these impulses, so shaped their minds and manners as to
have become ornaments in the circles where they were known.
‘ Such people are, of all others, equal to an emergency of this kind.
They often find that adversity is not without its sweet uses.
Knowing that they must, if they remain in the town, assume an
inferior position, and one beneath their merits, they will turn to
the country as affording a congenial home. Here, with true taste
and sound judgment, they will build a cottage, which, though
small in dimensions, will be complete in all its parts. In such a
home, with the qualifications in themselves for making it happy,
they will find, probably, a calm content unknown in the giddy
turmoil of fashion, and a consolation full of gentleness and peace.
Othe* associations, dear as those of old, will cluster around them,
and they will find, as in the touching description of “ the wife” in
Irving’s Sketch Book, that they have no desire to return to the
noise and bustle, the whirl and excitement of a life in town.

Everything about such a house must be truly refined and
chaste,'with every convenience that comfort demands, and without
any superfluities. The interior must be suggestive of the refine-
ment of the occupants, not necessarily ornamental or showy, but in
every respect. tasteful and elegant. It is with such Views that we
have prepared the accompanying design.

The entrance porch is in character with the rest of the house,
strong and substantial, and is embowered with ivy, which climbs
up its columns and crowns its arches. The main stairs are at the
end of the hall, which is thus left wide and unobstructed, and
ready for all those uses of household pleasure which such a feature
is sure to possess. The library has a bay window, and the dining
room communicates with the kitchen by a butler’s pantry. The
kitchen has a private stairway and large closets. In the second

HOLLY’S COUNTRY SEATS. 75

story are four bedrooms, bath room, and linen closet, and in the
attic, rooms for servants.

It is not uncommon to find in country houses one or more
rooms from which the family are excluded save on rare occasions,
and which are kept only for the entertainment of guests.

\Ve have here supposed a residence for a family of refinement;
and whatever is equal to its wants should certainly suffice for those of
its guests. It will, then, be borne in mind that genuine hospitality
does not consist in the provision, for guests, of luxuries denied our-
selves. \Ve have, therefore, omitted from this design everything
superfluous. The drawing room proper is the first apartment we
discard, it being one which always occupies a larger amount of space
than is balanced by its actual usefulness in the household.

The ordinary objection to using a dining room for the pur-
poses of family gatherings, is that it must necessarily be occupied
by the servants after meals, for removing the service and “tidying
up” generally. Much of this, however, may be obviated by the
provision of a butler’s pantry, and thus the dining room and hall
may be used as sitting rooms, while the library remains for literary
purposes.

The great want of small houses at moderate rents, and in re-
spectable quarters of our cities, obliges many of limited means to

seek homes in the country. If the custom of living on flats or
floors were introduced in our country, this rural desire would be

subdued, as in France; but while the old English maxim remains
true of us, “every man’s house is his castle,” flats must be associated
only with the lowest class of tenement houses. \Vith the Anglo-
Saxon, home and the family fireside are sacred, and in no small
degree it is to this influence we owe our love of truth and virtue.
Domestic qualities are almost unknown in France, and as a natural
consequence the virtues we so much admire are held in low esteem.

76 HOLLY’S COUNTRY SEATS.

It is not too much to say that every man owes it to himself, no
less than his family, to provide a home; a spot around which he
may gather his dear ones for counsel and instruction. Such a
home is incomplete without one apartment, too often little re-
garded, which is a library. We would enlarge on this subject,
which we deem so important, but consider it advisable rather to
quote the language of a distinguished writer of the day, with
which we close- this chapter.

“We form judgments of men from little things about their
house, of which the owner, perhaps, never thinks. In earlier
years, when travelling in the West, where taverns were either
scarce or, in some places, unknown, and every settler’s house was a
house of ‘Entertainment,’ it was a matter of some importance and
some experience to select wisely where you would put up. And
we always looked for flowers. If there were no trees for shade,
no patch of flowers in the yard, we were suspicious of the place.
But, no matter how rude the cabin, or rough the surroundings, if
we saw that the window held a little trough for flowers, and that
some vines twined about strings let down from the eaves, we were
confident that there was some taste and carefulness in the log
cabin. In a new country, where people have to tug for a living,
no one will take the trouble to rear flowers, unless the love of
them is pretty strong; and this taste blossoming out of plain and
uncultivated people is, itself, like a clump of harebells growing
out of the seams of a rock. \Ve were seldom misled. A patch
of flowers came to signify kind people, clean beds, and good bread.

“But, other signs are more significant in other states of society.
Flowers about a rich man’s house may signify only that he has a
good gardener, or that he has refined neighbors and does what he
sees them do.

“But men are not accustomed to buy 6001.29 unless they want

HOLLY’S COUNTRY SEATS. 77

them. If, 011 visiting the dwelling of a man of slender means, I
find the reason why he has cheap carpets, and very plain furniture,
to be that he may purchase books, he rises at once in my esteem.
Books are not made for furniture, but there is nothing else that so
beautifully furnishes a house. The plainest row of books that
cloth or paper ever covered is more significant of refinement than
the most elaborately carved étage‘re, or sideboard.

“ Give me a house furnished with books rather than furniture !
Bot-h, if you can, but books at any rate! To spend several days
in a friend’s house, and hunger for something to read, while you
are treading on costly carpets, and sitting upon luxurious chairs,
and sleeping upon down, is as if one were bribing your body for
the sake of cheating your mind.

“Is it not pitiable to see a man growing rich, and beginning to
augment the comforts of home, and lavishing money on ostenta-
tious upholstery, upon the table, upon everything but what the
soul needs ‘2

“ We know of many and many a rich man’s house where it
would not be safe to ask for the commonest English classics. A
few garish annuals on the table, a few pictorial monstrosities, to-
gether with the stock religious books of his “persuasion,” and
that is all! No range of poets, no essayists, no selection of histo-
rians, no travels 0r biographies, no select fictions, or curious legend-
ary lore; but, then, the walls have paper on which cost three
dollars a roll, and the floors have carpets that cost four dollars a
yard! Books are the windows through which the soul looks out.

, A house without books is like a room without windows. No man
has a right to bring up his children without surrounding them
with books, if he has the means to buy them. It is a wrong to his
family. He cheats them ! Children learn to read by being in the
presence of books. The love of knowledge comes with reading

78 HOLLY’S COUNTRY SEATS.

and grows upon it. And the love of knowledge, in a young mind,
is almost a warrant against the inferior excitement of passions and
Vices.

“ Let us pity these poor rich men who live barrenly in great,
bookless houses! Let us congratulate the poor that, in our day,
books are so cheap that a man may every year add a hundred
volumes to his library for the price of what his tobacco and his
beer would cost him. Amng the earliest ambitions to be excited
in clerks, workmen, journeymen, and, indeed, among all that are
struggling up in life from nothing to something, is that of owning,
and constantly adding to, a library of good books. A little library
growing larger every year is an honorable part of a young man’s
history. It is a man’s duty to have books. A library is not a
luxury, but one of the necessaries of life.”

Eyfz'maz‘c.—This design was estimated to cost in stone, $4,000.

 

 

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DESIGN No.12.

FIRST FLOOR PLAN. SECOND FLOOR PLAN-
]. Veranda. 9. Back Stairs.
2. Hall, 20 x 22. 1.0. Main Stairs.
3. Library, 17 x 20. 11. Hall.
4. Dining Room, 17 X 25. 12. Closet.
5. Butler’s Pantry. 13. Bath Room.
6. Kitchen, 16 x 20. 14. Chamber, 17X 20.
7. Closet. 15. Do. 17 x 25.
8. Passage. 16. Do. 15 x 20.
9. Back Stairs.

PROPOSED ADDITIONS.

(1. Drawing Room, 17 x 25. (Z. Veranda.
b. Passage. e. Chamber, 17 x 25.
c. Boudoir, 13 x 14. f. Do. 13 X 17.

HAVIXG shown in the preceding chapter how a small cottage
or country seat, complete in itself, may contain as many elements
of artistic beauty, and in every respect be quite as respectable as
a more extensive mansion, we would now endeavor to explain how
such a cottage may be built with reference to capacities for future
enlargement and more ambitious proportions.

Though people sometimes make the apparent mistake of build-
ing too large for their present uses, much more frequently they
commit the greater error of building without reference to any pos-

 

80 HOLLY’S COUNTRY SEATS.

sible or probable increase of means and necessities. In time it
often becomes essential to enlarge household accommodations, and
then occur all those difficulties of alteration so often alluded to in
this work, unless the dwelling was originally designed with refer-
ence to such probable alterations. Now, in order to prove that
architecture can accommodate itself gracefully and easily to such
changing conditions of life, provided the necessity for such accom-
modation is understood at the outset, we propose to arrange a
plan which shall be such as to necessitate the immediate execution
of only a part, but that part complete in itself, both inside and out.

By referring to the plan, it will be observed that, though ex—
tensive, only the dark portion is included in our perspective view,
which comprises a house about equal, in capacity and accommo-
dation, to the preceding design. The entrance hall, which is large
enough to serve as a sitting room for the cottage, becomes a fitting
appliance for the more stately extent of the future niansionf“

Now this is a complete cottage in itself, without the present
necessity of any additions or alterations. But should the owner,
at any future time, desire to enlarge, he can readily add the light
portion of the plan, without interfering with the present structure.
For a view of its external appearance, when enlarged, we refer the
reader to Design No. 20, where it will be observed the additions
blend and harmonize with the group, so that our simple country
seat has grown naturally into nobler state, and assumed the air and
dignity of a mansion. All of which shows the advantages of care-
ful bringing up in young cottages.

There is no more frequent remark made by those who have
built country hous as, that “ It has cost me much more than I in-
tended expending.” This tends to dissuade people from building,
and they take refuge in the proverb: “Fools build houses and

* For further description of the interior, see Design No. 20.

HOLLY’S COUNTRY SEATS. 81

wise men live in them.” Why is it that so many shrewd business
men are deceived in building? Why is it that a man having esti-
mated an expenditure of $7,000, finds his completed residence to
have cost $10,000, or even more? A satisfactory answer to this
question may seem an arduous task, but we are confident it can
be explained so as to be comprehended by all. When a man has
an intention of building, he begins to “count the cost,” and de-
cides how much he will expend: he then sketches his idea of the
general arrangement and the amount of accommodation necessary
for his family, and he settles himself down to the belief that these
ideas must be carried out at his original suppositions regarding the
expense. In his calculation he relies, perhaps, on the “judgment”
of a friend who has built, or on rude comparison with a neighbor’s
house, but undertakes to make no detailed estimate of the nef
cessary number of feet of lumber, of the squares of roofing, yards
of plastering, or the number of doors, windows, stairs, mantles,
grates, or closets, none of the amount of stone and brick work,
none of the painting, carting, grading, draining; he has thought
nothing of the number of days’ labor that will be necessary, of the
price per day, of the outbuildings, wells, and cisterns, or of the task
of preparing the grounds on which to build: of the actual expense
of all these he has not the least idea, and the only wonder is that
in his “rough guess” he has not been even more mistaken. With
these mature ideas he goes to his builder as to an expert, to see
what all will really cost, when, to his astonishment, he discovers
that even a builder cannot supply him with the desired figures
until complete plans and specifications have been prepared and
thorough estimates made on them. He, perhaps, then leaves the
builder in disgust, and has final recourse to the architect, who he
finds unwilling to commit himself to any statement of amounts

until drawings and estimates are made in a proper manner. The
13

82 HOLLY’S COUNTRY SEATS.

necessary papers are consequently ordered, and, when returned, he
is surprised that the estimates exceed very considerably his pro-
posed expenditure. When time and labor have thus been thrown
away, he appeals, at last, to his architect to suit the plan to the
price; and then he has a melancholy vision of the slow departure,
under those unsparing hands, of many a little household comfort
or luxury which he had permitted himself to cherish in his imagi-
nation, when laboring under his melancholy delusion of costs.

An intelligent understanding established in the outset between
his means and his desires would have spared him much disappoint-
ment.

There is a simple rule which sometimes enables one to approxi- ‘
mate the cost of the house he intends to build. It is to find a
house of the general character and finish of that proposed; to
calculate the number of cubic feet it contains from the basement
floor to the top of the roof; to divide the cost of the building by
the number of feet it contains, which, of course, gives the cost per
foot. Reduce your proposed house to cubic feet, and multiply by
the same price per foot. This will give you about the cost of your
house, unless youshould decide on a greater expense in finish.
This rule, however, is a very uncertain one; it should be applied
cautiously, and not too much confidence placed in its revelations.

E8t£772,ate.—This design would cost, in stone, about $5,500, and
the additions about $3,500.

 

 

 

 

 

 

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DESIGN NO) 13.

FIRST FLOOR PLAN. SECOND FLOOR PLAN.

1. Veranda. 17. Rotunda, 10 x 10.
2. Vestibule. 18. Chamber, 15 x 18.
3. Rotunda, 10 x 10. 19. Do. 15 X 16.
4. Parlor, 15 x 18. 20, Do. 8 x 10.
5. Drawing Room, 15 X 20- 21. Do. 15 x 16.
6. Veranda. 22. Do. 15 x 18.
7. Closet. 23. Linen Closet.

8. Veranda. 24. Bath Room.

9. Laundry, 12 x 16. 25. Chamber, 12 X 16.
10. Milk Room, 10 X 12.

11. Kitchen, 16 x 20.

12. Veranda.

13. Back Hall.

14. Dining Room, 15 x 18.

15. Library, 15 x 18.

16. Staircase.

THIS design represents another square building, containing all
the advantages claimed for that form, yet so peculiarly arranged
as to give, both Within and without, a marked novelty and indi-
viduality of expression. The veranda-roof, over the front door-
steps, projects so as to break the great length of cornice, and might
be made to combine utility with ornament, by allowing the steps

84 1 IIOLLY’S COUNTRY SEATS.

to recede, which would afford ample shelter in alighting from
carriages.

The tesselated vestibule is well lighted by stained glass sashes
on either side the door. This vestibule contains two spacious
closets for hats, coats, umbrellas, &c. The side opposite the en-
trance is spanned by an arch separating the outer from an inner
vestibule, adorned with niches for statues on both sides. From
this an ornamental ground-glass door gives access to a rotunda of
large dimensions, occupying the centre of the house, and extending
to the roof, where a stained glass skylight admits a pleasant,
modulated light, more grateful in such an apartment than the
white light of noon.

In this octagonal hall there are six doors symmetrically ar-
ranged, each of which opens into a separate room. Turning to the
left, we enter by one of these doors a bay, occupying the centre
of one side of a small parlor. Within this bay the door is balanced
by a small statuary niche. The parlor opens into a large drawing
room, through an arch supported by columns, affording a cheerful
vista, closed by a fireplace which is studied so as to form one com-
position with two small fianking windows.

The form of the drawing room is octagonal; one side of which
is occupied by a large bay window. In the four corners of this
room are shown small niches for statues.

This room, like the small parlor, communicates directly with
the rotunda, and by the two doors on the opposite side of the ro-
tunda we may enter the library and dining room ; the former of
which has a similar arrangement in plan to the parlor, except that
the chimney occupies the place of the arch. The dining room
nearly corresponds in shape and disposition to the drawing room
opposite, with the same exception in regard to the fireplace, and
with the omission of the bay window. This room communicates

HOLLY’S COUNTRY SEATS. 85

with the kitchen through a rear entry, which also serves the pur-
pose of a butler’s pantry, and prevents the smells from the kitchen
pervading the rest of the house. Another pantry will be ob-
served, connected with the kitchen and corresponding with this
entry. On the opposite side, the kitchen has a store or milk room,
and a spacious laundry. In this arrangement there is no provision
for back or private stairs; but the principal staircase is so shut off
from the main body of the house, and communicates so directly
with the apartments of the family and of the domestics, as to be
equally accessible to both, without trespass on either hand.

Ascending the stairs, before we arrive at the top, we reach a
landing afl’ording access to a linen closet, bath and bedroom, the
latter of which is provided with a commodious and well-lighted
dressing room. Continuing the ascent, we come to the main por-
tion of the second floor, and again enter the rotunda by a gallery
(accidentally omitted in the drawing), which passes around it,
communicating by doors with the five surrounding bedrooms.
These bedrooms are amply supplied with closets and fireplaces,
and are well lighted. This main stairway ascends to the attic, and
is provided with a skylight. By the peculiar construction of the
roof, good apartments are secured in the attic, for which light is
obtained from gable and dormer windows. The facilities for ven-
tilation in this design are worthy of remark, as through the well
of the staircase, and especially through the rotunda, a constant cir-
culation of air is produced throughout all the rooms. The main
portion of the house may be heated from a register placed in the
centre of the rotunda floor, under which stands the furnace.

From the number of niches shown throughout the house, we
are induced to give a short extract from VVightwick’s “Palace of
Architecture,” which may serve to show what appropriate parts

86 IIOLLY’S COUNTRY SEATS.

statuary and other works of art may be made to play in the duties
of hospitality and entertainment.

“The portico receives you with a readiness symbolized in the
statues of Invitation and Greeting, which occupy the niches on
each side of the door.

“ In the two arched recesses, on either side the entrance-lobby,
are figures typifying Welcome and Hospitality; while the vestibule
is dignified by the presence of others, representing the Seasons, to
indicate that we keep open house the whole year, and shall, at all
times, be happy to see you.

“ On the landing of the staircase are the statues of Fidelity and
Protection, to intimate that you may confide in our truth and
sleep in safety.

“The breakfast room is hung with a series of drawings by our
eminent water-color artist, bright, fresh, and crisp, as the morning
of Youth.

“From above the book cases, around our library, look down
the intelligent countenances of the literary great,——either beaming
with poetic thought, or grave with philosophic reflection,——and in-
dicating the character of the works respectively ranged beneath
them. The sculptured group at the end of the room represents 2
boy rising from his completed studies, unconsciously to experience
those pure emotions of the heart, which form the Episode betwixt
youth and manhood.

“ In one of the chambers of the tower is the only antique
treasure we possess, a sequel to the group last 1nentioned,——that
statue, unimprovable, which ‘enchants the world,’———thel’fcnus (76
film] 501's.

“ The comminglcd pursuits of the drawing room are represented
by the poetry of History, the harmony of Landscape, the elo~
quence of gentle Portrait, and the charming varieties of Art reprea

HOLLY’S COUNTRY SEATS. 8-7

senting Art, as in the architectural pictures of Claude and Cana-
letti. The picture over the fireplace illustrates the beauty of Noon
and the matured graces of Manhood.

“ Upon the walls of the dining room glow the symbols of Fes-
tivity, and the rich tints of the fruit-piece, with its crystal vessels,
and the citron wreathing its golden coil around the goblet’s silver
stem. The principal picture represents Age, in its decline, enjoy-
ing, with cheerful gratitude, the bread of its early industry.

“Connected with the dining room is the Conservatory, redolent
with softest fragrance, and radiant with perfect beauty—an
asylum for the gentler of Nature’s offspring—yielding a corrective
to the Sensual, who would deem purity insipid, and gently re-
proving the Sanctimonious, who would regard external splendor as
unholy. From indulging in the charms of nature’s loveliness, you
will next turn to the adoration of nature’s GOD in our Chapel,
where, over the altar, is seen the ‘Man of Sorrows,’ the ECCE
H0310 of Guercino! The marble group of Praise, Waeznksgz'ving,
and Prayer, and the statue of St. Paul, are evidences of the skill
and exalted feeling of the modern British Sculptor: and We shall
here anticipate your surprise, at finding in our mansion only one
specimen of the Antique, and so few works by the ‘old masters.’
Pardon us, then, for refusing to employ our private suite of apart-
ments as a Museum of Miscellaneous Art. 'It has been our aim to
make Painting and Sculpture coéperate with Architecture in the
completion of a perfect whole, expressive of that character and of
those affections which we desire to cultivate ; and as involving an
uncompromising esteem for fitness, with an especial sympathy for
eom‘empomry good and beauty.”

Estimate—This design could be built for about $6,000.

 

 

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DESIGN NO. 14:.

FIRST FLOOR PLAN. SECOND FLOOR PLAN.

]. Veranda. 17. Hall.

2. Hall. 18. Chamber, 7 X 10.
3. Library, 15 x 15. 19. Do. 15 x 15.
4. Balcony or Terrace. 20. Servants” Staircase.
5. Servants’ Staircase. 21. Chamber, 17 x 19.
6. Butler‘s Pantry. ‘ 22. D0. 16 x 16.
7. Veranda. 23. Dressing Room.

8. Dining Room, 17 x 19. 24. Passage.

9. Veranda. 25. Chamber, 14. x 15.,
10. Closet.

11. Veranda.

12. Drawing Room, 16 x 22.
13. Balcony.

14. Veranda.

15. Parlor, 14 x 15.

16. Balcony.

OCCASIONALLY we find sites where the views in every direction
are so pleasing that we desire to make them play their part in our
household enjoyments, and be a continual blessing in our most fre-
quented apartments. We would lose no feature of the landscape,
and consequently must occupy our entire first floor with the family
and reception rooms, while the kitchen and its oflices must ne-
cessarily be placlid below. The four sides of our house, then,

90 HOLLY’S COUNTRY SEATS

must be taken up with parlor, dining room, drawing room, and
library; and, in order that we may enjoy the Views more openly
and extensively, an ample disposition of veranda, balcony, and ob-
Servatory seems especially appropriate.

At first sight it would appear that these considerations would
be satisfied by the ordinary and vulgar arrangement of" a square
house, with a hall through the middle, a veranda all around, and
an observatory on top. This is the pure and simple expression of
what is called 802(7ch judgment in the matter, and as such it is en-
titled to respect. We only regret that this respect is accorded to
such an extent that our country is filled with houses after this
pattern, only varying in some minor point of detail, according to
the whim of the builder. We propose, however, to prove that
good taste, while according with sound judgment, meets the exi-
gencies we have described more ‘fully than this conventional pat-
tern does, and obtains besides a work of beauty and grace. In
short, we have here an emphatic repetition of the old and honor-
able architectural truth, that beauty and utility are never neces-
sarily in discord one with the other. Let the reader judge for
himself how far this is accomplished in the accompanying design.

It will be readily seen from the elevation, instead of proposing
a square habitable box, we have indulged in some irregularity of
outline and picturesqucness of feature, in our 6 esign. The practi-
cal advantage arising from this irregularity is, that each room com-
mands a prospect in three distinct directions, without the aid of
bays; all the windows open to the floor and give access to an outer
platform, which, instead of being treated as a veranda, surrounding
the house in the usual way, thereby darkening the rooms and dis-
turbing the grand outlines, so that the house itself becomes second
my to its adjuncts, is managed as part balcony or terrace, protected
by a bracketed canopy, and part veranda or porch, with the cus—

HOLLY’S COUNTRY SEATS. 91

tomary posts. This arrangement gives pleasing variety to the
design, admits much more light into the principal apartments, and
allows the outlines of the house to be prominently visible, from
foundation to roof, at the corner“.

The interior of this house is simple and convenient. The
drawing room, which is of good size, connects with a less ambitious
parlor by sliding doors. Directly opposite the drawing room is
the library. This is in the most retired part of the house, adjoin-
ing no other room, and being central yet quiet. The dining room
has an entrance from the main hall for family use, and also com-
municates with the private entry, where are the back stairs, which
lead from basement to attic for the servants’ accommodation.
The form of this room is octagonal, one end being occupied by a
three-sided bay, and the other made to correspond by cutting off
the angles, thus producing a pri *ate passage, a pantry, and a china
closet.

It may be asked where are the places for furniture, and more
especially for a sideboard in this apartment 2 The window at the
end opposite the entrance door is elevated above the rest, giving
room for a sideboard to be placed under it, and is of an oval form
composed of one sheet of plate glass like a mirror. The upper
part of this sideboard should be made to form a frame for this
window, so that the window will appear to be a part of the side-
board, and that a part of the room.

The peculiar arrangement of a window over the chi111ney-piece
in the small parlor will be observed. This, though novel in our
country, is quite common in Europe, and is often introduced with
a happy effect. The mantlepiece, as usual, surmounts the fire-
place, and the window frame above is gilt or otherwise treated
like the frame of 21 looking glass, and is filled with a single sheet
of plate glass. Such a contrivance produces an agreeable surprise,

92 IIOLLY’S COUNTRY SEATS.

and enables persons sitting at the hearth to command a View of
the scenery without, as if painted in a landscape by more than
human art. But even this is attended by some objections unless
guarded by another contrivance of equal ingenuity. It is objec-
tionable when the sun is in such a quarter as to shine through it
upon a person reading at the fire. This difficulty may be ob-
viated by furnishing the window with a sliding shutter, which will
answer the double purpose of security against burglars and a pro-
tection from an excess of light. Let the inside of this shutter be
occupied by a landscape: then when closed it will have precisely
the appearance of a finely framed picture hung over the mantle-
piece. A mirror is sometimes used to play the same part. The
fines of the chimney of course pass on either side the window, and
operate quite as effectually as under the usual circumstances.

But let us turn from these pleasing fancies to the more practi-
cal subject of halls and bedrooms. The entrance hall, which is of
good width, has placed in it, for the sake of economy, the main
stairway, but it may be separated from the hall, if deemed desir~
able, by glass doo's, thus obtaining a large, square, unoccupied
vestibule. The chambers above are large and commodious; one
having a dressing room, with two closets, where might be placed
a bath room. Each of the other bedrooms is well supplied with
closets, and the places for furniture are carefully studied.

A tower might be run up, with advantage, over the back
stairs, but, anxious to show the reader hox ' an observatory may be
placed in the middle of the roof with good effect, the design has
been arranged as shown.

Estimate—This design, in wood, may be built for $6,000.

 

 

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DESIGN N9 l5.

 

Print by H. “wall“, 88, William 5:. N.Y

DESIGN NO. 15.

ans design, which has an interior arrangement similar to that
of No. 9, in the candor and simplicity with which it expresses the
plan on which it is built, in the picturesque breaking of its sky-
lines, with gables, hips, crests, and chimneys, its fair acknowledg-
ment of all constructive obligations, and in its freedom from the
cockney frippery of pretence, may serve as a fair illustration of the
progress which American rural architecture has made since its
days of Puritan plainness. But few specimens are now left of the
. real Puritan architecture of “the good old Colony times” in New
England, or of the old stone revolutionary Dutch farm houses on
the Hudson, or of the plantation houses of Maryland and Virginia,
built by the first settlers with imported bricks. There is an old-
world expression about these venerable buildings which recom-
mend them to our interest as historical reminiscences. And it
must be confessed that there is a truth and solidity about their
construction which we look for in vain in the architecture of a later
day. Undoubtedly they fairly express the solid energy, determi-
nation, and great-heartedness of the founders of a new empire in
the wilderness. The straightforward respectability and honorable
pride of the old Governors, are strongly imprinted upon their man-
sions. These are reproductions of the contemporary architecture
of the mother country, England or Holland, so far as the limited

94. IIOLLY’S COUNTRY SEATS.

resources of a new country could reproduce it. The prosperity of
the next generation, however, was too great and too rapid to pre-
serve inviolate this marked self-respect and simplicity in architec-
ture, and soon pretentious display, without the refinement of edu-
cation, became the aim, finally settling into an era of domesticated
Grreek temples and immense classic porticos in wood. The true
refinement of the colonial aristocracy, the hearty hospitality of the
gentleman of the old school, seem to have been overwhelmed by
the pretentious show and glitter of a society whose “ new-crowned
stamp of honor was scarce current,” and which naturally in archi-
tecture developed a fever for base imitation, which it is one of the
special objects of this work to reprehend and criticise. Apropos
to this, our readers will, perhaps, remember that in Coleridge’s
narrative of the “Devil’s \Valk ” it is related how
“ He saw a cottage with a double coach-house,
A cottage of gentility;
And the devil did grin, for his darling sin
Is pride that apes humility.”

The possession of wealth by the ignorant does not generally
bring with it an immediate, refining influence. The plain, honest
man, who by integrity and enterprise has won for himself and
family a respectable name and an ample fortune, has, in the pursuit
of these ends, also acquired certain habits of thought and life more
honest and practical, than refined and elegant. He leans rather
tox and the useful than the beautiful, as is natural with those who
have had a hard struggle with the world. In the latter part of
the last century and early part of the present, when our country
was yet young, were the working Jag/S of our people, and, so far as
regards art, therefore, it was truly an. iron age. The associations
of wealth, with less occupation of actual labor and more attention
to the amenities of life, necessarily lead to advanced ideas of edu-

HOLLY’S COUNTRY SEATS. 9 5

cation and personal accomplishments, and thus the children are by
one degree near to the refinement of the highest civilization. But
early education and the force of early habits cannot be quite for-
gotten. Blood cannot be purified so soon. Yet a desire for
knowledge, an ambition for improvement, has sprung up, and this
stage of our part we may (to continue our figure) call the silver
age. And so in the third age, the golden, we may expect to dis-
cover a higher tone, a more polished state of societ 7; a culture
observable, not onlyin manners and habits, but in the surroundings
of life, in its elegancies no less than comforts, and in the nearer
and more effectual union of the useful with the beautiful, the per-
fection of which is the acme of true refinement.

We may fairly suppose that 0111’ people are entering this new
degree of civilization, and that their minds are beginning to cher-
ish a national taste, made up of all the good points of the ruder
eras of their history, combining the practical common sense and
utility of the first with the ambition of the second, and the whole
softened by the refinement of the third, Therefore, it is fitting for
us to ascertain whether we are taking our proper position, nation-
ally, in the world as lovers of art; whether we are assuming the
insignia of progress; whether, for instance, government is found-
ing national galleries of statuary and painting, collecting objects of
art from the Old world, and encouraging our own artists at home.

All this is not so foreign to our subject as may at first be
thought. No one art can be entirely separated from the others,
as the same aesthetic principles run through all. He who has culti-
vated a love for one branch of art, must have some sympathy for,
and appreciation of, every other. No man can be a true lover of
painting or sculpture, and not find pleasure in beholding the
triumph of the sister art of architecture. Taking this as an index
of popular artistic culture, we think we have reason to congratulate

96 HOLLY’S COUNTRY SEATS.

our readers on the happy prospects before us, as certainly of late
years there has been evinced an increasing interest in architecture,
both publicly and privately. During the last ten years our advance
has been rapid and certain, and full of promise. Our public build-
ings at the National Capital compare favorably with similar build-
ings in other countries: our State Capitols, many of them, are well
worthy of the important position they occupy; and generally our
religious, municipal, and, indeed, all our public buildings, show
that a great degree of interest in this subject has been aroused.
And this interest bears its inevitable fruits.

With reference to rural architecture, the question may be asked,
Why, especially in the vicinity of Boston, rural tastes seem more
highly developed than in the suburbs of New York, or why in
England are the people so unive “sally chaste and elegant in this
particular? Is it not 011 account of the examples furnished in
beautifying certain available portions of public grounds, in making
parks and commons? Does not this lead people to love rural cul-
ture and elegance, and induce them to enrich the appearance of
their own homes in the surrounding country?

It has been observed, in reference to the Central Park of New
York, that, when finished, wealthy persons will be content to live
in town, finding there the pleasures which they have been in the
habit of seeking in the country. We think, on the contrary, the
effect will be to educate a rural taste, and to create a passion where
it never before existed, for an out-of-town life. \Ve believe that,
from such impulses, in a few years the suburbs of New York will
vie with those of any other city in the world.

The vignettes represent a rustic summer house and gateway,
the former of which was built in New Jersey by A. Gerster.

Eelimaz‘e.—This design, on account of its irregularity, would
cost a trifle more than Design No. 9.

 

 

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DESIGN No.16.

FIRST FLOOR PLAN. SECOND FLOOR PLAN

1. Porch. I 17. Hall.

2. Veranda. 18. Chamber, 12 x 15.

3. Hall. 19. Do. 16 x 17.

4. Sitting Room, 16 x 19. ' 20. Do. 9 x 9

5. Balcony. 21. Do. 16 x 19.

6. Dining Room, 16 x 25. 22. Do. 16 x 20.

7. Butler‘s Pantry. 23. Dressing Room.

8. Kitchen, 16 x 16. 24. Bath Room.

9. Veranda. 25. Servants’ Bedroom, 8 x 11.
10. Wash Room. 26. Do. 8 x 18.
11. Store Room. 27. Hall.

12. Milk Room. 28. Linen Closet.

13. Passage.

14. Veranda.
15. Library, 12 x 15.

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. Drawing Room, 17 x 25.

THE accompanying villa, belonging to O. Benedict, Esq., is of
an irregular Italian character, and was built in Bethe], one of those
beautiful little towns in the interior of Connecticut,where manu-
facturing has become the chief interest of the inhabitants, and
where industry and enterprise have received their proverbial re-
ward.

98 HOLLY’S COUNTRY SEATS.

At present there are but few trees on the place, and, therefore,
verandas and canopies are resorted to for ‘shade. The house is
built of wood, the principal timbers being of pine, while the sills
are made of chestnut. The frame is filled in with,brick, and
sheathed on the outside with rough hemlock boards, before the
clapboards are put on. Generally one of these precautions isrcon-
sidered sufficient protection against the weather, but in exposed
situations, where the wind has much power, the bricks serve to
make the frame more solid, while the sheathing binds the building
together, and effectually protects the house from inclemency of the
weather. In using rough, external boarding, it is always well to
have it placed diagonally, as it thus serves the purpose of bridging
and strengthening the frame.

The interior of this house is arranged on a liberal scale. The
main hall, which is spacious, contains the stairs, which are placed
at the end to afford more room. The dining room has a niche for
the sideboard, and communicates with the kitchen through a. but-
ler’s pantry. This kitchen is provided with store, milk, and wash
rooms. The ceilings of these are lower than those of the main
house, making the rooms above, which are for servants, 011 a level
with the landing of the main stairs. The rest of the chambe‘s,
provided 011 the second floor, are furnished with closets and places
for furniture. Good bedrooms are constructed in the attic. Hot
and cold water are carried throughout the house, which is heated
by a furnace. ,

The owner has made provision for gas in all the rooms, this
being supplied from private works upon his place; such works are
now readily constructed at very moderate cost, and occupy but
little room, while their arrangement is so simple and effective as to

require but an hour’s labor, of an ordinary workman, to obtain a
1 I 7“
for tnlght s supply.

IIOLLY’S COUNTRY SEATS. 99

We would not ordinarily recommend the use of gas in a
country house, unless a supply may be had from some public
works; as too much machinery in a house of this kind, being
liable to get out of order and need repairs, frequently causes
gr lat annoyance, in consequence of difficulties arising from
the absence of mechanics. For the same reason we would not
recommend the use of steam furnaces, extensive plumbing and
similar works, unless it can be ascertained that the means for re-
pairing are at hand. Gas, too, is not so indispensable an article as
many of our countrymen might suppose. In the large cities of
Europe it is excluded, in a great measure, from private houses, and
in the palaces and dwellings of the nobility it is never introduced
except for inferior purposes. During the visit of the Prince of
\Vales to this country it was the express stipulation of the Queen
that no gas should be used in any of his apartments. At fashion-
able parties in our cities it is often superseded by wax candles.

The reasons for this prejudice are various. It is said, in the
first place, to have an injurious effect upon the hair, eyes, and com-
plexion; secondly, it is deemed plebeian in Paris, as there it is more
or less associated with cafes and places of public amusement. A
final and more potential reason is, that its intensity has not a favor-
able efi’ect upon the delicate colors and shades of ladies’ dresses,
and we would say, confidentially, of course, that the injurious
effect produced on the expression of their eyes, by the contraction
of the pupil, may be avoided, without resort to belladonna, by
shunning gaslight, and using some gentler means of obtaining
artificial illuminations.

Este'nzaz‘a—The estimates on this building were $7,000.

 

 

 

Paul Srhulxa dnl

DESIGN N0. l7.

 

 

 

 

 

 

 

 

 

 

 

 

DESIGN NO. 17.

FIRST FLOOR PLAN. SECOND FLOOR PLAN.
1. Terrace. 10. Hall.
2. Hall, 13 x 15. 11. Chamber, 15 X 15.
3. Dining Room, 14 x 17. 12. D0. 15 x 20.
4. Staircase Hall. 13. D0. 9 x 11.
5. Terrace. 14. Linen Closet.
6. Library, 15 x 15. 15. Bath Room.
7. Drawing Room, 15 x 20. 16. Balcony.
8. Cabinet, 8 x 9.
9. Balcony.

THERE are several marked features about this design, Which,
we think, should recommend it to the attention of our readers)
It possesses, in the first place, the advantage of a decidedly pictur-
esque and irregular outline, Without the usual complicated and
expensive roofs which are generally considered essential to obtain
the same result, and Which, if not properly constructed, are liable
to need frequent repairs, and to form lodging places for snow and
ice a very material objection, considering the length and severity
of our northern Winters. It is not meant by this that irregular
roofs are necessarily subject to such inconveniences, but simply
that roofs of this description have not generally sufficient attention
given them in design to avoid these danger“. Irregular roofs are

 

often taken from foreign examples, which are not exposed to the

102 ‘ IIOLLY’S COUNTRY SEATS.

~

same contingencies of weather, and so not unfrequently indulge in
valleys and reentering angles, which, reproduced in our climate, are
fatal to the tightness of the roof. Yet, if properly managed, irreg-
ular roofs may act better to shed the heavy falls of snow, than
many of the more flat examples, which are perfectly plain and
regular.

Another feature in this design is a saving of the expense of
verandas by the adoption of balconies and terraces in their stead.
These extend around the principal rooms both on the first and
second stories, those in the latter position serving as a protection
for the terraces below, and are themselves sheltered by the pro-
jection of the main roof of the building. The expense of a finished
underpinning is also avoided by heaping the earth around the
house, in the manner of a terrace, up to the first-story beams,
leaving openings for window views, and keeping the cellar warm
and dry. By this contrivance the house has what most buildings
seem to lack, a base or firm footing upon the ground. It seems to
afford a closer connection between the earth and the building,
giving the architecture more the appearance of growing out of
nature and being its offspring, than of being the handiwork of
man, and placed by him formally upon its lap.

This house may be used as a cottage orné. The entrance is ap-
proached by steps, forming a part of the terrace. \Ve enter at
once the main hall, which, unobstructed by stairs, may be occupied
as a spacious sitting room. The dining room is entered on the
right of this hall, through an arched alcove. The position of the
windows, doors, and fireplace in this room, is carefully studied to
give symmetry. Access is obtained directly from the dining
room into the staircase hall, which may be approached with equal
facility from the rear of the building and from the entrance hall.
The stairway thus treated has its several advantages: from its

HOLLY’S COUNTRY SEATS. 103

privacy it obviates the necessity of a servants’ staircase, and is in
direct communication with the basement, kitchen, dining room,
outside entrance, second story, and attic. The library is a large
room with broad, unbroken walls on either side for books, a fire-
place in front and one large window in the rear, thus preventing
cross light and giving the occupant, when seated before the fire,
the light upon his book rather than in his eyes. The drawing
room, which is on the left, has a small cabinet attached. The
chamber-floor is divided into commodious rooms provided with
closets, a bath room, and linen closet.

But this design, with some slight alterations, would more appro-
priately serve the purpose of a double lodge, accompanying a man-
sion, the first floor being occupied by the farmer, or, perhaps, the
lodge keeper, and the second by the gardener, who would approach
his apartments by the balcony staircase. Should the gardener re-
side elsewhere on the place, this second story might be fitted up as
a billiard room, the floor being well deafened to prevent disturbing
the family below.

These internal arrangements are susceptible of easy alteration
to suit such fancies, and any clever architect can readily adapt the
building to serve any of these purposes.

Es-z‘imm‘a—This house, if plainly built, would cost about
$3,500. '

:1. w}

 

 

DESIGN No.18.

IT is usual with persons about purchasing a country residence,
to desire to find a place where “improvements,” as they are called,
have already been made, where the outbuildings have been
erected, and the trees have attained a considerable size. The
house may not be exactly equal to their requirements, and it is
vainly imagined that by adding a wing here and a bay window
there, with some alteration of doors, the patching of a few leaks,
and the aid of new paint and paper, it may be made to answer all
the purposes required. The alterations are hardly begun before
the owner finds that, instead of a few patches in the roof, it is so
far gone as to demand an entirely new one. In remodelling the
rooms, the old work does not at all correspond with the new, and
some of it is so far decayed as to be actually unworthy the house.
The style of the house, too, is out of keeping, and so many and
constant are the suggested alterations, that an entire renovation is
needed. After repeated attempts to make the old work match
the new, the building is, with protracted difficulties, completed,
though in a most unsatisfactory manner. The house, even as
renovated, contains so many disadvantages that we are reminded
of the proverbial impropriety of putting new wine in old bottles;
and when it is too late, the owner begins the old story of wishing -

he had followed the advice of his architect and abandoned at the
16

106 HOLLY’S COUNTRY SEATS.

outset the idea of altering, since, with the same expense, he might
have had an entirely new house, and one completely satisfactory.
In the grounds, too, perhaps, from which he had anticipated so
much pleasure, he often finds himself disappointed, as, after some
experience, he discovers that they in no part accord with modern
taste in landscape gardening. The land has been cleared of its
natural growth of oak and chestnut, which so nobly adorned it, to
make room for formal rows of fruit trees.

The vignette at the left will serve as an example of the abor-
tions we so often find disfiguring the most beautiful sites through-
out our land. It was built as a public boarding house, and is
situated on one of those charming points, so much admired, on the
north side of Long Island Sound, just east of the village of Stam-
ford, Conn, and notwithstanding its unattractive appearance, its
delightful location made it a favorite summer resort for families
from town.

It has recently been purchased by John Howland, Esq., of
New York. It was a matter of some doubt, in the mind of this
gentleman, what disposition to make of the building, as it was too
large for a farm house and inferior as a dwelling. It was finally
determined to attempt to convert it into a respectable country
seat, and the accompanying design was prepared for that purpose,
with what success the reader must decide for himself.

The ceilings were much too low. This difficulty we were en-
abled to overcome, on the first story, by proposing to raise the
house bodily above the foundations, leaving the floor in its present
position and filling up below. The attic beams were raised to give
greater height to the second story. The rooms were too small,
and the main stairs obstructed the hall, but by altering some par-
titions the rooms were readily enlarged, and the stairs were re-
moved to an alcove in the hall. The design, on completion, was

HOLLY’S COUNTRY SEATS. 107

submitted to the owner, who, though he confessed himself satisfied
at the result, rather than alter at so great an expense, wisely con-
cluded to convert the structure into a farm house, with few alter-
ations, and to build a new residence 011 a choice site, which should,
in every particular, accord with his own ideas and wants.

The vignette at the right represents a summer house and ice
house combined. It was designed for Mr. Howland, in accordance
with the following suggestions of Mr. B. S. Carpenter, in “The
Rural New Yorker: ’7

“The perfect success which I met in keeping ice last summer, I
think, is owing largely to a new principle involved in the building;
therefore I speak of the plan for the consideration of those who are
about to build for that purpose. Instead of one hollow wall for a
non-conductor of heat, as in ordinary ice houses, I have two, with
a space between them for confined air. The site is on a gravel
slope. The foundation, for convenience in storing ice, is dug two
feet below the surface of the ground. The outside wall for 11011-
conducting material is six inches in the clear. The inside walls
are four inches, with space for confined air of four inches. The
doors for entrance correspond perfectly with the hollow walls in
thickness, and are filled in the same manner—being shaped to shut
with a bevel edge, like the doors to safes used by merchants and
banker". At the lower side of the plates is a ceiling, upon which
I put spent tan one foot thick, which tan is in direct connection
with the side walls, so that any settling in the walls may be sup-
plied from overhead. From the under side of the ceiling runs a
ventilator, with a hole of one and a half inch bore, up through the
roof, and is finished with an ornamental cap.

“The room for ice is eight by ten feet in the clear, and eight
feet high. “Tithout a more minute description, I think the build-
ing will be understood. If not, inquire further, any who wish to

108 HOLLY’S COUNTRY SEATS.

do so. About all the Waste of ice that I observed during the
summer was at the bottom; and this was so slow that we used the
ice without regard to economy, for a large family, and in a dairy
of thirty-five cows, besides giving freely to our neighbors.

“ I put sticks four inches thick at the bottom to put ice on, and
also some straw about the sides as well as underneath the ice.”

 

 

   

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DESIGN N? I9.

 

 

 

 

 

 

 

 

 

 

 

 

 

29 +0

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6

DESIGN NO. 19. .

FIRST FLOOR PLAN. SECOND FLOOR PLAN.

1. Vestibule. 12. Hall.

2. Main Hall. 13. Chamber, 15 x 19.
3. Library, 15 x 21. 14. Do. 10 x 16.
4. Drawing Room, 24 x 27. 15. Alcove.

5. Wash Closet. 16. Dressing Room.

6. Butler‘s Pantry. 17. Chamber, 15 x 17.
7. Dining Room, 16 x 19. 18. Passage.

8. Study, 12 x 14. 19. Linen Closet.

9. Staircase Hall. 20. Bath Room.
10. Veranda. 21. Chamber, 16 x 19.
11. Do. 22. Dressing Room.

23. Chamber, 12 x 14.

 

Tms suburban villa was designed for Mrs. T. D. Wheeler, and
executed in Prospect street, New Haven. It is pleasantly situated
opposite the beautiful grounds belonging to the Hillhouse family.
The exterior bears an English character, bordering somewhat upon
the Tudor, but slightly Americanized by the addition of verandas.
Perhaps the English Tudor or late Gothic cottage is more readily
adapted to our houses here in America than almost any other, as
it had its growth in very nearly the same domestic exigencies which
hold good with us, and its great pliabz'lz'ty of style renders it appli-

1 10 HOLLY’S COUNTRY, SEATS.

cable to dwellings of almost any extent or peculiarity of plan.
The readiness with which its steep roofs shed the frequent rains
and snows of our climate is another cogent reason for its more gen ‘
eral adoption.

‘ This house is built of brick, with hollow walls, stueeoed on the
outside, and colored a neutral tint. This mode is somewhat con-
fined to this locality, where it is practised with considerable suc-
cess. The roof is covered with slate, from the Vermont quarries,
with the exception of a small flat or deck on top, which is covered
with tin, and used for the purpose of collecting water for the tank
in the attic. By reference to the first floor plan, the reader will
perceive that the accommodations are of a liberal character. The
main hall is entered through a spacious vestibule; this is paved
with encaustic tile, and well lighted by a window at the side.
Folding doors of plate glass give entrance into the hall. This hall
is nine feet wide by thirty-eight feet in length, and entirely unob-
structed, the stairs being placed at the side. Halls of this kind
are usually objectionable, from presenting a long and naked ap-
pearance, and being dark in the centre. These objections are,
however, here, in a great measure, remedied; the monotonous ex—
tent of the hall being broken by two arches, as indicated by dotted
lines, and additional light being obtained from the stairway at the
side. There is another exit from this hall without going to the
extreme end, which is at the left, under the main stairs, where suffi-
cient headway is obtained to admit a good-sized door. This, then,
renders that portion of the main hall beyond the staircase super-
fluous, it great economy of room is desirable, and it might be ill-
cluded in the study, making this room equal in size to the library.
The present arrangement is, however, considered far preferable for
considerations of free ventilation, for a promenade in bad weather,
and for the generous effects of ample space obtained on entering the
house.

HOLLY’S COUNTRY SEATS. 111

The two principal rooms, viz., drawing room and library, are
large, and provided with spacious bay windows. The doors en-
tering these rooms are opposite each other, and might be made
double, thus, as occasion required, throwing the suite into one
grand apartment, including the hall. The dining room is of good
size, and is connected with a large butler’s pantry, which is pro-
vided with a sink, dresser, and dumb waiter, communicating with
a similar pantry below, Opening into the kitchen. A very con-
venient addition to a dwelling of this kind is a gentleman’s wash
closet on the first floor; such an one is provided here, connecting
with the main hall, and also serving as a passage to the butler’s
pantry. The grand feature of this house, next to the hall, is, un-
doubtedly, the stairway, which occupies a large space at the left,
and is well lighted by a stained glass window. Too often, in
allowing the stairs to ascend through the hall, both features are
spoiled, the hall being cut up and its continuity destroyed, and the
stairs themselves made tiresome by their long, straight, unbroken

rise to the floor above, no landing intervening as a happy resting

place in the ascent.

The study is, perhaps, the most agreeable and attractive feature
of the house. Its chimney, it will be observed, is placed diagon-
ally in one corner of the room, while the other three are filled with
corresponding diagonal book cases. The mantel is of richly carved
black walnut, and the book cases, wainscoting, ceiling, and doors
of the room are also elaborately designed and executed in hard
wood, the whole oiled and polished. The brick fine from the fire-

,place recedes above the opening, giving space for a cabinet over
the mantel, which well balances therbook cases. These all extend
to the ceiling, and their heavy oaken cornices and bases skirt the
entire room. The furniture of the room is appropriately of carved
oak. The ow 191’ has recently enclosed with glass a portion of the

WW)".

112 HOLLY’S COUNTRY SEATS.

south veranda, opposite the study windows, for a greenhouse on a
moderate scale.

The chambers are all commodiously arranged; two of them
communicating with the bath room, and having separate dressing
rooms.» All the rooms have closets, while linen and cedar closets
are separately provided.

The plumbing is economically arranged, as, the tank, bath
room, butler’s pantry, and kitchen being directly over each other,
long lines of horizontal piping are avoided. These are, however,
unfortunately, 0n the north side of the house, where they might
be affected by frosts; but this is guarded against by their being
packed in sawdust and coming in contact with the kitchen chim-
ney. The drains are purposely made small, as by this means the
liquids run through with greater rapidity, and act effectually to
keep the drain pipes free from obstructions.

Es-tz'mazfe.—The estimates on this house were $13,000.

 

 

 

 

DESXGN

 

N9 20-

 

DESIGN NO. 20.

TIIIs design, which is an enlargement of No. 12, and whose
plan is shown on that plate, we shall now attempt to describe in
detail.

The entrance hall, as before stated, is large, and well worthy
the extent of the mansion. Its floor is composed of narrow, hard
wood boards, with a border of a different color, and a mosaic centre
around the register. The walls are wainscoted with black walnut,
and the doors and trimmings are of the same. The staircase,
which is the principal feature, is also composed wholly of this ma-
terial, and occupies the entire rear of the hall; it ascends, as we
noticed, in two flights from the right and left to the landing, and
continues thence in a single flight to the floor above. The ceiling
of this staircase is supported by carved wood ribs, which continue
across the hall and intersect with the mouldings of the front door;
these ribs are repeated elsewhere across the ceiling, forming panels,
which are ceiled with narrow oak boards, unless, for economy,
plaster should be preferred, in which case a delicate sky-blue tint
might be used with good effect. The library, which is finished in
the same appropriately grave but rich manner, has walnut book
cases extending to the ceiling, the cornices of which run around
the room. This apartment communicates with the hall by folding

doors, and, the drawing room opposite having a similar communi-
17

 

114 IIOLLY’S COUNTRY SEATS.

cation, the whole range of apartments may be thrown into one
suite when occasion requires. The drawing room is of large di-
mensions, but, instead of being finished in natural wood, has its
floor carpeted for the sake of the warmth, comfort, and color so
essential in an apartment which is the social centre and abiding
place of the household. Its ceiling and walls are painted with
brilliant tones of vermilion, cobalt, and gold, on a ground of some
delicate tint. The mantel is of Italian marble, while those in the
library and dining room are of carved walnut and oak. The latter
room, though receiving a similar finish to the hall, should be of
oak instead of walnut. In all these rooms the furniture must of
course correspond with their respective styles of architectural
treatment, the furniture of the dining room being of carved oak,
and that of the hall and library of walnut. These woods should in
no case be varnished, but oiled and polished, while the hard wood
floors should be waxed. Carpets for these floors would be entirely
out of place, but mats and rugs may be used with elegant effect.
In the drawing room, rosewood furniture, with the richest carpets
and gilded mirrors, are highly appropriate. The hall has a side
external entrance, at the entry B, which connects with the boudoir
and drawing room. The boudoir has a fireplace located diagonally
in one corner, the flue of which opens int-o the kitchen chimney.
The other corners are similarly occupied by cabinets. This is the
private room of the mistress of the house, and is in direct commu-
nication with both the family and domestic portions of the
establishment. By a slight alteration of the private stairway, a
door might be arranged connecting this room with the kitchen,
through a closet.

The kitchen, which is large, connects with the dining room
through a butler’s pantry, and is also conveniently placed with
reference to the hall, ~which, when desired, is large enough to be

HOLLY’S COUNTRY SEATS. 115

used as a breakfast or tea room. The second story contains five
chambers, a bath room, and linen closet, and in the attic are good
bedrooms.

The Vignette at the left illustrates a bit of rock work with a
rustic bridge over a brook, as executed at Central Park by A.
Gerster, showing hour picturesque the simplest natural feature may
be made. That on the right represents a boat and bathing house,
placed some distance from the shore, to secure deep water7 and
approached by a bridge. The whole is ornamentally designed,
but sufficiently strong to withstand any storm.

 

 

     

Schulze deI.

Pan.

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SIGN N

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20

DESIGN NO. 21.

 

FIRST FLOOR PLAN.

HBOJNJI-A

©m~Tc=§n

11.
12.
13.
1-1.
15.
16.
17.

. Veranda.

. Vestibule.

. Hall.

. Drawing Room, 15 x 23.

Music Room, 15 x 15.

. Library, 15 x 17.

. Veranda.

. Dining Room, 16 x 25.
. Niche for Sideboard.

. Butler‘s Pantry.

China Closet.
Private Stairs.
Veranda.

Kitchen, 15 x 21.
Kitchen Porch.
Scullery, (3 x 13.
Milk Room, 8 x 12.

SECON D FLOOR PLAN.

18.
19.
20.
21.
22.
23.
24.
25.

ootowmto
9:900:16

Hall.

Chamber, 15 x 16.
D0. 15 X 16.
Do. 9 x 15.

Balcony.

Chamber, 15 x 17.
Do. 15 x 19.

Balcony.

. Entry.

Linen Closet.

. Bath Room.
. Chamber, 10 x 15.

Do. 6 x 13.

Tins building was erected at Danbury, Conn, for A. E. Tweev
dy, Esq. The material of which it is constructed is unbaked brick,
made of concrete, and is somewhat similar to, though much more
durable than, that of the ordinary gravel or rough-cast walls,
which have so often been attempted, and nearly as often proved

failures.

 

 

118 IIOLLY’S COUNTRY sEATs.

In the interior of the country, where stone may not be readily
obtained, and brick and lumber can be transported only at great
expense, this material will be found of great advantage, as it can
be manufactured on the spot, from the loose gravel that comes from
the excavation of the cellar, provided the gravel is sharp, and free
from loam or clay. The material is then mixed in the proper pro-
portion with lime or cement, placed in moulds, and subjected to
great pressure. The bricks thus formed are carefully placed on
boards, where they remain until the mortar is set. They are then
perfectly hard and ready for use. The size of these bricks is ten
inches long, by five inches wide and four inches deep, with a hol-
low space in the centre, which prevents dampness passing through.
This latter object is also aided by the manner in which the walls
are laid, the joints being “broken,” as it is called. The hollow
space in the outside brick just covering the solid portion of the
brick behind, it is impossible for dampness to penetrate.

The manner in which these bricks are made renders them per—
fectly smooth and square. They are of a neutral gray tint, which
could not be improved as a color for the house. They require no
paint, but only an occasional coat of boiled oil, for the purpose of
better resisting the weather.

It is particularly necessary, however, that persons building
with this material should employ the most experienced workmen
for making it, since, if the proportions and method of manufacture
are not exactly understood, this brick is apt to be weak and por-
ous, and consequently to prove unsafe; but if proper precautions
are taken, actual experience has proved that it is among the cheap-
est and best materials for building. Mr. Tweedy’s house has the
interior plaster laid directly upon the brick, so that the important
items of lathing and furring are avoided in the bill of expenses,
and he assures the author that he has never discovered any damp-

HOLLY’S COUNTRY SEATS. 119

ness upon the inside walls. The woodwork of the house is nailed
directly on the brick, so that there is no occasion for introducing
the usual wooden blocks, which are liable to shrink and decay,
and thereby weaken the walls. The following letter from Mr.
Tweedy may prove interesting, as it gives his opinion in this mat.
ter, and somewhat of the history of his house :

“ DANBL’RY, May 2, 1859.
“HENRY HUDSON HOLLY, ESQ:

“ DEAR SIR: I have neglected till now writing you in answer to
yours of 18th April, in relation to what is called the Foster brick,
from which my house is built. I have the fullest confidence in
them, if they are made of the right material, and properly manufac-
tured. Ten parts of clean grit or coarse sand to one part of lime
is the mixture used for the blocks for the outside course of my
house. About five per cent. of cement was added to the above
mixture. My house is about 40 feet square, main body, two sto-
, ries and attic; walls 28 feet in height, 10 inches in thickness. The
L or kitchen part, two stories, about 20 by 24 feet. I began
building two years since, laid the walls 21 feet high, to attic floor
timbers; stopped the latter part of October; covered the tops of
the walls with boards, and left the building open and exposed
during the \Vinter and Spring of 1857 and 1858, and found the
walls all sound and solid. In May last, carried up the walls, and
completed the outside and partition walls during last Summer and
Fall; and now the building is as strong and solid as any brick can
be. Although my house may be considered an experiment here,
for one of the size—three or four smaller ones having been built
I should have the fullest
confidence in putting up a building of any size, with the experience

 

of the same material in the mean time

now had in making the bricks.

 

120 HOLLY’S COUNTRY SEATS.

“My inside plasterng is put on Without furring and lathing, on
the outside walls, and is perfectly dry and solid. It is my opinion,
with suitable arrangements for making the blocks, the saving over
ordinary clay burnt bricks will be 25 or 30 per cent. per cubic
foot in the walls. Any information in regard to the material and
building Will be cheerfully given by

“Yours, respectfully,
(Signed) “A. E. TWEEDY.”

E9ti222atc.—~The estimates on this house were 2812.500.

 

 

 

 

 

    

DESIGN N? 22.

 

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Paul Srhunza,

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CD

THIS building Was designed and executed for William R. Fos-
dicke, Esq., of Stamford, Conn, and stands on the summit of a rising

The principal object in the arrangement of this house was to

DESIGN

FIRST FLOOR PLAN.

. Carriage Porch.

. Veranda.

. Hall.

. Library, 13 x 13.

. Sitting Room, 16 X 25.
. Veranda.

. Drawing Room, 15 x 19.
. Dining Room, 15 x 26.
. Butler’s Pantry.

. Passage.

. Kitchen, 18 x 18.

-. Porch.

. Pantry.

D0.

. Passage.
. Main Staircase.

15

NO. 22.

SECOND FLOOR PLAN.

17. Main Staircase.

18. Sewing Room, 6 x 6.

19. Hall.

20. Chamber, 13 x 19.
21. Passage.

22. Chamber, 14 x 19.
23. Passage.

24. Chamber, 13 x 16..
25. Passage.

26. Chamber, 16 x 20.
27. Alcove.

28. Bath Room.

29. Water Closet.

30. Chamber, 8 x 13.
31. Servants’ Stairs.
32. Chamber, 8 x 13.

ground'north of the village, called Strawberry Hill, from which is
obtained one of the finest Views of the Sound and the surrounding
country that may be had in that Vicinity.

 

3!].

122 HOLLY’S COUNTRY SEATS.

bring all the rooms into such a position that each might have the
advantage of the View which is on the veranda side, toward the
south. The disposition of apartments on the ground floor, accord-
ingly, is such that but one of them is without this advantage.
This happens to be the dining room, which is seldom occupied for
any other than its legitimate purpose; therefore, exterior views
are of comparatively small consideration. This room might have
been made to exchange places with the kitchen, and thereby have
received the same advantage; but this would have brought the lat-
ter into too close proximity with the family apartments, and the
dining room would not have been so pleasantly situated. The
owner was also anxious to have it connect with the drawing room,
by sliding doors. For these reasons the plan resolves itself into
the present arrangement. These sliding doors, it will be remarked,
are placed 011 the broad side of the room instead of at the end,
which is the usual mode. By this plan the doors may be made
much wider, and the two broad sides of each room being thus
joined give more the appearance of a single large apartment.

The symmetrical arrangement of these rooms adds very much
to their beauty. Exactly opposite the fireplaces in each are win-
dows; the bay window in the dining room is crowned with a
Gothic arch, corresponding to similar ones over the sideboard
niche and sliding doors. The windm 's and doorheads throughout
this floor terminate in a similar manner, and the whole house, both
outside and in, has a decidedly Gothic sentiment, partaking prin-
cipally of the characteristics of the Tudor period.

The grand external feature of this house is the veranda, which
extends across the entire southern portion. This, though running
along the side of the kitchen, has no connection with it, as the
servants are provided with a spacious porch at their entrance door.
The laundry and milk room are placed in the basement, under the

HOLLY’S COUNTRY SEATS. 123

kitchen, which communicates with an area under the veranda,
making them, in fact, rooms above ground.

The furnace is placed in the centre of the cellar, and under the
main hall. This cellar is provided with a coal slide and several
bins, convenient to the furnace, for the different kinds of coal.
The milk-room doOr is constructed with panels, which may be
opened to obtain a draft from the opposite window—an essential
requisite in a room of this kind.

The cellar walls are built of twenty-inch stonework, the bot-
tom being composed of large flags projecting six inches on either
side, and laid in concrete. This footing course serves a double
purpose: as a base for the stonework, preventing the building
from settling, and also as a safeguard from rats. It is the nature
of this animal, in getting into a house, to burrow down by the side
of the foundation walls, but, when coming in contact with a stone
or other impediment, to return and start anew rather than go
around the obstacle. This six-inch projection acts, therefore, as a
formidable barrier against the entrance of vermin. The several
floors, also, are deafened, thus not only preventing the communica-
tion of sound, but leaves no space between ceiling and floor for
rats to occupy.

In a building of this kind, outside blinds are not only out of
place, but impracticable, as the moulded lables or drips above the
windm 's would prevent them from swinging around. Inside slid—
ing or folding blinds must therefore be substituted. These are
much more convenient, as they may be opened or closed without
raising the windows, which in cold and stormy weather is objec-
tionable, and in a house with thick walls there is always sufficient
room in the window jambs for a box to receive these blinds. The
windows opening 011 the veranda are peculiar, being a combina-
tion of French and sliding sash. The difliculty of these has gen-

0

veg-r. .

124 IIOLLY’S COUNTRY SEATS.

erally been that they cannot be made sufficiently tight to exclude
the rain and cold of our northern winters, while the latter cannot
be easily made to slide up high enough to give proper headway
for passing in and out. These combine the two advantages of se-
curity and providing ample headway, the first by sliding, the sec-
ond by swinging, in the ordinary manner, when raised above the
weather sill. Another advantage possessed by these over common
swinging sashes, is that they may be opened, to admit air, without
interfering with curtains or inside blinds.

Estémata—The estimates on this house were $10,000.

 

 

‘\

 

DESIGN N9 23_

 

 

DESIGN NO. 23.

FIRST FLOOR PLAN. SECOND FLOOR PLAN
1. Porch. 17. Hall.
2. Vestibule. 18. Chamber, 17 x 17.
3. Hall. 19. Dressing Room.
4. Drawing Room, 17 x 28. ~ 20. Closet.
5. Cabinet, 9 x 9. 21. Linen Closet.
6. Music Alcove, 10 x 14. 22. Bath Room.
7. Library, 17 x 17. 23. Chamber, 12 x 17. i ’
8. Alcove, 10 x 17. 24. Alcove, 8 x 10. ’
9. Principal Staircase. 25. Closet.
10. Servants’ Staircase. 26. Chamber, 15 x 17.
11. Kitchen, 15 x 22. 27. Dressing Room.
12. Veranda. 28. Chamber, 17 x 22.
13. Butler‘s Pantry. 29. Servants’ Staircase.
14. Store Room. 30. Chamber, 15 x 22.
15. Veranda. '

16. Dining Room, 17 x 22.

THE irregularity and diversity of outline in this building are in-
tended to accord with a picturesque locality, or, by the variety of
it." Skylines, as seen above surrounding trees, to offer a pleasing i11-
dication from afar of domestic comfort and hospitality, and of an
extensive household. The plan, with the exception of the projec-
tion of the kitchen, approaches a square, thus obtaining economy

126 HOLLY’S COUNTRY SEATS.

in walls, although the general effect of the structure affords the im-
pression of an irregular plan.

The entrance, which should always be the most prominent ex-
ternal object, is here placed in the tower itself, and rendered still
more conspicuous by the large, hospitable porch, which seems to
extend a welcome even before we enter. This porch furnishes a
sort of footing for the tower, and the veranda and buttress serve as
a base for the house itself, and overcome the abruptness of for-
mal walls springing directly from the ground. The interior of the
building is arranged for comfort, combining utility with ornament-
al design. The vestibuleis large, and might have a closet for coats
taken off the cabinet 011 the left. It is separated from the main
hall by folding doors of plate glass. .The first thing that attracts
the eye, 011 entering this hall, is the beginning of the stairs, start-
ing up into a sort of L, which conceals the most of the staircase
from View, exhibiting only the ncwel and a small part of the rail;
these, if properly treated, may be made highly ornamental, giving
to the entire hall a marked character and expression. These stairs
are somewhat cut off from the main hall by an arch, represented
on the plan by dotted lines. Between this arch and vestibule are
broad sliding doors opening into the drawing room on one side
and the library on the other, thus obtaining a fine Vista through
the house.

The d 'awing room has opening from it a small cabinet, which
is often a very pretty addition. It may be used as a pri 'ate ofiice
or small reception room, and have a door opening into the vesti-
bule. At the left of this is a large music alcove or bay, separated
from the drawing room simply by an arch. The library has a sim-
ilar alcove, used for books, thus leaving the main portion unob-
structed for a sitting room. By the introduction of curtains, this
alcove might be converted into a. place for reading. The dining

HOLLY‘S COUNTRY SEATS. 127

room is symmetrical, and has a niche for a sideboard opposite
the fireplace. Its connection with the kitchen is through a spa-
cious entry, also used as a butler’s pantry, and containing a sink,
dresser, &c. This entry also communicates with a back staircase
and store room, and has an external entrance for servants. The
rear entrance for the family is at the end of the main hall, under
the staircase, where sufficient headway is obtained for a full-sized
door.

The second floor is provided with a bath and five spacious bed
rooms, all with studied places for furniture and large closets.
Two have dressing rooms, and a third is provided with an alcove
similar to that in the drawing room, from which we may enter, on
one side, the bath, 011 the other, a dressing room. Both staircases
extend to the attic, where are servants’ rooms, spare chambers, and
billiard room. 'Here, too, the observatory stairs begin. The front
of this house commands but a limited view, for which reason the
best rooms and verandas are placed in other parts of the building.

Estimate—This building, in stone, would cost about $12,000.

at» k.“ .

 

 

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DESI

 

DESIGN

FIRST FLOOR PLAN.

CDCOKTGCth-PODNDH

HHO—IHH
ewzoro

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T HIS house is designed with particular reference to durability
and facilities for warming and ventilating. N0 perishable material
The walls are built of stone ; the par-
titions, where the proper support is obtained, are of brick, and
elsewhere of galvanized lath ; the window frames are of iron, and
all the floors of cement, with a strip at the side for securing car-
pets. The roof is of slate, while the stairs and inside trimmings

is used in its construction.

. Carriage Porch.

. Vestibule.

. Hall.

. Drawing Room, 16 X 23.
. Library, 15 X 19.

. Dining Room, 23 X 16.

. Butler‘s Pantry.

. Kitchen, 16 x 20.

. Store Closet.

. Veranda.

D0.
D0.
D0.

. Scrvants’ Stairs.
. Principal Stairs.

1!)

No. 24.

SECOND FLOOR PLAN.

16. Hall.

17. Closets.

18. Chamber, 16 x 23.
19. Do. 10 x 14.
20. D0. 15 X 20.
21. Do. 15 x 16.
22. Bath Room.

23. Passage.

24. Chamber, 10 x 13.
25. Do. 12 x 16.

130 ' HOLLY’S COUNTRY SEATS.

are entirely of metal or composition. Thus the building is ren-
dered secure from the ravages of fire and from decay.

Much has already been said on the importance of ventilation,
yet there is danger of doing too much as well as too little in this
matter. The subject has become almost a monomania with some,
and it is imagined that, unless there are top and bottom injecting
and ejecting flues, arranged on scientific principles, and so compli-
cated as to keep both mind and body continually in action in the
management of them, the air must be poisonous.

Again, we see the same wild schemes in regard to heating.
The idea prevails, to a certain extent, that a hot-air furnace is, of
all things, most injurious; that the heat generated by it consumes
instantly and effectually the vital properties of the atmosphere.
Therefore, hot-air furnaces are condemned in 2‘01‘0, and steam, hot
water, and other complicated and expensive contrivances are re-
sorted to.

The fact is, that the fault is often more in the owner than in
the furnace. A man purchasing a furnace for the purpose of heat-
ing his house frequently contents himself with one of the smallest
possible size to save expense, knowing that, although the amount
of air passing through it will be small, yet, by heating that small
amount red hot, it will warm his house. Undoubtedly this object
will be effected, but no less surely will the oxygen of the air be
burnt out with such violent heat, and the lungs, habitually inhal-
ing this parched and vit-iated atmosphere, be much injured there-
by. Were he to expend a trifle more for a furnace which would
introduce a larger volume of air, moderately heated, he would find
that air as soft and pleasant as that radiated from steam or hot
water, and at the same time he would procure a saving in fuel,
and perhaps still more in doctors’ bills.

The only ad Yantagc we perceive in the steam and Yater fur-

HOLLY’S COUNTRY SEATS. 131

naces over those constructed for hot air, is the impossibility of
producing by their agency more than a certain degree of heat.
Therefore, in order to have a sufficient amount, the radiating sur-
face must be increased in proportion to the extent of space to be
warmed; while the superiority of the hot-air furnace must be evi-
dent from its greater simplicity of construction and its costing
but about one third.

“ Modern improvements” are excellent things until used in ex-
cess, and they then become more troublesome than useful. This is
especially true of ventilation; for, however complicated an arrange-
ment may be requisite in a public building for this purpose, yet,
in a dwelling, the more simple the method, the more effectually it
will act. It is perhaps difficult to say which, among so many, is
the best system, but we would suggest the following as simple
and effective.

We will suppose our house to be heated with, say, one of
Boynton’s hot-air furnaces of large dimensions, so that the fresh
air flows from it throughout the building in no way diminished in
purity, but merely changed by having the chill taken off and ren-
dered mild and delightful. \Varm air, as we are all aware, has a
tendency to rise; hence, if we place our ventilator at the ceiling,
the flow of air will be in a direct line from the register to it, and
thus only that portion of the room which lies between these points
will be either warmed or ventilated. \Vhere, then, shall the open-
ing for ventilation be 2 Placing it at the bottom of the room, the
warm air rises, as before, to the ceiling, but, finding no escape
there, it must seek a downward channel; and if now the opening
be on the opposite side from the register, all the air in the room
must be kept in motion. “Te thus obtain an atmosphere pure, and,
at all seasons, as agreeable as that of summer. It remains to de-
scribe the construction of the ventilating flue. Every room in our

132 HOLLY’S COUNTRY SEATS.

house, of course, has a fireplace, though we have obviated, in a
great measure, the necessity of fires. Here is unquestionably the
place for the ventilator, and the whole complicated mystery of suc-
cessful heating and good ventilation is solved by a large hot-air fur-
nace in the cellar and a fireplace in every room. We would also
advise, as a material assistance in the work of ventilation, a little
fire in the grate, securing, by this, a better draught, and requiring
less heat in the furnace. The old style of anthracite grates has al-
most fallen into disuse, and the English soft-coal grates are taking
their place. Soft coal is not only more cheerful, reminding us of
the good old days of wood fires, but its effect is not so drying upon
the air.

If wood or bituminous coal is used, however, the chimney flues
should be built larger, as they otherwise .are apt to become ob-
structed by soot. Finally, we would recommend the use of double
sashes in winter, by which a great deal of cold air is excluded.

Esti7izazf6.—This building, in stone, would cost about $11,500.

 

WM"; -.

F’énl S'chuiza d9]

 

DESIGN N9 25.

 

LUALLMil.__.__TL.HVH V, L ”AAJ

DESIGN NO. 25.

FIRST FLOOR PLAN. SECOND FLOOR PLAN.

1. Porch. 14. Staircase.

2. Vestibule. 15. Hall.

3. Hall. 16. Chamber, 14 x 14.
4. Library, 14 x 17. 17. Closet.

5. Staircase. 18. Chamber, 14 x 18.
6. Passage. 19. Do. 9 x 13.
7. Butler‘s Pantry. 20. D0. 15 X 20.
8. Dining Room, 14 x 18. 21. Bath Room.

9. Alcove, 12 x 13. 22. Linen Closet.
10. Coat Closet.
11. Drawing Room, 15 x 20.

12. Boudoir, 9 x 13.

13. Veranda.

A BUILDING like this, which is of the feudal or castellated style,
should be adopted only with the greatest caution, as the contrast
between modern and feudal life isso great that, without a nice
adaptation of circumstances, it may appear ridiculous to build, and
much more ridiculous to occupy, such an establishment. This
style, referred to in Chap. 1., is similar to that which existed prior
to the union of the Houses of York and Lancaster, after which
event there no longer existed any necessity for private fortifi-

cations.

134 HOLLY’S COUNTRY SEATS.

The following extract from an English writer will give the
reader some idea of an edifice of this kind:

“The situation of castles of the Anglo-Norman kings and bar-
ons was most commonly on an eminence and near a river—a situa-
tion eligible 011 several accounts. The whole site of the castle
(which was frequently of great extent and irregular figure) was
surrounded by a deep and broad ditch, sometimes filled with wa-
ter, and sometimes dry. Before the great gate was an outwork
called a barbican, which was a strong and high wall, with turrets
upon it, for the defence of the gate and drawbridge. On the in-
side of the ditch stood the wall of the castle, about ten feet thick
and twenty feet high, with battlements on top; on this wall, at
proper distances, high, square towers were built, which served for
lodging some of the principal officers, and on the outside were
erected, lodgings for the common servants or retainers, granaries,
store houses, and other necessary ofiices, and on the flat roofs of
these buildings stood the defenders of the castle, when it i 'as be-
sieged, and from thence discharged arrows, darts, and stones on
the besiegers. The great gate of the castle stood in the course of
this wall, and was strongly fortified with a tower on each side, and
rooms over the passage, which was closed with folding doors of
oak, often plated with iron, and with an iron portcullis, or gate, let
down from above. Within this outward wall was an open space,
or court, in which stood frequently a church or chapel. Here, also,
was another ditch, wall, gate, and tower, enclosing the inner
court, within which the chief tower, or keep, was built, which was
the residence of the baron. Underground were dismal, dark
*aults, for the confinement of prisoners, called the dungeon. In
this building, also, was the great hall, in which the owner dis-
played his hospitality, by entertaining his numerous friends and
tbllowers. At one end of the great hall was a place raised a little

HOLLY’S COUNTRY SEATS. 135

above the rest of the floor, called the dais, Where the chief table
stood, at which persons of the highest rank dined. Though there
were unquestionably great variations in the structure of castles and
palaces in this period, yet the most perfect and magnificent of them
seem to have been constructed on the above plan. Such, to give
an example, was the famous castle at Bedford, as appears from the
following account of the manner in which it was taken by Henry
111., A. D. 1224: ‘The castle was taken by four assaults. In the
first was taken the barbican; in the second the outer ballia, or
court ; at the third attack, the wall by the old tower was thrown
down by the miners, when, with great danger, they possessed
themselves of the inner ballia, through a Chink; at the fourth as-
sault, the miners set fire to the tower, so that the smoke burst out,
and the tower itself was cloven to that degree, as to show visibly
some broad chinks, whereupon the enemy surrendered.’ 3’

After the age of Edward 1., we find another kind of castle in-
troduced, approaching nearer to the idea of modern palaces. The
first was that of Windsor, built by Edward 111. This convenient
and enlarged style of building was soon imitated on a lesser scale by
the nobles of the realm, and two remarkable instances, wherein con-
venience and magnificence were singularly blended at this period,
may be found in the castles of Harewood and Spofford, in York-
shire. The improvements at Kenilworth afford another instance
of the great enlargement which the English castles received during
this age. Of course, a full description of these feudal residences
need not be entered into here, especially as this has already been
done by other and abler writers. For descriptions of this kind,
the reader is referred to the works of Sir \Valter Scott, and more
particularly Kenilworth and Ivanhoe.

Shortly after this period gunpowder was invented, which, in—
stead of bringing war and bloodshed into the World, proved the

136 HOLLY’S COUNTRY SEATS.

most effectual means of preventing them. The people of England,
instead of requiring castellated residences, now put their trust in
their “wooden walls,” and their fighting was done far away from
their native shores. Their private strongholds were soon in ruins,
dismantled by shot and shell; and with the dissolution of feudal-
ism, the mind of the nation soon broke the cords which had bound
it for so many centuries; a ray of light dawned, and the “dark
ages” dated among the things that were. From this time until
Tudor architecture was fully established in England, a style be-
tween the castellated and that described in No. 27 was generally
adopted for domestic dwellings, of which the accompanying design
is an attempted imitation. It will be observed that all the old
contrivances to obtain strength and seclusion are here omitted, and
comfort and convenience are substituted. The walls, for example,
are no thicker than ordinary walls, and the windows, instead of
being mere warlike loopholes, are of ample, peaceful dimensions,
and are filled with glass. Here, too, we have committed the ana-
chronism of introducing chimneys and bay windm *s, with, what is
still more unusual in castles, a porch without a portcullis, and a
veranda. All these, however foreign to the requirements of 3. cas-
tle, are yet of use to us, and whatever style we may adopt, we do
not hesitate to add to it, to the best of our ability, any improve-
ment which convenience or necessity may require. Yet all such
additions must be treated with the greatest care, lest we violate
some of the characteristics of the style.

Our site, then, for an edifice like this, must be somewhat for-
midable, and have at least the appearance of being . ble to resist a
siege. The interior we find provided with modern improvements,
and generally convenient. A door gives entrance to the vestibule
from the porch, and this conducts us to the hall. The first door at
the right opens into a coat closet ; the next communicates with the

HOLLY’S COUNTRY SEATS. 137

drawing room. This is elliptical in plan. The boudoir is a cozy
apartment, quite retired, and is furnished with a closet. The dining
room is of spacious dimensions, and has a large alcove somewhat
after the fashion of the Dais, above mentioned, separated from the
main apartment by an arch, from which curtains may be hung, thus
rendering this Dais or bay sufliciently private for a sitting or music
room. This, too, would be an admirable arrangement for tableaux
or private theatricals, or, in case of an entertainment, as a practi-
cal enlargement of the dining room. The butler’s pantry is of
good size, communicating by a dumb waiter with the kitchen be-
low. The library is octagonal, having four sides for books, while
the others are occupied by doors, windows, and fireplace. There is
but one stairway in this house, which extends from the basement
to the top of the tower, but so retired that other stairs are deemed
unnecessary. The second story contains four large bedrooms, a
linen closet and bath room, while the servants’ and store rooms are
in the attic.

Estimate—This building, in stone, would cost about $9,500.
20

 

 

 

Print, by

H.Lawrencr.,83’ wv'llram 51, N.Y.

DESIGN.

N9 26

 

Paul SChUIZB del.

DESIGN No.26.

FIRST FLOOR PLAN. SECOND FLOOR PLAN-

1. Veranda. 16. Hall.

2. ‘IIall. 17. Linen Closet.

3. Drawing Rooms, 18 x 18, and 18. Chamber, 18 x 18.

18 x 23. 19. Do. 18 x 18.

4. Veranda. 20. Do. 17 x 25.
5. Dining Room, 17 x 25. 21. Do. 8 x 10.
6. Principal Stairway. 22. Hall.

7. Servants’ Stairway. 23. Bath Room.

8. Kitchen, 19 x 22. 24. Chamber, 16 x 19.
9. Laundry, 12 x 12. 25. Do. 15 x 15.
10. Wood House, 15 x 20. 26. D0. 15 x 18.
11. Yard.
12. Gateway.
13. Privy.

14. Shed.

15. Carriage house and Stable,

15 x 28.

THERE is a passion prevalent in our cities, and the rural dis-
tricts are not Wholly exempt from it, for producing the greatest
possible sho“r With the least amount of expense. VVeare well
aware that this tendency is generally considered vulgar, and when
developed to any great degree, is doubtless open to this imputa-
tion; yet in moderation it is but the expression of a considerable

140 EIOLLY’S COUNTRY SEATS.

self-respect. In building, we think a just amount of this feeling is
. eminently laudable. ' '

As an illustration, let us suppose a small domain of some two
or three acres to have been selected, on which we propose to es-
tablish a dwelling, and all the appendages of a small country place.
With limited means, we desire to make our place as imposing in
appearance as possible, the house itself to be of moderate size, hav-
ing three rooms and a kitchen on the first floor. Now, instead of
scattering about the grounds the necessary out-buildings, let us
group them in such a manner that, taken in connection with the
house, they shall each have a value in the tout ensemble, and ap-
pear of the grand design. We thus have our wood house, shed,
carriage house, &c., together, with an enclosed yard for domestic
purposes, all apparently forming an extension of the dwelling, and
giving our humble house a very desirable degree of dignity and
importance, while the position of these subordinate appendages is
most convenient. But should we stop here, we defeat our object- ;
for nothing can be more unbecoming or pretentious than so impos-
ing an array of buildings in so small a domain. We require at
least the appearance of a tract of forty or fifty acres, to correspond
with the proportions of the building. How shall this be effected?
Shall we make the glass of our windows magnifiers? This would
do if we were always within doo ‘s, but would hardly give the
same result from without. The remedy is an easy and natural one.
Instead of enclosing your narrow park with a- formal fence, stand~
ing out in bold relief, and absolutely diminishing by one half the
apparent extent of your land, build a stone wall of barely suffi-
cient height to prevent the incursion of cattle; inside this make a
bank of earth, sloping gradually from the top of this wall to the
ground. This bank you will turf in the same manner as a lawn.
Thus the wall is entirely removed from sight, and the. adjoining

 

26.

N’-

DESVGN

27.

N
N
C
S
E
U

 

 

 

HOLLY’S COUNTRY SEATS. 141

land blends with your own, and appears as much a part and par
cel of the whole as if you owned for miles around.

Let us now proceed to a detailed description of the building
itself.

As we approach the main entrance, we pass a Wide veranda,
which communicates with the principal rooms of the ground floor.
The main hall is spacious and well lighted, and, being unobstruct-
ed by the stairs, might serve the purpose of a sitting room. The
drawing rooms are separated by sliding doors, so that one might
be used as a library. The dining room has a niche for a sideboard,
and a bay window, surrounded outside by a balcony. This room
communicates with the kitchen offices by a private entry, which
contains a stairway, dresser, butler’s sink, &c., and has an eXit
front and rear. The kitchen is of large proportions, well lighted,
and connecting with the wood house and laundry, the latter of
which is provided with large pantries and a fireplace. The wood-
house floor is lower than that of the main building, and on a level
with the yard, to give greater height for accommodation of stores.
The yard before spoken of, is for drying clothes and other domestic
purposes, and is concealed by a high wall, provided with a wide
gateway, and broken by a lofty, picturesque aviary.

The stable and carriage house, with a room for a man servant
in hay loft above, are at the extremity of the group. The advan-
tage of having these appendages thus remote from the house is
obvious.

The shed, at No. 14, we would always recommend as an ap-
pendage to every'country house; for it not only acts as a store
place and refuge for fowls, but serves the hospitable purpose of
sheltering both horse and carriage of your transient guest.

The chamber accommodations of this house are ample, as it
contains seven bed rooms, a bath room and linen closet, while ser-

142 IIOLLY’S COUNTRY SEATS.

vants’ and store rooms may be had in the attic. The kitchen
chimney is built on the outside of the house, thus serving to re-
lieve the bareness of the walls, by a pleasing external feature,
affording more room for the first and second stories, and excluding
the heat in summer.

An objection was raised in Design No. 3 to the finials and
ridge ornaments, as serving merely an aesthetical purpose, but here
this objection does not obtain, since they are of practical utility.
They are of iron, and, bristling with a decorated design, form
points for the lightning, and are connected with an ornamental con~
ductor, leading to the ground.

Est/inatte—This building, in stone, would cost about $10,500.

 

 

 

‘ ‘ DEbICN,N?

4.(: J] H L.~tru«ncy53 ‘Ndlhm '2: H Y.

DESIGN NO. 27.

FIRST FLOOR PLAN. SECOND FLOOR PLAN.
1. Carriage Porch. 14. Hall.
2. Hall, 15 x 17. 15. Bath Room.
3. Drawing Room, 21 x 26. 16. Tower Staircase.
4. Cabinet, 12 x 12. 17. Chamber, 23 x 20.
5. Library, 15 x 20. 18. Do. 16 X 20.
6. Staircase Hall. 19. Do. 15 x 20.
7. Bedroom, 16 x 20. 20. Hall.
8. Dining Room, 23 x 20. 21. Linen Closet.
9. Butler’s Pantry. 22. Chamber, 15 X 20.
10. Servants’ Staircase. 23. Do. 21 X 26.
11. Coat Closet. 24. Dressing Room, 12 X 12.
12. Veranda.
13. Do.

THE reader is now presented with a design, which may he re-
garded as approaching that of an old English seat, built on a libe-
ral scale. The style adopted is that described in Chap. 1., called
the Tudor, which was in vogue in England between the reigns of
Henry VII. and Elizabeth. This maybe considered as the first
real development of domestic architecture in England, since, pre-
vious to the union of the Houses of York and Lancaster, through
the marriage of Henry VII, the fortified castle was the only safe
place of residence for either royalty or nobility. When, after years

144 HOLLY’S COUNTRY SEATS.

of internal broils and civil discord, permanent peace was restored
to the nation, the entire mode of life was radically changed, and in-
stead of fortified dwellings, the nobility and gentry began to build
mansions more in accordance with the modern idea of domestic
comfort and elegance. Formidable barriers of rock were no longer
considered the most eligible building sites, but the shady grove,
the gentle slope of lawns and parks, the hill and river side, became
the chosen abodes of the wealth and culture of the nation. The
portcullis and drawbridge were no longer required, the massive
walls were not an imperative necessity; the loopholes gave place
to windows and bays ; ornaments of convenience and utility made
their appearance, clustering chimneys towered up to the skies;
porches and oriels adorned the walls, and the roofs were combina-
tions of battlement and gable; in short, the Tudor style was a
union of all that was beautiful in both castle and abbey.

The main entrance of this design has rather an ecclesiastical
character. The pointed roof and window of the second story is of
the style of the thirteenth century, while the flat arch of the car-
riage porch and the buttresses which stregthen the piers arc of the
fifteenth. The battlemented towers and parapets which here and
there show themselves, partake strongly of the castellated feeling,
and the bay windows, chimneys, 610., may be regarded as new fea-
tures, peculiar to the Tudor.

As we drive under the porch, which is under a portion of
the second story, we enter a broad and spacious hall, which
communicates by folding doors with the library in the rear. This
library is lighted by a triplet Gothic window, facing the folding
doors. The light coming from but one direction in rooms of
this character, is an advantage of which we have had frequent
occasion to speak. The drawing room is of good size, and con-
nects with a little cabinet used for the purpose of containing curi-

HOLLY’S COUNTRY SEATS. 145

osities, but which may be converted into a private music room.
The staircase hall is apart, and communicates with the dining room
and bedroom, and has an exit on the rear veranda. The dining
room is somewhat octagonal in form, but the fireplace and opposite
window recede, so as to give a greater length in this direction.
The butler’s pantr , which connects with the private staircase,
tower, and main stairs, contains a sink, dresser, and dumb waiter,
which communicates with the kitchen. A kitchen might be ar-
ranged on the first floor, in lieu of the bedroom, communicating
with the dining room through its present closet. A kitchen on
both floors, in a house of this size, is frequently advisable. The
private stairs, above alluded to, extend from the basement, wind-
ing through the tower, to the various stories above, and so to the
top, which is protected, as will be seen, by the battlement. This
roof is of such a height that the views from it, even on ordinary
sites, must be very extensive. After ascending the main stairs to
the second story hall, we are struck with the spacious apartments
so numerous upon this floor.

The bath room and water closet communicate with the hall,
and the plumbing of the various stories, which are supplied with
water from a tank in the attic, is economized by the exact super-
imposition of the apartments in which it is used. The billiard
room and spare chambers are arranged in the attic, where sufficient
' height of ceiling is obtained, without infringing 011 a large space
between the ceiling and roof, which is designed to prevent the di-
rect action of the weather, and to give good air for the rooms be-
low, whose ventilating shafts terminate in this space, and all pass
through an “ Emerson ventilator” above the roof.

The view given of this house is taken from a point in
front, where the verandas, which are all in the rear, are not

seen. The reason of this is, the exposure and view from the
21

146 IIOLLY’S COUNTRY SEATS.

front are not particularly desirable, while in the rear they are
peculiarly so.

The material of this house would naturally be stone; yet if

that is not of convenient acceSs, brick or stucco would not be ob-
jectionable ; but wood is not in any case adapted to this style of
architecture, as its details are designed only for masonry.
. Ivy or other vines are always appropriate for the ornamenting
of the Gothic, and add much to its picturesqueness. As the Eng
lish ivy is not a hardy plant in our country, the Virginia creeper
is often substituted with good effect. Its only disadvantage is
that it is not an evergreen; yet it leaves out early in the Spring,
and is in constant verdure until late in Autumn, when it is
changed by frost into the most gorgeous tints imaginable. The
English ivy in some localities has, even in our coldest exposures,
been made to thrive and grow vigorously, as at the residence of
the late Washington Irving, where the ivy literally covers one side
of the house.

It will be found advantageous, in cultivating this vine, to plant
it on the north side of the house, where, after it has been touched
by frost, it is not immediately exposed to the sun, which is often
the greater enemy of the two. It needs but little heat, and consid-
erable humidity of atmosphere, as in England.

Estimate.—This building, in stone, would cost about $28,000.

 

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Prim b H,| dhlvrct 6?:WIlliame N.Y.
J 4 I

N‘.’ 28.

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DESIGN NO. 28.

FIRST FLOOR PLAN.

1. Veranda. 7. Saloon, 18 x 43.
2. Hall. 8. Pantry.

3. Drawing Room, 20 x 36. 9. Safe.

4. Sitting Room, 20 x 23. 10. Veranda.

5. Dining Room, 18 x 18. 11. Carriage Porch.
6. Butler’s Pantry. 12. Library, 15 X 21.

ALTERATIONS of old buildings, when extensive, are not usually
considered advisable, as the cost of much alteration is nearly, if
not quite, equal to that of an entirely new edifice. Another seri-
ous objection is the embarrassment usually attending the fixed
lines of the original structure, which limit the architect to a nar-
row field for the display of iwhatever ability he may possess. Yet
it frequently happens that a family have already on their land a
decent dwelling, endeared by many associations, whose total de-
struction would seem almost sacrilegious, as well as wanton waste
of property. Either a new field must be sought for the desired
improvements, or we must alter the present mansion ; and the lat-
ter is the usual and perhaps more natural course.

This is no easy task for the architect, who, when a double la-
bor has been expended, and but a partial effect produced, may

5

148 HOLLY’S COUNTRY SEATS.

well shrink from that paternal responsibility which otherwise he
would readily have assumed, and deprecate the criticism which,
under other circumstances, he would gladly have invited.

The accompanying design will somewhat illustrate how far we
have been successful in the alteration of a moderately sized dwell-
ing, which was the residence of Geo. A. Hoyt, Esq., of Stamford,
Conn. The original building, which may be seen in the Vignette
at the right of the ground plan, was finely situated within an en-
closure of some half dozen acres, shaded by deciduous trees. The
building was of stone, and of so substantial a character and so
well arranged, that the owner wisely concluded that alteration
would be better than tearing down and building anew. In the
plan of the first story, the dark portion represents the old house,
and the lighter the additions.

The original arrangement was preserved so far as was practi-
cable. The drawing room, which was added, being much larger
than the other rooms, it was thought should have a greater height
of ceiling than the rest of the house, and this caused a discrepancy
of some four feet between the roofs. Some difliculty was antici-
pated in the management of this room to obtain sufficient size, as
we were unable to extend it more than twenty feet from the house,
and the rear wall was fixed by the position of the dining room
windm 's. Not wishing to cut off the light, it was decided to ex-
tend the addition ten feet in front, and thus, by the aid of a large
bay window, sufficient room was obtained. Again, the library and
chamber above were too small. How else could we enlarge them
than by extending them in the same manner? \Ve cannot have a
bay window in the library, as it would project into the road lead-
ing to the carriage porch; but this room is now large enough, and

. the trouble is with the bedroom above. This must be increased

in size; but how shall it be effected? The idea suggests itself

 

 

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DESIGN N928.

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HOLLY‘S COUNTRY SEATS. 149

that a bay window may be placed in the second story, not extend-
ing to the ground, but supported by brackets, forming what may
be called an oriel. Now that we have an interior of sufiicient size,
how shall we treat these awkward projections without ? It occurs
to us that we require an observatory, as no extended view can be
had from the lower rooms, and the view in the distance is fine.
We will therefore run the library projection above the roof and
form a tower. This we will furnish with a railing, that we may
mount to the very summit. Thus we relieve the discrepancy in
height of the drawing room roof, which made the house look one-
sided and unsymmetrical. Now we have obtained a balance of
parts; and the irregularity of the roof gives the whole design a
distinctive and decided character, and a broken and picturesque
skyline.

The French chateau roof, which we have adopted, gives ample
space for servants’ apartments and other necessary rooms in the
attic, and, by the flat on top, furnishes a means of collecting water
for the tank, and provides a place on which we may walk, sur-
rounded, as it is, with an iron railing for protection. We have
provided, also, that the projections of the drawing room and li-
brary shall be just suflicient to receive the veranda, which extends
along the front and sides of the house, and fills up the vacancy be-
tween. VVe now discover that the veranda around the saloon ex-
cludes the light from the kitchen, which is directly beneath it.
Here is an unforeseen difficulty. \Ve must have this veranda, and
the location of the kitchen cannot be changed. We have seen in
the city large blocks of glass let into the floor, that the light from
a skylight above may pass through to the story below. This idea
we adopt. That part of the veranda floor directly over each win-
dow in the kitchen we make of this thick glass, and are gratified
to find that our experiment is entirely successful.

 

 

 

 

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DESIGN

FIRST FLOOR PLAN.

1. Carriage Porch.

2. Stoop.

3. Vestibule.

4. Hall, (including Vestibules,)

20 x 125.

5. Drawing Room, 28 x 50.

6. Boudoir, 21 x 26.

7. Sitting Room, 24 x 30.

8. Billiard Room and Picture

Gallery,88 x 40.

9. Grand Staircase Hall.
10. Vestibule.
11._ Library, 28 x 36.
12. Dining Room, 28 X 40.

13. China Closet.
14. Butler's Pantry.

15. Kitchen, 26 x 34.
16. Pantry.

17. Lzfimdry, 17 x 26.
18. Staircase Hall.

B. Balcony.

V. Veranda.

F. B. Flower Beds. ‘
T. W. Terrace Wall.

NO. 29.

0

SECOND FLOOR PLAN.

19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.

30.
31.
32.
33.
34.
35.
36.
3’7.
38.
39.
40.

Staircase Hall.
Linen Closet.
Water Closet.
Hall.
Openings.
Chamber, 20 x 25.
Bath Room.
Chamber, 28 x 32.
Do. 21 x 26.
Do. 24 x 30.
Upper Part of Picture Gal
lery, 28 x 40.
Grand Staircase Hall.
Chamber, 18 x 20.
Hall.
Chamber, 28 x 28.
Do. 28 x 40.
Dressing Room.
Bath Room.
Chamber, 24 x 30.
Do. 26 x 34.
Bath Room.
Dressing Room.

152 HOLLY’S COUNTRY SEATS.

THIS villa was designed for a wealthy gentleman, who has re-
cently purchased one of the most charming sites on the shores of
the Sound. The grounds are of some years’ standing, and were
laid out by one of the best landscape gardeners in the country.
They are covered with the choicest kinds of evergreen and decid-
uous trees, so arranged as to enhance the natural beauties of the
place. The estate has lately been much improved by the intro-
duction of artificial waters in fountains, lakes, and streams, with
the usual concomitants of aquatic birds and plants, arbors, bridges,
and pleasure boats. The roads are well made, and wind gracefully
among groves and lawns, and by the water side, in such a manner
as to deceive the eye, and cause the small park of fifty acres to
seem double that size.

It is pleasant to note this growing disposition among our
wealthy citizens to cultivate the refinements of rural beauties. In
our cities we often find sums lavished 011 palatial residences, suffi-
cient to build a host of villas in the country, and yet the effect
of such lavish expenditure is comparatively lost amid so much te-
dious repetition of design. It seems to us a inarked indication
of wisdom and good taste, instead of expending a princely amount
on a narrow plot of ground in some aristocratic quarter of the
city, to establish an elegant and independent country seat, at a less
actual outlay, with gardens and pleasure grounds, and all those
elegant appliances of a luxurious rural home, which, while they
delight and give occupation to the mind, do not, like the dissipa-
tions of the city, debauch the body and undermine the health. To
be “ monarch of all he surveys,” in the midst of the fine repose and
healthy ease of an estate in the country, is the unfailing desire of
every man who has resources within himself against ennui, and
large capacities to develop in the paths of elegant culture. It may
be said that such a home as we have pictured is a luxury too ex-

HOLLY’S COUNTRY SEATS. 153

pensive to be dreamed of save by few. Such is not the case to the
extent generally supposed. The difference in taxes alone between
town and country would defray the extra expense of maintaining
the grounds, and the many economical advantages of a country life
have been too often dwelt upon to need recapitulation here.

The exterior of this house, which is strictly Italian, and in har-
mony with the scenery amid which it is placed, is intended to con-
vey the sentiments of refined household comfort and repose, and of
a large and noble hospitality. The architecture being rather of a
grave and formal character, it seems necessary to separate it some-
what from the easy slopes and natural grace of the lawns and
banks around, by a broad terrace, which acts as a base to the
building, and prepares the mind for the comparative severity of its
lines. By referring to the ground plan, it will be observed that
on two sides of the house the carriage road occupies the space be-
tween the terrace wall and the house, while on the other sides this
space is occupied by flower beds, statuary, and fountains. The in-
troduction of these latter features upon the lawn would produce an
incongruous effect, they being too precise and formal for such a
position. But this objection does not attach to their present loca-
tion, where the object is to establish a connection between the se-
verity of architecture and the easy, natural grace of nature. While
the advantage of such artificial ornaments, as seen from the win-
dows and balconies, is obvious, yet they form but a foreground to
the wider extent of the park and woodland beyond.

The carriage porch is unusually large, being long enough to
shelter both carriage and horses. The veranda and balconies,
which are very wide, extend quite around the house, forming a
walk of several hundred feet. The ceilings of the first story are
twenty feet high, and the extreme width of the main hall is the

same. This hall has two large openings (23, 23) in the ceiling,
22 “

 

7; q 3

154 HOLLY’S COUNTRY SEATS.

extending through the second story to the roof, where there are.
domes surrounded by skylights.

The drawing room, boudoir, music, and billiard rooms supply a
Vista through the house by the opening of folding doors, while the
dining room, hall, and billiard room may be connected in the same
manner. The billiard room, also used as a picture gallery, extends
up to the roof, and has a railed balcony between the openings (23,
29). This room is lighted from above, and also at the side, by a
high triplet window, which may be regulated by shades.

The dining room communicates with the kitchen by a large
butler’s pantry, the laundry with the linen closet on the second
story, and the drying room in-the attic by a dumb waiter. The
second story contains nine sleeping apartments, all large, and most
of them connected with bath and dressing rooms. The grand
staircase occupies the entire tower, and extends to the observatory,
while, at the other end of the hall, are other stairs of less preten-
sions, extending to the attic, which is divided into good apartments

- for servants’ and store rooms.

Estimate—This building, in brick, would cost about $45,000.

 

 

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DESIGN NO. 30.

OF city architecture but little has been said, because it is not
strictly within the province of this work. There is, however,
one phase of this architecture which recommends itself to our
notice, as embodying many of those principles which we have re-
peatedly enumerated with reference to rural architecture, such as a
more careful distribution of masses and a nicer study of extensive
Skylines with reference to block designs as seen from a distance.
In building on open spaces or parks, a proper observance of these
principles is essential to elegance and artistic effect.

Though our streets are lined for miles of their extent with ex-
pensive buildings, their general perspective effect is so unsatisfac-
tory that the stranger, for the first time in New York, is puzzled
and embarrassed to find out the system on which we build. Prob-
ably there is no city in the world having streets as extensive as
our Broadway and Fifth Avenue, adorned with the same amount
of pretentious and costly architecture; but still the result is less
pleasing than that in some streets of European towns, whose
buildings are of a much plainer character. The reason of this is our
total disregard of harmony. Our designs are often elaborate, and
sometimes beautiful, yet, as they rarely have an opportunity for
fully expressing themselves, but are usually confined to one or tWo
city lots, and as they are likely to be elbowed by uncongenial

“a”, WWW .

156 HOLLY’S COUNTRY SEATS.

buildings on either side, the character of Whose lines may materi-
ally obviate or entirely cancel that of our own, the general result
is like the digs/60m membra 19062569, chaotic, disconnected, and dis-
cordant.

These are defects which can scarcely be remedied where they
already exist, but which should be avoided in future erections.
Especially should they be regarded in the construction of those
buildings which are to spring up around our parks. Occupying
sites so conspicuous, these blocks should be carefully studied in
masses and outline, so that each house may not be entirely inde-
pendent and individual as now, but a responsible part of a general
design. This can only be effected by an agreement of all the par-
ties proposing to build in the block, or by care being taken that
each successive house, as it is erected, may form an harmonious
union with those which have preceded it. It is not meant that all
should build alike—far from it ; since irregularity, with a due at-
tention to harmony, is an important source of beauty in architec-
ture. One roof may tower above another, neighboring houses may
vary in height of stories or size or fashion of apertures, without
being necessarily discordant one with another. It is only essential
that these differences should be so managed as to combine with
mutual advantage, so that no part of a block may seem to be acci-
dental or intrusive.

Houses around parks may be viewed from a distance, where
details are not visible, and their beauty must therefore in great
part consist in a judicious grouping of the seve ‘al buildings in the
block to produce some general design. What would be the ap-
pearance from the middle of a park of a block composed of eight
separate and distinct styles of architecture, bearing no relation to
aach other—one tall, another short, one wide, another narrow, one
with horizontal lines predominating, another with perpendicular

HOLLY‘S COUNTRY SEATS. 157

lines predominating, one ornate, another bare, and so on? Would
it not remind one of the marshalling of the army of Falstaff ?

In a narrow street, where we can do little more than examine
from a near point the details of each facade, the general design of a
whole block is not of so much importance ; but in blocks fronting
on an open square, it is not sufficient that each component house
should be irreproachable as regards detail, but it should so har-
monize with its neighbors that the whole would be a case of
E plurz'bus mmm, from which secession would be equivalent to
dissolution.

What would be the resultwere the grand Park, which is to be
the pride not only of our city, but of the entire country, a field for
the disconnected operations of fifty different architects, each follow-
ing his own design, without reference to the others? Each might
have merit in his invention, yet, without a proper mutual under-
standing, the entire etfect would be absurd, and a result attained
inferior to what the most unworthy among them might have ac-
complished, if left to himself.

Extensive property holders or speculators, who build an entire
block, may carry throughout, of course, any design they prefer.
It is to be regretted that they make use of this privilege not to
create a unity of design, but rather a ungformz'z‘g—a weary and
monotonous repetition of general features and details, the whole
having the appearance of cheap contract work turned out with a
machine, and the unfortunate purchaser, in the middle of such a
block, can only recognize his own house by his name 011 the door-
plate, or by the color of his curtains.

The design we offer is an attempt to prove that houses of dif-
ferent heights and of different degrees of finish and costliness, may
be put together so as to produce a harmonious whole. Obvious-
ly, it is the duty of architects, when, as is usually the case, they are

158 HOLLY’S COUNTRY SEATS.

called upon to sandwich a house from between obstinate and stiff—
‘necked neighbors, with windows of different heights, built of differ-
ent materials, and with discordant lines, to act as a peacemaker,
and do all he can with his own design to reconcile all these painful
differences. The task is a difficult one, and the architect’s skill is
scarcely recognized by the public. But the problem is given, and
it is for architects to solve it as best they can.

Other governments have seen fit to legislate upon the subject
of street architecture with the happiest results, and though cer-
tainly sumptuary laws of this kind are not with us advisable, yet
we have sometimes dreamed that architectural harmony might be
encouraged by offering certain privileges, as a temporary reduction
of taxes, to those who will submit their plans to the censorship of
a public officer, chosen by architects, whose duty it shall be to ob-
serve certain approved aesthetic standards of design of generous
and not tyrannical application, as well as to preside over the ope-
rations of the laws for protection against unsafe buildings.

 

 

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DESIGN NO. 31.

IN our country, utility and ugliness seem to be almost synony-
mous terms. It is not understood that a useful object may be
made beautiful, not only without destroying its utility, but even
adding to it. For one of the great sources of beauty is fitness, and
it has been observed that all those implements, whether of mechan-
ism or husbandry, which are best suited for the purposes to which
they are applied, are the most graceful and pleasing in form.

Perhaps no object suffers so much, from a total disregard to

this principle, as the saw mills of our country. They always, from .

necessity, occupy the wildest and most picturesque localities,
where the best water-power can be obtained, and so unworthy are
they usually to associate with such scenes, that we are in the habit
of considering them nuisances and desecrations. \Ve have endeav-
ored to show in our sketch that such buildings need not neces-
sarily be an offensive intrusion into the wild scenery where they
belong. It needs but a judicious emphasis of those necessary fea-
tures which may add to its picturesqueness of outline, such as ir-
regularity of roof, dormers and apertures of varying shapes, togeth-
er with an artistic adjustment of great beams and foundation piers,
so as to enter happily into the composition. Actually, such care-
ful adjustment of parts need not add to the expense of the build-
ing, or in the slightest degree interfere with its usefulness.

’vw‘fl A44--———‘._/

160 HOLLY’S COUNTRY SEATS.

But the rustic design which we present was scarcely intended
to serve any legitimate purpose of practical utility. It is the pro-
posed remodelling of an old dilapidated mill, which happened to
stand within the grounds of an extensive estate belonging to a
wealthy proprietor, and which, instead of being suffered to fall to
decay, was thought worthy of applying to uses not contemplated
in its original intentions.

With a slight outlay, such a structure may be converted to va-
rious purposes of pleasure, while it may be made to harmonize
happily with the scenery amidst which it stands. The old bridge,
with its shed, which in bygone days served for the protection of
the farmer’s load of corn, may now shelter the saddle horses of a
pleasure party on a sultry day. The first floor may serve as a
summer house, a noonday resort for the family. The second floor
may be used as a billiard room. Even the wheels may be pre-
served, and, as the water privilege is as good as ever, it may be
used to work the force pump connected with a reservoir, from
which may be obtained the household supply of water, and which
may furnish a head for the fountains in the garden. The l't‘SQl'VUll'
tower, too, may form another agreeable feature in the landseap '§, and
from its elevated position may serve also as an observatory. In an
estate like this, of one or two hundred acres, abundant resources
for every amusement are embraced. Rural sports of all kinds may
be enjoyed without leaving the grounds, and here the family, after
the winter campaign of city life, and perhaps a brief dissipation at
the watering places, may live as quiet and independent as if noth-
ing of the world’s follies could ever enter within the gates.

 

 

 

 

 

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DESIGN N9 szf

 

DESIGN NO. 32.

PLAN.

1. Entrance Porch. 4. Vestry.
2. Nave. 5. Chancel.
3. Choir Transept.

SOME of the most pleasing and poetic ideas of our literature
have arisen from associations connected with unpretending rural
churches. Every person capable of sympathizing with these senti-
ments will at once perceive the importance of allowing them to
exercise a large influence over the construction of every such build-
ing. It is from a continual and systematic disregard of these poetic
associations that» have arisen that vacancy and coldness of senti-
ment in lzich distinguish most of our parish chapels and “meeting

houses.”
On a Sabbath morning, after the toil and cares of the week,

spent, perhaps, in the town, and quite worn out by fatigue and
heat, we involuntarily find consolation and pleasant greeting in
the sweet sounds of “the church-going bells.” Gently the melo
dious strains fall from the modest spire and echo among the hills.
Our steps are irresistibly drawn churchward. The Village meeting

house is nearer, and attended by a more fashionable audience, but we
23

162 HOLLY’S COUNTRY SEATS.

have seen enough of such worship, and long for a participation in
that of a simpler and purer tone. So our first glance at the plain
and almost severe architecture of this little church gives us a sen-
sation of relief, and we feel that this indeed is “ the house of God.”
We draw nearer by the Winding roads, and at length reach the
litch gate, that gives entrance into the churchyard. Here, shaded
by noble trees, and among moss-covered gravestones, “the rude
forefathers of the hamlet sleep.”

“ Yet e’en these bones from insult to protect,
Some frail memorial still erected nigh,
With uncouth rhymes and shapcless sculpture decked,
Implores the passing tribute of a sig .”

Hard by stands the church. The ivy has crept quite up its
rugged walls, and, undisturbed and undirected, invested them with
tokens of the tender sympathy of nature. As we enter, we i11-
stinctively and reverently bow. As without, so within, all is plain
and, it may be, rude, yet so strictly appropriate that the very air
seems holy.

Let us turn from this quiet picture, and compare with it that
much more frequent one of the pretentious and formal place of
worship, which doubtless is a characteristic of our country. It
stands in a cramped and unattractive spot, given, probably, by
some worldly-minded parishioner, who, as he gave, estimated the
sure rise in his surrounding land. A lumber merchant, a carpen-
ter, and a “solid man ” constitute the building committee. The
material selected is wood, of course, that it may be furnished by
the lumber merchant, and the carpenter make a good profit on the
contract, while the plan adopted is that most pleasing to our “ sol-
id man,” from whom a liberal donation is expected. This is not
an overdrawn picture, but only too truly indicates the manner in

HOLLY’S COUNTRY SEATS. 163

which many of our churches are built. Frequently, stone designs
are built in wood, sanded, and blocked off most cunningly. The
interior walls of plaster must also represent stone, and the really
respectable furniture of wood must be painted in imitation of some
more expensive material.

There can be no greater inconsistency than these continual ex-
pressions of falsehood, in a place which should, of all others, be
devoted to truth. If compelled, from a scarcity of stone, or other
cause, to employ wood, let your churches show a wood construc-
tion; if your interior walls are of plaster, so let them appear, ap-
propriately ornamented, if you will, but never deceptive.

The interior of the design we present is bold but simple. The
north entrance porch is balanced by a similar structure on the
south, which is used for the organ and choir, thus carrying out the
cruciform plan. The principal feature is the deep and spacious
chancel, which not only always adds great effect to the design, but
gives solemnity to the services of the church.

In regard to the bell, it may be necessary to state that the rope
should pass through a pipe built in the wall and terminating in
the vestry room, otherwise it would hang awkwardly before the
chancel.

Estimate—The above design would cost about $6,000. The
author has recently furnished similar designs for a church at Wil-
ton, Conn., to cost $4,500, with 350 sittings.

 

 

 

 

DESIGN

N‘.’ 35.

Paul

 

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DESIGN NO, 33.

PLAN.
1, 1. Entrance Porch. 5 North Transept.
2. Vestry. 6. South do.
3. Library. 7 Have.
4. Chancel.

WE have frequently been asked why Catholic places of wor-
ship, and especially those of the Church Of England, generally
present an appearance so much more pleasing than those of other
denominations. What is the secret of that graceful gravity, that
“beauty of holiness,” which so distinguishes the churches and
chapels of the Romish and the “Established ” faiths 2 From the
time of Constantine until the Reformation, the Christian archi-
tects, inspired by the idea of making a visible religion, of rendering
the material church an exponent of the spiritual church, studied
very deeply the aesthetical significance of form, and embodied the
results of their researches in the most impressive series of build-
ings the world has ever seen. They seemed to amalgamate matter
and spirit into a vast system of symbolism, which exercised a des-
potic sway over the art of architecture, not only in decorative de-
tails, but in the general plans and outlines. It was not unnatural,
therefore, that the Lutheran Reformers should regard with great
distrust a style of architecture which seemed to have arisen from

166 HOLLY’S COUNTRY SEATS.

the Popish Ritual, and to be full of the emotional wiles and strat-'
egies of the corrupt church. After the Reformation, the feeling
became so strong against the abuses of Rome that, in the anxiety
to throw off all her evils, they discarded many good points, and
among these, her grand and beautiful symbolic architecture.

The Church of England, however, less radical than the other
branches of Protestantism, within the present century has discovr
ered this error, repaired her dilapidated cathedrals, and revived in
her parish churches the pure styles of bygone ages.

The accompanying design, which was intended for a country
parish church, is of the style of the fourteenth century, as described
in Chap. I. The plan is cruciform, and the chancel window looks
toward the East, thus preserving the two leading symbols of the
mediaeval churches, and commemorating the birth and death of
our Saviour. If we build for the worship of God, our building
should be worthy of its sacred object. Doubtless, a lavish intro-
duction of symbols, as such, without any practical advantage at-
tached to them, would not be consistent with the prejudices of
many modern Christians; but we wish to show that many of these
emblems originally had a no less definite use than signification.
With respect to the cruciform plan, for instance, it is always ne-
cessary in public auditoriums to bring the audience as near as pos-
sible to the speaker. N ow, as, in the accompanying design, the
proportions of the roof limit the width of the nave, and the dis-
tance from the chancel limits its length, we are obliged to add
wings or transepts. These, if placed near the chancel, with their
galleries, bring the greater part of the congregation near it. We
have also in this design extended the nave laterally by the aid
of low aisles.

To give light and ventilation to the upper part of the church,
we introduce gablet windows, which supply the place of the more

HOLLY’S COUNTRY SEATS. 167

costly clerestory windows, and a lantern ventilator upon the roof.
All these, it will be noticed, also act as aesthetic features, serving
to break up the bareness and length of the roof, and give piquancy
to the general lines.

If a chimney is required in the church, we should not hesitate
to show it, only the detailed treatment should be harmonious with
the general design. Such an one we have endeavored to show on
the right of this sketch.

Es-z‘inzate.—-The above design would cost about $15,000.

 

 

 
  

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DESIGN NO. 34.

. North Entrance, at Sidewalk.
. Covered Platform.

. Platform.

. Small Wood or Coal Shed.

. Hydrant.

. North Track.

South do.

. South Platform.
. South Entrance, to outside

stairs.
Ladies’ Retiring Room, 5 x 9.
Package Office, 5 x 9.

PLAN.

12.
13.
14.
15.

16.
17.

18.

Ladies’ Sitting Room, 15 x
19.

Ticket Office.

South Main Entrance.

Gentlemen’s Sitting Room,
15 x 19. ‘

Baggage Room, 15 x 19.

Water Tower and Closet,
9 x 9.

Principal Wood and Coal
Shed. '

. Bridge over Track.

11‘ is now received as an axiom in modern political economy,
that the construction of railways from large cities through the
rural districts not only must increase the population and indus-
try of such districts, but must act as most effective agents of
social reform. The natural overflow of the city into the country
necessarily carries with it an element of refinement and culture,
so that we find society, in every village which is touched
by a railroad, slowly and surely improving, as is plainly shown
in the vanishing of old Puritan, Dutch, or Quaker prejudices

170 HOLLY’S COUNTRY SEATS.

in the matter of architecture, before the healthy example of
the rusticating citizen, who builds his elegant villa or picturesque
cottage in their neighborhood. It is certainly reasonable to sup-
pose that railway companies themselves, being thus the great
modern 0221212722229 instruments, would be foremost in setting exam-
ples of improved taste and culture before the people, by building
stations along their lines, which should be agreeable objects to look
upon, and stand as models of design. Such seed, though sown by
the wayside, would not be entirely lost, but would surely bear its
fruits in the increased refinement of rural sentiment, and the great-
er demand for country places along the lines of railway routes.
Usually, however, these railway stations, even on our most promi-
nent roads, are of the most uninviting or even ridiculous appear-
ance. When they are not beggarly, they are often absurdly pre-
tentious. We remember seeing a frequented railway station fash-
ioned somewhat after the manner of a hugh Egyptian temple, with
the fuel house near by imitated from the towering Pylon, 3/625 all
built most palpably amZpahgfuZly of boards I We are glad to note,
however, that in some individual instances an evidence of an im-
proved taste and a more refined feeling for elegance or propriety
is shown. We wish that the stranger, entering an American town
or village, were welcomed by something more inviting than those
rude sheds under which he shakes off the dust of travel.

Perhaps nothing more readily attracts the attention of the
American traveller than the beautiful little stations which, with
endless variety, are dotted along the railway web of Great Britain
and the continent. There railway travelling is a luxury, not only
in the assurance of safety, and the splendid fitting of the carriages,
but in the tasteful little stations which not only charm the eye by
their agreeable exteriors, but comfort the weariness of journeying
by their convenient and perfect arrangement within. In our country

HOLLY’S COUNTRY SEATS. 171

such a mode of conveyance involves somewhat of personal danger,
as the lists of casualties assure us, and the eye is constantly ofl‘end-
ed by those unworthy structures which we dignify with the name
of stations.

We by no means advocate extensive or expensive buildings for
wayside stations, but, on the contrary, merely convenient and eco-
nomical arrangements, with a large amount of that inexpensive
commodity—taste. Considerations of safety, we think, should exer-
cise more influence over the designing and placing of these'struc-
tures, and the management of their surroundings. In no other
country do we find the rails so exposed, so subject to the intrusion
of cattle and other obstructions, with carriage roads crossing the
track, unguarded by gates or bridges. Many valuable lives have
been lost from the necessity of crossing the track to enter the sta-
tion. Travellers from abroad look aghast at such wanton care-
lessness, while we, with our go-ahead propensities, think nothing
of it, and take no measures to prevent such accidents.

In the present design we have endeavored to obviate some of
the faults alluded to. Here, it will be observed, it is unnecessary
for persons to cross the tracks, a bridge being provided, to enable
travellers to cross from one side to the other of the rails without
danger. Thus direct entrances are obtained into the station from
both sides of the tracks. The rails are protected by an outside
fence. The cross roads should either be bridged or protected by
gates, which should be closed across the road when a train is ex-
pected, and at other times across the rails, to prevent the entrance
of cattle.

THE END.

 

 

 

mam-rm

111 Broadway, New York.

———....—_._

CHARGES

  

HENRY HUDSON HOLLY,

0» Contracts acceding 63,000.

For Plans and'Elevafions, .
For Detail Drawings, . .
For Supervision, . ‘ . .
’ Surveys at Old Buildings, .

Manges added.

2} per cant.
1 fl

1} “

25 dollars.

 

 

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